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Ron Carter Esperanza Spalding - Downbeat

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Blues | By frank-john hadley<br />

Strength Meets<br />

Pyromania<br />

Michael “Iron Man” Burks: Show Of<br />

Strength (Alligator 4951; 62:11 HHHH) Michael<br />

Burks came into his own while recording<br />

his fourth album for Alligator, completed last<br />

spring just before his unexpected death. The<br />

man’s strengths were considerable, not sacrificed<br />

in the least to cranked-up heat and volume.<br />

His guitar fashioned prose of a rare type:<br />

earthy but searching, its poignancy mirrored<br />

by his rich, full-bodied singing voice. Supported<br />

by his crackerjack band, this Arkansan<br />

celebrated the individual human spirit whether<br />

it meant working through the heartache of<br />

his slow-sizzling original “Since I Been Loving<br />

You” or bringing dry humor to soul singer<br />

Charlie Whitehead’s gem of a cheating song,<br />

“Can You Read Between The Lines?” Burks’<br />

excellent singing voice and guitar even elevated<br />

the everyday shuffle “What Does It Take<br />

To Please You?” His version of Charlie Rich’s<br />

“Feel Like Going Home” sends shivers down<br />

the backbone of empathic listeners. Burks<br />

wielded a power comparable to Son Seals.<br />

Ordering info: alligator.com<br />

Butch Thompson & Pat Donohue: Vicksburg<br />

Blues (Red House 257; 59:00 HHH)<br />

Butch Thompson, a pianist and part-time clarinetist,<br />

and Pat Donohue, a singer and guitarist,<br />

may be fixated on blues and jazz of the first<br />

half of the 20th century, but the duo isn’t stuffy<br />

or mawkish about it. Their appraisals of 14<br />

songs from the past, especially a restoration<br />

of barrelhouse piano originator Little Brother<br />

Montgomery’s “Vicksburg Blues,” have a winning<br />

dramatic definition. Just as clear and distinct<br />

in emotional outlay are performances of<br />

their own old-time tunes. It’s obvious they love<br />

spreading the word about Montgomery, Blind<br />

Blake, King Oliver and their other heroes.<br />

Ordering info: redhouserecords.com<br />

The Chris O’Leary Band: Waiting For<br />

The Phone To Ring (VizzTone VTFR 002;<br />

54:20 HHH) For several years a member of<br />

Levon Helm’s Barnburners, Chris O’Leary<br />

is an efficient singer and harmonica player<br />

whose second album makes obvious his sure<br />

way with Chicago and West Coast blues and<br />

Louisiana r&b. Not one of the 13 songs he<br />

wrote is memorable but neither do any of them<br />

disappoint in the moment. A musician with a<br />

healthy sense of humor, O’Leary fronts an OK<br />

band that has a secret weapon in Chris DiFrancesco,<br />

whose baritone saxophone gives the<br />

group sound a darkly resonant dimension.<br />

Ordering info: vizztone.com<br />

Juke Joint Jonny: Pure And Simple<br />

(Blues Leaf 9848; 46:39 HHH) Juke Joint<br />

Jonny’s stock in trade is singing gruffly and<br />

playing good slide guitar on original material<br />

in the fashion of historical country blues and<br />

Michael Burks<br />

r&b. Recording on both coasts, the middleaged<br />

New Jerseyite probes various emotional<br />

states without fuss or pretense, never remiss<br />

in his role as an honest entertainer. Bay Area<br />

pianist Mitch Woods and Miami-based guitarist<br />

Albert Castiglia are the best known of his<br />

helpful sidekicks.<br />

Ordering info: bluesleaf.com<br />

Taj Mahal: The Hidden Treasures Of<br />

Taj Mahal (Legacy 8287682294; 77:28/53:48<br />

HH) One man’s treasure is another man’s<br />

trash. These two discs of lost tracks from<br />

1969–’73, one filled with Mahal studio sides<br />

and the second a concert taped at Royal Albert<br />

Hall, are pretty bad for a variety of reasons,<br />

particularly his pitch-challenged and<br />

indecisive singing. Only the three tracks from<br />

an Allen Toussaint-produced session avoid the<br />

abyss. The London concert is good to hear …<br />

once. Go instead for the Columbia studio set<br />

Happy Just To Be Like I Am, from the same<br />

time in his career.<br />

Ordering info: legacyrecordings.com<br />

Dennis Jones: My Kinda Blues (Blue<br />

Rock; 53:34 HHH) Dennis Jones, fronting<br />

bands since the late 1990s, uses his Stratocaster<br />

like a stun gun built with high amps.<br />

His urgency is far more credible than that of<br />

the general lot of guitar pyromaniacs because<br />

there seems to be a lot of heart and soul behind<br />

his every phrase. His vocals are just as<br />

peppery and believable. Jones’ compositions<br />

don’t pull any punches about his distain for<br />

texting, for two-timing women and for selfrighteous<br />

Blue Staters. Though certainly aware<br />

of how Jimi Hendrix burned the midnight lamp,<br />

Jones is his own man. DB<br />

Ordering info: dennisjonescentral.com<br />

paul Natkin<br />

86 DOWNBEAT DECEMBER 2012

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