Ron Carter Esperanza Spalding - Downbeat
Ron Carter Esperanza Spalding - Downbeat
Ron Carter Esperanza Spalding - Downbeat
Create successful ePaper yourself
Turn your PDF publications into a flip-book with our unique Google optimized e-Paper software.
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