4 comments about Queen of the Blues.

1. Lizzie Douglas was born in Algiers, Louisiana on June 3, 1897 and at the age of 7 moved from a rural farm to Walls in the northern portion of Mississippi. On her 8th birthday she was given her first guitar by her father and took to the instrument almost immediately, soon playing at local functions as "Kid" Douglas.
   
   At a very young age she ran away from home, playing for change at what is now W.C. Handy Park on Beale Street in Memphis [then Church's Park], and sometime in the late 1910's or early 1920s she latched onto the stage name Memphis Minnie while playing tent shows with the Ringling Brothers Circus.
   
   Late in the 1920s jug bands began springing up all over Memphis, and it was with various such groups that she began expanding on her guitar style. At this time she also entered a common-law, as well as a musical, relationship, with a musician named Kansas Joe McCoy, and together they recorded Bumble Bee. Unfortunately not included in this set, the hit would later be covered by Muddy Waters as Honey Bee.
   
   What stands out immediately in this 1997 compilation from Columbia Legacy's Mojo Workin' Series, is the raw, growling power of her voice along with her intense guitar picking which put her in the same class as any of her male contemporaries.
   
   The volume contains virtually no liner notes, but on the reverse is this paragraph which is worth repeating: "Beauty and badness ... one of the greatest of all blues guitarists [man, woman or child], Memphis Minnie also sang the blues with a style all her own. In addition to her vast talent, Minnie was strikingly good looking, flamboyant and determined to succeed in a time when women were expected to accept a secondary roll in society. In the face of unthinkable odds, Minnie earned the recognition of her mostly-male peers and became a bona-fide star in her day. Her original version of When The Levee Breaks [with Kansas Joe] would become standard of the rock vernacular when covered by Led Zeppelin at the apex of that supergroup's career."
   
   Unfortunately, the sound quality of the tracks vary greatly, with some sounding like thay were transferred direct from 78 rpm to CD with no attempt to reduce the hiss and pop, while others offer a progressively cleaner sound [the best of which are the previously unreleased tracks 7, 17, and 18]. Two tracks [3 and 4] honour the Brown Bomber himself, Joe Louis.
   
   Minnie, as with her idol Ma Rainey, liked to demonstrate her new-found wealth by traveling from show to show in expensive automobiles and by wearing flashy, heavy bracelets made from silver dollars.
   
   Operating out of Chicago in the Dirty Thirties, Minnie added a bass and drums to her sound, and it was in this period that she left McCoy to marry another musician named Ernest Lawlars, known more familiarly as Little Son Joe.
   
   They continued to cut records right into the 1950s before increasingly poor health forced her to return to Memphis in 1958 and give up the music business. Almost completely infirm from that point on, she died on August 6, 1973, in Memphis at age 76. In 1980, 20 inductees were honored by the Blues Hall Of Fame in its first year of existence. Memphis Minnie was one of them.
   
   Hopefully, more and more of her material will be properly cleaned up and made available on CD in the not-too-distant future. She was a real gem and well worth a listen, even in these crackling tracks.



2. if you want a far superior version of "When the Levee Breaks," listen to Led Zeppelin's masterpiece-and no it's not a cover, just lyrically similar



3. Minnie seems to be overlooked today. Yet, she was one of the most popular blues singers of the 1930s and 1940s. Her style and vigor and the excellence of both her singing, her guitar playing, and the lyrics of her songs, set her apart and above other blues singers.
   
   Now, Minnie doesn't sing with the existential angst and bitter pain that blues singers adored by white post folk "blues fans" adore. That is because Minnie sings the real blues that real Black people in the Delta and in Tennessee, and then all over the country wanted. It is blues for Saturday night to juke and dance and party and drink and make love and lose love and maybe to listen to Sunday afternoon to remind you when the hangover leaves, or you realized who you ended up with last night.
   
   She plays and sings smiling blues, records that were supposed to make you happy enough to dance. Everytime I hear her, I am really struck by how her guitar playing really is a bridge between the old acoustic styles and the modern styles that would be identified with post-war electric blues. I am also struck with how much sexy fun records were back in her day, and what a hot momma Minnie must have been to see and to hear and to touch.



4. "Queen of the blues?," you may ask. After you check out this CD, you'll understand why. There were many outstanding female blues vocalists of the first half of the 20th Century, but Minnie not only sang, she was also an accomplished guitarist and wrote many of her songs.

   This is evidenced by "When the Levee Breaks," which starts off this eighteen track set. Minnie co-wrote and plays guitar on the song, but the lead vocals are by her husband, co-writer "Kansas" Joe McCoy. It's the same song that was later recorded by Led Zeppelin on their fourth album (the same one that included "Stairway to Heaven"). It also seems to be Kansas Joe singing on "Joliet Bound," which immediately follows the first track.

   Vocally, it's pretty much Minnie throughout the rest of the CD, although sometimes it's hard to tell because of her husky singing voice. This is an area where the liner notes could really have been helpful, but this is mere nit-picking.

   In addition to those songs mentioned, other stand out cuts are "New Orleans Stop Time," "Call the Fire Wagon," and the unabashedly sexual, "I'd Rather See Him Dead." Also of note are "He's in the Ring" and "Joe Louis Strut," which are both tributes to the former heavyweight champion.

   Memphis Minnie is the real thing. She's raw, bold and can play some mean guitar. Her playing ranges from "gut bucket" (a la Robert Johnson) to a more "rocking" style, later popularized by the likes of Chuck Berry (who is rumored to have recorded a jam session with her). Simply put, this CD should be a part of any comphrensive blues collection.

No comments about The Famous Moanin' Mama: 1922-1927.

1 comments about Bessie Smith: The Complete Recordings, Vol. 4.

1. This is quite a nice set. Columbia was Bessie's own label, and Sony has done a nice job of issuing her tracks on CD: the sound is great. Nice booklet too.
   
   I always like the Chronological Classics (Melodie label), and they have five discs of Bessie; still, the Complete Recordings on Columbia is a really nice set at a really good price. Can't go wrong here: includes the three great tracks Bessie recorded on 8 May 1929 with Clarence Williams (piano) & Eddie Lang (guitar): "I'm Wild About that Thing," "You've Got to Give Me Some," and "Kitchen Man."
   
   Highly recommended.

No comments about Female Blues Singers, Vol. 9: 1923-30.

3 comments about Rhapsodies in Black: Music and Words From the Harlem Renaissance.

1. The quality of music and poetry in this boxed set is superlative. It's so good, in fact, that it turned me on to early jazz after a lifetime of listening to other, largely unrelated, musics. This music is the roots of much of today's contemporary jazz, pop, soul, and r'n'b, and it still sounds sensational. My only gripe would be with Rhino's overfussy packaging, in which the discs are housed in elaborate and flimsy individual holders; Rhino should take a hint from Hippo's (Universal) beautifully compact packaging for Louis Armstrong's "An American Icon" box set.



2. "Before I was an African-American, I was a black kid living in Los Angeles who wanted to be a rock 'n roll star. Then I discovered Harlem, and ever since, I've wanted to be a Negro." Shawn Amos, remarkable young producer of this great project, writes in "Notes from a Wanna-Be Harlemite, " by way of introducing this CD set.

   This is a project that is so generous, so full, and so nicely focused that all one can do is read the booklet, and listen to the readings and the music in a sort of awed appreciation - for the greatness of it. Amos was painstakingly thoughtful and careful, and it shows at every turn. The essays are informative, thoughtful, and utterly absorbing. All the poetry and short story excerpts are included, too. So it's a field day for lovers of liner-notes and lyrics.

   The music is thrilling. Much of it will be familiar, some less so. (Mastering Engineer Patrick Kraus weighs in, too, in a note regarding changes in sound quality over the years.) The pieces are arranged chronologically, and sensitively. Spoken word compliments music and song. This is something that requires a curatorial sensitivity that Amos clearly possesses. My only mild gripe is that I longed for several additional seconds of silence after each of the spoken-word pieces, before the music started. The power of the poems, for example, requires a little awed silence (the listener's) afterwards. Alfre Woodard's interpretation of Georgia Douglas Johnson's gorgeous, erotically triumphant poem "I Want to Die While You Love Me," deserves those seconds of silence. After Quincy Jones' interpretation of Langston Hughes' "The Negro Speaks of Rivers," you want some extra time, too.

   Eartha Kitt interprets Cuban-born Marxist poet Nicolas Guillen's "Sensemaya - Chant for Killing a Snake" and it is spellbinding.

   The terrific poems and short stories that are read in this compilation were for the most part recorded by Amos himself. He crisscrossed the country, LA and NY, at least a few times to do it - taping in an attic (Branford Marsalis) and in a variety of venues. The performances are fantastic.

   These four CDs knocked me out. I've listened to them repeatedly, with no loss of enthusiasm. Buy this box set - a very good value considering the high quality of the book that comes with it - if you have an interest in the fabulous sound of the Harlem renaissance, and in an artful and wonderful project.




3. Wow, what a resource for history and language classrooms! That and a great look and listen besides. I'm a resource librarian for a public school system and this set doesn't stay on the shelf long enough to gather dust.

3 comments about The Best of Jazz 'Round Midnight.

1. What we have here is a masterpiece of mood. That silky, late night mood that gives birth to all kinds of romantic thoughts--some wistful, some satisfying, some unbearably sad, lonely or even hopeful. Verve has done an incredible job of selecting a wide range of performers, songs, and time periods and succeed in making this an indispensible jazz collection. Dinah Washington's acapella notes at the beginning of the "i'll Close My Eyes" is a perfect curtain-raiser; Stephane Grapelli's short, melancholy "Souvenir de Villagen" is a perfect closing theme. Some true standouts in a collection of them: Oscar Peterson giving one of the most tender piano solos in his career on "I Loves You, Porgy," and a haunting, smokey "My Funny Valentine" from sax great Ben Webster. In the vocal deparment, Billie Holiday turns in a surprisingly upbeat "Darn That Dream" near the end of her life that actually supplies some hope amid her despair; and Joao Gilberto pleading of Brazilian love in "O Grande Amor." The Joe Williams "Embraceable You" is from 1989, and shows the blues great at a different level, more intimate and vulnerable, although he's still creatively jazzy. Other greats are the very sad duets "Maybe September" from Jimmy Smith/Wes Montgomery and "Turn out the Stars" from subtle masters Bill Evans and Jim Hall. Mel Torme's vocal group and Count Basie's orchestra work their usual mastery, and perhaps the most sublime recording is the First Lady of Song herself backed up by that greatest of jazz bands, Duke Ellington and his orchestra in "I Didn't Know About You" which is not a mistake you should make in regarding this album, which is most definetly worth knowing about.



2. Words fail me when I try to describe the emotions present in the songs on this collection. Verve has truly done masterful work in selecting songs with that certain midnight mood, that star-crossed lover, intimate feeling that jazz romance is supposed to be, all dark blue night and purple horizons. There's a vareity of feeling here, but an overall brillance that makes this worth every penny. The only problem would be length, proving that no good album is too short. Some favorites: Oscar Peterson plays "I Loves You, Porgy" with such a delicate tenderness and wistful longing that it'll make you stop whatever you're doing and just be DRAWN IN. Billie Holiday sings "Darn that Dream" near the end of her life, but there's a surprising hopefulness in this interpretation that sets it off from her gloomier side. A 1989 Joe Williams "Embraceable You" shows a different Joe than the one who scatted with Basie in the 1950s-- this Joe is more emotional and sensitive in his later years, but still not afraid to twist the melody and words in a fun, seductive way. Speaking of seductive, Ben Webster plays the Chet Baker staple "My Funny Valentine" through a smokey mist that enables the listener to hear shades of the tune never contemplated before. The underrated Prysock emotes true heartbreak with the string-backed vocal "Teardrops in the Rain." Ella and Duke work magnificently, as always: "Didn't Know about You" is probably the most romatic cut here, except maybe for Joao Gilberto's gravity-defying stroll through "O Grande Amor." The Evans/Hall and Montgomery/Smith collaborations are atmospheric and contemplative, reminiscent of autumns and lost love...Dinah Washington is one hell of a curtain-opener with "I'll Close My Eyes," alternately hopeful, bluesy, and desperate in it's longing, and it doesn't get much better than that.



3. The people at Verve Records really know how to set a mood when they make a jazz compliation album, as both the "Night Out" box set and the whole "Jazz 'Round Midnight" series prove. This is an alsum for the budget-minded jazz fan who doesn't have the cash for each selection, but Verve makes it worth every penny. There's every style of midnight music here, from wistfulness (Count Basie's "Softly With Feeling") to mounrful sadness (Wes Montgomery and Jimmy Smith's "Maybe September") and of course, romantic happiness (Ella Fitzgerald and Duke's duet on "Didn't Know About You"). There are some great standout tracks here, especially Oscar Peterson playing "I Loves You, Porgy" and making it incredibly cool and beautiful, and Ben Webster sounding mysteriously smoky and sad on "My Funny Valentine." Verve can also be commended for a diverse line-up: where else can you find Sarah Vaughn, Billie Holliday(a surprisingly upbeat "Darn that Dream')Stephane Grapelli, Joa Gilberto, Bill Evans, and Arthur Prysock in the same place? However, this means no Chet Baker or Charlie Parker, and their lack of inclusion os notable. But in the end it doesn't really matter, this is a 16-song album of great material from start to finish, and as the first song openes with Dinah Washingtoon's acapella voice rising on "I'll Close My Eyes," you'll know you made the right purchase.

5 comments about Deep in the Night.

1. Etta lets loose on this one. 'Only Women Bleed' and 'Blind Girl' really do something to me. But, this is a disc I can put on and just let it flow. Try it.



2. From the opening funky note, any true lover of soul music knows this is going to be a great ride and then in comes the classic soulful voice of Etta James and it's pure magic..."Laying Beside You" is funky bliss then on to the definitive "Piece Of My Heart" then one wonders where were the Radio Programmers Of America when this masterpiece came out and The Grammy Foundation? Next is Alice Cooper's "Only Women Bleed" which is made into an athem by Ms. James as is her earthy and tremendous version of "Take It To The Limit" and does Etta ever...this performance goes deep inside of this great song turning it inside out like never before. Etta James draws from everywhere in selecting songs for this amazing collection and Broadway is represented here by a truly earthy and engrossing 4 A.M. version of "Deep In The Night" from "Inner City" showing that Etta can take songs from any area of music and make them her own. A hot and wildly funky arrangement of "Lovesick Blues" showcase a gritty vocal that has Etta flying into great falsetto rifts and it is a masterful performance...a gospel take on "Strange Man" features another awesome vocal while "Sugar On The Floor" is another riveting athem sung with so much feeling and soul that one is swept away...a sensual romp "Sweet Touch Of Love" has the legend groaning and growling in a way that only she can and the finale "Blind Girl" is a stellar performance that has got to be one of the greatest performances ever from this great singer and one of the greatest ever recorded by anyone...truly a riveting and tremendous performance to experience!!! Bravo Etta!!!



3. The ingredients that make this such a great CD are the powerful vocals of Etta James, a tight group of musicians, talented backing vocals, some great songs, and all under the masterful hand of Jerry Wexler. Etta has a controlled thunderous voice, powerful but never screeching or overreaching. She does a definitive version of Piece of My Heart. Sorry Janis, but this lady sings without the histrionics. The songs set the narrative for a woman dealing with despair, defiance, vunerability, and love. Only Women Bleed is a raw, uncomfortable and too personal experience. She takes us to church to testify with an electrifying choir on Strange man. Deep in the night takes us to that lonely experience at 3:00 in the morning thinking back on past loves. Blind Girl tells of that desperate attempt to ignore the truth and hang on to a cheating lover. Etta can wring such emotion from that roller coaster song of truth and illusion. I admit, Sugar on the Floor I do not really get. If I could choose just one Etta James CD, this would be it. She teamed up once more with Jerry Wexler for Right Time, but somehow the magic was not there.



4. Albums Like this Showcase The Richness&QUality that is Etta James.Her Voice can Tackle any Style&Add Another New Flavor to it.This Record is Very Soulful&Spirited.Very Essential.



5. I had this LP in the 70's and it was stolen from me during college in 1984. It turned me on to Etta, whose work is marvelous. I've had these tunes in my head for 14 years and am ecstatic that this great collection has been reissued on CD. "I would rather be a blind girl/than to see you walk away" --can't wait to get this CD!!!

1 comments about 'S Wonderful: The Great Gershwin Decca Songbook.

1. Remastered but not vivisected, these Gershwin tunes are from the Decca (and Coral) vaults, and cover recordings made from the 30s to the late 50s, by vocalists as diverse as Helen O'Connell and Sammy Davis Jr. Each track is a gem sui generis, and the breadth of style and setting just proves again how enduring the Gershwins' craft is. A few mysteries remain---who, for instance, is the accompanist to Billie Holiday's I Loves You Porgy? A wonderfully selected collection.

5 comments about Whole Lotta Love.

1. Candye Kane has a very strong voice. Although Whole Lotta Love is a Willie Dixon song, it is most equated with Led Zeppelin. Candye really belts the song out and could probably give Robert Plant of Led Zeppelin a run for his money. If you enjoy the blues, I recommend this one.



2. I first saw Candye at the American Music Festival at Fitgerald's near Chicago a few years back. She blew me away with her voice, her humor, and charisma. But even that didn't prepare me for how much I love this CD. EVERY song is wonderful, you won't be hitting the FF on this. It just leaps out of your speakers and grabs you and doesn't let go. It works if you're in a mellow mood or if you want to rock.



3. Something's got a hold on me right now - it's Candye Kane's "Whole Lotta Love"! The rythm, the sound, her voice - it pulls you right out of your chair. The songs are outstanding and very diverse, and her "Fit, Fat, and Fine" is a great dedication to voluptuous women.
   
   Listening to Candye's music keeps your blood circulating and like the title of the CD's last song I am certain that "I'm not getting older" as long as I listen to this invigorating music. And you should, too.



4. My god, I have never been this infatuated with a fat woman before... jeez, she is beautiful! And she can sing too! How cool is that... an incredibly sexy woman with a very good singing voice?



5. They called Bessie Smith & Dinah Washington "Queens of the Blues" in thier days. Well there are not too many queens today, simply because there is a shortage of traditional female blues singers(the only other I can think of is Janiva Magness). I think Miss Kane should be crowned the "Queen of The Blues" of the new milleneum! This cd shows she can sing Bessie Smith 1920's style tunes, backed by a piano, or even Bo Carter style dirty 1930's style ditties like "What's That I Smell" backed by a guitar(she sounds natural in the delta blues setting). She also does well as T-Bone Walker style stuff, as well as Louios Jordan style horn infused good time rockin'/swing/jump blues. Mostly the periods she sounds in are the 20's-50's, and the soul drenched blues cover of Etta James' "Something's Got A Hold On Me".
   
   Great cd, great band, and an awesome singer whose voice sounds unique, with a touch of Big Maybeelle, mixed with Wanda Jackson.

No comments about Remixed & Reimagined.