5 comments about Live at the Old Absinthe House Bar: Friday Night.

1. Awesome live cd. Frank Mariano ,Kenny Wayne Shepard and James Cotton are guest. Everyone plays real well.



2. A New Orleans native, I stopped in at the Old Absinthe Bar for a Sazerac on my way to taking out-of-town guests to a strip club. There was a blues band on the stage fronted by a heavy-set guy dressed all in white. His voice was pretty good, and we were into the music, but when Bryan Lee ripped into his first solo our jaws just dropped. Maybe we'd heard that kind of playing on a blues CD once or twice, but none of us ever imagined we could just walk into a bar off the street, buy our "one drink minimum," and hear someone wail like that. His companion musicians were superb as well. My guests forgot all about the strippers. We sat, hardly talking to each other, until Mr. Lee left the stage for the last time. You'll never hear exactly what we heard. The blues bar was gone long before Hurricane Katrina, another victim to the epidemic of mango-flavored daquiris. But this CD is about as close as you can expect from a live recording. It's the way I'd like to remember my home city.



3. This was my introduction to Bryan Lee and I was not dissapointed. This is really a fine example of how good blues can sound live. There are some really nice guests that appear on this also, by the way the same lineup was also on the Saturday night disc, this should really have come out as a double live album. James Cotton is on this and although he does not wail the same as he once did it is still James Cotton.
   There is also a guest appearence by Frank Marino and Kenny Wayne Shepard. I have heard through a he said she said thing that KW was very rude to Marino at these 2 shows, it does not surprise me, he is known to be very arrogant. A kid whose father was in the music buisness and had a whole lot of breaks because of that, and really thinks he is hot stuff. He is a good guitar player , but without a doubt the 3rd best on these 2 discs behind Lee and Marino.
   One thing I noticed outright was that Marino's guitar work seems to be turned way down, almost like Lee was trying to let his boy KW sound better than Frank, which is the only way he ever could, KW could not carry Marino's guitar strap if we let the truth be known.
   But like I said both this one and the one on Saturday are both well worth a listen.



4. When I found out (not from Amazon) that Frank Marino was on this album, plus KWS, I almost bought it sight unseen, but I gave the samples a listen and then decided to pick this and the Saturday night (part II) up.

   I wasn't dissapointed, but my expectations we perhaps a little high, so it's not one of my top blues guitar albums, live or otherwise. It's a decent blues album and I like it, and although I'm no stranger to raw live blues, some of Lee's rawness comes off as, I'm sorry, but it's my opinion, sloppiness. Taken in context of a live recording in a New Orleans bar, this fits, but it's not 5-star material. Nor, IMHO is the companion album.

   But don't let that stop you from picking it up, it's/they're good album(s). Lee is a decent guitarist and singer, and it's really cool that he had Marino & Shepherd sit in with him. Makes you want to blast it loud while sipping a Jim Beam.

   If you're a very hard-core Marino fan like I am, you might a little dissapointed , Frank's a great player on his own and even better with Mahogany Rush, but like his "blues period" where he went from his own, post-Jimi/almost progressive self-styled fantastic sound period (IV, Strange Universe) to a more Johnny Winter vein, well, Frank's just not a blues guitarist *first*. He seems to be straining, not to play notes, but to garner feel. I can't believe I of all people am saying this about Frank!

   Frank does do some nice slide playing, although I'm not sure it's actually slide, I had heard that on earlier MR albums he used his whammy bar for slide-sounds, but that be yet another Marino urban legend.

   Some people are not so keen on KWS, but I have most of his albums and I like him a lot even if he's a SRV clone, at the end of the day he plays well and has good tunes. He sounds good here too.

   Don't kill me for this review, someone else yeh or nay it.




5. At my high school reunion, a classmate named Kevin McMahon cornered me near the bar, handed me a CD, said that he liked my Roy Buchanan article-and insisted I needed to hear this guy. He was 100% right about that-Lee is the hot Daddy of Bad Blues and he commands respect. The story goes that Bryan plays in a bar in New Orleans and doesn't really leave the place-it's a home to him-and that special guests come to visit. We're talking special guests like James Cotton, Kenny Wayne Shepherd, and Frank Marino (of Mahogany Rush).

   Quick!-my asbestos gloves, because what Stevie Wonder can do with a keyboard, Bryan Lee does with a guitar, and that is scorching good music. Oh, yeah, he's blind, too. We're talking raw, skin-it-alive Fender Stratocaster, folks. Can he sing? Nasty, raspy, and when he screeches, I swear the last time that kind of sound crossed my ears was in metal shop. The backup band's support is hot enough to melt lead, and there's five-yes, five more CDs available. For an extra treat, try his Crawfish Lady-both the music and the recipe are found on that disc, but I warn you: there's no putting out this fire with any known substance, because Bryan Lee is too hot to control except under his own terms.

No comments about In the House: Live at Lucerne, Vol. 5.

1 comments about Live in New Orleans.

1. 
   1. MY BABY
   2. TAKE IT SLOW AND EASY
   3. INTRODUCTION
   4. KEY TO THE HIGHWAY
   5. WHEN A MAN LOVES A WOMAN
   6. EIGHT MORE MILES TO LOUISVILLE
   7. LIKE A MINER LOVER GOLD
   8. THE SKY IS CRYING
   9. THIS BODY IS A PRISON
   10. I'M MINDIN' MY BUSINESS
   11. DARK ROAD BLUES
   12. MAPLE LEAF RAG
   13. YOUR MAMA AND YOUR PAPA
   14. HOODOO YOU LOVE
   15. WALKIN' AFTER MIDNIGHT

1 comments about Live at the Palais Royale [IMPORT DIGIPAK].

1. We loved this album. The music is very dynamic and lively. If you like "A Matter of Time: The Downchild Collection", you will love this new release. This band knows how to sound like a bigger band that it is. You can't help but love the piano tinkling & harmonica wailing. My favorite song probably is "Mr. Confused" followed by "Dew Drop Inn", but then it is impossible not to smile during "I've Been the Fool".

1 comments about Wanted: Live.

1. Too Slim & The Taildraggers are an awesome blues/rock band. All of their albums rock and make you want to get up and dance. I have seen them perform live several times and they are even better. All of their albums are a must have for the true blues fan.

No comments about Live Hot N Blue.

5 comments about Sunrise.

1. So you order one CD and then receive another. Usually a hassel of returns, yes? Not this one! Talk about a mistake bringing fortune. This is a great blues CD for all the reasons a blues CD should be great - titles, interpretation, musicanship, and sequence.
   
   May mistakes for you be few and far between but if they should find you - may they find you with this CD



2. I have a lot of respect for Robben Ford but this CD dazzled me. Recorded in 1972 this work showcases a brilliant performance by a man who must have been all of 21 at the time. Many songs in this collection are filled with jazz chords against which Ford plays a distorted guitar. There is a lot of solid Fender Rhodes work here as well and the combination gives the CD a '70s feel.

   When I discovered this CD I expected the Blues that Mr. Ford does so well but instead I found out why Miles Davis hired him. He does some great work in this jazz setting. If you like Robben Ford, like jazz or even better like them both then BUY THIS CD! You'll love it.




3. This is the companion piece to Avenue Jazz's 1997 release, Discovering The Blues. Tracks for this CD were selected from the same 1972 performances as Discovering the Blues, as well as some from the Marquee Club in London. This collection leans quite a bit more towards Robben's jazzier side, but as always, the blues still runs deep. For my taste, the music here is more interesting and varied then on the previous release. There are slow simmering moments but there are boisterous ones as well. When playing in a more jazz-based framework, the band sounds freer and more adventurous. Ford shows great maturity in his playing that belies his young age. His beautiful tone and flawless technique are always present, but never at the expense of the song. He allows the band alot of breathing room (in particular keyboardist Paul Nagle, who adds a tremendous amount to the performances) and shines when it's his moment in the spotlight. At maybe just 21 years of age he proves to be smooth, soulful, intelligent, and electrifying in every note he plays. To showcase his Saxophone chops, Ford and the band pull off a supercharged version of Miles' Eighty One. Certainly no John Coltrane, Robben nonetheless shows he's amazingly talented, and the Coltrane influence is strongly evident.

   The lineup for these gigs was: Paul Nagle on keyboards, Stan Poplin on bass, and Jim Baum on drums. Jimmy Witherspoon also contributed some guest vocals on cuts four and eight. Times on the tracks are: Oh Gee (6:31); Red Rooster (4:25); Eighty One (8:08); Ain't Nobody's Business (3:50); Sunrise (11:28); Blue & Lonesome (8:23) (also appearing on Discovering The Blues); Miss Miss (8:58); and Everyday I Have The Blues (5:26).

   This is an incredible opportunity to catch a young Robben Ford stretching out and blazing away live, and I strongly recommend it. It's something every Ford fan should own. Of course, as I said above, this release has more of a jazz vibe to it, so if you're interest is primarily blues you may rate this a bit lower than I would, and I'd suggest checking out Discovering The Blues first. However, I think the energy and adventurous spirit of this music, along with the guitar mastery of Robben Ford, makes this CD a sure thing. Take a chance...




4. Dam this guy is one talented guitar player! This whole CD burns straight through with a jazz-blues blend that flows smoother then a Michael Jordan jumpshot. The opening instrumental and "Red Rooster" make me want to stop playing the guitar because i know there is no way in hell I'll ever sound like him The whole thing is a gathering of live performances from the 1970's and the music is fast, furious, original, and inspiring. An overall awesome live album.



5. This album was recorded when Robben Ford was in his early twenties in a club in L.A. He knew what he was doing even at that young age. His guitar work is a mixture of jazz and blues that will leave you mouth gaping and drooling.

   Ford starts off the album with "Oh Gee" a great piece that sets the mood for the entire album. Ford doesn't dominate the entire song, and steps back to let his piano and bass men take solos of their own. Next, he covers "Red Rooster" with a heavy blues feel. There is more to Ford than just great guitar licks. He started out playing the sax three years before he picked up the guitar. He shows us his chops on the horn on Miles Davis' "Eighty One". "Miss Miss" is another of the instrumentals on the album. A great tune. Jimmy Witherspoon jumps in to provide his bluesy voice for "Ain't Nobody's Business" and "Everyday I Have the Blues" trading vocals with Ford and getting great support from the band. .

   Rhino records should be congratulated for releasing this great sample of the young Ford. If you're a fan of Ford, guitar, or the blues don't hesitate to check this one out. You won't be disappointed.

4 comments about Nighthawks Live.

1. Another must have by the nighthawks, Their live performances are without a doubt the best shows money can buy. If you have never been to a live show this is what you can look forward to.



2. "The Nighthawks Live" was released in 1997 as a double-EP combining both "Live at the Psychedelly" in Bethesda, MD 1976 and "Live from The El Macombo" in Toronto, Canada in 1977. The disc shows the Hawks in prime form, bringing bar-band 12-bar to the two packed clubs. Their version of Little Feat's "Tripe Face Boogie" is done with scalpel-thin precision, and Jan Zukowski's bass track is near-unbelievable. Mark Wenner's harp does the ghost of Little Walter justice as they cover Muddy Waters' "19 Years Old". The lightning take of "Shake Your Moneymaker" tears through a hill-country take of the classic tune with a gratuitous harmonica for all. Never truly appreciated for their work in the 1970's as blues-revisionists, the group has stayed together and has recently released a DVD with Howlin' Wolf guitarist Hubert Sumlin. Please check out their webpage at www.thenighthawks.com. All content copyright www.maximumink.com



3. What a great blues band. The Psyche Delly in Bethesda M.D. was the site of this amazing live performance by the Nighthawks. Jim Thackery and Mark Wenner tear through "Shake Your Moneymaker". "Can't Get Next To You" is played like no band I've ever heard. There are bonus tracks here not on the original release. Check out "Ubangi Stomp", and try to keep still. .... Even the intro is good. A must have blues cd.



4. The Nighthawks have been called "the world's greatest bar band" and with this album you can catch some of the excitment that is felt at their concerts. A Blues band for over 20 years, they still know how to rock and this album goes all out to prove it.

5 comments about Live at the Old Absinthe House Bar, Vol. 2: Saturday.

1. A New Orleans native, I stopped in at the Old Absinthe Bar for a Sazerac while taking some out-of-town guests around the city. There was a blues band on the stage fronted by a heavy-set guy dressed all in white. His voice was pretty good, and we were into the music, but when Bryan Lee ripped into his first solo our jaws just dropped. Maybe we'd heard that kind of playing on a blues CD once or twice, but none of us ever imagined we could just walk into a bar off the street, buy our "one drink minimum," and hear someone wail like that. His companion musicians were superb as well. We sat, hardly talking to each other, until Mr. Lee left the stage for the last time.
   
   You'll never hear exactly what we heard. The blues bar was gone long before Hurricane Katrina, another victim to the epidemic of mango-flavored daquiris. But this CD is about as close as you can expect from a live recording. Unlike the Friday Night recording, this one included two guest guitarists: Frank Marino (known for his work with Mahogany Rush) and Kenny Wayne Shepherd. Their performances are excellent, but more important I think is that their presence brought out the absolute best in Mr. Lee's playing. Forced to choose between the two CD's, I'd go with this one first.



2. If you only buy this as a protest against the loss of great old music haunts like the Old Absinthe House Bar in New Orleans, that's reason enough. The engaging, dynamic performance by the bar's longtime resident genius Bryan Lee is just a plus.



3. This was my introduction to Bryan Lee and I was not dissapointed. This is really a fine example of how good blues can sound live. There are some really nice guests that appear on this also, by the way the same lineup was also on the Friday night disc, this should really have come out as a double live album. James Cotton is on this and although he does not wail the same as he once did it is still James Cotton.
   There is also a gust appearence by Frank Marino and Kenny Wayne Shepard. I have heard through a he said she said thing that KW was very rude to Marino at these 2 shows, it does not surprise me, he is known to be very arrogant. A kid whose father was in the music buisness and had a whole lot of breaks because of that, and really thinks he is hot stuff. He is a good guitar player , but without a doubt the 3rd best on these 2 discs behind Lee and Marino.
   One thing I noticed outright was that Marino's guitar work seems to be turned way down, almost like Lee was trying to let his boy KW sound better than Frank, which is the only way he ever could, KW could not carry Marino's guitar strap if we let the truth be known.
   But like I said both this one and the one on Friday are both well worth a listen.



4. When I found out (not from Amazon) that Frank Marino was on this album, plus KWS, I almost bought it sight unseen, but I gave the samples a listen and then decided to pick this and the Friday night (part I) up.

   I wasn't dissapointed, but my expectations we perhaps a little high, so it's not one of my top blues guitar albums, live or otherwise. It's a decent blues album and I like it, and although I'm no stranger to raw live blues, some of Lee's rawness comes off as, I'm sorry, but it's my opinion, sloppiness. Taken in context of a live recording in a New Orleans bar, this fits, but it's not 5-star material. Nor, IMHO is the companion album.

   But don't let that stop you from picking it up, it's/they're good album(s). Lee is a decent guitarist and singer, and it's really cool that he had Marino & Shepherd sit in with him. Makes you want to blast it loud while sipping a Jim Beam.

   To be really fair I need to check out other albums by Lee.

   If you're a very hard-core Marino fan like I am, you might a little dissapointed , Frank's a great player on his own and even better with Mahogany Rush, but like his "blues period" where he went from his own, post-Jimi/almost progressive self-styled fantastic sound period (IV, Strange Universe) to a more Johnny Winter vein, well, Frank's just not a blues guitarist *first*. He seems to be straining, not to play notes, but to garner feel. I can't believe I of all people am saying this about Frank!

   Frank does do some nice slide playing, although I'm not sure it's actually slide, I had heard that on earlier MR albums he used his whammy bar for slide-sounds, but that be yet another Marino urban legend.

   Some people are not so keen on KWS, but I have most of his albums and I like him a lot even if he's a SRV clone, at the end of the day he plays well and has good tunes. He sounds good here too.

   Don't kill me for this review, someone else yeh or nay it.




5. Bryan Lee's Live at the Old Absinthe Bar Saturday Night CD is without a doubt one of the best hard core live blues CD's around. Too bad not too many people have heard of him. He has a great band behind him and his guests are not too shabby either (Kenny Wayne Shepherd and Frank Marino). The Friday night CD is quite good also. If you love the blues, this CD is rather entertaining and should be in your collection. It is addicting to listen to since it is so good.

No comments about Muddy "Mississippi" Waters Live/King Bee.