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jazz

Billy Bratcher

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Billy Bratcher – In the lobby

Cow Island Music – CIM 021
Big Time Woman – Who’s Sorry Now – TB BLues – My Walking Stick – The Sweeper and the debutante – Why – He calls That Religion – Sweet Sue, Just You – Any Old Time – My Melancholy Baby – Maybe It’s the Blues – Someday Sweetheart – Champagne Charlie – Diamonds Don’t Mean A Thing – This Hotel Room – Going Back To Tampa – She Ain’t Rose – If We Should Never Meet Again (This Side of Heaven)

Billy Bratcher

Billy Bratcher is well known for being the slappin’ drivin’ rhythmic force behind the rockabilly/honky tonk band the Starline Rhythm Boys. He also toured with Wayne “The Train” Hancock.

His debut solo album is a joyful collection of music from the 20s and the 30s (or at least played in that style for three of them), drawing upon the same source as Leon Redbone. Redbone’s influence can be heard throughout the album, and Billy Bratcher acknowledges it, but this collection of songs is very much his own. His arrangements are perfect, and the band, featuring saxophones, clarinet, trombone, cornet, piano, dobro, jug, bones, and a Venuti-esque violin, is simply perfect. Bratcher is a solid ragtime guitar player, but his voice wins the game most of all. If we had heard him sing harmonies and backing vocals with the Starline Rhythm Boys, little would we have known that he had such a beautiful and warm voice.

With In the Lobby, you have the perfect album to relax and chill. So sit in your favorite armchair, pour yourself a drink, close your eyes, and enjoy. Hey, look! There’s Dorothy Parker passing by. Won’t you buy her one, too?

Fred “Virgil” Turgis

Jeremy Wakefield

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Jeremy Wakefield – Steel Guitar Caviar!

Eccofonic Records EFCD03
Delaware Drive – Sugar Foot Stomp – Dark Circles – The Red Garter – Taking Off – Hawaii Creeper – Tiny’s Tempo – Mudslide – Hugh’s Blues – Mugsy’s Flop – Penthouse Serenade – I Wish I Were Twins – Blue and Drifting – Steel Guitar Jive

Jeremy wakefield

Jeremy Wakefield was called by his peers the “Steel Guitar Wizard,” a nickname he didn’t usurpate. His discography resembles a “Who’s who” of today’s real country music. Just have a look at a few of his collaborations: Dave Stuckey, Deke Dickerson, Wayne Hancock, the Smith’s Ranch Boys, The Hot Club Of Cowtown, without forgetting his own bands: The Lucky Stars and The Bonebrake Syncopators. Sadly, Jeremy Wakefield has kept a very low profile regarding gigging and recordings in recent years. The last album I bought on which he was credited was Charlie Thompson’s Foothill Sessions.

At least we can still continue to explore his discography and be amazed by his prowess. In 2005, he recorded a solo album for Deke Dickerson’s Eccofonic Records, venturing into the jazz fields. For this project, he was helped by many fine musicians from the bands he played with (Russ Blake, DJ Bonebrake, TK Smith). Joey Altruda, Jonathan Stout (Campus Five), Jake Erwin, Whit Smith (Hot Club Of Cowtown), Chris Sprague (Sprague Brothers, Deke Dickerson), and Carl Leyland completed the line-up.

The final result is a mix of Western swing and Bebop with a pinch of Speedy West, and a solid dose of talent everywhere. What makes this album so good is the cohesion. This is not Wakefield AND the band; this is Wakefield WITH the band. Of course, you have plenty of steel guitar, but it never sounds like a sterile demonstration of his skills. The tunes flow effortlessly, giving each and every one a chance to shine.

Listen to Steel Guitar Caviar on Spotify.

Fred “Virgil” Turgis

Trixie Smith

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trixie smith

Trixie Smith – Vol 2 1925 – 1939

DOCD-5333
Everybody loves my baby (take 6) – How come you do me like you do? (take 6) – You’ve got to beat me to keep me – Mining camp blues (take 1) – Mining camp blues (take 2) – The worlds jazz crazy and so am I (take 1) – The worlds jazz crazy and so am I (take 2) – Railroad blues (take 1) – Railroad blues (take 2) – Everybodys doing that Charleston now (take 1) – He likes it slow (take 2) – Black bottom hop – Love me like you used to do – Messinaround (take 1) – Messin around (take 2) – Freight train blues – Trixie blues – My daddy rocks me – My daddy rocks me no. 2 – He may be your man (but he comes to see me sometime) – Jack I`m mellow – My unusual man – No good man

Trixie Smith

The first two tracks, recorded in January 1925, feature Phil Napoleon on trumpet, Miff Mole on trombone, Jimmy Lytell on clarinet, Frank Signorelli on piano, and Jack Roth on drums. The result is two lively versions of “Everybody Loves My Baby” and “How Come You Do Me Like You Do.”
The following month she recorded the next session with a new lineup of her Down Home Syncopators, which included Charlie Dixon on banjo, Fletcher Henderson on piano, Buster Bailey on clarinet, Charlie Green on trombone, and Louis Armstrong on cornet.
This session and the next one (March 1925) with the same backing band are more in a blues vein. Next to Mining Camp Blues, Railroad Blues, and The World’s Jazz Crazy And So Am I, you’ll find the unsettling and masochistic “You’ve Got To Beat Me To Keep Me.” Written by Porter Grainger, composer of the blues standard “T’ain’t Nobody’s Business If I Do” it features disturbing lyrics like “You’ve got to beat me to keep me, ’cause Mama loves a hard-boiled man / So don’t you let no man cheat me if he’s got a good right hand. / Beat me up for breakfast, knock me down for tea, / Black my eye for supper, then you’re pleasing me. / You’ve got to beat me to keep me cause Mama loves a hard-boiled man. / Mama don’t want no diamond rings, and she don’t want no swell clothes / Wail me daddy til it stings across my mouth and nose. / I don’t want no hug and kiss, / I don’t want no love and smile, / Beat me with your hand or fist, Papa like I was your child.” As you can see, it’s not your average “I woke up this morning, and you left me” kind of blues.
At the end of the year, she collaborated with Fletcher Henderson’s Orchestra to record four songs. These includes the lively “Everybody’s Doing That Charleston Now” and the excellent “He Likes It Slow.” Other tracks from the session were “Black Bottom Hop” and “Love Me Like You Used To Do,” which is quite similar to “Baby Won’t You Please Come Home.”

The song “Messin’ Around” was recorded in July 1926 with Johnny Blythe and his Raggamuffins. This lively and joyful number showcased Trixie Smith’s vocals and featured a top-notch band including Freddie Keppard and Johnny Dodds.
After a twelve-year hiatus, Smith returned to the studio in 1938, backed by Sidney Bechet, Sammy Price, O’Neil Spencer, and Teddy Bunn, among others. Better recorded and preserved, this session allows listeners to clearly hear Smith’s fantastic voice (and elocution) and one can regret she stayed far from the studios for so long. The material contains new versions of songs she recorded decades earlier (see Volume 1) and ranges from blues (Freight Train Blues, Trixie Blues) to swing (Jack I’m Mellow) and featured high-class performances from the band (Teddy Bunn’s guitar chorus on “Trixie Blues” is worth mentioning). In 1939, she recorded “No Good Man” with Sid Catlett, Red Allen, and Barney Bigard before disappearing and passing away four years later.

Available here.

Fred “Virgil” Turgis

Hociel Thomas & Lillie Delk Christian

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Hociel Thomas & Lillie Delk Christian – 1925-1928

Document – DOCD-5448
Hociel Thomas (1925-1926) gamblers dream – Sunshine baby – Adam and Eve had the blues – Put it where I can get it – Wash woman blues – Ive stopped my man – Deep water blues – Gwan I told you – Listen to ma – Lonesome hours - Lillie Delk Christian (1926-1928) Lonesome and sorry – Baby o mine (take a) – Baby omine (take b) – It all depends on you – Aint she sweet – My blue heaven – Whos wonderful! Whos marvellous? Miss Annabelle Lee – Youre a real sweetheart – Too busy! – Was it a dream? (waltz) – Last night I dreamed you kissed me – I cant give you anything but love – Sweethearts on parade – Baby – I must have that man

Lillie Delk Christian Hociel Thomas

There’s a clear contrast in styles and quality between Thomas and Christian. Both tried (and sometimes succeeded) to create a hybrid of jazz-blues-pop, and both have benefited from the presence of Louis Armstrong’s cornet. The comparison ends here.
Hociel Thomas hailed from a family of musicians. Her father was a renowned pianist, and her aunt was none other than Sippie Wallace. Unfortunately, Thomas often sings in a key where she isn’t at ease, which results in her sounding tired and not very engaged and even top-notch musicians like Armstrong can’t transform more than average material into gold.
Lillie Delk Christian is more interesting vocally, and her material is far superior (I Can’t Give You Anything But Love, Ain’t She Sweet, I Must Have That Man). This probably explains why the band gives a better performance. Noone (clarinet) and St Cyr (guitar) enliven the December 12 session featuring My Blue Heaven and Miss Annabelle Lee with gutsy accompaniment and fine solos. Armstrong appears six months later for the June 26, 1928 session. This session features the best, Too Busy, a bouncing number with Armstrong scatting, and the worst of Christian, Was It A Dream, a waltz that doesn’t allow the Hot Four to express themselves.
The last recordings lack a bit of swing in the vocals but are saved by a good rendition of I Must Have That Man.
This selection is an excellent addition to anyone interested in Satchmo’s early years and work as a backup band. Despite some flaws and, Lillie Delk Christian’s sides have a certain charm and are appealing enough for a curious listener and anyone who digs Annette Hanshaw with whom she shares a common repertoire and style.

Find it here.

Note: two more Christian tunes (Sweet georgia Brown and Sweet Man) can be found on Vocal Blues & Jazz – Remaining Titles Vol. 3: (1921-1928)

Fred “Virgil” Turgis

Ella Johnson

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Ella Johnson - Bring It Home!

Ella Johnson – Bring It Home!

El Toro ET15141
What a Day! – No More Love / They Don’t Want me to Rock No More – Bring It Home to Me

Ella Johnson - Bring It Home!

The great Ella Johnson, who recorded with her brother Buddy falls right on that blurry line between Rhythm’n’Blues and Jazz with a dose of Rock’n’Roll. The singer possesses a beautiful voice, very clean yet expressive. The tight arrangements remind those of the Big Band era, and there’s plenty of room for soloists to express themselves (superb rocking sax part on They Don’t Want Me to Rock No More). You’ll love this EP if you dig Dinah Washington and Ella Mae Morse.

Fred “Virgil” Turgis

Joel Paterson

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joelpaterson2Joel Paterson – Handful of Strings

Ventrella
Speedin’ North – Twin Guitar Shuffle – Pensacola Rhythm – After You’ve Gone – Swingin’ Easy – Northern Gentleman – Callin’ the Cat – La Paloma – Flyin’ Low – Seven String Ride – Blue Steel Serenade – Mable’s Rock – Fender Freeze – King Freddie’s Blues

One thing is certain: Joel Paterson is a man of taste. So, when he decides to record an all instrumental album on which he plays all the instruments (he’s also a man of many talents) it doesn’t sound like all those sterile records that too often sound like a guitar method. He draws influences from all the guitar greats. The more obvious here being Les Paul and Buddy Merrill but it covers a wide spectrum of genre from the Jimmy Bryant tinged “Pensacola Rhythm” to the funky tribute to freddie King (King Freddie Blues) with jazz, rock’n’roll and plenty of Joel Paterson in between. And as usual with Ventrella the package is superbly designed. Highly recommended.

Fred “Virgil” Turgis