The Blues Blog (3) A regular round-up of new releases The Postman, a simple soul who thinks Gary Moore is the dog’s bollocks, looks disdainful as he hands over the latest consignment of review items. “Don’t know about you mate” he opines, “but I’ve never heard of this lot”. As it turns out this is indeed Unsung Heroes Week on the Blog, featuring an eclectic assortment of long-serving sidemen finally moving centre-stage, plus a couple of notable newcomers. The former includes four less celebrated names that between them have a Zelig-like association with the entire history of blues, soul and rock and roll through years of service on the road and on record in the company of major artists. Of these, the recognition factor will be highest for Buddy Whittington as the latest incumbent in the Bluesbreaker’s “guitar prodigy” hot seat. Even today this carries a high degree of kudos, following in the considerable footsteps of Clapton, Green, Taylor, Trout, and most recently Coco Montoya. During fifteen years with the so-called Father of British Blues, Whittington has tamed his heavier inclinations and emerged as a player of considerable range and finesse, which this debut on Blues Boulevard capably illustrates, from scorching slide-driven opener “Young and Dumb” to intense slow-burning ZZ Top cover “Sure Got Cold After the Rain Fell”. His songwriting shows promise and he sings well enough, and the rocking “Stevie Rave On” and tasteful instrumental “Greenwood” pay fitting tribute to two of his most significant influences. While you may not think you know Willie “Big Eyes” Smith, it’s almost certain that you do. Drummer of choice for some of the greatest names in blues he’s with John Lee Hooker’s street posse in The Blues Brothers movie, on any number of Muddy Water’s albums (including “Hard Again”), seen behind him in “The Last Waltz”, and was co-founder of the Legendary Blues Band with Pinetop Perkins et al. Along the way he’s appeared with Buddy Guy, Howlin’ Wolf, Junior Wells and more, and toured with Dylan and the Stones. On this latest solo release, “Born in Arkansas”, he leaves the skins to his son (Kenny “Beady Eyes” Smith, no less) while adopting the frontman role on harmonica and vocals. Now seventy one years young he clearly sees no need to depart from the 50’s / 60’s Chicago groove he grew up with, and given the assurance and style with which he and his excellent band deliver the thirteen self-penned numbers assembled here it’s hard to argue. Like a live performance the album picks up pace as it moves on, and stand-out tracks “World in Uproar” and “Can’t Rest for Worry” are a clear testament to someone who knows his craft and can choose his friends well. Memphis man Don Nix has also been in some seriously heavyweight company. In 1960, as a member of the Mar-Keys alongside Steve Cropper and Donald “Duck” Dunn he was there at the birth of Stax Records, kick-starting a career which saw him go on to work with the Who’s Who of Southern r & b from Delaney and Bonnie and Leon Russell to Charlie Musselwhite and Albert King. Later, at George Harrison’s personal request he convened and led the choir at the Concert for Bangladesh, and turning his attentions to songwriting and production gained credits with Jeff Beck, John Mayall, Freddie King, Stevie Ray Vaughan, Jerry Garcia and many more. Coaxed out of semi-retirement for this “and Friends” collection (also on Blues Boulevard) Nix revisits some of his best known material in the company of famous accomplices, and shows himself to be in good voice and high spirits. A raucous “Going Down” features (perhaps bizarrely) the duelling guitars of Brian May and Leslie West, while Dan Penn shares vocals on a soulful “Palace of the King” and joins Bonnie Bramlett on an excellent “Same Old Blues”, the latter featuring the record’s golden moment by way of a typically understated Steve Cropper cameo. Nostalgia aside, these three albums by second and third generation blues veterans moving forward in their own distinctive ways give ample hints that there are undiscovered nuggets out there worth digging around for. “If it Ain’t One Thing It’s Another” (Blues Boulevard again) however is conclusive proof that there’s still pure gold in them there hills, revealing Duke Danger (a.k.a. Duke Faglier), thirteen years Jerry Lee Lewis’s guitarist, to be a masterful exponent of the delicate blend of Memphis soul, r & b and jazz that comprises the distinctive Southern Blues sound. With a pedigree running back to High School bands in Daytona Beach Florida with Duane and Gregg Allman, sharing stages with the likes of Percy Sledge, Bo Diddley, and Jackie Wilson, and decamping to Nashville to perfect his studio techniques, his restrained, mature and stylish solo performance here is no surprise. That his impeccable vocal phrasing and electrifying guitar playing should reach such dizzying heights at this late stage in his career however, most certainly is. Informed by the three Kings (Albert, Freddy and B.B.), supplemented by a tight and energetic band including sax and keyboards, and aided by the selection of singularly strong material (both self-penned and imported) this is an album for both Saturday night and Sunday morning that you can play at parties, in the car or in the still of the night. It’s hard to pinpoint key tracks on a record of such consistent quality, but try “Lost in Love”, “Love at First Sight”, and the title track for evidence of a major if unheralded talent; and if anyone reading this hears a song played better than “Damn Your Eyes” before this year’s out they must notify me straight away. Those who bemoan the lack of contemporary women blues shouters will welcome Janiva Magness to the esteemed Alligator label, ensuring her wider distribution after years of committed gigging and seven local releases. While her name may lack a blues ring, her background (suicide of both parents, foster homes, teenage pregnancy, broken marriage etc.) is the stuff of tragic legend and her voice carries an authentic earthiness, especially on the trio of “Don’t Do It”, “I Won’t Be Around” and “Freedom is Just Behind the Door”. A light touch on the production won’t endear “What Love Will Do” to the hardcore cognoscenti but could suit it well for commercial cross-over. Expect to hear more in future from the intriguing Swamp Cabbage, whose “Squeal” (Zoho Roots) definitely repays repeat listening by revealing its range and sophistication. Hailing from Jacksonville Florida via NYC the band is the brain child of bandleader, singer and former Richie Havens cohort Walter Parks. On first hearing it is the darker, moodier, more apocalyptic features of this swampy fatback stew of boogaloo, blues, ragtime and New Orleans funeral drumming which hit the spot, including opener “Jesus Tone” and personal favourite “Poontag”. When an inner Waits is unleashed on “Feedbag” and “Necktie Man” they seem at once biblical and downright dirty, yet strangely danceable in the manner of a zombie hoedown. Stick with it, however, and the more subtle influences of Dr John and Tony Joe White gradually make themselves known, alongside a gentler psychedelic vibe which occasionally (on instrumental “Purty Mouth for example) steers them in the direction of a zydeco Grateful Dead. Neil B. www.music-avenue.net www.williebigeyessmith.com www.alligator.com www.swampcabbage.com Next