By EDITOR-IN-CHIEF: Art Tipaldi
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Additional resources for Blues Music Magazine #6
B. King guitar flourishes over Wayne’s laid back vocals, chronicling a traveling man’s journey to get away from a soon to be former loved one who ain’t living up to his expectations. “Two Sides” recalls the rollicking gospel soul of the Dixie Hummingbirds thanks to Wayne’s velvety harmonizing and call and response with Eric Bibb. Most of us think of a hootenanny as a bunch of slicked up young white folk singers doing pop versions of Appalachian music. But Wayne redefines that idea DR. JOHN on “Hootenanny Boogie-Woogie,” a banjo clattering in the background as he introduces the song, saying that he overheard his idol Jay McShann talking about a hootenanny being a gathering of blues and boogie-woogie players getting together to jam in Kansas City in the 1930s.
John gives them an all-new workout that bends and stretches the boundaries of the original recordings while paying homage to the master. Enlisting a gang of contemporary and traditional singers and players that include Terence Blanchard, The Blind Boys of Alabama, Shemekia Copeland, The Dirty Dozen Brass Band, Anthony Hamilton, Ledisi, Bonnie Raitt, Arturo Sandoval, Telmary, Nicholas Payton, Anthony Hamilton, Wendell Brunious, The McCrary Sisters, and James “12” Andrews, Dr. John serves up a compelling musical gumbo that blends the sentiment of Satch with dashes of spice from funk and rap to old school New Orleans jazz.
J. Wachtel MUD MORGANFIELD & KIM WILSON For Pops: A Tribute To Muddy Waters Severn This worthy and heartfelt tribute covers 13 tunes from Muddy’s Golden Age of Chess recordings during the 1950s and one from 1965, “My Dog Can’t Bark” (penned by Otis “Big Smokey” Smothers). These versions are true to the spirit of the originals. Impeccable musicianship is provided by guitarists Billy Flynn and Rusty Zinn, pianist Barrelhouse Chuck (Goering), bassist Steve Gomes, and drummer Robb Stupka in support of Morganfield’s Muddyesque vocals and Wilson’s stellar harmonica (that evokes the playing of Little Walter, James Cotton, and Big Walter Horton, the harp masters on the original versions).