James Kinds was one of the rising blues stars of Chicago in the 1970’s, but his soul-influenced style that made him popular on the city’s West Side was a throwback to an earlier era, and while other artists modernized their styles, Kinds stuck to the route he had chosen. Ultimately, he decided that a change of venue might be the answer, and he relocated to Dubuque, Iowa. If Iowa doesn’t immediately come to mind when one thinks of blues, the state has been good to James Kinds, and he was inducted into the Iowa Blues Hall of Fame in 2008. His Delmark release “Love You From The Top” highlights his typical Chicago blues stylings, tinged with soul. There’s nothing particularly unusual here. Most of the songs deal with love and relationships ( “Love You From The Top”, “Peggy Sue”, “Katie” and “Johnny Mae”), but the updated “Crack Headed Woman” take on the older “Wine Head Woman” is a sad commentary on how things haven’t changed for the better. James Kinds may not be a household name of the blues, but his album “Love You From The Top” satisfies.
Delmark Records
James Kinds was one of the rising blues stars of Chicago in the 1970’s, but his soul-influenced style that made him popular on the city’s West Side was a throwback to an earlier era, and while other artists modernized their styles, Kinds stuck to the route he had chosen. Ultimately, he decided that a change of venue might be the answer, and he relocated to Dubuque, Iowa. If Iowa doesn’t immediately come to mind when one thinks of blues, the state has been good to James Kinds, and he was inducted into the Iowa Blues Hall of Fame in 2008. His Delmark release “Love You From The Top” highlights his typical Chicago blues stylings, tinged with soul. There’s nothing particularly unusual here. Most of the songs deal with love and relationships ( “Love You From The Top”, “Peggy Sue”, “Katie” and “Johnny Mae”), but the updated “Crack Headed Woman” take on the older “Wine Head Woman” is a sad commentary on how things haven’t changed for the better. James Kinds may not be a household name of the blues, but his album “Love You From The Top” satisfies.
James Kinds was one of the rising blues stars of Chicago in the 1970’s, but his soul-influenced style that made him popular on the city’s West Side was a throwback to an earlier era, and while other artists modernized their styles, Kinds stuck to the route he had chosen. Ultimately, he decided that a change of venue might be the answer, and he relocated to Dubuque, Iowa. If Iowa doesn’t immediately come to mind when one thinks of blues, the state has been good to James Kinds, and he was inducted into the Iowa Blues Hall of Fame in 2008. His Delmark release “Love You From The Top” highlights his typical Chicago blues stylings, tinged with soul. There’s nothing particularly unusual here. Most of the songs deal with love and relationships ( “Love You From The Top”, “Peggy Sue”, “Katie” and “Johnny Mae”), but the updated “Crack Headed Woman” take on the older “Wine Head Woman” is a sad commentary on how things haven’t changed for the better. James Kinds may not be a household name of the blues, but his album “Love You From The Top” satisfies.
By the late 1950’s it was clear that jazz was at a crossroads. The “cool sound” of the West Coast was beginning to fade, and the “hot sound” of the East Coast was in some ways simplifying, incorporating elements of rhythm & blues, soul and gospel. Ornette Coleman began experimenting with a “freer” style of playing, and right behind him came similar innovations from Sun Ra and Cecil Taylor. Writers began to call this new kind of jazz “avant-garde jazz” or occasionally “the new thing”, and when Archie Shepp and Don Cherry formed the New York Contemporary Five, it was very much the “poster child” of this new genre. Hallmarks of the new genre were avoidance of chord changes, use of drums to create moods and levels of energy rather than regular rhythm, contrapuntal lines of different instruments, group improvisation, and the omission of chordal instruments such as piano or guitar. All of these characteristics are in evidence on this Delmark CD retrospective of the group, much of which seems to have been recorded in 1963 in Denmark. Trumpeter Don Cherry had played with Ornette Coleman, a pioneer in the new music, and two of the six compositions on this disc are credited to Coleman, with Cherry contributing a third. Yet another, “Crepuscule with Nelly” is a Thelonious Monk tune, as Monk was “avant-garde” before there was “avant-garde”. The remaining two tunes “The Funeral” and “Mik” are by the two saxophonists, Archie Shepp and John Tchicai respectively. The groups is rounded out by Don Moore on bass, and Max Roach-like J. C. Moses on drums, the latter a fine drummer whose early death of kidney failure in 1977 ended a career of much promise. By 1965, the New York Contemporary Five was largely over, with Tchicai and Moses joining trombonist Roswell Rudd in the similar New York Art Quartet. But these recordings show the importance of the Contemporary Five in the dawning era of “free jazz.” This is a recording not to be missed.
By the late 1950’s it was clear that jazz was at a crossroads. The “cool sound” of the West Coast was beginning to fade, and the “hot sound” of the East Coast was in some ways simplifying, incorporating elements of rhythm & blues, soul and gospel. Ornette Coleman began experimenting with a “freer” style of playing, and right behind him came similar innovations from Sun Ra and Cecil Taylor. Writers began to call this new kind of jazz “avant-garde jazz” or occasionally “the new thing”, and when Archie Shepp and Don Cherry formed the New York Contemporary Five, it was very much the “poster child” of this new genre. Hallmarks of the new genre were avoidance of chord changes, use of drums to create moods and levels of energy rather than regular rhythm, contrapuntal lines of different instruments, group improvisation, and the omission of chordal instruments such as piano or guitar. All of these characteristics are in evidence on this Delmark CD retrospective of the group, much of which seems to have been recorded in 1963 in Denmark. Trumpeter Don Cherry had played with Ornette Coleman, a pioneer in the new music, and two of the six compositions on this disc are credited to Coleman, with Cherry contributing a third. Yet another, “Crepuscule with Nelly” is a Thelonious Monk tune, as Monk was “avant-garde” before there was “avant-garde”. The remaining two tunes “The Funeral” and “Mik” are by the two saxophonists, Archie Shepp and John Tchicai respectively. The groups is rounded out by Don Moore on bass, and Max Roach-like J. C. Moses on drums, the latter a fine drummer whose early death of kidney failure in 1977 ended a career of much promise. By 1965, the New York Contemporary Five was largely over, with Tchicai and Moses joining trombonist Roswell Rudd in the similar New York Art Quartet. But these recordings show the importance of the Contemporary Five in the dawning era of “free jazz.” This is a recording not to be missed.
By the late 1950’s it was clear that jazz was at a crossroads. The “cool sound” of the West Coast was beginning to fade, and the “hot sound” of the East Coast was in some ways simplifying, incorporating elements of rhythm & blues, soul and gospel. Ornette Coleman began experimenting with a “freer” style of playing, and right behind him came similar innovations from Sun Ra and Cecil Taylor. Writers began to call this new kind of jazz “avant-garde jazz” or occasionally “the new thing”, and when Archie Shepp and Don Cherry formed the New York Contemporary Five, it was very much the “poster child” of this new genre. Hallmarks of the new genre were avoidance of chord changes, use of drums to create moods and levels of energy rather than regular rhythm, contrapuntal lines of different instruments, group improvisation, and the omission of chordal instruments such as piano or guitar. All of these characteristics are in evidence on this Delmark CD retrospective of the group, much of which seems to have been recorded in 1963 in Denmark. Trumpeter Don Cherry had played with Ornette Coleman, a pioneer in the new music, and two of the six compositions on this disc are credited to Coleman, with Cherry contributing a third. Yet another, “Crepuscule with Nelly” is a Thelonious Monk tune, as Monk was “avant-garde” before there was “avant-garde”. The remaining two tunes “The Funeral” and “Mik” are by the two saxophonists, Archie Shepp and John Tchicai respectively. The groups is rounded out by Don Moore on bass, and Max Roach-like J. C. Moses on drums, the latter a fine drummer whose early death of kidney failure in 1977 ended a career of much promise. By 1965, the New York Contemporary Five was largely over, with Tchicai and Moses joining trombonist Roswell Rudd in the similar New York Art Quartet. But these recordings show the importance of the Contemporary Five in the dawning era of “free jazz.” This is a recording not to be missed.
Junior Wells was born in West Memphis, Arkansas, but will forever be associated with the Chicago blues style for which he is known. A cousin of Junior Parker, his career began in the late 1940’s, but he came to prominence playing with Muddy Waters. When he formed his own band, the Aces, consisting of brother Louis and Dave Myers and drummer Fred Below, his style became more modern, infused with soul. By the time this live gig was recorded in Boston in 1966, Wells was one of the foremost Chicago blues performers, and the recording shows both his good-natured banter and the crowd’s enthusiasm. The set list reads like a list of blues’ best-known songs, but Wells approaches each of them with a master’s sense of craftsmanship. “Feelin’ Good”, “Man Downstairs”, “That’s All Right”, “Got My Mojo Workin” and “Look On Yonder’s Wall” are all there, as well as Wells’ signature hit “Messin’ With The Kid” and several Wells originals, including “Junior’s Whoop”, “If You’re Gonna Leave Me” and “I Don’t Know.” Between the tracks are Wells’ jokes, stories and friendly give-and-take with his audience. It is surprising that Live in Boston didn’t see release at the time, but its appearance now gives us the opportunity to hear Junior Wells at possibly the highest peak of his lengthy career.
Junior Wells was born in West Memphis, Arkansas, but will forever be associated with the Chicago blues style for which he is known. A cousin of Junior Parker, his career began in the late 1940’s, but he came to prominence playing with Muddy Waters. When he formed his own band, the Aces, consisting of brother Louis and Dave Myers and drummer Fred Below, his style became more modern, infused with soul. By the time this live gig was recorded in Boston in 1966, Wells was one of the foremost Chicago blues performers, and the recording shows both his good-natured banter and the crowd’s enthusiasm. The set list reads like a list of blues’ best-known songs, but Wells approaches each of them with a master’s sense of craftsmanship. “Feelin’ Good”, “Man Downstairs”, “That’s All Right”, “Got My Mojo Workin” and “Look On Yonder’s Wall” are all there, as well as Wells’ signature hit “Messin’ With The Kid” and several Wells originals, including “Junior’s Whoop”, “If You’re Gonna Leave Me” and “I Don’t Know.” Between the tracks are Wells’ jokes, stories and friendly give-and-take with his audience. It is surprising that Live in Boston didn’t see release at the time, but its appearance now gives us the opportunity to hear Junior Wells at possibly the highest peak of his lengthy career.
Junior Wells was born in West Memphis, Arkansas, but will forever be associated with the Chicago blues style for which he is known. A cousin of Junior Parker, his career began in the late 1940’s, but he came to prominence playing with Muddy Waters. When he formed his own band, the Aces, consisting of brother Louis and Dave Myers and drummer Fred Below, his style became more modern, infused with soul. By the time this live gig was recorded in Boston in 1966, Wells was one of the foremost Chicago blues performers, and the recording shows both his good-natured banter and the crowd’s enthusiasm. The set list reads like a list of blues’ best-known songs, but Wells approaches each of them with a master’s sense of craftsmanship. “Feelin’ Good”, “Man Downstairs”, “That’s All Right”, “Got My Mojo Workin” and “Look On Yonder’s Wall” are all there, as well as Wells’ signature hit “Messin’ With The Kid” and several Wells originals, including “Junior’s Whoop”, “If You’re Gonna Leave Me” and “I Don’t Know.” Between the tracks are Wells’ jokes, stories and friendly give-and-take with his audience. It is surprising that Live in Boston didn’t see release at the time, but its appearance now gives us the opportunity to hear Junior Wells at possibly the highest peak of his lengthy career.
With a foothold in Chicago blues and traditional jazz, Delmark Records could have stayed in their comfort zone, but as Chicago became a center of avant-garde jazz experimentation, Delmark decided to chronicle the new music, despite its controversy and lack of a mass following. Even more to their credit, Delmark has continued to support experimental jazz from the 1960’s until now. Rob Mazurek’s Exploding Star Orchestra is merely the latest group of experimenters on the label. On their debut album Stars Have Shapes, the fourteen musicians proceed through snatches of melody set against stark and bizarre backdrops of percussion and “found materials”, from recordings of electric eels, tone generators and feedback. The resulting shimmering landscapes are occasionally beautiful, often bewildering, but never without interest. The final “Impression #1” is the only tune to inhabit a familiar location, having been based off of the jazz standard “Footprints”. But like everything else on Stars Have Shapes, the well-known bassline and chord progressions have been distorted and transcended into something completely new and unpredictable. With Stars Have Shapes, Rob Mazurek has challenged the boundaries of jazz.