Alastair Boyd

Chicago blues pianist Eddie Boyd only released one album for Mike Vernon's Blue Horizon label (7936 South Rhodes), so in addition to those 12 tracks, this reissue scrapes together another four rarities from around the same period (1967-1968) and two from 1960 to expand the song listing to 18. The bulk of this recording was laid down in a single day, a situation that kept the energy flowing in the studio. This was producer Vernon's second session with Boyd – two leftover tunes from his 1967 Decca album open the disc – so he was acquainted with the bluesman's method of working. The project was originally credited to Eddie Boyd with Peter Green's Fleetwood Mac, and indeed three quarters of that band (Green, Fleetwood, and McVie) provide backing duties for the majority of these tracks. The Mac, which had started to experience their first shot of stardom in the U.K., are in typically fine form with Green's slashing, quicksilver leads a particular treat. There are also vocal similarities between Green (who doesn't sing here) and Boyd, showing that this session was a two-way street.

Recorded in London in January 1968 with three members of the early lineup of Fleetwood Mac (the one that played blues, not pop/rock): Peter Green (guitar), John McVie (bass), and Mick Fleetwood (drums). It's an adequate setting for Boyd's straight Chicago piano blues, going heavier on the slow-to-mid-tempo numbers than the high-spirited ones, though Green is a far more sympathetic accompanist than the rhythm section.

Boyd Raeburn - Boyd Meets Stravinsky (1946) {Savoy–Atlantic 92984-2 rel 2000}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 174 Mb | MP3 @320 -> 103 Mb
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© 1946, 2000 Savoy / Atlantic | 92984-2
Jazz / Bebop / Big Band

The Boyd Raeburn Orchestra never achieved much popularity with the general public, but it was admired by many top musicians of the bebop era as one of the most innovative large ensembles, on a par with the more well-known Stan Kenton band. Among the prominent musicians to have played with Raeburn were trumpeters Dizzy Gillespie and Benny Harris; saxophonists Johnny Bothwell, Al Cohn, and Serge Chaloff; drummers Don Lamond and Shelly Manne; and bassist Oscar Pettiford. This superb album is comprised of tracks recorded by the band at its creative peak in the mid-'40s. The arrangements and original compositions by pianist George Handy acknowledge developments in 20th-century classical music up to that time, melding poly-tonality, shifting meters, and irregular rhythms with bebop and contemporary big band techniques.

A rather confusing budget release, Legacy of the Blues, Vol. 10 collects ten tracks from the singer, seemingly from the latter part of Boyd's career (the lack of decent liner notes is a problem), although the rather arbitrary song selection means that the overall release lacks any kind of cohesiveness. This release does contain classics such as "I'm a Fool" and "Dedication to My Baby," but it's certainly not a good introduction to the artist, nor a release that would attract Boyd's hardcore fans. Boyd's available back catalog is in dire need of an overhaul, but unfortunately releases such as this simply add to the confusion.

Like several of the black jazz and blues players of his generation, pianist Eddie Boyd, tired of the racism in America and the general treatment afforded musicians, moved permanently to Europe in the mid-'60s, where labels like Sweden's Sonet Records were more than happy to record him. The session presented here took place in Stockholm in 1974, and features Boyd on piano and vocals performing original blues numbers backed by young Swedish players (and one American, Ed Thigpen, on drums), and while things don't have the powerful edge of a classic Chicago Chess Records session, it's close, and there is a charmingly loose and fluid feel working here, one that is perfect for the kind of easy, almost elegant blues that was Boyd's stock in trade…

The vocalist, saxophonist, composer and arranger Bobby Boyd, arrived in New York at a young age after completing his schooling in Augusta, GA. His musical adventures began in the mid-60s with the release of his debut single “My Type Of Dancin’” on Veep Records in 1965, a fledgling R&B subsidiary label of United Artists. Encouraged by their positive impact on his career, he went on to release his second single “Whatcha ‘Gonna Do About It” on Bang Records in 1968.

Eddie Boyd was a half-brother of Memphis Slim and a cousin of Muddy Waters. He spent his early years on Stovall’s Plantation but ran away after a dispute with an overseer. Self-taught on guitar and piano, he worked around the south during the 30s, as both ‘Little Eddie’ and ‘Ernie’ Boyd, from a base in Memphis, before settling in Chicago where he worked in a steel-mill. He was active in music, performing with Waters, Johnny Shines and John Lee ‘Sonny Boy’ Williamson before he had his first big hit under his own name with ‘Five Long Years’, on the Job label in 1952. He recorded extensively for Chess Records, having successes with ‘24 Hours’ and ‘3rd Degree’. He journeyed to Europe during the ‘Blues Boom’ of the 60s and, considering himself too assertive to live comfortably in the USA, took up residence first in Paris and later in Finland…