The Kansas City swing blues of the Sweet Baby Blues Band is very difficult not to enjoy. Jeannie Cheatham's exuberant vocals (propelled by her forcefully swinging piano) inspire the many soloists on the blues-oriented material, and there is plenty of variety in tempo and feeling to keep this set continually interesting. Among the main soloists are ageless trumpeter Snooky Young, tenorman Rickey Woodard (making his debut on clarinet on two cuts), and guest altoist Hank Crawford, who sits in on four songs.
For their sixth Concord recording, there was a major change in the personnel of the Cheathams' Sweet Baby Blues Band. Jimmie Noone, Jr. had passed away, and his replacement was the popular tenor Rickey Woodard, who on this set also plays some effective alto and clarinet (the latter on "Buddy Bolden's Blues"). But Woodard is only one of a bunch of colorful soloists, which include pianist/singer Jeannie Cheatham, Jimmy Cheatham on bass trombone, altoist Curtis Peagler, Snooky Young and Nolan Smith on trumpets, baritonist Dinky Morris and guest Frank Wess on tenor and flute. With bassist Red Callender and drummer John "Ironman" Harris keeping the ensembles swinging and driving, this is a particularly memorable set..
This time around, the Cheathams' guest is altoist/singer Eddie "Cleanhead" Vinson - a perfect choice, since his ability to play both blues and Kansas City swing/bop is similar to the style of the Sweet Baby Blues Band. Although the emphasis is on swinging blues, there are a few departures, including Jeannie Cheatham's wistful vocal on "Detour Ahead," and a hot instrumental "Homeward Bound." In addition to Vinson and Jeannie (a splendid pianist), soloists include the tenors of Jimmie Noone, Jr. (doubling on clarinet) and Dinky Morris, altoist Curtis Peagler, trumpeter Snooky Young and bass trombonist Jimmy Cheatham. Not to be overlooked are bassist Red Callender and drummer John "Ironman" Harris. But it is the heated and riffing ensembles, along with the pure joy this band generates, that make all of their Concord recordings easily recommended.
Jimmy Rogers was very much a musician's musician – the kind of guitarist that earned accolades from contemporaries and successors alike – yet one who never wins a wide, mainstream audience. Blues Blues Blues was designed as the album that would find Rogers a larger audience, and as such, it has all the bells and whistles of a big-deal blues album. It has the classics ("Trouble No More," "Bright Lights, Big City," "Sweet Home Chicago," "Don't Start Me to Talkin'"), remakes of Rogers standards ("Ludella," "That's All Right"), cult covers (Muddy Waters' "Blow Wind Blow," which kicks off the album on just the right note) and an astounding number of guest appearances, including cameos from (get ready): Jimmy Page and Robert Plant, Keith Richards and Mick Jagger, Lowell Fulson, Johnnie Johnson, Eric Clapton, Taj Mahal, Ted Harvey, Carey Bell, Stephen Stills, and Jeff Healey.
A Listener can sometimes get overly analytic in reviewing music, and that can lead one away from the big picture. As with this CD by Jimmy Dawkins, it is better to listen and let the music wash over you, allowing you to feel it and enter the variety of musical "rooms" whose doors are opened for you. "B Phur Real" has Jimmy in bold form, testifying with his blues in vocals and guitar. His instrument, a semi-hollow Gibson ES-355, is once again employed here to deliver the soul/blues according to Jimmy. His tone, choice of notes, and playing quirks bring a unique brand of soul to this music. This can't really be described but has to be felt. The able backing band sounds like a well-oiled unit with especially the drum/bass combo keeping up the necessary platform for Jimmy to build upon. The CD contains eight songs. Jimmy's singing style includes adlibbing lyrics on the spot.
Jays Blues is a fine collection of early-'50s jump blues sides that Jimmy Witherspoon cut for Federal Records. This 23-track collection offers a good retrospective of one of Witherspoon's most neglected – and admittedly, uneven – periods.