Max Perkins

It’s hard to believe this album wasn’t made a long time ago, actually, since blues pianist Pinetop Perkins and drummer and harmonica player Willie "Big Eyes" Smith have worked together frequently in the past 40 some years. Perkins replaced the legendary pianist Otis Spann in Muddy Waters' band in 1969 when Smith was the drummer in the ensemble, and later Perkins and Smith formed the Legendary Blues Band in the 1980s. Perkins was 96 years old when the sessions for Joined at the Hip were recorded, but one wouldn’t know it, and Smith, now out from behind the drum kit (his son, Kenny Smith, plays drums here), concentrates on his harp blowing and handles most of the vocals. The result is a solid Chicago blues record, one that feels like it could have been tracked anytime in the past four decades…

This beautifully conceived program brings together the complete works for piano duet by three major American composers: Edward MacDowell (1860-1908), Amy Beach (1867-1944) and Samuel Barber (1910-1981).

This CD is a fine showcase for guitarist Ronnie Earl, who is teamed with three members of the Legendary Blues Band (pianist Pinetop Perkins, bassist Calvin Jones and drummer Willie "Big Eyes" Smith), plus organist Bruce Katz. Although pianist Perkins takes vocals on most of the songs and bassist Jones sings on two of the numbers, nearly each selection has plenty of solo space for Earl and Perkins. Sticking exclusively to the blues at a variety of tempos, the fine program (which has superior instrumental playing that overshadows the personable vocals) should be of strong interest to both blues and jazz collectors.

Max Roach & Stan Levey - Drummin' The Blues (1957) {Liberty Japan TOCJ-9490, Mini LP rel 2003}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 211 Mb | MP3 @320 -> 91 Mb
Full Artwork @ 300 dpi (jpg) -> 19 Mb | 5% repair rar
© 1957, 2003 Liberty Records / Toshiba-EMI Japan | TOCJ-9490
Jazz / Bebop / Drums

When Howard Rumsey transitioned from Max Roach to Stan Levey at the Lighthouse, inevitable comparisons arose from the musicians on the bandstand and the fans in the audience. "Stan was a very simple, basic drummer," said saxophonist Bud Shank, "as opposed to Max, who was complex. But they both achieved the same purpose. They swung like hell." Drummer Don Lamond offered his take: "I loved Max. He was marvelous. But he could sometimes get a little erratic for my tastes. Stan just flows. He's smooth."