| | Blue Bird CD Jimmy Rogers Discography of CDs
This was Jimmy Rogers' last "proper" Chicago blues album, and it deservedly won a W.C. Handy Award in 1995. There are no moonlighting rock stars here; they would come out in droves for Rogers' subsequent album Blues Blues Blues. And with the exception of the last track -- which is basically pianist Johnnie Johnson showing off for eight minutes -- Rogers sits squarely in the spotlight for the duration of Blue Bird. As expected, Rogers revisits a fair amount of his earlier repertoire ("Walking By Myself," "I Lost a Good Woman"), but he also digs up several original tunes that he had never gotten around to recording until now. Throw in a few Chicago standards ("Big Boss Man," "Rock Me," "Smokestack Lightning"), and you have a solid, laid-back, and tremendously satisfying album by one of the underrated masters. The backing band is a mix of Chicago blues brethren (Carey Bell on harp, Dave Myers on bass, Ted Harvey on drums) and family (Rogers' son Jimmy D. Lane on lead guitar), plus Johnson, who is perhaps a rock star by association since he played with Chuck Berry for 18 years. This one's a must-have. ~ Ken Chang
This reissue of BLUE BIRD has been digitally remastered.
Recorded at Chicago Recording Studios, Chicago, Illinois on November 17 & 18, 1993. Includes liner notes by John Koenig.
Personnel includes: Jimmy Rogers (vocals, guitar); Jimmy D. Lane (guitar); Carey Bell (harmonica); Johnnie Johnson (piano); Dave Myers (bass); Ted Harvey (drums).
Living Blues (11-12/94, p.65) - "...BLUE BIRD is the purest album of straight-ahead Chicago Blues in the last couple of years and a solid contender for the best new Chicago blues release of the past decade..." Blue Bird Songs | 1. | I'm Tired of Crying Over You | |
| 2. | Blue Bird | |
| 3. | Walkin' by Myself | |
| 4. | Rock Me | |
| 5. | I Lost a Good Woman | $0.99 | |
| 6. | Howlin' For My Darling | |
| 7. | Why Are You So Mean to Me | |
| 8. | Blues Falling | |
| 9. | Lemon Squeezer | |
| 10. | That Ain't It (Baby I Need Your Love) | |
| 11. | Smokestack Lightning | |
| 12. | Blue and Lonesome | $0.99 | |
| 13. | Big Boss Man | |
| 14. | Jam Session / Jammin' With Johnnie / St. Louis Blues | |
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Blue Bird Review
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Purchase Blue Bird CD To buy, Click on price to add to cart | Jody Williams Return Of A Legend CD (2002)
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The boastful title is no exaggeration; this is a welcome return for the classic Chicago blues sideman, who, primarily because of the misfortune of his music being exploited by other musicians, took a self-imposed retirement for nearly 30 years. It's especially rewarding since Williams -- whose work you hear on early Howlin' Wolf, Otis Spann, Bo Diddley, Billy Boy Arnold (who guests here) sides -- hadn't played a lick during that time, keeping his guitar stashed under his bed. He sounds like he never put the instrument away on this album, the first cohesive disc under his own name ever. Aided by comparative youngsters Tinsley Ellis, Ronnie Baker Brooks, and Rusty Zinn, along with a 21-year-old Sean Costello, Williams holds the spotlight like the pro his is. Though well into his sixties when this was recorded in 2001, he sounds remarkably vibrant, completely confident, and totally in his element. Whether reprising past glories like the magnificent instrumental "Moanin' for Molasses" along with Costello (who had revived the tune as the title track to his third release) or "Lucky Lou," which most blues fans will immediately recognize as the opening to Otis Rush's "All Your Love" (but was nicked from Williams), or writing new originals like the slow ...
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A surprise best-seller when it was first released, this mostly improvised pairing of singer/keyboardist/producer Al Kooper with two major guitar heroes of the day sounds fascinating all these years later precisely because of the distance of time--nobody makes records like this any more. The material runs the gamut from folk pop (covers of Donovan and Dylan), to blues ("Albert's Shuffle," "You Don't Love Me"), to heady jams ("His Holy Modal Majesty"), to big-band jazz ("Harvey's Tune").
All the tunes make effective templates for the kind off-the-cuff music-making that in less capable hands might have resulted in simple noodling. In fact, although Bloomfield and Stills don't play together on any of the cuts (Bloomfield played on one side of the original LP, Stills on the other), all three principals get off lots of good licks and producer Kooper has some interesting tricks up his sleeve, as in the over-the-top phasing he lavishes on "You Don't Love Me." The only real disappointment here is that Stills, a far better singer than Kooper, never opens his mouth.
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Recorded live at Newport Jazz Festival, Newport, Rhode Island on July 3, 1960 and Chicago, Illinois in June 1960.
The old cover photograph of Muddy clutching John Lee Hooker's guitar gave the impression that he was at a Folk Festival rather than the prestigious Newport Jazz Festival. However, the record revealed the King of Chicago blues at his very best, shouting his music above the discordant wail of a band that included Otis Spann, James Cotton, Pat Hare and Francis Clay. Film of the event shows a sharply dressed Muddy shimmying and jiving around the stage with the energy of a man half his age. Some of that atmosphere is ...
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