| | Scrapper Blackwell Hard Time Blues CD Scrapper Blackwell Discography of CDs
One of the key figures in the growth of urban Blues music, Blackwell is known primarily as the guitar accompanist to one of the most popular and prolific recording stars of the pre-war era - Leroy Carr. Under his own name he recorded less than ... Full Description40 titles between 1923 and 1935 several of which are featured here along with duets with Carr. Acrobat. 2003. Hide Description Scrapper Blackwell Hard Time Blues Songs | 1. | Trouble Blues (Pt. 1) |
| 2. | Blue Day Blues |
| 3. | Penal Farm Blues |
| 4. | Hard Time Blues |
| 5. | Back Door Blues |
| 6. | Kokomo Blues |
| 7. | Down South Blues |
| 8. | Trouble Blues (Pt. 2) |
| 9. | How Long Has That Evening Train Been Gone? |
| 10. | I Believe I'll Make A Change |
| 11. | Big Four Blues |
| 12. | It's Too Short |
| 13. | Midnight Hour Blues |
| 14. | Mean Mistreater Mama |
| 15. | Blues Night Blues |
| 16. | Barrelhouse Woman |
| 17. | Rocks In My Bed |
| 18. | Tight Time Blues |
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Hard Time Blues Review
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Purchase Hard Time Blues CD To buy, Click on price to add to cart | Duke Robillard Stomp ! The Blues Tonight CD (2009)
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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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This definitive five-disc collection brings together all of the sessions Little Walter recorded for Chess Records between 1950 and 1967. By 1950, Little Walter had already established himself for his incendiary work with Muddy Waters's electric band and his progressive approach to blues harmonica. His recordings as a solo artist for Chess allowed him to stretch out, giving full range to his genius.
MASTERS serves as a retrospective of ...
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Muddy spent much of the late '60s and early '70s engaging in crossover attempts, achieving varying degrees of critical and commercial success. But no matter what far-flung paths his studio efforts took, his live performances remained unadulterated. It took the savvy of blues-rocker Johnny Winter to put Muddy's from-the-heart style back where it belonged: in the studio.
Produced by Winter, the appropriately titled HARD AGAIN finds Muddy and his regular band pounding into the old material with all the fury of their '50s heyday. For his part as guitarist, Winter successfully straddles the line between reverence and enthusiasm, laying back enough to let the master strut his stuff, but nevertheless goading Muddy on with highly audible verbal exhortations. ...
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The Rudy Van Gelder Edition of MOANIN' includes an essay by Bob Blumenthal.
Art Blakey & The Jazz Messengers: Art Blakey (drums); Benny Golson (tenor saxophone); Lee Morgan (trumpet); Bobby Timmons (piano); Jymie Merritt (bass).
Digitally remastered using 24-bit technology by Rudy Van Gelder (Van Gelder Studio, Englewood Cliffs, New Jersey).
This is part of the Blue Note Rudy Van Gelder Editions series.
If you simply can only have one Art Blakey and the Jazz Messengers disc (and why would you stop there?), it absolutely must be MOANIN'. This 1958 Blue Note date is the cream of the early Messengers' studio sessions. The group of this period featured the wailing Lee Morgan (trumpet), the swinging Benny Golson (sax) and the soulful Bobby Timmons (piano) with longtime bassist Jymie Merritt by Blakey's side. All of the pieces fell into place here to create one of the most hard-swinging, blues-inflected records in jazz history.
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