| | Samoa Wilson Live The Life CD Samoa Wilson Discography of CDs
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It's testament to the Boston-bred, folk-influenced American roots singer that her own composition, the bluesy and romantic "Sun Going Down" -- which she wrote at the tender age of 16 -- could follow her rendition of Tommy Dorsey's "I'm Going to Live the Life I Sing About" and not only measure up, but surpass it in emotional intensity. Samoa Wilson's upbringing was filled with classic Americana music and multi-instrumentalist Jim Kweskin (founder of the early-'60s group the Jim Kweskin Jug Band) was an extended family member, so it was only a matter of time before they merged their talents. She joined his current band in 1997 and appeared on four tracks from Now and Again, Kweskin's first album in over 20 years. This colorful solo project grew naturally out of that, and Kweskin fans will be happy to note that the band is in full swing between vocal passages on witty, spirited tracks like "What a Little Moonlight Can Do." Geordue Gude's harmonica drives the front-porch blues of "Organ Grinder's Song," one of the few instrumental tracks between Wilson's solo numbers and vocal duets with Kweskin. The production is sparse and straightforward, lending a historical authenticity to classics like "Oh Papa Blues," originally recorded by Ma Rainey in 1927. Other unforgettable covers include the singalong "Choo Choo Ch-Boogie" and a heartfelt twist on W.C. Handy's "St. Louis Blues." ~ Jonathan Widran
Live Recording
Personnel includes: Samoa Wilson, Jim Kweskin (vocals); Matthew Berlin, Leo Blanco, Mickey Bones, Jerome Dupree, Geordie Gude, Matt Leavenworth, Bruce Millard, Paloma Ohm, John Ramsey, Titus Vollmer.
Personnel: Samoa Wilson (vocals); Jim Kweskin (vocals, guitar); Titus Vollmer (guitar); Bruce Millard (mandolin); Matt Leavenworth (fiddle); Georgie Gude (harmonica); Jerome Dupree (drums).
Samoa Wilson Live The Life Songs Live The Life Review
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Purchase Live The Life CD To buy, Click on price to add to cart | Freddie Mercury Barcelona CD (1988)
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$14.65 Big Grammy wins in recent years for tradition minded recordings like O Brother Where Art Thou? and Norah Jones' Come Away With Me show that the music industry and its fans will embrace traditional styles if done well. 60s folkster Jim Kweskin was more known in his heyday as a club performer and touring support act (the Doors, Janis Joplin, Peter, Paul & Mary), but this recording -- coming three decades plus after the Jim Kweskin Jug Band split -- could find sweet spot in our culture as we yearn for a simpler style from a simpler time. The rhythm guitarist has a pleasant and engaging voice, but the real stars here are the crisp and sparse arrangements of a wide variety of classics, a band featuring such accoutrements as fiddle and mandolin, and the secret weapon of traditional blues and country-styled vocalist Samoa Wilson. Kweskin handles vocals on a few songs (most notably ...
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$12.29 Praiseworthy as this double CD is for beefing up the skimpy number of releases available from these two artists, the fact remains that the performances resurrected here are unremarkable. An accomplished saxophonist and trumpet player, Ira Sullivan has generally shunned the spotlight. He is probably best known for his association with trumpeter Red Rodney. Luis Gasca, a journeyman trumpet player who has paid dues with Stan Kenton, Maynard Ferguson, Lionel Hampton, and Mongo Santamaria, may be most familiar to listeners who've seen his name in the credits of various Santana albums. Ranging from perfunctory bop to tepid free jazz, Sullivan's Horizons from 1967 seldom gels into cohesive performances. The best tracks -- fortunately they are the longer ones -- are in a modal hard bop style. The title track, for instance, resembles one of Wayne Shorter's contributions to the Jazz Messengers. "Norwegian Wood" and Sullivan's own "Nineveh" feature the leader on soprano, working terrain similar to John Coltrane's extended interpolations of "My Favorite Things" and "Chim Chim Cheree." The Beatles' number, however, would have benefited from standard piano in place of the mechanical clunking of Dolphe Castellano's electric harpsichord. The high points of Gasca's The Little Giant from 1969 are Joe Henderson's two tenor solos -- not enough to merit a recommendation, except to Henderson's most obsessive fans. The dominant sounds are physical, Latin vamps that offer little drama or dynamics. Gasca often projects as if he were still in the Kenton band at full throttle, although a trio of inconsequential ballad ...
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