BONNIE RAITT
Live At Montreux 1977
Eagle Eye EE39082-9

The Montreux Jazz Festival began in 1967 and has become an esteemed music festival. Eagle Vision now has a Live At Montreux DVD concert series. Notoriety had escaped 27-year-old Bonnie Raitt at the time of her first Montreux appearance on July 23, 1977. Absorbed in the blues since college, she began her boundless career as a solo acoustic slide guitar act performing country blues. This interested Mississippi Fred McDowell, Son House, and lead to a signing with Dick Waterman and Warner Brothers. Raitt’s 11-song set features rock, pop, and ballads from her first six albums. Given its age, the video images are exceptionally good, though horizontal lines are occasionally visible. Many views are from the front row. They are too close – making you want to zoom out. The digitally re-mastered audio was originally recorded on analog tape, which accounts for the scratchy vocals and hiss. Although recorded live, the engineers captured the sound of a 1970’s Los Angeles studio.

At first glimpse, Raitt – dressed in ’70s era bell bottom jeans – looks a crossbreed of Janis Joplin and Linda Rondstat. Raitt is homesick as she mentions U.S. states and cities, and how nervous she is to play Europe for the first time. Her disciplined band features Freebo (bass/tuba), Dennis Whitted (drums), Will McFarlane (guitar), and specialist Marty Grebb (keys/sax). You can tell the folk-rocking Under The Falling Sky was written by Jackson Browne without reading the credits. On it, Raitt breezes through several tempo changes. Some other songs carry Delaney and Bonnie and Dave Mason traits. A sprinkle of reggae and get down dance riffs are added to Good Enough. Thanks to the chorded harp solo of guest Jerry Portnoy, Love Me Like A Man contains the most blues. Easy rolling rhythms with ragtime feel is present on Give It Up, Or Let Me Go. The burlesque Women Be Wise is performed as a tribute to Raitt’s late 1960’s mentor Sippie Wallace. Nothing Seems To Matter is a sensitive song, which feature Raitt’s diffident vocals. Raitt plays signature unerring slide on Sugar Mama before the encore Runaway. Ironically it was Raitt’s first radio hit but it doesn’t meld into her repertoire.

Her image, songs, and band are dramatically different on the four bonus cuts from her second Montreux appearance on July 10, 1991. The wide screen, high definition cinematography and sound quality are greatly improved. Her larger group contains no band members from the ’70s show. Now a mature looking woman, and Grammy Award winning musician, Raitt is confidently at home with her foreign audience. Her refined vocals are superior on these cuts. The upbeat and polished songs feature Americana roots rock on Papa Come Quick and special guest Charles Brown on Think.  Those unfamiliar with Raitt will enjoy the 1991 performances, but the 1977 concert documents a piece of history.
 Tim Holek

JOHN PRIMER & THE REAL DEAL BLUES BAND
Live At B.L.U.E.S.
Independent

Shaped under the pressure of being in the bands of Willie Dixon, Muddy Waters, and Magic Slim, John Primer has become an electric Chicago blues master. In 1963, he relocated from Mississippi and has slowly secured his place in the blues pantheon. Primer just may be the last great American bluesman. Together with his Real Deal Blues Band, they sound like troubadours from Muddy Waters’ greatest bands.

Filmed on February 11 and 12, 2005 by a friend and family member (who sometimes get caught on film), this DVD did not have a Hollywood budget. There are no extra features and the sound is not a 5.1 mix. As a bonus, there are four songs that have not been previously recorded on Primer’s other releases. Just like being at the club, the heads of patrons occasionally block your view of the stage and background chatter can be heard. Yet, the comforting essence of Primer’s music and an authentic Chicago blues club has been captured.

Primer knows exactly where he is going on guitar. All you need to do is follow. 

His unheralded slide work is not retching or wild; it is simply impeccable on I Held My Baby and the opening shuffle, I’m Worried. Here, Dave Ross’ piano solo is pristine, while Dan Beaver impressively blows harp like Little Walter. Also reprised from Primer’s recent Elmore James tribute CD, Blue Steel, is Fine Little Mama.  In all, nine covers are included from the likes of Robert Johnson and Magic Sam. Primer’s assertive voice is sensitive on the low tempo Walking Blues. The song is traditionally performed as if Primer was still in Waters’ band. Ben Harper’s Steal My Kisses comes out on top as it is given a hypnotic Primer guitar groove. It invites you to listen, makes you feel welcome, and ensures you stick around. The other number with a fresh sound is John Mayer’s C.O.D. Somebody Have Mercy contains an extended and concise guitar solo that features Primer wandering out on to North Halsted. He returns and takes you out like a freight train on the closer, Mojo Working. Throughout, Primer does not exhibit much stage presence due to the restriction of the tiny band stand. It is so small; the keyboards had to be set up on the floor. Watching this DVD is the closest many will get to experiencing 1950s style Chicago blues.
 Tim Holek

BOBBY RUSH
Raw To The Bone
Independent

Why hasn’t anyone written a book about Bobby Rush? He has many stories to tell. The sincere songs on Raw To The Bone display his innate ability to tell stories. Educated by some of the genre’s finest, Bobby left his imprint on the mighty Chicago blues scene, created his own folk funk style, and has been crowned the "King of the Chitlin Circuit." Now 72, Rush has recently crossed over to a wider audience. “I was told I couldn’t crossover without changing my image. I didn’t believe that. I’m a black man who plays the blues. What you see is what you get. I’m just being Bobby Rush, a plain ole country boy.” Shawn Kellerman hails from Kitchener, Ontario, and is a contemporary blues guitar virtuoso. His style of guitar reinterprets the traditional forms and blasts them into the present.

There are two sides to Bobby Rush the master showman. One comes with booty shaking chorus girls, risqué material, and flamboyant costume changes. The other, as portrayed here, involves old-fashioned grooves from the hills and jukes. Raw To The Bone (his fifth CD released within the last three years) was recorded at Rush’s home on Kellerman’s laptop. The 13 laid back and relaxed songs were written by Rush, yet many of them sound familiar, e.g., What’s The Use sounds like No Cutting Loose. The 52-minute CD features bare bones blues performed in the traditional 12-bar format. Exposing only Rush’s full-bodied harmonica, You Don’t Love Me and I’m Tired may be the barest of them all. Boney Maroney is a departure from his usual lovin’ a big fat woman shtick. The song, about a (“little skinny woman”), has a catchy yet simple rhythm and Bobby’s real deal blues harp. That ultra rousing rhythm is repeated on Uncle Esau, which sounds like Chicken Heads. Kellerman sharply picks and strums on School Girl. He plays a dirty Mississippi rhythm on Glad To Get You Back while Rush performs satisfying harp. As on Howlin’ Wolf, the lyrics (“howlin’ so long, done made my tonsils sore”) are entertaining.  All along, they are not as raunchy as you might expect. However, if you didn’t know the real Bobby Rush – he has been married to the same woman for over 40 years and is very active in local charities – you’d mistake him for a lying, cheating sex maniac on I Got Three Problems.

Rush plays guitar, chromatic and diatonic harp, and clomps his feet to keep the beat. His unobtrusive vocals sound like they are in conversation with you. Throughout, Kellerman maturely plays the role of dependable sideman, yet on What’s Going On he cuts his strings like the Delta masters. Performing acoustically – especially when it only involves two guitars, a harp, and a vocalist – is difficult because listeners focus intently. Creating a memorable and energized acoustic CD – like this one – is even more admirable. Purists will be pleased with this permeating product although it may be a bit hard to find. It’s available off the stage or by contacting Shawn Kellerman by email via www.shawnkellerman.com
   Tim Holek

ZORA YOUNG
Tore Up From The Floor Up
Delmark DE-784

“I was born with the blues. Got them before my first pair of shoes”, says Zora young during an interview contained on her newest CD. “You can’t sing this music if you don’t have respect for it.” The blues and Zora Young respect each other. Mississippi born and bred Young is the essence of female Chicago blues singers. She originally sang gospel music in her church. When her family migrated north to Chi-town, her musical interests shifted to blues and soul. Her ear-catching backing band features Bobby Dirninger’s fingers waltzing over the 88s while Lee “Mookie” Cain (bass) and Kerman Frazier (drums) maintain the groundwork. Pete Allen delivers cultivated guitar, handles the instinctive arrangements, and makes his mark in the modern blues pantheon. Allen and Young first played together over 30 years ago. Innocently enough, this unrenowned guitarist practically steals the show from the boss.  On a couple songs, The Chicago Horns throb with stamina.

Young’s third album contains five songs written by her. Love Of Mine has a snappy riff and smooth guitar that sounds like Johnny B. Moore. Real deal blues emanates on Go Ahead And Take Him courtesy of Allen. You could easily listen to his mellow blues guitar all night despite the song’s monotony. Like a tossed ship, Til The Fat Lady Sings is a stormy journey. Things come together musically on the great Toxic, which is a sweet, slow blues. Ace Of Spades displays a catchy groove, a succinct rhythm guitar hook, pumping horns, and driving vocals. With a touch of funk, Handy Man simply cooks. The final track is a four-minute revealing interview with Young where you will learn all this jolly chanteuse ever wanted to do was sing.

This is the type of genuine music you’ll hear in blues night clubs. It is not music that conforms or tries to create a larger audience by going mainstream. Instead, it calls out to you and entices with authenticity.  Although the lyrics aren’t always easily distinguishable – Young tends to roll multiple words into a single word – the vocals range from sensual to brusque. Unlike Koko Taylor and Nora Jean Bruso, Young’s vocals are occasionally forced out. Yet – like the two mentioned blues queens – Young sounds as powerful as a freight train’s engine. There are highlights like Since I Fell For You/Silhouettes where her authoritative vocals growl, bite, and pierce, but the songs and energy are not consistently strong.  Tim Holek