March 03, 2022

Charles Caldwell - Remember Me (2004)

The tragic story of Charles Caldwell

Unfortunately, the story of Charles W. Caldwell is not the only one of the kind among bluesmen, from Mississippi or elsewhere. When this album, recorded in 2003, was released in February 2004, Caldwell born in 1943 in the Mississippi town of Water Valley, had left this world five months earlier. Hence the choice of the song "Remember Me" as the album's title, certainly chosen by the excellent Fat Possum label whose boss "discovered" this North Mississippi Hill Country blues musician unrecorded so far.

The Gibson guitar model Caldwell played all his life ►

Forty-six years earlier, while working on his father's farm, Caldwell bought a hollow-body Gibson ES-125 guitar, learned how to play by himself, and used this same worn out instrument until the end. This thin and tall man, usually topped by a cow-boy hat, led a hard working life, taking care of his own modest farm around Coffeeville (Mississippi), while working first as a government forest keeper (hunting for raccoons whenever he could !), then in an air conditioning equipment repair plant in Grenada, about 25 kms away, after nearly getting severely wounded several times with his chainsaw. Still, he managed to acquire an old Cadillac car, reason why he was nicknamed Charles "Cadillac" Caldwell.
His performances were limited to occasional local festive gatherings and juke joints, often playing for no more than free liquor. Altogether, his life was not different from that of many of his fellow Mississippi bluesmen who lived a poor and simple life away from the lights of fame.

Caldwell's music, as it appears on this album, stands out because of the man's sound : raw, roots, vintage… whatever synonym of "authentic" you can find will fit. An old guitar and a husky rasping and sometimes trembling voice, occasionally backed by Hill Country typical basic drum rhythms, are all Caldwell needed to deliver his low-down and primary, almost primitive, unsophisticated blues in such a magnificent and poignant way. It's a plain and percussive form of blues, as traditionally played in the Hills, with sorrowful lyrics (most time love conflicts laments) that brings back blues to the original meaning of the term. Caldwell's bare simplicity is precisely what makes his songs so moving. But don't be fooled, the man certainly worked hard and long to master such an apparent basic guitar and vocal style.

Caldwell guitar playing indeed uses interesting personal melodic patterns that distinguishes him from most of his fellow Hill Country blues players, even if his music possesses the same usual repetitive hypnotic structure that is the Hill Country blues trademark. Fat Possum's boss Matthew Johnson was not mistaken when he heard Caldwell for the first time in May 2002, noticing at once this singularity, not talking of the charismatic personality of the man, and deciding such a music had to be recorded.

The eleven tracks of the album sound like a testament from this engaging modest bluesman who lived so far away from the entertainment and music industry for nearly 60 years. Retrospectively, the last track, "Remember Me", appears strangely premonitory. Suffering from a pancreatic cancer, Caldwell recorded the album while  undergoing chemotherapy. In vain ! He died a few months later, deprived of the pride and pleasure of holding the album in his hands.
The album itself was not recorded in vain though : these eleven songs keep Caldwell memory alive. Unfortunately, as time goes by, such discoveries are less and less frequent.
Another old timer gone… Sigh !

Anecdote
 
 
 
 
 
 
Charles Caldwell reflected
by the front chrome
of his Cadillac in 1995
(photo ©
Bill Steber) ►




Unfortunately, it is impossible to find
any video of Caldwell playing live.


 ________________________

March 02, 2022

John Dee Holeman - Bull Durham Blues (1999)

 
Piedmont, cap and hambone

John Dee Holeman, who died in April 2021 at age 92, was the last great elder of North Carolina Piedmont blues (read below). Famous for his cap eternally standing on his head and his checked shirts, he was to Piedmont style what Jimmy "Duck" Holmes, 74, is to the Bentonia blues of Mississippi today. 
Holeman started to play guitar at age 14, listening particularly to the king of Piedmont blues Blind Boy Fuller's 78-rpm discs, like for example "Step It Up and Go" that Holeman chose to cover on this album, probably as a long-time souvenir. But what is less known, is that Holeman was also a talented buckdancer (read below) famous in his home state of North Carolina.

A talented guitar picker, a warm raspy voiced singer and a gifted buckdancer, Holeman, like most of his contemporary country blues musicians, performer at social gatherings and events at nights and on week-ends, while working a regular job on week days. In Durham, where he settled in 1954, he was employed as a heavy equipment operator by the old Liggett and Myers Tobacco Co. factory which produced cigarettes for the international market, especially the Chesterfield and later L&M brands. Later he worked in the construction business.

It took him nearly 50 years to gain recognition out of his area. In the beginning of the 1980s, he played at festivals around the country, and in concerts in Europe and Africa, invited by the State Department. In 1988, he received a National Heritage Fellowship from the National Endowment for the Arts. Finally at 60 odd years, the doors of recording studios opened to him. In 1991, his first album, "Bull City After Dark" was nominated for a W.C. Handy Award. In 1994, he was contacted by Tim Duffy, the founder of the Music Maker Relief Foundation, who offered him the support of his organization and its recording label. Holeman was nearly 70 when he recorded "Bull Durham Blues" in 1998, under the musical supervision and collaboration of Taj Mahal.

H
oleman's vintage Piedmont blues style blends an old style roots voice with a faultless guitar picking technique, though maybe not as elaborate as that of his model Blind Boy Fuller, while opening to outside influences from Texas, Chicago and more The album features two Lightnin' Hopkins songs ("Give Me Back My Wig" and "Hello Central"), two from Muddy Waters ("Sweet Home Chicago" and "Early Morning Blues"), "Little Country Gal" from pianist Otis Spann, and "Big Boss Man" written by Al Smith & Luther Dixon (and not Willie as often mistakenly indicated). The nearby mountains bluegrass isn't forgotten either with "God Loves His Children", a strange gospelish bluegrass due to Foggy Mountain Boys' Lester Flatt & Earl Scruggs. Along with a few traditional songs, "Chapel Hill Boogie" is the only original Holeman track.

< JDH & Taj Mahal

Taj Mahal role in this recording deserves a word. Credited as musical adviser on the album, he plays bass on "Sweet Home Chicago", piano on the traditional "Mistreated Blues", guitar on "Chapel Hill Boogie", and hambone on the song of the same name, a singular rap style talking blues. The fact that a bluesman of such stature as Mahal participated to this project is a sign not to be overlooked : he held Holeman in great esteem, and rightly too.

Though not strictly Piedmont in its repertoire, this album is a great token of a country blues style sometimes unjustly eclipsed by its Delta or Hill Country "rivals". Holeman testifies that such a blues style, considered by many specialists as the progenitor of all the other blues forms, deserves primary attention. A track like "Hambone" (read below), for example, links Piedmont blues directly to the African roots of blues by its singular rhythmic concept.
May you rest in peace John Dee Holman...

The Piedmont blues style

The Piedmont region encompasses a chain of foothills running between the Appalachian Range and the Atlantic coastal plain, from Virginia through the Carolinas to Georgia. Blues is considered to have first appeared as such in this area, shaped by the sound of the banjo and by still-remembered African plucked instrumental techniques, probably reflecting an earlier musical tradition than the Mississippi Delta blues.
Bonus:
"Step It Up And Go", a 59-mn 1989 documentary, directed by Susan Massengale, featuring an array of North Carolina Piedmont blues masters, including Etta Baker, Thomas Burt, Algie Mae Hinton, Cora Phillips, Joe and Odell Thomas, John D. Holeman, Moses Rascoe... : https://youtu.be/P_xrsSzGku8

Juba, hambone & buckdance…

< JDH hamboing

"Buckdance", "hambone", "bust down" or "jigging", originally called "Pattin' Juba", is a dance based on complex hand rhythms providing various tempos for dancers. A centuries-old tradition among Africans and African Americans, its origin is linked to the African slaves who landed on the East coast of the United States.
It was customary when party musicians took a break and men engaged in competitive solo dancing accompanied only by hand rhythms called "patting". Different from hand clapping, "patting" consists in dancing while slapping different parts of the body (arms, chest, thighs, flanks or sometimes even mouth and cheeks) with bare hands to produce different patterns of percussive rhythms (https://en.wikipedia.org/wiki/Juba_dance).

> All you want to know about hambone : http://www.bluesjunctionproductions.com/hambone
>
The story of hambone told by Diane Ferlatte  (it's interesting to read the presentation texte below the video) : https://youtu.be/VIC469NOqbw

>
Holeman "singing" Hambone" with Dom Flemons : https://youtu.be/6mOd4PheLTA
> R.L. Burnside's young sons (Duwayne, Dexter and Michael Joe) hamboning at home in Independence, Mississippi (shot by Alan Lomax in 1978) : https://youtu.be/qJ73okpDa6k
> Hambone on a Mississippi porch by Markus James (slide gourd banjo) & Calvin Jackson (hambone ) : https://youtu.be/gTKE3IaVVmA
> Hambone demonstration by Archie Shepp's drummer Steve McCraven at the Tabarka International Jazz Festival in Tunisia : https://youtu.be/v8r5wxpa3hg
> A Juba dance variant by the Georgia Geechee Gullah Ring Shouters : https://youtu.be/NQgrIcCtys0

Download
> John Dee Holeman live at the Cat's Cradle in Carrboro (North Carolina), on Sept. 9, 2009 : https://archive.org/details/johndeeholeman2009-09-05.flac

Videos
>
David Holt interviews John Dee Holman and plays washboard on "Come On Down to my House Baby" in Durham. Other songs include "Letter Blues", "Give Me Back My Wig" and "Big Boss Man" : https://youtu.be/NAoWEIdOPxU
> Music Maker Relief Foundation founder Tim Duffy introduces North Carolina blues artists in Chapel Hill, North Carolina, in 2012 (John Dee Holeman, voice and guitar - Cool John Ferguson, guitar - Gerald Robinson, bass - Bubba Norwood, drums) : https://youtu.be/6KS42PqSogA
> "Shotgun Blues" at the Gromes Hotel in New York in 1989 : https://youtu.be/OWpNOlJSsM8
> Performing "One Black Rat" (excerpt from the Music Maker Relief Foundation DVD) : https://youtu.be/6DHNSqW8rAM
>
At the Blue Note Grill in Durham : https://youtu.be/GbPrmhkg3cw
> At Sweetwater in 2014 : https://youtu.be/BbGJeYv2u0I
> "Chapel Hill Boogie" with Andy Coats : https://youtu.be/MaQEtYLASs0
> At the Charlotte Folk Society's in Charlotte, North Carolina, in 2010 : https://youtu.be/GOWFbYarwWw
_____________________

February 28, 2022

The Paul Butterfield Blues Band - East-West (1966)

Oldie but goodie

 1966 ! The beginning of the so inventive psychedelic music years, born with the "flower power" and the "discovery" of LSD, and opened ten years earlier by the beat generation (Kerouac, Ginsberg, Burroughs, Ferlinghetti ― 100 years old this year !) The year before Paul Butterfield and his brand new blues band played at the Newport Folk Festival, suddenly bringing Chicago electric blues to white audiences. A thundering revelation for Bob Dylan who suddenly decided to go electric too, asking the Butterfield’s band to back him during his set the next day !
Without the Chicago three Bs (Butterfield, Bloomfield & Bishop), the blues revival wouldn't have happened, or not so strongly, allowing black bluesmen to reach a new public and a much larger recognition.

This is the second album of the PBBB, and the last one featuring Bloomfield, who left shortly after its release to set a band called Electric Flag, which ended after only one album, then working with Al Kooper for sometimes before leading an erratic career due to his severe heroin addiction, until his death in 1981.
Harp master, singer and band leader Paul Butterfield also had an up-and-down career after the PBBB split, until his early death in 1987.
Elvin Bishop had a much more productive career after the PBBB, with the Elvin Bishop Group, then solo or in different configurations, and is still active on the blues scene.
M
ore directly devoted to blues than the first one, this album features a number of traditional blues like "I Got A Mind To Give Up Living", "All These Blues" and "Never Say No", and covers of Robert Johnson's "Walkin' Blues", Allen Toussaint's "Get Out Of My Life, Woman", and Muddy Waters' "Still A Fool" re-titled here "Two Trains Running". There's also the odd choice of "Mary, Mary", a pop song written by Michael Nesmith from the Monkees, fortunately revisited in a definitely blues style.
Then there are the two real jewels of the album : "Work Song", a nearly 8-minute revisited piece of Cannonball Adderley, and icing on the cake, the rightly titled "East-West", a 13-minute piece of ground-breaking psychedelia featuring the incredible Indian music-inspired solo of Bloomfield.

T
his innovative moment of psychedelic guitar certainly opened the way for the future early recordings and performances of acid rock bands, like the Grateful Dead ("Dark Star"), Quicksilver Messenger Service ("Who do you love ?"), Jefferson Airplane ("After Bathing at Baxter's"), Moby Grape, Vanilla Fudge or indeed, the Doors… Melodic lines were exploding off of their traditional shackles. On a series of shows at the famous San Francisco Fillmore Auditorium (aka Fillmore West), the song extended to nearly one hour, setting the trend for very long tripping instrumental stretches in acid rock.

Though largely dominated by Bloomfield's flamboyant guitar and Butterfield's harmonica, this album sees Bishop emerging from the shade to show his talent on guitar. From the three Bs, he'll be the only one to survive to the drug and booze venture of the PBBB.
Even if today this album may sound like an oldie because of the recording techniques poorer qualities of that time, it remains a goodie which opened durable new horizons in music. Be it for the sole "East-West" track, this album is worth listening and keeping in one's collection.

Things to read
"Blues, booze and debauchery: the agonizing story of Paul Butterfield", a 2021 article by Rob Hughes from the online mag Classic Rock : https://www.loudersound.com/features/blues-booze-and-debauchery-the-agonising-story-of-paul-butterfield


Videos
 > "Driftin' Blues", Monterey, 1967 (Elvin Bishop on guitar) : https://youtu.be/e3LEhfbKCSc
 > Woodstock, 1969 ("Buzzy" Feiten on guitar) :
- "Driftin' and Driftin'": https://youtu.be/7jSSBAWeUCo
- "Everything gonna be alright": https://youtu.be/VoqG3hif_dg
 
> Second reunion gig of members of the Paul Butterfield Blues Band at the Fenway Theater, Boston, in December 1971 (Paul Butterfield : harp & vocals - Mike Bloomfield (more likely Elvin Bishop) : guitar - Mark Naftalin : piano - John Kahn : bass - and Billy Mundi : drums) (23mn) : https://youtu.be/jTWP70FU-ew

> Reunion concert, Greek Theater, Los Angeles, 1978 (Mike Bloomfield ( ?) : guitar - Paul Butterfield : vocals/harmonica - Elvin Bishop : guitar - Mark Naftalin : keyboards - Sam Lay : drums - 'Jellyroll' Troy : bass) : https://youtu.be/_JooI-S42-c
> Paul Butterfield live at The Maintenance Shop, 1985 (43mn) : https://youtu.be/BQvHBLkSzUE

> Elvin Bishop at the Winterland Ballroom, San Francisco, 1973 (38mn) : https://youtu.be/rPjoWix9afA

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February 26, 2022

Clarence Spady - Just Between Us (2008)

> The album

Funky King of Spades 

W
arning ! If you dislike funk, keep going your way. If on the contrary, you appreciate funky rhythm'n'blues with a nice jazzy blues swinging guitar, this Clarence Spady excellent album might well be your treat.
Born in 1961 in Paterson, New Jersey, Spady grew up in Scranton, Pennsylvania, among parents who listened to soul and blues. His father played guitar as well as his uncle Fletchey who, Spady said once, “was a very good blues guitarist, in the manner of Otis Rush or Booba Barnes”, so that he began to play the instrument as early as… 5  !

After high school, Spady started his real musical education on the job, playing in several local bands, even accidentally getting involved in his first recording session as a sideman for the Jimmy Johnson's family band in the end of the seventies. The Johnsons' rhythm guitarist, Buddy Blackstone, probably saw Spady's potential and began to coached him.
Spady then joined touring local rhythm'n'blues bands, A Touch of Class then Greg Palmer’s band, for eight years, before leaving for Michigan where he played funk music in different bands for a couple of years. “I’ve always dug funk,” he comments. That, when listening to "Just Between Us", we've understood !
Back to Scranton, eager to find back his blues roots, he set up the West Third Street Blues Band, playing at night while working in the day as an excavator operator. He started to write songs for the group, that finally gave birth to his 1996 self-produced album “Nature Of The Beast”.
Despite a 1997 W. C. Handy Award nomination in the Best New Blues Artist category that brought him international attention and tour bookings, it took Spady another twelve years to put out "Just Between Us" in 2008.

Spady sings with a seducing soul voice. He's a gifted lyricist, a talented melodist and arranger, and a very elegant guitar master. Perfectly groovy on rhythm guitar, he is at the same time an elaborate subtle soloist putting out a very polished cool lightly jazzy playing. The presence of a Hammond B-3 organ (Benjie Porecki and Bob O’Connell) on every track colors the album with a tasteful churchy sound, and the whole structure of the album lays on the excellent funky bass work of Steve Gomes. More generally the production has been finely crafted in every detail.
Spady masters the art of composing groovy rhythms and hot funky riffs. Listen for example to "I'll Never Sell You Out", "King Of Hearts" or "Cut Them Loose", and you'll see (if I may use that verb in a musical matter).

This funky brand of impassioned, electrifying soul blues gathers strictly original Spady-penned songs. Some singularities deserve to be mentioned : the funky acid jazz sound of "I'll Never Sell You Out"; the melodic similarities between "Just Between Us" and Bob Marley's "No Woman No Cry"; the great Hammond and guitar work on the excellent jazzy blues "Be Your Enough"; the killing bass lines on "King Of Hearts", "Cut Them Loose", "24/7 Luv" and "Candy"; the psychedelic folk-rock twist of "E-Mail" ("I ended up writing it in the studio", Spady recalls) which also reminds the early Allman Brothers' style. As for Spady's refined and swinging guitar style, as said earlier, it shines from beginning to end.
Such an original and sophisticated work was justly rewarded with a second nomination in 2009, this time for a Blues Music Award as Soul Blues Album of the Year.

Discography
1996, Nature of the Beast (Evidence Music)
2008, Just Between Us (Severn Records)
2021, Surrender (Nola Blue )

Videos
- Unluggged
> On the Blues Society Of Central Pennsylvania (BSCP) New Year's Eve Virtual Jam on December 31, 2020 (42mn): https://youtu.be/3Vhu8PAVoSw
> On the BSCP Virtual Jam, on December 10, 2020 (42mn): https://youtu.be/J6pCafAYNFA

- The technician
> "The sky is crying" live at Terra Blues in October 2019: https://youtu.be/d89NYGmfB0Y

- Live
> At the River Street Jazz Cafe, Plains, Pennsylvania:
- in June 11, 2010 (complete 2h20 show): https://youtu.be/oKvSWqMO3vQ
- in November 16, 2013 (complete 2h40 show): https://youtu.be/Zn-YVSZ5BtY & (4h18 version): https://youtu.be/MWp1Rq9oCzg
> At the Chameleon Club during the 2019 Lancaster Roots and Blues Fest. (1h27): https://youtu.be/13r_h6mg1Vk
 
> At The Recovery Bank in April 2021 (1h18): https://youtu.be/OXQMh25n0zU
> On The Exchange just days after Clarence's new album, "Surrender", was released, May 2021 (1h15): https://youtu.be/qNOc5RTiEAg
> In 2016 at Arlo's Tavern
- Part 4 (with the incredible young Eamonn Hubert): https://youtu.be/RmHDHJfHNto
 ________________________

February 23, 2022

David Kimbrough Jr. - Say You Don't Love Me: The Last Recordings Of David Kimbrough Jr. (2020)

> The album

Done got gone

I confess I'm quite troubled by this album, recorded in the fall of 2017 at David Kimbrough Jr.'s house in Holly Springs, in the North Mississippi Hills. Why? Precisely because I don't hear much Hill Country blues in this album, not even in the covers of his father Junior Kimbrough, one of the legendary figure of the style.  
David Kimbrough Jr., sometimes also named David Kimbrough III, has been presented many times as the real successor of his father's musical tradition, the "Cotton Patch Soul Blues" style, but his music has little in common with his father's style.

T
his posthumous album sounds like a raw demo tape, apparently without much post-production. Kimbrough sings and plays a simple acoustic-sounding Fender Stratocaster guitar on his front porch like he would do for a TV documentary report, or at a friends or family members gathering.
It's mainly a tribute from a son to his father through covers of Junior Kimbrough's "Done Got Old", "I'm Leaving You Baby", "Meet Me In The City", the "Lonesome Road/Lord Have Mercy On Me" medley and a previously unpublished song, "Say You Don't Love Me". David Kimbrough plays only two of his own compositions: "Half Past A Monkey's Azz" and "Poke That Pig".

U
nfortunately, despite few interesting guitar moments, the global result is not really enthralling, lacking that special spark that makes the music capture your mind and body. Where is the hypnotic heavy percussive style of the Mississippi Hills? Take a song like "Done Got Old". Besides Junior Kimbrough's original version, Buddy Guy made a more chilling cover on his 2001 album "Sweet Tea". Like a stream of water flowing over me without ever getting me wet, this album left me rather unconcerned.

D
avid Kimbrough died in July 2019 from cancer. Was this 2017 field recording session initially planned to be released as an album? Was it published posthumously as a form of testament? Or was its release motivated by plain commercial opportunism? In any case, this last known recording should have better remained in the Kimbrough family safe and stay there as a private souvenir of the late David Kimbrough...

< Junior Kimbrough
 

About the "Cotton Patch Soul Blues"

> Robert Kimbrough explains what is the Kimbrough style: https://youtu.be/8VoP-vzGqEU

Audio live shows
> North Mississippi Hill Country Picnic
 live raw audio recordings
 (legally free download under Common Public License):
- In 2011: https://archive.org/details/davidkimbrough2011-06-25

Around the album
> Video of the recording on the front porch on a rainy day, 2017, Holly Springs: https://youtu.be/tVr9DbBdPfQ ("Done Got Old")
> Album video trailer: https://youtu.be/80-izh3YSao

DK's live videos
> A few weeks before his death, at the Kimbrough ""Cotton Patch Soul Blues" Festival, The Hut, Holly Springs, Mississippi, May 19, 2019:
- "All Night Long": https://youtu.be/WJKkeKVNKUc
- "Baby, Come On With Me": https://youtu.be/brwz__FcfUY

> David Kimbrough at the Cotton Patch Blues Fest (65mn - there are a number of musicians in and out through the set, Kinny and Robert Kimbrough join in for the second half): https://youtu.be/4hMPs17gVjc

> On tour with David Gray:
- at the Spa City Blues Challenge, Hot Springs Arkansas, in 2012: https://youtu.be/jYl7F9POkzM
- at the Buffalo River Blues Challenge in 2012: https://youtu.be/iIW6_hnnVCY

> At the Mountain View Dulcimer Festival in 2012: https://youtu.be/GcY_lc1q6oA

> Obsessive rhythm at the Bikes Blues and BBQ 2011 Fest. in Fayetteville, Arkansas: https://youtu.be/9HAHTVZ34s8
 
> With the North Mississippi Allstars in Fayetteville, 2012: https://youtu.be/5muzG82M3LM

> With Duwayne Burnside at the Burnside Blues Cafe in 2011: https://youtu.be/1RPRlI5b2Hc

> With Kinney Kimbrough and Chris Chew at the New Daisy, Memphis, in 2010: https://youtu.be/-I3AMuNGbTU

> Fun on a picnic with R.L. Boyce (amateur shooting): https://youtu.be/_NxVtRf4qZA

David Kimbrough Jr had rebuilt
the Juke Joint of his father
that burned down in 2000.
_________________________


February 22, 2022

Band of Heysek feat. RL Boyce & Kenny Brown -Juke My Joint (2020)

> The album

Czech it out  !

I'm not going to paraphrase what's perfectly explained in the double presentation featured on Blue Dragon. I will just add that since the collapse of the Soviet Empire and the subsequent tearing down of the Iron curtain, East European people could freely open their ears to western musics, and more particularly American ones, be it jazz, rock, R'n'B, hip hop, folk, country, and of course blues. Western albums became commercially accessible to anybody, instead of being illegally smuggled in by a few risk-taking connoisseurs.
The young Czechs, those born between let's say 1975 and 1980, who were in their teens when their country got full independence, are no exception. So it is for the three members of Band of Heysek. Not only could they get blues albums, but blues artists started to come for live concerts and festivals.
That's what happened in 2018 when they toured some Eastern European countries with vintage Mississippi bluesmen R.L. Boyce, Kenny Brown and Robert Kimbrough. These probably enjoyed their musical company enough to invite them to perform at the legendary unique "North Mississippi Hill Country Picnic" festival the following year. On this occasion they did an impromptu recording session with Boyce and Brown that gave the present album.

I
f you like R.L. Boyce, you'll like this album because, to be frank, it is a R.L. Boyce album. Incidentally it's often listed as "R.L. Boyce & Band of Heysek feat. Kenny Brown", which I find more representative of the album's content. Personally I would even dare : "R.L. Boyce & Kenny Brown feat. Band of Heysek", but that wouldn't be very fair.
"Juke My Joint" is 100% R.L. Boyce's music style and sound, and singing. He and his accomplice Kenny Brown enjoyed a good time jam with a band of talented Czech youngsters who appreciate their music, admire them and were totally subjugated by the two Mississippi veterans. (Also, such a meeting brings a light of hope in a time of nationalist and xenophobic, not to say racist, rejection of all that is "foreign", something only music can do. But that's a different topic that doesn't quite fit here. Or does it...)

Kenny Brown (left) & R.L. Boyce.
It's a very enjoyable electric Hill Country blues album featuring eight raw, heavy and greasy Hill Country slow boogies that will cling to your ears like a leech  for some 42 minutes. The opening "Angry Man", a sorrowful mid-tempo lament, sets the tone for the whole album : repetitive hypnotic songs, Boyce's vintage stormy sound, crackled by lightnings of guitar by Kenny Brown and Jan Švihálek, and tormented lyrics co-written by Boyce and Švihálek. It sounds as natural and spontaneous as a juke joint improvised jam (hence the title of the album). Special mention to the final "No more boogie" for its humorous title considering it is precisely a boogie. "No mo'… no mo'… no mo'…" laughs Boyce at the end. As far as I'm concerned, I wouldn't mind getting mo' !

Videos

Band Of Heysek recording sessions
> Band Of Heysek, R.L. Boyce & Kenny Brownin "Let Me Take You To My Place" (2019 recording session of "Juke my Joint") : https://youtu.be/BCcVQVAETa0
> R
ecording session for the
2019-issued album "I'm Glad I Met You": https://youtu.be/IXJNtMIo24Q

Band of Heysek live

> In  2017 (90mn) : https://youtu.be/uGgdl7YKzdw
> In 2018 : https://youtu.be/oXfxvet4SWc
> In 2021 (65mn) : https://youtu.be/0FrUBIMU-u0
> In Sarajevo (Bosnia) in 2017 : https://youtu.be/3YQsmy2egjo


R.L. Boyce

> With Lady Jama at the R.L.Boyce Picnic 2021 in Como : https://youtu.be/78ItWcFGueM
> At the R.L. Boyce Picnic 2020 in Como : https://youtu.be/obssFL_afqw
> At the Montreal Jazz Festival in 2018 : https://youtu.be/UGqoCdCM154






[Click on pics to enlarge]






___________________________