Show Me the Way Home, Honey

Luke Winslow-King - Old/New Baby / Recorded Live At Tweed Recording EP

Album: Old/New Baby
Size: 81,7 MB
Time: 34:33
File: MP3 @ 320K/s
Released: 2009
Styles: Ragtime, Blues Jazz, Folk Blues, Americana
Label: Fox On A Hill Productions
Art: Front

01. As April Is To May (2:12)
02. Shoeshine (2:07)
03. Never Tired (2:49)
04. Below (1:07)
05. All The Same (2:29)
06. I'll See You When I Look At You (2:13)
07. Birthday Stomp (2:45)
08. Dragon Fly, Dragon Flower (3:06)
09. Bird Dog Blues (2:26)
10. Lost Soul (1:40)
11. Airplane (1:44)
12. The Sun Slamming The Highway (2:49)
13. St. Andrew's Ferry (1:41)
14. Searchlight Waltz (2:57)
15. Your Eyes, Your Eyes (2:23)

If your mind was caught up and mesmerized by the dancing pink elephants from Disney's Fantasia and the music that accompanied that mesmer, or your heart has a tendency towards the vaudevillian aspects of early American folk music, then have I got an album for you. Luke Winslow-King is an obviously talented lad who lends his hand to churning out tunes with a seemingly colorful history behind them. On his latest record Old/New Baby Winslow-King shows off his vocal abilities to great effect, all the while buoying the melodies with brilliant and classic instrumentation. The album starts off with a jazzy, hungover ditty called "As April Is To May" that recalls the great history of animated drunkenness. The song has a swing and mood that is very dark, yet lithesome and filled with syncopated bomp. Then Winslow-King sidesteps into more comfortable ground, picking up his dobro and invoking the spirit of American folk at its finest. "Shoeshine" has the kind of drooping rhythm and slippery guitar that makes players like Bill Morrisey so fantastic, and the song has horns that carry countermelodies through the background, imbuing the track with a surreal beauty. "Never Tired" is classic folk-hop, filled with snappy snare hits and great slide guitar work, as well as sing-songy lyrics that are almost silly in their earnestness. Winslow-King somehow takes the spirit of New Orleans and fuses it into his songs, imparting a ragtime breakdown into "Below" before dropping back to the matter-of-factness of "I'll See You When I Look At You", a song that is simple in its musical approach but contains an immense amount of folky beauty. Winslow-King's blending of slide guitar, horns, ukulele, and doghouse bass is instantly likeable and mostly traditional in its approach, fusing classic musical elements with a vigor that belies his Northern origins. Don't believe me? Take a listen to the cool jazz of "Birthday Stomp" or the gritty, delta-infused blues of "Bird Dog Blues" to form your own opinion of what this Michigan-born lad has in his musical blood. ~L. Keane

Old/New Baby

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Album: Recorded Live At Tweed Recording EP
Size: 29,4 MB
Time: 12:35
File: MP3 @ 320K/s
Released: 2012
Styles: Ragtime, Blues Jazz, Folk Blues, Americana
Label: Oxford Sounds
Art: Front

01. Miss The Mississippi And You (2:44)
02. I Know She'll Do Right By Me (2:27)
03. Ragtime Millionaire (2:32)
04. Mississippi Slow Drag (2:11)
05. The Coming Tide (2:40)

Winslow-King is from Cadillac, Michigan but he calls New Orleans home and has lived there since 2002 when his car was stolen in the French Quarter with all his musical equipment in it. At the time, the guitarist had already immersed himself in the academic study of jazz and composition. But, he found the emotional sterility and high-bandwidth musicality that informed so much bop and fusion jazz to be a dead- end, vapid and disconnected. He related instead to th folk music of the legendary Woody Guthrie and the cryptic deep blues of Mississippi John Hurt, music from, as writer Greil Marcus termed it, “the old, weird America.” Having his car stolen may, in fact, be one of the best things that ever happened to Luke Winslow-King.

He was quickly accepted into the music theory program at the University of New Orleans, and was eventually awarded a prestigious scholarship to study Czech classical music at St. Charles University in Prague. But while Winslow-King is certainly a heavy-hitter in terms of musical knowledge, instrumental prowess and compositional ability, his approach to the music of New Orleans and the Mississippi Delta is never dry, never academic. His compositions are not musicological set pieces, nor do they ever reek of the dusty utility of the affected and dolorous purist. Luke Winslow-King pulled off the considerable feat of creating something beautiful and unaffected and new from the plump and thickly intertwined history of the great American musics — New Orleans jazz and Mississippi Delta blues. On these gorgeous and glowing recordings made for Oxford Sounds, you’ll hear Luke Winslow-King — accompanied by the lovely washboard percussionist and back-up singer Esther Rose and double-bassist Cassidy Holden — deliver a number of tunes that reference ragtime, dixieland jazz, minstrel tunes, and 1920’s pop. That none of this music ever sounds even remotely like a revival act is testament to his considerable skill as a songwriter, arranger, guitarist and singer. The lyrical themes, too, harmonize with a 1920’s New Orleans aesthetic but they thankfully never veer into the execrable kitsch of, say, Leon Redbone or the ham-fisted hippie humorousness of early David Bromberg or Jerry Garcia solo records. Recorded by Andrew Ratcliffe at his superlative Tweed Recording Studio in Oxford, the session features several songs taken mainly from Winslow-King’s recently released album “The Coming Tide”. “Ragtime Millionaire” is as infectious as the title suggests, totally engaging. The song “The Coming Tide” is a real classic, simple and lovely, a wonderful and contagious tune with excellent accompaniment from Esther Rose. “Mississippi Slow Drag” is nothing short of stunning, though, a great ambling dance number delivered with faint ennui and replete with cool slide guitar phrases that recall the legendary Ry Cooder as well as that other under-heralded guru of pre-rock American guitar music, David Lindley. Of course, those guys got their licks from the Delta, too. ~Pat Cochran

Recorded Live At Tweed Recording EP



• Sara K. & Chris Jones - Are We There Yet? Live in Concert •
• Charlie Parr - I Dreamed I Saw Paul Bunyan Last Night / Hollandale •

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Posted by kamane

Oznake: Luke Winslow-King, Folk-Blues, Blues Jazz, New Orleans Blues

Cousin Joe - New York and New Orleans Blues 1945-1951

Styles: Piano Blues, Jazz Blues, Jump Blues, New Orleans Blues
Label: EPM
Released: 2002
File: mp3 @320K/s
Size: 143,2 MB
Time: 62:29
Art: full

1. Bad, Bad Baby Blues - 3:00
2. Broken Man Blues - 2:35
3. Just Another Woman - 2:57
4. Wedding Day Blues - 3:09
5. Desperate G.I. Blues - 3:04
6. Boogie Woogie Hannah - 2:56
7. You Ain't So-Much-A-Much - 2:48
8. The Barefoot Boy - 2:53
9. If You Just Keep Stick - 2:36
10. When You're Mother's Gone - 2:58
11. It's Dangerous to Be a Husband - 2:46
12. Death House Blues - 2:44
13. Don't Pay Me No Mind - 2:56
14. Bachelor's Blues - 2:44
15. Bad Luck Blues - 2:58
16. Box Car Shorty and Peter Blue - 2:49
17. Beggin' Woman - 2:54
18. Sadie Brown - 2:49
19. Love Sick Soul - 2:29
20. Looking for My Baby - 2:53
21. High Powered Gal - 2:55
22. Second Hand Love - 2:24

Notes: Few blues legends have the presence of mind to write autobiographies. Fortunately, Pleasant Joseph did, spinning fascinating tales of a career in his 1987 tome Cousin Joe: Blues from New Orleans that spanned more than half a century.
Growing up in New Orleans, Pleasant began singing in church before crossing over to the blues. Guitar and ukulele were his first axes. He eventually prioritized the piano instead, playing Crescent City clubs and riverboats. He moved to New York in 1942, gaining entry into the city's thriving jazz scene (where he played with Dizzy Gillespie, Sidney Bechet, Charlie Parker, Billie Holiday, and a host of other luminaries).
He recorded for King, Gotham, Philo (in 1945), Savoy, and Decca along the way, doing well on the latter logo with "Box Car Shorty and Peter Blue" in 1947. After returning to New Orleans in 1948, he recorded for DeLuxe and cut a two-part "ABCs" for Imperial in 1954 as Smilin' Joe under Dave Bartholomew's supervision. But by then, his recording career had faded.
The pianist was booked on a 1964 Blues and Gospel Train tour of England, sharing stages with Muddy Waters, Otis Spann, Brownie McGhee and Sonny Terry, and Sister Rosetta Tharpe and appearing on BBC-TV with the all-star troupe. He cut a 1971 album for the French Black & Blue label, Bad Luck Blues, that paired him with guitarists Gatemouth Brown and Jimmy Dawkins and a Chicago rhythm section -- hardly the ideal situation, but still a reasonably effective showcase for the ebullient entertainer (it was reissued in 1994 by Evidence) ~AMG.

New York and New Orleans Blues 1945-1951



• Champion Jack Dupree - Champion Of The Blues
• Memphis Slim and Roosvelt Sykes - Double-Barreled Boogie

Oznake: Cousin Joe, Piano Blues, New Orleans Blues, Blues Jazz

Champion Jack Dupree - Champion Of The Blues

Bitrate: 320K/s
Time: 36:21
Size: 83.2 MB
Styles: Piano blues, New Orleans blues
Year: 1961/2005
Art: Front

[2:50] 1. I Had A Dream
[3:23] 2. Roll Me Over Roll Me Slow
[3:39] 3. Reminiscin' With Champion Jack
[2:51] 4. That's All Right
[2:56] 5. Daybreak Stomp
[3:03] 6. House Rent Party
[2:45] 7. Snaps Drinking Woman
[3:29] 8. One Sweet Letter From You
[3:02] 9. New Vicksburg Blues
[2:39] 10. When Things Go Wrong
[2:33] 11. Johnson Street Boogie Woogie
[3:06] 12. Misery Blues


A formidable contender in the ring before he shifted his focus to pounding the piano instead, Champion Jack Dupree often injected his lyrics with a rowdy sense of down-home humor. But there was nothing lighthearted about his rock-solid way with a boogie; when he shouted "Shake Baby Shake," the entire room had no choice but to acquiesce.

Dupree was notoriously vague about his beginnings, claiming in some interviews that his parents died in a fire set by the Ku Klux Klan, at other times saying that the blaze was accidental. Whatever the circumstances of the tragic conflagration, Dupree grew up in New Orleans' Colored Waifs' Home for Boys (Louis Armstrong also spent his formative years there). Learning his trade from barrelhouse 88s ace Willie "Drive 'em Down" Hall, Dupree left the Crescent City in 1930 for Chicago and then Detroit. By 1935, he was boxing professionally in Indianapolis, battling in an estimated 107 bouts.

In 1940, Dupree made his recording debut for Chicago A&R man extraordinaire Lester Melrose and OKeh Records. Dupree's 1940-1941 output for the Columbia subsidiary exhibited a strong New Orleans tinge despite the Chicago surroundings; his driving "Junker's Blues" was later cleaned up as Fats Domino's 1949 debut, "The Fat Man." After a stretch in the Navy during World War II (he was a Japanese P.O.W. for two years), Dupree decided tickling the 88s beat pugilism any old day. He spent most of his time in New York and quickly became a prolific recording artist, cutting for Continental, Joe Davis, Alert, Apollo, and Red Robin (where he cut a blasting "Shim Sham Shimmy" in 1953), often in the company of Brownie McGhee. Contracts meant little; Dupree masqueraded as Brother Blues on Abbey, Lightnin' Jr. on Empire, and the truly imaginative Meat Head Johnson for Gotham and Apex.

King Records corralled Dupree in 1953 and held onto him through 1955 (the year he enjoyed his only R&B chart hit, the relaxed "Walking the Blues.") Dupree's King output rates with his very best; the romping "Mail Order Woman," "Let the Doorbell Ring," and "Big Leg Emma's" contrasting with the rural "Me and My Mule" (Dupree's vocal on the latter emphasizing a harelip speech impediment for politically incorrect pseudo-comic effect).

After a year on RCA's Groove and Vik subsidiaries, Dupree made a masterpiece LP for Atlantic. 1958's Blues From the Gutter is a magnificent testament to Dupree's barrelhouse background, boasting marvelous readings of "Stack-O-Lee," "Junker's Blues," and "Frankie & Johnny" beside the risqué "Nasty Boogie." Dupree was one of the first bluesmen to leave his native country for a less racially polarized European existence in 1959. He lived in a variety of countries overseas, continuing to record prolifically for Storyville, British Decca (with John Mayall and Eric Clapton lending a hand at a 1966 date), and many other firms.

Perhaps sensing his own mortality, Dupree returned to New Orleans in 1990 for his first visit in 36 years. While there, he played the Jazz & Heritage Festival and laid down a zesty album for Bullseye Blues, Back Home in New Orleans. Two more albums of new material were captured by the company the next year prior to the pianist's death in January of 1992. Jack Dupree was a champ to the very end. ~bio by Bill Dahl

"The percussive sounds heard on several of the tracks are made by stomping of Champion Jack's feet."

Recorded at: Storyville Records in Copenhagen, Denmark.

Champion Of The Blues

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Oznake: Champion Jack Dupree, Piano Blues, New Orleans Blues