&blues - the Jazz & Blues Report
&blues - the Jazz & Blues Report &blues - the Jazz & Blues Report
introducing Hurt who plays a deft instrumental, presumably as a test, which he names after he finishes “Cow Hookin’ Blues.” Many of the songs will be familiar to Hurt’s many fans, including ”Stack’O’Lee,” “Coffee Blues” (known also as “A Spoonful Blues”), “Richland Woman Blues,” “Candy Man,” “Spike Driver Blues,” and “Louis Collins.” His playing is facile although the field tape recording makes the sound a little bit muffled (especially his vocals as Hoskins seems to have miced the guitar better) and the guitar has a slightly harsh tone. Recording limitations aside, the renditions of “Stack-O-Lee” and “Richland Woman Blues” are superb. As noted on the back cover, he re-recorded some of his Okeh recordings as well as other songs that would become staples of his performances and be recorded by various labels) over the next three years. Also there were some religious songs like “Do Lord, Remember Me,” which his wife Jessie, joined by another woman sings backed by Hurt’s guitar. Hurt biographer Radcliffe along with Bruce Nemerov wrote the very informative accompanying booklet that detail this recording and include some of the photographs Hoskins took of Hurt and his home community as well as from performances and old 78s. Radcliffe, Nemorov and Evan Hatch produced this marvelous and historically important release, which despite the unavoidable audio flaws contains some marvelous music. This is not an essential recording, but those interested in Mississippi John Hurt will want to at least hear this and likely will be buying it. Ron Weinstock Pa g e Tw e n T y Fo u r May • June 2012 • Issue 342
Even the most arid landscapes are home to Earth’s amazing species. The Nature Conservancy is dedicated to protecting the variety of plant and animal life on Earth— even when found in the most unlikely places. The Nature Conservancy has protected 117 million acres in 28 countries. With your support, that number will keep growing. Visit nature.org or call 1-888-2 JOIN TNC. To a visitor, it’s barren desert. To our supporters, it’s bustling with life. San Rafael Desert, Utah © David Muench This message is made possible by the generous support of this publication. May • June 2012 • Issue 342 Pa g e Tw e n T y Fi v e
- Page 1 and 2: May • June, 2012 Issue 342 55 Ann
- Page 3 and 4: • Coffee House Gallery Exhibit: R
- Page 5 and 6: Indoor program of the 33rd edition
- Page 7 and 8: Marianne Solivan, Victor Provost, t
- Page 9 and 10: Pa g e ni n e May • June 2012 •
- Page 11 and 12: display ofinventive underplay. The
- Page 13 and 14: AmAnDA rUzzA This is What Happened
- Page 15 and 16: each other rather than just protect
- Page 17 and 18: BiLLy HArT All our reasons ecm reco
- Page 19 and 20: Wolf passed in 1976 at a tribute to
- Page 21 and 22: Me”, where Henderson soars, the r
- Page 23: to miss the tongue planted firmly i
introducing Hurt who plays a deft instrumental, presumably<br />
as a test, which he names after he finishes<br />
“Cow Hookin’ <strong>Blues</strong>.”<br />
Many of <strong>the</strong> songs will be familiar to Hurt’s many<br />
fans, including ”Stack’O’Lee,” “Coffee <strong>Blues</strong>” (known<br />
also as “A Spoonful <strong>Blues</strong>”), “Richland Woman <strong>Blues</strong>,”<br />
“Candy Man,” “Spike Driver <strong>Blues</strong>,” and “Louis Collins.”<br />
His playing is facile although <strong>the</strong> field tape recording<br />
makes <strong>the</strong> sound a little bit muffled (especially<br />
his vocals as Hoskins seems to have miced <strong>the</strong> guitar<br />
better) and <strong>the</strong> guitar has a slightly harsh tone.<br />
Recording limitations aside, <strong>the</strong> renditions of<br />
“Stack-O-Lee” and “Richland Woman <strong>Blues</strong>” are superb.<br />
As noted on <strong>the</strong> back cover, he re-recorded some<br />
of his Okeh recordings as well as o<strong>the</strong>r songs that would<br />
become staples of his performances and be recorded<br />
by various labels) over <strong>the</strong> next three years.<br />
Also <strong>the</strong>re were some religious songs like “Do<br />
Lord, Remember Me,” which his wife Jessie, joined by<br />
ano<strong>the</strong>r woman sings backed by Hurt’s guitar.<br />
Hurt biographer Radcliffe along with Bruce Nemerov<br />
wrote <strong>the</strong> very informative accompanying booklet<br />
that detail this recording and include some of <strong>the</strong> photographs<br />
Hoskins took of Hurt and his home community<br />
as well as from performances and old 78s. Radcliffe,<br />
Nemorov and Evan Hatch produced this marvelous<br />
and historically important release, which despite <strong>the</strong><br />
unavoidable audio flaws contains some marvelous<br />
music. This is not an essential recording, but those<br />
interested in Mississippi John Hurt will want to at least<br />
hear this and likely will be buying it.<br />
Ron Weinstock<br />
Pa g e Tw e n T y Fo u r<br />
May • June 2012 • Issue 342
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