Yet another of the ubiquitous Memphis Slim compilations, Grinder Man Blues is different from most of Snapper Music's budget blues reissues in that it confines itself to a tiny space in its subject's career: his Bluebird sides from 1940-1941. The sound quality is good, which is no surprise, and the producers have mixed-and-matched the sides, so that slow, solo blues ballads, faster boogie numbers, and duet and full-band numbers alternate. The best cut here is probably "Old Taylor," which features Slim working (and sharing vocal chores) with an uncredited scat singer, while his piano ripples through and around their work. Every so often the blues harp joins his piano in the spotlight, while Leroy Batchelor's bass and Washboard Sam's percussion hold the rhythm, elsewhere, as on "Maybe I'll Loan You A Dime" it's pretty much just Slim's voice and piano, which are pretty formidable…

A straight CD reissue of a vintage Chess LP, its contents dating back to the early '50s and most tracks originally issued on the Premium logo. Includes an early and very nice reading of "Mother Earth;" also sharp as a tack is "Rockin' the Pad." In an unusual move, Slim is joined by a smooth vocal group, the Vagabonds, for "Really Got the Blues."

Although this CD by pianist Memphis Slim and bassist Willie Dixon is marketed as a part of Verve's Jazz in Paris reissue series, it is, of course, a blues date, with a fair amount of boogie-woogie. The two veterans, who had worked together previously, are joined by drummer Phillipe Combelle during the two 1962 sessions recorded at Les Trois Mailletz, complete with a typically out of tune piano and a fair amount of noise from the audience at times. The pianist's gruff voice dominates a fair amount of the performances, although most of the songs are Dixon's. The bassist steals the show during the opener, "Rocking and Rolling the House," with a fine solo. In fact, the only standard not written by either man is a campy miniature take of Big Bill Broonzy's "All by Myself." Blues fans will want up to pick up this live recording by two legendary musicians.

This early-'60s date was the second - and one of the best - of Memphis Slim's many top-notch Bluesville recordings. Featuring Slim accompanying himself on the piano, All Kinds of Blues is a vintage set of mellow yet deep blues by one of the music's most urbane performers. Whether reveling in his considerable boogie-woogie chops ("Three-in-One-Boogie") or tossing off a wryly sexual romp ("Grinder Man Blues"), Slim always seems to be totally at ease and in command. And while newcomers are advised to start out with one of his early-'50s sets on Chess, this will be one collection no Memphis Slim fan will want to overlook.

Memphis Slim devoted all but one of the ten songs on this April 1961 session to covers of some of his favorite songwriters. He's only accompanied by his own piano playing as he provides serviceable, laidback interpretations of numbers by Big Bill Broonzy, Blind Lemon Jefferson, Willie Dixon, Sonny Boy Williamson, and others, as well as his own "Sunnyland Train."

Previously unreleased live recordings 1963-1969. Features Willie Dixon, Matt Murphy and Bill Stepney.
An amazingly prolific artist who brought a brisk air of urban sophistication to his frequently stunning presentation, John "Peter" Chatman - better known as Memphis Slim - assuredly ranks with the greatest blues pianists of all time. He was smart enough to take Big Bill Broonzy's early advice about developing a style to call his own to heart, instead of imitating that of his idol, Roosevelt Sykes. Soon enough, other 88s pounders were copying Slim rather than the other way around; his thundering ivories attack set him apart from most of his contemporaries, while his deeply burnished voice possessed a commanding authority.

At age 83, pianist/vocalist Jay McShann was still at the top of his game and providing many lessons for the younger "swing" cats and kittens. He is the epitome of what can be done when jazz and blues are mixed equally, especially when the fun factor is liberally added in. While some might find this typical, many others should revel in the sound of one of this music's last living legends who is still doing it, and doing it very well at that. The chemistry between McShann and guitarist/session leader Duke Robillard is considerable and undeniable, and makes Still Jumpin' the Blues enjoyable throughout. With such solid support from Robillard and the band, McShann has nothing to worry about. Everything you might want is here: classic versions of "Goin' to Chicago," "Ain't Nobody's Business," and "Trouble In Mind"; a nice rearrangement with tempo shift from mellow to mid-tempo on "Sunny Side of the Street"; Maria Muldaur's sultry singing on "Come on Over to My House," and especially the Bessie Smith evergreen "Backwater Blues"; wonderful instrumentals like "Moten Swing" and "Say Forward, I'll March"; and even a little Hawaiian slide accenting "Hootie's K.C. Christmas Prayer".

Recorded in London in January 1968 with three members of the early lineup of Fleetwood Mac (the one that played blues, not pop/rock): Peter Green (guitar), John McVie (bass), and Mick Fleetwood (drums). It's an adequate setting for Boyd's straight Chicago piano blues, going heavier on the slow-to-mid-tempo numbers than the high-spirited ones, though Green is a far more sympathetic accompanist than the rhythm section.

After the release of Mardi Gras in 1975, Dr. John (aka Mac Rebennack) left Atlantic Records. In late 1977, he signed with A&M's Horizon imprint – a label whose purpose was to showcase the jazz side of its parent company. City Lights is the better of two recordings he cut there. Produced by Tommy LiPuma and Hugh McCracken, City Lights was recorded at New York's Hit Factory Studios with a band of studio aces: drummer Steve Gadd, guitarists Cornell Dupree and John Tropea, bassist Will Lee, and Richard Tee as an additional keyboardist; Arthur Jenkins added percussive effects. The five-piece horn section included both David Sanborn and Ronnie Cuber. What's really startling, however, is the material. For most of the 1970s, Rebennack had been playing well-known tunes by other Crescent City luminaries and pop songwriters, contributing precious little of his material to his albums. On City Lights he wrote or co-wrote everything on the set. His songwriting partner for part of this date was none other than Doc Pomus. The best of both men is captured on the opener, "Dance the Night Away with You," a strolling New Orleans R&B number.

It's a matter of opinion as to whether Dixon's Aladdin output was his peak; many would give his Specialty sides (available on the Marshall Texas Is My Home compilation) the nod. Still, his late-'40s and early-'50s work for the label included some of his most popular and best tracks, such as "Wine, Wine, Wine," "Call Operator 210," "Tired, Broke and Busted," "Let's Dance," "Telephone Blues," and "Too Much Jelly Roll" (the last of which was one of Leiber-Stoller's first recorded compositions). This two-CD, 48-track compilation is geared more toward the completist collector than the average fan, especially with the inclusion of five Sonny Parker sides (which Dixon now says he didn't play on, despite some reports to the contrary) and about ten songs that feature Mari Jones on vocals…

From the start of this CD, a very spirited version of Lionel Hampton's "Boogie Woogie" (here renamed "Boogie #427), through a set full of boogie-woogie piano (even on non-blues tunes), blues ballads, and New Orleans-style R&B, this is a delightful outing. Kevin McKendree's piano style mixes together boogie-woogie, Ramsey Lewis, and Ray Bryant without sounding like a copy of any of them. He and drummer Big Joe Maher (who recalls Ray Charles and Charles Brown) each take two vocals, including one apiece with the backing of a tasteful three-voice vocal section. The other players are fine, but it is McKendree's piano (occasionally augmented by organ) that keeps the excitement really going. Highlights include a laid-back "Let's Get Go Stoned," "Just Before Sunrise," "Fool's Paradise," and "Sixty Sharp Knives." This accessible outing is well worth checking out.

An influential singer and pianist of the 1940s, whose smoky voice and commanding keyboard skills had a major influence on the Chicago blues sound.
The thundering 88s of Big Maceo Merriweather helped pave the way for the great Chicago blues pianists of the 1950s - men like Johnny Jones, Otis Spann, and Henry Gray. Unfortunately, Merriweather wouldn't be around to enjoy their innovations - he died a few years after suffering a debilitating stroke in 1946. Major Merriweather was already a seasoned pianist when he arrived in Detroit in 1924. After working around the Motor City scene, he ventured to Chicago in 1941 to make his recording debut for producer Lester Melrose and RCA Victor's Bluebird subsidiary…