With the recent loss of Detroit Jr. it becomes more acutely aware than ever that the piano blues is a dying art form. There's only a handful of old timers keeping the tradition alive such as Pinetop Perkins, Big Joe Duskin, Henry Gray and Ernest Lane. Barrelhouse Chuck represents one of the few younger generation pianists (he's 48) and has been well schooled in the art as he demonstrates on the fabulous "Slowdown Sundown."
Chuck has paid his dues the time honored way by apprenticing with piano masters such as Sunnyland Slim, Pinetop Perkins, Lafayette Leake and Little Brother Montgomery. Chuck spent 10 years studying with Sunnyland who he calls "the great-granddaddy of all the blues piano players." He also formed a special bond with piano legend Little Brother Montgomery. He honed his craft working and recording with a who's who of Chicago legends like Louis Myers, Jimmy Rogers, Jimmy Dawkins, Billy Boy Arnold, Detroit Jr. and Big Smokey Smothers and many, many others. Along the way Chuck has released several fine recordings under his own name such as 1999's fine "Salute To Sunnyland Slim" and 2002's strong "Prescription For The Blues." "Slowdown Sundown", on his own Viola label, finds Chuck in peak form playing both solo and with an all-star cast of Chicago bluesmen…..
Chuck Goering is an unsung veteran of sorts. While his name doesn't inspire the reverence reserved for Pinetop Perkins, he had the rare opportunity to study under Chicago's blues piano legends. The journeyman cuts loose on this release and has a number of A-list stars sitting in. With a style that's both flexible and disciplined, he handles the ivories with ease. Willie Kent makes an appearance on his own tune, 'Mama Told Me', and transports the listener to a South Side juke joint. Other covers include Hound Dog Taylor's 'Walk In The Ceiling' and Earl Hooker's 'Wah Wah Blues'. Chuck takes great care in preserving the integrity of each tune and does so thanks to guest shots from Kent, Sam Lay and Carl Weathersby. A great collection of work!
Barrelhouse Chuck's tribute to piano great Sunnyland Slim was one of the last recording sessions by longtime Chicago drummer S.P. Leary and also included Muddy Waters' former rhythm section of Calvin "Fuzz" Jones and Willie "Big Eyes" Smith.
Which Chuck E. Weiss do we talk about here? The one who so impressed blues legends Lightnin Hopkins and Willie Dixon as a Denver teenager that they took him out in their road bands? The one who lived in LA's Tropicana Hotel in the 70s alongside Tom Waits and Rickie Lee Jones, ending up namechecked on the classic Waits albums Small Change and Nighthawks at the Diner, and in Rickie Lee Jones hit "Chuck E.'s in Love"? The one who has recorded with Tom Waits, Muddy Waters, Howlin Wolf, Roger Miller, Dr. John, Willie Dixon? Whichever Chuck E. Weiss you choose, he's a legend, and his 2014 album, Red Beans and Weiss, delivers on the big personality. Executive produced by Johnny Depp and Tom Waits, Red Beans and Weiss blends blues, barrelhouse, and bluster into a highly entertaining whole.
Armed with just his "Feels So Good" quintet and occasionally a couple of brass players, Mangione's more grandiose ambitions are pretty much behind him on his final A&M release. The emphasis is almost entirely on spinning pretty tunes for his new mass audience without alienating or challenging it much. Not that this collection is completely soporific or lacking the jazz touch; "Pina Colada" revives things with some uptempo flights for Mangione's flugelhorn and Chris Vadala's tenor, and the title cut is an amiably jumping, if repetitive funk workout for the quintet. The major push, however, went to "Give It All You Got" – another upbeat, optimistic, good-times motivating tool, heard extensively at the 1980 Winter Olympics – and Chuck gives it to us again at a listless tempo with the title, "Give It All You Got, But Slowly." As things transpired, this would be his last halfway decent studio album for at least the next decade.
This import version of Chuck Mangione's A&M hits collection contains three more tracks than its domestic counterpart, as well as his volume in the Universal 20th Century Masters collection. The bottom line when it comes to Mangione's music: his biggest period was in the '70s for A&M, when he had his monster hit "Feels So Good." That one has to be here, but so are other noteworthy (and very successful) singles such as "Land of Make Believe," "Chase the Clouds Away," and the overture for "Children of Sanchez."
This is a bass method book designed to help beginning bassists, or anyone wanting a solid foundation for creating walking bass lines. It covers all the basic principles of walking bass line construction, time feel tips, ear training, and transcriptions of every bass note the author plays on the accompanying play-along CD. Endorsed by Eddie Gomez, Jimmy Haslip, John Goldsby, Ben Allison, etc.
One of the most versatile of all East Coast contemporary jazz guitarists, Chuck Loeb was equally inspired to play screaming fusion as he was to write hip radio-ready smooth jazz hits and sweet candlelit gems. This nice collection definitely focuses on the latter, highlighting his low-key acoustic and electric playing on songs culled from his seven Shanachie releases from 1996-2005.
In the 1980s, the Washington, DC bandleader Chuck Brown pioneered the percussive, hypnotically swinging dance genre known as go-go, conducting marathon all-night dance sessions with a band whose energy and sheer musical power was legendary. Brown's 2007 We're About the Business finds the master more relaxed but no less funky, with insistent jams such as "Love Nationwide" and the vintage-sounding "We Come to Party" proving he still has a lien on the dancefloor.