eleven new tracks present sophisticated and affectionate takes on compositions from the catalogue of his heroes, such as Blind Lemon Jefferson, Reverend Gary Davis, and Blind Willie McTell. The album was masterfully engineered by Jason Weinheimer, who also played bass on one track. The music is a master class in finger-picking guitar skills performed on Howell’s beloved Collings and Thompson guitars. Although the songs may be considered “Old Timey,” as they originated in the late 1800’s to the early 1900’s, Howell never resorts to pantomime or minstrelsy, but rather delivers each with authentic grace and the sincere narration from a great blues storyteller.
Blind Lemon Jefferson’s composition, “Stocking Feet Blues,” opens the set with Howell deftly rolling off the walking bass line that sets the form of a man’s lament for a woman who rebuffs his affections. Howell tackles the Appalachian fiddle and banjo tune, “Cluck Old Hen,” bringing the dark comedy from the 1880’s to life with flair. Modern blues fans may be familiar with The Allman Brothers version of “Statesboro Blues” that Howell returns to its original arrangement recorded by Blind Willie McTell in 1928. Another Jefferson tune, “Easy Rider Blues,” was a blueprint for guitarists to perform unison vocal and guitar lines opposite a repeating hook line as demonstrated by Howell to perfection. Known for his many song/sermons Rev. Gary Davis based his “Twelve Gates To The City,” on a Bible verse from Revelations, which Howell delivers with proper reverence and praise.
Delicate major key fingerpicking masks the sorrow and sadness of “All My Friends Are Gone,” and its real-life account of the murder of young Delia Green, who inspired many versions of the song. The maestro performs his impeccable take of the languid ramble “Mississippi Blues,” transcribed from a 1942 Lomax field recording. Howell presents two more numbers from the beloved Rev Gary Davis, the gospel sing along “Sit Down On The Banks Of The River,” and the saucy “Sally, Where’d You Get Your Liquor From?,” further demonstrating his intense scholarship of Piedmont Blues and the man who introduced it to the world in the 1930’s. Howell credits Nick Katzman with the arrangement of the traditional folk song “I’m Going Away,” that features complex melodic contours.
The instrumental track “Dallas Rag,” transcribed from a 1927 recording closes the album as a delicious mignardise of string band confection. Rick J Bowen
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For more information: Betsie Brown, Blind Raccoon, betsie@blindraccoon.com
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