ROCKIN' JOHNNY BAND Grim Reaper (CD)

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(2011 'Delmark') (62:36/15) Mit seinem coolen, leichtgewichtigen Gesang erinnert er an... mehr

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ROCKIN' JOHNNY BAND: Grim Reaper (CD)

(2011 'Delmark') (62:36/15) Mit seinem coolen, leichtgewichtigen Gesang erinnert er an Billy Boy Arnold. Als Gitarrist kommt er sehr nahe an Johnny B. Moore heran. Traditioneller Chicago Blues von einer der beliebtesten Bands in der Stadt, die 1995 erstmals ernsthaft auftauchte. Ein gutes Album

His new GRIM REAPER does more than seal the deal for an artist who kept his thirst for writing and playing even while he's be-come more comfortable with himself. 'I'm more effective,' Johnny said just before departing for a European tour. 'While I can't stay up all night, now I really am focused. I had it, been without it, and now that I have it again, I'm not letting it go.' Like the night before a GRIM REAPER mixing session, when Johnny played a birthday bash at B.L.U.E.S. 'So many musicians were there, like Eddie C. Campbell—that would have made me so nervous when I was in my late 20s,' Johnny said. 'But I wasn't nervous at all, though not so relaxed that I don't care. There has to be a little adrenaline going, or you're doing it wrong.' That energy is also a kernel for innovation, such as this disc's title track, which—like Lousy Dimes—is from the pen of Johnny's longtime friend Ken Kawashima. Lyrically, the story is medieval, but Johnny updates the tale through his studio-enhanced backwards guitar (otherwise, he's effects-free). 'The song is a conversation be-tween the grim reaper and the singer, so that backwards guitar is like the pull of the underworld,' Johnny said. 'That worked out beautifully.'

GRIM REAPER also reconnects Johnny with James Porter, who frequently checked him out during the 1990s, and sometimes blew harp with his band onstage. Nowadays, Porter is a perceptive blues critic and his One And One Ain't Two features imagery that reflects his uncanny imagination. Even when Rockin' Johnny and his band are playing comparatively straigh-ahead blues tunes, his spacings make: his notes vivid and personal, especially on Brand New Boots, Rollin' And Tumblin' and My Baby's A Good 'Un. 'I usually stick to the melody in a solo,' Johnny said. 'And there are holes in the melody, and in the holes, I put a comment on the melody. If you do that, the solo plays itself. Then you can do it again. That's it. One of my heroes was Guitar Junior. His style is boiled down, but he had that sting.' Johnny mentions Johnny B. Moore as another role model, especially for his vibrato. That technique quietly come to the forefront of Window To The Soul and a drawn-out Everybody Needs Somebody. 'There are a few different versions of that, it's like you're grinding the ...

Artikeleigenschaften von ROCKIN' JOHNNY BAND: Grim Reaper (CD)

Interpret: ROCKIN' JOHNNY BAND
Albumtitel: Grim Reaper (CD)
Label DELMARK
Genre Blues
Preiscode VCD3
Artikelart CD
EAN: 0038153082024
Gewicht in Kg: 0.1

Burgin, Rockin' Johnny - Grim Reaper (CD) CD 1
01	Grim Reaper	ROCKIN' JOHNNY BAND
02	One And One Ain't Two	ROCKIN' JOHNNY BAND
03	Window To Your Soul	ROCKIN' JOHNNY BAND
04	I Was Fooled	ROCKIN' JOHNNY BAND
05	Lousy Dimes	ROCKIN' JOHNNY BAND
06	Rollin' And Tumblin'	ROCKIN' JOHNNY BAND
07	It's Expensive To Be Broke	ROCKIN' JOHNNY BAND
08	Don't Mess With Me Baby	ROCKIN' JOHNNY BAND
09	My Baby's A Good 'Un	ROCKIN' JOHNNY BAND
10	Brand New Boots	ROCKIN' JOHNNY BAND
11	My Sweet Baby	ROCKIN' JOHNNY BAND
12	Somebody Loan Me A Dime	ROCKIN' JOHNNY BAND
13	Shoe Leather And Tire Rubber	ROCKIN' JOHNNY BAND
14	Everybody Needs Somebody	ROCKIN' JOHNNY BAND
15	Party This Christmas	ROCKIN' JOHNNY BAND

Rockin' Johnny In mid-1990s Chicago, musical worlds burgeoned, collided and cohered. Young... mehr

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"ROCKIN' JOHNNY BAND"

Rockin' Johnny

In mid-1990s Chicago, musical worlds burgeoned, collided and cohered. Young jazz players crafted their own take on different traditions. Rockers turned toward country. A few became rock stars. Through it all, blues singer/ guitarist Rockin' Johnny Burgin set his own pace. Back then, and today, a slew of disciples of this city's 12-bar traditions turned their tributes into overwrought clichés. Rockin' Johnny stood apart from all of that. He absorbed the right lesson from West and South Side mentors.

That was: economy should be a blues musician's ally. Pack a world into a few sharp notes and let the spaces sing for themselves. At the same time, Johnny stayed hungry enough to book his own groups throughout large cities and small towns, and tells that story in the song Shoe Leather And Tire Rubber. Meanwhile, he sharpened his skills when he served as a sideman for such legends as Tail Dragger, Jimmy Burns, Sam Lay, Pinetop Perkins, Billy Boy Arnold, Little Arthur Duncan and Jimmy Lee Robinson. Some outside gigs added fuel for his originality—like a memorable night at Beat Kitchen working alongside perverse R&B singer Andre Williams.

But when that decade ended, Johnny walked away from music. Johnny's early and, ultimately, brief time away from the stage echoed Wes Montgomery's decision in the early 1950s to hold factory jobs: the jazz guitarist had a a family to support, and remarked, "What I wanted to do didn't matter as much as what I had to do." A couple years ago, Johnny got back into performing and released NOW'S THE TIME in 2010.

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