(#6 in a series of 10 albums that shaped my musical taste)

1979 – I was still loving the blues, more often than not blasted out by a rash of speedy punky British R&B merchants like Nine Below Zero and The Inmates, so what’s a music fan to do but go back to the source, to find out where all that stuff came from?

I was lucky, as it happened, to find Muddy Waters at a time in his life where he was given license to do what he did best.. play the blues, of course.. unencumbered by studio chicanery, no pigeonholes, no commercial considerations (other than to put him back in touch with his fans), under the watchful eye of an empathetic producer and guitarist in Johnny Winter, and backed by like-minded souls sensitive to every on-stage and in-studio move of the Godfather of the Blues, the Man himself.

Muddy electrified and defined the blues for the post-war generation, and over the course of four late-period albums, put himself back in the spotlight for an amazing swan song. The live album was the one I bought first, quickly followed by Hard Again and I’m Ready, Grammy winners all.

Undisputably the real deal: I’d heard nothing like it before: the swarm of angry bees that was Johnny Winter‘s slide guitar, the unmistakeable tone of the slide of the King Bee himself.. Muddy, the black Buddha, pouring out the deep, slow blues (because that’s “where the soul is”, right?). The tasteful restraint of Bob Margolin and Luther Johnson, the contrasting bass styles of Charlie Calmese and Calvin Jones, the rumbling piano of Pinetop Perkins, the literal pattering economy of Willie ‘Big Eyes’ Smith on drums.. and James Cotton and Jerry Portnoy, who showed me that you could really play harmonica (rather than just breathe in and out of one and make a good noise). That’s quite some roll call.

And perhaps for the first time, the music I was listening to had space: it was concise and crisp. Not so much about what was played, but what wasn’t – creative tension, undertow, timing.. what ever you like to call it. Soul, most certainly. The unvarnished truth.

Muddy Waters was my conduit to a world of blues and soul music, past and present.. a path I’m still walking. Muddy passed away in 1983, but those six years with Blue Sky Records displayed him at full power – an essential final portrait of a legend.

P.S. Part 7 of The Sacred Days You Gave Me: 1981

For example, how did the wonderful William Clarke (below) do what he did? Wilf’ll tell ya. Check out his blog.

A good few years ago now, one blues track in particular sneaked out of my radio, lodged in my brain, and made sure that I would always look forward to the latest James Harman Band release. The track was ‘Stranger Blues’ from the Black Top Album ‘Do Not Disturb’, an album which is still in my all time top ten. In the engine room of that band was a gentleman by the name of Jeff Turmes, on Fender bass, bottleneck guitar, baritone and tenor saxophones. Three albums later, an interview with James intimated that Jeff was leaving to work with his partner Janiva Magness; I thought ‘I have to watch out for that!’. Fast-forward a few years …. the Janiva Magness Band’s album ‘My Bad Luck Soul’ appears in the pages of Blueprint …. Janiva and Jeff put in stellar cameo appearances with the Fabulous Thunderbirds guitar man Kid Ramos. Their star is rising, and on a recent visit to California I managed to catch up with them both.

Janiva Magness’ vocals light up each and every record she appears on; she can sing passionately, or seductively, growl and shout too (I’m not going to compare her to anyone else, she sounds like herself, and she sounds great!). I heard that voice first over the telephone: Janiva told me that she and Jeff had just returned from a trip to the Handzame Festival in Belgium, where they played to appreciative audiences and a great reception. She was convalescing when I spoke to her, and unfortunately I wouldn’t be in the US long enough to take in her next appearance at the Covina Bluesapalooza 2000 where Janiva and her band would appear alongside Kim Wilson and James Harman, and share a stage with Kid Ramos. I was recommended however to take a trip to Jeff’s next gig, which would be in Long Beach.

Jeff and regular Magness band drummer Dave Kida were moving an interesting and eclectic variety of equipment into the Blue Café as my party arrived. We introduced ourselves and settled in at a table to enjoy the show along with the happy-hour patrons and a couple of bottles of Dos Equis. It became apparent very quickly that these guys were up there to have fun as well as put on a show.

I was delighted by the world-weary good humour of two songs, the Turmes original ‘Once In A While’ (what, no kazoo solo?!) and a personal favourite of mine, Mose Allison‘s ‘Nothin’s Gonna Be Alright’. Firm favourites also were the infectious good-time boogie of ‘Happy Hour’, Jeff’s “…tribute to the presidential debate, ‘Making Money’…” and a sterling version of Jimmy Reed‘s ‘Bright Lights, Big City’. Jeff exercised his glass bottleneck slide many times, to no better effect than on his version of ‘So Glad You’re Mine’. Dave pounded and thumped a wonderful selection of drums (“..one African and one South American..”) and kept up the pace, cross-stage smiles, nods and chatter confirming that these were two outstanding musicians, well used to working together. Another highlight was the lazy lope of ‘Take A Number’, from the ‘Bad Luck Soul’ album.

In between sets, the amiable and instantly likeable Jeff told me about his musical background. Most recently, he’s featured on Kid Ramos’ two most recent Evidence albums. “Yeah, it was good to get the chance to work with Kid and get some great experience arranging the horn charts. I played also with Richard Thompson on the ‘Mock Tudor’ album…they spelled my name wrong on the sleeve though!”. He grins wryly. I mention the thing I’ve always liked most is that great blues sound, that tone. ”Sure…you know, that old Guild guitar, I got it 20 years ago when I didn’t know what I was doing! Sounds pretty good now though”. James Harman’s bands always had that good sound too? “Of course, but what a lot of folks miss are the lyrics; you know, I worked on the ‘Takin’ Chances’ album, and there’s a gambling song on there called ‘Five’ll Getcha Ten’ that just has the most imaginative lyrics”.

So what comes next? “Well Blues Leaf have asked us to do another record, and we’ll probably try and fit that in before the end of the year. Janiva’s got the songs…you know, I think she should put a record out, just her.” And who else have you been working with? “I’ve been doing stuff with Doug McLeod – do you know his work? – ah you should come back and see him sometime, he’s great. He records for Audioquest, man, those records sounds fantastic. I’ve also been working with Rick Holmstrom and Kim Wilson”.

Jeff has a wealth of experience from his role as sideman, but let it be said right here that the best Jeff Turmes as songwriter and musician is to be found on the all-original thirteen tracks of ‘It Takes One To Know One’, recorded with Janiva. The album is a real cross section of styles, all perfectly executed: West Coast shuffles, booting R&B, touches of New Orleans funk, complemented by Janiva’s sometimes sultry, always soulful vocals. It was a real pleasure to meet the man.

Speaking to Janiva again the following day, I learnt that she comes from Detroit (which of course has produced some of the greatest blues and R&B stars): “I’ve been singing for 25 years…there was always music in the family when we were growing up”. Jeff and Janiva first met in Los Angeles club ‘King King’ (famous here for the residency of the Red Devils), they got together to work out a song, and the rest is history. How’s the blues scene out here on the West Coast? “Well, it’s still ‘up’, there’s a lot of music about though, it’s a little saturated right now, but hey, we make a living!”.

And Europe was fun: are you coming back some day soon? “Yeah, we took over the full band to Belgium and it was great; we have an agent over there and it would be great to come back to England”. Listening to the ‘Bad Luck Soul’ record, the vibe is great, the sound is just right and it’s very fresh and spontaneous: she told me that it was recorded in just two days. The duo work she’s been doing gives her and Jeff the chance to work out new songs, in addition to having fun: Janiva confessed a fondness her rub-board and snare which she uses in the act: “They’re my favourite things….oh yes, and my dresses and shoes!” So you’re the Imelda Marcos of the West Coast? “Sure, that’s it!”.

Following my conversations with these two stars, it’s obvious that things can only get better for Janiva and Jeff. I left California with the distinct impression that the future looks bright; their talent is undeniable, great original songs, fine sound. SoCal, so good!