Blues Luminaries (Musselwhite, Buddy Guy, Keb Mo, Robert Cray), Front the Count Basie Orchestra on “Basie Swings the Blues’ (ALBUM REVIEW)

When the Count Basie Orchestra (CBO) comes to mind, so too do the names of blues singers and shouters Jimmy Rushing, Big Joe Williams, Ray Charles, Helen Humes, the immortal Billie Holiday and many more.  Arguably this lineup of contemporary greats is as impressive in this merging of traditional blues and swinging jazz, Basie Swing the Blues, a reprised title of a tune written and recorded by Basie in 1936. It features Buddy Guy, Bobby Rush, Keb’ Mo’, Shemekia Copeland, Robert Cray, Charlie Musselwhite, Bettye LaVette, Ledisi, Mr. Sipp, George Benson, and three others. Led by musical director Scotty Barnhart, the legendary Count Basie Orchestra takes the spirit of its iconic bandleader. As this is a project without any real reference points, Barnhart drove through Mississippi and immersed himself in the Delta blues of the originators of America’s art form in preparation for these sessions and choosing the repertoire. As you might guess, Steve Jordan assisted Barnhart in the production.

Most of these, especially those on Side 1 on the vinyl are highly recognizable blues standards such as “I’m a Woman,” “Stormy Monday,” “Down Home Blues,” and “The Midnight Hour” but there are some surprises too, notably Mr. Sipp’s opener “Let’s Have a Good Time” and the instrumental “The Patton Basie Shuffle,” crafted by Barnhart. In a rather obvious nod to “Let the Good Times Roll,” which Ray Charles sang with the original orchestra, Castro “Mr. Sipp” Coleman, one of today’s premier blues entertainers, ignites the proceedings with his soulful voice and stinging guitar, trading lines with the soloing saxophonist and buttressed by a vocal choir on the chorus. 

The first few harmonica notes are easily identifiable as those of Bobby Rush, the still vitally thriving 89-year-old who also puts his vocal stamp on “Boogie in the Dark.”  While the band swings to a walking beat, Rush has that knack for keeping it raw.  Blues belter Shemekia Copeland honors her mentor, Koko Taylor, in her take-no-prisoners vocal of “I’m a Woman,” written in response to Bod Diddley’s “I’m a Man” rendered by countless blues artists. Joining her for a searing guitar solo is the venerable Buddy Guy with Charlie Musselwhite adding his signature blues harp. Keb’ Mo’ and the smooth pipes of Lauren Mitchell take us to the dance floor, big band style, in a cover of Z.Z. Hill’s “Down Home Blues.” Bettye LaVette’s one-of-a-kind phrasing and emotive touch take the oft-covered “Stormy Monday” into completely new territory while a crooning Robert Cray steps into “The Midnight Hour,” recorded originally with Ray Charles in 1952. Cray punctuates his charged vocal with his piercing guitar jabs. 

Mr. Sipp in a bit of symmetry kicks off the album’s backside with a shuffling, strolling “Dirty Mississippi Blues” leading into Barnhart’s instrumental featuring the former CBO guitarist Charlton Johnson, an acolyte of the legendary CBO guitarist Freddie Green. Johnson soars along the orchestra in their most swinging moments on the disc, packed with outstanding brass and piano solos as well.  R&B and jazz singer Ledisi gets to the essence of the blues in her tantalizingly teasing take of the orchestrally sweeping and dynamic “Evil Gal Blues.” Singer Jamie Davis who has logged considerable time with the CBO over the years, conjures the old-school style of giants such as Big Joe Williams and Jimmy Rushing. Keeping the ‘old school’ intact, powerhouse Carmen Bradford, originally hired by the Count, evokes the vintage female shouters on her emphatic take of “Just for a Thrill.” In a final salute to the blues, George Benson adds his fluid guitar stylings to “Rock Candy,” one that he originally recorded with its composer, the iconic organist Jack McDuff in the early ‘60s. This one, like “The Patton Basie Shuffle” features several band solos, including, of course, one from the B3.

Barnhart’s grand experiment, for which there was no blueprint, hits on all cylinders. While today’s bigger names mostly decorate Side 1, Side 2 has a much heavier swing component that’s in line with Count’s legacy, with vocals that are least as equally strong. The Count is likely blessing it from above.

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