Brownie McGhee
Blues Is Truth
© 2008 Labor Records (790987706421)
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1976 performances, with an all-star cast including Louisiana Red, Sugar Blue (harmonica), legendary blues pianist Sammy Price, jazz greats Alex Blake (bass), Brian Brake (drums) and gospel vocalist Jim Robinson.
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REVIEW / CODA
Brownie McGhee, sans Sonny Terry on “Blues Is Truth” is refreshing. McGhee is freed of the highly clichéd McGhee/Terry formula and allowed to stretch out as a independent. He is accompanied by Louisiana Red (slide guitar and harp), Sugar Blue (harp), Sam Price (piano), Bob Foster (guitar), Alex Blake (electric bass) and Brian Brake (drums). Collectively the backgrounds of the sidemen include rural and urban blues, Motown, boogie woogie and new jazz. The diverse backgrounds blend together well and make for an interesting musical mix. On the cuts with full ensemble backing, there is a great deal happening, and the sound mix enables a full appreciation of this.
Not all of the twelve tracks feature the full complement of sidemen. The range is from full ensemble to a quieter guitar duet format. Brownie encourages a great deal of exposure for his sidemen. One of the highlights, Rainy Day, features the exceptionally competent and highly original Sugar Blue well in the foreground with Brownie on vocals and guitar and Blake on acoustic bass. Mean And Evil finds Brownie backed by Red with some emotive slide guitar, Blake with some funky electric bass and Brake on drums. A third highpoint, Blues On Parade allows Blake a few bars to stretch out to good advantage. Blake’s input is appreciated and felt on the majority of cuts. Also of note are Sam Price’s introductions and backing throughout the ensemble sides and Foster’s periodic jazz guitar runs.
With the exception of Wine Spodie Odie and Key To The Highway, all titles are penned or accredited to McGhee. Many of the songs come from the standard McGhee/Terry repertoire. In light of this there is a tendency for a McGhee/Terry feeling to creep in. This is especially true when Brownie lapses into his usual vocal style or when his guitar is prominent. However, who is to say that this is bad? The McGhee/Terry mood is quickly dissipated when Brownie calls upon Blue, Red or Blake to take a break. “Blues Is Truth” is an enjoyable and recommended set. The overall mood ranges from quiet, introspective and mellow to high energy, good time music. Brownie and his sidemen obviously had a good and mutually creative time of it. Production, mix and pressing all add to the high quality of this collection.
–Doug Langille / CODA Magazine