Charlie Musselwhite & The Dynatones – Curtain Call Cocktails

Rockin’ R&B laced with Chicago blues. An early lineup of the rock-and-soul Dynatones backs up veteran bluesman Charlie Musselwhite in a live set at the Belly Up Tavern in Solano Beach, California from 1982. Curtain Call Cocktails album by Charlie Musselwhite was released Feb 09, 1999 on the Westside label. Original 1982 live album, inc. 4 never before released cuts.







Charlie Musselwhite – The Blues never die


This 70-plus minute CD offers 22 tracks personally selected by this great bluesman, spanning his career on four labels (Vanguard, Paramount, Arhoolie and Alligator) with three unreleased tracks! Includes Tennesee Woman; Stingaree; Finger Lickin’ Good; After Awhile; Christo Redentor , and more.

Charlie Musselwhite – Tennessee Woman


The addition of jazz pianist Skip Rose gave a new dimension to the ensemble sound, and provided a perfect foil to Charlie’s own soloing — especially on the re-take of “Cristo Redentor,” extended to 11 minutes, shifting to double-time in spots. Rose’s instrumental, “A Nice Day for Something,” is a welcome change of pace, and Musselwhite’s “Blue Feeling Today” compares favorably to fine covers of Little Walter and Fenton Robinson tunes.

Charlie Musselwhite – Bremen, Germany 04.22.2010


Charlie Musselwhite Band
Bremen, Germany
Kulturzentrum Schlachthof
Jazzahead! 2010
01 Just Your Fool (Walter Jacob)
02 Going Home (Charlie Musselwhite)
03 Just A Feeling (Walter Jacob)
04 As The Crow Flies (Tony Joe White)
05 Long Lean Lanky Mama (Charlie Musselwhite)
06 Stranger In A Strange Land (Charlie Musselwhite)
07 Long Legged Woman (Charlie Musselwhite)
08 Cristo Redentor (Duke Pearson)
FM (analog cable) – Audacity – xACT
Nordwest Live – 2010-09-19
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Charlie Musselwhite – Sanctuary


On 1999’s Continental Drifter, king harmonicat Charlie Musselwhite began stretching the boundaries of his Delta blues’ heart to embrace music that encompassed the emotional and organic range of blues music without adhering to a strict formula. In that case, it was Cuban son; on 2002’s One Night in America, it was roots country and Americana. In both cases, the blues were the root and the destination, but by winding in these other sounds, Musselwhite’s blues heritage became more, not less organic; it was more deeply rooted in the soul of the Americas at large. On Sanctuary, Musselwhite’s reach extends back to the blues from the Mississippi Delta, but his pedigree reveals the blues tradition as the true signifier of all American music, whether that music is grown from the soil itself and projects itself to the ends of the earth, or reflects its image back across the distances to the homeland, or into a mirror. Inside that tradition is the cornerstone, the “sanctuary” for all modern popular music to claim as its root. Issued on Peter Gabriel’s Real World label, Musselwhite has assembled a crack band for this outing: Joined by guitarist Charlie Sexton (formerly of the Bob Dylan band), bassist Jared Michael Nickerson (Gary Lucas, Freedy Johnston, Jeff Buckley) and back from the One Night in America sessions, and Michael Jerome on drums (Jerome also played with the Five Blind Boys of Alabama who, along with Ben Harper, guest on the set). Sanctuary opens with Harper’s “Homeless Child,” and the composer guests on his Weissenborn guitar, ramping it down and laying out the killer slide blues for Musselwhite to wrap and moan his lyrics around and into the void of the night sky. With a skeletal chorus provided by Harper and Sexton, the tune goes from the porch to the stratosphere with only the six-string razor and the vocalist’s funky harmonica to frame its flight. Harper also guests on Musselwhite’s amazing swamp autobiography with the Blind Boys. The song walks the knife’s edge of the sacred and profane; it’s a hymn of both acceptance and repentance. There is a wonderful tension here, between the darkness of the narrative and the exuberance of the backing vocals and the shuffling drum kit. The atmospheric edges in Musselwhite’s mix, though, are better-evidenced by the tunes he plays with his own band, whether it be in the nasty, guttural blues of his own “My Road Lies in Darkness,” or in the spooky, laid-back humidity of Randy Newman’s “Let’s Burn Down the Cornfield.” With a cover of Chris Youlden’s “Train to Nowhere” — a song made popular by Youlden’s band at the time, Savoy Brown — the listener travels through time and space: Savoy Brown was trying hard to capture the feel and spirit of the Delta in their version, as the music of the region traveled north to Chicago. Musselwhite, with the Blind Boys, embrace the feeling and take it right back down the Mississippi River, thereby creating a double. While there are no weak moments on the set, a couple of the other standouts include the band’s instrumental “Shadow People,” which evokes the dread, mystery, and sexy darkness inherent in the music’s grain; a stunningly edgy version of Townes Van Zandt’s “Snake Song,” and a sweet, low, rumbling, sexy twitch that comes from Eddie Harris’ “Alicia.” Sexton contributes his own magnificent “The Neighborhood” to this; in the deep, expressive world at the bottom of Musselwhite’s voice it becomes a song that opens into the shadow side of the world we inhabit everyday. The album ends with a harp solo on “Route 19 (Attala County, MS)”; the player breathing it through the subtle body channels of marrow, bone, and heart cavity, into history, making an offering to the listener as a gift. Sanctuary sets a standard for authenticity, vision, and inspired excellence. Amen.

Charlie Musselwhite – Continental Drifter


For over 30 years, Charlie Musselwhite has released consistent, if not classic, blues albums in the great Chicago tradition. An acknowledged master of the harmonica, Musselwhite’s rough voice is also a recognizable aural trait, and on Continental Drifter he uses both to evoke a world weariness. In the same way a bluesman might rootlessly travel from town to town, the swinging melodies of songs like “Edge of Mystery” and “No” seem to drift and amble musically. Though it’s not one of his best efforts, the album — which also has Musselwhite dabbling with Tex-Mex on two tracks — is a solid offering.