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James Booker |
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Review 1 of 3
The Lost Paramount Tapes (DJM Records) - CD10010
James Booker is perhaps, along with Professor Longhair, the definitive New Orleans Piano Player. This album captures him in an all-star session with a bunch of players that make him shine in the way that only Booker could. These tapes have been lost for many years, as this session was recorded in 1973, and luckily for all of us, in 1992 tapes of the final mixes were discovered. Just listening to this album gives one goose bumps. It shows all of the artistry that Booker possessed and could call on at any given time. There are New Orleans standards like "Junco Partner," folk songs like "Goodnight Irene," which gets a rocking treatment to lead off the disc, and even a medley of "Stormy Monday" and "Hound Dog," which shows Booker's facility at playing just about anything. If you have never heard Booker before, run out and buy this album. It is a great introduction to one of the most talented piano players to come out of the Crescent City. Booker is the man that Dr. John always cites as his biggest influence. In fact, in the liner notes, Dave Johnson, bass player and co-producer says that Dr. John told him that he played the cassette of this album for his band and said that this is what his music should sound like. This is one of the best albums to come down the pike in quite some time. It is a rollicking, rolling set of great blues and New Orleans soul. Let it roll over you and wash you away. J.P. Review 2 of 3
The Lost Paramount Tapes (DJM Records) - CD10010
I had to pinch myself when I saw an ad for this CD and after a very interesting telephone conversation with producer and label owner Daniel Moore, I was absolutely stunned by what was said. Here was a "lost" studio session from 1973 featuring James "Gonzo" Booker, the most incredibly gifted pianist/organist to ever come out of New Orleans and he's backed by an all star crew of Crescent City pals: drummer John Boudreaux, Richard "Didimus" Washington on percussion, Alvin "Shine" Robinson on guitar, Jessie Hill on tambourines, and David Lastie on sax, along with co-producer David Johnson on bass. Booker was an incredible human being and the stories floating around about him and his sometimes bizarre behavior don't take one iota away from his reputation as the most brilliantly creative and innovative pianist on Planet Earth. He was and is the New Orleans sound, and of all the many releases he had this session stands head and shoulders above the rest. It was almost always "Oh yeah, Booker... he's great but he's got problems" and the unfortunate thing is, that in many cases people don't look past the label of "addict" or "trouble-maker" and then the artist's work doesn't get the unbiased attention/scrutiny it deserves. James Booker should only be remembered for his contributions and victories in life, and he has many. A pianist who could astound with his brilliant execution of classical masters like Brahms and Back or a low-down boogie-woogie. Booker was in a musical limbo-land in the early 1970s. Co-producer Dave Johnson was touring with Dr. John in 1969 during Mac's psychedelic "Night Tripper" phase and during a gig at New York's The Scene nightclub, James Booker showed up in the audience having come to hear his old buddy Dr. John a.k.a. Mac Rebenack. Booker quickly became part of the tour group and a great time was had by all. In 1972, Johnson was back in California, living in Burbank, when Booker phoned him and asked for work and a place to live. Daniel Moore was a fairly successful producer at the time (and a gifted song-writer), and he had been asked by Johnson to check out the gig.He did, he liked it,Johnson said, "Wanna co-produce him?" Moore said,"Let's go record." They did session work and toured local clubs with other New Orleans transplants living in the area and in 1973 this session was set up with the end results supposed to be shopped in Los Angeles to major labels. The masters mysteriously disappeared from Paramount's Recording Studio Tape Library and it wasn't until co-producer Daniel Moore found tapes of the mixes in 1992 that the music got heard again. Dr. John was given a copy of the tape and he told David Johnson that he plays this for his band and tells them: "This is what we are trying to capture." Nuff said! This is a live-in-the-studio session (save for some B-3 organ overdubs on a few tracks) and Booker runs through his favorite New Orleans ditties with everyone having a ball. "Goodnight Irene", "Junco Partner", "So Swell When You're Well", "Junco Partner #2", "Tico Tico", "Lah Tee Tah" and five others with Booker's fingers dancing away on a little spinet tack piano that really has a wonderful sound. New Orleans music has just been given a masterpiece with this addition to James Booker's library of recordings and DJM Records deserve our support, thanks and a variety of awards. Daniel plans on using the profits to record and release other blues-related projects. Perhaps he's got more surprises in store for us? 6 bottles for an immediate Hall-of-Fame addition. Magic music! - -AG Review 3 of 3 The Lost Paramount Tapes Like any New Orleans pionao buff, I was astounded to see this posthumous release of an entire James Booker studio compact disc, especially one with so many quality New Orleans musicians in support. Recorded in Los Angeles in 1973, the piano prince is back by the likes of David Lastie, Jessie Hill, "Shine" Robinson, John Bourdreaux and "Didmus" Washington. Seeing the light of day for the first time, it's amazing that these gems remained unreleased for 24 years, especially considering how Booker's legend continues to grow long after his tragic death. However, the liner notes explain the circumstances. On this set, booker plays a tacked piano-the liner notes explain that too -- which gives his playing an even more authoritave sound than most Booker fans are accustomed to. Booker stays in familiar teritory with songs like "So Swell When You're Well," "Goodnight Irene" and Junco Partner" (two versions) although some might consider these the ultimate Booker treatments. "Feel So Bad" has one of Booker's strongest vocal performances and an interesting organ overdub. On the instrumentals, "African Gumbo" and "Lah Tee Tah", Booker is off to the races while the band -- outside of the marvelous drumming by Boudreax (check him on "Tici Tico") -- tentatively follow. In fact, on the medley "Stormy Monday/Hound Dog," who else but Booker could mesh these two songs? Lastie and Robinson don't even try. Although there's nothing especially groundbreaking here -- only because of the variety of Booker already available -- this CD is indeed a surprise and thoroughly enjoyable. The Lost Paramount Tapes only add to Booker's legacy and make you wish that he was still playing at the Maple Leaf, --Jeff Hannusch |
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