egroj world: J.B. Lenoir • Natural Man

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Como muchos habrán notado aparte del problema de Ulozto la cuenta principal Mega ha sido suspendida, por consiguiente el blog se verá disminuido temporalmente hasta poder reestructurar y normalizar el blog. Agradezco todas las muestras de apoyo que me han brindado. Gracias por comprender.



Monday, September 5, 2022

J.B. Lenoir • Natural Man



Review by Cub Koda
This collection of J.B. Lenoir's mid-'50s tenure at the label -- originally issued in the '70s -- duplicates two songs from the Parrot collection (a label which Chess later acquired), but the rest of it is more than worth the effort to seek out. The rocking "Don't Touch My Head," the topical "Eisenhower Blues" and the sexually ambiguous, chaotic and cool title track are but a few of the magical highlights aboard. Either this or the Parrot sides will do in a pinch, but after hearing this, you won't be able to imagine being without either one.



Biography
J.B. Lenoir probably picked up his solid boogie woogie influence in New Orleans, where he spent some time performing before he settled into Chicago's blues scene during the fifties and sixties. Lenoir had one of the most beautiful voices in postwar blues, and on his recordings his musicians gave him sparse, skeletal accompaniment, which framed his vocals perfectly. He was certainly one of the most original sounding of the blues singers.

While in New Orleans he played with blues greats Sonny Boy Williamson II and Elmore James. Once Lenoir made it to Chicago, Big Bill Broonzy helped introduce him to the local blues community, and he became an important part of the city's blues scene.

He was a talented songwriter and bluesman with an obvious political awareness. Examples of his outspoken views can be found in “Korea Blues,” and “Eisenhower Blues,” the latter reportedly caused enough controversy that his record label forced him to remake the tune under the title “Tax Paying Blues.” His penchant for social commentary and his high-pitched vocals distinguish him from other bluesmen of that time.

Lenoir recorded his most enduring number, “Mama Talk to Your Daughter,” in 1954 for the Parrot label. He was quite prolific between ’54 and ’58 for both the Parrot and Chess labels. Lenoir's recordings are also distinctive for their excellent saxophone arrangements and unconventional drumming (Alex Atkins and Ernest Cotton were often on sax with Al Gavin on drums).

By 1965 and’ 66 he did two acoustic albums “Alabama Blues,” and “Down in Mississippi,” these were done in Chicago under Willie Dixon's supervision. These have been reissued jointly as “Vietnam Blues,” and are quite astonishing given the social turmoil of the period as racism, Civil Rights, poverty, and the war. Lenoir seemed to vocalize the intense situations. No blues singer had ever or since covered such poignant themes.

Lenoir had successfully toured Europe and was likely about to achieve greater fame when he died in 1966 due to complications from a car accident.
Source: James Nadal
https://www.allmusic.com/artist/jb-lenoir-mn0000115733/biography

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Reseña de Cub Koda
Esta colección de J.B. Lenoir de mediados de los años 50 en la discográfica -- originalmente publicada en los años 70 -- duplica dos canciones de la colección Parrot (una discográfica que Chess adquirió más tarde), pero el resto vale más que el esfuerzo de buscar. El rockero "Don't Touch My Head", el tópico "Eisenhower Blues" y el tema sexualmente ambiguo, caótico y fresco del título son sólo algunos de los momentos mágicos a bordo. O esto o los lados de Parrot lo harán en un apuro, pero después de escuchar esto, no podrás imaginarte estar sin ninguno de los dos.



Biografía
J.B. Lenoir probablemente adquirió su sólida influencia en el boogie woogie en Nueva Orleans, donde pasó algún tiempo actuando antes de establecerse en la escena blues de Chicago durante los años cincuenta y sesenta. Lenoir tenía una de las voces más bellas del blues de la posguerra, y en sus grabaciones sus músicos le daban un acompañamiento escaso y esquelético, que enmarcaba perfectamente su voz. Sin duda, fue uno de los cantantes de blues con un sonido más original.

Mientras estaba en Nueva Orleans tocó con los grandes del blues, Sonny Boy Williamson II y Elmore James. Una vez que Lenoir llegó a Chicago, Big Bill Broonzy ayudó a presentarlo a la comunidad local de blues, y se convirtió en una parte importante de la escena blues de la ciudad.

Era un talentoso compositor y bluesista con una evidente conciencia política. Ejemplos de sus opiniones francas se pueden encontrar en "Korea Blues" y "Eisenhower Blues", este último supuestamente causó suficiente controversia como para que su sello discográfico le obligara a rehacer la melodía bajo el título "Tax Paying Blues". Su afición por el comentario social y su voz aguda lo distinguen de otros bluesistas de la época.

Lenoir grabó su número más perdurable, "Mama Talk to Your Daughter", en 1954 para el sello Parrot. Fue bastante prolífico entre `54 y `58 tanto para el sello Parrot como para el ajedrez. Las grabaciones de Lenoir también se distinguen por sus excelentes arreglos de saxofón y tambores poco convencionales (Alex Atkins y Ernest Cotton estuvieron a menudo en el saxo con Al Gavin a la batería).

Para 1965 y' 66 hizo dos álbumes acústicos "Alabama Blues" y "Down in Mississippi", estos se hicieron en Chicago bajo la supervisión de Willie Dixon. Estos han sido reeditados conjuntamente como "Vietnam Blues", y son bastante sorprendentes dada la agitación social del período como el racismo, los derechos civiles, la pobreza y la guerra. Lenoir parecía vocalizar las situaciones intensas. Ningún cantante de blues había cubierto nunca o desde entonces temas tan conmovedores.

Lenoir había viajado con éxito por Europa y estaba a punto de alcanzar mayor fama cuando murió en 1966 debido a las complicaciones de un accidente automovilístico.
Fuente: James Nadal
https://www.allmusic.com/artist/jb-lenoir-mn0000115733/biography


Discogs ... 


Tracklist
A1 Natural Man 2:33
A2 Don't Dog Your Woman 3:12
A3 Let Me Die With The One I Love 2:11
A4 Carrie Lee 2:41
A5 Mama, What About Your Daughter 2:28
A6 If I Give My Love To You 2:37
A7 Five Years 1:45
B1 Don't Touch My Head 2:16
B2 I've Been Down So Long 3:14
B3 What Have I Done 3:07
B4 Eisenhower Blues 2:51
B5 Korea Blues 2:49
B6 Everybody Wants To Know 2:16
B7 I'm In Korea 3:07

Credits
Alto Saxophone – Alex Atkins (tracks: A1 to A3, A5 to A7, B1 to B3, B6)
Bass – Willie Dixon (tracks: A1 to A3, A5 to A7, B1 to B2, B6)
Drum – Al Galvin (tracks: A1 to A3, A5 to A7, B1 to B4, B6, B7), Alfred Wallace (tracks: A4, B5)
Guitar – Leroy Foster (tracks: A4, B5)
Guitar, Vocals – J.B. Lenoir
Piano – Joe Montgomery (tracks: A1 to A3, A5 to A7, B1 to B4, B6, B7), Sunnyland Slim (tracks: A4, B5)
Tenor Saxophone – Ernest Cotton (tracks: A1 to A3, A5 to A7, B1 to B3, B6), Lorenzo Smith (tracks: B4, B7)

Notes
Originally released as Chess LP 410, January, 1970 as part of the Chess Vintage Series

All tracks recorded in Chicago:
Natural Man – 14th September, 1955, Chess LP410
Don't Dog Your Woman - 14th September, 1955, Chess LP410
Let Me Die With The One I Love -14th September, 1955, Checker 844
Carrie Lee – December 1950, Chess 1463
Mama, What About Your Daughter - 19th December 1956, Checker 874
If I Give My Love To You - 14th September, 1955, Checker 844
Five Years – 19th December 1956, Checker 874
Don't Touch My Head - 19th December 1956, Checker 856
I've Been Down So Long - 19th December 1956, Checker 856
What Have I Done – 4th March 1955, Parrot 814
Eisenhower Blues – March 1954, Parrot 802
Korea Blues – December 1950, Chess 1449
Everybody Wants To Know – 14th September 1955, Chess LP410
I'm In Korea – March 1954, Parrot 802
“Carrie Lee” and “Korea Blues” were purchased by Chess from JOB.




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