Computer Age

Junior Wells
Hoodoo Man Blues
Delmark 1965

Junior Wells was born near Memphis in 1934 and died in 1998. Goes Blues Brothers 2000. Along with Little Walter, Junior Parker and others, is one of the masters of modern blues harmonica and one of the best voices recorded blues, with a strong and unique style. Seco, virile, serious, deep and wide. Represents the modern blues from Chicago to perfection: Hoodoo Man Blues is the ABC of style for everyone who wants to know what was the matter. His first feature as a soloist. He learned of Junior Parker and began in earnest with the brothers in the legendary Aces Myers, when the combo was completed with Fred Below, drums converted jazz to blues, master of the drums on hundreds of recordings. He joined the band of Muddy Waters when Little Walter, following his first hit, Juke, left the formation in 1952 to lead the Aces, a quartet with two guitarists, not low. Waters had the paradigm that is considered blues band from Chicago, a school for future figures, similar to the formations of Miles Davis. It built up to Wells to publish his music. Prior to this album, recorded with, among others, the cousin of John Lee Hooker, Earl Hooker, pioneer wah wah guitar and experimentation. He recorded with one of its most popular, Messin 'with the kid. Hoodoo Man Blues is considered one of the best blues albums of all time. In addition to throwing by land and not overwhelm many topics at any time with virguerías of which were quite capable, offering a set of songs in which the sound excellent and true to live. Presents the attitude of style in its proper point, neither more nor less. The most characteristic feature is the restraint of the interpretation is never fully exploited, but there is a genuine and total control over the flow of sound. Each element sounds at the time and does not extend beyond. Reaches the peak flow and returns to multiply their strength and expressive power. 100% attitude. Open vinyl Snatch it back and hold it and no doubt, with continued cuts to support voice and harmonic rhythm, leading to the set. Wells belong to another generation different from Waters and Walter, the original funk and rhythm'n'blues already there, so in the disk variety of styles is wide, but in a primitive and concise format, no frills nor sobrearreglos. The quartet, completed by Buddy Guy, Jack Myers and Billy Warren played exactly just always around the voice. The themes are, in addition to Wells and Guy of Leiber & Stoller (Hound Dog accelerated impressive in minor mode), Sonny Boy II (possibly the most hot school Good morning recorded) and others like Kenny Burrell (Chitlins con carne, instrumental rhythm ' Latin N'BLUE together We're ready to show the versatility and filling of the band). The disc is rounded off with a slow minor blues offsetting the fury of the rest. Smalls in the wee hours of the morning is a melancholy semiinstrumental which extends the scope of the emotional work. You do not love me baby in this record is one of their best versions too, as well as lawdy Hey mama, where the guitar and harmonica complement to perfection, with phrases response percussive bass on Guy Myers, who in most parts of the disc plays more notes in the usual style, without tiring, a little legacy of the Aces: exit fee to redefine it as rarely happens. Exquisite work by Guy on guitar, playing almost pure pace, according to the tone of the disc, which does not project any of the four on the other, working the short sentences, repetition of simple reasons, the riffs and attack on the joint strengths. Rhythmic accents determine the nature of the issues. Wells is the harmonic gold, dominating the serious and contained the phrases, cutting, with an audio stream almost tangible. Blues pure and simple.