A budget, 12-song collection taken from Gatemouth's three '80s era Rounder albums with an added bonus of a 10-minute version of "The Drifter," recorded live in Switzerland in 1982. A good starting point for anyone coming to this multi-talented artist.– by Cub Koda
Clarence "Gatemouth"Brown, a legend..Good blues recordings from the seventies.If you don't know his music, a good occasion to learn about him …special ….swinging…jazzy …louisiana blues, even with Canned Heath, share and enjoy
When Clarence "Gatemouth" Brown walked into the studio in the early '80s to record Alright Again!, he had already had an illustrious career by most standards. Yet, much of Gate's best output had been behind him by more than two decades; with Alright Again!, he set out to prove he was still a relevant artist. The album won Brown a Grammy, and its follow-up, One More Mile, was a Grammy-nominated record as well. Texas Swing combines the two records, culling 17 tracks from the sessions…..
Before Gate was able to rebuild a following stateside, he frequently toured Europe. He recorded the contents of this inexorably swinging set in France in 1973 with all-star backing by keyboardists Milt Buckner and Jay McShann, saxists Arnett Cobb and Hal Singer, among others…..
Though not one of the best known of the modern Texas blues guitarists, Clarence Green is regarded by his peers as one of the best. Green (not to be confused with the late Clarence "Candy" Green, a Texas blues pianist) did session work for Duke Records in the '60s with Junior Parker, Bobby Bland, and others, and performed with stars from Fats Domino to Johnny Nash. His own recordings have mostly been for small Houston labels. As Marcel Vos from Double Trouble Records wrote, "The Clarence Green of today plays a brand of Texas blues that is mixed with soul, jazz, and funk, not unlike the music of fellow Texans such as Roy Gaines, Cornell Dupree, and of course, his brother Cal Green."
Clarence "Gatemouth" Brown was 74 when he recorded American Music, Texas Style, and the Texas bluesman made it clear that he still had plenty of energy. On this CD, Brown really emphasizes his love of jazz. Young hard bop players like trumpeter Nicholas Payton and alto saxman Wes Anderson are on board, and the veteran singer/guitarist offers no less than three standards from Duke Ellington's repertoire ("I'm Beginning to See the Light," "Don't Get Around Much Anymore," and son Mercer Ellington's "Things Ain't What They Used to Be") and two classics from Charlie Parker's years with Jay McShann ("Hootie Blues," "Jumpin' the Blues"). Meanwhile, the jazz influence is hard to miss on such fast jump blues as "Rock My Blues Away" and "Without Me Baby." Brown's voice is thinner than it used to be, but his guitar playing is as energetic as ever. While this CD isn't definitive, it's a good, solid effort that Brown can be proud of.
A delightfully eclectic program spotlighting nearly all of Gate's musical leanings – blues, jazz, country, even a hearty taste of "Louisiana Zydeco" – and a revealing glimpse of his multi-instrumental abilities: he plays guitar, violin, drums, and piano! There's a tender remake of the Chuck Willis R&B ballad and a funk-tinged update of "Got My Mojo Working," but everything else is from Brown's own pen.