(Blues) Big Walter Horton - Bocce Boogie [Glowing 1978]

  • 14.06.2016, 06:23,
  • Music
Class: Blues
Styles: Harmonica Blues,
Charged Blues, Chicago Blues
Recorded: 1978
Released: 2008
Docket: Topcat
Fill In: mp3; 320 Kbps
Assay: 167.0 MB
Leisure: 70:43
Art: Absorbed covers

More info:

01. Every Day I Have the Blues (5:25)
02. Walter's Boogie (4:08)
03. Upset in Disposition (5:29)
04. My Babe (3:54)
05. Faint Chills (3:40)
06. That«s Why I»m Cryin' (7:41)
07. Bocca Boogie (4:06)
08. La Cucaracha (2:48)
09. Marvellous Hyacinthine Angel (7:20)
10. Indulge Please Don't Go (4:06)
11. Indefatigably Hearted Gal (4:37)
12. Little Bitty Damsel (4:36)
13. Don't Get Around Much Anymore (4:01)
14. Tell Me Why (3:52)
15. Breakin' with the Earl (4:53)

Big Walter Horton — Harmonica & Vocals
Johnny Nicholas — Guitar & Vocals
Ronnie «Youngblood» Earl — Guitar
Anthony «Geraci» Giarossi — Piano
Michael «Mudcat» Quarter — Bass
Ted Harvey — Drums
Sugar Ray Norcia — Harmonica (6) & Vocals (1)

Recorded at The Bocce Beat, Woonsocket, RI.

September 1978, by Dick Koulbanis
© 2008 Topcat Records

Unbelievably this cracking crop recording comes from a soir at The Bocce Beat in Rhode Holm defeat in 1978 - to rejoice in the wedding ceremony of Joan and George Nicholas ΓΓé¼ΓÇ£ recorded on a sway to sway spool recorder by Dick Koulbanis with one microphone!

And what a line was assembled for the evening: imaginary harmonica participant Big Walter Horton, Johnny Nicholas, Ronnie Earl (then known as «Youngblood») with the noteworthy metre cut up of Michael «Mudcat» Quarter on bass and Ted Harvey on drums, as well as Anthony Giarossi (later Geraci) on piano and a two of lodger spots from Sugar Ray Norcia, phew what a in control ready for-up!

The 75-understanding beat was filled with 150 guests and they were treated to a noteworthy set of undying blues captured here in all its eminence — kicking off with a Sugar Ray vocal on «Everyday I Have The Blues», before Big Walter Horton«s signature catalytic, with mandatory iceman sound colour — »WalterΓΓé¼Γäós Boogie«. He then takes a vocal on a marvellous »Trouble In Mind« and a mettlesome romp through »My Babe'.

Johnny Nicholas«s »Cold Chills« is a strict mid-measure subterfuge with some noteworthy guitar vocation, before the rate of speed is taken down for the loquacious »ThatΓΓé¼Γäós Why IΓΓé¼Γäóm Cryin«», featuring Sugar Ray Norcia again, this leisure on pleasant chromatic harmonica; before things throw again on the self-expository «Bocce Boogie» — you can just devise the brim-full trip the light fantastic toe nautical and the beer flowing!

The doze of the set contains mainly blues standards — from Robert Nighthawk«s »Sweet Hyacinthine Angel« to Big Joe Williams »Baby Please Don«t Go», and even a start of jazz on «Don»t Get Around Much Anymore'. ItΓΓé¼Γäós horrendous how reliable these musicians were thirty years ago and cosy to see how they are still at the top of the blues tree.

The closing «BreakinΓΓé¼Γäó With The Earl» is one of those jazzy shuffles that builds as it goes on and what Ronnie Earl became celebrated for, and is perfect with line introductions before some of that trademark guitar vocation and strict piano from Anthony Giarossi, a pleasant ending to a frail disseminate that comes well recommended.

The natural negotiation, the blues the way it«s assumed to be played, the way it»s assumed to be enjoyed, in a setting that is, and has been, dwelling-place to the blues throughout it's retailing, in the juke joints, lounges and bars.

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