Lazy Lester - 'I Hear You Knockin'! The Excello Singles'

Leslie Johnson a.k.a. "Lazy Lester" was born on June 20, 1933, in Torras, Lousiana.  His nickname was given to him by producer Jay Miller due to his laid-back, easygoing style.

Lazy Lester was an influential American blues musician, and a key figure in the development of the blues sub-genre known as "Swamp Blues", which incorporates elements of zydeco, Cajun, country, and rockabilly.

His distinctive harmonica playing, gnarled vocals, and guitar and drum talents made him a pivotal artist for the legendary Excello Records label in the 1950s and 1960s.  During his tenure at Excello, he not only released records under his own name, but contributed songs and also served as a sideman for other blues legends such as Slim Harpo, Katie Webster and Lightnin’ Slim.  His musical contributions often included harmonica, guitar, and percussion, and he frequently improvised using items like cardboard boxes and rolled up newspapers for drum sticks.

In the mid 1960s, Lazy Lester grew tired of working smoky juke joints for little to no pay, and took manual labor jobs as a truck driver, worked in a Detroit auto plant, and was even a lumberjack.

In the late 1987, he launched a welcomed comeback, recorded albums for Blue Horizon, Alligator, Antone’s, and APO labels, and played blues festivals, where his easy-going nature and good-humored presence (on and off-stage) made him a favorite with blues audiences around the world.

Lazy Lester was inducted into the Blues Hall of Fame in 2012 and received a Lifetime Achievement Award from the Boston Blues Society in 2002.

He continued to perform at major festivals, including the Ponderosa Stomp (named after one of his songs), and even appeared in a national  commercial for the auto insurance company, Geico shortly before his death in 2018.

'I Hear You Knockin'! The Excello Singles' was released in 1994 on the Excello label which at the time was a subsidiary of the AVI label (it's now part of Universal Music Group).

To me, this thirty song collection is the definitive Lazy Lester release, and a great introduction to Lazy Lester's laid-back, haunting and hypnotic Louisiana sound.  This is a comprehensive exploration, that delves into the singles that shaped his early career and created his legacy in blues music.

For the freeload, what was the worst job you ever had?

Count Basie - 'Basie in London'

 

'Basie in London' was originally released in September 1957 on Norman Granz's Clef label.

This album was not recorded in London, but approximately 650 miles (around 1,046 kilometers) "as the crow flies" away in Gothenburg, Sweden, in September 1956.  Due to an ongoing feud between the American Federation of Musicians and the British Musicians’ Union (they would "kiss and make up" in early 1957), Count Basie’s 1956 European tour did not include any UK dates.  I have never been able to find a definitive answer to the purpose of Norman Granz’s deceptive marketing strategy.  

Be that as it may…

'Basie in London' features the so-called "New Testament" Basie band firing on all cylinders, and is their definitive live recording.  The New Testament Basie band had a different approach than his "Old Testament" band, he brought up from Kansas City in late 1936, which was loose, airy, and centered on soloists like tenor saxophonist Lester Young and trumpeter Buck Clayton.  Its arrangements were often little more than a collection of catchy riffs played from memory.  Basie’s "New Testament" band turned that concept on its head.  Where the original Basie band was light and loose, his new orchestra was tight and heavy.  The soloists were now secondary to the arrangements. Frank Foster, along with Ernie Wilkins, Neal Hefti and other composer/arrangers, helped shape the powerful, new Count Basie sound.

On ‘Basie in London,’ we are treated to stellar solos from players like Joe Newman and Frank Wess.  The rhythm section, featuring the great Freddie Green, Eddie Jones, and Sonny Payne, forms the backbone of the band, and of course, the star of the show is Count Basie himself.  Then there's Joe Williams with his smooth baritone voice, on "Alright, Okay, You Win", "Roll ‘Em Pete" and "The Comeback".

Sonny Payne, The Count, and Joe Williams

Tracklist  
  1 - Jumpin at the woodside
  2 - Shiny stockings
  3 - How high the moon
  4 - Nails
  5 - Flute juice
  6 - One o'clock jump
  7 - Alright, okay you win
  8 - Roll em pete
  9 - The comeback
10 - Blues backstage
11 - Corner pocket
12 - Blee blop blues
13 - Yestarday
14 - Untitled
15 - Sixteen men swinging
16 - Plymouth rock

The Players:
Piano: Count Basie
Alto Sax: Bill Graham, Marshall Royal
Baritone Sax: Charlie Fowlkes
Bass: Eddie Jones
Clarinet: Marshall Royal
Drums: Sonny Payne
Guitar: Freddie Green
Flute: Frank Wess
Tenor Sax: Frank Foster, Frank Wess
Trumpet: Wendell Culley, Reunald Jones, Thad Jones, Joe Newman
Trombone: Henry Coker, Bill Hughes, Benny Powell
Vocals: Joe Williams

'Basie in London' is a prime example of the post-war Basie band's power and style, featuring classic tunes and unique arrangements.

For the freeload, let's talk about albums that are deceptively titled, or not as advertised etc.

Bo Diddley's Beach Party

 

On July 5th and 6th of 1963, Bo Diddley along with Norma-Jean "The Duchess" Wofford on rhythm guitar, backing vocals, and Jerome Green on drums, maracas, backing vocals, played two late night shows at The Beach Club in Myrtle Beach, South Carolina.  Chess/Checker recording engineer, John Brooks was there to recorded it.

The results were… 

The cover looks like a one of those squeaky-clean American International Pictures' "Beach Party" movies where Frankie Avalon and Annette Funicello (both with no natural sense of rhythm whatsoever) do the Frug on Malibu Beach.

But this was Myrtle Beach, South Carolina, after midnight.  So instead of squeaky-clean suburban types, it was 1%er Bikers, weekend warriors, parole violators (and god only knows who else), with their girlfriends.  All are "hopped up" on beer 'n' bennies, hell-bent on having a great time.
And why not?

I can easily picture the early 60s scene…it's after midnight, but the heat and humidity still lingers from a blistering day.  Except for a small bonfire, the dark is all-enveloping, and couples vanish into it (don't look—mind your own business).  At the fire, a 1%er is carving his girlfriend's initials onto his forearm with a genuine made in Italy stiletto switchblade, while his girlfriend and another woman dance to the waves, or maybe just the music in their amphetamine fueled heads.

Some music is needed…

But then, a cloud of dust materializes at the far end of the boardwalk, it's heading their way, getting closer by the minute.  As it approaches, you can just make out the silhouette of a rather large man atop a motor scooter, with some crazy looking guitar slung over his shoulder.
 
A customized 1957 Cushman Step-Thru Scooter ("The Bo-Mobile") chugs to a stop, and off steps the only musician in the known world who could play to 1%er bikers without having the crap kicked out of him for showing up on a scooter: and that musician is Mr. Bo Diddley.

Bo plugs in, kicks off a scorching guitar riff, the "The Duchess" and Jerome Green fall in.  The beach goes totally batshit crazy, and who could blame them?

Bo rips through self-referencing cuts such as "Hey! Bo Diddley" and "Bo Diddley’s Dog", but it’s the rendition of "I’m All Right" that signalled an era of all-out rave rock (crossed with R'n'B charisma) to groups such as the Rolling Stones and The Yardbirds. Then there's the closing "Roadrunner", which might be the most unhinged live performance from rock’s first decade, with Bo Diddley in crazed Wile E. Coyote mode. He even makes a little "Beep Beep" sound with his guitar to kick off the chase.

In 2026, 'Bo Diddley's Beach Party' sounds like a Proto-Garage/Punk/ Grunge masterpiece.  AND, you just know this was David Johansen and Johnny Thunders' blueprint.  Sound quality is "Distort-O-Phonic Mono".  This was never meant to be an audiophile document, and mastering engineer Erick Labson didn't do anything to clean it up or modernize it.  It's not been limited, and I hear no evidence of noise reduction.  It's raw, rockin', and oozes gritty power.

The liner notes by Chris Morris are brief but excellent.  Morris says the album "bristles with almost punk-like energy."  I couldn't agree more.

For the freeload, what are some of your favorite songs, not by Bo Diddley, but with that Bo Diddley beat?

Sonny Terry & Brownie McGhee - 'Sonny & Brownie'

In 1939, Sonny Terry & Brownie McGhee started a partnership that would last for forty years, probably longer than any working blues or folk duo or group.  The style of blues that Sonny and Brownie play is called "Piedmont Blues"; a term coined by American folklorist, writer, record producer, and ethnomusicologist, Peter B. Lowry.

Sonny and Brownie's sound has been called the perfect blues duo, characterized by Brownie's clean, tasteful guitar work, and vocals, along with Sonny's distinctive harmonica and vocal "whoops".

The duo, surfed different trends, becoming stars of the 60s blues revival and also transcended the blues genre by including American folk songs and ballads in their repertoire.

In 1982 Sonny Terry and Brownie McGhee were named National Heritage Fellows in recognition of their distinctive musical contributions and accomplishments.

On the surface of things, they appeared to be the closest of friends, but in truth, they couldn't stand the sight of each other. (Or rather, each other's presence, as Sonny Terry injured his eyes as a child, and was blind by the age of 16.)

'Sonny & Brownie' was recorded at Paramount Recording Studios in 1973, and released the same year.  The album was co-produced by Hal Winn and Mo Rodgers.

Along with Sonny Terry, Brownie McGhee, is an all-star backing band, that includes John Mayall, Arlo Guthrie, John Hammond Sugarcane Harris, Michael Franks, Clydie King, Jackie Ward, Venetta Fields, and others.   

The material performed is some original Sonny and Brownie songs, and covers written by Sam Cooke ("Bring It On Home To Me"), Curtis Mayfield ("People Get Ready") and Randy Newman (finally, a cover of "Sail Away" that gets it right).  While this may not be a "pure blues" album, it is a helluva lot of fun.

The freeload, is the 1995 Mobile Fidelity Sound Lab reissue from their Ultradisc II series, and it sounds pretty great.

For the freeload tells us who some of your favorite duos, musical or otherwise, are.

Sonny Rollins - 'Complete Sonny Rollins In Japan'

 

'Complete Sonny Rollins In Japan' was recorded on September 30, 1973, at Nagano San-Plaza, Tokyo.  It was originally released as ''Sonny Rollins In Japan' in 1973 on the Victor label.

In September 1973, Sonny Rollins, along with guitarist Yoshiaki Masuo, bassist Bob Cranshaw, drummer David Lee and percussionist James Mtume went to Japan on tour, and recorded a live album that has only ever released for the Japanese domestic market.

The album's opener, "Powaii" is named for the Indian city where Sonny studied yoga and meditation during his sabbatical. It’s a nearly 19-minute piece played with fierce intensity, and it sets the tone for the entire record. We are also treated to Sonny's classics, "St. Thomas", the theme from "Alfie", and "Moritat" aka "Mack the Knife".

Today's freeload is a 2CD version from 2008, and is also a Japanese domestic market only release.  It features a full hour’s worth of bonus material.  It has a 29-minute version of "Sais", also included are "Hold Em Joe" and "God Bless The Child".

The recording quality excellent, and the music unique blend of traditional jazz with 70s funk/fusion elements, making it a standout from Sonny's mid-70s period.  The band is on fire throughout.

This is rare and essential, Sonny Rollins, and to my ears, is one of Sonny's best albums of the 1970s. .

For the freeload, what was the last live show you attended?

The Grateful Dead - The Warfield, San Francisco, California, Oct 4 & 6, 1980 Acoustic Sets - Black Friday Record Store Day 2025 Release

The Grateful Dead's 1980 Fall Tour celebrated the Grateful Dead's 15th Anniversary, and was famous for a series of "residency" runs:

• The Warfield, San Francisco, with 15 shows, from September 25 to October 14.
• The Saenger Theatre, New Orleans, with 2 shows on October 18 and 19.
• Radio City Music Hall, New York City, with 8 shows from October 22 to 31.  I was lucky enough to see the entire1980 Radio City Music Hall run. 

All the shows featured a unique three-set format: one acoustic set followed by two electric sets.  These were the band’s first significant acoustic performances since the early 1970s, and a decade before "Unplugged" became a thing.

Material recorded during these runs was later released as two distinct live albums in 1981: 'Reckoning' compiled from the acoustic sets, and 'Dead Set' compiled from the electric sets.

I missed Black Friday Record Store Day this past November at my favorite local record stores in Manhattan, as I was in Los Altos, California, celebrating Thanksgiving with family.  

Disappointingly, upon my return home, The Grateful Dead's 'The Warfield, San Francisco, CA Oct 4 & 6, 1980' in the form of 180gm vinyl was completely sold out, everywhere, so I bought the 2CD set instead.  I eventually bought the vinyl online, but I would have much preferred to give my money to an independent record store.

The Dead's 'The Warfield, San Francisco, CA Oct 4 & 6, 1980' are the rare acoustic sets (not on 'Reckoning') that were recorded by Betty Cantor-Jackson.  They were widely bootlegged as what we Deadheads [if the head fits, wear it. — Ed] refer to as "Betty Boards", which are known for their high quality audio.

These two acoustic sets perfectly blend older cuts from Dead's extensive repertoire, these two sets include classics like "Bird Song", "Cassidy", "Dire Wolf" and "To Lay Me Down" amongst many others, with each set ending with "Ripple".

The freeload is the 2CD set, and sounds wonderful.

While I was never an MTV fan, I did however enjoy some episodes from their series, MTV Unplugged.

For the freeload, if you saw any of the Unplugged series, what were some of your favorites?

The Good Ol’ Grateful Dead - Fillmore West 1969: The Complete Recordings

 

'Fillmore West 1969: The Complete Recordings' is a 10 CD box set of every note played at the four Fillmore West shows from February 27th to March 2nd, 1969.

But wait, there's More!

If you pre-ordered (which I did) you received a bonus CD of previously unreleased live recordings from shows at the Carousel Ballroom/Fillmore West between 1968 and 1970.

The 'Fillmore West, 1969: The Complete Recordings' was a limited edition release of 10,000 copies.  It was mastered in HDCD. 51, and is around 10 hours of music.  There's also a very nice, 76-page booklet (included in the freeload — natch) 

For the freeload, post a verse from a few of your favorite Grateful Dead songs.

Various Artists - 'Conception'

 

'Conception' takes me be back to the summer of 1961, when one Saturday morning, I told my parents I was going to see a movie at our local library with Denise "The Grease".  But in reality, I went to three record stores that sold used records in Times Square.

Back then Times Square had a reputation as a sleazy, gritty, dirty and dangerous place especially at night, but figured I'd be safe on a Saturday morning (I hoped).  

The thing of it was, I was starting to meet Beatnik jazz fans who were older than myself.  The Beats had weird and wonderful stories of adventures filled with all kinds of characters, and super rare used record finds in Time Square.  I wanted to be part of that conversation, and recount my own adventures.

That Saturday, I took a Dexamyl (a mix of amphetamine and barbiturate), then the Number 2 subway train, from Brooklyn Heights to Times Square.  My first stop was the Times Square Record Shop, which was a cramped, basement-level store in the subway arcade.  The place was run by a guy named "Slim", and was known for Doo-wop 45s.  But I was there looking for jazz, and saw a few things of interest, but nothing I wanted to buy.  The Times Square Record Shop would go on to be THE place for Latin music in the 70s.

A few steps away in the subway arcade was Downstairs Records, there I found a few used things I wanted to buy.  Unfortunately, when the clerk test played them for me, they sounded like a bowl of Rice Krispies, if you catch my drift.

Downstairs Records

So I left the subway station, and went up to the street where it was sunny, hot, and humid.  My mouth was dry from Dexamyl and chain-smoking cigarettes, and I needed something to drink.  So I went into Nedick's which was an early fast-food chain, on the corner of 7th Avenue and 42nd Street.

Nedick's sold hot dogs, hamburgers and its famous distinctive orange drink which was sort of a combination of orangeade and orange juice.  It had pulp, but also a ton of sugar, and was served ice-cold.  

While I was standing at the counter, with my orange drink (Nedick's had no seats) a creepy guy with pimples pretended to lose his balance, then bump into me and coped a feel of my butt.  I yelled "MASHER!" at the top of my lungs, the creepy guy went red in the face, and the guy behind Nedick's counter told him, "Get the hell outta here, before I bust your god dammed head open!", and then asked me, "Are you OK, Miss?".  I nodded my head, and told him, "I'm OK", and smiled.  He said to me, "Forget about that guy, and try to enjoy the rest of the day, OK sweetheart." and he then told the woman next to me, "I gotta daughter her age, ya know."  Then he refilled my orange drink, and said, "On the house."  
[Masher now archaic, was a popular buzz word back then for creepy and aggressive men, who harassed and groped women in public places. —Ed]

When I left Nedick's  I stopped at the newsstand and bought two packs of Gitanes (French cigarettes) that I couldn't get in Brooklyn Heights, and were considered très chic with the Beatnik crowd.  Then I headed up to Colony Records, on the corner of Broadway and 49th Street, in the legendary Brill Building.

On my walk to Colony Records, I passed adult book stores, dive bars, hookers, passed out drunks, homeless people, dirty movie theaters, and assorted other (what we used to call) "Low-lifes".  To my fourteen-year-old self, it was shocking, and simultaneously, fascinating, with my Dexamyl high making it seem all so dreamlike and surreal.

Colony Records was founded in 1948 by Harold "Nappy" Grossbart and Sidney Turk.  Colony stayed open til 2:30 a.m. seven days a week for decades, until its closing in 2012.

Inside the store, I was approached by an older gentleman, with an upper class British accent, who told me his name was Tony, and asked me if there was anything in particular I was looking for.  I told him I was looking for some used jazz LPs.  Tony asked me, "Would it be fair to say, you are new to jazz?" I told him I was, and he told me he had something that would be perfect for me.  Tony showed me a copy of an album called 'Conception', and told me, "This is a collection of music by Miles Davis, Stan Getz, Lee Konitz, Zoot Sims, Sonny Rollins and Gerry Mulligan.  The record is in mint condition, and it's smashing!"  I had never heard the word smashing used in that context before, but I knew what he meant and thought it was charming.  

We walked to the front of the store, where Tony put the album on the turntable.  It sounded great, and Tony said, "I can let you have it for seventy-nine cents." I said, "Sold!", Tony smiled and shook his head, approvingly.

Originally released in 1956, 'Conception' is a compilation album compiled from10 inch LPs, and 78rpm singles recorded for the Prestige Records label between 1949 and 1951.  This is a little known classic gem of an album, and belongs in every jazz collection.

The freeload is a 2013 Japanese reissue on an SHM-CD, remastered by Rudy Van Gelder, and seven bonus track, not on the original release.  

For the freeload, what kind of sneaky stuff did you get up to in your teen years?

Rest In Peace Bobby

 

Allman Brothers Band – Post-Gazette Pavilion Pittsburgh, PA July 26, 2003

 

Here's a very nice Warren Haynes/Derek Trucks era Allman Brothers show.

The show was captured by the state-of-the-digital-arts folks at Instant Live, who recorded shows off the soundboard, burned CDs and made them available to concertgoers a few minutes after the end of the show. A pretty cool trick.

Gregg Allman is in fine voice, and his organ playing is flawless.  Warren Haynes guitar is heard in the right channel, and Derek Trucks guitar is in the left, together they "knock the ball out of the park".  Oteil Burbridge is on bass, and to my ears, is the most proficient bassist the band has ever had.  The drums and percussion section of Butch Trucks, Jaimoe, and Marc Quinones is, as always, a powerhouse.  Saxophonist Karl Denson guests on "Good Morning Little Schoolgirl".

Setlist
CD1

1. Trouble No More
2. Midnight Rider
3. Black Hearted Woman
4. Rockin' Horse
5. Heart Of Stone
6. Statesboro Blues
7. Every Hungry Woman    

8. Worried Down With The Blues



CD2
1. You Don't Love Me
2. Who To Believe
3. Woman Across The River
4. Hot 'Lanta
5. Stormy Monday
6. Good Morning Little Schoolgirl

CD3

1. Dreams
2. In Memory Of Elizabeth Reed
3. Revival

It's been my observation, that no matter which incarnation of the Allman Brothers Band you see live; they never disappoint.

For the freeload, what other bands have you seen several times live, and the shows were consistently excellent?

Sam Lightnin’ Hopkins - The Gold Star Sessions Volumes 1 & 2

 

The Gold Star Sessions Volumes 1 & 2 were recorded between 1947 and 1950, at Bill Quinn's Gold Star Studios in Houston, Texas.  These two volumes were released in 1990 and 1991 respectively on the Arhoolie Records label.

From the first chords he plays on his guitar, we know it's Lightnin', as his style is so distinct.  The Blues went through changes in styles while Lightnin' was on the scene, but his never did, and that's always been totally fine by me.

Lightnin' Hopkins was one of the most prolific blues artists of all time, recording hundreds of songs for literally dozens of labels.  The Gold Star recordings contain essential, raw, post-war Texas blues, and some of his greatest sides.

In 2010, Rolling Stone Magazine ranked Lightnin' number 71 on its list of the 100 greatest guitarists of all time.  My guess is, the "geniuses" at Rolling Stone didn't take into consideration just how influential Lightnin's guitar work is.  Remember when Rolling Stone Magazine was hip, knowledgeable, and relevant? <sigh>

For the freeload, tell us what are some of your favorite music magazines (print and online), past, and present?