CHAMPION JACK DUPREE: BLUES FROM THE GUTTER (1958)
1) Strollin'; 2) TB Blues; 3) Can't Kick The Habit; 4) Evil Woman; 5) Nasty Boogie; 6) Junker's Blues; 7) Bad Blood; 8) Goin' Down Slow; 9) Frankie And Johnnie; 10) Stack-O-Lee.
Probably the single best known album of the Champion's career — if only for being, well, the first album of the Champion's career: Blues From The Gutter, released at the tail end of the Fifties, opens a long, long, long, and largely ignored string of LPs, and back then it had the benefit of introducing Dupree to a fresh new audience, one that was actually interested in hearing him play, as opposed to all those singles from the 1940s, released in the face of a largely indifferent and highly limited New York public. Above all, it was his debut for Atlantic Records, and that in itself was a guarantee that the man would be heard world-wide — in fact, reliable sources state that Blues From The Gutter made a fairly deep impression on none other than Brian Jones himself, even if in the grand scheme of things it was probably not too significant.
Part of that impression was owed not to the Champ himself, but to his backing band, which here included such seasoned session players as Pete Brown on sax and Wendell Marshall (who'd played with Duke Ellington and a boatload of other jazz notables) on double-bass, and particularly Ennis Lowery (who later took the name of Larry Dale) on electric guitar. For those used to Dupree's near-solo performances, or his low quality recordings with Sonny Terry and Brownie McGhee, the image of the Champion recording with a full-and-willin' blues band under professional modern studio conditions must have been a revelation — in fact, it was probably a revelation to Dupree himself, who took the opportunity to re-record a couple of his old classics (ʽTB Bluesʼ, ʽJunker's Bluesʼ — the latter leaving all of its drug-related lyrics completely intact), throw in a few more time-honored standards (ʽFrankie And Johnnyʼ, ʽStack-O-Leeʼ), and introduce a decent level of variety, ranging all the way from slow soulful blues (ʽGoin' Down Slowʼ) to rollickin' boogie-woogie (ʽNasty Boogieʼ).
The addition of Lowery is indeed a good touch: the man is a disciple of B. B. King, well versed in the art of sharp, stinging electric blues leads (ʽTB Bluesʼ is a particular highlight), and he adds an element of «Chicago blues danger» to the relaxed, leisurely stroll mode of Dupree, even if the two do not look all that much like a match made in Heaven upon first sight; and he does not get to solo on the album's merriest piece, ʽNasty Boogieʼ, which is instead dominated by the piano / sax duet, and where even the bassist is allowed to take the spotlight for a few bars, but not the lead guitarist — who prefers to stick stubbornly to the slow blues idiom, and for a good reason, I guess: not every great blues player is an equally great boogie player, and vice versa. Then again, it's a sensible distribution of labor: get the sax guy to be your partner on the lighter numbers, and the guitar guy to be your foil on the darker ones.
As for Dupree himself, he is arguably at his best on the opening number, a simple New Orleanian shuffle called ʽStrollin'ʼ and featuring neither guitar nor sax — just the Champ taking his time, improvising a leisurely syncopated jazz rhythm and alternating it with a couple of brief ragtimey solos as he hums out whatever is on his mind. Not exactly the kind of sound you'd expect to come out «from the gutter», but then again, a gentleman like Champion Jack Dupree probably has to keep his cool even in the gutter — considering the dignity and reservation with which he narrates his protagonist's drug problems on ʽJunker's Bluesʼ and ʽCan't Kick The Habitʼ. And, by the way, the title of the album is fully justified if one simply counts the number of songs about drugs, decay, and death — cocaine, tuberculosis, and cold-blooded murder are the norm of day on this album, which certainly was not true about the average Chicago blues album in 1958, where themes of woman-hunting ruled high above everything else. All in all, even if the music as such is hardly exceptional here (just average even by contemporary standards), the very fact of an old pre-war urban blues piano man really making it in the nearly-modern era is quite admirable, considering that Dupree, on the whole, represents a blues-playing tradition that is older than that of B. B. King or, in a way, even that of Muddy Waters. Definitely a thumbs up, on the grounds of mild enjoyability amplified by strong curiosity.