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10 of 11 people found the following review helpful:
5.0 out of 5 stars
Mooney finds a new label, loses an old friend., April 12, 2007
Contemporary blues musicians usually rely on old recordings if they wish to do justice to their forebearers.For example, many artists acknowledge the influence of Robert Johnson, but his career was very short. Born May 8, 1911, he only recorded 29 compositions between 1936 and 1938, the year of his passing. While some fine recordings have been produced in recent years, these efforts have usually been very personal interpretations of the original artists work, sometimes lacking the soul or conviction of the original.
John Mooney is different. As a 16 year old aspiring blues guitarist in Rochester, New York, he was befriended by the great Eddie "Son" House (1902-1988). Son actually schooled both Johnson and Muddy Waters when he was living in the Mississippi Delta (he didn't move to Rochester until 1943). Mooney's friendship with House was based on respect for the music and the man. This transcended racial and generational boundries, qualities which would be reflected in Mooney's playing. Mooney would learn guitar from House and break bread with him and his wife Evie. This introduced young Mooney to an interesting duality in the life of Son House. Only spirituals were to be played indoors; the pious Mrs. House did not allow "the Devil's music" to be played in her home!
Mooney left New York and settled in New Orleans while still in his teens. Another master bluesman, pianist Henry Roeland Byrd, a.k.a. Professor Longhair, took Mooney under his wing and introduced him to Crescent City "second line" rhythms. It is this combination of Delta stylings and New Orleans syncopation that makes Mooney unique.
Beginning with 1979's "Comin' At Ya", Mooney has always released strong recordings, but "Big Ol' Fiya" on the new LML label is his best work to date. Mooney wrote nine of the eleven tracks, and the two covers are both standouts. "Louise McGhee", written by Son House is a fitting tribute to Mooney's mentor, while "Drink a little poison(4 u die)" ia a quirky, black humor sing along written by Grayson Capps.
"2 Get 2 Heaven", "Dig my way to China" and the title cut all feature Mooney's distintive slide and his deep, impassioned vocals-something he doesn't get enough credit for.
Keyboardist Jon Cleary, of Bonnie Raitt's band and the Absolute Monster Gentlemen, shines on every cut, adding B-3 organ and "general mayhem" to some selections. Drummers Raymond Webber and "Bunche" Johnson, along with veteran percussionist "Uganda" Roberts contribute the best second line in recent recordings.
Bassist Jeff Sarli has played with Mooney for many years and appears on his last four studio albums. In 1996, he auditioned for bass work on the Rolling Stones' "Bridges to Babylon" with Keith Richards (Mooney happens to be Richard's favorite American musician). Sarli was featured on three cuts on that 1997 release.
Sadly, his work on "Big Ol' Fiya" is among his last. Sarli succumbed to complications of kidney disease on August 28, 2006 at the age of 48. Jeff was a master of roots music styles especially Jump Blues and Swing .
Richards requested Sarli because he played a stand-up bass in the style of the great Willie Dixon. Richards summed up Sarli in an interview with "Mojo" magazine: "I wanted a little more Roll to it, 'cuz we've got enough Rock. Whatever did happen to the roll? Actually, it probably lives in an upright bass".
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~ John Mooney
~ John Mooney
~ Roy Rogers (Blues)
~ John Mooney
~ John Mooney
by John Mooney 
