Clarence "Gatemouth" Brown
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b. April 18th, 1924 in Vinton (Louisiana) d. September 10th, 2005 in Orange (Texas) |
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CHRONOLOGICAL 1947 - 1951Classics August 1947 - 1951 HIS FIRST RECORDINGSEPM August 1947 - 1951 DIRTY WORK AT THE CROSSROADSAcrobat August 1947 - 1954 CHRONOLOGICAL 1952 - 1954Classics 1951 - 1954 THE ORIGINAL PEACOCK RECORDINGSRounder 1951 - December 1959 
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Multi-instrumentiste de talent, Clarence "Gatemouth" Brown ne s'est jamais consid�r� comme un bluesman, s'aventurant fr�quemment au-del� du blues, jouant aussi bien de la Country, du Jazz, du Rhythm & Blues ou de la musique Cajun. Fils de Tom et Virginia Brown, Clarence nait en Louisiane mais grandit � Orange (Texas). Son p�re - violoniste - influen�a �norm�ment son fils dans la pratique de la musique. Clarence commence professionnellement en jouant de la batterie dans les clubs de la r�gion de San Antonio � partir de 1945. Relocalis� par la suite � Houston, il semble que son surnom de "Gatemouth" lui ait �t� donn� par un de ses professeurs. En 1947, remarqu� par Don Robey, il remplace T-Bone Walker temporairement indisponible sur la sc�ne de son club de Houston, le Bronze Peacock. En parrall�le, il grave ses quatre premiers morceaux pour le label Aladdin accompagn� par Maxwell Davis. Deux ans plus tard, Don Robey cr�e son propre label - Peacock - et propose tr�s vite � Clarence d'enregistrer pour lui. Cette fructueuse collaboration durera jusqu'en 1960 d�bouchant sur de nombreuses p�pites du Blues et Rhythm & Blues texan : "Okie dokie stomp", "Ain't that dandy", "Gate's salty blues", "Dirty work at the crossroads", "Just before dawn", "Gate walks to board", "Boogie uproar". Accompagn� par un big band (Jack Mac Vea, Bill Harvey, Pluma Davis parmi d'autres), Clarence brille � la guitare - au son incisif et jazzy - et au violon. Talented multi-instrumentalist, Clarence "Gatemouth" Brown never considered himself as a bluesman, frequently venturing beyond the blues, playing Country, Jazz, Rhythm & Blues and Cajun music. Son of Tom and Virginia Brown, Clarence was born in Louisiana but grew up in Orange (Texas). His father - who played fiddle - greatly influenced his son in the practice of music. Clarence began professionally playing drums in the clubs of the San Antonio area since 1945. Relocated in Houston, it seems that his nickname "Gatemouth" was given to him by one of his teachers. In 1947, spotted by Don Robey, he replaces T-Bone Walker, temporarily unavailable, on stage at his club in Houston, the Bronze Peacock. In parallel, he cuts his first four pieces for the Aladdin label accompanied by Maxwell Davis. Two years later, Don Robey created his own label - Peacock - and soon offers Clarence record for him. This fruitful collaboration lasted until 1960 leading to many gems of Texas Blues and Rhythm & Blues : "Okie dokie stomp", "Ain't that dandy", "Gate's salty blues", "Dirty work at the crossroads", "Just before dawn", "Gate walks to board", "Boogie uproar". Accompanied by a big band (Jack Mac Vea, Bill Harvey, Pluma Davis among others), Clarence shines on guitar - in his incisive and jazzy sound - and fiddle. |
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HOT TIMES TONIGHTP-Vine TEXAS GUITAR GREATSHome Cooking BLUES AS BIG AS TEXASHome Cooking 1964 - 1965 / 1975
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Apr�s quatre ann�es sans enregistrer, Clarence participe � diverses s�ances pour les labels Cue, Cinderella et Home Cooking au milieu des ann�es 60. Ces pistes - souvent instrumentales - parfois �tonnantes ("The cricket") parfois atypiques (la reprise de "Summertime") m�ritent largement l'�coute mais sont � conseiller plut�t aux fans confirm�s de Clarence "Gatemouth" Brown. La plupart de ces morceaux ont �t� repris dans le CD japonais "Hot times tonight". On trouve �galement dans ce disque, trois titres suppl�mentaires issus des s�ances de "Blackjack". After four years without recording, Clarence participates in various sessions for labels Cue, Cinderella and Home Cooking in the mid 60's. These tracks - often instrumental - sometimes surprising ("The cricket") sometimes atypical (the cover of "Summertime") are worth listening but rather recommended for confirmed fans of Clarence "Gatemouth" Brown. Most of those pieces were included in the japanese CD "Hot times tonight". Also in this disc, we find three additional tracks from "Blackjack" sessions. |
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THE NASHVILLE SESSIONChess P-Vine SAN ANTONIO BALLBUSTERCharly 1965
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Les ann�es 60 sont tr�s difficiles pour Clarence. Au creux de la vague, il exerce de nombreux m�tiers dont celui de sh�riff-adjoint dans l'�tat du Nouveau Mexique (comt� de San Juan). Hormis quelques titres �pars pour des labels secondaires, il ne trouve que peu d'opportunit�s de retourner en studio. A Nashville (o� il a habit� quelques temps), Clarence participe � une myst�rieuse s�ance pour Hermitage. Rest�es in�dites, les bandes seront rachet�es par Chess qui �ditera un disque avec le mat�riel enregistr�. Il s'agit clairement d'un contenu de premier ordre (m�me si les musiciens sont rest�s inconnus). Majoritairement Blues, on trouve de nombreuses influences Country et Jazz. Clarence est au violon sur "Gate's salty blues" et "Long way home". On signalera �galement "My time is expensive" et le slow-blues "Cross my heart". Un recueil vraiment excellent mais un peu trop court. The 60's are very difficult for Clarence. At the trough of the wave, he held many jobs including deputy sheriff in the New Mexico state (San Juan county). Apart from a few scattered titles for secondary labels, he finds few opportunities to come back in studio. In Nashville (where he lived for some time), Clarence participates in a mysterious session for Hermitage. Remained unissued, the tapes will be bought by Chess which release a disc with the recorded material. This is clearly a first-rate content (although the musicians have remained unknown). Mostly Blues, there are many Country and Jazz influences. Clarence is on fiddle on "Gate's salty blues" and "Long way home". We can also point out "My time is expensive" and the slow-blues "Cross my heart". A truly excellent collection but a bit too short. |
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BLUES GUITAR MASTERS vol.10Blue Eye (only on mp3) 1965 - 1966 |
Dans cette anthologie, G�rard Herzhaft a regroup� les enregistrements de Clarence entre 1964 et 1966. Certains ont d�ja paru chez Home Cooking, Chess ou Charly. On trouve des in�dits provenant de l'�poque � laquelle il �tait le leader du groupe de l'�mission de t�l�vision "The !!! Beat" anim�e par Bill "Hoss" Allen. Il interpr�te ici une magnifique version de "Have you ever been mistreated" (paru �galement dans le CD "Hoss Allen's 1966 Rhythm & Blues Review"), un long medley qui montre son aisance dans diff�rents styles et quelques instrumentaux int�ressants ("I want you for my girlfriend"). In this anthology, G�rard Herzhaft gathered the recordings of Clarence between 1964 and 1966. Some have already been issued on Home Cooking, Chess or Charly. We find unreleased material from when he was frontman of the "The !!! Beat" TV show hosted by Bill "Hoss" Allen. He plays here a magnificent version of "Have you ever been mistreated" (also issued on the "Hoss Allen's 1966 Rhythm & Blues Review" CD), a long medley that shows his ease in different styles and a few interesting instrumentals ("I want you for my girlfriend"). |
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THE BLUES AIN'T NOTHINGBlack & Blue OKIE DOKIE STOMPBlack & Blue December 1971
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Apr�s une absence discographique de plusieurs ann�es, Clarence "Gatemouth" Brown est sollicit� par le promoteur fran�ais Jean Marie Monestier pour prendre part � la tourn�e fran�aise du Chicago Blues Festival en 1971 aux c�t�s de Jimmy Dawkins. Ces morceaux entre Jazz et Blues le firent connaitre sur le continent europ�en (o� il reviendra environ une douzaine de fois pendant sa carri�re). Accompagn� par un groupe compact compos� de Jimmy Dawkins, Mickey Baker, Mac Thompson (le fr�re de Jimmy Johnson) et le batteur fran�ais Michel Denis, Clarence se montre extr�mement cr�atif au violon et � la guitare. Il est aussi un superbe chanteur et un compositeur inspir�. On remarque notamment une version explosive de "New okie dokie stomp", les instrumentaux "Hot club drive" et "The people" (seulement sur la version CD) ainsi que "Slow mood n�2" et "The blues ain't nothing". Cette s�ance a �t� partiellement r��dit�e sur le CD "The blues ain't nothing". After a discographical absence of several years, Clarence "Gatemouth" Brown was asked by the french promoter Jean Marie Monestier to take part in the the Chicago Blues Festival french tour in 1971 alongside Jimmy Dawkins. These tracks between Jazz and Blues introduced Clarence on the european continent (where he will return about a dozen of times during his career). Accompanied by a compact group with Jimmy Dawkins, Mickey Baker, Mac Thompson (brother of Jimmy Johnson) and the french drummer Michel Denis, Clarence shows extremely creative violin and guitar. He is also a superb singer and an inspired composer. Note particularly the explosive version of "New okie dokie stomp", two instrumentals "Hot club drive", "The people" (only on the CD version) and "Slow mood #2", "The blues ain't nothing". This session was partially reissued on "The blues ain't nothing" CD. |
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THE DRIFTER RIDES AGAINBarclay January 1972 GATE'S ON THE HEATBarclay Blue Star Verve Universal January 1972 / July 1973 
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Nouvel album grav� en France � H�rouville et produit par Philippe Rault. L'album n'a pas de direction tr�s pr�cise et n'est pas tr�s bien r�alis� : une production curieuse entre Blues, Jazz, Pop-Rock et Funk, une section cuivres enregistr�e en overdubs, un second guitariste qui prend des solos ineptes. Souvent sous-estim� ou n�glig�, cet album est incontestablement � r�server aux fans confirm�s de Clarence "Gatemouth" Brown. Quelques bons morceaux ("Gate's on the heat", "Funky mama") mais d'autres s'av�rent assez d�concertants (comme ce "River's invitation" qui sonne faux). New album recorded in France in H�rouville and produced by Philippe Rault. The album does not have a very precise direction and is not very well done : a curious production between Blues, Jazz, Pop-Rock and Funk, an overdubbed horn section, a second guitarist who takes inept solos. Often underestimated or neglected, this album is definitely reserved for confirmed fans of Clarence "Gatemouth" Brown. Some good songs ("Gate's on the heat", "Funky mama") but others turn out enough disconcerting (as "River's invitation" which sounds out of tune). |
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MORE STUFFBlack & Blue PRESSURE COOKERAlligator THE BLUES AIN'T NOTHINGBlack & Blue March 1973
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Deuxi�me album pour Black & Blue, on retrouve le son jazz-blues de "The blues ain't nothing". On note les participations de Jay Mac Shann ("Deep deep water"), Hal Singer et Al Grey. Ce disque privil�gie les tempos lents et les atmosph�res calmes. On ressort aussi une jolie reprise de "Goin' to Chicago". Il faut signaler que "More stuff" est partiellement r��dit� dans le CD "The blues ain't nothing". Second album for Black & Blue, we find again the jazz-blues sound of "The blues ain't nothing". Note participations of Jay Mac Shann ("Deep deep water"), Hal Singer and Al Grey. This disc focuses slow tempos and calm atmospheres. We also point out a nice cover of "Goin' to Chicago". It should be noted that "More stuff" is partially reissued in "The blues ain't nothing" CD. |
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HOT CLUB DRIVEP-Vine March 1973 |
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THE BLUES : A REAL SUMMIT MEETINGBuddah June 1973 |
Concert � l'occasion du Newport Jazz Festival dans lequel Clarence est support� notamment du pianiste Jay Mac Shann. Il joue "The drifter" et "Please Mr Nixon" o� il peut s'illustrer � la guitare, au violon et � l'harmonica. Concert at the Newport Jazz Festival where Clarence is notably supported by pianist Jay Mac Shann. He plays "The drifter" and "Please Mr Nixon" in which he can shine on guitar, fiddle and harmonica. |
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THE MONTREUX BLUES FESTIVALBarclay Universal July 1973 |
Favori des festivals europ�ens depuis le d�but des ann�es 70, il figure � l'affiche du prestigieux festival de Montreux lors de l'�t� 1973. Accompagn� d'une petite formation compacte (Jerome Hayes, Joe Turner, Calep Emphrey), il livre une remarquable prestation partag�e entre Blues et Country. On peut ressortir, par exemple, une version m�connaissable du classique "Got my mojo working". Il y a 3 titres sur le LP original et 5 dans la r��dition CD. European festivals favorite since the early 70's, he is featured at the prestigious Montreux Festival in the summer of 1973. Accompanied by a small compact formation (Jerome Hayes, Joe Turner, Calep Emphrey), he delivers a remarkable performance shared between Blues and Country. We can point out, for example, an unrecognizable version of the standard "Got my mojo working". There are 3 tracks on the original LP and 5 in the CD reissue. |
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SINGS LOUIS JORDANBlack & Blue THE DEFINITIVE BLACK & BLUE SESSIONSBlack & Blue JUST GOT LUCKYEvidence JUST GOT LUCKYOrbis PRESSURE COOKERAlligator LET THE GOOD TIMES ROLLAtlas July 1973
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Dans ce troisi�me disque pour le label fran�ais Black & Blue, Clarence rend hommage � l'un des maitres du Rhythm & Blues, Louis Jordan. Entour� de Milt Buckner (orgue), Arnett Cobb (saxophone), Michael Silva (batterie), il donne quelques interpr�tations plut�t inspir�es des classiques de Jordan : "Somebody done changed the lock of my door", "Is you is or is you ain't my baby", "Ain't that just like a woman". Le disque a �t� repris sous divers habillages, parfois partiellement, parfois augment� de titres bonus (comme sur le CD "The definitive Black & Blue sessions"). In this third album for the french label Black & Blue, Clarence pays tribute to one of the Rhythm & Blues masters, Louis Jordan. Surrounded by Milt Buckner (organ), Arnett Cobb (saxophone), Michael Silva (drums), he gives some rather inspired interpretations of Jordan's classics : "Somebody done changed the lock of my door", "Is you is or is you ain't my baby", "Ain't that just like a woman". The disc was reissued various times, sometimes partially, sometimes enhanced with bonus titles (as on the "The definitive Black & Blue sessions" CD). |
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COLD STRANGEBlack & Blue COLD STORAGEBlack & Blue THE BLUES AIN'T NOTHINGBlack & Blue JUST GOT LUCKYEvidence JUST GOT LUCKYOrbis PRESSURE COOKERAlligator LET THE GOOD TIMES ROLLAtlas July - August 1973
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L'ann�e 1973 a vraiment �t� fructueuse pour Clarence "Gatemouth" Brown. Toujours chez Black & Blue, ce "Cold strange" sera vite rebaptis� "Cold storage". Sur le microsillon original, les deux faces �taient bien distinctes : la premi�re - la meilleure - faisait la part belle aux tempos rapides et swingants ("She winked her eye", "Cold strange", "Presser cooker") tandis que la seconde comprenait surtout des blues lents ("Justice blues"). Comme pour le pr�c�dent disque, il existe de nombreuses r��ditions plus ou moins compl�tes en CD. The year 1973 was really successful for Clarence "Gatemouth" Brown. Always for Black & Blue, this "Cold strange" will soon be renamed "Cold storage". On the original LP, both sides were distinct : the first - the best - was heavily loaded with fast and swinging tempos ("She winked her eye", "Cold strange", "Presser cooker") while the second consisted mainly of slow blues ("Justice blues"). As with the previous disc, there are many more or less complete reissues on CD. |
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DOWN SOUTH IN THE BAYOU COUNTRYBarclay Movieplay Verve February - March 1974
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Apr�s de nombreux disques tr�s blues, Clarence s'int�resse � la Country - un de ses styles pr�f�r�s - qu'il m�lange � des �l�ments de Cajun et de Rock sudiste. L'ensemble est assez in�gal mais certaines pistes sortent du lot comme les irr�sistibles "Loup garou" et "Gate's express". Un album qui pourrait d�cevoir les amateurs de blues. C'est pendant ces s�ances qu'il rencontre Jim Bateman qui deviendra son manager et producteur jusqu'� la fin de sa carri�re. Bateman sera un des grands promoteurs du succ�s de Clarence tout au long des ann�es 80 et 90. Peu apr�s ce "Down south in the bayou country", il joue derri�re le Professor Longhair sur le superbe "Rock 'n roll gumbo". After many blues focused records, Clarence approaches Country - one of his favorite styles - with elements of Cajun and Southern Rock. The whole is quite uneven, but some tracks stand out like the irresistible "Loup garou" and "Gate's express". An album that might disappoint blues fans. It is during those sessions that he met Jim Bateman who became his manager and producer until the end of his career. Bateman will be one of the great promoters of Clarence's success throughout the 80's and 90's. Shortly after this "Down south in the bayou country", he plays behind the Professor Longhair on the beautiful "Rock 'n roll gumbo". |
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BOGALUSA BOOGIE MANBarclay Verve March 1975
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Reprenant la m�me direction musicale que "Down south in the bayou country", ce disque poursuit ce cocktail � base Country. Malgr� quelques morceaux notables ("Bogalusa boogie man", "Hurricane"), cet album peine � se hisser au m�me niveau que le pr�c�dent. Dans la version CD, on trouve 5 titres suppl�mentaires dans lesquels Clarence est seul � la guitare. Taking the same musical direction as "Down south in the bayou country", this record continues this Country-based cocktail. Despite some notable tracks ("Bogalusa boogie man", "Hurricane"), this album just fails to reach the same level as the previous one. In the CD version, there are 5 additional titles in which Clarence is alone on guitar. |
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BLACKJACKMusic is Medicine Pool Stony Plain Sugar Hill 1975
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Entre Blues, Jazz et Country, Clarence reprend son cocktail habituel avec derri�re lui un excellent groupe (des musiciens du groupe The Levee Band qui joueront �galement dans Louisiana's LeRoux). Quant � Clarence, il se montre toujours aussi efficace et dou� � la guitare et au violon. En outre, ce disque est le premier co-produit par Jim Bateman (manager et producteur de Clarence). Le programme reste encore assez in�gal mais plusieurs bons moments m�ritent l'�coute : "Street corner", "Honey boy" et les instrumentaux "Tippin' in" et "Up jumped the devil". Between Blues, Jazz and Country, Clarence resumes his usual cocktail with an excellent group behind him (musicians of The Levee Band who will also play in Louisiana's LeRoux). As for Clarence, he is always effective and gifted on both guitar and violin. In addition, this album is the first co-produced by Jim Bateman (Clarence's manager and producer). The program is still fairly uneven but several good moments are worth listening : "Street corner", "Honey boy" and the instrumental "Tippin 'in" and "Up jumped the devil". |
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DOUBLE LIVE AT THE COWBOY BARMusic is Medicine 1976 |
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ATLANTA BLUES FESTIVAL : GOT 'EM LIVEBlues Town ? |
Dans ces bandes issues du festival d'Atlanta, on trouve deux bons morceaux de Clarence : "Pressure cooker" et "Frosty". Aucune information concernant la date de ce concert. In these tapes captured at the Atlanta Festival, we find two good tracks of Clarence : "Pressure Cooker" and "Frosty". No information regarding the date of this concert. |
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HEAT WAVEBlack & Blue July 1977
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Grav� lors de la Grande Parade du Jazz � Nice, l'album r�unit Clarence "Gatemouth" Brown et le pianiste Lloyd Glenn. Les deux hommes sont support�s par les excellents Milt Hinton (basse) et J.C. Heard (batterie). Compos� essentiellement de titres instrumentaux, le disque - tr�s inspir� - se situe quelque part entre Jazz et Blues : "Heat wave", "First take and blue", "Slow train n�1". On sent beaucoup de connivence et de complicit� entre les deux leaders. Cut during the Grande Parade du Jazz in Nice, the album gathers Clarence "Gatemouth" Brown and pianist Lloyd Glenn. The two men are supported by excellent Milt Hinton (bass) and J.C. Heard (drums). Mainly composed of instrumental tracks, the disc - very inspired - is somewhere between Jazz and Blues : "Heat wave", "First take and blue", "Slow train #1". We feel a lot of connivance and complicity between the two leaders. |
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MAKIN' MUSICMCA October - November 1978
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Association entre le guitariste de Country Roy Clark et Clarence "Gatemouth" Brown dans une chaude ambiance d'�mulation largement perceptible � l'�coute du disque. Entre Blues, Country et Jazz, le disque est grav� � Tulsa (Oklahoma) avec d'excellents musiciens (Steve Ripley �galement producteur, Tony Garnier, Jim Keltner, Airto Moreira), une belle section cuivres et des choristes. La set-list est constamment excitante et surprenante en particulier les deux compositions de Clarence "Justice blues" et "The drifter" mais aussi les reprises spectaculaires de "Take the A train", "Busted" et "Caldonia". Association between Country guitarist Roy Clark and Clarence "Gatemouth" Brown in a warm emulation atmosphere, widely perceptible while listening to this record. Between Blues, Country and Jazz, the album is cut in Tulsa (Oklahoma) with excellent musicians (Steve Ripley also producer, Tony Garnier, Jim Keltner, Airto Moreira), a beautiful horn section and back-up singers. The set-list is constantly exciting and surprising especially the two compositions of Clarence "Justice blues" and "The drifter" but also spectacular covers of "Take the A Train", "Busted" and "Caldonia". |
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LIVECharly 1980
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Comme d'habitude dans cette collection, on trouve peu ou pas d'informations sur les dates et les musiciens pr�sents. De plus, la qualit� sonore est vraiment passable. Malgr� ces points n�gatifs, cette performance de 1980 est plut�t consistante. Clarence est en grande forme � la guitare. Le programme choisi contient quelques curiosit�s notables comme les reprises des classiques "Frosty", "Take the A train", "Boogie woogie" et "Saint Louis blues". As usual in this collection, there is little or no information on dates and musicians. In addition, the sound quality is really fair. Despite those negative points, this 1980 performance is rather consistent. Clarence is in great shape on guitar. The selected program contains some notable curiosities such as covers of "Frosty", "Take the A train", "Boogie woogie" and "Saint Louis blues". |
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TEXAS BLUES LIVESchweizerischer Bankverein October 1980
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Ce rare microsillon - sponsoris� par une banque helv�te - reprend une performance live de Clarence lors du festival international de Jazz de Berne en Suisse. Une prestation convaincante avec d'excellents moments comme sa reprise de "One o'clock jump" (une reprise de Count Basie que Clarence appr�cie �norm�ment). This rare LP - sponsored by an helvetian bank - resumes a live performance of Clarence at the International Jazz Festival in Bern, Switzerland. A convincing performance with great moments like his cover of "One o'clock jump" (a cover of Count Basie that Clarence greatly appreciate). |
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ALRIGHT AGAINRounder Pool Stony Plain Demon TEXAS SWINGRounder June 1981
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A la fin des ann�es 70, Clarence s'installe � La Nouvelle Orl�ans. En 1979, Jim Halsey lui permet d'embarquer pour une tourn�e historique de 6 semaines en Union Sovi�tique. Peu apr�s, Clarence signe avec la firme Rounder. Pour ce label, il va graver une des meilleures parties de son oeuvre. Produit par Jim Bateman et Scott Billington, grav� � Bogalusa (Louisiane), "Alright again" s'impose effectivement comme un de ses disques les plus aboutis, un peu court mais superbe de bout en bout. Clarence est, comme souvent, brillant � la guitare, en particulier sur sa composition "Dollar got the blues", mais aussi sur d'�tincelantes reprises texanes : "Frosty", "Strollin' with Bones", "I feel alright again". L'instrumental final "Gate walks to board" m�rite aussi toutes les attentions. Il faut souligner aussi la superbe section cuivres - claire et puissante - compos�e de Bill "Foots" Samuel, Alvin "Red" Tyler, Joe Sunseri, Stanton Davis Jr, Jim Mac Millen. Apr�s le succ�s obtenu en Europe avec les pr�c�dents albums, ce premier disque chez Rounder lui permit de se remettre sur le devant de la sc�ne am�ricaine. In the late 70's, Clarence moved to New Orleans. In 1979, Jim Halsey allows him to embark on a historic tour of 6 weeks through Soviet Union. Soon after, Clarence signed with Rounder imprint. For this label, he will cut one of the best parts of his work. Produced by Jim Bateman and Scott Billington, recorded in Bogalusa (Louisiana), "Alright again" effectively established itself as one of his most successful albums, a bit short but superb from start to finish. Clarence is, as often, brilliant on the guitar, especially on his composition "Dollar got the blues", but also on sparkling Texas covers : "Frosty", "Strollin' with Bones", "I feel alright again". The final instrumental "Gate walks to board" also deserves all the attention. Also noteworthy is the superb horn section - clear and powerful - composed of Bill "Foots" Samuel, Alvin "Red" Tyler, Joe Sunseri, Stanton Davis Jr, Jim Mac Millen. After the success obtained in Europe with the previous albums, this first disc for Rounder allowed him to get back to the American scene foreground. |
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KERRVILLE FOLK FESTIVAL : THE EARLY YEARSSilverwolf May - June 1981 |
A l'affiche du Kerrville Folk Festival de 1981, Clarence interpr�te au violon "Sixth level". Featured at the 1981 Kerrville Folk Festival, Clarence interprets "Sixth level" on fiddle. |
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BLUES AT KERRVILLESilverwolf Summer 1982 |
A nouveau au festival de Kerrville (Texas) l'ann�e suivante, il joue ici un long blues lent "Sometimes I feel myself slippin'". Featured again at the Kerrville festival (Texas) the following year, he plays a long slow blues "Sometimes I feel myself slippin'". |
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STRIKE A DEEP CHORD : BLUES GUITARS FOR THE HOMELESSJustice 1982 |
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ONE MORE MILERounder Pool Stony Plain Demon TEXAS SWINGRounder October 1982
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Deuxi�me opus pour Rounder, Clarence co-produit avec Scott Billington et Jim Bateman. B�ti sur cette m�me recette qui combine Blues, Rhythm & Blues et Country, "One more mile" s'inscrit dans la parfaite continuit� de "Alright again". Beaucoup de superbes titres comme "Information blues", "Stranded" (dans lequel Clarence est encore une fois imp�rial � la guitare), "Ain't that dandy", "Flippin' out". Au final, le r�sultat demeure � peine inf�rieur � "Alright again". Second album for Rounder, Clarence co-produced with Scott Billington and Jim Bateman. Built on the same recipe that combines Blues, Rhythm & Blues and Country, "One more mile" is in perfect continuity with "Alright again". Many great titles like "Information blues", "Stranded" (in which Clarence is once again imperial on guitar), "Ain't that dandy", "Flippin' out". In the end, the result remains just below "Alright again". |
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LIVE IN CONCERTBlack Sheep LIVE 1984 NEW ORLEANS? February 1984
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Cette captation sc�nique de 1984 est, en fait, tir�e de la VHS "The blues of Clarence Gatemouth Brown" (Storyville). Il s'agit d'un concert donn� au Maple Leaf Bar de La Nouvelle Orl�ans. Globalement, la musique d�livr�e ici est de haut niveau : Clarence se montre constamment inspir� ("Gate walks to board", "Frosty") et son groupe est dynamique et puissant. Probablement, un de ses meilleurs albums live qui se termine, comme souvent, par le tr�pidant "Up jumped the devil". This 1984 live performance is, in fact, taken from the VHS "The blues of Clarence Gatemouth Brown" (Storyville). This is a concert given at the Maple Leaf Bar in New Orleans. Overall, this is first-rate music : Clarence shows himself constantly inspired ("Gate walks to board", "Frosty") and his backing band is dynamic and powerful. Probably one of his best live albums that ends, as often, by the unbridled "Up jumped the devil". |
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REAL LIFERounder Stony Plain September 1985
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Tr�s beau concert � Fort Worth (Texas) avec une splendide version de "Okie dokie stomp" et des relectures assez personnelles des traditionnels "Frankie and Johnny" et "Saint Louis blues". Beautiful concert in Fort Worth (Texas) with a splendid version of "Okie dokie stomp" and quite personal reinterpretations of traditionals "Frankie and Johnny" and "Saint Louis blues". |
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STANDING MY GROUNDAlligator 1989
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Apr�s une belle p�riode chez Rounder, Clarence "Gatemouth" Brown pose ses valises chez Alligator. Il emm�ne avec lui son fid�le producteur-manager Jim Bateman et la plupart de ses musiciens. Grav� en Louisiane - Ultrasonic studios de La Nouvelle Orl�ans et Southlake recording studios de Metairie - il s'agit d'une r�ussite incontestable entre Blues ("I hate these doggone blues"), Jazz ("Cool jazz") et quelques touches de Zydeco ("Louisiana Zydeco" avec Terrance Simien) et de Country. En plus de la guitare, on entend Clarence jouer du piano ("Never unpack your suitcase") et de la batterie ("She walks right in"). Un album tr�s vari� et parfaitement �quilibr�, un de ses meilleurs. After a beautiful period at Rounder, Clarence "Gatemouth" Brown arrives at Alligator. He took with him his faithful producer-manager Jim Bateman and most of his musicians. Recorded in Louisiana - Ultrasonic studios of New Orleans and Southlake recording studios in Metairie - it is an undeniable achievement between Blues ("I hate these doggone blues"), Jazz ("Cool jazz") and some elements of Zydeco ("Louisiana Zydeco" with Terrance Simien) and Country. In addition to the guitar, we can hear Clarence play the piano ("Never unpack your suitcase") and drums ("She walks right in"). A very varied and perfectly balanced album, one of his best. |
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NO LOOKING BACKAlligator 1992
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On trouve dans ce deuxi�me opus pour Alligator trois instrumentaux jazzy (dont "Digging new ground"), des compositions achev�es de Clarence ("Stop time", "We're outta here") et un duo Country avec Michelle Shocked ("I will be your friend"). Il faut noter aussi la belle collaboration de John Loudermilk, producteur associ� et compositeur de titres fort r�ussis ("Dope", "Alligator eating dog"). Un excellent album. We find in this second album for Alligator, three jazzy instrumentals (including "Digging new ground"), achieved compositions by Clarence ("Stop time", "We're outta here") and a Country duet with Michelle Shocked ("I will be your friend"). Also note the wonderful collaboration of John Loudermilk, associate producer and composer of some beautiful titles ("Dope", "Alligator eating dog"). An excellent album. |
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THE ALLIGATOR RECORDS CHRISTMAS COLLECTIONAlligator 1992 |
Pour cette compilation de No�l, Clarence interpr�te un morceau opportun�ment intitul� "Christmas". For this Christmas compilation, Clarence interprets a song appropriately titled "Christmas". |
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THE MANVerve February - March 1994
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Apr�s �tre pass� par des labels ind�pendants comme Rounder et Alligator, Clarence "Gatemouth" Brown int�gre la firme Verve. M�langeant comme � son habitude Blues, Country, Rhythm & Blues, Cajun, Clarence alterne le bon et le moins bon. L'ensemble reste assez quelconque, parfois ennuyeux malgr� des musiciens de renom (participation de Jo-El Sonnier). Malgr� une tr�s belle section cuivres arrang�e par Terry Townson, ce premier CD pour Verve (co-produit par Jim Bateman et John Snyder) d��oit largement. After passing by independent labels like Rounder and Alligator, Clarence "Gatemouth" Brown joined Verve firm. Mixing as usual Blues, Country, Rhythm & Blues, Cajun, Clarence alternates good and less good. The set is rather ordinary, sometimes even boring in spite of renowned musicians (participation of Jo-El Sonnier). Despite a beautiful horn section arranged by Terry Townson, this first CD for Verve (co-produced by Jim Bateman and John Snyder) is largely disappointing. |
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LONG WAY HOMEVerve May - August 1995
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Un disque peu attrayant o� le talent de Clarence se dilue parmi les nombreuses reprises, les interventions des invit�s (Eric Clapton, Ry Cooder, Sonny Landreth, Maria Muldaur) et des arrangements quelconques. On s'ennuie souvent dans ce CD qui manque cruellement de flamme. On peut ressortir "The blues walk", un des seuls moments valables de la set-list. Not really engaging record where Clarence's talent is diluted among the many covers, the interventions of the guests (Eric Clapton, Ry Cooder, Sonny Landreth, Maria Muldaur) and ordinary arrangements. We often get bored in this CD that is sorely lacking in flame. We can highlight "The blues walk", one of the only valid moment in the set list. |
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LIVE FROM AUSTIN, TXNew West February 1996
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Cet int�ressant concert datant de f�vrier 1996 ne fut publi� qu'en 2012 par la marque New West. Accompagn� par son groupe r�gulier, Clarence se produit ce jour-l� pour la s�rie TV "Austin city limits". D'ailleurs, un DVD de la performance est propos� conjointement au CD. De belles versions de "Ain't that dandy", "Honky tonk", "Bits and pieces" et son final habituel "Up jumped the devil". This interesting concert dates back to february 1996 but was published only in 2012 by New West imprint. Accompanied by his regular band, Clarence performs that day for the TV series "Austin city limits". Besides, a DVD of the performance is proposed in conjunction with the CD. Beautiful versions of "Ain't that dandy", "Honky tonk", "Bits and pieces" and his usual final "Up jumped the devil". |
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GATE SWINGSVerve November 1996
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Troisi�me album pour Verve, cet opus rend hommage aux big-bands du Jazz et du Rhythm & Blues des ann�es 40 avec beaucoup de go�t et d'inspiration. Les reprises de "Take the A train", "Caldonia", "One o'clock jump" sont proprement �clatantes. Mais, il faut �galement souligner les superbes "Gate's blue waltz" et "Bits and pieces", vraiment �blouissants. Co-produit par Jim Bateman et John Snyder, l'album jouit d'une sensationnelle section d'une douzaine de cuivres arrang�e par Wardell Quezergue. Une remarquable r�ussite. Assur�ment son meilleur disque chez Verve. Avec une d�marche similaire, on peut rapprocher ce disque de "Tuxedo blues" de Roy Gaines. Third album for Verve, this album pays tribute to the Jazz and Rhythm & Blues big bands of the 40's with taste and inspiration. Covers of "Take the A train", "Caldonia", "One o'clock jump" are truly vibrant. But we must also highlight the superb "Gate's blue waltz" and "Bits and pieces" really dazzling. Co-produced by Jim Bateman and John Snyder, the album boasts a stunning section of a dozen horns arranged by Wardell Quezergue. A remarkable achievement. Surely his best album for Verve. With a similar approach, this record can be compared to "Tuxedo blues" by Roy Gaines. |
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PAINT IT BLUEHouse of Blues Ruf July 1997 |
Il s'agit d'un album hommage aux Rolling Stones, produit par John Snyder, et ne faisant jouer que des bluesmen. Clarence ex�cute une version sympathique de "Ventilator blues" aux c�t�s de Larry Mac Cray, Sonny Landreth et Derek Trucks. It is a tribute album to the Rolling Stones, produced by John Snyder, with only bluesmen. Clarence runs a nice version of "Ventilator blues" alongside Larry Mac Cray, Sonny Landreth and Derek Trucks. |
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WWOZ ON CD : GUARDIANS OF THE GROOVEFriends of WWOZ May 1996 or May 1997 ? |
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LIVE IN LONG BEACHRockbeat 1997 |
Concert conjoint de Dave Alvin (du groupe The Blasters), Billy Boy Arnold, Joe Louis Walker et Clarence "Gatemouth" Brown tardivement propos� par Rockbeat. La partie consacr�e � Clarence est � forte r�sonnance Country. Qualit� sonore passable et contenu tr�s anecdotique. Joint concert with Dave Alvin (of The Blasters group), Billy Boy Arnold, Joe Louis Walker and Clarence "Gatemouth" Brown belatedly proposed by Rockbeat. The part devoted to Clarence is largely focused on Country. Fair sound quality and very anecdotal content. |
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THE SONGS OF WILLIE DIXONTelarc July - August 1998 |
Pour cet hommage � l'un des plus grands cr�ateurs du Blues, Clarence "Gatemouth" Brown propose une curieuse version jazzy de "I just want to make love to you". For this tribute to one of the greatest creators of the Blues, Clarence "Gatemouth" Brown offers a curious jazzy version of "I just want to make love to you". |
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AMERICAN MUSIC : TEXAS STYLEBlue Thumb January 1999
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Pour ce nouvel album chez Blue Thumb (une marque appartenant � Verve), Clarence "Gatemouth" Brown a repris la m�me direction que "Gate swings" avec la mise en avant du big-band. Mais, cet "American music : Texas style" s'av�re encore plus marqu� par le Jazz que pr�c�demment. Il est partag� entre reprises de Duke Ellington ("Don't get much around"), Jay Mac Shann ("Jumpin' the blues") et compositions personnelles ("Swamp ghost", "Guitar in my hands"). For this new album for Blue Thumb (a trademark owned by Verve), Clarence "Gatemouth" Brown has taken the same direction as "Gate swings" with big band on the foreground. But, this "American music : Texas style" is even more marked with the Jazz as before. It is shared between covers of Duke Ellington ("Don't get around much"), Jay Mac Shann ("Jumpin' the blues") and his own compositions ("Swamp ghost", "Guitar in my hands"). |
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THE SONGS OF ROBERT JOHNSONTelarc February 1999 |
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WHOLE LOTTA BLUES : SONGS OF LED ZEPPELINHouse of Blues 1999 |
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WWOZ ON CD : BAKER'S DOZENFriends of WWOZ 1999 or 2000 ? |
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BACK TO BOGALUSABlue Thumb November 2000 - February 2001
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Cinqui�me et dernier album pour Verve - Blue Thumb. Peu de compositions de Clarence mais beaucoup de reprises puis�es dans le riche r�pertoire louisianais. Un ensemble relativement plaisant m�me s'il a perdu un peu de sa voix. On note les participations de Sonny Landreth et Zachary Richard. Fifth and final album for Verve - Blue Thumb. Few compositions of Clarence but many covers drawn from the rich Louisiana catalogue. A relatively pleasant whole set although he has lost some of his voice. Note the participations of Sonny Landreth and Zachary Richard. |
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TIMELESSHightone 2004
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Dernier disque de Clarence "Gatemouth" Brown, il montre qu'� 80 ans, il reste dans une excellente forme notamment � la guitare. Quelques reprises Jazz de belle facture comme "Satin doll", "Jumpin' the blues" et "Mercy mercy mercy". A noter aussi une longue nouvelle version de son propre standard "The drifter". En septembre 2004, on lui diagnostique un cancer du poumon. D�j� atteint de troubles cardiaques, il doit ralentir son activit� musicale. Puis, sa maison de Slidell est ravag�e par l'ouragan Katrina. Bris� moralement, il s'installe chez sa ni�ce � Orange (Texas). C'est l� qu'il d�c�de en septembre 2005. Malheureusement, le sort s'acharnera encore puisque sa tombe sera endommag�e par l'ouragan Ike en 2008. Gr�ce � de g�n�reux donateurs, elle pourra �tre remplac�e un peu plus tard. De ses 3 mariages, il a eu quatre enfants. Clarence "Gatemouth" Brown's last disc, he shows that at 80 years old, he remains in excellent shape most notably on guitar. A few beautifully made Jazz covers like "Satin doll", "Jumpin' the blues" and "Mercy mercy mercy". Note also an extended new version of his own standard "The drifter". In september 2004, he was diagnosed a lung cancer. Already suffering from heart problems, he must slow down his musical activities. Then, his Slidell home was ravaged by Hurricane Katrina. Broken morally, he moves in with his niece in Orange (Texas). There, he died in september 2005. Unfortunately, the fate will set on him since his grave will be damaged by Hurricane Ike in 2008. Thanks to generous donors, it can be replaced later. Of his three marriages, he had four children. |
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BLUES AT MONTREUXEagle Eye July 2004 |
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RECORDED LIVE AT THE 2004 & 2005 NEW ORLEANS JAZZ & HERITAGE FESTIVAL? 2004 - 2005 |
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