Finding America’s Lost R&B; Masters

Stories of artists who prematurely disappear or never receive their due recognition are legion in American music. It’s particularly true of blues, soul and R&B; artists from the South who never became more than regional favorites--New Orleans singers Johnny Adams and Irma Thomas, for instance.

Under-recognized American artists are the focus of this edition of On the Offbeat, a periodic column spotlighting roots, ethnic and pop music from around the world. Albums are rated on a scale one star (poor) to four stars (excellent).

* * * Sonny Boy Williamson, “Clownin’ With the World,” Trumpet/Alligator.

* * * William Clarke, “Serious Intentions,” Alligator.

Blues harmonica players don’t get much respect these days--Williamson is nowhere near as celebrated as his Chess contemporaries Muddy Waters and Howlin’ Wolf. “Clownin’ With the World” unearths eight strong, previously unreleased songs by the sly harp master that, together with eight from pianist Willie Love, are a bonanza for fans of the early ‘50s Memphis blues sound.

Southern California blues harmonica players get even less respect, but Clarke’s second Alligator album may change that attitude. The strong singing and tough playing on “Serious Intentions” adroitly complement well-crafted, varied songs that sound fully contemporary and true blue to the tradition.

* * * James Booker, “Junco Partner,” Hannibal/Rykodisc.

* * * James Booker, “Spiders on the Keys,” Rounder.

* * * 1/2 James Booker, “Return of the Bayou Maharajah,” Rounder.

Booker, who died in 1983, blended classical pieces, pop standards, blues-R&B; hits and Professor Longhair-style New Orleans piano into an audaciously unpredictable style. His reissued 1976 album “Junco Partner” opens with a blues-tinted arrangement of Chopin’s “Minute Waltz” that sweeps into rollicking left-hand rhythms on “Goodnight Irene” while Booker cackles about partying on the Ponderosa with Leadbelly.

“Spiders” and “Bayou Maharajah” were compiled from live performances recorded at the Maple Leaf Bar in New Orleans over a five-year span. The former focuses on pop standards and the melodic embellishments Booker used to place his idiosyncratic stamp on them. The latter shows the blues-R&B; side of his playing in wild ‘n’ woolly arrangements.

* * * Ruby Johnson, “I’ll Run Your Hurt Away,” Stax/Fantasy.

Johnson was the near-unanimous critical choice as the unknown surprise hit of the “Stax Singles” box set two years ago. Too many similar, mid-tempo songs keep this album of her 1967-68 Stax sessions from being a masterpiece, but it’s still a strong piece of classic Memphis soul, with Johnson taking her whisper-to-a-scream vocal resemblance to Irma Thomas to the limit on the slow-building title track.

* * * 1/2 Robert Ward, “Rhythm of the People,” Black Top.

* * * Bobby Parker, “Bent Out of Shape,” Black Top.

Ward played guitar on Wilson Pickett’s first hit, “I Found a Love,” with a band that later resurfaced as ‘70s funk masters the Ohio Players. His guitar tone left a deep imprint on the instrumental sound of Lonnie Mack, who in turn influenced Stevie Ray Vaughan. “Fear No Evil,” Ward’s 1991 comeback album after 20 years, was a tremendously assured foray in gospel-tinged blues, and “Rhythm of the People” is even better. Ward seems so re-energized that he occasionally pushes his voice too hard, but the music is punchier and its gospel-rooted flavor and message are even more in evidence.

Louisiana native Parker grew up in the ‘50s East L.A. R&B; scene before moving to Washington. Relaxed blues shuffles featuring his lead guitar dominate “Bent Out of Shape,” but there are plenty of R&B;/soul shades to the horn punctuations and Parker’s singing on 11 originals, including a new version of “Watch Your Step.”

* * * * Joe Ely, “Live Shots,” MCA.

Too bad all those fans flocking to rock-flavored country today weren’t around years ago when Ely was rippin’ it up. Recorded in 1980, “Live Shots” finds a great singer at his peak performing his own tunes and memorable songs by his Austin buddies Butch Hancock and Jimmie Dale Gilmore with a backing band that just honky-tonks its rocks off. Highlights abound: a storming duet with Carlene Carter on Hank Williams’ “Honky Tonkin’,” the harrowing “Boxcars,” and Lloyd Maines’ banshee-blitz pedal-steel duel with guitarist Jesse Taylor to close “Johnny’s Blues.” Ely is still a vital artist, but this was his most powerful and versatile band.