Smokey Wilson & The William Clarke Band – Smokey Wilson & The William Clarke Band – Black Magic Records CD 9013 

Smokey Wilson left the south in 1970 and relocated to Los Angeles, CA after his mother passed away, figuring people would appreciate his brand of authentic Mississippi blues.  Soon, he was playing various clubs and taverns throughout the metropolis.   But Wilson wanted a place of his own.  After being a part owner of a blues joint named The Casino Club, he sold his interest in the business, and in 1972 he purchased The Pioneer Club in Watts in southern Los Angeles.  The club was located at the corner of 88^th and Vermont, and had the club’s name in large block and script lettering across the entirety of the front of the building.  For over 20 years, Wilson held court at his establishment.  Besides using it as the home base for his performing, virtually every blues artist on the Los Angeles scene, young and old, made the club their home.  Blues titans such as Big Joe Turner, Percy Mayfield, Pee Wee Crayton, and Albert Collins played the club.  Blues harmonica giants Shakey Jake and George “Harmonica” Smith were regulars, as were young blues up-and-comers such as blues guitar prodigy Hollywood Fats and blues harmonica ace William Clarke. 

Speaking of William Clarke, himself a California native having come from Ingleside, found the scene at the Pioneer Club especially to his liking, as he was able to gain valuable exposure to many of the blues’ greats, and profit from priceless bandstand time with them to hone his craft.  Especially when it came to chromatic harmonica, Clarke learned much during his time in the club.  Clarke fashioned a playing style based upon the essence of the blues style and fused a sense of swing into his artistry.  Clarke established friendships and acquaintances with a who’s-who of west coast blues, including the artists mentioned above, plus Lowell Fulson, Eddie “Cleanhead” Vinson, Long Gone Miles, and Big Mama Thornton. 

On many levels, it was pre-ordained that Wilson and Clarke would eventually record together on a full-length blues outing, and the energies from two sessions in November and December, 1986 resulted in a document of immense blues indulgence, the Smokey Wilson & The William Clarke Band collection.

Having emerged from recording three albums he was less than satisfied with, Wilson entered the studio in late 1986 with Clarke and his band, an aggregation he performed with many times.  The resulting blues assemblage is nothing short of completely satisfying, and captures an inspired blues veteran in the hands of a younger blues lion and his band who know ideally how to bring out the best in their venerated blues hero.

Clarke assembled a blues cast of tremendous talent to back Wilson on this outing, including fantastic blues guitarists Junior Watson, Joel Foy, and Alex Schultz (and let’s not dismiss Wilson’s guitar contributions here), skilled blues piano artist Fred Kaplan, the terrific Willie Brinlee providing the low-end bass work, Eddie Clark and John Moore keeping sharp time on the drums, with Clarke taking all on blues harmonica excursions over the course of the entire outing.

Wilson is in impressive voice over the course of the 11 blues songs on this hearty collection.  There is no sense of any sort of weariness or just skating along in his vocals; no, he delivers each tune with authority and strength, and brays like a man possessed.  Surely, being complemented by such a respectful blues band had the pleasing effect of allowing Wilson to settle into a groove and focus on the vocal tasks at hand. 

Clarke weaves and swirls and drones through his harmonica with sonic brilliance, accentuating each offered blues with tasteful tones idyllically suited for each cut.  When he solos, there is no showing-off; there doesn’t need to be, as his comprehensive skill set renders that tact unnecessary.  He supplements at each turn.

The individual and collective contributions from each of Clarke’s assembled band members guides each song to the height of its potential, plus, this brings to the fore the best that Wilson has to offer.

The setlist here includes cuts by Jimmy Reed, Johnny Copeland, Roy Brown, John Lee Hooker, Guitar Slim, and a host of others, each one perfectly suited to Wilson’s background and aptitudes.

This is a well-produced collection of heavy-hitting blues by a man who should be more well-known to the blues fan base.  One listen to this sensational blues journey, and assuredly new Smokey Wilson fans will be made.

Recommended with the highest esteem!