Lazy Lester – Blue Stop Knockin’ – Antone’s Records TMG-ANT 0051

This 2001 12-song outing for the Austin, Texas-based Antone’s Records label is a front-to-back superb representation of the immense influence of Leslie Johnson aka Lazy Lester in that oh-so-appealing, laid-back, economical sub-genre of the blues known as “swamp blues,” a style of Louisiana-inspired music generally incorporating a slower tempo and more rhythmic variants, along with strong musical influences from sources such as New Orleans’ blues meld, zydeco, soul, and Cajun bases.

Lester made his mark with the selections he cut with J.D. “Jay” Miller for the celebrated Excello imprint, one that was centered in Crowley, Louisiana, in the south-central area of the state, from a period extending from 1957 and approximately ten years onward. 

Why this collection resonates so ideally is that Lester was surrounded by an understanding and eager group of experienced musicians, and this was his first full-length studio outing in about three years; he was eager to prove his still significant power.  And, the results are impeccably successful.

Brawny blues resonances flourish across this collection, creating a fluently idyllic tapestry of Lester’s metrical harmonica squalls and unpretentious vocals.  Like the chestnuts Lester provided during his reign of the late-1950s and 1960s, the swamp blues here is akin to those lurching and lumbering distinctive appeals that made his defintive major era work so enduring.

Texas-based producer and guitar great Derek O’Brien and fellow Texas guitar giant Jimmie Vaughan primarily and ideally handle the six-string framing here, with assistance from Sue Foley, while the duo of low-end specialists Sarah Brown and Speedy Sparks frame things with their bass work.  The solid back beat of drummer Mike Buck brings so much value to this outing, whilst Riley Osbourn lends his piano offerings to excelelnt ends.

And of course, there’s Lester in the middle with his inspired-yet-world-weary-and-relaxed vocalizations, spartan harmonica trimmings, and even some surprising percussion work.

This is not a “last gasp” attempt by an aging blues great to capitalize on his past glories; no, this is Lester with a band that fully uderstands his blues history and visions, a match that in the end yields a whole lot of blues quality throughout.

Pick this one up!  Highly recommended!