William Clarke – Now That You’re Gone – Watchdog Records WD-1006

William Clarke was an inspiration to many when he burst upon the national scene with his four collections on Chicago’s Alligator Records in 1990, 1992, 1994, and 1996 (ultimately culminating in one of the label’s “best of” “Deluxe Editions” in 1999, as well) after years of working a grinding day job, playing innumerable low-paying gigs, touring in squalid conditions on the strength of self-produced, low-budget releases that were, however, of extremely high quality, and countless nights in the ghetto bars of South Central Los Angeles.  Clarke was a true force of nature, with his brilliant and brawny labors on both the diatonic and chromatic harmonicas, beefy vocals, and imposing stage presence, replete with dusky sunglasses and full suit of clothes.  Clarke laid upon blues fans the irrefutable impact of a bluesman whose wide skill set and manner implied that he was not about to take any prisoners, as they say, when he commanded his stage or recorded his blues conceptualizations.

Clarke’s blues was a glorious meld of the best of the golden age Chicago blues harmonica superstars blended with the swinging, horn-infused style of the west coast, while also including dashes of the jazz trio greats that Clarke also coveted.  And again, Clarke was a true master and advocate of the chromatic harmonica, bringing to modern-day blues the full capabilities of the instrument.

From a very modest and difficult home life in Inglewood, California, Clarke was able to forge an early blues interest and to create relationships with blues luminaries such as harmonica giant and vocalist Shakey Jake Harris, vocalist and harmonica titan Big Mama Thornton,  guitarist, club owner, and singer Smokey Wilson, saxophonist and vocalist Eddie “Cleanhead” Vinson, blues vocalist Big Joe Turner, the legendary blues guitarist T-Bone Walker, west coast guitar stylists and vocalists Pee Wee Crayton and Lowell Fulson, plus the individual who would eternally affect his blues charter, harmonica icon and vocalist George “Harmonica” Smith.  By Smith, Clarke was piloted and directed into the distinctions of blues harmonica and the blues world in general, and they jointly performed and recorded for a magnificent seven-year period from 1977-1983, with 1983 unfortunately being the year Smith passed away.

In the broad 11-year period of 1978-1988, Clarke recorded abundantly.  The songs on Now That You’re Gone were recorded at Clarke’s west coast studio of choice, Pacifica Studios.  The story of this music is that the tracks were 15 years-old when Clarke went back into the studio to re-mix them, the day before he was to play his last show.  Clarke never made that last show after falling gravely ill with the ravages of a bleeding ulcer, dying only two days after re-mixing the music.  The 2002 release of this collection was made possible via a commitment his then-wife (the now Jeanette Clarke Lodovici) made to Clarke to ensure that he and his music not be forgotten, and after his unfortunate death in 1996, she kept her promise.

This collection could easily be considered essential modern-day blues for its massive quality standards, but so much of Clarke’s pre-Alligator Records output is of similar excellence that it would be truly difficult to signify only one assemblage as singularly essential. 

Here is Clarke’s phenomenal artistry on harmonica and vocals, swinging and affirming his dominance, with blues co-conspirators Mitch Kashmar, George “Harmonica” Smith, and Joe Lodovici assisting on harmonica, along with blues guitar dynamos Hollywood Fats, Junior Watson, and Ronnie Earl lending their prodigious competencies, plus bassist Bill Stuve, and Fred Kaplan on piano.  I know that I should be readily able to recall who played drums with Clarke on these cuts, but at the time of authoring this review I’m drawing a blank.  At some point soon, I’ll refer to Paul Barry’s excellent book entitled Blowin’ Like Hell, his writing about Clarke’s life to refresh my memory on that.

Simply, this is 41 plus minutes of astoundingly swinging west coast harmonica-driven blues.

Many years ago now, while sitting in amazement of Clarke’s combined skills in a South Bend, Indiana blues venue, I recall believing that the-then present-day blues harmonica sphere was in great hands.  His talent prominence was devastating in very much all the correct ways.

Go buy this one, play it thunderously, and know that for a time Clarke was evidence to the world that his matchless blues imprint was alive, entirely well, and abiding to one of the finest of the blues’ traditions while transporting it ahead.  That brand was genuine, reverential, unassailable, and spectacular.

Highly-recommended!