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Jimmy Sweetwater



Last Updated: 1/6/2010

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Status: Single
City: SAN FRANCISCO
State: California
Country: US
Signup Date: 7/16/2006

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Wednesday, December 02, 2009 
2
WINNING SPINS
JIMMY SWEETWATER’S BLUES ARE
firmly planted in Florida soil. Although he was
born in Massachusetts and now resides in San
Francisco, the harmonicist and percussionist
spent formative years around the Gainesville
area. The rural environs, not to mention the
opportunity to hear blues artists such as
Willie Green and to pal around with rock and
blues icon Bo Diddley, helped to inform the
authentic feel of his country blues. With
heroes such as Aleck Rice Miller (Sonnyboy
Williamson II), Charlie Musselwhite and
George “Harmonica” Smith, Sweetwater
developed a gritty, down-home style that’s
short on flash and long on substance.
This sparse, soulful aesthetic is at the core
of Dirt Road by the Tracks, Sweetwater’s latest
recording. Accompanied by the masterful Craig
Ventresco on acoustic guitar, Sweetwater
sings and blows harp in a laconic manner
that conjures images of tree-lined, Northern
Florida backroads with moonlight dripping
off the moss. Of course, there’s plenty of wit
in Sweetwater’s delivery, too. You can hear
the sly wink of Lightnin’ Hopkins in the
opening “Mojo Hand,” in which Sweetwater
calls up the mix of humor and menace that was
Hopkins’ trademark. His mumbly baritone
also brings to mind the late Texas blues legend,
and his exaggerated phrasing will bring a
smile to many blues lovers. (Also check out
the hilarious video for the song, posted at
Myspace.com/jimmysweetwater.)
Sweetwater and Ventresco engage in a couple
of instrumentals, both of which were written by
the pair. “Red Plays the Blues” provides an
excellent showcase for Sweetwater’s grits-andmoonshine
chromatic harp. On “Washboard
Blues,” Ventresco displays an articulate fingerpicking
style that calls up ragtime and Delta
antecedents as Sweetwater punctuates his
playing with a variety of colors and textures
pulled from his washboard, which is rigged
with bells and cymbals.
Sweetwater’s vocals stand out on a read of
Willie Dixon’s “Bring It on Home,” and he
seems to take inspiration from one of his
main influences, Sonnyboy II. Ventresco lays
down a chugging backbeat as Sweetwater
works his vocals and harmonica into the locomotive
rhythm, blowing diatonic harp notes
that belch smoke and recall the insistent
rumble of iron wheels. The singer revisits his
hero again on Sonnyboy’s “Don’t Loose Your
Eye,” in which his voice somewhat resembles
the manic tenor of Ric Estrin.
Lonesome and image-laden, the title song
is a masterful evocation of deep country
blues. “The daylight ends where the iron
meets the road,” Sweetwater sings in his
backwoods baritone. “The piles of dust in
your mind, they’re the heaviest load.”
Ventresco offers some of his finest picking
here, echoing the emotions of the singer.
Meanwhile, Sweetwater lays back in the mix
with some subtle yet heartfelt harp blowing.
Sweetwater also personalizes Muddy Waters’
“Deep Down in Florida,” offering shoutouts
to Tampa and St. Petersburg, as well as an
Alachua County city that means quite a bit to
him. “Yeah, I can’t forget about you, Newberry,”
he sings, “that’s where my little wife she
come from.” A tip of the hat is proffered to
the late Brownie McGhee, as well, with a
frisky read of the (barely) double-entendre
“Key to My Door” and the original “Things Are Not
Right,” which sounds like a Brownie and Sonny Terry
romp but one that deals with modern issues such as
global warming.
Closing out this gem of a recording, which just
passes the 30-minute mark, a rendition of “(I’m
Gonna) Move to the Outskirts of Town” does indeed
change the address of this usually urbane tune. A
favorite of Louis Jordan and B.B. King, the song
finds a decidedly more rural residence thanks to
Sweetwater’s textured harp and dark, misanthropic
vocals, as well as Ventresco’s fine acoustic picking.
Dirt Road by the Tracks shows why Sweetwater
has been a sought-after sideman in the Bay Area and
beyond. His personality, as well as his seasoned chops, shine through
on every track and leave listeners hungry for more.
Jimmy Sweetwater and guitarist Chet Honeycutt will perform Dec. 10 at Blue
Jean Blues in Fort Lauderdale, Dec. 11-12 at the Hurricane Grille in Marathon,
and Dec. 13 at The Green Parrot in Key West. Visit Jimsweetwater.com for more.
JIMMY SWEETWATER
By Bob Weinberghttp://www.jazzbluesflorida.com/home.htm
Saturday, November 07, 2009 
Jimmy Sweetwater "Dirt Road By The Tracks"
If you caught JoMama last summer at the Sands Blues Pool Party you may remember a guy sitting in playing a washboard loaded with all kinds of percussive instruments. That was Jimmy Sweetwater, a long time Bay Area musician and friend of Paul Covarelli. Following up on our conversation that evening he sent me his cd. As a fan of acoustic, deep South back porch music I fell in love with this recording and listen to it on long car rides.
Jimmy has a splendid vocal style backed up with acoustic guitar, harmonica and a little of the afore mentioned washboard. It is delightful in it's musical spareness, reminiscent of the origins of the Blues. There are cover's of Lightening Hopkins, Brownie McGhee and others along with original material. Whether singing a cover or an original Jimmy stays true to those who came before him on the Blues highway.
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Tuesday, September 08, 2009 
jimmy sweetwater
jimmy

sweetwater

- en the mission
three
the mission three
the mission three...
jimmy...
 
Jimmy Sweetwater is een van die gretige muzikanten die je overal kunt tegenkomen. Teveel energie, teveel ideeën om aan één bandje genoeg te hebben, dus je komt ze in verschillende bands tegen, en vaak maken ze tussendoor ook nog wat soloplaatjes. Dat is met Sweetwater niet anders. We kwamen hem voor het eerst tegen bij de sympathiek rammelende band Jimbo Trout and the Fishpeople, maar hij blijkt ook een bijzonder leuke solo-cd gemaakt te hebben met gitarist Craig Ventresco, en hij maakte een heel leuk plaatje met The Mission Three, waarin hij speelt met Cree Rider en Misisipi Mike Wolf (sic, met enkele s en p). Die laatste band speelt wat zelfgeschreven nummers, maar ook bluesklassiekers en nummers van The Band, als King Harvest, dat hier teruggebracht wordt tot een kaal kroegnummer, waar het overigens zeker niet minder van wordt, want ze spelen met veel plezier en energie samen, en je hoort dat er wat gebeurt tussen die drie. Sweetwater weet op zijn soloalbum in zijn eentje ook te overtuigen, want hij zingt de blues zoals die gezongen moet worden, en kan op de mondharmonica ook die oerkracht van de basale muziek die de blues toch is, goed pakken. Lekkere muziek, simpel maar goed, live opgenomen, zonder overdubs, en zoals hij zelf zegt "tiny budget, big sounds".
Klik op het driehoekje om het fragment te beluisteren.
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Wednesday, October 29, 2008 

Category: Music
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Back To Reviews page

Jimmy Sweetwater - Jimmy Sweetwater

www.jimsweetwater.com

www.myspace.com/jimmysweetwater

It's hard to object to an album like this six-song EP from San Francisco blues harp mainstay Jimmy Sweetwater. A study in essence, its bare-bones production and simplicity of composition is almost punk-like in its economy. The only things you'll hear on this album are Jimmy's voice, Jimmy's harp, pal Craig Ventresco's guitar, and the fuzz of a four-track recorder. In an age of Pro Tools, these six songs are a welcome change of pace.

On such a traditional blues record, it's difficult to talk about the merits of specific musical aspects. The guitar work is more than competent, Sweetwater's harp is on fire, and his voice has a surprisingly emotive range. But this really only describes half of the album's allure. Over the course of six covers, Jimmy Sweetwater gives us a living artifact, a testament to where the blues came from, and concurrently, a commentary on where the blues have gone.

A contention that can justifiably be raised is that Sweetwater offers nothing that we haven't heard before. His choices in songs are excellent, but it doesn't change the fact that this album's foremost concern is the cultivation of a previously existing sound. Still, it feels unnecessary to point this out, and even more unnecessary to fault Sweetwater for his archival nature. Unlike some artists who seek to bring the blues back to the Delta, Sweetwater's attempts are heartfelt and honest. This may be a history lesson, but it's a living history lesson.

The only true fault of the album lies in its production, which is uneven from track to track. Half of the tracks are gritty and unpolished, while the others sound inexplicably clean. Even on a single song, the production varies from track to track. For example, on "I'm Gonna Move to the Outskirts of Town," both the harmonica and guitar have a muted, "home recording" feeling to them, while the vocals are impeccably clean. It would have been preferable to retain the "home recording" sound on the entirety of the album, as the songs produced in this manner have a grit to them that makes the reminiscent nature of the album all the more potent.

Regardless of this small snafu, Jimmy Sweetwater's self titled EP will please most any blues fan. He may be playing songs you've heard, but you haven't heard them this way in a long time. Highly recommended.

Reviewed by John McCormick

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Wednesday, October 29, 2008 

Category: Music



About Jimmy Sweetwater...

In San Francisco we don't have no porches or stoops. We don't have cash riches among the artists but we have the richest supply of memory that a man could ever want or dream of. Jimmy Sweetwater is the front porch and his music is rich with the memory of the very first blues song. It is no wonder that he chooses to blow and sing and wail on some of the greatest classics that ever came down the pike. It is a pleasure to know the sweet redheaded man and his smile will blow you away just as his harmonica takes you to places you may have never been and that is a good thang!

Phillip T. Nails