Album Reviews

Extraordinary implications by music journalist’s

Downbeat Best Albums of 2022 • Deep Roots Album of the Year • Incredible indelible masterwork • like no blues cat you ever heard • ethereal, mysterious, satisfying and wholly entertaining. • absolutely hits it out of the park • This man just won’t stand still • mind-blowing mightiness • ear-expanding boundaries • Wow! And then More! • genius for conducting. playing, writing, and arranging • High artfulness of the exploratory sort • Remarkably, he continues to make it work in astounding ways • simply a thing of beauty • Wide ranging sonic exploration • masterful blues harp • compelling listening that continually refreshes…a don’t-miss performance • flex a different part of your blues muscles • dances like a fiddler on a Mississippi roof. • undeniable and unforgettable

Corky Siegel’s Chamber Blues
MORE Different Voices

BEST ALBUMS OF 2022
“…High artfulness of the exploratory sort”

Emotions of the Inner Self
BY FRANK-JOHN HADLEY

★★★★ The venerable harmonica player, long involved with uniting blues and classical, explores a welter of musical relationships with four string players, with tabla specialist Kalyan Pathak and with guest singers that include blues-and-jazz diva Lynne Jordan (on “No One’s Got Them Like I Do”), bluesman Toronzo Cannon (on “Insurance”) and the inimitable Tracy Nelson (on a resolute revival of her 1968 classic “Down So Low”). High artfulness of the exploratory sort shows up as Ukrainian-American Cantor Pavel Roytman’s sings “Hine Ma Tov Blues” and Ernie Watts illuminates his vast creative skills playing saxophone on “Oasis.”

“It’s safe to say that no one in the blues world has pushed the boundaries of the blues more in the modern era than Corky Siegel … And he absolutely hits it out of the park with this disc”

It’s safe to say that no one in the blues world has pushed the boundaries of the blues more in the modern era than Corky Siegel, the Chicago blues harmonica giant who’s been teaming with classical orchestras since the ‘60s and producing a hybrid sound derived from the intersections of the Delta, classical, folk, jazz and more. And he absolutely hits it out of the park with this disc, which teams him with a string quartet, blues artists and musicians who literally span the globe.

Corky’s seventh mixed-media release, he joins forces here with Alligator Records powerhouse Toronzo Cannon, country blues superstar Tracy Nelson and blues/jazz diva Lynne Jordan on this one. It’s a delightful, surprise-packed follow-up to his 2017 release, Different Voices, which featured tabla master Sandeep Das along with vocalists Marcella Detroit and Siegel’s longtime friend/bandmate Sam Lay and jazz saxophone great Ernie Watts.

A skilled composer who grew up playing sax and is a gifted keyboard player, too, Corky rose to prominence as co-founder of the Siegel-Schwall Band, which started as the house band at Pepper’s Lounge and quickly became one of the first white-led blues groups of the mid-‘60s. Siegel’s forays into classical music came after befriending San Francisco Symphony Orchestra conductor Seiji Ozawa during frequent visits to the city and Ozawa subsequently invited the group to the Bay Area in 1968 to record William Russo’s “Three Pieces For Blues Band And Symphony Orchestra.”

Shockingly revolutionary and well-reviewed, the performance was released on LP by the Deutsch Grammophon imprint as Street Music: A Blues Concerto in 1977, joining Seigel’s previous azure releases on Vanguard and Wooden Nickel and serving as a jumping-off point for the six more discs using the concept that he’s released prior to this one.

The musicians on his one includes Spanish violinist Jaime Gorgojo, Taiwanese violinist Chihsuan Yang and Americans Rose Armbrust on viola and Jocelyn Butler Shoulders on cello along with Indian tabla virtuoso Kalyan “Johnny Bongo” Pathak while the voices include Cannon, Detroit, Nelson, Watts, Hawaii-based Pio Dog Pondering front man Frank Orrall and Pavel Roytman, a Jewish-American cantor based out of Mykolaiv, Ukraine. Lisa Wurman and Katherine Hughes (violin), Richard Halajian (viola) and Felix Wurman (cello) provide the backbone as guests on the closing bonus track.

Originally charted in 1973, this is Siegel’s fourth arrangement of “No One’s Got Them Like I Do,” which opens. The strings serve as the classical/blues band in counterpoint to Corky’s harp riffs as Lynne deliver lyrics about a man so enamored by a woman, “she sends chills down his spine” and so downtrodden by her rejection that he’s now “cryin’ in his wine.” But Jordan – dead serious -- isn’t impressed because “no one has troubles like I do” – something that Siegel drives home bittersweetly on the reeds mid-song.

Blues fans will recognize “Insurance” because it originally appeared on Toronzo’s The Preacher, the Politician or the Pimp CD but they’ve never heard it like he sings it here with the strings substituting for his powerhouse guitar aided by Corky’s fills and Johnny Bongo’s bottom. Up next, Marcella soars on mic and chips in a little harp, too, for a take on her original, “There Goes My Man.” From its operatic/symphonic open, it eventually settles into a funky shuffle as it describes a love exiting for the final time.

Orrall takes the spotlight next for a reimagining of his “Little Blossoms Falling Down,” a quiet but minor-key pleaser with percussive Latin rhythms that celebrates finding joy in all of the beauty in the world despite all of its troubles before Siegel gets to rip and run in his instrumental, “Joyful Jambalaya,” a romp that includes a few Sonny Terry-style whoops and gives space for Yang to shine on violins and electric viola.

The ensemble delivers music from the intersection of jazz and blues as Watts takes center stage to deliver the sweet, ten-minute instrumental “Oasis,” which includes sensational interplay between his horn, tabla, harp and the strings, before Corky’s at the mic for “Twisted,” a Siegel-Schwall original that’s now loaded with classical elements, and Nelson stars on voice and piano for her “Down So Low.”

Two more numbers -- Roytman’s “Hine Ma Tov Blues,” a variation of a simple Jewish chant that sings for peace and was recorded long before war broke out in his homeland, and “Penguins in the Opera House,” which includes a poem Siegel penned for children and music by Austrian composer/Holocaust survivor Hans Wurman -- bring the album to an interesting close.

Extremely interesting throughout, not as high-brow as you might imagine – and strongly recommended for anyone with an ear open to something different.

- Blues Blast Magazine Senior writer Marty Gunther has lived a blessed life. Now based out of Charlotte, N.C., his first experience with live music came at the feet of the first generation of blues legends at the Newport Folk Festivals in the 1960s. A former member of the Chicago blues community, he’s a professional journalist and blues harmonica player who co-founded the Nucklebusters, one of the hardest working bands in South Florida.

incredible indelible masterwork …
like no blues album you’ve ever heard … like no blues cat you ever heard … ethereal, mysterious, satisfying and wholly entertaining.

More Different Voices is like no blues album you’ve ever heard.Siegel, 78, is like no blues cat you ever heard. The Siegel-Schwall Band backed up Muddy, Howlin’ Wolf, Willie Dixon and Little Walter when Chicago Blues exploded in the ‘60s. He was a longtime opening act for comedian George Carlin. He blows a mean blues harp, plays a barrelhouse piano and composes classical pieces that he puts in a big pot of gumbo with blues ingredients. His work with the Chicago Symphony Orchestra and the New York Philharmonic is well-documented. He’s been fusing classical music with the blues on eight albums. (He even co-produced Joni Mitchell’s original demo of “Circle Game.”)
This incredible indelible masterwork pits his harmonica up against a string quartet and the results are ethereal, mysterious, satisfying and wholly entertaining. Sax man Ernie Watts (Stones/Zappa) is on hand as is vocalist Tracy Nelson who is, in a word, stunning on her own “Down So Low.” Blues star Toronzo Cannon sings his own “Insurance” and Ukrainian Cantor Pavel Roytman sings a Jewish chant for peace. 

By Mike Greenblatt

All Mike Greenblatt has ever done in his entire life is listen to music and tell people about it, be it as a New York City publicist, editor or freelance journalist. Mike published his first book at 68, Woodstock 50 Anniversary: Back To Yasgur’s Farm (sold in the Goldmine Store). The author has long maintained that his state of musical zen is a direct result of his Woodstock experience.

"…mind-blowing mightiness of Corky Siegel’s latest extravaganza. This man just won’t stand still...His new release crosses all kinds of ear-expanding boundaries...there isn’t much else to say except 'Wow!' And then 'More!’"

Now for something completely different. Like really completely different. Try crossing classical music with the blues, now tagged chamber blues, throw in a certified Cantor singing “Hine Ma Tov Blues” and filling up an entire album with the kind of genre-crossing greatness that doesn’t happen much any more, and that’s a small instance of the downright mind-blowing mightiness of Corky Siegel’s latest extravaganza. This man just won’t stand still. First known as the harmonica half of Chicago’s celebrated Siegel-Schwall Blues Band of the 1960s, Corky Siegel lit off for new territory in the 1970s and has never looked back. His new release crosses all kinds of ear-expanding boundaries, ones that can’t really be described in words. They must be heard. He’s corralled a wide range of like-minded souls for the latest opus, including singers Lynne Jordan, Toronzo Cannon, Marcella Detroit, Frank Orrall, Tracy Nelson and Cantor Pavel Roytman, along with a bevy of string players, jazz saxophone giant Ernie Watts. And that’s just for starters. As the ten songs unfold there is an air of expectancy that is thrilling in how it pulls back the curtain of sound with such sheer humanity. By the end, on the bonus track “Penguins in the Opera House,” there isn’t much else to say except “Wow!” And then “More!” - Bentley’s Bandstand

Exceptionally good releases from BUDDY GUY and CORKY SIEGEL’S CHAMBER BLUES

“…a delight from start to finish …expanded my musical horizons, in a great way … undeniable and unforgettable.”

MORE Different Voices is Corky Siegel’s newest album fusing chamber music with the blues, and it’s a delight from start to finish. I’m sure that purists on each side of those musical aisles will listen askance at first play, like I did, but over time, Corky Siegel and his Chamber Blues won me over for the way they stretch blues, and classical, music. Corky’s been doing this since 1966, when another bandleader asked him if he could play with his band. That bandleader was Seiji Ozawa, and his band was the Chicago Symphony Orchestra. I first discovered Corky when I was in high school back home near Chicago Heights and primarily knew him for his work with the legendary Siegel- Schwall Blues Band. Corky Siegel’s Chamber Blues has since expanded my musical horizons, in a great way, and on this CD, he’s also recruited Tracy Nelson (Mother Earth), Frank Orrell (Poi Dog Pondering), and Lynn Jordan (3Arts). On MORE Different Voices, I particularly like the way Corky Siegel’s Chamber Blues core team wraps several traditional blues songs in viola (Rose Armbrust), cello (Jocelyn Shoulders), violin (Jamie Gorgojo & Chihsuan Yang), harmonica (Corky Siegel), and percussion (Kalyan “Johnny Bongo” Pathak). Toronzo Cannon’s plaintive “Insurance” tells the difficult, real-life story of what many Americans firmly believe is a right (health insurance), and Corky Siegel’s harp steps in at the right place at the right time with Kaylan “Johnny Bongo” Pathak providing a strong foundation. I first discovered “Insurance” on Toronzo Cannon’s Alligator CD, The Preacher, the Politician or the Pimp, and Corky Siegel’s Chamber Blues opens this song with new musical dimensions. Jazz sax player Ernie Watts, a two-time Grammy winner, contributes a 10+ minute instrumental, “Oasis,” and this song traces a delightful musical and cultural journey from blues, to jazz, with stops in the Middle East and “Johnny Bongo’s” native land. Long-time collaborator Marcella Detroit updates “There Goes My Man,” first through a classical lens, and then she takes the song straight down to the Mississippi Delta (or Chicago’s far South Side) before it’s done. In 2014, Corky recorded “Hine Ma Tov” with Ukrainian-American Cantor Pavel Roytman, and I read that, at the time, Corky didn’t know of Pavel’s connection to his native Ukraine. I’ll be the first to admit that I don’t what they’re singing, but their shared passion through music is undeniable and unforgettable.

24 January 2023 BLUESLETTER Washington Blues Society - (historic retiring editor) Eric Steiner

“More Different Voices showcases his genius for conducting. playing, writing, and arranging…”

Corky Siegel hears sounds most of us can’t hear: he can listen to the notes of a tune and hear the ways that various instruments and voices can caress or wail or coax or moan those notes, and Siegel then hears the sounds of those instruments and voices as they weave and coalesce into grander musical movements.

On this new album. Siegel invites us to sit in and hear an astonishing range of vocalists and musicians as he conducts his Chamber Blues experiment, listening as the tempos, melodies, and harmonies among blues and classical music intersect. The Chamber Blues ensemble features Jaime Gorgojo and Chihsuan Yang on violin, Rose Armbrust on viola, Jocelyn Butler Shoulders on cello, and Kalyan Pathak on tabla. The "different voices" include Lynne Jordan, Toronzo Cannon, Marcella Detroit (who also plays harmonica). Frank Orrall, Ernie Watts on saxophone. Tracy Nelson (who also plays piano), and Cantor Pavel Roytman.

The album opens with No One's Got Them Like I Do, a classic blues moan with opening measures that swell in a dirge-like lament among the strings and Siegel's harmonica, evoking the sad and lowdown feeling of Jordan's sultry, Etta James-like vocals. Siegel's harp notes snake around Jordan's vocals, becoming another voice darting and soaring between the spaces provided by the strings. The classical blues shuffle Insurance, written and sung by Cannon, saunters along with a country blues flavor, which levels a tongue-in-cheek swipe at the insurance industry. There Goes My Man opens with a bed of ethereal strings over which Detroit soars with operatic vocals before blossoming into a striding blues romp with Detroit and Siegel trading notes on their harps. Little Blossoms Falling Down, which features Orrall's soothing vocals, is a somber sonata for our times, while Joyful Jambalaya bubbles over with Siegel's hot harp runs jamming with Yang's frenetic violin and viola runs; it's a hoedown chamber blues style. The chamber blues sonata Oasis features Watts telling the main story with his sax as it snakes across the parched lands coming to rest later in the piece in the restful island of the title. It resembles the sonic architecture of the Nat Adderley Sextet’s Soul Zodiac (on which Watts played). Nelson’s sparse take on her classic Down So Low. with piano, vocals, and string quartet, captures the deep soulfulness of the song.

Corky Siegel is a musical visionary, and in his restless imagination he's always alert to finding the just-right combination of instruments and voices that will transport a song to new heights, transforming it along the way. More Different Voices showcases his genius for conducting. playing, writing, and arranging, but even more it displays his deep desire to bring a community of musicians into a room to revel in and to share their musical talents, their passion for music, and their love for each other. - Henry L. Carrigan Jr. - Sept. 2. 2022

The album was reviewed by David McGee for both THE ABSOLUTE SOUND and DEEP ROOTS magazines

SPOTLIGHT: ALBUM OF THE YEAR “Music that reveals its depth on first blush and bores deeper upon further immersion.”

As far back as 1966 veteran bluesman (harmonica and piano) Corky Siegel, who made his mark in that tumultuous decade as co-leader, with guitarist Jim Schwall, of the respected Siegel-Schwall Band, began fashioning a scintillating chamber music-blues hybrid. A scant two years later the band’s progressive approach was credible enough for it to be invited to accompany noted orchestras—the Chicago Symphony, the New York Philharmonic, Boston Pops—and to be featured on a 1973 Deutsche Grammaphon recording with Seiji Ozawa conducting the San Francisco Symphony Orchestra performing composer William Russo’s “Three Pieces for Blues Band and Orchestra.” All the while, from the late ’60s through the mid-’70s, Siegel-Schwall was recording steadily for Vanguard and RCA and touring all over. Siegel himself appeared on harmonica and piano on another Russo composition released as an album in 1979, again on DG, titled Russo: Street Music—Op. 65—A Blues Concerto. So by the time his Chamber Blues project began in 1994, it had been incubating in various forms for almost three decades. Arguably, his most fully realized recording in this vein came with 2017’s Other Voices, heralded in these pages and in many others as a full realization of Chamber Blues working on a higher plane of expressiveness and virtuosity. Now, five years later, comes a seventh blues-classical hybrid from Siegel and his Chamber Blues cohorts in the form of More Different Voices. A formidable followup to its predecessor it truly is, what with world music elements informing several of its arrangements, the blues sounding more raw than ever and the classical conversations veering into Impressionistic improvisational feels.

For instance: amidst a jittery swirl of violins, cellos, tabla and sputtering blues harmonica, vocalist Marcella Detroit (doubling on harmonica in a lively exchange with Siegel) wails a swaggering mean man blues on “There Goes My Man.” For Ms. Detroit, otherwise a member of Shakespear’s Sister, it’s another star turn in this configuration, as her version of “Lay Down Sally” was one of the highlights of Different Voices. In “Little Blossoms Falling,” Frank Orrall, in a Leonard Cohen-esque deadpan, enumerates the many tiny blessings he finds among friends and nature, over an splintered backdrop in which table, violins and harmonica create a world in flux in what Siegel, in his liner notes, refers to as “a song for our times.”

Tracy Nelson, in fine Mother Earth form, is on board too, burrowing passionately into her classic “Down So Low” with an empathetic string quartet gently embroidering her spare, bluesy piano and bruised, earthy vocal. Another no-nonsense blues woman, Lynn Jordan, kicks off the album with a severe reading of Siegel’s “No One’s Got Them Like I Do,” both speaking and singing her grave retorts to anyone who would think their own depths of despair are deeper than hers, over an artsy, almost free form, but sinister backdrop of darting strings and Siegel’s moaning harmonica. Blues stalwart Toronzo Cannon stops by to offer some friendly advice on self-preservation in his lowdown “Insurance,” but instead of a blues combo he’s declaiming over Siegel’s harmonica, an atmospheric tabla and anxiety-ridden strings.

The showcase items here are two in number. Check out the 10:22 opus “Oasis, ” written by legendary sax man Ernie Watts. This masterwork leisurely unfolds in layers as Watts’s melodious, warm sax explores the melody line and engages in deep dialogue with Kalyan Pathak’s tabla ornamentations over subtle string and harmonica support—beautiful and evocative all at once. The current climate elevates Ukrainian Cantor Pavel Roytman’s stirring Jewish chant “Hine Ma Tov Blues,” a theme-and-variation work of interwoven blues and Mozartian textures, all of which serve to elevate this moment to higher plane of meaning altogether. Recorded before Russian invaded Ukraine, this version, in its spare, foreboding arrangement keyed by Siegel’s intense harmonica formulations, suggests the dark days ahead; this, in contrast to, say, the Weavers’ more sprightly but reverent traditional folk version, with Pete Seeger on banjo, Fred Hellerman on guitar, and vocalist Ronnie Gilbert plaintively emoting the lyrics of the Jewish hymn giving thanks for the love of friends and family.

The CD contains a wonderful bonus track in “Penguins in the Opera House,” a tune familiar to Siegel fans (he wrote the poem in 1973 and first recorded it in 1994) but here getting a little different presentation from the Chamber Blues players on violins, violas and cello (there’s a splash of piano there too) as Siegel playfully recites the inspiration he had when gazing at “a symphony orchestra looking like penguins in their tuxedos and the people wearing minks and sables in the audience.” The poem has a Shel Silverstein quality in its dry humor describing the anti-authoritarian penguins in the orchestra ignoring the beleaguered Maestro’s angry baton as they eagerly continue “sawing on the violins/they only stopped to turn the page,” all leading up to a final stanza with an O. Henry twist. Plenty of surprises here, as always when Corky Siegel shows up with his gifted friends and makes music that reveals its depth on first blush and bores deeper upon further immersion. - David McGee

“For more than half a century, Corky Siegel has brought new colors to the blues… to bridge musical genres and cultural divides, making the world slightly smaller and kinder.. Tell Tchaikovsky the news.”

Associated Press Review:

Corky Siegel’s blues knocks down musical boundaries

By STEVEN WINE

Published: September 21, 2022 - 12:36 PM

For more than half a century, Corky Siegel has brought new colors to the blues. “MORE Different Voices” is the latest endeavor by the composer/arranger to bridge musical genres and cultural divides, making the world slightly smaller and kinder.

Siegel has long favored classical flavors, and here he pairs his distinctive harmonica work with a string quartet, the result akin to a collaboration between Big Bill Broonzy and Borodin. Kalyan Pathak’s tabla and a parade of guests render any stylistic boundaries even more elastic. Not everything works, and at least a couple of cuts run too long, but Siegel’s adventurous approach defies the notion the blues are formulaic.

“Hine Ma Tov Blues” quotes “Mannish Boy” while featuring a Jewish melody even more ancient. “Joyful Jambalaya” is an instrumental jam with skittering strings and a gonzo harp solo. Even the 12-bar blues form becomes unpredictable on “Twisted” when the strings sound as though they might launch into Beethoven’s “Grosse Fugue.”

Throughout, Siegel keeps us guessing as to what will come next. Tracy Nelson sings a powerful rendition of her piano ballad “Down So Low,” and even 45 minutes into the album, it’s somehow a surprise when the classical strings enter.

They sound great. Tell Tchaikovsky the news.

“… simply a thing of beauty … rarely do we associate blues and classical. Siegel has been doing that now for over five decades. Remarkably, he continues to make it work in astounding ways”

Corky Siegel, harmonicist who first came to fame with the Siegel-Schwall Blues Band in 1965, has long been the sole pioneer of fusing blues with classical music with this history – Chamber Blues on Chicago’s Alligator Records in 1994. 1998’s Complementary Colors (Gadfly Records), 2005’s Corky Siegel’s Traveling Chamber Blues Show – Live (Alligator Records), 2017’s Different Voices, and now MORE Different Voices. Having reviewed Different Voices for another outlet, this quote was attributed to yours truly, “The breadth and layers of this project are so stunning that I can’t recall hearing anything like this.”  Rather obviously this release is a follow-up to that one and while there are exciting moments, it no longer brings that novel reaction. Now, of course, if this is your first time listening, you may indeed be awed.

Before detailing the guests and summarizing the tracks, we’d be remiss not to include this story about the genesis of this project, and sub-genre as Siegel relates it. A blues player and a classical conductor walk into a bar. “1966…this fellow used to come into Big John’s night after night and stay all night. One night he comes up to me and says” “Corky I’d like your band to jam with my band.” I’m thinking; Who is this guy and what is his band? He was the renowned Maestro Sejii Ozawa and his band was the Chicago Symphony Orchestra.” Siegel later made his debut with that same orchestra in 1968 and went on to work with several others over his storied career.

Here, like on its predecessor we don’t have a full orchestra but a classical string quartet plus Indian table player Kalyan “Johnny Bongo” Pathak. The strings are Jaime Gorgojo – violin (Madrid), Chihsuan Yang – violin (Taiwan), Rose Armbrust – viola, and Jocelyn Butler-Shoulders – cello. The diverse lineup of guests include saxophonist Ernie Watts, Frank Orall (Poi Dog Pondering), Marcella Detroit (Shakespear’s sister), Pavel Roytman (a Ukrainian cantor) singing a Jewish chant for peace, Alligator artist Toronzo Cannon, country and blues singer Tracy Nelson, and vocalist Lynne Jordan.

Siegel composed three of the compositions and arranged all of them, the lion’s share written by the various guests. “No One’s Got Them Like I Do” is an original featuring Lynne Jordan on vocal. This is an older tune with multiple versions that dates to the early ‘70s and it appeared on the 1994 Alligator album. Jordan takes a rather improvisational approach, her dramatic vocals weaving in and out of Siegel’s harmonica riffs and the cushioning support of the strings. . Siegel’s extended harmonica solo is simply a thing of beauty. “Insurance,” penned and sung by Toronzo Cannon, exemplifies the bluesman’s wit and is a clear example of how Siegel takes a blues shuffle and meshes in his classical arrangement. Marcella Detroit composed and sings “There Goes My Man” and she also exchanges harp lines with Siegel in the boisterous harp exchange section, an instrumental highlight of the album. This one has a vintage early century blues feel and Marcella performed “Lay Down Sally,” another song she wrote on the previous “Different Voices” album.

Frank Orrall is the writer and vocalist on “Little Blossoms Falling,” one with more classical overtones, a bit of calm following the previous roof-raising tune and a feature for the tabla. The classical emphasis continues with “Joyful Jambalaya,” a jam-like tune from Siegel written for two violins and viola, performed here extraordinarily by Chihsuan Yang. “Oasis,” penned by Ernie Watts and Jeremy Monteiro, extends for over ten minutes. This, more than any tune, brings in the strains of India and Kalyan is again brilliant on the tabla. Siegel claims to have arranged the strings with much more syncopation than usual while retaining a classical feel. Two-time Grammy winner Watts, known as a very bluesy jazz player, shows his versatility here, homing in on both classical and Indian motifs. “Twisted,” written and sung by Siegel, appeared on the 2005 Alligator release, Flash Forward and will also appear on Seigel’s forthcoming solo album Somethin’ Wrong. He emphasizes the classical components in this version. Tracy Nelson composed, sings, and plays piano on “Down So Low,” a tune without Siegel’s harmonica or table but wrapped in the strings. Any time Nelson sings, she brings her force-of-nature style to the tune as she does here with the strings and especially the cello, amplifying her power.

The Ukrainian chant for peace “Hine Ma Tov Blues” was added to this project in 2020, obviously long before the current invasion of the country by Russia.  Siegel’s grandfather is from Odessa so there was that connection. Siegel begins with a Hootchie Coochie Man intro which morphs into Mozartian flavors, a long setup for the vocals of Cantor Pavel Roytman, who takes the tune into surprising directions. The bonus track “Penguins in the Opera House” dates to a children’s poem that Siegel wrote in 1973 and he narrates it here. The music and arrangement was written in 1993 by Siegel’s late friend Hans Wurman, a Jewish composer, pianist, and cellist who escaped from Austria when the Nazis took over his country. Wurman served as music director for Chamber Blues until a few years before his death. His late son Felix played cello in an early Chamber Blues lineup and on this version from 1994 which has his quartet members violinists Lisa Wurman and Katherine Hughes and violaist Richard Haljian. As Siegel reminds us, these last two pieces are “brash reminders of the authoritarian wave raining down in Ukraine, here, and other places around the world today.”

So, we can sometimes think of jazz and classical as second cousins, jazz and blues as first cousins, but rarely do we associate blues and classical. Siegel has been doing that now for over five decades. Remarkably, he continues to make it work in astounding ways. - Jim Hynes

[bold-face of Different Voices quote by webmaster]

“masterful blues harp…compelling listening that continually refreshes…a don’t-miss performance”

The cross-weaving of Corky Siegel’s masterful blues harp with a classical string ensemble, and with a tabla underneath for good measure, makes for compelling listening that continually refreshes itself with track-by-track tweaks. Mr. Siegel’s own play is particularly striking in minor-key mode as evidenced on the leadoff track, “No One’s Got Them Like I Do”. The blues/classical confrontation plays out in a delightful manner with vocalist Marcella Detroit’s treatment of her own “There Goes My Man”. Features on their own compositions by Toronzo Cannon- “Insurance” and Tracy Nelson- “Down So Low” are strong airplay bets. The latter is a don’t-miss performance. by Duane Verh - Sept. 12, 2022

“Wide ranging sonic exploration… a welcome vacation from the standard boogies and shuffles … flex a different part of your blues muscles”

Best known to rank and file blues fans as the harmonica half of the Siegel- Schwall Blues Band, Corky Siegel has long had another side- adding his harmonica to classical music. Over the years he’s played with 38 symphonies including New York, Boston, Philadelphia and NHK Japan. This disc features a Chamber Blues ensemble with violins, viola, cello and Tabla accompanying Siegel and a host of vocalists. While Siegel’s harmonica is a frequent feature in the tunes it gets a more prominent role on the Marcella Detroit penned There Goes My Man where both Detroit and Siegel play with gusto. In a similar vein, Siegel goes deep into the harmonica trick bag on Joyful Jambalaya for a hard hitting counter-point to the violins and electric Viola laid down by Chihsuan Yang. Jazz saxophone enters the mix compliments of Ernie Watts on Oasis where Watts leads the chamber ensemble in a wide-ranging sonic exploration over the insistent Tabla groove laid down by Kalyan “Johnny Bongo” Pathak. Siegel takes the microphone on his own Twisted which finds the original version getting wrapped in the ensemble’s classical strings for a decidedly different twist. Country blues singer Tracy Nelson is featured on Down So Low with her stark piano chart given additional depth by the string quartet.  Hine ma Tov Blues is a timely call for peace from Ukrainian Cantor Pavel Roytman. While this adventurous marriage of the blues and classical music may not be everyone’s cup of tea, it provides a welcome vacation from the standard boogies and shuffles that make up much of the blues. Throw this into the mix once in awhile and flex a different part of your blues muscles. - Mark Smith - Sept. 12, 2022

“Some of the most fascinating and interesting music to be found on the music scene today. Just Incredible ! We can't wait for more”

Some of the most intriguing music to be released comes from an unlikely source - from a veteran musician who once hung with Muddy Waters and Howlin' Wolf , performing alongside many blues all-stars at John's Bar and Peppers Lounge in Chicago during the mid 1960's. Corky is best known for Co-Founding the Siegel-Schwall Band which began in 1964 and ended in 2016 .They quickly became one of the first white-led blues groups of the mid-60's Jim Schwall died June 19 at the age of 79.

What do you get when you mix a classical string quartet with blues harmonica? Some of the most fascinating and interesting music to be found on the music scene today. I played Corky Siegel's latest release for my wife one morning as we drove around doing errands . "Chamber Blues " latest offering , " More Different Voices " , had my much jaded wife , who puts up with my craziness and is forced to listen to so many releases that have come through our New Jersey doorway , to ask me , " Wow! What is that ? This is not the usual stuff that I hear all the time . This is finally something different . I like this" . Enough said....

Seigel describes his music: “The string quartet remains performing in a classical flavor. They are not backing up a blues harmonica. They stay in the classical character and, of course, I stay in the blues character. And then we bring in another element.”The string players are from all over the globe: Violins Jaime Gorgojo (Spain) and Chihsuan Yang (Taiwan), viola Rose Ambrust and cello Jocelyn Butler-Shoulders (both from Chicago) and tabla (Indian hand drum) Kalyan “Johnny Bongo” Pathak (India).
The other featured element on “More Different Voices” includes saxophonist Ernie Watts, rock ‘n’ roll’s Marcella Detroit, blues’ Toronzo Cannon, country’s Tracy Nelson, acous-tonic’s Frank Orall, Ukrainian cantor’s Pavel Roytman and jazz singer Lynne Jordan.

“After a number of years of performing the Chamber Blues, we decided it would be fun to bring in another genre and start having guest artists so we would find someone who we really loved and asked them if they wanted to do something with us. One of the first ones was Marcella Detroit. I would write a whole version of Chamber Blues of her songs.

“We did a bunch of shows with all these different artists and I thought what I am going to do is take my favorite piece from each artist from each show and make an album. That was “Different Voices.”

Chamber Blues was on tour in the Virgin Islands in March , 2020 , when , as Corky describes it , the ensemble was " ambushed by the damnpandic " . “Everyone recorded from their own individual spaces,” Siegel said. “If they didn’t have high-res recording equipment, I bought some recording equipment and sent it to them with instructions. … Special microphones, prototypes from Shure that were attached to the instruments.

“Normally when we are onstage, we rely on each other and play off of each other. But when you are in your own room and there is no one else around, the whole world of expression is on your shoulders. And the way the playing changed from previous recordings and performances is quite profound.”

The album powerfully sets a scene, opening with “No One’s Got Them Like I Do.” Classical strings are followed by blues harmonica. Then vocalist Jordan begins the story: “She was a hot-blooded woman, sending chills up and down his spine. Now she’s got him crying in his wine.”

“No One’s Got Them Like I Do” was first recorded on Chamber Blues’ 1994 debut on Alligator Records, which had released Siegel-Schwall records.

“Insurance” is sung by current Alligator Records artist Toronzo Cannon, who sings the blues: “I need a CAT scan but all I can only afford is a kitten scan.” " Insurance" was originally released on Toronzo's " The Preacher , the Politician or the Pimp " CD but here the strings are substituted for Toronzo's power house guitar .

Marcella Detroit is known for her band Shakespears Sister and her work with Elton John, Aretha Franklin and co-writing “Lay Down Sally” with Eric Clapton. On “There Goes My Man” she sings classically before a harmonica duel (recorded separately) with Seigel.

Frank Orrall and his band Poi Dog Pondering in the late 1980s created organically the sounds now called EDM. He narrates a day-in-a-life story on “Little Blossoms Falling Down.” “The song is an anthem for what we need today,” Seigel said. “We do what we must. We do what we can. But then we must remember what a beautiful world this is.”

One of the album’s most stripped-down songs is “Joyful Jambalaya” with harmonica, viola and two violins. “This is a real good example of classical and blues working together and creating this energy that wouldn’t exist otherwise. (Chihsuan Yang) is playing very classical style, very diatonic. And the harmonica is playing almost like a Sonny Terry type of flavor.”

“Oasis,” written by two-time Grammy winner Ernie Watts, is the standout track. Watts' saxophone interplays superbly with Kalyan Pathak’s percussion. “It sure sounds like jazz. But my whole approach was classical, classical, classical against the jazz. It’s not a blend. It’s not a fusion. My project is trying to keep the two separate and working together so that they maintain their characters.”

“Twisted” is an ongoing project for Siegel, who first released the song on Alligator’s Siegel-Schwall 2005 album, “Flash Forward.” It’s also on Siegel’s 2022 blues album, “Something Wrong.”

“Down So Low” has a minimalist arrangement with Tracy Nelson on vocals and piano. “I just want everything that leaves my world, I want it to feel like, that’s perfect. And then I let go. Where it’s bare, you want all the elements all to sing. Nothing gets hidden.” Nelson opened for Siegel-Schwall in a 1967 show at the Avalon in San Francisco.

“Hine Ma Tov Blues - song by cantor Pavel Roytman is a Jewish chant stretched into seven minutes of a heartfelt message. “It starts ‘Hoochie Coochie Man’ and goes into Mozart.” Corky further explains , "Our dearest Maestro , Dr. L. Subramaniam - known as the God of the violin in India - expressed , " You can't always get to peoples minds with words but you can get to their hearts with song ". And so we send this work on the wings of the muse to our Ukrainian soulmates - " Glory to Ukraine " ( 4-5-2022).

The album ends with something completely different, “Penguins in the Opera House.” It is a children’s poem Seigel wrote in 1973. Twenty years later former Chamber Blues musical director Hans Wurmen wrote music to it. Wurmen was spared from Nazis by an Austrian music teacher, whose other students were killed at Dachau. Coincidentally, Wurmen’s son wrote the music for the Oscar winning , “March of the Penguins.”

There will be a follow up to the follow up.

“Since we have about 10 artists, I’ve written about three to five pieces for each artist,” Siegel said. “That means we have 50 works that we love, that we’ve performed but have never been recorded. So, this is going to continue. The next one will be ‘Even More Different Voices.’ ”

A Really interesting concept that has resulted in 6 previous discs that Corky has released . " More Different Voices '' - Pushing the boundaries of the blues beyond all borders , and stretching music into limitless possibilities , this blues harmonica giant has been led by his incredible imagination and a fervent desire to expand the world's horizons through music . Blending Delta , classical folk , jazz , and so much more into a cosmic cornucopia of sounds has been the mainstay of " Chamber Blues " . If you are eager to experience something uniquely different , and are open to new possibilities , where music can expand your mind and open yourself to new delights , this project is for you . Just Incredible ! We can't wait for more..... - Raymond Muller

Raymond Muller also reviewed all three September releases:

Corky Siegel is a force to be reckoned with - a magnificent musical hurricane creating musical masterpieces, tearing down the expected, and bringing to life contemporary blues that will certainly surprise you.

Raymond Muller - New Jersey Blues Society - Dec 6, 2022

Corky Siegel - Something Wrong - 2022 release - www.corkymusic.com - All songs by Corky Siegel Dawnserly Music except - " Blues with a Feeling " by Rabon Tarrant

Production - Holly and Corky Siegel - Harmonica / Piano / Vocals - Corky Siegel - Background Vocals - Track 2 - Mexico - Jennifer Nice and Robert Tepper / Track 8 - Strange Dream - Jillian Spence and Nathaniel Paul

MoreDifferent Voices,the seventh Chamber Blues CD, includes contributions from blues artists Toronzo and Tracy Nelson, jazz diva Lynne Jordan and saxophonist Ernie Watts, vocalist Marcella – who bridges the jazz, pop and blues worlds, Frank Orrall – the front man of the Hawaii-based alt rock/soul group Poi Dog Pounding, a string section composed of members from from Spain, Taiwan and the U.S., and tabla giant Kalyan “Johnny Bongo” Pathak. As an inventive twist, the music goes in an entirely new direction, too, with the addition of Ukrainian-born, America-based cantor Pavel Roytman.

Co-written with Holly, Songs for Truth and Harmony channels the spiritual energy of tunesmiths Pete Seeger, Bob Dylan and Woody Guthrie and the teaching of the Dalai Lama, social psychologists as it delivers a passionate, blues-infused plea for kindness and truth – the seed for which was planted by Dr. L. Subramaniam, a frequent Corky collaborator and violinist adept in both South Indian and western classical music.

Siegel showed him the lyrics to one of the first tunes penned for this set, and Subramaniam exclaimed: “It’s hard to change people’s minds with words, but you can get to their hearts with song.

Corky Siegel wastes no time getting his music out there . The so-called "Renaissance Artist of the Blues " he is continually evolving , creating , composing , collaborating , stretching the boundaries of music even further . His mind is in a constant swirl and whirl with ideas flowing like the tides , with waves of creativity crashing against the musical shoreline . Even COVID was not able to hold him back : " ‘What were we so worried about?’ All you can do is embrace life! Take a walk outside. Look at the sky. Make sure you’re enjoying every single second no matter the situation!” Instead of feeling sorry for himself and unable to perform for adoring audiences for the first time in decades, Siegel set his sights on an even loftier goal: to use his downtime and figure out a way to use his music to spread love, peace, truth and understanding to a society wracked with disease, political upheaval and social disorder.

"Something Wrong " is just an extraordinary release . Simple , stripped down , Corkys haunting harp work following alongside his jazzy , bluesy , grooves on the 88's . Corky's large range , his beautiful compositions , combined with a great stage personality , bring the music to new heights . From the most light and subtle sound to a very heavy and powerful impact Corky's work on the keys is outstanding , and his imagination is free-wheeling as he roams the musical landscape , " Strange Dream " , featuring background vocals by " The Bergamot" - Jillian Spence and Nathaniel Paul - is a truly remarkable composition , totally unexpected , one of those pieces of music that will have you thunderstruck . I have played this particular piece of music over and over again. Just sensational !

Most definitely check out corkymusic.com . Broaden your horizons and open your mind to new music possibilities . Showing no signs of slowing down , with new releases already being planned for release , Corky Siegel is a force to be reckoned with - a magnificent musical hurricane creating musical masterpieces , tearing down the expected , and bringing to life contemporary blues that will certainly surprise you .

“Siegel finds surprising common ground between widely disparate forms of music. In his hands, the result isn’t an artificial, cut-and-paste fusion but the exploration of genuine commonalities …dances like a fiddler on a Mississippi roof.”

Although fondly remembered for his years in the Siegel Schwall Blues Band, Corky Siegel has been messing with classical music since the early ‘70s. His latest venture into the blues-classical frontier, More Different Voices, will be released in September. On the new album, Siegel finds surprising common ground between widely disparate forms of music. In his hands, the result isn’t an artificial, cut-and-paste fusion but the exploration of genuine commonalities.

The melody of Siegel’s composition opening More Different Voices, “No One’s Got Them Like I Do,” is essentially blues derived, his harmonica working in complement to a string quartet. Lynne Jordan’s vocals keep things grounded in the blues. Siegel brings several other guest vocalists to the project, including bluesman Toronzo Cannon, Poi Dog Pondering’s Frank Orrall, folkie Tracy Nelson and Ukrainian-born cantor Pavel Roytman on a tune that dances like a fiddler on a Mississippi roof, “Hine Ma Tov Blues.” - David Luhrssen - Aug. 25, 2022

David Luhrssen is author of The Vietnam War on Film, Encyclopedia of Classic Rock, and Hammer of the Gods: Thule Society and the Birth of Nazism.

“Yes, classical chamber music can fuse with blues harmonica.”

Yes, classical chamber music can fuse with blues harmonica. Check More Different Voices (Dawnserly) by Corky Siegel's Chamber Blues helmed by yesteryear's Siegel-Schwall Band's harp man. The voices extend from a Ukraine-born cantor's song of peace to Tracy Nelson (Corky's cohort in '60s Chicago's blues scene) revisiting her signature song, “Down So Low,” with her contralto – as ever – so poised that it almost resembles a classical delivery. Comic social commentary has been a staple of the blues. Looking at health care – or lack thereof – “Insurance”ranks with Camille West's “Toe to Toe with the HMO” from her days with Four Bitchin' Babes. Might Corky's poem “Penguins in the Opera House” be a spoof of proper attire? By Bruce Sylvester

Bruce Sylvester writes Goldmine's "American Back Roads" blog. He's folk director at WMBR-FM/www.wmbr.org in Cambridge, MA.

• 2017 •

Corky Siegel’s Chamber Blues - Different Voices

 2017 QUOTES: Downbeat magazine editors' pick - National Treasure ~ totally killer stuff throughout ~ a truly unique musical journey ~ most original and innovative music ~ smoking out of the ordinary stuff ~ dazzling special guests ~ Fantastical and complete ~ definitely the most interesting, intricate, and daring recording ~ Music of this caliber can keep both sky and earth intact ~ Either a Musical Genius or crazier than the proverbial outhouse rat ~ Facinating ... Compelling ... 5 stars ~ The breadth and layers of this project are so stunning that I can’t recall hearing anything like this. ~ To call this brilliant is to state the obvious ~ one of the most unique and satisfying fusion CDs of the new millennium - triumphant musical journey - A new American Classical music - #1 ALBUM OF THE YEAR

"National treasure" - Downbeat Magazine - Editors Pick

Corky Siegel is an underappreciated national treasure. The music he makes is so usual that for his latest release, Different Voices, he has included a description on the album cover: "Blues Harmonica and Classical String Quartet." For more than 50 years, Siegel has been melding his masterful blues harmonica playing with accessible classical music,  and at age 73, he has just released an album containing some of the best work of his career. On paper, it might sound as if Siegel weaves together various instruments and the genres just for the sake of being eccentric, or educational. But in practice, the 12 songs on Different Voices form a cohesive program, all tied together by his emotive harmonica work. The opening track, "Missing Persons Blues–Op. 26," features a terrific tenor saxophone solo by jazz titan Ernie Watts. "One" contains soaring, hypnotic vocals by rock singer Matthew Santos, who, at time sounds a bit like the late Jeff Buckley. Siegel recruited singer-songwriter Marcy Levy (aka Marcella Detroit) to sing lead on a slow, fresh rendition of "Lay Down Sally," a classic that she wrote with Eric Clapton and George Terry. Octogenarian bluesman Sam lay offers an authentic reading of "Flip, Flop And Fly," which is preceded by Siegel's compelling original composition "Italian Shuffle." Siegel teams up with folk trio Son of the Never Wrong for an epic version of the gospel standard "I'll Fly Away." An arrangement of "Galloping Horses" pairs the erhu (an ancient, two-stringed fiddle played by violinist Chihsuan Yang) with vocal beat-boxing (deftly delivered by Santos). It's extremely impressive that the core band–Siegel, Yang, Jaime Gorgojo (violin), David Moss (viola) and Jocelyn Butler Shoulders (cello)– can craft music that gracefully incorporates contributions from diverse collaborators, including tabla players Sandeep Das and Frankie Donaldson, yet still feels wholly organic.- Bobby Reed

"one of the most unique and satisfying fusion CDs of the new millennium…the guests are splendiferous…The sky's the limit on this free-form craziness that works in spades."

[This] is one of the most unique and satisfying fusion CDs of the new millennium. As one Minnesota critic put it, Corky has “married Muddy Waters and Mozart.” Plus, the guests are splendiferous. Opener “Missing Persons Blues Opus #26” features rock 'n' roll saxophonist Ernie Watts (ask the Stones about him). The “Time Will Tell Overture” features Indian tabla master Sandeep Das. Marcella Detroit sings the song she wrote with Eric Clapton (“Lay Down Sally”). They meld the 1955 Big Joe Turner hit “Flip Flop & Fly” with an “Italian Shuffle.” There’s even a hip-hop-styled beat-box moment with Matthew Santos whose work with Lupe Fiasco garnered him a Grammy nom. The sky’s the limit on this free-form craziness that works in spades. - Rant n' Roll - By Mike Greenblatt

"The breadth and layers of this project are so stunning that I can’t recall hearing anything like this."

Apirl 10, 2017

I was unaware of Corky Siegel’s Chamber Blues projects until now, though I went to college near Chicago and we often played the discs and saw the Siegel-Schwall Band perform live. A brief history: In 1973 the Siegel-Schwall Band released Three Pieces for Blues Band and Symphony Orchestra on the classical Deutsche Grammophon label. Two principals emerged from the project: jazz trombonist and composer William Russo and famed conductor Seiji Ozawa, who had been a long-time fan of the Siegel-Schwall Band. These two, mostly Ozawa, encouraged harmonicist Siegel to move in this direction, resulting in the first Chamber Blues ensemble recording on Alligator in 1994. Two other recordings followed and this is the fourth. So much for the history lesson—let’s get to the music. Google can take care of the rest.

First, you have to admire the concept that lends itself to cute little phrases like “Muddy meets Mozart” or “A bluesman and a classical string quartet walk into a bar.” Yet, this project goes beyond even the seemingly polar opposites of blues and classical, as Siegel invited blues legend Sam Lay, Grammy-winning jazz saxophonist Ernie Watts, Indian table master Sandeep Das, and R&B Singer Marcy Levey (who sings her hit “Lay Down Sally” composed with Eric Clapton), indie singer-songwriter Matthew Santos, and Chicago’s folk trio, Song of the Never Wrong. Not only do we have blues and classical music but jazz, world, gospel, R&B, and smatterings of folk herein – hence the title. The breadth and layers of this project are so stunning that I can’t recall hearing anything like this.

The first cut, “Missing Persons Blues – Op.26” features Ernie Watts and is a mash-up of blues, classical and jazz. “Time Will Tell Overture –Op, 25” features the table of Sandeep Das. Siegel takes the lead vocal on several tracks but is more than willing to share the spotlight with his guests. Santos takes the lead vocal on “One” and again on his own composition “Shadows in a Shoe Box.” Sons of the Never Wrong deliver innovatively on “I’ll Fly Away” with Deb Lader adding sparking mandolin: and Sam Lay takes his turn as well on the next piece. Siegel describes it, “”Italian Shuffle’ is based on the Chicago Blues style shuffle but you would swear it comes from Tuscany, not Chicago. And you can tell we surprised the heck out of blues legend Sam Lay, who responds by singing the classic ‘Flip, Flop and Fly.’ If there is a theme that has followed me from my first gig at Pepper’s and through this project it is this joy of diversity and togetherness that has enriched and shaped my life. The culmination of all this is reflected in the song ‘One,’ where we look out at the world and see we are all intimately connected.”

The packaging and liner notes are exquisitely detailed with lyrics provided. One little capsule that caught my attention was Siegel’s nod to these four major influencers: Maestro Seiji Ozawa, William Russo, Howlin’ Wolf, and Muddy Waters. There are some select dates, mostly in the Great Lakes states, where you can hear this unit perform with some of the special guests. Unless you’ve heard Siegel and Chamber Blues before, you really do have to hear this to believe it.

—Jim Hynes

"artistic intricacy and beauty"

This is definitely the most interesting, intricate, and daring recording to come to this reviewer’s attention in quite awhile.  There are musical interludes that include Blues, Folk, Classical, and Jazz that intermix and mingle creating new common grounds that open ever expanding vistas to wider exploration.  This disc which is due to appear on April 4, 2017 has been a long evolving work in progress for this musician and the intimate groups and individuals he works with.  Corky Siegel has long been a legend as a harmonica wielding cross genre musician who loves to break down barriers, and who manages to bring together other like minded souls for certain projects that spark interest in multiple divergent genres of music, from the hard blues of his early days with Jim Schwall to some of the divergent musicians he plays this music with.  Musicians lending their talents include Ernie Watts, Sandeep Das, and Marcy Levy.  This is truly a collaborative effort combining the works of many disparate forces, interwoven by the visionary on the harmonica.  
 
We have on this disc a carefully selected group of musicians:  think it is safe to say we all know Corky Siegel and his mastery of the Blues Harmonica and Vocals, and then we have the classical string quartet of Jamie Gorgojo (Violin), Chihsuan Yang (Violin/Erhu {a two stringed bowed Chinese Violin}/vocals), Dave Moss (Viola) Jocelyn Butler Shoulders (Cello).  This aggregate is then and reenforced with various voices such as Sam Lay, Sandeep Das, Mathew Santos, Marcy Levy (AKA Marella Detroit) and the Sons of the Never Wrong.  Power and delicacy combined.
 
https://www.youtube.com/watch?v=02c1KRpfVSQ
 
Then there are the songs, six are composed by Corky Siegel, one by Corky and Holly Siegel, one by Corky Siegel and Mathew Santos, one by Mathew Santos, one by Eric Clapton, one by Albert Brumley Sr., and one by Hai Huang-Hai as diverse a group of Composers as you will find.  The songs stretch an equally wide variety of material.  Suffice it to say the music is as diverse as both the musicians and the composers but never easy to pin down and always intriguing.  A fantastical and complete work that will provoke much thought and hopefully some comparable works by others coming.  
 
Bob Gottlieb - Journal of Roots Music - No Depression

"To call this brilliant is to state the obvious."

This ongoing project of harmonica legend Corky Siegel features a string quartet of Jaime Gorgojo (violin), Chihsuan Yang (violin, ehru, a two-stringed Chinese violin, and vocal). Dave Moss (viola), and Jocelyn Butler Shoulders (cello). Additionally, tabla player Sandeep Das is on one track, saxophonist Ernie Watts on one track, vocalists Matthew Santos and Marcy Levy, drummer Sam Lay and the Chicago-based folk trio Sons of the Never Wrong are also contributors. Percussionist/drummer Frankie Donaldson, a 26-year veteran of working with Chamber Blues, as well as a decade with Ramsey Lewis, is prominently featured, as well. Most of the dozen compositions are from Siegel and, as mentioned, they combine harmonica with string quartet. To call this brilliant is to state the obvious. It is also demanding music. It breaks any preconceptions that listeners may have regarding the wedding of classical string quartet and blues harmonica. The Siegel-Schwall Blues Band first tackled this alliance of styles in 1973 on a recording with the Chicago Symphony under the baton of Seji Ozawa. Mr. Siegel saw Alligator release two Chamber Blues recordings in 1994 and 2005 and in 1998 released Complementary Colors on Gadfly Records.

The disc at hand opens with a harmonica wail surrounded by the strings plucking and bowing thoughtfully. Ernie Watts, a first class jazz master adds his voice to the mix, dueting with and chasing Siegel as the strings become more cohesive and couching. Missing Persons Blues, Op. 26 sees these disparate voices join in a harmonious and complementary singular song, sometimes sounding like an outside jazz piece. On One, also from his pen, a beautiful harmonica section surrounded by sweet strings sets the stage for Santos to sing in a jazzy style, “in Paradise a pair of hearts are one.” Strings, percussion and harp work superbly. His Time Will Tell Overture, with Das on tabla, is another voice that weaves seamlessly with strings. The interplay between the strings and the principals is equally mesmerizing. Just when you get into the classical mode, along comes Marcy Levy to sing Lay Down Sally, a song she co-wrote with Eric Clapton. The reading is adventurous with the strings taking on a percussive and swinging role. This is followed by a captivating string-driven version of the Siegel-Schwall classic Angel Food Cake. Corky and the strings work superbly together. On Shadows in a Shoebox, written by Santos, Siegel’s harmonica introduces the theme, with the strings again gently holding him before Santos joins in, sometimes scatting the melody. The following gospel classic, I’ll Fly Away, features the Sons of the Never Wrong’s Deb Lader, Sue Demel and Bruce Roper on vocals. Demel’s guitar and Lader’s mandolin are integrated with the string quartet in a marvelous singing in tandem with percussion and harmonica. Next up is a combination of Corky’s Italian Shuffle with the blues classic Flip, Flop and Fly, sung by Sam Lay in a thoroughly enjoyable lope. Keeping contrasts at the heart of the disc, Galloping Horses, composed by Hai Huang-Hai features Chihsuan on the ehru. This is followed by the two part Counter Intuitive, Op.24 from Siegel. This is a swinging harp piece with strings offering counterpoint. On the second part the viola of Dave Moss is featured. The closing Siegel composition The Sky Will Fall reminds of Charlie Haden in its introductory section for its voicing. Siegel sings, “If we never learn to give/we’ll be facing emptiness…if we don’t learn to love, the sky will fall.”

Siegel has performed around the world as a guest artist of some of the world’s greatest symphony orchestras and he has received countless classical music awards. But, don’t forget that he was the harper for the great Siegel-Schwall Band. The combination of the two Corkys is a delight. —Mark E. Gallo

Glimpses of my life experience in the Blues from the time I was introduced in 1963 to the present

Corky Siegel is either a musical genius, or crazier than the proverbial "outhouse rat."

Corky Siegel is either a musical genius, or crazier than the proverbial "outhouse rat." I guess I'll chose the former rather than the later.  The initial concept for the marriage of blues and classical was most likely when classical conductor Seiji Ozawa brought together the Siegel-Schwall Band and the Chicago Symphony Orchestra.  They first performed Three Pieces For Blues Band and Symphony Orchestra, by William Russo 1n 1968.   The Siegel-Schwall Band released Three Pieces For Blues Band and Symphony Orchestra, performed with the San Francisco Symphony Orchestra in 1973.  A second piece of Russo's work, "Street Music: A Blues Concerto" was released in 1979.  Corky Siegel is without question, one of the finest harmonica players ever to draw breath.  Past Masters like Larry Adler and Toots Theilemans helped to raise the instrument that was once considered almost a toy, taking it to the concert stages in both Jazz & Classical Music.  Where many saw musical genres, Corky Siegel saw possibilities.  He formed Chamber Blues in 1988 incorporating elements of classical, blues & jazz.  The core band consists of Corky Siegel, obviously, two violinists, Jaime Gorgojo and Chihsuan Yang, a viola played by Dave Moss, Cello by Jocelyn Butler Shoulders and Frankie Donaldson, a percussionist.  This union of styles, which was envisioned so long ago, is going stronger than ever.  The Different Voices referred to on the album include Ernie Watts, Sandeep Das, Mathew Santos, Marcy Levy, Sam Lay and Sons of the Never Wrong.  Beside those mentioned earlier, Corky wishes to thank Muddy Waters and Howlin' Wolf for their contributions.  Different Voices may well be Corky Siegel's Chamber Blues finest work to date.  I recommend it very highly.  As for my favorite cut, I would have to say Italian Shuffle/ Flip Flop & Fly.  This is, at the very least, cutting edge stuff. - Bill Wilson

"It all works magically ... a triumphant musical journey."

Interesting possibilities exist in the realm of classical string quartets willing to engage eclectic versatility. The musical adventurism of the Kronos Quartet aptly proves that you can play nearly anything in the classical realm and make it intriguing. The most recent comparable example to Chamber Blues–Different Voices was cellist Yo-Yo Ma's Appalachia Waltz project which combines the contrasting genres of classical and mountain roots music in a critically acclaimed musical collaboration. Here Siegel's efforts are unique and that he dares to bring the “ignoble” little harmonica into the “noble” realm of the classical. That takes some guts, but he has the technical proficiency to carry it out convincingly.

Siegel reports that this project was the idea of his erstwhile collaborator Maestro Seiji Ozawa, the famed Japanese conductor who is renowned for his fearless musical experimentation and genre amalgamation.  Disconcertingly, This venturesome CD is branded in the iTunes album identification as “New Age” a virtual marketing kiss of death.

This project of blues harmonica and classical string quartet demonstrates that if you bring a bunch of superlative musicians together, lift the restrictions and loosen the collar, good things can come out of it. The diverse cross-cultural string quartet features Dave Moss on Viola, Taiwanese violinist Chihsuan Yang, the remarkable African American cellist Joycelyn Butler-Shoulders and, from Spain, Jamie Gorgojo.  Siegel's pedigree as a blues master is by now well established. He learned directly from the Howlin’ Wolf, Muddy Waters and Willie Dixon. Here he also brought on blues and jazz saxophonist Ernie Watts, the soulful blues singer Sam Lay and tabla players Frankie Donaldson and Sandeep Das.  If that wasn't enough he lined up the Chicago-based folk trio Sons of the Never Wrong.  Singers Marcy Levy and Matthew Santos round out the ensemble.

Siegel’s harmonica playing fits impeccably no matter what song he touches. On some songs the quartet adds sustaining dimension while preserving the genre of the featured artist; on others the classical dimension takes center stage. It all works magically, organically, not forced, as if it was always meant to be played this way, lovingly, sweetly, sophisticated but not haughtily.

Whenever so many styles blend, there is likely to be something for everyone, but perhaps not everything for all.  Blues audiences will most easily identify with Italian Shuffle /  Flip, Flop, Fly, featuring Sam Lay.   Marcy Levy, the co-writer of Lay Down Sally with Eric Clapton sings that major pop hit in what is perhaps the oddity on the album. There are a few joyous cross-cultural gems like Galloping Horses featuring Chihsuan Yang, Missing Persons featuring Ernie Watts, and the folkie I’ll Fly Away featuring Sons of the Never Wrong.  Inexplicably, the cellist Joycelyn Butler-Shoulders is not featured up front and in any of these cuts, which is disappointing. She is the sole African-American in the quartet,  and it seems like a missed opportunity to establish a meaningful cultural connection to the blues. - Still, it’s a triumphant musical journey. –Living Blues Magazine - Frank Matheis

"Totally killer stuff throughout."

Over 50 years in, with the aid of crowd funding, we find Siegel finally making the album he had in him all along or else the album he always wanted to make.  With nobody from Vanguard, RCA or Dharma telling him what to do, he calls in an incredible array of guests, breaks down the fourth wall to reach you directly and makes an album so cinematic that it’s better than most of the movies coming out these days. This is smoking out of the ordinary stuff from an old pro that sounds like he’s really come into his own here (if that even makes sense).  Sounding a million miles away from a bunch of white boys with the blues fighting a turf war with the Butterfield bunch, this is state of the art white boy blues---with lots of soul stirred in.  Totally killer stuff throughout. - Chris Spector - Midwest Record - www.midwestrecord.com

"Global Village BEST of 2017"

Top 25 CDs for 2017 #6 in Top 40 CDs for May

Review Rating 5 Stars

"fascinating and thoroughly organic musical fusion"

By Duane Verh-  April 9, 2017 - 12:00am EDT

From the opening choruses of the leadoff track, “Missing Persons Blues- Op.- 26”, as the lines of blues harp, strings, tabla and sax entwine around each other, each gliding forward with snake-like grace, one is taken in by the fascinating and thoroughly organic musical fusion Chicago blues vet Corky Siegel and company have realized.  Long a practitioner of this particular strain of genre-splicing, Mr. Siegel provides this mix with compositions and adaptations suitably compelling and quirky.  And rest assured, this blues bar-bred bandleader has blocked out plenty of time for his own solid blow choruses. While the cover of “Lay Down Sally”, fronted by Eric Clapton collaborator Marcy Levy, is a safe bet for airplay, tracks including “Shadows In The Shoe Box”,  “Angel Food Cake” and the very haunting “One” are attention-worthy as well.

"some of the most original and innovative music"

May well be some of the most original and innovative music I have heard in a while.  Combining classical stylings with blues harmonica and so much more" Ear2TheGroundMusic

Breaking the Ground a Little More

"music of this caliber can keep both sky and earth intact."

March 25, 2017 Tom Orr

If the title doesn’t say it all, as in the case of Corky Siegel’s Chamber Blues’ album Different Voices (Dawnserly Records, 2016), it might be necessary to add an explanation like “Blues Harmonica and Classical String Quartet,” which this one does on the front cover. Siegel’s blues harp is certainly the first thing heard, in the form of a mournful wail that ushers in violins, viola, cello and the saxophone of guest Ernie Watts on the cheeky drag of “Missing Persons Blues.” That one’s a head-bobber, and nothing that follows breaks the flow, be it the vocal contributions of Matthew Santos (who also does some handy beatboxing), blues vet Sam Lay or Marcy Levy (reinvigorating that old warhorse “Lay Down Sally,” which she co-wrote with Eric Clapton).

High marks also for the aching gospel tinges of Chicago folk trio Sons of the Never Wrong on “I’ll Fly Away” and subtle counterpunch of the tabla that adds a groove dimension throughout. The interwoven tones of harmonica and strings bring forward the roots of their respective traditions while keeping the blues undertow intact and allowing for experimentation such as the Central Asian-flavored “Galloping Horses,” a track which ends too soon. It all wraps up beautifully with “The Sky Will Fall,” a most heed-worthy lament; although I think music of this caliber can keep both sky and earth intact.

http://worldmusiccentral.org/2017/03/25/breaking-the-ground-a-little-more

"...a true pioneer who won't dream of slowing down."

"Corky Siegel's Chamber Blues, Different Voices. Why not? Take a long-time Chicago blues groover and cross him with a chamber string quartet and several very special guests and see what happens. Corky Siegel has always been someone with an ear for adventure, all the way back to the Siegel-Schwall Band that infiltrated the South Side clubs in Chicago to learn blues at the feet of masters like Muddy Waters and Howlin' Wolf. Siegel's harp playing became its own force of nature, and he's survived a lot of miles and milestones. He's also been someone who likes to cross-pollinate and work with outside influences like classical musicians to see what happens. His compositions with the Chicago Symphony Orchestra blew minds a half-century ago, and Corky Siegel hasn't slowed down since. Now that he's recording here with a classical string quartet along with guests like Paul Butterfield Blues Band drummer Sam Lay, singer Marcy Levy, tabla master Sandeep Das, folk trio Sons of the Never Wrong, and jazz saxophone legend Ernie Watts, it's like his palette is growing exponentially. It's almost like listeners need scorecards to track all the action. But that's Corky Siegel, a true pioneer who won't dream of slowing down." (Bill Bentley/ Bentley's Bandstand)

I just had the opportunity to review the most recent release (April 7, 2017), Different Voices from Corky Siegel's Chamber Blues and it's quite different. Corky Siegel, once member of the famed Siegel-Schwall Band, is back with an interesting concept. Orchestral blues. Opening with Missing Persons Blues - Op 25 forms around a traditional Chicago blues theme but featuring the strong sax work of Ernie Watts with Siegel on harp, Jamie Gorgojo on violin, Chihsuan Yang on violin, Dave Moss on viola, Jocelyn Butler Shoulders on cello and Frankie Donaldson on tabla.  ONE features lush harp work by Siegel and crystal clear vocals by Matthew Santos on vocal, this track having more of a euro, show sound. Time Will Tell Overture - Op. 25 features Sandeep Das on tabla balanced with Siegel and enriched by nicely orchestrated violin accompaniment. On pop track, Lay Down Sally, an Eric Clapton and Marcy Levy composition, Marcy levy takes the lead on vocal, maintaining it's pop roots but with a critical orchestral spin. Siegel layers harp soloing over cello and viola giving the track a bluesy feel. Angel Food Cake features Siegel on lead vocal and fuses the styling of the original SSB with orchestral accompaniment. Cool. Shadows In A Shoe Box is one of my favorite tracks on the release with a more classical stance. Santos and Yang share the vocal floor with a light jazzy flavor and Siegel layers in rich harp work. Very nice. Albert Brumley's I'll Fly Away maintains a lot of it's original structure and builds in a gospel manner with Bruce Roper, Deb Lader and Sue Demel on vocal and guitar/Mandolin nicely laid on a string backing. Very nice. Italian Shuffle/Flip Flop & Fly opens with a light, airy orchestral piece over a 12 bar bottom, evolving into a blues standard featuring the great Sam Lay on vocal. A more deliberate classical composition, Galloping Horses, features Chihsuan Yang on erhu and Matthew Santos on beat box. Nicely done.   Another nicely fused classical blues track, Counter Intuitive Op. 24 Part One has a deliberate walking bass line performed on strings and plucked violin strings with Siegel playing classic blues harp riffs but dressed with classical violin dressing. On Part 2 Siegel takes a more adventurous lead harp role and with violin supported melody and classical structure. Wrapping the release is The Sky Will Fall, with a solid Americana feel. Siegel is front and center on lead vocal and harp. Santos adds contrasting vocals over a passionate violin bridge and Siegel is showcased on harp to close out the release.

I just had the opportunity to review the most recent release (April 7, 2017), Different Voices from Corky Siegel's Chamber Blues and it's quite different. Corky Siegel, once member of the famed Siegel-Schwall Band, is back with an interesting concept. Orchestral blues. Opening with Missing Persons Blues - Op 25 forms around a traditional Chicago blues theme but featuring the strong sax work of Ernie Watts with Siegel on harp, Jamie Gorgojo on violin, Chihsuan Yang on violin, Dave Moss on viola, Jocelyn Butler Shoulders on cello and Frankie Donaldson on tabla.  ONE features lush harp work by Siegel and crystal clear vocals by Matthew Santos on vocal, this track having more of a euro, show sound. Time Will Tell Overture - Op. 25 features Sandeep Das on tabla balanced with Siegel and enriched by nicely orchestrated violin accompaniment. On pop track, Lay Down Sally, an Eric Clapton and Marcy Levy composition, Marcy levy takes the lead on vocal, maintaining it's pop roots but with a critical orchestral spin. Siegel layers harp soloing over cello and viola giving the track a bluesy feel. Angel Food Cake features Siegel on lead vocal and fuses the styling of the original SSB with orchestral accompaniment. Cool. Shadows In A Shoe Box is one of my favorite tracks on the release with a more classical stance. Santos and Yang share the vocal floor with a light jazzy flavor and Siegel layers in rich harp work. Very nice. Albert Brumley's I'll Fly Away maintains a lot of it's original structure and builds in a gospel manner with Bruce Roper, Deb Lader and Sue Demel on vocal and guitar/Mandolin nicely laid on a string backing. Very nice. Italian Shuffle/Flip Flop & Fly opens with a light, airy orchestral piece over a 12 bar bottom, evolving into a blues standard featuring the great Sam Lay on vocal. A more deliberate classical composition, Galloping Horses, features Chihsuan Yang on erhu and Matthew Santos on beat box. Nicely done.   Another nicely fused classical blues track, Counter Intuitive Op. 24 Part One has a deliberate walking bass line performed on strings and plucked violin strings with Siegel playing classic blues harp riffs but dressed with classical violin dressing. On Part 2 Siegel takes a more adventurous lead harp role and with violin supported melody and classical structure. Wrapping the release is The Sky Will Fall, with a solid Americana feel. Siegel is front and center on lead vocal and harp. Santos adds contrasting vocals over a passionate violin bridge and Siegel is showcased on harp to close out the release.

Bmans Blues Report

"a truly unique musical journey!"

Long-time blues fans may remember The Siegel-Schwall Band, led by harp ace Corky Siegel and guitarist Jim Schwall.  They were originally based in Chicago in the mid-Sixties, holding down a regular gig at the legendary Pepper’s Lounge.  After releasing their first album in 1966 for Vanguard, they headed west to San Francisco, continuing to record until the early Seventies before going on an extended hiatus.

During that time, Corky Siegel had a unique vision–one that would incorporate the blues of Muddy and the Wolf with classical chamber music.   Corky recorded three albums of this “chamber blues,” two for Alligator and one for Gadfly Records.  His latest set “Different Voices,” continues his path toward melding traditional blues with classical themes.  He employs some dazzling special guests throughout this one, too.

One can get a firm grasp on what the concept of “chamber blues” is by listening to the opening instrumental track, “Missing Persons Blues Op. 26.”  Corky’s harp spars with the sax of two-time Grammy winner Ernie Watts as the strings pull it all together.  Corky takes the lead vocal as pizzicato strings set the tone on a Siegel-Schwall fan favorite, “Angel Food Cake,” while Marcy Levy easily hits the upper-register notes on a fine read of her iconic “Lay Down Sally,” which was co-written by Marcy, Clapton and George Terry.

We had two favorites, too.  One of Chicago’s favorite folk trios is The Sons Of The Never Wrong, and they breathe new life into Albert Brumley, Sr.’s traditional “I’ll Fly Away.”  Consisting of Bruce Roper, Deb Lader, and Sue Demel, Sue adds a new verse to this Sunday-morning staple.  And, what begins as “The Italian Shuffle” with Corky’s harpover the strings, gives way to the mighty Sam Lay’s vocal on a clever segue’ into “Flip Flop And Fly.”

Corky Siegel has composed and performed works for the Grant Park Symphony in Chicago and the National Symphony Orchestra at the Kennedy Center.  And, thru the fusion of the music of the legends of Chicago blues he grew up listening to with the textures and sounds of classical music, he is, indeed 'the father of chamber blues.' Give a listen to his latest, “Different Voices,” for a truly unique musical journey!

Sheryl and Don Crow, The Nashville Blues Society.

THE NETHERLANDS

" A delightful masterpiece ... an absolute must."

Translated by Google Translate:

Corky Siegel was the early sixties singer and harmonica player in the The Siegel-Schwall Band bluesrock band, when he was approached by a man who asked him if he did not even want to work with his "band". That man proved to be conductor Seiji Ozawa of the Chicago Symphony Orchestra, and after performing a number of pieces by the composer William Russo after the late sixties, the orchestra and Siegel recorded a long composition of Russo in 1979: "Street Music, A Blues Concerto ", which was released on a long-playing record with Gershwin on the other side (I still cherish that album).

Through that collaboration Siegel inspired, and ten years later, he founded Chamber Blues, a unique band that combines chamber music, blues and jazz into an exciting new swinging chamber music.We have been in nearly thirty years, and Corky Siegel's Chamber Blues Is still a completely unique band. Their new album has captured them thanks to crowdfunding, and it has again become a delightful masterpiece, where Siegel and his band have re-examined different boundaries by inviting a number of different guests.

Those "different voices" are saxophonist Ernie Watts, who in the first song, Siegel's Missing Persons Blues Op. 26 may join. Particularly how both harmonica and saxophone appear to melt into a string quartet. Sandeep Bas is a tabla master from India, and he makes the borders literally moving a little more. Matthew Santos is a singer / songwriter you can hear in, for example, Galloping Horses as a beat boxer. Marcella Detroit is a R & B diva, who wrote along with Eric Clapton Lay Down Sally, who is also on this album. Sam Lay is a blues legend from Chicago and old friend of Siegel, and Sons of the Never Wrong is the best folk trio that Chicago knows. Varied enough, I thought so.

Different Voices make more songs than we used to in Chamber Blues albums, where the instrumental instruments especially impressed, but the fact that new roads are being searched and that the adventure is being re-searched is also worth a while. And the album, as always with this magnificent band, again shows a growth dia, which turns better every turn. An absolute must so. - Holly Moor

The Siegel-Schwall Band was one of Chicago’s “white blues” pioneers along with Paul Butterfield and Mike Bloomfield. As early as 1973, Siegel-Schwall recorded with the San Francisco Symphony, a direction Corky Siegel continued to follow in his solo career. On Different Voices, the blues harmonica player works with a jazz saxophonist, an Indian percussionist and a string quartet—often to good effect. The songs occasionally suggest the sort of thing George Gershwin might have done had he lived post-Porgy and Bess.

ENGLAND

...beautifully conceived and executed ... strongly recommended.

In a world where artists from other disciplines have tended to consider blues a poor, undisciplined stepchild even though it gave birth to all Western music forms, Chicago-born harmonica master Corky Siegel has done his best to change that view. And this beautifully conceived and executed CD, recorded with a four-piece classical string quartet and musicians from the blues, jazz, folk, rap and indie world go a long way in carrying that message forward.

Born in the Windy City during World War II, Siegel and partner Jim Schwall were standard bearers among the multitude of young white blues artists who exploded on the scene in the ’60s. Corky — originally a sax player who’s also a gifted vocalist, keyboard player, composer and author — and Jim — a guitarist whose background was in country music — met while students at Roosevelt University in The Loop.

Formed in 1965, the Siegel-Schwall Band drew immediate comparisons to contemporaries Paul Butterfield, Mike Bloomfield and Charlie Musselwhite and soon became the house band at the historic Pepper’s Lounge, where they hosted a galaxy of blues superstars. Signed to Vanguard Records and later Wooden Nickel, with whom they won a Grammy, they toured nationally before disbanding in 1974.

Despite their blues roots, their love for classical music ran deep. They performed the William Russo composition, “Three Pieces For Blues Band And Symphony Orchestra,” with the San Francisco Symphony in 1968, becoming the first blues group ever to enter the world of classical music. The idea was conceived by SFS conductor Seiji Ozawa, who fell in love with Siegel-Schwall during his stints in Chicago, and the performance subsequently appeared as an LP on the prestigious Deutche Grammophon label.

Siegel-Schwall reunited for two albums on Alligator in the ’80s and continue to work together on occasion. But both men continued with their lofty pursuits. Jim earned a PhD and became a college professor, while Siegel released two solo blues albums before delving into the blues/chamber ensemble format a decade later. Different Voices is his fourth release in the concept. He’s joined here by Jaime Gorgojo on violin, Chihsuan Yang on violin and erhu, Dave Moss on viola and Jocelyn Butler Shoulders on cello.

They’re augmented by Sandeep Das and Frankie Donaldson on tabla, Grammy-winning indie singer-songwriter Matthew Santos, R&B diva Marcella Detroit (aka Marcy Levy), saxophonist Ernie Watts, Blues Hall Of Fame drummer/vocalist Sam Lay and Chicago-based folk trio Sons Of The Never Wrong — Bruce Roper, Deborah Lader and Sue Dumel, all of whom are listed as the “different voices” of the title. Siegel composed eight of the 12 cuts and provided arrangements for the other four.

An extended note on harmonica kicks off “Missing Persons Blues — Opus 26,” in which Siegel’s harp trades lines with Watts’ horn as the strings provide a rich, warm, rhythmic foundation. Watts’ closing riffs are stellar. Santos handles vocals with Corky on chromatic on “One,” which sings sweetly of love in Paradise, before Das is featured on the instrumental, “Time Will Tell Overture — Opus 25.” Next up, the strings kick off a sensationally different version of “Lay Down Sally,” delivered vocally by Detroit who composed the original with Eric Clapton.

Corky steps to the mike and the strings come to the fore for “Angel Food Cake,” based on a Siegel-Schwall composition, before Santos handles guitar and gets an assist on vocals from Yang on a dazzling new arrangement of his original, “Shadows In The Shoe Box.” Next up, the Sons Of The Never Wrong take command for an interesting version of “I’ll Fly Away,” delivered with an old-time country feel and one of the most successful gospel tunes ever, before the interesting juxtaposition that combines Siegel’s “Italian Shuffle” with the Big Joe Turner jump blues classic, “Flip, Flop & Fly,” the latter featuring Lay on vocals.

Three more instrumentals — Hai Huang-Hai’s “Galloping Horses” and Corky’s two-part “Counter Intuitive — Opus 24” — follow before Siegel and Santos share vocals on “The Sky Will Fall” to bring the set to a close.

If you’ve got a friend who shies away from the blues, Different Voices is the perfect vehicle to convince them that the roots of the tree have produced quality, classy music that they never could have imagined. Available through Amazon, CDBaby and other retailers, and strongly recommended.  -  Marty Gunther

ALBUM OF THE WEEK

"a new American classical music."

June 13, 2017
Blues, Classical & Corky Siegel Ascendant - by David McGee

As if emphasizing that he isn’t the first composer to advance a blues-classical fusion, Chicago blues harmonica master Corky Siegel begins “Missing Persons Blues, Op. 26,” the first work on Different Voices, with an opening measure on harmonica echoing the iconic clarinet glissando heralding the start of George Gershwin’s “Rhapsody in Blue.” The tune doesn’t unfold with the orchestral grandeur of Gershwin’s masterpiece, but over the course of its four minutes-plus running time it does achieve a textbook meshing of blues and classical elements, from the languid, moaning, New Orleans-textures Siegel crafts on harmonica to the cool swagger Ernie Watts brings on sax, while the West End String Quartet, working here in its guise as Siegel’s Chamber Blues String Quartet, injects rather Stravinsky-ish retorts in motivic development with a blues edge.

Rather than Stravinsky, though, the apt touchstone for Siegel’s work is Antonin Dvorák, specifically his Symphony no. 9 (“From the New World”), of which Dvorák, newly infatuated with the roots of American music, said: “It is the spirit of the Negro…melodies which I have endeavored to reproduce in my new symphony.” This leads us to the New World Symphony’s Largo movement with its opening theme being derived from a song called “Goin’ Home,” with its twelve-measure opening theme of three four-bar phrases—what we might call a 12-bar blues form. As musicologist Brent Pimentel points out in his essay “Dvorák’s ‘New World’ and jazz music: Heirs to a common heritage,” “Dvorák’s belief that American music would grow from the songs of slaves proved true.”

Taking his cue from Dvorák, the brilliant Mark O’Connor has for years been fashioning what he terms a “new American classical music” built on our indigenous folk, country, blues, jazz and classical heritages. He’s still working on it, but has come far—all the way, in fact, to composing the Americana Symphony, released in March 2009 with O’Connor accompanied on disc by the Baltimore Symphony as conducted by Marin Alsop. (An in-depth interview with O’Connor is featured in the April 2009 issue of TheBluegrassSpecial.com, our original incarnation, in which he discussed the genesis and development of himself as a composer and of the Americana Symphony in particular.)

But when it comes to a blues-classical fusion, our foremost practitioner is Corky Siegel, accompanied by his Chamber Blues String Quartet, on a journey that began four albums ago, on 1994’s Corky Siegel’s Chamber Blues (on Alligator). To be precise, however, Siegel himself set out on this rarely trod path even earlier. Listeners of a certain age may well remember, from the ’60s, a celebrated Chicago blues outfit, the Siegel-Schwall Band, and perhaps remember as well its groundbreaking 1973 release on the prestigious Deutsche Grammaphon classical label titled Three Pieces for Blues Band and Symphony Orchestra, composed by jazz trombonist William Russo. This in turn found Siegel-Schwall performing with Arthur Fiedler and the Boston Pops on PBS, and Siegel appearing on harmonica and piano on another Russo composition released as an album in 1979, again on DG, titled Russo: Street Music—Op. 65—A Blues Concerto. Since introducing his Chamber Blues in ’94, Siegel has employed it on Complementary Colors (1998) and on 2005’s Corky Siegel’s Traveling Chamber Blues Show—Live. So it’s been a while since we’ve heard from him in this configuration, and let it be said he doesn’t, and they don’t, disappoint.

It’s important to note here the meaningfulness of the album title. Different voices indeed make this endeavor quite distinct from Siegel and company’s efforts heretofore. The six-and-a-half-minute “Time Will Tell Overture—Op. 25” is highly impressionistic, a work on contrasting colors—Siegel’s harmonica shimmering, moaning, sputtering and crying as the string quartet develops a singsong motif behind him,.,and Indian table master Sandeep Das adds a whole other layer of exotic atmospherics to the arrangement in response to the strings and harmonica. Later comes one of the album’s most playful moments in the form of the two-part “Counter Intuitive—Op. 24,” with the strings and Siegel’s harmonica in a kind of sunny, instrumental pas de deux, advancing, retreating, teasing, before the flirtation takes on a more sensuous nature in Part Two with the sonorities added by Dave Moss’s viola and the gathered tension the strings express near the end ahead of Siegel returning to calm the emotions down to a closing ensemble swoon.

But other voices—human voices—will linger long in memory for most listeners. Seigel’s expansive vision finds him spotlighting one of Chicago’s beloved folk trios, Sons of the Never Wrong, on an intriguing gospel round rendition of Alfred E. Brumley’s gospel chestnut “I’ll Fly Away” that’s all jagged edges and ecstatic spirituality (plus a new, intense verse contributed by Sue Demel). Elsewhere he enlists earth vocalists such as Matthew Santos on “One,” an aching appeal for unity and this album’s most overt cry of conscience; and Marcy Levy, who hits a tape measure blast on her gospel-rooted, shimmying and shaking re-imagining of the hit song she co-wrote with Eric Clapton and George Terry, “Lay Down Sally,” further enlivened by Siegel’s soaring instrumental set-to with the frisky strings. In many respects the album’s highlight is the delightful strut of “Italian Shuffle,” fueled by the strings plucking and soaring as Siegel weaves bright strands of blues between them before, about halfway through, blues legend Sam Lay saunters into the fray with a wry, swinging reading of Big Joe Turner’s 1955 jump-blues classic, “Flip, Flop and Fly.” Seemingly enjoying himself to the hilt, Sam’s delight is infectious. Different Voices is nothing if not different. Clearly, Corky Siegel is neck-and-neck with Mark O’Connor in fashioning a new American classical music. - David McGee

"Siegel takes the listener to places one may not have realized were imaginable let alone possible. ...experience music without pre-existing limitations. ...Invigorating" 

One of my favourite and most memorable live performances was a Edmonton Folk Music Festival showcase featuring the SteelDrivers and Hanggai interacting to create a bluegrass-Mongolian throat-singing amalgam that was more than brilliant.

I mention that 2009 event because up to the moment I started listening to Different Voices, it may have been the last time I was so impressed by disparate musicians working together in a manner that isn’t just surprising, but also invigorating and enjoyable.

Blues harmonica fronting a classical music string quartet with jazz shadings? What could possibly go wrong? Turns out across this hour long set, nothing.

Corky Siegel has been at this for quite some time, having established a line of recordings that mix the blues and chamber music; I’ve never heard them, but lack of familiarity doesn’t dampen my enthusiasm for his brand of music.

The opening track, “Missing Persons Blues- Op. 26” is a spirited, dark exploration of atmospheric notes and instrumental brilliance. Featuring the legendary Ernie Watts on saxophone, this expansive interplay of borderless genres sets the tempo for a recording that unveils surprises song after song. Beautiful.

Another highlight is Marcy Levy’s (Shakespears Sister, Marcella Detroit) sultry interpretation of her song “Lay Down Sally,” a ’70s hit for Eric Clapton. Tabla from Sandeep Das underscores the violin-rich majesty of “Time Will Tell Overture- Op. 25.”

Also featured on select tracks are vocalists Matthew Santos, Sam Lay, and Chicago’s Sons of the Never Wrong. One of the more intriguing pieces is “Galloping Horses,” a brief, meditative, and yet engaging exploration of far eastern sounds mixed with beat box.  While Siegel is present on each track and is the album’s featured core, he doesn’t overly dominate the selections; rather, like any bandleader worthy of the name, he complements the proceedings to make the whole greater than himself.

Near the end of the album, on the two-part “Counter Intuitive- Op. 24” Siegel does indulge himself a might, to no detriment of our enjoyment. Again playing off the ever-present Classical String Quartet, Siegel takes the listener to places one may not have realized were imaginable let alone possible.

Certainly not our typical roots and Americana offering, “Different Voices” allows one to experience music without pre-existing limitations. It holds up to repeated listening, and makes one curious to discover the legacy of Corky Siegel. Start exploring, y’all!  -  Donald Teplyske

#1 Album for 2017 - Centerline News - Jim Bessman

"Different Voices will likely land on my list of favorite CDs of 2017" - Eric Steiner

I’ve long been a fan of Chicago harp player Corky Siegel. Not only for his work with the groundbreaking Siegel-Schwall Blues Band, but also his solo LPs and the way he’s artfully combined traditional blues harmonica with classical music. His latest Chamber Blues CD, Different Voices, includes contributions from the legendary Sam Lay (vocals on “Italian Shuf e”), Marcella Detroit, the co-writer of “Lay Down Sally” revisiting the Eric Clapton hit, Ernie Watts on sax (“Missing Persons Blues”) and Indian tabla master Sandeep Das (“Time Will Tell Overture”) and Grammy-nominated songwriter Matthew Santos (“Galloping Horses”). Popular Chicago folk trio, Sons of the Never Wrong, add to this eclectic mix on “I’ll Fly Away” and each song builds upon the Classical String Quartet: Jaime Gorgojo on violin, Chihsuan Yang on violin, erhu and vocals, Dave Moss on viola and Jocelyn Butler Shoulders on cello. Different Voices will likely land on my list of favorite CDs of 2017 for the way it explores a unique combination of traditional blues and classical music. - Eric Steiner