
DATE: Thursday, May 1, 1997                 TAG: 9705010051
SECTION: DAILY BREAK             PAGE: E6   EDITION: FINAL 

TYPE: Music Review 

                                            LENGTH:  118 lines

HOOKER, MAYALL AND MUSSELWHITE ADD TO BLUES LEGACIES

Blues

John Lee Hooker, ``Don't Look Back'' (Pointblank)

John Mayall, ``Blues for the Lost Days'' (Silvertone)

Charlie Musselwhite, ``Rough News,'' (Pointblank)

In recent weeks, several young blues bands have released new recordings. Now, it's time for the veterans to chime in. John Lee Hooker, John Mayall and Charlie Musselwhite do just that, adding to their already huge legacies.

The best is Musselwhite's versatile ``Rough News.'' Most of it was recorded in Chicago and features his touring band, but rather than recycle Windy City blues, Musselwhite and his band chip in with some jazz-tinged blues, including two dramatic, almost spooky versions of ``Harlem Nocturne'' and the classic ``Sleepwalk.''

He's joined by guitarists Kid Ramos and Cesar Rosas and bassist Larry Taylor on several rocking blues tracks. On a few other cuts, recorded in New Orleans, he delves into lusty, rustic, swamp-blues.

An indefatigable legend, Hooker is living proof that talent doesn't diminish with age. Although not up to par with recent recordings, ``Don't Look Back,'' featuring Van Morrison as producer and musical director, still works.

With pianist Charles Brown occasionally sitting in, the group generates clean, warm, mid-tempo R&B/blues grooves. Hooker moans and wails through each tune, making them sound ominous and just a little nasty.

Mayall's ``Blues for the Lost Days'' is mostly original material. Therein lies the rub: The Godfather of British Blues is a darn good sideman and recruiter, but his vocals are limited and his lyrics, rhymes and meters are clumsy.

But when he sings simple lyrics, or just lets his band, now featuring guitar find Buddy Whittington, swing, he brings it off. Not a must for anyone's blues collection, but a decent disc nonetheless.

Eric Feber, The Pilot

In concert: John Mayall, 8:30 p.m. May 16, Town Point Park, Norfolk; part of the Town Point Jazz & Blues Festival. Free. 441-2345

Pop

Cyndi Lauper, ``Sisters of Avalon'' (Epic)

The music is still 1980s all the way, but with age has come a refined smoothness to the once squeaky pop voice of Cyndi Lauper.

During the upbeat ``Ballad of Cleo and Joe'' and the title track, she sounds more like Annie Lennox. ``Hot Gets a Little Cold'' is Lauper in true melodically mellow form.

``Unhook the Stars'' borrows heavily from her ``True Colors'' hit, where the angry ``Love to Hate'' is alone in its harshness. ``Fearless'' and ``Mother'' are atmospheric, and the bubbly ``Brimstone and Fire'' has a reggae influence with a little ABBA sugar mixed in.

Also credit the wonderful Jan Pulsford, who co-wrote 10 of the 12 songs, played keyboards and bass, and programmed the drums. Each song has its own identity.

``Sisters of Avalon'' is a good resting place for the ears.

Jeff Maisey, The Pilot

In concert: Tina Turner with Cyndi Lauper, 7:30 p.m. July 3 at the GTE Virginia Beach Amphitheater. $14.75 to $34.75 plus parking and service charges; order at 671-8100. Call 368-3000.

Jazz

Andy Bey, ``Ballads, Blues & Bey,'' (Evidence)

He was never a ``Big Thing,'' not like Nat King Cole, Billy Eckstine or Mel Torme. But Andy Bey's rich baritone stylings, especially on jazz standards, have earned him a coterie of followers - first as Andy and the Bey Sisters, later through his work with Gary Bartz, Horace Silver and Max Roach.

In recent years, Bey has popped up here and there. His reading of ``Something to Live For'' was one of the highlights of pianist Fred Hersch's ``Passion Flower.''

Now Bey, like Hersch HIV-positive, has released his first American recording as a leader in more than a decade.

There are no rollicking numbers here, just Bey at his most intimate: his emotive voice - deep and throaty one instant, falsetto-innocent the next - set against his sensitive piano playing. He begins with ``Someone to Watch Over Me,'' opening with slow, delicate pianism, then vocally stroking each note. He goes on to deliver more evergreens - ``I'm Just a Lucky So and So'' and ``In a Sentimental Mood.''

Marvin Lake, The Pilot

Contemporary Christian

Terry McMillan, ``Somebody's Comin'' (Giant)

Terry McMillan, usually listed as the harmonica player or percussionist on all kinds of albums (but mostly country), is on his own on ``Somebody's Comin.' '' It finds him playing harmonica and singing in a gutsy, surprisingly effective voice.

Except for two instrumentals - his gorgeous, instrumental arrangement of ``Amazing Grace'' and the spirited ``Soul Surfin,' '' with its infectious Caribbean flavor - the disc is Contemporary Christian.

Or is it? It's filled with rockin' songs of faith, mixing gospel, ballads, blues and a touch of funk. Great, inspirational stuff.

A prime track is the biographical ``A Man After God's Own Heart.'' He has a lot to tell: His father, ``an evil man,'' was in prison for robbing a bank. His parents died of alcohol and drug abuse.

McMillan picked up where they left off, but with the help of family and friends, now walks the spiritual straight and narrow. Listen to ``His Hand'' and the no-nonsense, Holy Roller-feeling ``I'm Comin' Back.''

It's a shame McMillan is not touring with this release. It would be some show.

Frank Roberts, The Pilot ILLUSTRATION: Photos

POINTBLANK

John Lee Hooker: ominous and just a little nasty.

SILVERTONE

John Mayall: clumsy songs but a swinging band.

POINTBLANK

Charlie Musselwhite: dramatic, jazz-tinged blues.

EPIC

Cyndi Lauper: adding a refined smoothness.

GIANT

Terry McMillan: a gutsy, surprisingly effective voice. KEYWORDS: RECORD REVIEW