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PATRICK HAZELL HOME PAGE, DISCOGRAPHY, REVIEWS OF OTHER RECORDINGS
Patrick Hazell - Blue
Blood CD Review
You can almost see the stogie in the mouth of this pianist, harmonicist
and vocalist, at home with a bit of percussion--in the style of
Champion Jack Dupree or Fats Waller. Intimate
--------BLUES ACCESS, Spring 1998
Hazell jettisons part of his one-man band approach for his
second album and, despite the loss of autonomy, loses none of
the raw feel that has made his previous recordings so enjoyable.
Enlisting fellow Iowa blues heads C-Boy James and Chris McCurdy
to keep rudimentary time on drums and assorted lo-fi percussion
throughout, Hazell turns in a multitude of great original performances
on this disc. All 14 selections are written by him, and that same
gritty vocal/Joe Hill Louis overamplified harmonica/boogie piano
style that made his debut album so much fun is taken even further
here. The opening track, "Here We Go Again" is an update
of the first album's "Here I Go Again," recasting its
lyrics this time toward the bar patron. There's a real ambient
feel on several tracks, with the whole thing sounding like an
old Trumpet 78 recorded at a deserted VFW hall, most notably on
"Movin' Time," the minor-key "Walkin' on a Tightrope,"
the solo piano instrumental "Easy Time Blues," "Time
Goes by So Quickly" and the set closer, "Avenue Called
the Blues." That trademark one-man band feel of Hazell's
comes to the fore on "All Mixed Up" and "Hot Cakes,"
awhile new territory is mined on the atmospheric "Unspoken
Words," a drifting minor-key instrumental that almost veers
into jazz territory. A superb harpist and an even better piano
man (check out his work on "Washington Boogie" and the
aforementioned "Easy Time Blues"), Hazell flexes his
muscles beyond the novelty of one-man-band territory on this one,
and the results are very fine, indeed.
Review of PATRICK HAZELL'S BLUE BLOOD CD (BRR26CD)
This dude plays his Damned Ass off people, I know of no other
way of putting it and for this reason I give him a (5) HARP Salute
before I go any further. Patrick plays piano with a harmonica
in a neck holder, but his harp is super-duperly amplified and
it talks pure trash, I mean street walking -shit talking stuff.
He has C-Boy James playing percussion and drums and they cover
slow blues, shuffles and flat-out, drag-racing boogie-woogie.
I realize that is only two dudes, but they have the feelin' man.
Patrick has a bunch of cd's out, most of them are just him at
the piano and the harp, but he has some with full bands too!
----------- Steve"Big Daddy BluzHarp"Harvell
"BluzHarp's" Recommended Bluz Recordings Oct.1998
You know, sometimes it's just very simple, to get back down
to that mellowing basic blues soul healing music. Like Patrick
Hazell puts down on his CD, Blue Blood.
This release goes back to a 1997 solo recording session that has
the Dean of Iowa Blues evoking a spare barroom feel, the sound
echoing around an empty room on a bluesy afternoon, mournful feel
of space unoccupied. Just me and him and maybe the bartender wiping
out a glass.
The music echoes that Muddy Waters band sound, evoking Otis Spann
and James Cotton at the same time. Has that same, deliberate blues
pace that don't back down, keeps on keeping on. The very familiar
blues fragments and phrases that echo in a lot of songs by a lot
of people recast in Patrick's singular meditations on piano, harp
and vocal.
He's also a pungent social critic as evinced by "Blue Blood",
the title track, and "All Mixed Up". That's not something
you hear in most blues repertoire.
"Moving Time", the second track, sets a definite tone
with that 1950'2 sound where piano and harp kick off the tune.
Patrick is so successful though in carrying the whole tune without
needing a full complement of an electric blues band behind him.
You like that then you'll like "Walking On A Tightrope",
a tune with a similar Chicago sound to it.
Check out that walking bass left hand on "Washington Boogie".
The guy gets it right! "Easy Time Blues" is an extended
piano blues meditation that really satisfies the soul.
You want vocal, then check out Patrick's performance on "One-Sided
Love" that in some way captures a hint of that pain and anguish
that Ray Charles can convey with a twist of phrase. Patrick conveys
that same mournful soul blues but does it with straight head vocal
style.
This CD is gonna be a staple for me, the kind I go back to for
settling down purposes, get back to square one 'cause that's where
the music is, right down on square one, sure roots, sure delivery,
no artificial flavoring here.
Patrick Hazell is playing a BB's Lawnside Bar-B-Que May 22 and
I can't think of a better place to get into his music, roadhouse
cajun cuisine, up close performance, it's all out front. Check
out the show and buy the CD from the man. That's gonna be as good
as having a bowl of hot gumbo on a cold, rainy spring day!
-------- El Dormido; KANSAS CITY BLUES NEWS, MAY 1999
Patrick Hazell - BLUE BLOOD
Now here's a dose of true blue blues for ya - blues vocals,
blues harp and that total blues feel all the way around. After
listening to this CD, I feel like I've had a total immersion into
a Blues Pool -- I'm completely drenched man!! I'm actually turning
blue! From Movin' Time to Avenue Called The Blues, Time Goes By
So Quickly and then some - but I guarantee, if you like the blues
and especially blues harp - you'll want to experience this CD
up close and personal. While it's obvious Hazell can manage the
whole thing with his talents at piano, harp and vocals, he does
get some assistance from C-boy James and Chris McCurdy on drums
and percussion. For a heavy dose of blues, get yourself a transfusion
of some Blue Blood.
------ R.C., Blue Zone internet Review---July 1999
REVIEW OFBLUE BLOOD
by VASJA IVANOVSKI. FM 91 BLUES
SKOPJE, MACEDONIA, EUROPE Jan.18,1998
"My personal favorite is PATRICK HAZELL! His (Blue Blood)CD
really sounds as if it comes from the fifties, yet he sounds so
refreshing and new! This one is definitely one of my favorites
received these days! I really hope that PATRICK will make it on
a national basis and in Europe given a chance. He proved like
the old masters that you do not need a wall of sound to make an
impression, it takes only personal, deep emotional statements
that reach blues lovers universally!"
--------VASJA IVANOVSKI, SKOPJE, MACEDONIA, EUROPE
More Iowa beef! Old-time blues ooze from the very bones of Patrick Hazell onBLUE BLOOD(Blue Rhythm Recordings BRR26CD), who uses naught but Hohner Marine Band harps and a 1916 grand piano with the genuine plinky, honky-tonkin' tone you never hear anymore. All self-penned, Hazell's tunes simutaneously evoke the boogie piano masters such as Henry Gray and the harp magnitude of Little Walter--14 musical gems, no studio tricks, just meaty licks and great singing. Best cut: instrumental "Washington Boogie," harp and piano bouncing off each other for the essential groove.
----------BLUES REVUE, JUNE 1998
CD Preview: Patrick Hazell:BLUE BLOOD(Blue
Rhythm Records)
By Al Handa, DELTA SNAKE DAILY BLUES, Dec.1998
Patrick Hazell is an Iowa-based educator, who has also released
28 albums since the late 60s. His blues career began in 1960,
leading a three piece band, and in 1968, established the Mother
Blues Band, which became a midwestern legend.
In 1983, Hazell began performing as an solo act in a rare format,
the one man band. He accompanies his vocals with harp, piano,
organ, and bass drum, and integrates the elements extraordinarily
well. Also, he quite smartly uses the early 50s electric era as
the style, which is ideal for a one man show.
If you didn't know how he performed his blues, you would think
that the music was by a band that had a very early Chicago feel,
with a rhythmic emphasis right out of the old Southern King Biscuit
radio shows. In this session, he's aided by a percussionist and
a drummer on one cut.
What makes it work is that Patrick is a convincing vocalist, and
a very effective pianist with an atmospheric feel. His harp work,
heavily amped with a raw, roadhouse mood cuts through the keyboard
textures and give the music it's raw 50s feel. Also, the room
sound gives one the impression it was recorded in a room with
four solid walls and a lot of atmosphere.
The music opens with "Here We Go Again, a harp and piano
boogie-woogie, and a Howlin' Wolf shouting-style vocal. This leads
to a very cool and downhome sounding "Movin' Time,"
a swinging "Washington Boogie," and a afterhours style
slow one, "Blue Blood." The rest of the cuts follow
in this pattern, and all have the same lowdown and dirty atmosphere.
Being able to effectively duplicate the old Chicago feel isn't
simply a matter of recreating the environment. It also consists
of performances by musicians who have played for decades, and
who can get that relaxed, yet edgy feel that only the most experienced
can achieve. Patrick Hazell has created an effective set of blues
that sounds like someone turned on a tape machine in some smoky
early 50s Chicago bar. That he plays most of the instruments is
an interesting novelty, but would be irrelevant if the music didn't
work. In this case, Hazell just happens to be the right man for
the jobs. A real sleeper, and worth checking out.
--------AL HANDA, DELTA SNAKE DAILY BLUES
Over the years Patrick Hazell has continued to make...28 recordings in wide-ranging genres. From straight-ahead Blues, jazz, down home country folk, instrumental, to experimental over-the edge stuff. And a lot of points in between. One of the hardest things to do is to categorize Hazell's work because it so often slips from one style to the next.
---MIKE RICHARDSON, BLUES NEWS, MISSISSIPPI VALLEY BLUES SOCIETY, DAVENPORT, IA, NOV. 1998.
Blue Rhythm Recording artist Patrick Hazell has done it again
withBLUE BLOOD, a new release
following up on his 1995
BLUES ON THE RUN. Hazell is a blues powerhouse and
consistently delivers up the good stuff.
Hazell has actually been producing music for a long time. Anyone
who has explored his trunk full of tapes at a live gig can give
testimony to the output of this versatile musician. But it is
with the advent of this CD that Pat's recordings take on the nice,
glossy look they so richly deserve.
But who cares about looks, let's get to the sounds. BLUE BLOOD
opens with "Here We Go Again" with high-powered "back
to the boogie" lyrics. The lyrics describe the song, and
the song describes the disc.
"Movin' Time," accompanying himself "down the line,"
America's premier one-man band is back on the move, back in the
groove. Keyboards, harmonica, drum, and vocals....this one musician
sounds as good and full as a four-piece band.
"Washington Boogie" is an instrumental number with a
rollicking boogie piano keeping step with the mouth harp and dancing
its way to the title track. "Blue Blood" is a change
of pace---real stuff, a history lesson, an essay. This is the
blues with philosophy.
"Walkin' On A Tightrope" is slow and sultry. Highlighting
the harmonica, this steamy piece has a more traditional blues
theme. "Tightrope" speaks to anyone and everyone who
has ever been in love.
"Time Goes By So Quickly" is the sequel to "Tightrope."
This straight-up blues tune is for all those who have loved....and
lost. Ain't that the blues? Patrick's voice lets you feel the
hurt in this song. "Easy Time Blues" is another instrumental.
This is the calm after the storm, a piano solo. It's healing time,
it's easy time.
"Hot Cakes" is a spicy number back to the beat. Filled
with suggestive lyrics, this song will put a smile on your face
and get you up on your dancing feet. "All Mixed Up"
could be called soap-opera blues. This song is about relationships,
a lot of them!
"I Don't Understand" is what happens when you get all
mixed up. It's a classic song of love gone wrong with nice harp
work. "What Did I Do Wrong" could pass for the second
verse of "I Don't Understand."
"Unspoken Words" is an instrumental piece with the piano
and harmonica. It is sweet and sorrowful and speaks to you without
words. "One-sided Love" is a seamless transition into
vocals. The title tells the story. You know we are talking blues
now.
The final cut is "Avenue Called The Blues," and it gets
down while getting down the road. There's not a bad song on the
album. This is another must-have CD for the home collection...for
someone wanting a Pat Hazell Blues album, this is about as good
as it gets.
---MIKE RICHARDSON, MISSISSIPPI VALLEY BLUES NEWS,
DAVENPORT, IA, NOV. 1997
PATRICK HAZELL strips things down to the fifties and gives you timelessly classic sounding songs. BLUE BLOOD is a feeling and not just a title. I found feeling coming out of my speakers pouring onto the floor and with its seductive hand caressing my ear. The CD is comprised of acoustic piano, harmonica and percussion. That's it! I'm used to hearing larger numbers of people put out blues and it doesn't come off. Then this drops into my lap and I'm mesmerized from beginning to end. Less is more comes to mind. One man band also comes forth. Patrick wrote, performed and produced the entire CD. Pick it up if you like the blues. Pick it up if you like music.
-----------STEVAN ROBINSON,JR., MUZI.COM MAGAZINE,
DES MOINES,IA, JAN.1998
If you're not familiar with Patrick Hazell, you should be. A one-man band with keyboards, bass drum, rack-mounted harp and a big, big sound.That combined with great original tunes, drivin' boogie woogie and down-in-the-alley Blues, is the sound ofBLUE BLOOD. Patrick's got a unique sound--raw and powerful--that's been packing Midwest clubs and dance halls for years. Rightfully so. I recommend you order BLUE BLOODdirectly from Blue Rhythm Recordings....Do it now!
----MARTY KOOL, BLUES BEAT, TUCSON BLUES SOCIETY,
AUG'97, TUCSON, ARIZONA
Say one thing for Pat Hazell--he may be slow to pick up on
technological advances, but when he does, baby, he's on it like
sleaze on Maury Povich. Through 1995, the 30-year-veteran bluesman
from Washington, Iowa, had released over 20 tapes and records
on his own Blue Rhythm Recordings, but not one single stinkin'
CD! Cut to spring of '97, and here he is with his fifth CD (1996
brought Patrick Hazell and the Mother Blues Band 1975-1980, Blues
On The Run, In The Prairieland, and Dreamcatcher) and a double-disc
instrumental set to be released in a matter of weeks!
Long established as one of the Midwest's premier blues harpists,
pianists and singers, Hazell has spent the past 15-years-plus
touring as a unique one-man band using a harp-rack, electronic
keyboard stack and a kick drum to back his earthy blues howling
(an act well-represented by last year's Blues On The Run). With
BLUE BLOOD, Hazell takes advantage
of the studio setting to present his blues in a more formal, traditional
setting, employing one C-boy James on the drum kit (Chris McCurdy
on the title track) and eschewing the 'lectric 'boards in favor
of a 1916 vintage Hazelton Bros. Grand piano. The result is--to
these ears--Hazell's finest recording to date.
The uninitiated should be forewarned about the "Hazell Sound."
A strict traditionalist (at times, to a fault--see first paragraph),
Hazell doesn't cotton much to new-fangled gizmos. His idea of
perfect sound is apparantly bright, undampened and strictly unadorned--harp
mic overloaded and ready to shred; rattle-y drums and shiny piano
notes. It's a sort of loose-board, piled-up-junk, dishes-on-a-metal-cupboard,
shack-y kind of racket he aims for...way more Alan Lomax than
Alan Parsons (i.e.--field recordings over "Strawberry Fields").
Strange, maybe; idiosyncratic, to be sure, but in the context
of his musical pursuits, it makes perfect sense--just takes some
getting used to....
BLUE BLOOD kicks off with "Here We Go Again," Hazell's
unofficial theme and general call-to-party. (It could be noted
here that there are way more great blues songs than there are
great blues lyrics, and in that respect Hazell does not break
from the fold. No matter---the muscle is in the grooves. The words
are just here to give that amazing voice something to wrap around.)
Highlights include "Washington Boogie"--a honking boogie-woogie
instrumental romp, the harrowing "Walkin'On A Tightrope,"
the cautionary small-town soap opera "All Mixed Up"
and the hauntingly beautiful harp-and-piano soundscape "Unspoken
Words."
For my money, though, the ace in the deck--and one of Hazell's
most fully realized songs yet--is the mournful, aching "Time
Goes By So Quickly." Over six minutes of rolling, world-weary
lament, "Time..." presents Hazell's raspy vocal at its
absolute peak delivering a copacetic lyric over impassioned, spot-on
harmonica blowing, swinging piano and an other-worldly cowbell
keeping time like an eight-pound hammer on a railroad spike. I'd
give this bad boy a solid 10.
So, there you have it--lots of heartfelt blues from a guy who
sure ain't fakin'. Give it a spin, then get some more. (If you
can't find Hazell's recordings at your favorite record shop, tell
them to get them. Or, write: Blue Rhythm Recordings, 220 E. 17th
Street, Washington, IA 52353.)
----JIM MUSSER, ICON MAGAZINE, JULY 3,1997,
IOWA CITY, IOWA
PATRICK HAZELL--BLUE BLOOD
When Pat Hazell performs he never has a conflict of interest
with any of his band members. That's because there are no other
band members. Mr. Hazell is the total package--vocalist, piano,
harmonica, and percussion player. All 14 tracks are penned by
Patrick.
Most of Patrick's music on this CD recaptures the sound of the
early '50's style of the blues. Tracks like "Walkin' On A
Tightrope," "Time goes By So Quickly," and "Avenue
Called The Blues" sounds like some of the music that floated
out of Chess Records during its heyday. Other cuts like "Washington
Boogie" and "Here We Go Again" have more of a contemporary
feel to them. As a vocalist Pat has a good voice that's very deep-felt.
Even though Pat is very good on the harmonica, I admire his keyboard
skills the most. He displays this fine talent on the instrumental
called "Easy Time Blues." A superb performance! For
those of you not familiar with Patrick Hazell's output, this disc
is a solid introduction.
---DR. SOUNDGOOD, THE BLUESEYE, CROSSROADS BLUES
SOCIETY, LANARK, ILLINOIS, OCT. 1997
PATRICK HAZELL---BLUE BLOOD
Downeast Review NOVEMBER 7, 2001
by Larry Belanger
Our grading system- Excellent-!!!!! Good-!!!! Average- !!! Poor-!! Nix-!
Patrick Hazell is an incredible performer whether it be on
the piano, harmonica or belting out an emotional Blues piece.
For, Blue Blood, Patrick Hazell brings back Blues music at it's
best. No studio gimmicks, just raw roots emotion-filled Blues
presentations of the highest songwriting quality make up the contents
of the album. Though some of the songs leave a bit to be desired
in sound recording quality, this is quickly overlooked with the
high quality instrumental performances and magnetic melodies.
A great example of a perfect and charismatic performance is found
on the instrumental, "Easy Time Blues". For, "Easy
Time Blues", one finds Hazell presenting an exhilarating
slow Blues, solo piano performance. The complex piano phrases
that Hazell unleashes in the structure of this piece is sure to
amaze even the most experienced musician.
On the other side of the spectrum, Hazell surprises all with a
Soft Rock piece, "Unspoken Words". The song has an infectious
melody which Hazell magically presents with his grand piano and
harmonica. A true break from the Blues genre, this instrumental
adds variety to the album while being extremely rich in entertainment
value. Hazell does incorporate a drummer, C-Boy James, for some
of the songs on the album. The use of the percussion is minimal
and usually simplistic in structure. This lends to the overall
raw quality which makes the songs so appealing to the Blues fan
searching for meaty presentations.
What one finds on this album is a musician who is a master on
the piano, with skills that are seldom heard today. Hazell is
easily placed in the ranks among Big Maceo Merriweather, Johnny
Jones, Otis Spann and Henry Gray. His harmonica playing is unique
while showing influences of Little Walter, Big Walter Horton and
Junior Wells. His vocal style is very much his own with an ability
to captivate his audience while maintaining a soulful presentation
well within the boundaries of the Blues genre.
If one is ready to re-examine the roots of Blues, Patrick Hazell
has Blues bleeding through virtually every note on the album,
Blue Blood.
Track 1- Here We Go Again
Here we go again with some roots Blues music with a unique performer. On this presentation Hazell blows his harp until it virtually smokes, and his vocals and piano are steaming along at a rapid clip. Solid rocking piece. ( ! ! ! ! ! )
Track 2- Movin Time
The quality of the recording leaves a bit to be desired because there is quite a bit of echo, but the groove is strong. Lovers of Blues music are accustomed to weak recordings and should be able to enjoy the raw beauty of an emotional piece such as this. ( ! ! ! ! )
Track 3- Washington Boogie
Hazell does some cookin' on the piano for this jumping Blues presentation. It's really amazing to experience a performance with the intensity of this composition. To experience Hazell's work on the harmonica and piano, with each instrument played with extreme precision, is an adventure unparalleled. ( ! ! ! ! ! )
Track 4- Blue Blood
This song has a extremely well crafted lyrics which describe the Blues experience with a soulful presentation. Hazell's piano fills add depth and color to the infectious melody. Unfortunately when the harmonica solo comes around it gets cut rather abruptly as the recording is faded out. ( ! ! ! ! )
Track 5- Walkin' On A Tightrope
The harmony lines between the piano and harmonica on this piece are the elements which elevate this piece to the incredible stature it achieves. Hazell's lyrics are in an Albert King vein with a soulful vocal execution at the root. A slow and grinding beat is the base of this original composition. ( ! ! ! ! )
Track 6- Time Goes By So Quickly
The slow groove is back at the root of this classic style Blues performance. The percussion is basic and neither enhances or takes away from the magnitude of the piano, vocals and harmonica. Time does go by quickly as one is held in Hazell's trance inducing performance for a bit over six minutes on this gem. ( ! ! ! ! )
Track 7- Easy Time Blues
On this tune one gets to closely experience Hazell's skills on the piano as he thrills and entertains with his bag of magic phrases. He is definitely up there with the masters of the Blues piano as this tune more than adequately demonstrates. The harmonica, vocals or percussion are not missed at all on this great performance. ( ! ! ! ! ! )
Track 8- Hot Cakes
Hazell takes off on a hundred mile per hour gallop as he smokes up the joint with his sizzling harmonica licks. His magical fingers tickle the ivory on the keyboard making colorful notes fill the voids. As he starts belting out the intriguing lyric with an old-time flavor one is captured in Hazell's musical web. ( ! ! ! ! ! )
Track 9- All Mixed Up
Hazell slows down the pace a notch for this Blues ballad. The storyline makes for good solid entertainment and the instrumental groove is just as infectious. The downside is that the drum track seems a bit off, but this small element is easily overlooked because of Hazell's performance. ( ! ! ! ! )
Track 10- I Don't Understand
Hazell puts down a strong groove with his piano chops and harmonica licks for this powerful BB King-esque tune. What BB King does with his guitar, making the instrument shout with soulfilled emotion, Hazell does with his magic harp and fantastic piano phrases. The vocal presence is equally in the same vein and equally as powerful. ( ! ! ! ! ! )
Track 11- What Did I Do Wrong
This tune has a powerful presence which lies in the magical performance that Hazell presents with just his piano and vocals. With a Ray Charles ease Hazell projects the lyric with a charismatic energy that only he is able to attain. His small harmonica solo only adds to the grandeur of the performance. ( ! ! ! ! ! )
Track 12- Unspoken Words
This tune appears to stray from the path followed on the rest
of the album. This one has much less of the Blues essence and
more of a Soft Rock presence in the melody. A beautifully written
piece which is expertly performed, but certainly far from the
structure of common Blues material. A bit of variety adds a touch
of spice to the contents of the album. Unspoken Words is an excellent
title for this instrumental.
( ! ! ! ! )
Track 13- One-Sided Love
Hazell has found his way back to the Blues side of town with this contagious gem. His harmonica, piano and vocals are fashioned with a great Blues presence. One is easily drawn into the lyric and can feel the Blues in each note and phrase which Hazell expertly portrays. At just over six and a half minutes this is that special tune to slow dance with that extra special someone. ( ! ! ! ! ! )
Track 14- Avenue Called The Blues
As Patrick Hazell brings this album to a close he selects a piece which drips with Blue Blood on each expertly crafted passage. His harmonica cries out with a spirit filled with Blues energy, matched only by his piano and vocals. Raw emotion-filled Blues is the element which elevates this piece to the creative plateau it attains. ( ! ! ! ! ! )
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