REVIEWS
CD REVIEWS
KID MAN BLUES - Bert Deivert
Hard Danger STUDIO
“With one foot in the Mississippi Delta, and the other striding across continents to grab ideas and musicians the world over, Deivert’s new album is a deep, intensely beautiful work.” - Steve Pick, ABOUT.COM
Read the whole review here....
http://blues.about.com/od/cddvdreview1/fr/Bert-Deivert-Kid-Man-Blues-2011.htm
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Source: Kom Chad Luek newspaper, Bangkok Thailand
Borders of the Unknown
by Wirasak Suntornsri (P'Dang)
Translation: Daniel Nolan
CD Kid Man/Blues - Bert Deivert, 2011
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A 61 year-old American blues artist, Bert Deivert, has called Sweden home for more than half of his life. He has established himself as a working professional musician for 38 years, playing and recording as a solo artist, part of a duo, as well as collaborating with several other artists. In Thailand, Bert has played and worked alongside Thai blues musicians, including Dulyasit Srabua (Pong), and often jams at the Ad-Here Blues Bar in Banglamphu. Mandolin is his main instrument.
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GOIN' DOWN SOUTH: The blues breaks loud open with this track as mandolin, drums and bass come together with a very energetic and rousing rhythm, though not oppressively. Bert takes the lead vocal and is helped out by female backing vocalist, My Sohlin. Bert plays both mandolin and lap steel on this track and the music just flows with tasteful simplicity which is a pleasure to listen to. Mandolin takes the lead solo. Guitar and violin also feature.
STATE STREET PIMP: A folk-blues which opens with piano and is followed closely by drums. Bert takes the lead and sings accompanied by piano and the rest of the rhythm section. The mandolin flows soft and gently along throughout and the guitar follows suit. The piano carries this tune along well.
ROB AND STEAL: This is an up-tempo sweet and lively blues. It features harmonica which weaves itself together nicely with the mandolin.
COME BACK BABY: Another folk-blues song that features Thai musician, Pong, on guitar. A very catchy tune that's very easy on the ears.
KID MAN BLUES: The mandolin sounds beautiful and graceful in this tune and so does the fiddle. Also featured is an array of backing vocalists such as Memphis Gold (recorded in Washington D.C.) and My Sohlin.
KEEP ON TRUCKIN: This folk blues features folk-artist legend 'Tom Paley' on guitar and vocals. And there’s evidently a lot of emotion behind it. Keep On Truckin' is a classic example of the genre. It's a song that's sweet to hear, fun to play and worthy of learning all at once.
CYPRESS GROVE: This song could be described as a 'lonesome lament' with only harmonica and guitar pushing it along. Bert plays an open-strung 'resonator' guitar on this track whilst Pong accompanies him, also open-stringed, on acoustic guitar. The vocals are delivered with pure feeling.
LULA: This is the only track written by Bert himself for this album. He also plays mandolin, guitar and drums. There's plenty of jamming fun in this song, both infectious and inspiring at the same time.
DIDDIE WAH DIDDIE: Another great folk blues with the guitar and vocals sounding fresh and vibrant in this track. The mandolin is also very much at home here. The guitar used in this recording is a Martin 00-18, all the way from 1941. This song is a pleasure to listen to, and definitely deserves repeat listens.
DEATH LETTER BLUES: A song by the great Son House who, to let it be known, has been a huge influence on Bert and his music.
SPECIAL AGENT: This track has the feel of a train rolling down the tracks, and with it comes a familiar melody previously heard of from other artists. Bert's vocals once more are full of feeling.
NONGHARN BLUES: This song is the result of the close musical collaboration between Bert and his Thai counterpart, Pong. The song has its roots in North-Eastern Thai (Issan) melodies and also American blues, all mixed beautifully into one. The duo recorded this song in Thailand where they had previously performed it live amongst friends. During this time, Bert was located in Bangkok and was regularly sharing his musical talents with Thai musicians alike in the Banglamphu music scene.
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SOURCE: CROSSROADS - Blues Society of Northern Illinois.
http://www.crossroadsbluessociety.com/
Kid Man Blues
Bert Deivert’s approach to the blues is definitely different than the mainstream blues player’s. He takes the blues some- where else but remains bluesy. Originally from Boston, Bert has made Sweden his home base for now. This CD, “Kid Man Blues”, was recorded in Sweden, Bangkok, Thailand and Mississippi. Just hearing this fact lets us know that the music is going to have many influences. Deivert’s knowledge of guitar came from Skip James, Son House and Sleepy John Estes to name a few. Adding the mandolin to his repertoire also increase the vast knowledge of the blues that he has at- tained. Yank Rachell and Carl Martin style of mandolin playing are very evident in Bert’s music.
“Kid Man Blues” is really a treat for us that enjoy hearing the mandolin in blues. As Bert mentions the mandolin is a under- stated instrument in this genre of music. There does seem to be a resurgence go- ing on with the fine players such as Rich DelGrosso, Billy Flynn and Gerry Hundt. “Kid Man Blues” is a good collection of tunes done by Sleepy John Estes, Son House, Carl Martin and other traditional blues artist. Bert also added “Lulu” that he wrote. Deivert has taken each of these tunes made them his own musically and lyrically. He is present with both his mandolin and guitar on some tracks.
“Kid Man Blues”, the title track, gives us Bert’s mandolin skills on a fine slow tune by Carl Martin. This song also showcases Janne Zander adding his guitar to the mix of things. Listen carefully and you will also catch the fiddle of Staffan Jonsson in the background. This adds a diverse touch to the tune. The lyrics tell of a young man caught up with a older married women which is a real tale of the blues.
Included in the mix of songs are two out- standing instrumental tracks. “Lula” is a straight forward blues tune that has the late great Sam Carr on the drums. Bill Able and Fredrick Karlsson add their guitars to Bert’s mandolin playing making this tune a very pleasurable ride into the blues. “Nong-Harn Blues” features Dulyasit “Pong” Srabua on the Republic Resonator guitar. With Deivert’s mandolin chattering away in the background and the guitar playing from “Pong’ this tune picks up an Asian influence to it. This tune still retains a blues base to it while you listen to both musicians. RL Burnside’s “Goin’ Down South” is taken down a whole different path by Deivert. Here he plays both the mandolin and lap steel guitar, adds Janne Zander’s guitar and Nina Perez’s violin. This tune also treats us to Suchet Malhotra with his cajon, a box like drum, in the background. This track took me some plays to get into it but it is worth the trip.
Going into Bert Deivert’s world of blues is an experience that will grow on you. If you are stuck in the genre of pure full blown blues do not overlook a listen to “Kid Man Blues.”The mandolin is an instrument that has a big place in the blues genre. Thirty years of performing and 12 CD’s later has also earned Bert Deivert a place there.
- Reviewed by Harmonica Joe Poluyanskis
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SOURCE: COMPULSIVE READER
http://www.compulsivereader.com/html/index.php?name=News&file=article&sid=2980
An American Bluesman in Europe: Kid Man Blues by Bert Deivert
On the album Kid Man Blues, an album recorded in Sweden, Thailand, Germany, and the United States over a period of years, Bert Deivert does the Paul Jones song “Rob and Steal,” and there’s something very head-down-and-focused about the energy in the song, as if something burning in the music matches the intensity of the scavenging character being described.
By Daniel Garrett
Bert Deivert, Kid Man Blues
Produced by Bert Deivert, Willie Salomon, with others
Hard Danger Studio, 2011
Masculine, forceful, rhythmic string music is the singer and mandolin-player Bert Deivert’s interpretation of “Goin’ Down South,” a R.L. Burnside song about a woman who has another man hanging around. It is a great beginning to Kid Man Blues, a really rich sound. In the song, Nina Perez plays violin and Suchet Malhotra plays cajon, a percussive instrument in the shape of a box, the kind of instrumentation that gives the music a unique tone. Money, bad temperament, and jealousy are all part of the mix in “State Street Pimp,” actually but surprisingly a traditional blues, in which Deivert sings, “You took all my money and gave it to your State street pimp.” Deivert’s singing in the tune is a little too weary for my taste—I would have preferred more outrage. Who is Bert Deivert? Bert Deivert performed with a musician I like, singer-guitarist Eric Bibb, in years past, an extensive collaboration that began when Deivert saw Bibb and thought Bibb superior to the singer Bibb was supporting, but that was not my introduction to Deivert; rather, I heard one of Deivert’s songs on a Saturday night folk music radio program out of Baton Rouge, Louisiana—and was startled by the song’s arrangement, its sophistication, and I had to hear more. The Boston-born Bert Deivert has lived in Sweden for years, having moved there after meeting a Swedish girl in San Francisco; and his recordings include Takin’ Sam’s Advice, When I Look at You, and Handcrafted Songs. (Deivert also has a master’s degree in film and has made films.) Deivert, who plays blues and folk festivals, is recognized as one of the few players of blues mandolin—Deivert himself has named others: Rich DelGrosso, Gerry Hundt, Billy Flynn, and Jimi Hocking. In Bert Deivert’s faith in music, recognition of the talents of others, willingness to collaborate, and traveling, Deivert has become an artist who is a unifier, rather than a divider, of humanity.
On the album Kid Man Blues, an album recorded in Sweden, Thailand, Germany, and the United States over a period of years, Bert Deivert does the Paul Jones song “Rob and Steal,” and there’s something very head-down-and-focused about the energy in the song, as if something burning in the music matches the intensity of the scavenging character being described. Downbeat, haunted, “Come Back Baby” is a moodily dramatic request for a lover’s return, featuring blues-rock guitar (that is, Dulyasit Srabua on electric guitar and John Dooley on electric bass). Deivert’s vocal phrasing works here—it is careful, heavy, slow, from a place of knowledge and strength, really a form of pragmatism, despite the narrator’s vulnerability. “I asked a married woman to let me be her kid,” sings Deivert, improbably and humorously, in Carl Martin’s “Kid Man Blues.” Attraction and distance, a discourse between man and woman, “Keep on Truckin’” has an old-time feel, with country picking, Deivert playing mandolin, and Fred Karlsson playing resonator guitar; it is a variation of the ditty “Truckin’ My Blues Away,” and has the vocal participation of New Lost City Rambler Tom Paley. “Cypress Grove,” by Skip James, is focused on choosing separation and even death over a bad relationship, and Deivert’s recording of it has a sultry sound with lethal concentration in a world with train-stop atmospherics, a world in which old people and religious literature offer advice that may be good, but too good for the people and lives being lived. (Deivert plays the resonator guitar in “Cypress Grove,” with Mats Qwarfordt on harmonica.) The collection includes Deivert’s instrumental composition “Lula,” and the comic, sexually suggestive popular standard “Diddie Wah Diddie,” and the classic Son House blues “Death Letter,” which brings news of a beloved’s death, and leads to a narrator’s travel and viewing of the body, the stark details laying bare the facts of love and death: “I didn’t know I loved her till they laid her body down,” he sings, and imagines hearing her voice, saying his name. The song, here, does not have the impact I would like. (Of course, I have heard Son House’s version, but my favorite interpretation is that of Cassandra Wilson.) “Special Agent” was written by Sleepy John Estes about avoiding train police on the way to a recording session, and I wish I could hear the lyrics better, but the music contains things frank and frisky, and the message comes through, the way a survivor’s instinct can be quickened by danger, its knowledge and wit, its style, passed onto others; and “Nongharn Blues,” by Deivert with guitarist Dulyasit Srabua, has both Spanish and eastern (Asian) instrumental rhythms. That is collaboration, that is friendship, that is art.
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Source: Rootstime web magazine
http://rootstime.be/CD%20REVIEUW/2012/JAN1/CD15.html
Now this is what we like to see. An accompanying CD booklet that provides information about each individual track. Why was this song chosen? What was the inspiration for the original songs? Why was a specific musical touch used? We find this fascinating. And that is the way it is in "Kid Man Blues", the excellent new release by the brilliant blues mandolin player Bert Deivert. It's an album celebrating his tenth release and all the people who know him know that this is synonymous with quality.
This American living in Sweden seems to lazily deliver songs from his hands but make no mistake because this is all carefully planned. Acoustic blues, or at least an ode to it, and just as pleasant to listen to! We have twelve tracks to listen to, ranging from traditional to covers of Son House and Skip James.
It starts with RL Burnside's "Goin 'Down South" and I can't imagine a better opening track . It combines lap steel and mandolin with finger and thumbpicking. Don't miss a single detail when listening to this song! That won't be difficult because the recording quality of the whole album, by the way, is impressive.
Deivert has invited some friends / acquaintances for this release, and not just anybody. Offhand: Sven Zetterberg, the Swedish great harmonica player and brilliant Bill Abel, who I hope you are familiar with. These are collaborations that result in great versions of Skip James' "Cypress Grove" that includes the Thai bluesman Dulyasit Srabua, who shines on guitar. Deivert actually works with people from different continents, the blues knows no bounds does it?
The album was recorded during several studio sessions in Sweden, Germany and Thailand and of course, in Abel's home in Mississippi. It was dedicated to Sam Carr, the drummer who is also heard on "Lula". An excellent collection of old blues and the result is one that we will often return to.
Bluesyluc
(Luc Meert) translation from Dutch
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SOURCE: Blues Bytes
http://www.bluenight.com/BluesBytes/wn1211.html
KID MAN BLUES
When Bert Deivert was in his mid teens, he saw blues legend Son House on public television. House’s performance so impressed the youngster, that he broke a wine bottle to make his own bottleneck and has been hooked on the blues ever since. Having lived and traveled through much of the U.S. as a youngster, he’s been a resident of Sweden since the mid ’70s, working as a musician (playing mandolin and slide guitar) and singer. He’s worked with musicians of many genres from rock (Peter Case) to rockabilly (Wanda Jackson) to Old Timey (Tom Paley) to Irish (Christy O’Leary) to blues (Eric Bibb, Michael Powers).
Most recently, Deivert has been gigging or recording in Mississippi with some of the Delta’s finest (Bill Abel, Terry “Harmonica” Bean, Cadillac John Nolden, T-Model Ford, and the late Sam Carr. Some of these artists appear on Deivert’s tenth and latest CD release, Kid Man Blues (Hard Danger), a project that spanned four years of recording on three different continents.
Seven of the tracks were recorded in Sweden, ranging from R.L. Burnside’s “Goin’ Down South,” which features Deivert on mandolin and lap steel, plus Memphis Gold on guitar, Nina Pérez on violin, and Suchet Malhotra on cajon, to a winning pair from blues mandolin master Carl Martin (“State Street Pimp,” featuring Brian Kramer on guitar, and the title track, with Deivert, Memphis Gold and My Sohlin on vocals), a scorching slide version of House’s “Death Letter,” Blind Blake (“Keep On Truckin’ and “Diddie Wah Diddie”), and Sleepy John Estes (“Special Agent”).
Three tracks, Skip James’ “Cypress Grove,” “Come Back Baby,” and the enchanting closing instrumental, “Nongharn Blues,” were recorded in Bangkok. On these recordings, Deivert pairs up with Dulyasit “Pong” Srabua for some wonderful interplay. The remaining two tracks were recorded in Duncan, Mississippi with Bill Abel and Sam Carr, with additional performances added during a Swedish session (featuring Sven Zetterberg on harmonica). These two tracks include a fine new composition from Deivert (“Lula”).
Deivert alternates between mandolin and slide guitar, playing both masterfully.
Though the majority of these songs are familiar, older tunes, Deivert's fretwork give them a fresh sound and feel. Kid Man Blues is a marvelously diverse and satisfying set of acoustic blues guaranteed to please.
--- Graham Clarke
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Source:
FINLAND BLUES NEWS magazine December, 2011
Bert Deivert, originally American, is quite an international globetrotter. He has already lived for years in Sweden, where he also has children. The content of this album has been recorded in our western neighboring country as well as in the US, Thailand and Germany.
The most famous of the many guest musicians are the legendary drummer Sam Carr, who passed away a couple of years ago, and the pride of Scandinavia, Sven Zetterberg. The style of the main artist himself is acoustic country-style blues which I like very much. Among stringed instruments Deivert is especially fond of the mandolin, and his most important role models are the deceased Carl Martin and Yank Rachell who influenced his playing style.
Self-produced albums are often incomplete products in many respects, but this one is of very high quality, both artistically and technically. There is a lot of skillful playing, singing that matches the context, and good melodies, as well as an attitude which is respectful of tradition. One of my special favorites is number 11 which is a really heartrending interpretation of the Estes song, telling about heavy-handed railway police harassing a musician who was on a recording trip. Bangkok souvenirs are numbers 4, 7 and 12, which are also very listenable, but clearly different from the other pieces, because of their leisurely atmosphere.
My only critical comment deals with the length of this record which is only 45 minutes. This music is so good I would have liked to follow it for another half an hour.
Vesa Walamies
(translation Marjut Anttonen)
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SOURCE: Jefferson Blues magazine, Sweden
REVIEW: BERT DEIVERT - Kid Man Blues
With the new cd Kid Man Blues, I maintain that Bert Deivert takes a significant step forward here in this, his tenth release. It is apparent that it is time he be introduced to a wider audience. The disc, which offers twelve varied tracks, offers concrete proof of this statement. From the opening Burnside song, Goin’ Down South, to the final Nongharn Blues, he has compiled material that never skids off course but steadily rolls forward. Bert honors the old masters, Carl Martin, Skip James, Blind Blake, Son House and Sleepy John Estes creating brilliant versions of their songs, but at the same time retaining his own personal style to express their blues. The identifying factor here is his mandolin playing, influenced by his musical role model Yank Rachell.
Bert is surrounded on the album by many of his musical friends living in different parts of the world. Maybe this was a great recipe for mixing different cultures in music. Picking the best parts from the disc is like choosing the tastiest praline from a very tempting box of fine chocolates. Two songs that send chills up my spine are Cypress Grove and Death Letter Blues, the latter a song that few can live up to in terms of Son House’s original incredibly moving performances, but Bert puts all his emotion into action, with successful results. The instrumental Lula, where Sam Carr handles the drums, Bill Abel, the acoustic guitar, and Fredrick Karlsson the National tricone, has a wonderful groove. It is a tune that lives up to the best juke-joint style.
Memphis Gold and Tom Paley, both familiar names in Sweden, do some nice guest spots on the album. Paley, who now lives in London, is a living legend, known for his music as an original member of the New Lost City Ramblers. Musicians involved from our part of the world in Sweden are Sven Zetterberg on a track on harmonica, Brian Kramer, and many more names, though I would like to mention his musical partner Janne Zander who has worked with Bert for many years now.
One successful payoff of Bert’s foreign contacts was in Thailand. We have not had the opportunity to hear their approach to blues. Listen for yourself to a sound that throws off sparks as it is performed. This is a victorious work for Bert since he has made an album that is a match for the best albums of 2011.
- Ingemar Karlsson
(translation from the original Swedish)
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Source: BLUES BLAST Magazine
http://www.thebluesblast.com/Archive/BluesBlasts/2011/BluesBlast12_8_11.htm
REVIEW - KID MAN BLUES - December 2011
Bert Deivert is a key figure in the contemporary acoustic and semi-acoustic blues world. Born in Boston, Mr Deivert has made his home in Sweden but that does not prevent him from offering a CD that will enhance his reputation no end. Bert started as a guitar man, inspired by the music of Son House, has enhanced his range by developing his skills on mandolin in the style typical of Yank Rachell and Carl Martin. To that he has added a range of exemplary musicians (A few of them are Janne Zander (g); Nina Perez (v); Suchet Malhotra (tabla, cajon), Chester “Memphis Gold” Chandler (g), Bill Abel (g)) and with Tom Paley providing vocal support on “Keep On Truckin’”, in a tribute to Blind Boy Fuller.
The arrangements are exemplary and the recording quality is superb. Check out the interplay of Hammond organ and electric guitar in the minor key arrangement of “Come Back Baby” and the superb version of Skip James’ Cypress Grove, with the intertwining guitars of Deivert and Thai bluesman Dulyasit Srabua and some tasty harp work from Mats Qwarfordt.
I have written before about the growing international flavor of the Mississippi rooted phenomenon we call the blues. Deivert works here with people from three continents and with tracks recorded in places as unlikely as Bangkok, Thailand and with musicians based locally. He gives us blues-based music from the rambunctious to the miserable: RL Burnside’s “Going Down South” to Son House’s “Death Letter”. The title track, Carl Martin’s “Kid Man Blues” is delightful, and through out the CD there are thought provoking lyrics accompanied by with consummate instrumental skills and delivered with powerful vocals panache. And, by the way, the piano playing by German Willie Salomon on State Street Pimp is as good as you will hear anywhere.
Bert Deivert deserves to be in your record collection. This is his 11th or 12th album (depending on whether you count collaborations) but, if you don’t know his work, this one will serve you well. Recommended.
- Ian McKenzie
_______________________________________________________________________________Source: Värmlands Folkblad, Sweden October 2011
Kid Man Blues - Bert Deivert
...The new album is his tenth and feels just right with its semi-acoustic sound, and Deivert sings and plays better than ever. The songs are beautifully varied, with fastidiously chosen covers, and a total absence of all forms of blues clichés, and alive, as if they were his own. In my opinion, this is Bert Deivert's best album to date.
- Björn Stefanson
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Source: EYE ON MAGAZINE, ITALY
Review Kid Man Blues October 18th, 2011
It is once again a choral experience that Bert Deivert produces in this new work that has just been released. Many of his friends are present as guest musicians on this album. On all these collaborations, the ones that stick out the most are those with Sam Carr, drummer, to whom this album is dedicated. Carr died in 2009 not long after the recordings were completed. He remains an undisputed legend, having played in the golden years of blues with musicians like Sonny Boy Williamson II, the legendary Jelly Roll Kings, Frank Frost, and Buddy Guy (to name only a few of the most significant ones from Chicago and Mississippi). He is a legend of contemporary blues.
Memphis Gold, Tom Paley, Bill Abel, Brian Kramer, Willie Salomon and Swedes Janne Zander, Lasse Johansson, Mats Qwarfordt, Sven Zetterberg, as well as Nina Perez, feature alongside the late Sam Carr. In this new and exciting journey, Bert arrives at his tenth release. "This recording is not meant to be just a solo vehicle for myself, but rather as a showcase for this fine music that is being made all over the world, and great musicians who are not recognized by a larger audience." is how Bert describes his project.
Another interesting aspect is the participation of the Thai "gang" as Bert likes to call them, consisting of musicians such as Dulyasit ”Pong“ Srabua, Chai Blues, Ped, Gunny, Wan, and Tony, with whom Bert has performed numerous times during trips to Thailand. He has also earned an award and recognition by local critics there.
The album is a true tribute to Delta blues, the traditional kind, but also enhanced by his mastery of the mandolin. Mandolin is once again featured as a key instrument in this new material, confirming all his research work carried out over the years on blues standards, especially the playing of the legendary Yank Rachell and Carl Martin. All of this elevates this American bluesman to one of the few players of note on this instrument. The mandolin is less common now, but was in vogue in the recordings of the early 20th century and has also characterized the entire production of precursors of this genre.
The album contains new and unique covers of songs such as Goin 'Down South by RL Burnside, Cypress Grove by Skip James, the traditional Diddie Wah Diddie, Kid Man Blues, the title track by Carl Martin, Special Agent by Sleepy John Estes and Death Letter by Son House, but also has two original songs, Lula and Nongharn Blues, the latter co-written with Dulyasit Srabua. Another nice touch is the collection of photos in the the booklet accompanying the CD, that portrays the musicians and their surroundings in Mississippi, Thailand and Europe -- in other words, the places where the CD, during its various phases, was conceived and recorded. Once again, this is quality blues and great music, characterized by tradition, but always taking a unique look at the "devil's music", thereby revitalizing and tracing an indelible link between the past and the present.
Mario Bartilucci - (English translation - Daniel Alegi)
http://www.eyeonmusica.it/tuesday-blues-n-6-bert-deivert-kid-man-blues-hard-danger/#more-7324
_______________________________________________________________________________Source: Blues Matters magazine, UK December 2011
Artist: Bert Deivert Title: Kid Man Blues
Boston-born Bert has, over the years, travelled far and wide across the globe in search of fascinating and satisfying music, Starting off by leaving America in nineteen seventy-four and emigrating to Sweden, then spending time in Peru and then on to visit Bangkok for more inspiration and then back to Sweden which by now had firmly become his adopted home.
Bert’s serious interest in the blues came about after witnessing a scintillating slide performance on television in nineteen sixty-six by the late great Son House; he was instantly mesmerised by this performance and went straight out and immediately created his own slide from a handy beer bottle.
As the years have past Bert’s interest in Mississippi Country acoustic blues has steadily increased to the extent that he is now not only a highly proficient guitar player but he is also a startlingly original and evocative mandolin picker who cites his influences as Yank Rachell and Carl Martin.
Kid Man Blues is a collection of twelve numbers that has been painstakingly recorded over the last three years with the collaboration of such quality players as; the late Sam Carr, Bill Abel, ‘Cadillac’ John Nolden, Dulyasit’Pong’ Srabua, Janne Zander and Sven Zetterberg to name but a few. The album opens with R.L. Burnside’s “Goin’ Down South,” a stunning mixture of insistent chanting vocals wrapped around a hypnotic, mandolin, violin and slide. “Rob and Steal,” is a genuine footapper with solid brushwork from Sam Carr underpinning an entwined guitar/mandolin from Bill Abel and Bert with Sven Zutterberg’s harmonica riding over the top.
The gentle warm inviting vocals of Bert, the sublime interweaving of subtle slide, mandolin, violin and guitar is extremely soothing and intoxicating; throughout the album a satisfying feeling of wellbeing is nurtured and is most definitely felt on such numbers as the down-home and funky Bert original “Lula.”
A special mention should be given to the hauntingly ethereal and highly atmospheric, instrumental duet between Bert and the highly regarded Thai guitarist Dulyasit ”Pong,” Srabua on “Nongharn Blues,” already a winner of the highly regarded Kom Chad Leuk Best Instrumental award in Thailand in two thousand and nine.
Essential!
- Brian Harman
_______________________________________________________________________________Source: No Depression Blog
http://www.nodepression.com/profiles/blogs/cd-review-bert-deivert-kid-man-blues
At first glance “Kid Man Blues by blues mandolin man Bert Deivert is fine easy listening collection of acoustic based blues delivered front porch style with a live off the cuff feel. But when you dig deeper into the liner notes you find there is more to the story and the album becomes the portrait of a man on a global quest to find the source elements that drive his passion for the blues.
Deivert traveled the globe, recording in Sweden, Germany, Mississippi and Bangkok to collaborate and commune with like minded souls who celebrate the blues with the same fire. Opening with R.L Burnside’s “Goin’ Down South,” featuring the ghostly wail of the lap steel alongside his mandolin that ramp up the vibe of this call and response chant, setting the stage for what is to come. Big Toe Studios in Duncan, Mississippi was site for the delta style jam session that produced foot stompers “Rob and Steal,” and “Lula,” with the late Sam Carr on drums. Deivert sites Carl Martin as the prime influence on his blues mandolin and this reading of Martin’s “Kid Man Blues with help from My Sohlin and Memphis Gold on vocals could serve as an archetype for the genre. Most intriguing is how Deivert captured the ghost of Skip James and his 1931 classic “Cypress Grove,” in Bangkok with help from Dulyasit “Pong” Srabua on guitar. Who knew the Delta had moved to Thailand.
Kid Man Blues shows us that the mandolin is the oft-forgotten right hand man of traditional acoustic blues that sits perfectly alongside slide and National guitar, and Bert Deivert is a man on a mission to keep it alive and kicking.
- Rick J Bowen
_______________________________________________________________________________Source: Blues In Britain magazine, UK December 2011
Bert Deivert - Kid Man Blues
"Kid Man Blues", Bert Deivert's 10th album, was around three years in the making. It is a real smorgasbord of an album, encompassing sessions from his home (Sweden), the US (Deivert hails from Boston), and Thailand, with further additional recordings from Germany.
The album reflects the influences of Deivert's travels, with the opener, "Goin' Down South", for example, incorporating a far eastern feel. It is the first of ten covers, encompassing some old chestnuts ("Death Letter" and "Diddie Wah Diddie"), and some less obvious songs such as the terrific "Special Agent" and "Keep on Truckin'". The mixture of guitars and mandolins helps to keep things fresh sounding, and with the legendary Sam Carr on the drums ("Rob and Steal" and the fine chugging 12 bar original, "Lula"), things are almost guaranteed to be excellent. Deivert also mixes things up by varying the line-up from solo up to an 8 piece band, eventually winding things up with the second original, "Nongharn Blues", a fine instrumental piece recorded with Thailand's Dulyasit "Pong" Srabua.
Deivert is in very good voice throughout, and his playing (guitars and mandolin) is first rate. Despite the wide range of musicians and styles, the album remains coherent, thanks to Deivert's focus on blues mandolin. The liner notes describing the sessions add to the interest, making "Kid Man's Blues" a very entertaining 45 minutes.
- Gordon Baxter
_______________________________________________________________________________Source: Blues & Rhythm magazine, UK December 2011
BERT DEIVERT: Kid Man Blues
Own label HDCD02 (45:41)
Born in Boston and now based in Sweden, Bert is a mandolin player, singer, and guitarist - in that order, judging from this CD. Rather like another mandolin player - Ry Cooder - Bert's music is often blues-based and bluesy, rather than actual blues itself. He has something of the vintage folk revival - New Lost City Rambler Tom Paley is a special guest on 'Keep On Truckin'' - but perhaps of greater interest to some readers will be the two titles recorded by Bill Abel (who also plays guitar) down in Duncan, Mississippi, and which also feature the late Sam Carr on drums. Oh, those and the brace of titles featuring Memphis Gold too - yes, I thought that might make (some of) you sit up!
- Norman Darwen
_______________________________________________________________________________Source: In a Blue Mood blog
http://inabluemood.blogspot.com/2011/12/bert-deivert-acoustic-blues-delight.html?spref=fb
Bert Deivert's Acoustic Blues Delight
Born in Boston, Bert Deivert has taken this passion for the blues to Sweden which he calls home and has just issued his tenth album Kid Man Blues (Hard Danger). This writer was not familiar with him but perusing the accompanying booklet I note that my friend Memphis Gold contributes two backing vocals among the twelve tracks and among the albums he has played on was Memphis Gold’s Gator Gonna Bitchu! Three of his earlier albums were collaborations with Eric Bibb and he also is among those who have adapted the mandolin in addition to guitar, acknowledging the influence of such early masters as Yank Rachell and Carl Martin.
Deivert’s skill with the mandolin is on display on most of this release which is my first exposure to his music. It is a varied collection of songs ranging from adaptations of R.L. Burnside’s North Mississippi Hill Country Blues to fingerpicking classics from Blind Boy Fuller and Blind Blake and the deep blues of Skip James and Son House and was recorded in Sweden, Thailand, Mississippi and Germany with a variety of folks assisting Bert. Augmented by backing vocals, R.L. Burnside’s Goin’ Down South, has a string band feel with violin in addition to Deivert’s mandolin 9and he doubles on lap steel guitar. Its followed by some rollicking piano by Willie Salomon for the barrelhouse flavored State Street Pimp, that comes from Carl Martin’s repertoire. Bill Abel adds guitar and the late Sam Carr played drums on Rob and Steal, a nice medium tempo blues recorded at Abel’s Mississippi studio with more hills country flavor. Sven Zetterberg’s nice harp on this was added later in Sweden.
Walter Davis’ Come Back Baby was recorded in Bangkok and this brooding blues originally recorded by Walter Davis has a definitely more modern, electric flavor with guitar from one Dulyasit “Pong” Srabua with some overdubbed mandolin added in the latter part of this performance. The title track was from Carl Martin and is about a younger man being a married woman’s kid man, and features some nice mandolin as well as fiddle and my buddy Memphis Gold is among those adding to the vocal here “if you let me be your kid man I’ll always treat you right.” For some reason, Deivert attributes Keep On Truckin’ to Blind Blake but I believe he meant Blind Boy Fuller, the great Piedmont blues artist of the thirties. A vocal duet with Tom Paley of the New Lost City Ramblers, it is a lively, raggy performance with lively picking from Paley and Deivert and one cannot ignore the resonator slide guitar of Frederick Karlsson here
Deivert may not be as powerful a singer as Skip James or Son House but his renditions of James’ Cypress Grove and House’s Death Letter Blues, are quite moving. On Cypress Grove, the harp of Mats Qwarfordt helps provide the ethereal quality that James’ vocals and guitar provided. Death Letter Blues is a credible solo cover with rhythmic slide guitar and a solid vocal. Blind Blake’s Diddie Wah Diddie is done as a lively duet with guitarist Lasse Johansson and sports some wonderful mandola playing.
It is often said that blues has become an international music. Certainly the fine music here is evidence of that. Deivert himself notes that this recording was not meant to simply be a solo vehicle, “but, rather a showcase for this fine music that is being made all over the world, and great musicians who are not recognized by a larger audience.” Deivert’s Kid Man Blues is a delightful acoustic blues showcase that it was intended to be. This is being distributed through cdbaby.com and his website is www.deivert.com/blues.
-Ron Weinstock
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Source: Roots Music Report - CD REVIEWS
http://rootsmusicreport.com/index.php?page=reviews&search=single&id=285
Mandolinist/guitarist/vocalist Deivert trekked from Sweden to Mississippi to Thailand to assemble this collection of deftly crafted, mostly acoustic blues. The ensemble work is consistently rich and graceful and overdubs, when used, blend to the point of invisibility. Good-timey perennials such as, Keep On Truckin and Diddie Wah Diddie contrast well with Deivert's dark deliveries on Skip James's Cypress Grove and Son House's Death Letter Blues. The multi-continental fusion of Nongharn Blues makes for a captivating instrumental closer.
- DUANE VERH Roots Music Report
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CD REVIEWS FOR: Takin’ Sam’s Advice - Bert Deivert Gravitation GRA026
Source: BluesSource.com, Clarksdale, MS
Date: 10/2008
Writer: Dirk Wissbaum
Most blues aficionado’s are always looking forward to a fresh take on modern traditional blues recordings, and may very well find it on Bert Deiverts new CD. Bert, who now lives in Sweden, has produced this new recording of songs by three of the great bluesmen of our time. Namely Yank Rachell, Sam Chatmon and Son House. Forging the influence of his love of Sam’s music, Bert even named the CD title for Sam. I am intrigued on Bert’s ability to play the bass runs and slide techniques players like these forged.
Starting with Yank Rachell’s “Seems Like a Dream” Bert incorporated his mandolin style into the track with great enthusiasm, and it starts right off with a rambunctious tempo and old country flare to the track. I especially liked his version of Tommy Johnson’s “Big Road Blues,” but he plays it the way Sam Chatmon recorded it. I have heard the original Chatmon version and Bert delivers it well. Other Rachell numbers here include “Divin’ Duck Blues” and “My Baby’s Gone,” which renders a snakelike prowl to the melody with Mats Qwarfordt on harmonica. “Preachin’ Blues” and “Levee Camp Moan” are both here, giving ample tribute to the great slide player Son House. The smooth traditional “Morning Blues” comes from the influence of John Sebastian, and “Mississippi Blues” bends a different take to the old Willie Brown recording. Other numbers that sit on the rarity list include “Crow Jane,” “That’s Alright” and styling’s from Mance Lipscomb on “Silver City.” The legendary Sleepy John Estes carry’s a heavy influence with us all, and his “Broke and Hungry” is laid down here as a funky, well improvised jam that induces the down home feel that is found on most of these tracks.
Bert placed an original on the CD as well entitled “When You Got a True Friend,” co-written by Brian Kramer. Bert plays guitar, but picked up the mandolin through his love for Yank Rachell. The mandolin he plays on these recordings is a resonator, and can be heard easily above other, more pronounced instruments. There are very few blues mandolin performers in today’s blues circuit and Bert is one of them. He invited a fine array of musicians to help out on this recording including his old friend Peter Case with whom he once teamed up with during his years in California. If you’re looking for a set of old traditional tunes by someone who knows how to play them then look no further. Take Sam’s advice and give Bert’s new CD a listen.
© 2008, Dirk Wissbaum
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Source: fRoots magazine, UK
Date: 08/2008
Writer: Dave Peabody
Hammie Nixon had a long-time partnership with guitarist/mandolin player Yank Rachell. The spirit of Yank Rachell lives on in Bert Deivert, an American musician who currently lives in Sweden. He's a good guitar picker and excellent mandolin player who can sing too. 'Takin' Sam's Advice' bursts forth with a lively rendition of Rachell's 'Seems Like A Dream' with Deivert's mandolin bouncing fluidly all over the song. He immediately switches to guitar for 'Big Road Blues' played with fellow guitarist Brian Kramer on slide. Apart from Kramer there's a mixture of nine other Swedish and American musicians helping Bert deliver the goods.
Nina Anderberg finds just the right Mississippi Sheik touch on Bo Carter's 'I Want You To Know', there's some sprightly brushwork from Dan Magnusson. and Tom Paley's old-timey guitar work threads its delightful way through the closing track 'Diving Duck Blues'.
Bert plays four solo numbers using guitar (which include two songs from Son House - another of Bert's inspirers) that show that he is quite capable of holding the spotlight by himself. But it's his mandolin playing that gives 'Takin' Sam's Advice' extra sparkle.
- Dave Peabody
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Source: Blues Matters magazine, UK
Date: 05/2008
Writer: Jim Murray
Bert is an American exile living and working out of Sweden. The majority of the supporting musicians appear to be from Sweden, with the exception of his old friend Peter Case, who has a great time with Bert on the Estes classic "Broke and Hungry". I you like your Blues down home and rootsy, if you like mandolin and resonator slide guitar, don't read any further, just go out and buy this album, it'll press all the right buttons for you. If you're still curious, read on.
The CD is nicely recorded with a good mix that should appeal across a wide sector of the Blues mafia and beyond. I love the solo stuff, from a couple of rock solid Son House renditions in 'Preachin' Blues' and 'Levee Camp Moan', along with lighter songs like 'Morning Blues' and a surprisingly fresh version of the old standard 'Mississippi Blues'. Bert's almost conversational singing on this is really disarming, great stuff!
The ensemble tracks vary in style from an early Chicago feel to really gritty mandolin led Blues. The Yank Rachell influenced tracks shine; as does Bert's mandolin playing. It ain't easy to play the Blues on a mandolin, but this guy does a fantastic job of it. There is not a bad track on this CD. Take my advice!
- Jim Murray
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Source: Real Blues magazine, Canada
Date: 05/2008
Writer: Andy Grigg
BERT DEIVERT: TAKIN’ SAM’S ADVICE (INDIE)
Recent experience has taught us to pay close attention to CDs arriving from Scandinavia even though we probably get 200-250 ‘Acoustic Country Blues’ CDs each year (for possible review) and the vast majority of them (95%?) could be called ‘imitator’ rather than innovator. But, we do listen to each and every one, although I confess to grimaces when I see more versions of done-to-death Robert Johnson/Charley Patton/Son House numbers. On rare occasions we will get an album by an Acoustic Blues Artist (Caucasian) that actually has something new, unique and refreshing to say and “Takin’ Sam’s Advice” is a case in point and ranks as the Very Best of its’ particular genre.
Yes, Bert Deivert refurbishes a dozen classic Blues numbers but they are mainly less-familiar titles and Deivert is a very wise and seasoned veteran who has made the music conform TO HIM, a factor that is oh-so-important when covering others’ tunes. Deivert says it in a ‘new way’ that immediately catches one off-guard and the man is both an Ace acoustic guitar/mandolin picker and a very fine singer who delivers with seeming ease.
There aren’t many acoustic recordings that can get me up and dancing but the String Band ensemble (Per-Arne Pettersson – dog bass, Nina Anderberg – fiddle, Dan Magnusson – drums, Janne Zander – resonator/baritone guitars, Peter Case– harmonica, Brian Kramer – slide guitar and Bert D. on mandolin/guitar) doesn’t give you any other alternative as they jump-the-boogie on “Seems Like A Dream”, with Deivert exhibiting mucho prowess on the mandolin. A raucous and exhilarating introduction and it’s followed up by another scrumptious surprise as guest Brian Kramer (the biggest U.S. Blues resident star in Europe these days) handles the vocals on “Big Road Blues” and spices-up the classic with jolts of exquisite National slide work. By track #3, “Preachin’ Blues”, I’m hooked on this disc and yes, Deivert manages to give this classic a new face that is quite a feat considering the hundreds of versions out there. Where many try to overstate “Preachin’ Blues”, Deivert keeps it restrained and on the verge of bursting. “Silver City” features that gentle East Coast pickin’ made popular by artists from the Carolinas. “Silver..” shows off Deivert’s vocal prowess perfectly and it’s a blessing to be so devoid of pretentiousness. “Mississippi Blues” features the superb harmonica of Mats Qwarfordt and Dan Magnusson on basic drums while Nina Anderberg fiddles away, proving that the Scandinavian Home Grown Blues scene is producing musicians every bit as good (and often better) than their North American counterparts.
Other musical highlights include “Morning Blues” and a great “Broke and Hungry” with longtime collaborator Peter Case trading verses with Bert and I’m assuming (from the liner notes) that this is a vintage recording from Deivert and Case’s street-singer days of 1973-74. It makes one hunger for a whole album of material from these ‘street sessions’, if they do indeed still exist. Apparently, Bert Deivert has been in Sweden, playing the Blues, for close to 30 years now and imparting his knowledge on to a whole generation (or two) of local players. From the sounds of this disc, he’s a perfect Ambassador of the Blues and anyone with a liking for Acoustic Blues, String Bands, Blues mandolin or fiddle and impeccable picking will find plenty to savour here. And, once again, bear in mind, that this album is the Best of the last 50 or so CDs (of this genre) we’ve heard. It’s quite a congregation of Swedish Blues Talent as well and Bert Deivert deserves every bit of support and attention we can direct his way. 5 Bottles for some Blues Purity all the way from the Baltic Ocean. Bert Deivert is spreading The Blues Truth and there ain’t a more noble or important occupation.
- Andy Grigg
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Source: Il Blues, Italy
Date: 12/2008
Writer: Silvano Brambilla
On the side of emotions - TAKIN' SAM'S ADVICE - BERT DEIVERT
Bert Deivert, with his self-produced TAKIN' SAM'S ADVICE, takes us by the hand and leads us back to the Mississippi Delta, to offer us pleasing revisitations of traditional acoustic pieces.
Deivert doesn't revolutionize the songs, he highlights them with a fresh approach and feeling, the delicate intensity that defines blues at its roots.
He plays acoustic guitar, slide and mandolin, but he hasn't done everything alone: he surrounded himself with a broad combo of talented Swedish musicians who play violin, banjo, other acoustic guitars, harmonica, standup bass, drums and vocal accompaniment Althogether they are a great "listen", in the swinging rhyhtm of Seems Like A Dream, in My Baby's Gone (both by Yank Rachell), and in the slow traditional Crow Jane (with a second female voice). Excellent duets between guitars, mandolin and voice in Big Road Blues, Bert's own When You Got A True Friend, That's Alright by Jimmy Rogers and the version of Broke and Hungry (by Sleepy John Estes) with singer-songwriter Peter Case on voice, guitar and harmonica.
After Divin' Duck Blues Deivert does wonders by himself, with the slide on his finger, on Preaching Blues and Levee Camp Moan (both by the great Son House) AND with the traditional Silver City and Morning Blues, pizzicato style.
Truly excellent.
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Source: Blues in Britain, UK
Date: 12/2007
Writer: Michael Prince
Bert Deivert, although originally from the USA, is a long-term resident of Sweden.
Bert Deivert is more of a traditional downhome blues artist, playing guitars and mandolin. The latter instrument is obviously of great importance to Bert and in this respect Yank Rachell has clearly been one of his greatest influences. No fewer than three songs by Rachell feature on this release. On many of the tracks, Deivert is joined by other musicians, such as Tom Paley (on guitar rather than banjo here), fellow American resident of Sweden, Brian Kramer and the harmonica player from Kramer’s band, Mats Qwarfordt. The opening track, “Seems Like a Dream” gets the album off to a great start and definitely makes you feel you want to hear the rest of it. Son House’s “Preaching Blues” receives a solo reading, with Bert playing some fine Delta slide on a single-cone National. He is a great fingerpicker as well, as witnessed by his version of Willie Brown’s “Mississippi Blues”. There are 14 tracks in all, offering plenty of variety, so this is a CD that I, and doubtless other listeners, will come back to again and again.
Rating: 9 of 10
-. Michael Prince
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Source: HUDBA magazine, Slovakia
Date: 11/2007
Writer: Peter Radvanyi
Bert Deivert´s new album is a pleasure for every fan of traditional acoustic blues. Deivert is a white American bluesman, who was inspired by Son House. After seeing his performance in 1966 he took the neck from bottle of wine and started to use it to play on his guitar. Later he was a street musician in San Francisco and in the year 1974 he moved to Scandinavia.
Over there he recorded couple of solo albums and three albums together with well-known black bluesman Eric Bibb, who also lived in Sweden. Deivert named his new studio album from July of this year "Takin´ Sam´s Advice" . It is dedicated to his idols and leads back to the roots. As he wrote in the booklet of the CD, his new album is dedicated to the memory of Son House, Sam Chatmon and Yank Rachell, who led him to blues music.
They have great influence on his style of playing and their records are an inspiration for him, even today. He is a singer with an expressive voice, and mandolin and resophonic guitar player. His new album offers blues classics – acoustic versions of old songs and not only by the three bluesman mentioned before, but also by other legendary masters like Tommy Johnson, Bo Carter or Sleepy John Estes as well as an original song by him and Brian Kramer " When You Got A True Friend". While recording in the studio he got help from several friends, his steady concert mate – slide guitarist Janne Zander, drummer Dan Magnusson and bassist Per-Arne Pettersson. Some tracks were guested by guitarists Brian Kramer, Tom Paley, Lasse Boström, and harp players Peter Case and Mats Qwarfordt, banjo player Gunnar Backman, who together with Deivert is also co-producer of the album, fiddler Nina Anderberg and in the song Crow Jane we can hear also vocal by his daughter Emmy Deivert.
As I already wrote at the beginning, Deivert´s album is dedicated to listeners who like traditional delta and country blues. The greates achievement, besides excellent sound, is the fact that the songs don´t stick to a slavish effort to copy the originals. Bert Deivert and his friends play with a great light touch, very naturally, and thanks to their excellent instrumental skills and convincing vocals, they demonstrate that the songs of the old blues masters are still relevant today. They still have something to say to today´s listeners despite all the years that have gone by. Some of the songs, like Seems Like A Dream, I Want You To Know and My Baby´s Gone, are played with such good taste and liveliness that one would think they are recorded in concert. And although the new album introduces nothing groundbreakingly new, except the seldom heard combination of blues mandolin and slide guitar, it is an excellent cd and I can say also it is a timeless album, to which every blues fan can listen and won´t be disappointed.
- Peter Radvanyi
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Source: Blues News magazine, Germany
Date: 10/2007
Writer: Christian Schrober
Bert Deivert’s passion for the blues began in 1966 when he saw Son House for the first time on tv. At the time, sixteen year old Bert Deivert was so impressed by what he saw that he broke a wine bottle to make a bottleneck for his slide guitar. Since then he has devoted himself to the traditional playing styles of country blues as realized on guitar and mandolin. In 1974 this American emigrated to Sweden where he celebrated success as a singer/songwriter as well as solo guitarist together with other artists from Eric Bibb to Wanda Jackson.
Deivert dedicated his current album, Takin’ Sam’s Advice, to blues legends Son House, Sam Chatmon, and Yank Rachell, where he presents traditional country & hokum blues material that he instills with enthusiastic and impressive adaptations. From the first cascades of mandolin notes on the opening track Seems Like A Dream (Yank Rachell) one becomes engulfed by the album as if it were a whirling Nordic maelstrom, from the cutting slide riffs to the sprightly mandolin licks, until one, aptly enough, rises up again for the Divin’ Duck Blues (also Yank Rachell).
And there in-between, Deivert delivers fantastic versions of classics like Big Road Blues (Tommy Johnson), Preachin’ Blues (Son House) or Silver City (Mance Lipscomb). The reason this acoustic album is so refreshing is that finally mandolin and fiddle are brought to the forefront, which, since the early days of blues, have been almost completely lost to the domains of bluegrass. Seldom have these traditional songs sounded as fresh, relaxed and alive as in Deivert’s versions.
A spectacular album.
- Christian Schrober
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Date: 10/2007
Writer: Christian Schrober
Bert Deivert’s passion for the blues began in 1966 when he saw Son House for the first time on tv. At the time, sixteen year old Bert Deivert was so impressed by what he saw that he broke a wine bottle to make a bottleneck for his slide guitar. Since then he has devoted himself to the traditional playing styles of country blues as realized on guitar and mandolin. In 1974 this American emigrated to Sweden where he celebrated success as a singer/songwriter as well as solo guitarist together with other artists from Eric Bibb to Wanda Jackson.
Deivert dedicated his current album, Takin’ Sam’s Advice, to blues legends Son House, Sam Chatmon, and Yank Rachell, where he presents traditional country & hokum blues material that he instills with enthusiastic and impressive adaptations. From the first cascades of mandolin notes on the opening track Seems Like A Dream (Yank Rachell) one becomes engulfed by the album as if it were a whirling Nordic maelstrom, from the cutting slide riffs to the sprightly mandolin licks, until one, aptly enough, rises up again for the Divin’ Duck Blues (also Yank Rachell).
And there in-between, Deivert delivers fantastic versions of classics like Big Road Blues (Tommy Johnson), Preachin’ Blues (Son House) or Silver City (Mance Lipscomb). The reason this acoustic album is so refreshing is that finally mandolin and fiddle are brought to the forefront, which, since the early days of blues, have been almost completely lost to the domains of bluegrass. Seldom have these traditional songs sounded as fresh, relaxed and alive as in Deivert’s versions.
A spectacular album.
- Christian Schrober
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Source: Blues-Finland.com
Date: 10/2007
Writer: Pasi Tuominen
Acoustically yours
”Takin’ Sam’s Advice” is a cd by Bert Deivert, who is coming to Jyväskylä Blues Live. This Bostonian, who has moved to Sweden, takes a deep bow towards his musical godfathers Yank Rachell and Son House.
“Takin’ Sam’s Advice” is the ninth album by Bert Deivert. This artist, born in Boston in 1950, was hooked on blues by Son House as a teenager, when he saw the Missisippi man on tv. The influence of his other great musical role model, Yank Rachell, can also been heard on the new record.
Deivert’s musical career started seriously in the beginning of the 70s after he moved to San Francisco. He played there as a street musician and gathered a lot of experience. However, Bert has lived in Sweden for a long time, and there he has had the opportunity of working together with Eric Bibb and Wanda Jackson, among others. “Mandolin is a scorned instrument in acoustic blues” Bert says, referring to his favorite instrument, “and very few artists produce albums featuring mandolin.”
“Takin’ Sam’s Advice” – naturally doesn’t leave you wanting for mandolin. The instrument casts its sweet voice on many pieces.The only Deivert-original on the record, “When You Got a True Friend”, written together with Brian Kramer, is a good example of that. The piece belongs to the freshest part of the album, with mandolin playing suiting Kramer's acoustic guitar very well.
The other outstanding mandolin track is the energetic opening piece “Seems Like a Dream”. This driving piece on the record is actually hit material. The song, recorded by Yank Rachell in 1941, will also appear on the Rachell tribute record which will be published at the end of autumn. Folk song interpretation “Crow Jane” is also lively and it is spiced by by the vocal background singing of Emmy Deivert and the banjo of Gunnar Backman.
The Sleepy John Estes interpretation of “Broke and Hungry” reminds one of Deivert’s and Peter Case’s years on the streets of Frisco. The “duo” plays a fearless, inspiring version of the song. Among more minimalistic tracks are “My Baby’s Gone” (also Rachell) and particularly Son House’s “Levee Camp Moan” which Deivert performs in a direct attacking manner – the piece is over seven minutes long as if it would underline the agony which lies in the true-life background of the song.
Worth mentioning are also the folk melodies “Morning Blues” which Bert interprets clearly with respect to John Sebastian, as well as “Missisippi Blues” which is decorated by the pleasant guitar figures of Lasse Boström.
The album has the mark of a very strong tribute. This time one pays the deepest homage to Yank Rachell, whose pieces both begin and end the record. Though 14 songs might be considered a little too much for a record which is based on a rather minimal gallery of instruments, the carefully planned structure holds the listener's interest. It would have been nice to hear more original material. In any case, Bert Deivert is an excellent singer and musician who is performing at the Jyväskylä Blues Live! festival, and should not be missed!
- Pasi Tuominen
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Source: Evening Herald, Dublin Ireland
Date: 08/2007
Writer: Sarah McQuaid
Born and raised on the East coast of the USA, Bert Deivert honed his bottleneck guitar and mandolin chops in San Francisco, then moved on to Sweden, where he's still based today. 'Takin' Sam's Advice' is his ninth album and has the kind of laid-back, relaxed feel that only veteran musicians seem to be able to muster. It's also a great argument for the mandolin as a blues instrument, particularly when Deivert lets rip on 'My Baby's Gone', one of three tracks here that were originally recorded by the late great blues mandolin pioneer Yank Rachell (1910-1997). Peter Case, an old pal of Deivert's from his San Francisco days, joins him on a delightfully raw and ragged interpretation of 'Broke And Hungry' by Sleepy John Estes, and there are also guest appearances from Tom Paley and Brian Kramer among others. This is an immensely likeable CD, full of great down-home country blues picking and singing.
- Sarah McQuaid
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Source: Blues News, Norway
Date: 08/2007
Writer: Bjørn Wiksaas (Translation)
BERT DEIVERT
Takin’ Sam’s Advice
Gravitation Records 2007
Bert Deivert is probably a name that is not represented in everyone's record collections. We should do something about that because this American based in Sweden with more than 30 years in the blues is something as uncommon as a veteran with a genuinely novel approach to his music and his musical heroes. Bert Deivert, who also plays Irish traditional music with the emerald isle's Christy O'Leary - already has several good blues productions on his conscience. Three of them were done together with Eric Bibb.
As far as Deivert's heroes and musical influences go, we are speacking especially about Sam Chatmon, Son House, and Yank Rachell. That is, in the case of this cd, TAKIN' SAM'S ADVICE. And if anyone can't automatically recall Rachell, we can remind them that he was Sleepy John Estes' mandolin-playing partner. Rachell, who died in 1997, was the greatest player we have had on this instrument. In my opinion, the mandolin is a blues instrument that is used too seldom nowadays, and if for that reason only, one should consider Takin' Sam's Advice is "heaven-sent". However, Deivert plays mandolin and a variety of guitars, including slide, and he sings with a voice that is better than most.
Deivert uses a group made up of Swedish and American musicians for this production. The album opens with the very perky Rachell tune “Seems Like a Dream”. Bert has replaced the guitar on Rachell's 1941 recording with a very fine mandolin part. By the way, this song has been chosen (together with the Deivert/Peter Case duet BROKE AND HUNGRY) to be on the Yank Rachell tribute cd, which according to plans, will be out later this year. And so the record goes step by step; Tommy Johnson's “Big Road Blues”, followed by Son House’s “Preachin´ Blues”. Don't be fooled by the fact that a few of the titles are well-known. Deivert approaches them in his own fresh way. It is never boring, something which can easily happen when acoustic country blues is not performed well enough. In "When You Got a True Friend" he has another great guitarist with him, Brian Kramer (who, by the way, is also an American living in Sweden). They have co-written this song and it is a unique elegant duet between these two gentlemen.
The guest musicians so far have already been mentioned. The duet with Peter Case, who was a street musician with Bert early in the 1970's, and Brian Kramer too. And we have Nina Anderberg who does a great guest spot on fiddle in the Bo Carter song "I Want You To Know", Gunnar Backman on banjo, Mats Quarfordt on harmonica, and don't forget Janne Zander who plays fine guitar licks throughout the record. Anyway, it would be too much to mention everything, but in a time when music can so easily be released on cd, it is refreshing to see the high quality of the things we find on this album. Takin´ Sam’s Advice has heart, is down-to-earth, and is simply top class music by top class musicians who play because they like to. And for that reason only.
When the exquisite mandolin picking on “Divin´ Duck Blues”, the last track, fades out, the listener is in such good spirits (this one, at least) that there is only one sensible thing to do, start playing it all over again. And that is precisely what this writer does. The other cds in the pile will just have to patiently wait their turn.
And finally: Back in 1966 Bert Deivert saw Son House on tv and was so fascinated by what he saw and heard that he immediately broke a wine bottle to try to make his own slide (bottleneck). He was, once and for all, hooked on the blues - something we can be happy about today, 41 years later!
Bjørn Wiksaas
Rating: 6 out of 6
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Source: Blues News, Finland
Date: 09/2007
Writer: Pete Hoppula (Translation)
Bert Deivert is a musician, born in Boston, Massachusetts in 1950, who lost his heart to bottleneck blues when he saw Son House playing on a tv show in 1966.
Such cult figures of delta blues as Sam Chatmon, Yank Rachell, Skip James, Robert Johnson, Mississippi John Hurt, and Tampa Red were essential sources of inspiration for him, when he started doing live performances with his musical buddy Peter Case in San Francisco in the early 1970s.
In 1974 Deivert moved to Sweden and has continued his career as a versatile singer/songwriter there. So far, this widely-traveled guitar and mandolin wizard has published three solo records and six duo albums, as well as having guested on the records of several other artists.
This year he has already released an album together with old-timey folk hero Tom Paley, entitled “Beware Young Ladies” on the Swedish Gravitation label.
Some of his recent partners worthy of note: accomplished acoustic bluesman Eric Bibb, rockabilly and country singer Wanda Jackson, and Irish musician Christy O’Leary, with whom Bert made a couple of short visits to Finland in 2002-2003.
On this latest record Deivert has left his own compositions in the desk drawer, except for one, and instead concentrates on songs by his musical heroes. Though using standards may sometimes be questionable in the blues record industry, he has woven the melodic treasures of these masters into a warm and down-home country blues record which is not satisfied by being just another predictable lifeless tribute. Instead it spotlights the originality of the soloist himself and his main guitar accompanist Janne Zander.
Deivert is most clearly influenced by Yank Rachell. That means there are altogether four versions here of the music of this mandolin maestro who died in 1997. Among the acoustic band performances colored by the harmonica of Mats Qwarfordt, there is “Seems Like a Dream”, which is almost rockabilly, and “My Baby’s Gone”, which is strong down-home blues.
Peter Case, previously mentioned, plays guitar and harmonica on the captivating, juke-style thumpingly original recording of “Broke and Hungry” by Sleepy John Estes and Yank Rachell. Tom Paley helps with his guitar on “Divin’ Duck Blues”.
The spirit of Rachell is alive and well in Deivert’s own warmly emotional composition “When You Got a True Friend”. The soloist himself plays mandolin here, assisted by blues musician Brian Kramer, who moved to Sweden from Brooklyn, NYC. He plays the National slide and sings some of the verses. Kramer also takes part in in the merrymaking on “Big Road Blues” by Tommy Johnson, which is probably one of the most borrowed classics of prewar-blues. Son House also gets his share of the tributes.
The solo performance “Preachin’ Blues” and the seven minutes of “Levee Camp Moan”, with a blazing slide guitar, are both striking proof of Deivert’s stylistic sense and capacity for interpretation.
Guaranteed hits are also the Bo Carter number “I Want You To Know” caressed by the violin of Nina Anderberg as well as the beautifully acoustic “Mississippi Blues” sticking to William Brown's arrangement where Deivert is supported by guitarist Lasse Boström.
Yes, I hope you noticed that Bert Deivert is coming to the Jyväskylä Blues Live! happening, together with Janne Zander. “Takin’ Sam’s Advice” will naturally give you some inkling of what you can expect!
- Pete Hoppula
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Source: Nya Wermlands Tidning, Sweden
Date: 08/2007
Writer: Olle Hernegren (Translation)
ROCK SOLID AND VARIED
Bert Deivert was born American but became a resident of Sweden’s county of Värmland in the 1970’s. He has been a hard-working musician on the scene with a focus on older blues and Irish folk music. His new cd, Takin’ Sam’s Advice is dedicated to the three bluesmen Son House, Sam Chatmon, and Yank Rachell. Rachell was one of the first blues musicians that used the mandolin, an instrument that has also become Bert Deivert’s trademark.
Bert Deivert takes on older blues, with its roots in the Mississippi delta area before World War II. Aided by friends and family in Värmland and in the US, he interprets and updates these old originals with love and respect.
The instrumental settings vary, from Bert’s solo voice and mandolin to a larger group of musicians that powerfully, but using restraint, give an added depth to his interpretations.
Takin' Sam's Advice is a rock solid and varied work that has been prepared painstakingly, but with great joy and feeling.
- Olle Hernegren
Date: 08/2007
Writer: Olle Hernegren (Translation)
ROCK SOLID AND VARIED
Bert Deivert was born American but became a resident of Sweden’s county of Värmland in the 1970’s. He has been a hard-working musician on the scene with a focus on older blues and Irish folk music. His new cd, Takin’ Sam’s Advice is dedicated to the three bluesmen Son House, Sam Chatmon, and Yank Rachell. Rachell was one of the first blues musicians that used the mandolin, an instrument that has also become Bert Deivert’s trademark.
Bert Deivert takes on older blues, with its roots in the Mississippi delta area before World War II. Aided by friends and family in Värmland and in the US, he interprets and updates these old originals with love and respect.
The instrumental settings vary, from Bert’s solo voice and mandolin to a larger group of musicians that powerfully, but using restraint, give an added depth to his interpretations.
Takin' Sam's Advice is a rock solid and varied work that has been prepared painstakingly, but with great joy and feeling.
- Olle Hernegren
******************************
Source: Blues Arts Journal, Austria
Date: 08/2007
Writer: Norman Darwen
Source: Blues Arts Journal, Austria
Date: 08/2007
Writer: Norman Darwen
A lovely and entertaining set of Mississippi country-blues styled numbers from this US/Swedish singer, guitarist and mandolin player. He was inspired to play the blues after hearing Son House, who remains a clearly discernible influence on his style – try ‘Levee Camp Moan’ or ‘Preachin’ Blues’ on this CD – but he has a warm voice and style, which reveals that Bert’s years of working alongside Eric Bibb have also left their mark.
Other inspirations that show up here include Sleepy John Estes, Mississippi John Hurt, Bo Carter and Sam Chatmon (to whom the title refers) but most especially Yank Rachell, whose influence results in Bert’s wonderful mandolin lines.
These tracks range from solo items to acoustic based band sounds, with the likes of Americans Tom Paley and Brian Kramer helping out alongside such talented local musicians as fiddler Nina Anderberg, harmonica ace Mats Qwartfordt and phenomenal guitarist Janne Zander.
Very highly recommended…..
- Norman Darwen
