George Winston, Gulf Coast Blues & Impressions: A Hurricane Relief Benefit - 47m 26s

Tracks & Durations

1. New Orleans Shall Rise Again	2:45
2. Creole Moon	6:25
3. Pixie	5:18
4. The Breaks	4:17
5. Pixie #3(Gobajie)	4:18
6. Stevenson	1:59
7. Gulf Coast Lullaby - Part 1	2:40
8. Gulf Coast Lullaby - Part 2	2:53
9. When The Saints Go Marching In	11:53
10. Blues For Fess, Beloved	4:55

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Review

George Winston is no stranger to benefits. He often gives the proceeds from his concerts to charitable organizations, and in 2001 he released Remembrance, a benefit album for the families of 9/11 victims. Gulf Coast Blues & Impressions: A Hurricane Relief Benefit serves two purposes. It's a benefit for the victims of Hurricane Katrina, but it also allows Winston to indulge his love of New Orleans piano, which he's voraciously studied from the works of James Booker, Professor Longhair, Henry Butler, and Dr. John. Winston's proficiency at these styles is not always convincing. There's uncertainty in his timing, and he seems to get finger-tied on difficult runs. But he doesn't make it easy on himself, playing stomping stride pieces by James Booker ("Pixie") and Henry Butler ("The Breaks"). These are rapid-fire tunes on which Winston gets a honky-tonk sound from the piano that might surprise his fans.

On a 12-minute odyssey through "When the Saints Go Marching In," Winston echoes Bobby Hebb's 1966 hit, "Sunny," before breaking into a rollicking stride version of the New Orleans anthem that takes a turn into boogie-woogie minimalism. These songs challenge Winston's skill, as does Dr. John's ruminative "Creole Moon," which would seem more appropriate for Winston's technique. But it's not all New Orleans stride and jazz. Winston also throws in some gorgeous originals that are in his more conventional "folk-piano" style. The long ring-outs and sustains of "Gulf Coast Lullaby Part 1 & 2" have all the Winston signatures, as does "Stevenson." Gulf Coast Blues & Impressions is a fun album, but Winston's love of New Orleans piano isn't always done justice in the performance. --John Diliberto

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