Maurice John Vaughn

b. November 6th, 1952 in Chicago (Illinois)

THE KIDS FROM KING : DR MARTIN LUTHER KING HIGH SCHOOL'S TRIBUTE TO MUDDY WATERS

Tillman's Music

January - February 1984

Cet hommage à Muddy Waters rassemble des élèves de l'école Dr Martin Luther King et des musiciens de Blues de Chicago sous la supervision de Jimmy Lee Tillman (batteur et producteur). Certains passages sont très réussis et d'autres plus confus mais globalement le disque est porté par le feeling de l'ensemble des artistes. Bien que Maurice John Vaughn soit un médiocre chanteur, il s'impose en revanche comme un guitariste-saxophoniste inspiré.

This tribute to Muddy Waters brings together students from Dr. Martin Luther King's high school and Chicago Blues musicians under the supervision of drummer and producer Jimmy Lee Tillman. Some passages are very nice and others more chaotic but overall the record is carried by the feeling of all artists. Although Maurice John Vaughn is a mediocre singer, he stands out as an inspired guitarist-saxophonist.

GENERIC BLUES ALBUM

Reecy

Blue Sting

Alligator

1984

Multi-instrumentiste de talent, il débute professionnellement dès 1968 à Chicago. Au début, Maurice est surtout saxophoniste et s'oriente plutôt vers le jazz. Il démarre avec les Gents of Soul. Mais, sa première vraie expérience a lieu en 1976 quand il entre en studio avec The Chosen Few (Chi-sound Records). En plus du saxophone, il apprend la guitare dès le milieu des années 70. Présent sur les scènes de Chicago, Maurice fréquente d'autres bluesmen comme Johnny Dollar, Smilin' Bobby ou le Professor Eddie Lusk. En fait, c'est sa rencontre avec Phil Guy qui va donner un coup d'accélérateur à sa carrière de musicien. Celui-ci l'embauche pour l'accompagner lors d'une tournée au Canada et pour quelques séances en studio. Après un an et demi passé avec Phil Guy, Maurice part en tournée en Europe en 1983 dans l'orchestre de Son Seals. En tant que leader, il grave son premier disque pour son propre label Reecy en 1984. Il y démontre ses qualités de compositeur et de musicien - un guitariste au jeu subtil - à travers ce premier disque optant pour un Chicago blues résolument moderne : "Computer took my job", "Garbage man blues", "Generic blues" (avec Zora Young), "I got money", "Nothing left to believe in" sont parmi les morceaux les plus marquants de ce sympathique album. Attiré par ce bluesman prometteur, le label Alligator de Bruce Iglauer réédite le disque et place un titre dans son anthologie "The new bluebloods".

Talented multi-instrumentalist, he started professionally in 1968 in Chicago. In the beginning, Maurice is mainly saxophonist and is moving more towards jazz. He starts with the Gents of Soul. But his first real experience take place in 1976 when he entered in studio with The Chosen Few (Chi-Sound Records). In addition to the saxophone, he learned guitar in the mid 70's. Present on Chicago stages, Maurice frequent other bluesmen like Johnny Dollar, Smilin' Bobby or Professor Eddie Lusk. In fact, this is his meeting with Phil Guy that will give a boost to his career as a musician. He hired Maurice to accompany him on a Canada tour and for some studio sessions. After a year and a half with Phil Guy, Maurice toured Europe in 1983 in Son Seals band. As a leader, he cut his first record for his own Reecy label in 1984. He showed his qualities as a composer and musician - a subtle guitarist - through this first album opting for a modern Chicago blues : "Computer took my job", "Garbage man blues", "Generic blues" (with Zora Young), "I got money", "Nothing left to believe in" are among the highlights of this nice album. Attracted by this promising bluesman, Bruce Iglauer's Alligator label reissues the disc and put a title in his anthology "The new bluebloods".

I GOT MONEY

Blue Phoenix

Black & Blue

Atlas

November 1985

En 1984, Maurice s'associe avec le saxophoniste A.C. Reed jouant en sa compagnie sur diverses scènes. Lors de la tournée du Chicago Blues Festival de l'année suivante, les deux hommes trouvent l'opportunité de graver un disque à Paris pour la marque Blue Phoenix. Dans celui-ci, les deux hommes se partagent les parties chantées accompagnés d'une belle section rythmique (Douglas Watson à la basse et Julian Vaughan à la batterie). Le saxophone rapeux de Reed se mariant fort bien à la guitare agile de Maurice sur "Boogie all night", "My buddy buddy friend", "This little voice", "Computer took my job", "Everything I do to be funky".

In 1984, Maurice partners with saxophonist A.C. Reed playing with him on various stages. During the Chicago Blues Festival tour the following year, the two men found the opportunity to record a full album in Paris for the Blue Phoenix imprint. They share the vocal parts accompanied by a fine rhythm section (Douglas Watson on bass and Julian Vaughan on drums). Reed's raspy saxophone marrying well with the agile guitar of Maurice on "Boogie all night", "My buddy buddy friend", "This little voice", "Computer took my job", "Everything I do to be funky".

IN THE SHADOW OF THE BLUES

Alligator

1993

Privilégiant sa carrière de sideman et de producteur, il a accompagné A.C. Reed ("I'm in the wrong business"), Casey Jones ("Solid blue") et Zora Young ("Stumbling blocks and stepping stones"). Comme producteur, il a travaillé avec Detroit Junior, Maxine Carr, Shirley Johnson, B.J. Emery. Il revient, enfin, à sa propre carrière en 1993 pour cet album où il est bien évidemment son propre producteur. Maurice délivre un blues puissant et cuivré plein de compositions personnelles bien ficelées en compagnie d'excellents sidemen (Allen Batts, B.J. Emery, Freddie Dixon) : "I want to be your spy", "Everything I do got to be funky", "Game over", "Love bone", "Treat me so bad", "Watching your watch". On peut souligner aussi "Suicide is not the way" à l'approche plus moderne (avec la voix française de Jacques Lacava) qui peut surprendre mais se révèle incontestablement réussi. Son meilleur album jusqu'à maintenant.

Favoring his sideman and producer career, he accompanied A.C. Reed ("I'm in the wrong business"), Casey Jones ("Solid blue") and Zora Young ("Stumbling blocks and stepping stones"). As a producer, he has worked with Detroit Junior, Maxine Carr, Shirley Johnson, B.J. Emery. He returned finally to his own career in 1993 for this album in which he is obviously his own producer. Maurice delivers a powerful and brassy blues, full of well-crafted personal compositions and with excellent sidemen (Allen Batts, B.J. Emery, Freddie Dixon) : "I want to be your spy", "Everything I do got to be funky", "Game over", "Love bone," "Treat me so bad", "Watching your watch". It may be noted also "Suicide is not the way" with a more modern approach (with the french voice of Jacques Lacava) that may surprise but seems incontestably successfully done. His best album until now.

CLARK STREET RAMBLERS

Blue Chicago

June - July 1997

Deux morceaux de Maurice John Vaughn dans cette anthologie dont une belle reprise du "Turn up the heat" de Detroit Junior avec l'apport de B.J. Emery au trombone.

Two tracks of Maurice John Vaughn in this anthology including a beautiful cover of "Turn up the heat" of Detroit Junior with participation of B.J. Emery on trombone.

B.J. EMERY & MAURICE JOHN VAUGHN

Appaloosa

1998

Il s'agit d'un album conjoint du tromboniste B.J. Emery et de Maurice John Vaughn enregistré en Italie. Emery s'occupe du chant et du trombone, Vaughn des guitares, du saxophone et de la production. Une bonne tranche de blues cuivré parfois funky, bien produit et bien arrangé. Derrière les deux leaders, on trouve d'excellents sidemen comme Freddie Dixon (le fils de Willie Dixon), Allen Batts, Abb Locke, Michael Mac Gee. "I want to take you higher", "Big bad circle", "You ought to be dancing", "I gamble I gamble" figurent parmi les meilleurs moments de ce disque plaisant mais inégal.

It is a joint album by trombonist B.J. Emery and Maurice John Vaughn recorded in Italy. Emery takes vocals and trombone, Vaughn takes guitars, saxophone and production. A good slice of brassy blues sometimes funky, well produced and well arranged. Behind the two leaders, we find excellent sidemen Freddie Dixon (Willie Dixon's son), Allen Batts, Abb Locke, Michael Mac Gee. "I want to take you higher", "Big bad circle", "You ought to be dancing", "I gamble I gamble" are among the best moments of this pleasant but uneven record.

DANGEROUS ROAD

Blue Suit

2001

Gravé en Italie et aux Etats-Unis, ce disque, est, comme d'habitude avec ce bluesman, rempli de compositions originales très abouties comme "Dangerous road", "Two can play the game", "Stop and take a drink", "The telephone's ruining my life", "I can't stand being alone". Maurice, très inspiré, passe avec facilité de la guitare au chant sans oublier le saxophone. On note aussi la participation convaincante de B.J. Emery, Ilaria Lantieri (future épouse de Sugar Blue), Detroit Junior, Khouki Pontelero, Fred Brousse.

Recorded in Italy and the United States, this album is, as usual with this bluesman, filled with original very accomplished compositions : "Dangerous road", "Two can play the game", "Stop and take a drink", "The telephone's ruining my life", "I can't stand being alone". Very inspired, Maurice passes with ease from guitar to singing without forgetting saxophone. There is also compelling participation of B.J. Emery, Ilaria Lantieri (Sugar Blue's future wife), Detroit Junior, Khouki Pontelero, Fred Brousse.