Order these featured CDs today: Artie "Blues Boy" White Michele Lundeen Tommy Castro Carlos del Junco Eddie Turner Jimi Bott Ann Rabson Dave Specter - Steve Freund

Resplendent in his powder blue outfit on the booklet of this release, Artie "Blues Boy" White is a bluesman through and through. I have followed his career from the early days on Ronn Records, through a good number of high quality CDs on Ichiban Records, a few on Waldoxy (Malaco), and now this his third self-produced release, First Thing Tuesday Morning (Chill Town Records). There are several cover tunes, three songs penned by excellent songwriter and performer Travis Haddix, and several new ones from his band members. The CD opens with a fine version of Bobby Bland's "Love To See You Smile," which is the equal of the original. "First Thing Tuesday Morning," the first of the three by Haddix, is a slow burner that immediately establishes itself as the class track of this release. Z.Z. Hill's "She Hit Me From The Blind Side" is a worthy song that deserved to be resurrected. "Trying To Hoodoo Me," the second by Haddix, is another slow very deep soulful blues that allows lead guitarist Chico Banks a chance to cook. It is the kind of tune you expect to hear in a smoky Chicago club. An interesting choice is Albert King's "Crosscut Saw," which doesn't really hold up to King's version, but does allow Banks another chance to shine on guitar and White to take a different approach on vocals. My favorite track is "I Promise,"
newly written by band member Stan Banks, but could have come out of one of O.V. Wright's recording sessions. Great stuff on an album that features White's soulful vocals, real musicians and production that is a considerable improvement over his last outing. His best outing in many years.

This has been a good month for new releases, and this new one from Beautiful Bobby Blackmon, Travelin' Home (B3 Records), is right there among the top ones. It's a bluesy Southern guitar and vocal outing, and one that I've listened to many times since it arrived. The opening track, "I Don't Know But I Gotta Go," is an immediate catcher and sets the tone for the 11 great tracks that follow it. Think of Little Milton doing "Walkin' The Back Streets And Crying" and you'll get the feel of this first track, and it only gets better. John Hiatt's "Feels Like Rain" is given a tremendous effort here, perhaps the best I have heard of this Hiatt classic. The humorous "If Mama Ain't Happy" is a good storytelling song somewhat reminiscent of the type of songs Larry Garner writes, and the fabulous "The Bluest Blues," an Alvin Lee tune that lets Blackmon's guitar playing and vocals shine, are both great inclusions here. Another standout track is "It Ain't Easy," a slow blues with a fine spoken intro that immediately catches your attention. I could go through each track and expound on it's merits, but you need to check this CD out for yourself. It is independent efforts like this that we in the blues community should support, so pick up a copy of this great new CD and then email Bobby at B3Comm@aol.com and let him know how much you enjoyed his newest CD.

--- Alan Shutro

When two people converse, one adjusts his or her voice toward the pitch of the other's, in a subtle sign of deference to leadership. In wolf packs, only the head wolf keeps his or her tail raised. The chief chimpanzee in a group (the correct term is a “murder” of chimpanzees, as it is “school” of fish, a “herd” of cattle, a “sneer” of butlers, a “frost” of dowagers, a “keg” of garage musicians, etc.) is allowed to sexually dominate and even mutilate members of his tribe at will. Research strongly indicates that identification and acknowledgment of leadership is essential to survival and, thus, built deeply into mammalian hard wiring. Mechanically, said identification and acknowledgment expresses itself through the senses. Longtime leadership in her region's blues community is plainly heard in this debut release, Song Inside Me (Milestone Music), from Michele Lundeen, who has planted and grown a number of blues publication, festival and other seeds way out west. That her set list comfortably flows from jump blues/jazz to torch songs to front porch rollicks to convincing, larger-than-life “Big Blues Mama” biographical sketches is more than coincidence. These sub genres of blues and all the joys and narrative stimuli specific to them have been part of her crusade for decades. She's not just doing these different songs because she can, but because she has been compelled to. Blues is a broad field and, to build a blues scene, one must offer reward to every individual preference and perspective within it. While playing Song Inside Me, one can hear and almost smell Ms. Lundeen's long years of doing so. Festival planners accept responsibility for investing a lot of other people's money in entertainment and culture. Editors match their wits against readers' attention spans and fickleness to obtain and maintain those readers. Regular participants in blues society jams take on the missionary challenge of converting occasional visitors to their bars and bandstands into frequent contributors to same. The shouldering and fulfillment of these responsibilities gives a person the equivalent of an advanced degree from a music school that most professional road and studio players would not dare to even enroll in. Ms. Lundeen's band is straight forward. Playing along with this record would not be a challenge for competent players, but that is by no means to say that many of them could construct this release. Most players simply lack the discipline and vision it takes to concentrate full-time on the audience rather than on themselves. Most players cannot accept the fact that three four-minute songs give them exactly as much playing time as one twelve-minute song, but share three times as many songs with their audience. These 12 songs take the bandstand and the community of a blues scene into the studio in a way that few performers are willing and able to do. Song Inside Me is pragmatic, gut bucket and effective. It is a demonstration, a sermon, a textbook and a rally. It is powerful, lively and humbling. It is a gift of love from a leader to her community.
 

The stories go back a long way, and most are true. Before there were blues societies and regular blues venues throughout the Southeast, there was singer / songwriter / guitarist Mojo Collins. When people in the region began thinking about forming blues societies, they inventoried the resources with which they could bring America's music to prospective fans, and the name “Mojo Collins” headed their resource inventory lists. For many years now, live blues has been easy to find in the Southeast, and Mojo Collins is exploring some other avenues. World Full of Strange (Pastales Music) is a modern release based on blues based on rock, in sound and attitude somewhat like the classic solo releases of Peter Green and Bob Welch, but with the impressive added facet of Mojo's having played every instrument on the recording. Detached from and beyond the traditional definitions, habits and restrictions of blues form, it puts us in touch with Mojo's past, present and future. As he's developed his own sound independent of the blues form though always resting easily upon it, he has interwoven warm vocals and a light, refined touch on the strings. He speaks to us as screen actors speak over a movie soundtrack. There are political concerns here, alongside rags, ballads of love lost and found, masterful guitar pieces and big, uptown combo pieces. Of the many Mojo Collins recordings released over the years, World Full of Strange impresses as the most individual and mature. Its freedom from any compulsion to make a statement for a single cause or musical statement allows us to go where Mojo Collins has taken himself, down a road along which we have met him many times, either by seeing his performances or sharing his influences. A great dividend and fascination here is hearing where music itself, the blues and live performance have led a dedicated, gifted professional. People who seek live music and good, regional performers set themselves up for disappointment, gambling that the acts they go out of their way to meet will be good acts. Those who know Mojo Collins know that he has never been a gamble or a disappointment. Thank you, Mojo Collins, for being a builder of music appreciation we have always been able to rely on and trust, and thank you for World Full of Strange.

 

The blues is in good hands. This is the person who has the voice, the sound and the right intentions to touch everybody's heart.” - Carlos Santana, commenting on Tommy Castro. An aptly titled release, Soul Shaker (Blind Pig Records) is centerpieced by “The Holdin' On,” a soulful ballad that points out, with concise and absolute precision, the source of the pain that fills and overflows the gap left in one's life by the departure of a lover ... “It's not the letting go ... it's the holdin' on.” There has not been a release like this since Otis Redding's Otis Blue, and even that immortal soul bombshell, with its several classic, irreplaceable moments, lacked the consistent quality of Soul Shaker. Going on at more length about these dozen magnificent tracks would be superfluous. Soul Shaker is a great, great CD.

 

Yes, there are famous harmonica players. Among them is Carlos del Junco. These days, he's perfecting application of Howard Levy's overblow technique, which gets the chromatic scale out of diatonic harmonicas, thus allowing one to play in every key on a C harp, usually a Hohner Golden Melody, ideal for the task by virtue of being tuned equal rather than just. Blues Mongrel (Northern Blues Music) is, in some ways, a demo disc for the overblow technique. He extends a thoughtful kindness to harp players by giving detailed liner note information about keys and gear used on all 12 cuts here. Del Junco has always been known as a flexible, open minded harmonica player. One should never expect one of his releases to focus on some narrow stylistic definition like “Chicago blues” or “Toronto jazz.” At the same time, variety is a double-edged factor in creative product, detracting from continuity exactly as much as it adds to impact. The one loving tribute to Sonny Boy Williamson II on Blues Mongrel leaves this reviewer hungry for more, but then, so do the several other styles del Junco shares so adeptly on the release. “Let's Mambo” is a great party instrumental, as is the unlikely movie theme, “Our Man Flint.”  This is a strong, honest, loving album, in keeping with this label's standards and those of the artist.

Eddie Turner's fascinating, in that he's stepped straight into 2005 from 1967. Rise (Northern Blues Music) is psychedelia à la Jimi Hendrix. Not that it sounds like Hendrix; it just shares the same ideas of musical expression. The title track is an acid blues, heavy on droning electric guitar, laid over a New Orleans parade second line percussion beat. That's novel and cool. The fact that Turner covers the Hendrix classic, “The Wind Cries Mary,” and sounds completely like Eddie Turner and nothing at all like Jimi Hendrix is a nice, subtle touch. Acid blues at its best. Thank Eddie Turner and Northern Blues for reminding us how good that can be.

--- Arthur Shuey

Bass players get no respect. On his first solo recording, Dusty & Pearl (47 Records), Gary Kendall is out to change that. Having toured and recorded with the Downchild Blues Band from 1979-83, and currently since 1995, Gary Kendall is probably the best known bass player in Canadian Blues. He joined his first band at age 16, and has been based in Toronto since the late ’60s. Kendall’s musicianship and songwriting excels, but his uninspired voice isn’t strong enough for the lead role on an entire album. Musically, this record is rich in roots. How can’t it be when it contains 33 of Canada’s best blues music artists? Like the view from a train window, Kendall gets his listeners to see things in a different manner. Guest vocalist Judy Brown croons like a young Lou Ann Barton on “Lucky At Love.” “Worn In” has a lazy feel. The song features the magnificent harp of Donnie Walsh which carries listeners to the Delta and then dips them in the Bayou. Along with country and folk, “We’ll Be Allright” contains a taste of Cajun, thanks to Richard Bell’s accordion. It’s a fun, happy, and uplifting tune. Here, Kendall’s voice is warm and enticing, and made to sound more confident thanks to Suzie Vinnick’s soothing vocal harmony. This isn’t the only time the backing vocals jump into the forefront. On separate tracks, John Mays and Chuck Jackson do the same thing, with their distinctive vocals. Due to the punchy horns and infused cheer, “All Dressed Up” sounds like a Downchild Blues Band number. Here, a basic rhythm is prominently carried by Brian Fraser’s boasting piano. Due to the song’s structure, “Sumkinda Sumthin” sounds like a Fathead tune. Here, a swaggering organ solo, which whirls back and forth between channels, is delivered by Martin Aucoin. If the soft and romantic jazzy instrumental “Bluesona Slonite” doesn’t put you in the mood, nothing will. On the song, you finally get to hear Kendall’s infectious bass take a solo while Steve Grisbrook’s guitar burns. By far, the most fun and unique song is “Don’t Be Sad,” which combines reggae and other sounds of the islands. It is a song of hope and inspiration, for anyone questioning their self worth. The CD’s other highlight is the slick instrumental, “Thanks A Lot,” as performed by the Maple Blues Band (the prestigious house band at the annual Maple Blues Awards.) With awe, the song injects an edge into your being, via a series of astonishing solos from various musicians. If you like jam songs, this one is for you. The song and album is a fresh showcase for Canadian talent. The latter is a celebration of life by someone who has been kicked around. With all the guests, it is difficult for Kendall’s originality and style to come through on this 55-minute folk/rock disc. Nonetheless, this is a good and solid CD. One has to wonder whether that is a result of the way Kendall got everyone to jive together in the studio, or is it that the guests are simply extremely talented? For more information contact: www.garykendall.com or by e-mail.

When the blues had its humble beginning in the Mississippi Delta, who would have imagined that its journey would take it to international places like Russia? Arsen Shomakhov is from Nalchik, Kabardino-Balkaria. His backing band’s name, Ragtime,  implies something they are not. Don’t expect jazz piano from this proficient trio, but rather innovative blues-rock with sophisticated influences. Aslan Zhantuyev (bass) and Sultanbek Mamyshev (drums) are Shomakhov’s constant driving force, while Grigory Martirosyan provides occasional sax. Their independent CD, Troublemaker, cannot be entirely classified as blues, but surely you are not surprised? Throughout 11 songs, you will hear everything from rollicking Texas shuffles ("Don’t Miss Your Train") to contemporary jazz-fusion ("In The Cold Light"). The production is simple and clean, with an emphasis on the drums hitting you where you breathe. Too bad the high hat sounds like tin. Shomakhov’s debut CD focused on covers, whereas his 44-minute sophomore release features eight originals. Only three covers appear. Although Willie Dixon’s "I’m Ready" and Jimmie Vaughan’s "Dirty Girl" have been over-recorded, Shomakhov’s versions are fresh, and welcome you to listen up. The latter is used as a framework to showcase the sizzling guitar. Shomakhov can play guitar, and its oh, so good. He seems less constrained and inhibited on the original numbers. The title track features a catchy guitar hook with a Texas groove. The kicking guitar solo is heavy in the bottom end. Providing impact, and a lasting effect, the tempo and song structure changes near the end. The track is reprised with elements of Euro-pop to close out this great disc. "Tick-Tock" features bop, funk, and a repetitious groove that will have you in a stupor. "She’s Dangerous" was inspired by "Superstition" and "Rude Mood." With five instrumentals, it is obvious Shomakhov is more comfortable just playing his guitar. Yet, his vocals on "Give Me A Sign" are sensitive, but the romantic, pop arrangement comes across as looking/wanting radio airplay. This triad of former cold war foes comes with a refreshing approach. Their primary focus is the enticing guitar and distinctive songwriting of Shomakhov. Perhaps there is too much acknowledgment of Shomakhov’s Texas influences (the Vaughan Brothers, Albert Collins, T-Bone Walker), yet you can’t deny his controlled guitar work is full of feeling. This Russian doesn’t impress with muscle, but rather with substance. Over time, you warm to his vocals. The attraction is not as instantaneous as his guitar playing and the group's music. Trying to escape the same old blues? Forget those teenage-brat guitarists, and experience some invigorating blues-rock from the international scene. Missing your favorite Russian NHL hockey stars this season? Let these comrades cure your blues. For more information contact: www.arsenic.blues.ru  or e-mail to shomakhov@yahoo.com.

Stephen Barry has been a mainstay on the Montreal music scene for over 35 years. His band’s healthy debut, Here On The Highway, was released in 1994 and it remains a reasonable strong recording to this day even though only one bandmember (Andrew Cowan - guitar) survives in the current lineup. 15 songs are included on the 54-minute disc and nine of them were recorded live at Le Vieux Clocher de Magog in March 1993. The bulk of the tunes are covers from JB Lenoir, Muddy Waters, Holwin’ Wolf, Albert King, Robert Jr. Lockwood and Johnny Shines. The bandleader sings one third of the songs. His voice is a bit deeper than the other singers, but it doesn’t carry the rhythm as well. The number of covers outweigh the originals. On "Home In Your Heart," Robert David’s sax impresses as it keeps the tempo hopping. The bopping turns to gyrations on "Voodoo Music," thanks to John McColgan’s rumblin’, tumblin’ drums which sound more like an entire percussion ensemble. The instrumental "Rockin’ With Hop" is a sock-hop rocker and would have brought dancers to ecstasy in the 1950s. Michael Browne’s vocals sound like a young Pinetop Perkins on "Work For Your Money." The swinging continues on the dangling version of "Natural Ball," where you’ll hear Barry’s string bass, a rich, full-sounding T-Bone Walker guitar, shufflin’ drums and Martin Boodman’s harp fills. "Too Lazy" is a trio sort of piece and thus has a jazzy feel. The melody is more suited to one of the grand ladies of jazz but the words are more typically male: ‘too lazy to work, too lazy to steal.’ North Mississippi country blues is all over the arrangement of "Living In The White House."
The number of originals (five) are few and they are far more folk than blues. "There Was A Time" is really laid-back. This modern, alternative folk-rock composition contains elements of Steely Dan. Sounding more like an East Coast folk song than blues, "More Precious Than Silver" is an ideal pub number. Guest organist Peter Measroch adds crack-free fills to Browne’s sweet lap steel. "I Don’t Have To Worry" is a fun tune with ample opportunity for the horn to blast and the harp to wail. The title track is a low-key ballad, while "Bull Doze Blues" is based on Canned Heat’s "Going Up The Country." The production is a little too polished with not enough improvisation, in particular, on the studio recordings. One of the sidemen, multi-instrumentalist Michael Browne (guitar, mandolin, fiddle) is the CD’s strongest asset. His accentuated artistry shines forth and hints at the greater things that were to come for him. The band really digs into old-style Chicago blues on the 10 covers with their professional musicianship. On these you will particularly enjoy the guitar and sax work. Based on this aspiring CD, it appears that Montreal and Quebec blues artists are worthy of greater recognition.

Clinton, Mississippi’s Billy Gibson is a regular Beale Street performer. He developed his jazz harmonica technique while studying under Pete Pedersen. On this 64-minute disc, In A Memphis Tone (Inside Memphis), Gibson performs diatonic and chromatic harp. The eight laid-back recordings were made in 1996/1997. All are unencumbered instrumentals with an average length of eight minutes. The house band from Memphis’ King’s Palace Café provides stylistic support. The well-known standard "Chicken Shack" is the CD’s longest song, since the main artists each get a solo. "Straight No Chaser" features an additional harp player. Together, they perform like a saxophone in a jazz combo. The most lively and electric song is the ultra-catchy "Shortnin." This is uptown and sophisticated dinner music that is romantic. It reflects a musical maturity well beyond the age of this 30-something artist. The songs are pretty and relaxing. Although, the back cover says to classify under blues/jazz, they should have said to classify strictly under jazz.

Rocky Jr., of Rocky Jr. and the Signifiers, isn’t a blues juvenile – he has been blowing harp for 30 years – but he is the offspring of the Chicago blues greats. His band members have as much experience and all are infatuated with Chicago blues. Harmonica Prayer (Blues Baby) pays tribute to Chicago blues tradition. Some songs are signature tunes from blues’ highest ranking officers. None of the covers offer anything over the original, or most famous version. Although, Jr.’s vocals lack depth and energy, his harp is full of adventure while his guitarists are full of enthusiasm. However, as a group, they sound too similar to the Butterfield Blues Band. This is a very independent release which is evident from the inattentive liner notes to the hallow production. Overall, these 12 (mostly cover) songs lack originality. How many more renditions of "Rock Me," "Crawling Kingsnake," and "Good Morning Little School Girl" do we need? Lots of potential exists. It will come to fruition when the mimicry stops, and conceiving begins.

Without fear, NorthernBlues’ President, Fred Litwin, releases music that he truly believes in. Proudly and openly he states his label’s mission “is to stretch the boundaries of the blues.” He has been doing that for four years, and his novel label isn’t going without notice. So far his 27 releases (not including samplers) have received Juno, W.C. Handy, Independent Music, and Maple Blues Award nominations. Some of those nominations have turned into winners. There are 15 songs by 16 artists on this 70-minute Future Of The Blues, Vol.2 sampler. Interspersed with the familiarity of American Blues, Dan Treanor and Frankie Lee contain the right blend of foreign rhythms and sounds. Treanor plays his hand-built African instruments on their innovative cut. New Brunswick’s Glamour Puss combines their unrestrained talents to create happy, upbeat, groovin’ music that celebrates life. Janiva Magness’ NorthernBlues CD was really Colin Linden’s project. His distinctive production and robust guitar provides strong evidence for this proposition. It is great to see an artist mature with every record. Listeners, who have graduated along with JW-Jones’ previous two releases, experience that when they hear “Let’s Have A Ball.” Incorporating a slew of uncommon instruments (highland bagpipes), Taxi Chain is not your stereotypical roots music band. “Back Water Blues” combines one classy lady, Toni Lynn Washington, with one classy band. The stringed instruments, performed by David Jacobs-Strain, are dreamy. His impressive slide and deep vocals carry his pop country offering found here. Harry Manx’s Eastern music influences are obvious. He and Kevin Breit mix East Indian music with acoustic Delta guitar for an extremely unique sound on the disc’s oldest track from February 2003. Carlos del Junco mixes his hurling harp and uninspired vocals with Breit’s grunge-like guitar. Well into the song, Breit gains control and cranks out an assaulting tone. Charismatic piano and sly organ carry you away on John And The Sisters’ hand-clapping, foot-stomping hoedown. Their unreleased, poignant instrumental is the CD’s highlight. James Cohen’s brilliant flamenco guitar has a feel of vaudeville and the roaring ‘20s. Brian Blain uses an interesting twist on words via his cheeky number. Although the word blues appears in this label’s name, the sounds and rhythms of Litwin’s progressive artists are all over the map. Litwin chose the artists since he felt “they are making music that is fresh, original and simply sublime.” He also challenges the sampler’s purchasers to “open your ears, your minds and your hearts.” Litwin continues to release modern music that no other label will. For blues fans, it looks like the best is yet to come. 2005 will deliver debut NorthernBlues releases by Chris Beard and Mem Shannon. Too bad they aren’t included on this sampler.

Midwest Blues (Diving Duck) proves acoustic music can be upbeat, and fun. With occasional washboard, harp, and bass support, Eric Noden performs guitar, vocals, and piano. His guitar work is heavily influenced by the Delta masters. Noden emulates the finger-picking styles of his influences, Mississippi John Hurt and Reverend Gary Davis, on a couple covers. The majority of songs were written by himself.  "Shelby County Bound," "Cincinnati Flow Rag" and "Key To The Highway" showcases the supreme picker that Noden has become at age 35. His barrelhouse piano shakes on Take A Chance and Chi-town Breakdown. The Latin rhythm on "Black Cat Bone," courtesy of bongos, congas, and guiro, doesn’t fit in with the rest of the vintage album. Ironically, the song has the most commercial appeal. Ohio-born Eric Noden is a solid guitar player who performs country blues that came to the city. On his second release, he exhibits a mastering of the pre-war, acoustic craft.