Nick Moss has been all about the Chicago
brand of blues for the most part over his previous
seven releases, and he’s very good at what he does.
However, Moss’s latest effort, Privileged
(Blue Bella Records), stretches beyond his usual
boundaries to combine his usual Chicago mentors
(Jimmy Rogers, Lurrie Bell, Jimmy Dawkins) with his
rock guitar influences (Hendrix, Led Zeppelin,
Cream, and 60’s-era Fleetwood Mac).
He’s also composed a set of songs for the disc that
vary greatly from the standard Chicago fare,
venturing into current events and tackling some
topical issues. These topical songs include the
powerful opening track, “Born Leader,” and other
tracks like “Privileged at Birth,” and “Tear ‘Em
Down.” The new songs, in addition to covers like a
funky reworking of Stephen Stills’ “For What It’s
Worth,” and Cream’s “Politician,” indicate that Moss
is not afraid to address what could be controversial
topics.
That being said, the topical tracks blend seamlessly
with the more traditional blues, also a combination
of originals and cover tunes, such as a rowdy take
on Howlin’ Wolf’s “Louise,” and Sonny Boy II’s
“She’s So Fine (Born Blind).”
The standouts tracks of the disc to me, however, are
two Moss originals….the relentless “Georgia Redsnake,”
and the incredible, nearly eight-minute guitar tour
de force, “Bolognious Funk,” which is even better
than its title would indicate.
The new direction to his music seems to have paid
dividends for Nick Moss. Privileged is
another outstanding addition to an already
impressive body of work.
--- Graham Clarke
The Cash Box Kings bring their brand of
authentic Chicago blues to Blue Bella Records for
the first time. For their debut release for the
label, I-94 Blues, the band (Joe Nosek –
harmonica, vocals, Kenny “Beedy Eyes” Smith – drums,
Chris “CB” Boeger – bass) are joined by vocalist
Oscar Wilson, and a host of honorary “Kings,”
including Mark Haines (drums), Joel Patterson
(guitar), Jimmy Sutton (bass), Billy Flynn (guitar),
and Barrelhouse Chuck on the ivories.
The debut track, Nosek’s “Default Boogie,” with its
oh-so-current subject matter, has a great chance of
becoming an instant classic. It’s a rocking track
featuring Flynn on mandolin and Nosek on harmonica.
Nosek wrote seven of the 15 tracks, with highlights
being “St. Paul Wintertime Blues,” which features a
searing slide guitar workout from Patterson (who
also shines on the Muddy Waters standard, “Country
Boy”), the title track, which has a 1930’s retro
feel to it, and “Fallin’ Down,” a classic Chicago
shuffle.
Another great track is the original, “Tried So
Hard,” written by Flynn and featuring him on slide
guitar. “Quesadilla Boogie” is a raucous
instrumental featuring Barrelhouse Chuck on keys,
Nosek on harmonica, and Flynn on mandolin. The
selection of cover tunes is first rate, with tunes
from John Lee (Sonny Boy I) Williamson (“Mellow
Chick Swing”), Blind Willie McTell (“Warm It Up To
Me”), and Jim Croce (“You Don’t Mess Around With
Jim”).
Nosek and Wilson acquit themselves quite well on
vocals and all the guitarist turn in powerful
performances (guest Steve Freund is a standout on
Flynn’s “Second Chance”). According to the liner
notes, this disc was produced in a single session
with only a few vocal overdubs and Freund’s guitar
being added at a later time, so it was basically
done live in the studio. Hearing the results here
makes you wish that more bands took this approach to
recording.
I-94 Blues is a superlative effort by an
emerging force on the blues scene. The Cash Box
Kings are living proof that the Chicago Blues are
alive and doing just fine, thank you.
--- Graham Clarke
Guitarist Matthew Stubbs currently fronts his
own band and also plays with Charlie Musselwhite. He
has also played with John Nemeth, Janiva Magness,
Lynwood Slim, Junior Watson, and many others. As a
bandleader, he has shown a knack for writing
instrumentals with catchy melodies. His latest
release, Medford & Main (Blue Bella Records),
serves as testimony to his prodigious talents.
This set of 11 instrumentals combines hearty Memphis
soul with blues, rock, surf, and even a little jazz.
A huge boon to the disc is the incredibly tight horn
section led by Sax Gordon, who give tracks like
“Uncle Sonny,” “Sleepy Eyes,” “Yikes Ike,” and
“Waffles” a definite Stax Records groove. Other
tracks like the title cut, “Fazzo Beans,” and
“Pistol Whip,” make a strong effort to resuscitate
the surf guitar genre.
Best of all are a couple of tracks about midway
through the disc. “Double N” can best be described
as three minutes of Robert Ward meets Lonnie Mack
(actually, the two were pretty much kindred spirits)
with its drenchy reverb. The following track, “Tube
Top Temptation,” is a grinding rocker with some of
Stubbs’ most inspired playing.
You don’t hear a lot of instrumental guitar albums
anymore, so when they’re as inventive and bold as
this one, it’s really an extra treat. Guitar fans
will absolutely love this disc and will want to hear
more from Matthew Stubbs.
--- Graham Clarke
If the lowdown, authentic Chicago blues are your
bag, look no further than The Kilborn Alley Blues
Band. Their latest release, Better Off Now
(Blue Bella Records), is a versatile set of Windy
City blues from beginning to end. Producer Nick Moss
has given this disc the feel and atmosphere of those
old Chess and Vee-Jay recordings. The band provides
the rest, laying down an irresistible groove.
The band wrote all but two of the 11 tracks.
“Nothing Left To Stimulate” features timely lyrics,
while the title cut is a solid soul sender, as is
“Tonight.” “Train To Memphis” has a quasi-Magic Sam
guitar riff and the instrumental “Bubbleguts”
showcases the band’s instrumental prowess with some
zany Farfisa-like keyboard work from Gerry Hundt.
Harp wizard Joe Asselin shines on “You Can Have The
Tail,” and singer/guitarist Andrew Duncanson turns
in a bravura vocal performance on the classic slow
blues, “Keep Me Hangin’.” The only non-band
compositions are Moss’s menacing grinder, “Watch
It,” and John Brim’s “Tough Times,” which closes the
disc in fine old school fashion.
Formed ten years ago, when some of the members were
still in high school, these guys (Duncanson –
vocals/guitar, Josh Stimmel – guitar, Asselin –
harmonica, Chris Breen – bass, Ed O’Hara – drums)
really get it. Their brand of Chicago blues steers
clear of the flashy guitar solos and bombast for
tight ensemble playing, which is part of the allure
of the vintage Chicago sound in the first place.
Fans of straight-ahead blues are encouraged to check
out this disc.
--- Graham Clarke
Terry “Big T” Williams has played the blues
since the early ’70s, when as an 11-year-old, he
began tutoring with Clarksdale, MS’s Johnnie
Billington (who trained many of the up-and-coming
delta blues musicians and was a driving force behind
the Delta Blues Museum Arts & Education program). He
earned his wings playing behind Delta blues legends
like Big Jack Johnson, the Jelly Roll Kings, Wesley
“Junebug” Jefferson, and Big George Brock, and blues
icons like Bobby “Blue” Bland and Albert King. In
2007, he teamed with Jefferson on Broke and Hungry
Records to release Meet Me In The Cotton Field,
one of the best discs of that year.
Williams’ latest release, Jump Back, Big T’s In
The House (Matt The Scat Records), is somewhat
less traditional than the Broke and Hungry release,
and is more typical of a Big T live performance,
with a stronger emphasis on funk and R&B mixed in
with the blues. Joining Williams on the set are
drummer Lee Williams, who’s previously recorded with
T-Model Ford, Jimmy “Duck” Holmes, and Pat Thomas,
bass player Jeremie Horton, an alumnus of the Arts &
Education program), session keyboardist Elijah “Doc”
Wilkins, and harmonica player Vann Durham.
Williams penned five of the 11 songs, including the
opener, “The Night Doctor,” which is a second cousin
of the Big Jack Johnson tune, “The Oil Man,” the
acoustic blues, “Bound For Clarksdale” and “Devil In
The Cottonfield,” “Riverside Hotel,” a slick urban
blues, and “Last Jelly Roll,” a tribute to the
legendary trio of Big Jack Johnson, Frank Frost, and
Sam Carr. Durham wrote four tracks, including the
funk workout, “Booty Wild,” the rowdy title track,
and the traditional “How I Got The Blues.” There’s
also a pair of covers, Luther Allison’s “Change Must
Come,” and Muddy Waters’ “Rollin’ Stone” AKA
“Catfish Blues.”
Jump Back, Big T’s In The House is a solid
mix of traditional and contemporary blues and is a
must-have for fans of the Delta blues.
--- Graham Clarke
Blue Lunch is a Cleveland, OH-based blues
band that plays a wide range of music, ranging from
blues (jump or Chicago), New Orleans R&B, soul,
jazz, and classic rock & roll. The eight-piece band
has just released their fifth recording, on Wilberts
Records, called Sideswiped.
Guitarist/singer Bob Frank penned all the originals,
including the groovy instrumental title tune that
kicks off the disc. Other highlights include the
horn-driven “Which Way To Go,” the ballad, “All
Things Come,” a wistful tune that’s popular with
their fans, and “The Best I Can,” a straight blues
number. “Chinese Knock-Off” is a humorous track
about con jobs and rip-offs with great lyrics, and
“Don’t Point That Thing At Me” sounds like vintage
Rice Miller and even features Frank on harmonica.
Another fine blues number is “My Baby Knows Lovin’,”
which features some killer slide guitar in the Muddy
Waters tradition.
The covers are a diverse set, ranging from Crescent
City R&B (“Always Pickin’ On Me” and
“Mother-In-Law”) to jump blues (“Too Much Boogie”
and “Doggin’ With Doggett”), doo-wop and soul
(“Monkey Hips and Rice” and William Bell’s “Every
Day Will Be Like A Holiday”), and the blues (Roy
Gaines’ “Isabella” and Bobby Bland’s immortal
“36-22-36”). Blue Lunch shows their versatility on
this eclectic mix of tunes.
Though the band (Frank, Pete London – harmonica,
vocals, Raymond DeForest – bass, bass vocals, Scott
Flowers – drums, Mike Sands – piano, Keith McKelley
– tenor sax, Bob Michael – trombone, vocals, Mike
Rubin – trumpet, vocals) is in fine form, they also
get a helping hand from fellow musicians “Sax”
Gordon Beadle (tenor sax), Sammy DeLeon
(percussion), Tim Longfellow (Hammond B3), Erwin
Michael (clarinet), Ryan Pennington (vocals), Kate
Brown (vocals), and Lisa Rubin (vocals).
Fans of good-time rocking blues and boogie will
enjoy Blue Lunch’s latest effort.
--- Graham Clarke
I have to admit that when I was a youngster during
the Jurassic Period, I thought that Jefferson
Starship singer Mickey Thomas was sometimes a
bit over the top with his performances. Back then, I
was more into soul and R&B and liked things a little
more low-key with my singers. Over time, I came to
appreciate his vocal gifts. A few weeks back, I was
listening to Elvin Bishop’s “Fooled Around and Fell
In Love,” which features Thomas on vocals, and I
wondered to myself how Thomas would sound in a blues
setting. I hadn’t heard anything from him or even
thought about him in years. About a week later, this
disc arrives in my mail titled The Bluesmasters
Featuring Mickey Thomas.
Most music lovers remember Thomas from his days with
the pop rockers Jefferson Starship during the ’70s
and early ’80s, when he belted out hits like “Sara,”
“We Built This City,” and “Jane.” Prior to his days
with the Starship, Thomas added masterful lead
vocals to the Bishop classic, “Fooled Around and
Fell In Love.” Though he’s still with Starship,
Thomas has moved over to the blues with The
Bluesmasters to present a powerful set of blues
standards. The Bluesmasters Featuring Mickey
Thomas (Direct Music) features 11 tunes of
mostly familiar covers that are transformed in a
manner that should appeal to Thomas’ longtime
rock/pop fans and blues fans alike.
Thomas does a fine job with straight blues tunes by
artists like Muddy Waters (“Can’t Get No Grindin’,”
“Rock Me Baby”), Willie Dixon (“Third Degree”), and
Elmore James (“Over Yonder Wall”). He plays the New
Orleans’ R&B hit, “Sick and Tired,” pretty straight,
but transforms the swing classic, “Cherry Red,” into
a slow blues burner. The Etta James standard, “I’d
Rather Go Blind” is a nice slice of Memphis soul.
Other highlights include “Walkin’ Blues,” the Robert
Johnson tune that features guest guitarist John
Wedemeyer, “Get Your Business Straight,” one of two
tracks (the other being “Can’t Get No Grindin’) with
the legendary Magic Slim lending guitar and vocal
support, and the lone original track, “Long Gone,”
which mines pop/soul territory. The remake of
“Fooled Around and Fell In Love” is not as strong as
the original (how could it be), but measures up
pretty well, nevertheless.
Thomas gets outstanding support from the
Bluesmasters, which include Tim Tucker
(guitar/producer), Doug Lynn (harmonica), Danny
Miranda (bass), Aynsley Dunbar (drums), and Ric
Ulsky (B3), and a great set of guest stars in
addition to Wedemeyer and Slim (Sean Benjamin –
piano, Stephanie Calvert and Darlene Gardner
(backing vocals).
All things considered, it’s really good to hear
Mickey Thomas again. He always added a soulful edge
to Jefferson Starship’s pop/rock sound with his
vocals, and probably added years to their shelf life
as a popular act. He works well in this blues/R&B
setting so hopefully, we’ll hear more of him with
the Bluesmasters in the coming years.
--- Graham Clarke
I Want It All Back (Ruf Records) marks an
interesting change of pace for Coco Montoya,
with the focus shifting from his amazing guitar
skills to his underrated vocals. Producers Keb’ Mo’
and Jeff Paris put Montoya in a variety of settings
ranging from blues, soul, rock, R&B, and even doo
wop with impressive results. In addition, they’ve
surrounded him with an all-star cast of musicians,
including bassist Reggie McBride (Keb’ Mo’, Stevie
Wonder, B. B. King), drummer Steve Ferrone (Average
White Band, Eric Clapton), with Paris playing
keyboards and Keb’ Mo’ adding rhythm guitar.
Highlights include an excellent pair of Motown
tunes, the Marvelettes’ “Forever,” and “The One Who
Really Loves You,” written by Smokey Robinson and
originally done by Mary Wells. Songwriter Gary
Nicholson contributes two tracks, “Cry Lonely,” and
“As Close As I Have Come,” and Paris’ two
R&B-oriented tracks (“She’s Gonna Need Somebody” and
“The Life of My Broken Heart”) are both memorable.
The blues are not completely left out as Montoya
shines on the Buster Brown classic, “Fannie Mae,”
which also features Rod Piazza’s harmonica and Honey
Alexander on piano. Montoya’s own composition, the
funky “Don’t Go Makin’ Plans,” is also first-rate,
and the closer, a fine remake of Jackson Browne’s
“Somebody’s Baby” is also a standout.
Montoya does a superlative job on vocals and his
guitar work is as strong as ever, though slightly
more understated than his usual fare. It’s nice to
see him attempting to branch out in different
directions and it pays big dividends on this latest
effort.
--- Graham Clarke
For 40 years, Downchild has reigned as
Canada’s most popular blues band. The award-winning
band has won countless awards and employed over 80
musicians over the years. They also served as the
inspiration for Dan Aykroyd and John Belushi when
they created The Blues Brothers. They were chosen
Entertainer of the Year in 2007 at the Annual Maple
Blues Awards (Canada’s equivalent of the Blues Music
Awards) and began touring in Europe in 2008.
Their latest release, I Need A Hat (Linus
Entertainment), provides clues to Downchild’s
longevity, with 11 strong original compositions,
nine by band founder Donnie Walsh. This incarnation
of the band (Chuck Jackson – vocals/harmonica, Pat
Carey – saxophones, Michael Fontana – keyboards,
Gary Kendall – bass, Mike Fitzpatrick – drums) has
been together for over 15 years and their interplay
is fantastic. They are complimented by guest stars
Aykroyd, Colin James, Colin Linden, and Wayne
Jackson of The Memphis Horns.
As might be expected if you’re familiar with
Downchild, the focus is on good-time, conventional
blues guaranteed to get you on your feet. The many
highlights include the lighthearted title track,
“You Don’t Love Me,” a shuffle featuring harp from
Aykroyd, “Somebody Lied,” a grinding slow blues,
“Rendezvous,” which features some tasty slide guitar
from Walsh, and “Some More of That,” with Walsh on
vocals. The closing instrumental, “El Stew,” is as
smooth a groove as you’ll find.
Downchild has been setting the bar pretty high in
Canada for over four decades with one quality
release after another. I Need A Hat ranks
with their best and shows that there’s enough fire
left in the tank for another 40 years.
--- Graham Clarke
Los Angeles-based singer/guitarist Solomon King
has impressed local blues fans with his live
performances at places like the Hard Rock Café and
Whiskey-A-Go-Go. With his soulful vocals and guitar
work, it seems only a matter of time before he
branches out. His latest release, Under The Sun
(Blue Skunk Music), offers ample proof that King is
more than ready to take the next step.
King started out working in an auto factory in
Detroit, but found his way to the West Coast after
losing his job. Eventually, he started playing his
guitar and writing songs, hanging out with area
blues musicians. His brand of blues mixes the sounds
of urban blues with soul and funk. Helping him out
on Under The Sun is a supporting cast of
musicians that includes several familiar names (Ray
Parker, Jr. on guitar, Reggie McBride on bass, Ollie
Brown on drums, Sylvester Rivers on keyboards). The
background singers (Shea Chambers, Elaine Gibbs, and
Cristi Black) contribute mightily to the
proceedings, as do Johann Frank (guitar) and Jimmy
Powers (harmonica).
The title track is a funky update of the old “I’m A
Man” theme. Next is a remake of “Love & Happiness,”
on which the band really cooks, followed by a
stripped-down remake of the old Procol Harum hit,
“Whiter Shade of Pale,” which is probably the
weakest song on the disc. Much better is the
energetic “Frankie & Johnnie,” one of two King songs
(the other being the gritty rocker, “Jack Me Up”)
featured on the recent HBO series, True Blood.
The remake of Bobby Bland’s classic, “Ain’t No
Love,” and the original “You Look Good” are strong
R&B-based efforts, and “Freaky” is a loose
restructuring of the old Leon Haywood’s ’70s R&B
hit. I was a little worried when I saw Smokey
Robinson’s “Tracks of my Tears” on the track list
due to the difference in vocal styles, but King does
a very good job on it, with his vocal sounding even
more pained and vulnerable than the original
version. The rock and roller, “Who’s Lovin’ You
Now,” is a strong closer.
Under The Sun is a very strong, well-crafted
release for Solomon King with well-chosen covers and
some first-rate original tunes. Remember that name
because you’ll be hearing it again in the future.
--- Graham Clarke
The first thing you notice when you hear Cee Cee
James is, obviously, the resemblance in vocal
style to Janis Joplin. The second thing you notice
is that she writes some impressive songs. Her latest
release, Low Down Where The Snakes Crawl
(Blue Skunk Music) is one of the most intense
recordings you’ll hear this year in any genre.
The atmospheric opening track is the title cut, and
James doesn’t leave anything on the table with her
performance, draining every ounce of emotion out of
the song. “Black Raven” is an acoustic track
featuring James with guitarist/co-producer Rob
“Slideboy” Andrews and Michael Wilde on harmonica.
“Love Makes Change” swings into a neat little groove
and Howard and Andrews really shine on guitar (lead
and rhythm respectively).
Other highlights include the sassy “I’ll Ask The
Questions, You Tell The Lies,” the deceptively
alluring “White Picket Fence,” “Watermelon Lucy,”
with its swampy charm, and “Done Love Wrong,” which
features a masterful vocal from James, one of many
on the disc.
Produced by James and Andrews, and featuring a
first-rate band in support, Low Down Where The
Snakes Crawl and Cee Cee James are already
starting to get lots of attention. Despite the
inevitable comparisons to Joplin, there’s much more
to this lady’s talents than mere imitation. Pick up
this disc and see what all the fuss is about.
--- Graham Clarke
Keith Little has been a big part of the
Cincinnati music scene for over 35 years, performing
and recording his special brand of music blending
blues, R&B, and soul. He’s worked as a performer,
songwriter, playwright, producer, and writer. He’s
also created, produces, and hosts Mr. Little’s
Hangout on Cincinnati TV. His latest release,
Take It Off and Get Loose With It (Blue Skunk
Music) is a fine display of all of Little’s talents.
Little wrote 12 of the 13 tracks here, and in
addition to singing, he plays bass, some lead and
rhythm guitar. He has a big warm vocal style that is
sometimes reminiscent of Little Milton. He also has
a great band behind him, including a tight horn
section. Among the highlights of the disc are upbeat
numbers like the funky title track, which features
guitarist Marcos Sasstre, “Copper Tops,” which has a
bit of New Orleans in its rhythms, thanks to Ricky
Nye’s piano, and very original lyrics, and “Show
Some Sign” sounds like one of those Old School
Malaco singles.
Little’s wife, Cheryl Renee Little, ably assists
with lead vocals on the horn-driven “It’s All About
You,” and plays keyboards on several other tracks.
Other standout tracks include “New Shoes,” a slow
soulful groover, and a pair of rocking soul tracks
(“Get On Your Job” and “Mr. Knocha”) featuring some
serious string-bending from Sasstre. Even Little
admits that it’s futile to improve the original
version of the disc’s lone cover, “Rainy Night In
Georgia,” but Little’s relaxed, confident version
comes pretty close.
Keith Little has done an outstanding job with this
release. It’s as good a set of soul blues as you’ll
hear. He’s a masterful performer, an engaging
composer, and hopefully, based on this effort, he
will get some love outside of the Cincinnati area if
there’s any justice in the world.
--- Graham Clarke
Blue Skies & Black Shoes (Hip-Rox Music) is
the debut release from The Jason King Band.
Fronted by Jason King Roxas, this band specializes
in a high-energy blues/rock. King, a native of the
Philippines, has been playing guitar for over 25
years, not only playing blues, but gospel, rock,
soul, funk, country, and pop music. Let’s just say
he knows his way around his chosen instrument. The
core of his band (bass player Wilbert Banks, drummer
Michael Moore, and Weissenborn/lap steel guitarist
Tommy Stiles) has been together since the late ’90s
and they work together like a well-oiled machine.
The disc consists of 11 original tunes; impressive
in itself for a debut release, but the songs are
standouts to boot. The opener, “Steppin’ Out,” is a
funky shuffle punctuated by some sharp harmonica
from Freddie Mills. “I’m Your Man” swings pretty
hard and features some impressive fretwork by King,
and “Driftin’” is a powerhouse rocker.
“Cryin’ Shame” is a definite highlight…..a slow
blues with some fantastic guitar and a strong vocal
from King. “Mean & Nasty” is a slow Texas shuffle
that features King with tenor saxophonist Rick Metz
and Jason Stanton on B3. The title track is a nice
slice of southern rock that will satisfy fans of the
Allmans, and the funky rocker, “Soul Shaker” is a
crowd pleaser as well.
The Jason King Band offers a fresh approach to
blues/rock, acknowledging their influences while
steering the music in new directions. Blues Skies
& Black Shoes shows them as a force to be
reckoned with on the blues scene. This won’t be the
last you hear of this band.
--- Graham Clarke
Last Train to Bluesville is a change of pace
for The Nighthawks. Recorded live at Sirius/XM
Studios in Washington D.C., it’s an all-acoustic set
of blues standards that rates as one of the best
recordings in their long and storied history. It’s
also the last recording with longtime drummer Pete
Ragusa, who left the band shortly afterward to
pursue other projects.
The band rips through ten blues standards, including
three Muddy Waters tunes (“Nineteen Years Old,”
“Can’t Be Satisfied,” and “Rollin’ and Tumblin’”).
Founder Mark Wenner blows some mean harp throughout
and handles vocals on the three Waters tracks as
well as Slim Harpo’s “Rainin’ In My Heart,” and the
Sonny Boy Williamson classic, “Mighty Long Time.”
Bass player Johnny Castle provides vocals for “You
Don’t Love Me” and “Thirty Days.”
The band also ventures into R&B territory for an
acoustic version of the James Brown hit, “I’ll Go
Crazy” and a doo-wop incarnation of Little Walter’s
“High Temperature.” A rousing version of “Rollin’
and Tumblin’” closes the disc.
While some fans might be a bit put off by the set
list…..most of these songs have been done to
death…..what really makes this disc stand out is the
sheer exuberance and camaraderie that shows through
every note. This atmosphere breathes new life into
these old tracks. The acoustic setting works really
well and hopefully, they will revisit this format in
the future.
--- Graham Clarke
Reform School Girl, the latest CD from
Nick Curran and the Lowlifes, is a non-stop,
no-holds-barred celebration of rock and roll, blues,
and R&B. Although this music has been around for
over 50 years, with Curran you almost get that
tingly feeling that listeners must have gotten when
they first heard this style of music way back then.
Curran counts as his influences musicians from
Little Richard to Lazy Lester to T-Bone Walker to
the Ronettes and Shangri-La’s, all the way to the
’80s rockers like Guns N’ Roses. Believe it or not,
they all figure into this set in one way or another.
Highlights range from the opening cut, “Rough
Lover,” where Curran does his best Little Richard to
the title cut, which would have been for a Jan &
Dean album, to the menacing “Kill My Baby.” “Psycho”
is probably what the Ramones would have sounded like
if they’d started recording in the late ’50s. “Dream
Girl,” with its eerie shimmering guitar is also
first-rate, as are the frantic rockers, “Baby You
Crazy” and “Lusty L’il Lucy.”
The Lowlifes are awe-inspiring in their support.
Guest stars include Jason Ricci (harmonica on “Reel
Rock Party) and Blasters frontman Phil Alvin (guitar
and vocals on “Flyin’ Blind”).
Nick Curran’s reverence for this era of music is
obvious. He painstakingly recaptures the sounds of
those classic hits. Some of the tracks, especially
the vocals, sound as if you’re hearing them through
your tinny little AM radio speaker, which adds even
more to the excellence of these recordings. He’s not
only recreating the sound, but he’s also injecting
new life into it.
If you’re a rock and roller at heart, you absotively,
posilutely must have this disc. Rock and roll is
here to stay, Baby!
--- Graham Clarke
If you’re not familiar with guitarist Johnny A,
you should be. Since the turn of the century, the
versatile guitarist has released several fine
instrumental CD, after playing for artists like
Bobby Whitlock and Peter Wolf. His latest release is
a CD/DVD set called One November Night (Aglaophone
Records) and actually serves dual purposes for his
fans as a neat retrospective of his previous work
and also is his first live recording.
The DVD features 10 tracks recorded at Sculler’s
Jazz Club in Boston with sidemen Jesse Bastos (bass)
and Chris Farr (drums). The set is dazzling in its
range and scope as several genres of music are
explored. The opening track, “I Had To Laugh,” is
rockabilly, “Lullaby for Nicole” is a lovely
ballad,” and “Tex Critter” roams off into country &
western territory, as does “Two Wheel Boogie.” The
scorching “Jimi Jam,” is a tribute to Hendrix and
some other influences (Clapton, Jimmy Page, Jeff
Beck). The DVD closes with a beautiful version of
the old Left Banke hit, “Walk Away Renee.”
The CD includes four additional songs not on the
DVD, which is a shame because they’re uniformly
excellent. The Jimi Hendrix standard, “The Wind
Cries Mary,” is transformed into a funky workout.
The Beatles’ “The Night Before” is pretty
straight-forward and melodic, Chuck Berry’s
“Memphis, Tennessee” rocks hard, and Jimmy Webb’s
“Wichita Lineman” gets a lovely jazz treatment.
This is a marvelous release that’s well worth
finding by an excellent guitarist whose performance
will make you want to hear and see more.
--- Graham Clarke
Read
Graham's blog
Guitar
Shorty has been putting out some great music for
Alligator Records and his latest, Bare Knuckle,
is no exception. Great guitar work, a nice selection
of songs and the right attitude all make this CD a
joy to listen to. Kind of makes me wish I’d seen the
Blues Blast where Shorty did his legendary
back flips, but I’ll just have to picture that in my
mind. Let’s get on with it.
Shorty’s piercing guitar notes emphasize the help he
needs as a working man in “Please Mr. President.”
“Please Mr. President…lay some stimulus on me…cause
I’m just a working man…trying to feed my family!”
Times are tough; the banker’s at the door to
repossess the house, Shorty could definitely use the
help. “I’m not looking for a bail-out…I just need to
pay my debts.”
“Too Hard to Love You” finds Shorty getting ready to
move on down the road and leave this woman behind.
“You make it too hard to love you…you just want
money…I won’t keep buying your love, now…I just
can’t make enough money for you!” Sounds like a good
woman to be rid of. On the flip side of love, Shorty
tells us there’s the good with the bad in “The
Sting.” “The more things change…it still feels the
same….there ain’t no honey without the sting!”
The tempo slows down and Wyzard’s bass leads us into
our next tune, “Slow Burn.” A commentary on the
plight of the soldier, Shorty tells us that our vets
aren’t being treated right. “When a vet comes
back…without an arm or a leg…did he give all that
for the right to beg?” We send our soldier’s to war
to fight for liberty and in return we can’t treat
them right when they come home? No wonder they’re
experiencing a slow burn.
Our next song, “True Lies,” finds Shorty’s woman
lying to him about where she’s been late at night.
“You’ve been doing me so wrong…thinking it’s true…I
guess you don’t think it’s wrong…it ain’t being done
to you.” It’s definitely time for her to go. Shorty
will survive and moving on, he knows he can trust a
Texas woman as he tells us in “Texas Women.” “Like a
yellow rose…her beauty draws you in…she’ll work all
day…make love all night…stand by your side…just as
long as you treat her right…women born in Texas!” As
long as Shorty is good to her, she’ll be good to
him.
Shorty’s guitar is back at the forefront with the
intro to “Too Late.” His woman’s done him wrong and
he’s telling her about it. “Baby...you’ve done me
wrong for so long…baby, it’s too late.” There’s a
point at which you can’t go back and Shorty’s
reached it. “You tell me lies…when you should be
true…I gave you love…but all you gave me was the
blues! You did me wrong…you should have done me
right!” But she didn’t and Shorty’s moving out.
Unfortunately his luck doesn’t get much better in “Neverland.”
“We never go to movies…we never go out on a date…you
never say you’re my sugar…you never act like my
mate…there’s always quicksand…in a never, never
land…I never planned…for a never, never land!”
“Betrayed” finds Shorty going through more of the
same. “How long…were you dragging me along…I was
sure you were so into me…you kept such a great face
about it…I knew with me…was the only place you’d
be…but walking in on you with the enemy…the one
thing I thought I’d never be…betrayed!” I’m wishing
Shorty better luck next time.
Moving on, “Get Off” finds Shorty wanting to get off
the train so he can get back home. “Trying to get
off…trying to get to you if it’s the last thing I
do…got to get off!” The train won’t stop and
Shorty’s losing his mind, she must be one good woman
for him to feel this way.
Bare Knuckle closes with two opposing
viewpoints, “Bad Memory” and “Temporary Man.” In
“Bad Memory” Shorty’s got a call on his answering
machine from a woman who wants him back and he’s got
no good reason to do so. “I do remember someone…who
sounded…just like you…I think she said she loved
me…but she loved my best friend too…maybe I’ve got…a
bad memory!” “Temporary Man” finds Shorty on a short
term mission, “No rings…on your hand…you’re looking
good…ain’t got no man…you just want to party…and
stay out all night…I’ll try as hard as I can…to be
your temporary man!”
Bare Knuckle’s a good disc. Shorty’s band is
tight; his fretwork off the hook and this is one
disc best served loud. You can get the disc from
Shorty at
www.guitarshorty.com,
and catch his live show if you can. Shorty’s a great
showman and loves to play more than anything else.
You can bet the farm on that.
--- Kyle Deibler
I’m glad I took the time to go out to YouTube and
watch some video of Alastair Greene. You
don’t get a gig as the lead guitarist with the Alan
Parsons Live Project without having the chops to do
it. That said, Alastair’s newest release, Walking
in Circles, didn’t jump out at me to start with.
It has its redeeming moments; the rhythm section of
Tom Lackner on drums and Jim Rankin on bass is solid
and Mitch Kashmar adds his harp virtuosity on
several cuts. But Alastair’s fretwork at times felt
like more quantity than quality when it came to
impassioned blues rock guitar. I can’t put my finger
on it but that’s the way it sounds & feels to me.
It’s not a bad disc; I just expected and thought it
would be more than it is.
We open with the title cut, “Walking In Circles,”
and Alastair is lost without his woman. “I’ve been
worried about my baby…cause you know she can’t be
found.” He’s been walking in circles, “hoping to
find a straight line back to my baby, cause I got
lovin’ on my mind!” Mitch blows a mean harp on this
cut and it’s clear that Alastair wants this woman
back bad. All’s well that ends well; she says she’s
coming home. This theme continues with our next cut,
“Look Out Baby,” Alastair is back in town and he’s
looking for some down time with his woman. “Look out
baby….cause you know I’m back in town!”
Our third cut, “Drunk Again,” finds Alastair has hit
the bottle and he’s rather unruly when he’s been
drinking. Fortunately he’s got a solution in mind
when that happens, “Baby, if I get that drunk
again….slap me upside my head!” Hopefully that will
help.
Next up is a cover of Allen Toussaint’s “Get Out of
My Life Woman.” Alastair’s guitar is front and
center; I’m enjoying his fretwork here as he
encourages this woman to get out of the way. “Get
out of my life woman…I don’t love you no more…Get
out of my life woman…I don’t love you no more!”
The band stretches its legs on an Albert Collins
instrumental, “Don’t Lose Your Cool.” Here Alastair
goes to town and I’m hearing Mitch’s harmonica
prominently displayed as well. The back-end is tight
and this is a well-done instrumental. Up next is
another original by Alastair, “Say What You Want.”
There’s a woman at the end of the bar that
everyone’s hitting on and no one is having any luck.
“I know what I know…cause I’ve already tried…you can
say what you want to that woman of stone…she just
wants you to…leave her alone!”
Another cover, “Pocket Full of Change,” features
prominently features Mitch’s harmonica and he takes
his turn at the keys as well. Alastair’s in love
with his woman and he’s saving all of his spare
change to get a train ride home. “I just can’t make
it by myself little girl…I just can’t make it on my
own…If I had a $100 baby….I’d fly home to you…on a
jet plane…so I’m waiting round the change
station…waiting around…with my pocket full of
change.”
ZZ Top influences are heard in my headphones as
Alastair’s band moves on to our next cut, “Cut You
Loose.” This woman is causing Alastair more pain and
trouble than she’s worth and the only solution is to
cut her loose. “The only thing that you give me
baby…is a hard way to go…so I’m throwing up both of
my hands…I’m going to holler ‘What’s the Use’ well I
ought to but I ain’t a…cut you loose!” “Back Alley
Strut” is another instrumental that features Mitch’s
harmonica front and center as the perfect foil to
Alastair’s guitar.
The last two cuts are a ballad written by Peter
Green, “Merry-Go-Round,” and a fun tune by Hound Dog
Taylor, “Give Me Back My Wig.” I really like
Alastair’s guitar playing on “Merry-Go-Round,” and
Hound Dog Taylor’s song is a fitting ending to this
disc with Mitch’s harmonica doing it the justice it
deserves.
But I have to admit that this was a disc that took
some warming to. It’s not one that grabbed me the
first time around and it’s not one that I’ll come
back to soon. Alastair is a brilliant guitarist; I
just didn’t feel like his talents translated well on
this disc. It will be interesting to see what the
next one brings.
--- Kyle Deibler
A lot has transpired since I hung out with Jeff
Jensen at Hopson’s Commissary. One of the
hardest working Bluesmen in Socal, Jeff has gotten
engaged, moved to Portland, Oregon and found time to
put out a new record, I’m Coming Home. Jeff
enlisted the assistance of the Pandis Horns and some
other notable LA players to record a very ambitious
project that totally reflects Jeff’s tastes as a
Bluesman. So let’s hit play and get to it.
The disc opens with Jeff’s version of B.B. King’s
“Ask Me No Questions,” and he predictably puts his
own spin on it. Jeff’s having trouble with the woman
in question and she’s not always agreeable, “you
don’t always want to love me…but I think about you
all the time…yes, I do!” This one’s probably not
going to work and if Jeff doesn’t ask her any
questions, there’s a good chance she won’t tell him
any lies. Jeff’s telecaster is still going strong
and I appreciate the presence of the Pandis Horns.
Our next track is the title track, “I’m Coming
Home,” and finds Jeff in a reflective mood as he
packs up his gear to head north to Portland to see
his fiancé, Mary-Esther. “I’m going to call my
baby…in the 503…and tell her…I just can’t wait to
see her…I’m going to pack my suitcase…five
nights…find more bread…I’m going to get myself a
plane ticket…so we can spend a week in bed!” Now
that’s the Jeff I know. Going to have to make the
trip to Portland someday soon to see what the fuss
is all about. The band is very tight and Jeff’s
passion for Mary-Esther is evident…”Now look out
baby…cause I’m coming home!”
One of the things I like about Jeff’s writing is his
tongue-in-cheek view of the world and “Living in Los
Angeles” is a perfect example of that. “Homeless
people pushing shopping carts…all the Hollywood
folks with the plastic parts…these are some things I
learned while growing up in Los Angeles!” I’m sure
the move to Portland was an interesting change from
what Jeff’s used to in LA.
Riz guests on piano on our next cut, “Worried Life
Blues,” and Dan Heffernan’s work on the baritone sax
is a nice intro to the song. “You’re on my
mind…every place I go…how much I love you…baby,
you’ll never know…but someday Babe, I ain’t going to
worry my life…anymore!” Jeff’s woman has left him
and the pain of her departure has cut him deep. The
healing will take time but Jeff’s up to the task.
Riz’s keyboard work is excellent and this is one of
my favorite cuts on the disc.
Marcy Levy lends her vocal talents on Jeff’s next
tune, “Doing the Right Thing.” “You can it in her
eyes…you can feel it in your heart…this woman is for
you…but you knew it from the start…you found the
girl you want…you found the girl you need…now you’re
together…she’s just not the love for me…sometimes
doing the right thing….can hurt so bad!” Jeff loved
this woman dearly but she just wasn’t the one for
him…the memories still cause him pain but he was
right to let her go.
“Good Morning Judge” is up next and this could pass
for Jeff’s theme song. “Good morning Judge, why you
look so mean, sir…now Mr. Judge…what can the charges
be…if there’s been trouble…I will plead not
guilty….must be someone else…you know it can’t be
me!” There’s nothing I could say that would add to
the commentary on this song, what happened in
Memphis stays in Memphis and I’ll have to plead the
5th on behalf of Jeff.
Jeff is a man who feels deeply and his feelings
often catch up with him. A good example is our next
tune, “Cocaine Spiked Whiskey.” “Well, I don’t make
good decisions…at least as far as I can see…but like
cocaine spiked whiskey…maybe you’re just not the
buzz for me.” At least he was smart enough in this
case to realize that the woman in question was just
not the right one. Jamieson Trotter’s B3 work is
right on and adds to the feeling of depression we
hear in Jeff’s guitar solo.
Of course the mood changes 180 degrees when Jeff
discusses his feelings for thin girls in the next
tune, “Skinny Girls.” “I need a skinny girl…from her
head to her feet…I’m going to find me a woman…a
skinny woman just for me….about 98 pounds….standing
at 6’3.” That tall and that thin just isn’t a
healthy combination, she’s going to need a few more
pounds on her bones but I’ll take that up with Jeff
next time I see him.
Kyle Culkin is one of Jeff’s good friends and
evidently they share some experiences with the same
woman that finds both of them needing to get the
truth off their chests in “She’s Evil.” “What
happened to you, Kyle?” “Well…she said that she
loved me but she don’t care…when I’m at work…she
spreads her loving everywhere…she’s evil!” Hopefully
both of them have learned their lesson and moved on.
Jeff’s version of Muddy’s classic tune “Nineteen
Years Old,” is up next and he’s passionately in love
with this young woman as George Pandis’ trumpet
leads us to the truth. “I’m going to say something
to you…and I don’t care…how you feel…you just don’t
realize…that you got yourself a good deal…she’s 19
years old…she’s got ways…just like a baby
child…Lord, there’s nothing I can do to please this
woman…to make this young woman feel…so satisfied!”
Jeff’s doing all he can but somehow it just isn’t
enough. He’s eventually going to have to let her go
and the pain of doing so will be profound.
Appropriately enough, I’m Coming Home closes
with “Please Don’t Go.” “Baby please don’t go…please
don’t hurt me anymore…baby, please don’t leave
me…here all alone…baby, please don’t go…don’t make
me chase you out the door!” Love sometimes is
fleeting and this one was a good woman for Jeff to
love, I just don’t think she’s coming back for him.
I’ve enjoyed this disc by Jeff Jensen and his band.
We’ve been good friends a long time now and I’m
excited as well to see the growth in the
arrangements, the vocals and Jeff’s writing.
Portland’s gain is definitely Southern California’s
loss but Mary-Esther had something to do with that
and you can’t argue with real love so
congratulations Jeff. You can grab a copy of this
disc from Jeff’s website,
www.jeffjensenband.com and I’m sure you’ll
appreciate it.
--- Kyle Deibler
I’d have to call Phil Berkowitz a “lounge
lizard.” Don’t really know how else to describe him.
Phil was here in the Valley recently touring with
Sean Carney and his new record, All Night Party,
takes me back to the days of the Old Bombay Bicycle
Club here in Scottsdale. I can picture Phil in my
mind holding court there and playing till the wee
hours of the morning. All Night Party is a
definitely a pleasant listen and comes highly recommended.
We open with the title track, “All Night Party,” and
everyone is having a good time. “Wine, women,
whiskey, rhythm & blues….with all these things…how
can a young man choose?” Can’t go wrong with any of
the choices although I’d pick tequila over whiskey.
Phil blows a subtle harmonica and the fun’s just
getting started. Notes from Sean Carney’s guitar
emanate into the night and “Straight Up” is our next
tune. “If you can’t help yourself….who the hell’s
going to help you…straight up pretty baby…that’s the
way it’s got to be…straight up baby…is it him or is
it me? Three’s a crowd and Phil’s laying it down on
the line straight, hard to say who she’s going to
pick but at least everyone’s clear where they stand.
“Tonka T” gives everyone a chance to air it out a
bit as Phil’s band tackles this instrumental. Phil’s
a very good harp player and I’m impressed by his
phrasing in this instrumental.
Our next tune is “Ghost Child” and Marvin Greene is
on the guitar for this one. “Cause I feel like a
stranger…in my own mind…my thoughts just won’t let
me be.” Phil lost his mother at an early age and no
place feels quite right. “There goes another ghost
child…riding across the night….ghost child…he hides
in the shadows…keeping his dreams out of sight.”
Phil’s had to learn a lot of life’s lessons on his
own but he’s come through ok. “Always a First Time”
finds Phil lamenting the loss of his girl to another
man. “Nobody knows…nobody can tell…what tomorrow can
bring…that’s how I realize there’s a first time…for
everything.” The girl has moved on and Phil will
recover but the loss of your first love is tough and
this one will take some time. William Beatty’s
keyboard work compliments Bill Stuve’s upright bass
on our next tune as Phil tells us about “Ginger T”.
“My little Miss Ginger T…she makes me feel so
strong…you know every time I’m around her….feel like
a man can do no wrong!” Phil’s got a good woman here
and hopefully he’ll be able to hang onto her.
“Beach Bar Boogie” is inspired by time Phil spent in
the Virgin Islands performing at a festival there.
“They got a special kind of place…where they play
all night and day.” “They do the beach bar
boogie….boogie all night long!” Evidently everyone
had a good time and kudos to Steve Simon for all the
events he produces down that way.
“She’s a fine little honey dripper…and she’s driving
me out of my mind…she’s got a cool way of
loving…I’ll tell this mad…mad…world its fine.” Phil
obviously found a good woman and he’s smitten by all
the good loving she’s giving him in “Fine Little
Honey Dripper.” This theme continues with our next
tune, “If You Were Mine.” “I’m not one….to believe
in love at first sight…but you changed my
mind…changed it last night…I fell in love…even
though I didn’t intend to…hard as I tried…I couldn’t
take my eyes off you!” Phil fell hard and he’s
definitely got it bad. He’s hoping she’ll keep him
in mind in “Here’s My Picture.” “Well, here’s my
picture, baby…please keep it in the frame…now when
I’m not around…you’ll see me just the same.”
Evidently the relationship is still going strong
because Phil can’t stop telling us how good it is in
“She’s My Baby.” “She digs boogie woogie and rock n’
roll too…this little girl is no snooty Sue…for that
love I’d run a Texas mile…cause she’s a living
doll.” The tempo picks up considerably in “I Want a
Roof Over My Head.” “I want a roof over my head and
bread on the table…and love in my heart…just for
you!” Phil’s a man of simple needs and shelter, food
and the love of a good woman pretty well cover all
the bases.
Sean’s intricate picking is evident on our next
tune, “Midnight Rooster.” “The days of wine and
roses are here and now…so drink from the bottle…and
welcome the dawn…little boy blue…sees it all go
by…time stands still when it plays…slow down….slow
down Rooster!”
What has been a great record from Phil closes with
the tune “The Party’s Over.” “Well…I remember all
those crazy nights…staying out drinking til dawn…I
can’t say they were wrong or right….only that those
nights are long gone!”
All Night Party has been a very enjoyable
disc to listen to and review. I’d not known of
Phil’s music before he came to town and this disc
will definitely be one of the sleepers this year.
For more information on Phil, check him out on his
website,
www.philberkowitz.com, and pick up a copy of
All Night Party; it’s definitely going to be a
disc that finds its way back into my CD player very
soon.
--- Kyle Deibler
It’s 12 years since Sean Chambers launched
his first CD, Strong Temptation, the same
year that he played with Hubert Sumlin at the
Memphis Blues Festival, but some 15 years after he
first started to perfect his musical style. He
brought out Humble Spirits in 2004, and his
latest creation, Ten Til Midnight (Blue
Heat Records) in 2009.
Chambers cites Jimi Hendrix, Freddie King, Johnny
Winter and Stevie Ray Vaughan as some of his prime
influences, but this man’s work is a lot deeper than
that, and it’s obvious that he goes way back into
the blues for his influences.
This CD features Sean Chambers with a rhythm section
of Tim Blair on bass with Paul Broderick on drums,
and they gel together really well. Of the ten tracks
on the CD, seven are originals written by Chambers
or Chambers and Tim Blair. The title track is a good
rocking blues and it opens the album in some style,
and with a good pointer of what’s to come on the CD
it slips into “Blues & Rock n Roll,” with lots of
fancy guitar work.
The first of the three cover versions is next - “All
The King’s Horses,” a Luther Allison song played
very much in Allison’s style, and none the worse for
that. The other two covers are Guitar Slim’s “You’re
Gonna Miss Me,” which really rocks along and had my
feet tapping the whole way through, and a Z.Z. Top
song, “Brown Sugar.” which was written by Billy
Gibbons.
As well as rocking blues, the album features some
regular blues and some absolutely stunning slide
guitar – listen to “When I get Lonely” for an
example of this! Most of the tracks are medium or
up-tempo numbers, but the pace slows way down on
track six “In The Winter Time.” For me, my favourite
track, without a doubt is the last track on the
album, the acoustic “I Don’t Know Why” – acoustic
slide and harmonica with a flavour of thirties and
forties blues. I wish Sean Chambers would produce a
whole album like this!
--- Terry Clear
Track Record is Thorbjorn Risager’s
fifth CD, and his third on Cope Records, but the
first one that I’ve heard. Danish bluesman Risager
writes some good blues songs, probably the main
reason that this album contains eight original
tracks written by him, one by drummer Martin
Seidelin, and one cover version (big Joe Williams’
Baby Please Don’t Go”).
As well as Risager on vocals and guitar, the band
consists of Soren Bojgaard on bass, drummer Martin
Seidelin, Emil Balsgaard on piano and organ, Kasper
Wagner (saxophones), Peter Kehl (trumpet), Jarno
Varsted on harmonica, and a handful of good backing
vocalists. These are accomplished musicians who know
their blues – if you thought that Northern Europe
was too far from Chicago or Mississippi to produce
good blues, then have a listen to this CD.
The CD opens with the Risager track “Rock ‘n Roll
Ride,” a good, medium tempo, driving blues/rock
number that showcases perfectly what the band are
capable of – Risager picked the right track to open
the album. The Big Joe Williams track follows up,
and it’s an extremely good version of “Baby Please
Don’t Go,” played at a slightly faster pace than
usual, and with brass backing – it works well!
“Let’s Go Down” slows things down – a slow moody,
atmospheric blues track, with haunting harmonica
providing the atmosphere, backed with tinkling
piano. Track four, “You Walked Right In,” is another
one with brass backing and Risager’s voice sounds
like a blend of Government Mule’s Warren Haynes and
Chicago’s Peter Cetera – a good up-tempo soul/blues
track that’s guaranteed to make you tap your feet.
“7 Steps To heaven” is another soul blues number,
and it leads into a ballad “Stand Beside Me” which
has a little bit of Bob Seger flavour to it. “Eyes
That Turned Away” gets the tempo back up to medium
flame and contains some excellent guitar work from
Risager. This track is really well-written and could
easily be a commercial hit.
The sound of the rhythm section beat on “Rhythms Of
The Night” put me in mind of the old '70s track “Low
Rider” by War, whilst “I’ll Be Moving On” has a jazz
feel to it – bouncy, full of brass.
The album closes with “Bells Of Joy”, a slow blues
ballad with Emil Balsgaard playing organ in the
background, adding a little something that you find
yourself listening out for.
This is a very good effort from a very good band
--- Terry Clear
Catherine Russell presents a vintage blues
sound on her new disc, Inside This Heart of Mine
(World Village). This album harkens back to the days
of sophisticated clubs, customers dressed to the
nines, the air thick with smoke, and the tinkling of
cocktail glasses emanating through the place.
Ms. Russell covers 13 standards from back in the
day, covering the spectrum from swing to jazz to
blues. She's got a good horn section backing her,
but I especially like the work of trombonist John
Allred; he really adds an extra oomph to the Fats
Waller jump number, "We The People."
Not surprisingly, the other cuts that most appealed
to me were the bluesier ones towards the end of the
disc. Ms. Russell moves into jump blues territory
with Wynonie Harris' "Quiet Whiskey," which presents
her with a smaller, acoustic combo compared to
Harris' big band. It's different, but it works.
She then moves on to Willie Dixon's "Spoonful."
Again, it's her own take on this Chicago blues
classic, highlighted by banjo from Matt Munisteri
and tuba from the legendary Howard Johnson. Both the
banjo and tuba are back in the band for "Slow As
Molasses," originally recorded in 1929 as an
instrumental by the Jungle Town Stompers. Allred
returns here with a very nice trombone solo.
Wrapping up the CD is Louis Armstrong's classic, "Struttin'
With Some Barbeque." The band really gets to swing
here, especially trumpet player Jon-Erik Kellso and
trombonist Allred.
My minor complaint with the album is that the sound
is TOO pure and pristine. This is music that
originally could be on the raucous or bawdy side, and I'd like Ms.
Russell's renditions to be a little rawer. Just
because we now have the technology to make
recordings sound so clean doesn't mean that we
should always be using it. After all, it's the blues
... make it sound like the blues, please!
Otherwise, Inside This Heart of Mine is a
fine disc from a woman who's building a strong
discography.
--- Bill Mitchell
Kirk Fletcher has built a strong reputation
as one of the finer young guitar players on the
scene today through his work with, among others, the
Fabulous Thunderbirds and Charlie Musselwhite. On
his second solo CD, My Turn (Electo Groove
Records), Fletcher steps to the front of the stage
and demonstrates the ability to be "the man" with 10
funky blues numbers.
The disc begins with a Stevie Ray Vaughan-style
instrumental, "El Medio Stomp," and Fletcher
immediately gets to flex his guitar chops. Yeah,
he's good. Real good.
While stepping up to the microphone has not been a
common occurrence during Fletcher's blues career, he
acquits himself well on the slow, shuffling Jimmy
Reed tune, "Found Love." No, he's not nearly as good
of a singer as he is a guitarist --- but he's not
bad.
My favorite number was Fletcher's take on the
traditional New Orleans number, "Congo Square." With
Paulie Cerra handling the vocals, Fletcher is left
to excel on guitar --- and excel is what he does.
Cerra also sings and plays sax on the straight blues
shuffle "Ain't No Way"; this one's got kind of a B.B.
King sound to it.
"Blues For Antone" is another strong one,
sounding a bit like Stevie Ray Vaughan's version
of "Texas Flood." It's a tribute to the late
Clifford Antone; I think that Clifford would be
smiling all the way through this one.
"My Turn" is a funky jazz instrumental composed by
several of the band members, including bassist
Travis Carlton, son of the legendary jazz guitarist
Larry Carlton.
Fletcher mentions in the liner notes that he's been
listening to a lot of Jimi Hendrix lately, and that
influence shows on "Let Me Have It All," complete
with use of all of the appropriate guitar effects.
The disc concludes with a drawn out, psychedelic
original, "Continents End," including spoken word
from Karen Landau. This one didn't really excite me,
but that's a matter of individual taste.
My Turn is one of the best and diverse blues CDs of the
year. It's going to be in the regular rotation for
me for quite some time.
--- Bill Mitchell
