Big Bill
Morganfield has built a nice career since the mid-90s,
releasing several fine albums since that time and continuing
to develop as a performer and songwriter. Over time, his
voice is sometimes a dead ringer for that of his dad, Muddy
Waters, and he has become a formidable slide guitarist as
well. On his latest release, Bloodstains On The Wall
(Black Shuck Records), Morganfield branches out a bit, still
offering plenty of traditional blues in the Windy City vein,
but mixing in a few slight variations, at least
geographically, plus one definite move out of his comfort
zone. More on that later.
Morganfield
includes the requisite covers of Chicago blues favorites ---
Otis Rush’s “Keep On Loving Me,” Willie
Dixon’s “I Am The Blues” and “I Don’t
Know Why,” while mixing in the Jimmy Reed obscurity
“Too Much,” a tasty cover of Lonesome Sundown’s
swamp classic “Lost Without Love,” the title
track from Alabama country blues artist Frank “Honeyboy”
Patt, and a swinging read of Jimmy McCracklin’s “Help
The Bear.”
His own songs
include “When You Lose Someone You Love,” which
is a second cousin to his dad’s “Can’t Lose
What You Never Had” in melody, but is actually a
tribute to his late mother, the manic old-school rocker “Help
Someone,” and the Windy City shuffle “Can’t
Call Her Name.” Morganfield’s own tunes hold up
well with the covers and he continues to improve and impress
with his compositions.
The outlier for
this release is the closing track, “Hold Me Baby,”
a track that Morganfield wrote for the new Fox TV series,
Shots Fired. Produced by C-Maven, the song mixes
Morganfield’s guitar and vocal with hip hop beats and
electronics, and may not be your basic blues nut’s cup
of tea, but it is noteworthy that Morganfield seems to have
an eye toward the future of the music and hopes to attract
newer fans. Morganfield will appear on the series and has
written several other tunes for the show.
For most of the
disc, Morganfield performs with the Mofo Party Band (John
Clifton – harp, guitar, backing vocals, Bill Clifton –
guitar, Grant Clifton – bass, Brian Bischel –
drums), but also includes a world class group of guest
artists on other tracks (guitarists Colin Linden, Bob
Margolin, Eddie Taylor, Jr., and Chuck Cotton; harp blowers
Doc Malone and Steve Guyger, Mookie Brill on bass, Augie
Meyers on piano, and Jim Horn on sax).
To these ears,
Bloodstains On The Wall is Big Bill Morganfield’s
most forward-looking release to date. While he’s long
been associated with, and pretty much mastered, the classic
sounds that his father helped develop nearly 70 years ago, he
continues to expand his own mastery of traditional blues and
is working to help bring the blues to the ears of the next
generation.
--- Graham
Clarke
Eric Bibb
surely must be one of the busiest artists in the music
business. Migration Blues (Stony Plain Records) is his
third release in 18 months. As the title indicates, Bibb
takes on one of the more controversial topics currently on
the minds of most of the world’s population: The plight
of people of various races and cultures who are fleeing
oppression, violence, and poverty in their homelands. Bibb
has never been one to shy away from a particular subject and
on his new release, he presents 15 songs, most of which he
wrote or co-wrote.
Songs like
“Delta Getaway” and “With a Dolla In My
Pocket” cover the plight of African-Americans who
migrated north in the early part of the 20th century, while
“Diego’s Blues” concerns the related
arrival of Mexicans into the Mississippi Delta to fill the
vocational void left by the African Americans. The harrowing
“Praying For Shore” and “Four Years, No
Rain” will bring to mind the current migration of those
who are being persecuted and oppressed in foreign lands, and
“We Had To Move” shows migration of a different
sort (those forced to relocate due to eminent domain action
taken by the government).
Bibb wrote the
opener, “Refugee Blues,” which really sets the
tone of the album, a prayer for safety due to the uncertainty
and fear that has to be on the minds of those migrating. He
also penned “Brotherly Love,” a call for everyone
to put their differences to the side and find a way to solve
this current dilemma.
There are also
several instrumental tracks included that really showcase
Bibb and his collaborators on the album, JJ Milteau and
Michael Jerome Browne; the gentle title track, the lively “La
Vie C’est Comme Un Oignon,” which is dedicated to
the French Acadians forced away from Nova Scotia by the
British during the French and Indian War (most resettled in
Louisiana and became known as Cajuns), and “Postcard
From Booker,” a short tune played by Bibb on Bukka
White’s old guitar.
Bibb covers Bob
Dylan’s “Masters of War,” but actually
presents it in a calmer manner than the scathing original,
Woody Guthrie’s “This Land Is Your Land,”
and a lovely reading of the traditional spiritual, “Mornin’
Train,” which closes the disc.
Whatever your
own views about the subject, and there are many different
views from many different perspectives, Bibb’s approach
covers the subject from a variety of angles, always from the
perspective of those migrating, a viewpoint which is not
always taken into consideration by everyone. Although the
primary focus of today’s world events is on the people
of Syria, Bibb points out that nearly every group of people
in the world are where they are today because they migrated
there from somewhere else for one reason or another.
Migration
Blues is a mature and sobering look at a topic that
affects all of us. Eric Bibb does as good a job as anyone
I’ve heard in presenting the subject in a manner that
goes beyond what you hear on the nightly news about it --- a
method that’s both thought-provoking and entertaining.
--- Graham
Clarke
Crowin’
The Blues (Woodstock Records) is the 13th, and latest,
release from the the New York-based ensemble Professor
Louie and the Crowmatix. The band began as the studio
band backing Professor Louie (a.k.a. Aaron Hurwitz) on his
musical productions for the Rock and Roll Hall of Fame
inductees and their repertoire consists of blues, rock ‘n
roll, gospel, and roots music. Their latest album focuses
heavily on the blues aspect, but their other influences slip
in here and there as well on the 13 tracks, four originals
and nine interesting interpretations of blues classics.
The disc kicks
off with a rollicking reading of Marie Adams’ “I’m
Gonna Play The Honky Tonks” that really captures the
loose and limber feel of the song with some great keyboard
action from the Professor. The band also covers Tommy
Tucker’s “High Heel Sneakers,” Elmore
James’ “Fine Little Mama” (a hot one with
some fine slide guitar from John Platania), and Jimmy
McCracklin’s “I Finally Got You.” There’s
also a rousing venture into gospel with the traditional
spiritual “I’m On My Way.”
Big Bill
Broonzy’s “Why Did You Do That To Me” gets
a splendid old timey presentation, with the Professor
doubling up on the accordion and piano, and Miss Marie takes
the mic on a pair of tunes, a piano-driven take on B.B.
King’s “Confessin’ The Blues” and a
downhome version of Jimmy Rogers’ “That’s
All Right.” Probably the most fascinating of the cover
tunes is the band’s after-hours spin on Jimmy Reed’s
“Bright Lights, Big City,” taking the song at an
even slower pace than the Reed original and combining it with
the the melody of the Coasters’ R&B classic “On
Broadway.”
The originals
include “Prisoner of Your Sound,” which has a bit
of a New Orleans groove, joined by the Professor’s
Hammond and Paltania’s stinging slide guitar, the
superlative ballad “Love Is Killing Me,” and a
pair of instrumentals --- the freewheeling ”Blues and
Good News” and “Blues for Buckwheat,” a
fine tribute to the late Buckwheat Zydeco that features the
Professor on the accordion.
The band
consists of Professor Louie (vocals, piano, accordion,
Hammond organ), Miss Marie Spinoza (vocals, percussion,
piano, whistling), Gary Burke (drums), Frank Campbell (bass,
backing vocals), John Platania (guitars). Guitarists Josh
Colow and Michael Falzerano contribute on “Love Is
Killing Me.” Crowin’ The Blues is a great
listen for blues fans who like a mix of the traditional and
modern styles of blues (plus a few other styles mixed in),
and Professor Louie and the Crowmatix are a group that
deserves to be heard.
--- Graham
Clarke
You can call
what The Soul Of John Black plays blues. You can call
it soul. You can call it R&B. You can call it funk or
jazz or hip hop. Doesn’t matter what you call it ……
it’s always worth hearing for any fans of these genres.
John Bigham, the man behind the music who has played with
Miles Davis, Fishbone, and Everlast, calls Early In The
Moanin’ (Cadabra Records) his “love letter to
the blues,” and truthfully, even though all those
above-listed genres figure prominently on the album’s
ten tracks, the blues influences are the most prominent.
The disc opens
with the sweaty, swampy funk workout, “Can’t Be
Helped,” segues into the slippery blues of the title
track and “Chicago Blues,” which despite its
title, sounds more like steady rolling, old school Chicago
soul, but listeners won’t mind a bit. The gritty
“Crooked Leg” grabs you with some nasty bass and
puts a hop in your step right away, and “Cher”
sounds like a long-lost Prince side.
“Thursday
Morning,” with its slide guitar, gives listeners a
touch of the Delta with a slice of soul, and the funky
“Daggers” introduces a bit of hip hop beat into
the soul mix. “I Wish I Was Makin’ Love” is
a splendid, sexy slow burner, and one of the pure blues
highlights on the album. The interesting “Early Riser”
is a gentle rocker that combines acoustic guitar with a few
electronic bells and whistles, and “Sunset Drive,”
is a smooth instrumental that eases the album to a close.
Early In The
Moanin’ is the best release yet to these ears for
The Soul Of John Black, certainly the most blues-centric. If
you’ve not experienced the musical vision of John
Bigham, this is a great place to get on board, but you’ll
definitely want to hear the rest when you’re done with
this one.
--- Graham
Clarke
There’s
something for everybody on Geoff Achison’s new
release, Another Mile, Another Minute (Landslide
Records). The Australian singer / songwriter / guitarist’s
14th release features not only the blues, but also ventures
into rock, country, folk, and funk territory. Backed by his
core band (Roger McLachlan – bass, Gerry Pantazis –
drums/percussion, Richard Tankard – keyboards), plus
some of Australia’s finest musicians (including Mal
Logan – piano/synth, Chris Wilson – harmonica,
Lloyd Spiegel – vocals, Shannon Bourne – guitar),
Achison positively rips through 14 original tunes that rank
with his best work to date.
It’s been
nearly a decade since an Achison studio release, but this was
worth the wait. He jumps right into it with the smooth, jazzy
opener “High Wire,” moving into the
acoustic/electric narrative “Delta Dave,” then
the soulful “Working My Way Back Home,” which
blends funk, jazz, and R&B, and the bluesy shuffle “I’m
Gonna Ride.” The catchy “A New Bad Habit”
is a standout, too, with horns and keyboards evoking the
sounds of Memphis.
The southern
rocker “I Wish You Were Mine” features a strong
lead vocal from Spiegel, while the title track and “Make
No Mistake” (which showcases guitarist Bourne on the
sizzling outro) lean toward the soul side of the blues.
“Dreaming I’m Awake” is a spectacular slow
blues ballad with some of Achison’s best guitar work on
the disc. “Sum People Got All Da Funk” should get
feet stomping and toes tapping with its funky backdrop,
greasy horns, and Achison’s playful vocal, and the
stylish and upbeat “Baby Come Back” will remind
listeners of '70s pop/rock with grooving horns, harmony
vocals and a crisp guitar solo from Achison. “I
Need Help” and “Make My Stand” are both
up-tempo rockers with tasty guitar runs, and the closer,
“Front Porch Farewell,” is a beautiful acoustic
instrumental that ends the album on a lovely note. As great
as Achison’s guitar work is throughout, his rough and
ready vocals are equally strong and fit easily into the
varied styles presented here.
Another
Mile, Another Minute is an excellent all-around release
that will not only please blues fans, but also fans of most
other genres as well. Hopefully, Achison won’t wait so
long between releases next time.
--- Graham
Clarke
Danish-American
singer Nina Massara has a distinctive sweet, but sassy
vocal style …. one that manages to convey innocence
and worldliness at the same time. Add her retro movie star
visage to that voice and it should be a can’t-miss
combination, especially if that talent is backed by an
imaginative set of songs and a savvy backing band. All those
pieces are in place for Watch Me (CSP Records),
Massara’s U.S. debut release.
The nine tracks
were penned by producer Morten Wittrock and Ray Weaver and
they’re a fine set of tunes. The title track opens the
set with a funky New Orleans swagger, but the second tune,
“Big Easy,” is a jazzy tribute to the Crescent
City, punctuated by snaky slide guitar work. The aptly-titled
“Impossible To Resist” is an irresistible duet
with Colin Brooks former Band of Heathens, the slow burner
“All That I’ll Ever Need” is a standout,
and “Something New” cranks up the funk nicely.
In the feisty
“You Ain’t Up To It,” Massara puts her man
in his place, and “Crazy” is a jaunty little
rocker that dabbles in the blues. The energetic shuffle
“Drive Drive Drive” has a country tilt to it, and
the closer, “Full Grown Woman,” may be the best
track of all, with its wonderful old school feel and its
subject matter, a topic most ladies can probably relate to.
Nina Massara’s
Watch Me was a pleasant surprise and a genuine
pleasure to take in. This disc will appeal to blues, soul,
and jazz fans, but should cross several other musical aisles
as well.
--- Graham
Clarke
This Is The
Life I Choose (33 Records) is the fourth studio release
from the British band Zoe Schwarz Blue Commotion.
Schwarz (vocals) is a gifted singer in a variety of settings
and she’s backed by guitarist Rob Koral, a veteran of
the British blues and jazz scene, organist Pete Whittaker,
whose deft keyboard mastery combines blues, soul, and jazz in
the finest Jimmy Smith tradition, and drummer Paul Robinson,
a 40-year vet who’s an in-demand touring and session
drummer for genres across the board.
Though the band
has only been together for a few years, their musical
chemistry is so sound that their picture can probably be
found on Google if you happened to search for “well-oiled
machine.” Koral and Schwarz wrote seven of the 13
tracks and his songs take the blues into familiar territory,
though through a perspective that’s not always
familiar. The autobiographical title track is excellent,
about the good and bad of a career in music. The jazzy “My
Baby Told Me So” bounces optimistically, despite the
somewhat downbeat lyrics, and “People” is a
catchy blues shuffle calling for love and harmony.
“Broken”
is a powerful, topical ballad, featuring a bravura vocal turn
from Schwarz, which the band released as a single, with
proceeds from sales going to the “Crisis”
charity. The peppy “I Wanna Get Something Started With
You” blends jazz and blues seamlessly with nice work on
the Hammond from Whittaker and Koral on guitar, and “I
Can’t Live Like That” leans toward R&B and is
one of several tracks complemented by saxophone (Ian Ellis)
and trumpet (Andy Urquhart).
There are a
couple of tracks co-written with Phil Cotes, the funky rocker
“Hold On” and the catchy “Exit,” and
two from Pete Feenstra, the punkish “No Money In My
Pocket” and the gentle “Call Of The Night.”
Also included are a pair of bonus cuts that wrap up the
album. The first tune is a moving cover of Jack Bruce’s
“We’re Going Wrong” and the second is a
dynamite reading of “Feeling Good,” originally
done by Nina Simone, which Schwarz comes really close to
making her own.
This Is The
Life I Choose is a masterful collection of tunes that
will appeal to a broad base of music fans who dig blues,
jazz, soul, and pop. Zoe Schwarz Blue Commotion is a
superlative band that deserves to be heard.
--- Graham
Clarke
The Billy T
Band (William Troiani – bass/lead vocals, Ian
Fredrick Johannessen – guitar, Haakon Hoeye –
guitar, Robert Alexander Pettersen – drums) served as
house band for Oslo’s Muddy Waters Blues Club, and has
backed a score of blues legends who passed through: Nappy
Brown, Willie “Big Eyes” Smith, Homesick James,
Gary Primich, Junior Watson, and Louisiana Red, even playing
on Red’s Back to the Black Bayou CD several
years ago. Troiani was born and raised in New York City and
played with Eddie Kirkland for a number of years, also
working with Lightnin’ Hopkins, Tom Russell, and Nancy
Griffith before moving to Norway in the late '90s.
Reckoning
(Big H Records) is the band’s fourth release and it
showcases their unique sound, which combines the blues with
classic soul and R&B. The title track opens the disc and
it has a classic '70s soul feel with string backing giving it
a smooth retro touch. The R&B tune “Shame Shame”
features background horns and brings to mind the Stax Records
heyday, “On Your Own” is a tight blues rocker
punctuated by some fine slide guitar from Johannessen, and
“Sad Man” recalls the glory days of Philly Soul
with strings and sweet backing vocals.
“One of
These Days” is another standout, a blues/pop/country
concoction which builds from solo vocals and acoustic guitar,
moves to a guitar-backed chorus, before going electric about
mid-song. The understated “Gone” takes listeners
back in time, mixing funk and R&B, again with the strings
plus wah wah guitar, while “It Ain’t Right”
is a socially conscious backed by a dandy Second Line rhythm
that the Meters would be proud to play. “Love Is Gonna
Get You” would have been a smash in the early '70s,
with its splendid blend of pop and soul, and the catchy
rocking “Trouble” wouldn’t be far behind.
The closer, “I’ve Been A Fool,” is right
out of Stax Records with its churchy organ and stinging
guitar and brings this superlative release to a fine
conclusion.
The Billy T
Band’s brand of blues, with healthy doses of soul, R&B,
and rock, should appeal to a broad range of music fans. This
is just like the music I grew up with and the band makes it
sounds as vital and fresh as it was back in the day.
Reckoning is well worth tracking down.
--- Graham
Clarke
Born in
Cincinnati, Larry Griffith began writing songs at the
age of 9, inspired by the songs he heard on the radio and on
records in the tenement where he, his mother, and his nine
siblings lived. His family later moved to the Walnut Hills
section of the city, where King Records was also located.
Griffith was exposed to many of the label’s artists in
the neighborhood --- Hank Ballard, Freddie King, James Brown,
and Ivory Joe Hunter --- and was soon working as a session
drummer. He relocated to Atlanta in the '90s, and dove deep
into the city’s blues scene, eventually picking up
guitar in the early 2000s.
Griffith
recently released Shake It Loose, a sterling set of
smooth urban blues and R&B that show he learned his
lessons well over the years. He has a good solid vocal style
that works well in both genres and he wrote all six songs,
which show him to be a pretty clever tunesmith. Though he
doesn’t play any lead guitar, settling in comfortably
on rhythm guitar, he enlists stalwart Atlanta guitarist Mike
Lowry in the lead slot, as well as a tight backing band that
includes Dana McCarthy (bass), Rashaan Griffith (keys,
drums), Steven Milsap (drums), Michael Milsap (keys), Tom
Regeski (horns), with backing vocals from Sanctuary (Darshana
Gettle, Tyra Tomlinson Beatty, Sharon Hill, Lavaida Monique).
The funky
opener “Keep Ridin’” is a cousin to Chick
Willis’s “Stoop Down.” Griffith’s
vocal is sufficiently salacious for the subject matter and
the keyboards, baritone sax, and backing vocals are a plus as
well. “”Every King Needs A Queen” is a
velvety soul ballad and the mid-tempo “All I Really
Wanna Do” features some nice vocal interplay between
Griffith and Sanctuary. “Our Love Is In Good Hands”
is a slow gospel blues that touches broadly on topics from
today’s headlines. “Ain’t Puttin’ Up”
includes a sharp opening guitar solo from Lowry, a tight horn
chart, and a fed-up vocal from Griffith to his woman who
won’t do him right. The title track closes out the disc
on an upbeat, energetic note.
Shake It
Loose is a rock-solid set of blues with equal doses of
soul and R&B mixed in. The only thing that would make it
better would be to have more of it (only six songs and about
35 minutes). Hopefully, Griffith will give us more to enjoy
in the near future.
--- Graham
Clarke
Strongman
is Canadian blues-rock guitarist Steve Strongman, one of the
country’s most talented blues performers, a three-time
Maple Blues Award winner and two-time Juno Award winner. The
guitarist / singer / songwriter recently issued No Time
Like Now (Sonic Unyon Records), a pulverizing ten-track
set of blues rockers that includes nine originals written by
Strongman, plus a cover of the '70s rock classic, “You
Ain’t Seen Nothing Yet,” that features the
original creator, Randy Bachman of Bachman-Turner Overdrive
fame, on guitar.
The title track
opens the disc and pretty much sets the pace with its upbeat,
loose vibe. The brawny rocker “Bring The Hammer Down”
follows, then “Money In The Bank,” a swampy,
sweaty ride with an irresistible guitar riff. The BTO cover
is next, taken at a slower pace, but with guitar work (from
Strongman and Bachman) just as nasty as the original.
Strongman explores the soul side of the blues with the upbeat
“Love Love Love,” which has a gospel backdrop
with backing choir vocals, handclaps, and tambourine.
The soulful
feeling continues with “I’m A Man,” a funky
nod to “Mannish Boy,” one of Strongman’s
favorite tunes. The grungy rocker “Old School” is
a standout, with some of Strongman’s meatiest guitar
work, and “Good Times” is a great slow burner
that gradually builds in intensity. The disc closes with a
pair of ballads, the moody “Sometimes” and “The
Day They Carry Me Away,” a reflective ballad on which
that Strongman really pours his heart out, both vocally and
with his guitar.
No Time Like
Now is a powerful set of blues-rock that mixes the old
and new seamlessly. Steve Strongman has assembled a potent
set of tunes accompanied by some of the freshest and most
vibrant fretwork that these ears have heard in a while.
--- Graham
Clarke
Only
27-years-old, New Jersey-based harmonica ace Vin Mott
sounds like he might have recorded his debut release, Quit
The Women For The Blues, in the early '50s with all the
Chess legends. A Berklee College of Music graduate, Mott has
been electrifying New Jersey audiences with his dynamite
performances backed by some of the most talented musicians in
the area. For his debut, Mott is joined by guitarist Sean
Ronan, bassist Dean Shot, drummer Andrei Koribanics, and
keyboardist Phil Silverberg. Mott graduated from Berklee
with a degree in Songwriting, and he puts his talents to good
use with these ten originals.
Though he draws
from his influences in Memphis and Chicago, Mott’s very
much his own man with his lyrics, and his songs avoid the
routine and cliché, putting a fresh spin on familiar
blues topics. The title track borrows Howlin’ Wolf’s
“Killing Floor” melody, and the band sounds
great, and the shuffle “Make Up Your Minds” and
the fiery rocker “Don’t Make Me Laugh” are
winners, too. On “I’m A Filthy Man,” Ronan
gets a great old school Elmore James-like groove going on
slide guitar.
“The
Factory” is a sobering slow blues that really touches
on modern times, but would have been a good fit back in the
day as well, and “Freight Train” is not one of
those “Train” songs that the blues is famous for,
but then again it is, at least metaphorically. Ronan takes a
really nice guitar break on this one about midway. “I
Wanna Get Ruff With You” is a playful blues rhumba, and
“Ol’ Greasy Blues” is a loose-limbed
shuffle. “Living The Blues” is a soulful blues
ballad with an excellent vocal turn by Mott, and the closer,
“Hott Mott’s Theme,” is an energetic
instrumental that gives the band a few moments in the
spotlight.
I really liked
the old school blues feel of this disc. Mott writes really
good songs and he can blow the back off a harmonica. Ronan is
a formidable guitarist and the rhythm section is first rate.
Quit The Women For The Blues is a very enjoyable
listen and one that will leave blues fans wanting to hear
more from Vin Mott.
--- Graham
Clarke
Maryland
singer/songwriter/saxophonist Vanessa Collier packs a
pretty impressive musical résumé. A graduate of
Boston’s prestigious Berklee College of Music, Collier
spent a couple of years touring with Joe Louis Walker before
taking off on her own and releasing her debut, Heart Soul
& Saxophone, in 2014 to rave reviews. She also
competed in the 2016 International Blues Challenge, placing
in the Top Three at the John Lennon Songwriting Competition.
She also recently released her second album, Meeting My
Shadow (Ruf Records), which includes 11 tracks, eight
written by Collier, who also produced the disc with Kevin
Houston and Thomas Ruf.
In addition to
songwriting and production duties, Collier sings, plays alto,
tenor, and soprano sax, flute, Rhodes, Wurlitzer, Clavinet,
organ, percussion, and shuitar. She’s joined on most of
the tracks by guitarist extraordinaire Laura Chavez, bassist
Daniel McKee, legendary Memphis keyboardist Charles Hodges,
trumpet/flugelhorn player Mark Franklin, and drummer/organist
T.K. Jackson, plus guests Josh Robert s (slide guitar),
Brenda Jackson (organ), Lenny Bradford (bass), and Nicholas
Stevens (drums).
Collier’s
originals include “Poisoned The Well,” a haunting
number about betrayal, “Dig A Little Deeper” and
“When It Don’t Come Easy,” a pair of tunes
about determining to overcome obstacles, the former given an
upbeat R&B treatment and the latter taking on more of a
downhome blues feel, the boisterous “Two Parts Sugar,
One Part Lime,” the New Orleans-styled “Meet Me
Where I’m At,” the rowdy blues rocker “Whiskey
and Women,” the feisty “Cry Out,” and the
soulful closer, “Devil’s On The Downside.”
She pulls out a far-ranging trio of covers, U2 and B.B.
King’s “When Love Comes To Town,” the O.V.
Wright classic “You’re Gonna Make Me Cry,”
and the gospel raver “Up Above My Head.”
In addition to
being a talented musician (see above), Collier also possesses
a first-rate set of pipes. She can handle the rocking blues
numbers, the soulful slow burners, and everything in-between.
Her songwriting, mostly taken from personal experiences, is
also very effective. The instrumental support from Chavez,
Hodges, and the rest of the band is pitch-perfect. Meeting
My Shadow is an excellent showcase for Vanessa Collier’s
talents.
--- Graham
Clarke
Thørbjorn
Risager & the Black Tornado’s previous studio
release, 2014’s Too Many Roads, garnered global
recognition for the group. Based in Denmark since the early
2000s, the band (Risager – vocals, guitar, Peter
Skjerning – guitar, Emil Balsgaard – keys, Søren
Bøjaard – bass, Martin Seidelin – drums,
Hans Nybo – tenor sax, Kasper Wagner –
saxophones, Peter Kehl – trumpet) has steadily built a
following all over Europe and Canada previously, playing over
800 shows in 21 countries. Amazingly, all but two of the
original members are still in the band’s lineup.
Despite the
title of their new disc, Change My Game (Ruf Recrods),
the band actually comes closer to raising their game on these
eleven original tracks, which as on previously releases,
focus on the blues from a soul or rock perspective --- not
that there’s a thing wrong with that. Risager owns one
of the most powerful voices in the blues and he uses it to
great effect on this 11 original tunes. On the opening
ballad, “I Used To Love You,” listeners will feel
the ache conveyed in his measured vocal. He tears into the
spirited blues rocker, “Dreamland” (penned by
Skjerning) and the funky title track with gusto.
The Delta-based
“Holler n’ Moan” features Risager’s
weary and ragged vocal accompanied only by Skjerning’s
droning instrument work (canjo?) and haunting harmony backing
vocals. The free-wheeling “Hard Time” has an
Americana feel to it, and “Long Gone” has a jazzy
late night vibe. The fierce “Hold My Lover Tight”
cranks things back up to ten with a soaring guitar run from
Skjerning and Risager’s roaring vocal, and the
radio-ready “Maybe It’s Alright” slowly
builds on the same theme.
The rhythmic
“Train” revisits the blues side, going basically
acoustic for the beginning two-thirds of the song before the
full band cranks up for the close. The mournful ballad “Lay
My Burden Down” allows Risager to take his time and
pour out his heart in one of the vocal highlights of the
disc, and the gritty rocker “City of Love” brings
the disc to a fitting conclusion.
Change My
Game has all the pieces in place to potentially change
the game for Thørbjorn Risager & the Black
Tornado, hopefully allowing them to gain even more
recognition and popularity.
--- Graham
Clarke
Lucky Man
(Bob Gardner Music) has an interesting backstory.
Originally conceived as a project for Texas guitarist/singer
Buddy Whittington, guitarist Eric Walters wrote a number of
songs and actually recorded 19 songs in Dallas for New Tex
Records. Unfortunately, the project was shelved, so Walters
headed to Vegas and emlisted a new band to back a new singer,
Bob Gardner.
Walters wrote
or co-wrote (with keyboardist Jack Myers) all ten songs, and
Gardner’s brawny, but soulful vocals are up to the
challenge. So is the rest of the band, with Walters
contributing lead and rhythm guitar, Aziz Bucater on
drums/percussion, Rich Champion manning the bass, Bill
Hollomon providing horns, and Brett Hansen and Myers on
keyboards.
Walters gives
listeners a pretty diverse set of tunes to enjoy and Gardner
brings his A-game to tracks like the opening shuffle, “Ain’t
Gonna Worry No More,” the strong mid-tempo rocker,
“Dallas,” the blistering “Shotgun Shack”
(complete with a scorching saxophone break from Hollomon),
and the lively “What’s Your Name,” which
has a pop feel and some fine slidework from Walters.
There’s
also an excellent pair of ballads, ”Not Gonna Let You
Go” and “Johnny’s Door,” that give
listeners an opportunity to check out Gardner’s
versatility. “Part Time Lover Man” is a funky
tune that is well-complemented by the horn section and
Hansen’s keyboards, and the southern rocker “Devil’s
Blues” is a standout as well. The sharp title track and
the New Orleans-flavored closer “Ain’t Dead Yet”
close the disc on a positive note.
Though the
original session for Lucky Man didn’t work out
so well, Walters struck gold with his back-up plan. Bob
Gardner is a powerful vocalist who turns in a superlative
performance on these ten tracks. Hopefully, we will hear more
from these guys in the near future.
--- Graham
Clarke
Johnny
I. All Star Blues Revival is the latest project by
blues-rock guitarist Johnny Ingrassia, a young
guitarist who has previously shared the stage with a
prestigious line-up of blues and rock legends such as Johnny
Winter, John Hammond, Jimi Hendrix bassist Billy Cox, former
Double Trouble members Chris Layton, Tommy Shannon, and Reese
Wynans, Bruce Katz, Allman Brothers drummer Jaimoe, Tinsley
Ellis, and many others.
Ingrassia
enlisted several of these musicians to contribute to his
project, a 2-song EP that includes “Life Is Better (2nd
Time Around),” a funky rocker with Cox, Layton, and
Wynans providing stellar backing, and “Late Night,”
a great guitar workout for Ingrassia with Katz, Shannon, and
Jaimoe in support. This is a tantalyzing EP that will have
listeners eagerly awaiting Johnny I.’s next move.
--- Graham
Clarke
The fire are
barely extinguished from musical force of nature Eliza
Neal’s debut release, 2015’s Breaking and
Entering, but the Detroit-based blues-rock vocalist has
returned with her follow-up, 10,000 Feet Below (E-H
Records, LLC), a pile-driving album that’s guaranteed
to set off a few more smoke alarms if there’s any
justice in the world. One of the most distinctive, and
powerful, singers currently practicing in the blues-rock
vein, Neals offers up ten pulse-pounding original tunes, plus
one most surprising cover, supported by a fantastic set of
musicians, including her musical partner, the legendary
guitarist Howard Glazer.
Glazer and
Neals collaborated on Neals’ previous release, so
there’s obviously musical chemistry between them, with
the pair co-writing four of the ten originals, including
“Another Lifetime” a smoldering slow blues with a
passionate vocal turn from Neals and an electrifying solo
from Glazer, the searing rocker “Burn The Tent Down,”
“Call Me Moonshine,” another slow burner with
Glazer really taking the spotlight on guitar, and “Merle
Dixon,” a soulful southern rocker with a country flair.
Neals’
own compositions are as strong as her previous offerings.
“Cleotus” is a chilling country blues with Glazer
on Resonator, and the title track sizzles both musically and
lyrically. “You Ain’t My Dog No More” is a
fun Chicago blues romp, and the ballad “Cold Cold
Night,” which teams Neals with guitarist Paul Nelson
(Johnny Winter), is a nice change of pace midway through. The
blues rocker “Down Hill On A Rocket” is a fine
track that leans a bit toward pop, and the moody closer, “At
The Crossroads,” features the legendary R&B
guitarist (and former Hendrix mentor) Billy Davis.
The album’s
lone cover is “Hard Killing Floor,” the Skip
James classic. Neals’ version is stunning; a haunting,
piano-driven reading that includes a guitar run from Glazer
that will pierce your soul.
A superb effort
from Eliza Neals, 10,000 Feet Below is the real deal
--- great songs and performances from a talented artist who’s
got a bright musical future ahead of her.
--- Graham Clarke
Eliza Neal’s
newest, 10,000 Feet Below (E-H Records), follows
through on the promise of her debut. The variety is
impressive, opening with Howard Glazer’s National
Steel-propelled “Cleotus.” Backed by handclaps
this semi-acapella reading by Neals is hypnotic. Ten of the
11 tunes are originals. A sublime take on Skip James’
“Hard Killing Floor” is given a powerful
interpretation with vocals, piano and Glazer’s sizzling
guitar.
Everything else
is from Eliza’s pen, often in conjunction with Glazer.
“Another Lifetime” is a fiery rock ballad that
demands attention from both Neals and Glazer. “Burn the
Tent Down” is about rockin’ and truckin’
and partyin’ and barbecues. Covers all the bases. Neals
is a force, to be sure, but keep an ear on Glazer, too.
Skeeto Valdez’s drumming and Paul Randolph’s bass
keep them from lifting off.
On the title
cut Demarcus Sumpter and John Abraham move into the rhythm
section, though the results are equally torrid. Eliza’s
vocals are elastic and Glazer mirrors that energy. “Cold
Cold,” with a gorgeous guitar via Paul Nelson, is a
stunner that reminds of Fleetwood Mac. “Call Me
Moonshine” is a heavy song made for volume. Eliza’s
vocals are echoey and Glazer is all over that wah wah.
“Downhill On A Rocket” is a more subdued number
than the title suggests. Subdued and intense at the same
time. “Merle Dixon” (“I don’t like
what you’re saying/shut your mouth”) is a swampy
and lethal sounding piece. More sizzling guitar from Glazer.
The final tune
on the disc, “At the Crossroads,” features
legendary guitarist Billy Davis, who traces his history back
to Hank Ballard and the Midnighters. Again, Ms. Neals sings
in a hypnotic, dreamy and powerful way that captivates. This
is highly recommended.
--- Mark
E. Gallo
Vaneese
Thomas has an irrefutable pedigree. Her dad was Rufus
Thomas and her sis is Carla Thomas. One would logically
conclude that she has some pretty impressive vocal chops. The
proof is in the musical puddin’.
As was the case
with last year’s Blues For My Father, The
Long Journey Home (Segue Records) delivers. Blessed with
a powerful and gritty voice and armed with a dozen
well-crafted songs, all but one from her pen, this is an
enjoyable program. With a gospel background, she grew her
reputation as backup singer to Stevie Wonder, Aretha
Franklin, Sting and others. Her delivery indicates that she
learned her lessons well. This is at least her seventh album
and it promises to be the breakout.
Themes run from
relationships, good and bad, to partying, and each one makes
its mark. “Sweet Talk Me,” “Lonely No More”
and “Prince of Fools” are relationship-themed,
and “Sat’Day Night On the River” is a 'roll
back the rug and party down by the river cut.' “Country
Funk” is about the appeal of that infectious groove and
“I Got a Man in TN” has enjoyed some radio
exposure.
Ms. Thomas has
an enormous voice, writes compelling music, and surrounds
herself with a killer band. What’s not to like?
--- Mark
E. Gallo
I can
appreciate Sean Chamber’s artistry by
virtue of his work as the bandleader for Hubert
Sumlin for five years, and we would have fun
talking about Hubert and the legacy he left us.
Beyond that, Sean’s new record, Trouble &
Whiskey, on the American Showplace label, is
my first introduction to him and his music. It
shows Sean’s world class skills as a blues/rock
guitarist and let’s his killer band, Kris
Schnebelen on drums, Todd Cook on bass, and
Michael Hensley on the B3 and piano perform
admirably behind him. It’s full throttle all the
time!
A
heavy bass line from Todd and Kris’s kick drum
set the pocket for “I Need Your Lovin,
” and Sean isn’t bashful about telling the woman
he loves what he needs. “Early in the
morning…before the break of day…I hold you
closer…can’t let you get away.” She means the
world to Sean and he will do anything he can to
keep her. Sean’s guitar leads the way as the
band segues into “Bottle Keeps Staring at Me,”
and that’s a problem we’ve all had at one time
or another. “Sitting in my kitchen, Lord…bottle
keeps staring at me…take out my shot glass
y’all…going to keep this bottle company.” It
keeps staring back at me, baby…ain’t never going
to let me be.” Some beautiful slide work from
Sean completes the picture and I guess we’re
destined to grab a shot from the bottle that
keeps staring back at us.
The
title track, “Trouble & Whiskey,” is next and it
continues to echo the themes found in Sean’s
life. “Trouble used to be my lover…and the
bottle was my only friend…but now that I’ve
found you girl…my hard luck has come to an end.”
Fortunately for Sean, the love of a good woman
rescued him from the bottle and gave his life
some meaning it never had. Sean’s fretwork
provides the intro for “Travelin North,” and
it’s an instrumental track that features the
band at its best. B3 fills are complimented by
Kris’ intense drum work, bass fills from Todd
Cook and Sean’s guitar, back at the forefront
where it belongs. You can hear the band’s
cohesiveness in this track and I appreciate the
opportunity to gain a sense of what the band
must be like to see live.
Up
next is Sean’s cover of a Johnny Copeland tune,
“Cut Off My Right Arm,” and it slides seamlessly
into the mix. “Would I take a knife, baby…cut
off my right arm…would I take a knife, baby…cut
off my right arm…if I let you walk off and leave
me…that’s what I’d be doing.” No other woman
will do and the loss Sean would feel if she left
is real and palpable in the effect it would have
on his psyche. You can hear Sean’s desperation
in his fretwork and that alone tells you how
much he loves the woman in question. “Bullfrog
Blues,” a tune by Rory Gallagher is next and the
aural onslaught continues. “I woke up this
morning…my grandmother got them too…what about
that…I got them bullfrog blues.”
“Sweeter Than a Honey Bee” is the next track on
Sean’s disc, and he’s professing his love for
his woman in the tune. “You lift me…I’ve got my
feet on the ground…when you hold me tight…I
never want to turn around.” Kris is driving the
back end hard and Michael’s keyboard work is
spot on. Our next track, “Handyman,” is another
hard driving tune in the mode I’m rapidly
becoming accustomed to and Sean is proudly
proclaiming his skills in this area. “I’ll be
your woodchopper, baby…I’ll chop all your
wood….if I’m your wood chopper little girl,
now…I’ll chop it slow and make it good.” You get
the drift here, Sean is a man of many talents
and he will tackle any job you need doing around
the house.
Sean’s
fretwork provides the intro to his take on a B.B.
King tune, “Be Careful With a Fool,” and his
guitar artistry does B.B. proud. “You know I
hate to remember…oh, the fool I used to be…man,
I hate to remember...just how foolish I used to
be…the way I used to love you, baby…and how bad
it’s going to be.” Sean and the band close out
his record with an original tune, “Gonna
Groove,” and I hear Michael’s B3 in the
background. “Got a secret, I wanna share with
you…got a secret, Mama…I want to share with
you…cause our love is strong…we’re going to
carry on…we’re gonna groove.”
I’ve
enjoyed the no-nonsense, straight-ahead way that
Sean and his band tackle his material on this
disc. Trouble & Whiskey showcases a tight
band as well as Sean’s brilliant fretwork and
it’s obvious to me why he’s a fan favorite along
the coast of Florida. I’m looking forward to the
day I can catch a set live from Sean and we can
talk a minute about our friend Hubert. You can
find his touring schedule at
seanchambers.com,
and if you’re looking for straight ahead,
no-frills blues Sean and his band will deliver
that and more, in spades.
--- Kyle Deibler
Every
now and then I get a chance to really sit and
talk with John Nemeth. and I’ve enjoyed
those conversations immensely. John’s a very
strategic thinker in all that he does and he’s
quick to act on his convictions when he feels
he’s right. His move to Memphis, his embracing
the Bluff City’s musical roots, the creation of
his label, Memphis Grease, all represent
considerations that John carefully evaluated
before he acted on them and brought them to
fruition. His first release for Memphis Grease,
Feelin’ Freaky, finds John covering a
wide range of topics from hard work, life, love,
the wonderful medicinal benefits of marijuana
and so much more.
John
chose to use his traveling band, the Blue
Dreamers, for this recording, with Danny Banks
on drums, Matthew Wilson on bass and guitar, and
Johnny Rhodes on guitar, and they quickly helped
him hone his vision for the material on his new
disc. With Luther Dickinson at the board as his
producer, the resulting record is all John
Nemeth through and through ... and that’s a good
thing! He opens with “Under the Gun,” his take
on the rough conditions we all face living in
the world today. “I can’t take this heat
anymore…stick a fork in me….for I am done…I’ve
got the blues like never before…and this is a
war that can’t be won….real hard living…under
the gun.”
John’s
next cut, “S.T.O.N.E.D.” is his ode to the
euphoria he feels while under the influence.
“Give me a D…for the dream I have that we can
right the wrong.” There are times when the world
is indeed a better place,when folks are calmed
down and open to change. It doesn’t necessarily
take being stoned to get there but it’s
definitely becoming an option for many folks in
our country and will continue to do so. The
title cut, “Feelin’ Freaky,” is next, with John
in rare form. “I’m fealing freaky…come on and
freak with me…it’s in your nature baby…come on
and freak with me.” John’s blowing some
incredible harp fills to go with his tune, and
Danny and Matthew are doing their best to hold
the back end down and keep everything in the
pocket.
Charles Hodges is on the organ as John segues
into the next cut, “Rainy Day.” “It’s a pouring
day…coming down on me…I can’t stand this rain…I
can’t shake it free…I should have saved my
love…thought I couldn’t miss.” John had it all
but took it for granted, losing the one thing
that mattered to him most ---- the love of the
woman in his life. The pursuit of one you love
is the topic that John covers next in “You
Really Do Want That Woman.” “Listening
well…talking all night…flattery fishing…hope she
don’t bite…you really do want that woman.” Being
in love brings with it a responsibility and John
wants to make sure that his friend understands
the challenges and responsibilities of making a
good relationship work.
The
shoe’s on the other foot as we listen to John’s
feelings for the woman he loves in “My Sweet
Love.” A beautiful harp intro from John lends
just the right romantic feel to this tune as he
sings, “You’re on my mind…and you’re in my
heart…my one true love, baby…honey, right from
the start…my sweet love.” But love, of course,
has its challenges and John would be the first
to admit it in “Gave Up On You.” “I cut all the
strings…you had on my heart, baby…you had me
doing wrong for you…you had me lying to my
kid…stone cold, baby…I found out a long time
ago…there was no beauty below your skin.” This
woman from John’s past is trying to come back
into his life but he’s moved on. “Don’t you know
I got two little kids…and a loving wife….I
waited for you baby, but there was no damn way
in this world, woman.” Sometimes it’s best to
just move on and John’s clear that he’s better
off by having done just that.
“Get
Offa Dat Butt” finds John in a much better mood
and ready to party. “Go ahead and dance…who
cares who’s watchin….shake that meat right off
your frame…get offa data butt…come on and
boogie.” John’s great mood continues and he’s
not shy about telling us he’s up for a good time
in “I’m Funkin Out,” and the horns of Marc
Franklin and Art Edmaiston are killer additions
to the mix. “I’m funkin’ out….with you,
girl…ha…I like it hot…hot and greasy…ha,ha…greasy…I’m
funkin’ out. John’s matching the horns note for
note, and it’s apparent he’s having a great time
making this record.
John’s
next track, “Kool-Aid Pickle,” finds him dealing
with a dilemma of his own making. “I’m in a kool-aid
pickle…life has gone from sweet to sour to
wrong…I’m in a kool-aid pickle…ha, that shit is
wrong.” Complacency has set in and it’s up to
John to right the ship. Relationships take work
and she knows it just as well as he does. “The
girl knows the score and she’ll play till the
end…lovey, dovey kissin’ on my cheek…I’m a
hoping and prayin for a little this week…I’m in
a kool-aid pickle.”
,John
and the Blue Dreamers close with “Long, Black
Cadillac” and it’s Danny Bank’s snare intro that
sets the pace as the horns chime in and John
laments the loss of his love. “We were young…and
our song had just been sung…all I had…was my
girl…she was my world…temptation came along, hey
and her love was gone…yes, that long, black
Cadillac…took my baby away.”
Kudos
to John Nemth for bringing his musical vision
together on Fealin’ Freaky. John’s not
bashful about the topics he covers or the
emotions he shares with his audience, and we’re
better off because of it. Luther Dickinson
managed to keep John’s nose to the grindstone
and I find that this is a very intimate record
for the first release on Memphis Grease. John
and the band are on the road all summer and you
can track them down via his website at
johnnemeth.com.
If
John and the band come anywhere near you, please
go see them. John’s at the top of his game as
one of the most soulful performers in our
industry today, and the Blue Dreamers are one of
the tightest supporting bands around.
--- Kyle Deibler
The
summer of 2016 was a magical time for
Adrianna Marie. I eagerly followed her
Facebook posts documenting the recording of her
new record, Kingdom of Swing, and it was
hard not to given the wonderful photographs
taken by staff photographer, Joseph Rosen.
Literally surrounded by a roomful of all-stars,
Adrianna recorded the record of her dreams and
topped it all off by marrying her long-time
companion, L.A. Jones. I’m not sure what she can
do for an encore, but Adrianna and the fellows
proceeded to put together a mighty fine disc.
Brian
Fahey’s snare intro leads to Al Copley on the
piano and Adrianna puts the vocal touches on the
title cut, an original, “Kingdom of Swing.” An
ode to her heroes, “Kingdom of Swing” is
literally a primer on the origins of this music
Adrianna loves so well. Part of the mix is the
Roomful of Blues horns and they help to
authenticate that ’50s feel with their stellar
arrangements. “Cats jumping all night…still
going strong...more fun than you’ve ever
seen…beating it out at the Kingdom of Swing…I
am…Adrianna Marie.” Our next track, “Better
Beware,” finds Adrianna on the prowl and after
the man who’s caught her eye. “One of these
days…you’re going to stumble and fall…and I’ll
get my chance…got my eye…on…you…you’d better
beware.” Rich Lataille is killing it on the
tenor sax and it’s apparent that Adrianna is out
for the kill.
“Sidecar Mama” is next and it’s another jumping
original tune from Adrianna Marie. “Pick me up
Daddy…and take me for a ride…I’m sidecar mama
and I’ll give you all your jive…we’ll go
cruising…up and down the avenue…if you open up
wide…I’ll fall in love with you.” Adrianna’s not
going to take any stuff but she loves the wind
in her hair and might be yours if the cards are
played right. Our tempo slows way down as
Adrianna and the fellas tackle a Duke Ellington
classic, “Mood Indigo.” Al Copley’s keyboard
work is divine and L.A. Jones’s fretwork is
sublime. “I always get that mood indigo…since my
baby said goodbye…and in the evening…when the
lights are low…I am so lonesome…I could cry.”
Adrianna’s loneliness is heart wrenching and her
longing is palpable. The Roomful Horns fill in
the blank spots with alternating sax and trumpet
fills that have to be heard to be believed. All
I can say is Duke would approve, and move on
from there.
The
band segues into “3 AM Blues,” another Adrianna
original, and the horns are front and center as
Adrianna lets her man know it’s time to be home
with her. “Well, come on, daddy…come on home to
me…say, come on, daddy…come on home to me…I’ve
been up all night pacing…don’t you know….it’s
quarter to three.” Adrianna fell in love with
her man at first sight and, “why don’t you cut
all your jiving…and try me one more time.” I’d
say that’s a pretty good indication he ought to
be home right away.
Producer
Duke Robillard assumes the guitar
responsibilities for the next track, “Gimme a
Roomful” and I hear Kedar Roy on the upright
bass just killing it behind Duke’s fretwork. “So
grab your coats…and get your hats…let’s hear
those shimmering sharps and flats…so make it
cool…and make it hot…baby’s giving it…all he’s
got…jump back jive…playing it for me.” There’s
definitely a roomful of musicians playing on
this tune and you just don’t hear big band swing
very often anymore. “Memphis Boogie” is another
Adrianna tune, and the band is jumping here. “I
boogie through the night…boogie up and down…I
love to boogie through Memphis town.” Kedar’s
working overtime, and the horns are simply
amazing as Al Copley chimes in with a killer
keyboard fill.
At
this point I’m happy for the slightly slower
tempo of “Drive Me Daddy,” and Adrianna’s
intentions are clear here. “I’m a high test
mama…with plenty of power to burn…all I need is
real good driving…just ignite me with your
key…just ease down on your clutch…let my motor
run free…now keep me going baby…cause we’re
never out of gas…just as long as you can drive
me…that’s as long as I can last…drive me
Daddy…just keep on going…please, please…don’t
reduce your speed.” I love Adrianna’s
sultriness, so I’m ready for her segue to “Baby,
I Got You.” “Used to wake up in the
morning…feeling lonely and so blue…now I glance
across my pillow and smile….cause, baby…I got
you.” There’s contentment in Adrianna’s voice at
having her man to love, and you can’t help but
be happy for her.
L.A.’s
blistering guitar solo sets the tone for “Jump
With You Baby,” with the band falling right in
step behind him. “I want to jump with you,
baby…baby, I’ll leave tonight.” Adrianna’s got a
car to drive, money to burn and she’s more than
happy to hit the road with the one who makes her
jump. “The Blues Are Brewin” is another cover
with outstanding horn arrangements, and I can
hear Al Copley delicately coaxing wondrous notes
from his piano as well. “If love goes a
thirsting…til you feel like bursting….then
nothing but the blues are brewing…then the Lord
up above you…he sends someone to love you…the
blues are something you’re going to lose.” All
will be well if you open up your heart to the
possibilities of love, if you don’t give it the
time necessary to allow it to grow, well,
then…the blues will be brewing and you’ll be
back where it all began. “Write me one sweet
letter…baby, I’m in love with you…write me one
sweet letter…seal it with a kiss…your sweet
intended kisses…the ones I really miss.” “One
Sweet Letter,” proving your love for her, is all
that Adrianna is truly asking to confirm that
your feelings are real. Take a minute my friend
--- write that “one sweet letter” and her love
will be there for you in the end.
Adrianna and the fellas continue on with “T-Bone
Boogie. The lack of communication is a
continuing topic here, with neither party really
wanting to express their true feelings for each
other. The resulting break-up is predictable,
and as a result the frenetic pace of the “T-Bone
Boogie” echoes their frustration with one
another.
Closing out this disc is a wonderfully poignant
“Blues After Hours,” the kind of tune you might
hear at last call when the club is ready to
close down for the night. It’s a beautifully
emotive instrumental, bringing the listener back
to an era when Big Band music was the standard,
not the exception, making this record by
Adrianna Marie all the more poignant and
memorable.
Big
band-based records like Kingdom of Swing
aren't often made anymore, so we’re lucky that
this is the era and type of music that moves
Adrianna Marie and provides the muse for her
vision and music. Duke Robillard does an
excellent job of keeping the eye on the prize,
coaxing memorable performances from the
musicians in the band and the Roomful horns. I
would love to see a full band performance of
this material by Adrianna Marie, and hopefully
at some point that will come to pass. In the
meantime, look for her at a venue near you.
Kudos to VizzTone Records for supporting this
project and bringing it to light.
--- Kyle Deibler
I've
always been a big, big fan of zydeco music, but
haven't had the chance to listen to much new
stuff lately. In fact, the new self-issued CD
from Houston-based Corey Ledet & His Zydeco
Band, Standing On Faith, is the first
zydeco disc to hit my mailbox for quite a few
years. It's aimed at a more contemporary
audience, although still with some traditional
zydeco sounds throughout the seven songs here.
Yeah, you heard it --- seven songs, plus an
unnecessary intro cut with an emcee introducing
the band through a voice box over electronica
accompaniment. That's well less than 30 minutes
of music, making it a very short album by
today's standards.
The
songs on Standing On Faith that come
closest to my interpretation of traditional
zydeco the two-step "Push Me Away," albeit with
moog synthesizer coming in later in the tune,
another two-step in "Standing On Faith," on
which Ledet launches into a prayer of thanks,
and the uptempo call-and-response number "New
York City."
The
mid-tempo tune "A Good Day" has more of a
Caribbean feel with a reggae backbeat and
synthesized steel drum sound in the background.
Ledet's voice sounds a bit strained on this
number, so I'm not sure if this was the right
choice to include on the album. I also wasn't
really into the R&B love ballad "Take Me There,"
which doesn't showcase the band's zydeco skills
and gets too schamaltzy for my tastes.
I'd
really like to see this band in person, because
I think there's more than what I'm hearing on
Standing On Faith. While there are some high
points here, with only seven cuts and not all of
them up to par it feels like an incomplete work.
--- Bill Mitchell
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