|
 Make a point to put
on some comfortable shoes when you plug in
Groovin’ At The Groove Now! (Endless Blues
Records), the latest dynamite release from
Doug Deming & the Jewel Tones. You may find
yourself cutting the rug.This energetic set was
recorded at Atlantis Basel as part of the
Groove Now! concert series in Basel,
Switzerland.
Deming’s usual quartet is trimmed to a trio on
this 11-song set with Deming on vocals and
guitar, Andrew Gohman on bass, and Zack
Pomerleau on drums and harmonica, but they are
joined by saxophonists Terry Hanck and Sax
Gordon, along with keyboardist Bill Heid.
The
rollicking instrumental “East Side Hop” sets the
tone for the rest of the tune. The group really
digs in, with each getting their moment in the
spotlight. “Only Time Will Tell” “Only Time Will
Tell” is a jaunty blues shuffle that features
Pomerleau on harp and crisp guitar work from
Deming, and “Put It Down” is a mid-tempo blues
where Deming’s guitar work has a nice, Wes
Montgomery feel.
The
band’s read of the Fats Domino classic “I’m
Ready” should fill the dance floor quickly, and
on the Little Walter tune, “Oh Baby,” Pomerleau
pays tribute to the late harmonica pioneer.
“Every Night When I Get Home” is a sweet, slow
late- nighter, as Deming turns in a soulful
performance, with superb, understated support
from the band. The pace picks up considerably
with a stirring cover of “Bloodshot Eyes,” one
of Wynonie Harris’ best, and only lets up a
little bit with Deming’s own “Momma Didn’t Raise
No Fool.”
“No
Sense,” another Deming original, is a jazzy
mid-tempo swinger, and “An Eye For An Eye” is a
country blues showcasing just the trio,
especially Pomerleau on harp. The closer,
“Whisper,” is a smooth, relaxed blues that
brings the album to a satisfying conclusion.
Groovin’ At The Groove Now! is an excellent
live set that puts the talents of Doug Deming &
the Jewel Tones on full display. The trio’s
musical chemistry is amazing, and the musical
guests fit the band’s style like a glove.
Obviously, the audience loved the performance
and so will anyone who listens to this superb
set.
--- Graham Clarke
 Pennsylvania bluesman Mike Guldin and his
Rollin’ & Tumblin’ band ventured to Kevin
McKendree’s Franklin, Tennessee studio, The Rock
House, to record their fifth album, The
Franklin Sessions (Blue Heart Records).
Guldin and band (Bill Sharrow – bass, Tim Hooper
– keyboards, Billy Wear – drums) are joined by a
host of guest artists, including McKendree
(keyboards), Yate McKendree (guitar, drums, lap
steel), James Pennebaker (guitar), David Santos
(bass), Mikey Junior (harmonica), Su Teears
(vocals), the McCrary Sisters (background
vocals), and the Philadelphia Funk Authority
Horns (Dale Gerhardt – trombone, Kyle Hummel –
baritone sax, Neil Wetzel – tenor sax, Andrew
Kowal – trumpet).
Opening with “The Franklin Shuffle,” the
McKendrees, Pennebaker, and Santos sit in on
piano, drums, guitar, and bass, respectively and
it proves a fine introduction to the set. The
first of three covers, Howlin’ Wolf’s “Killing
Floor,” follows and has a nice, funky feel,
thanks to the rhythm section of Sharrow, Wear,
Hooper (organ), and Kevin McKendree (piano).
The
gospel tune, “The Right Thing,” features Gulden
with the McCrarys providing background vocal
support and Yates McKendree putting down some
sacred steel, while “Sometimes You Gotta Roll
The Dice” kicks into a second line groove. Next,
Guldin teams up with Yates McKendree for some
crisp guitar work on the album’s second cover,
Muddy Waters’ “Blow Wind Blow.”
Guldin’s “Prisoner of Love” brings in Pennebaker
and Yates McKendree on guitars, along with the
Philly Funk Horns, setting a soulful mood, while
“Smokin’ Woman” is a …well ….smokin’ Texas
blues-styled shuffle,. Su Teears joins Guldin
for a duet on the northern soul burner “Two
Hearts.”
The
cool blues “Sad And Lonely” features Pennebaker
on guitar and Kevin McKendree on piano, “Gettin’
Over You Is Workin’ Over Me” is an amusing tune
that showcases Gulden’s razor-sharp wit and
fretwork, and the album’s final cover, Sleepy
John Estes’ “Divin’ Duck Blues,” is a driving
blues rocker featuring searing harp from Mikey
Junior.
Guldin says in the liner notes that this set was
cranked out in just three days of studio time.
That said, The Franklin Sessions has a
loose and lively feel, signaling that all
parties were committed and enthusiastic. That
makes for a rewarding listen for blues fans.
--- Graham Clarke
 Cruisin’ Kansas City (Blue Heart Records) is
a tribute to the city that has been a
cornerstone of both the blues and jazz genres
for over a century. The Mike Bourne Band
has been a part of that scene for a long time in
various incarnations, and Bourne (guitar/vocals)
is joined by his band, Kansas City Boogie
(Patrick Recob – bass, Dave Creighton – organ,
Adam Hagerman – drums, Sam Treinen - sax), along
with guests Johnny Burgin (guitar), Johnny
Iguana (keyboards), Davin “Big D” Erickson and
John Paul Drum (harmonica), Mickey Munoz and Rob
Lorenz (drums), Greg Hopkins (trumpet), and Mike
Grinns (bass). Bourne penned all 13 songs on the
disc.
The
instrumental title track opens the disc, a
swinging track with a touch of Freddie King
mixed in, driven by Bourne and Bergin’s fretwork
and the airtight rhythm section. The catchy
shuffle “Lose Your Rings, Keep Your Fingers”
keeps things rolling along nicely, and the funky
nursery rhyme “Humpty Dumpty” serves as a sequel
of sorts to the Buddy Guy chestnut “Mary Had A
Little Lamb.”
Meanwhile, “Golden Rule” is a laidback shuffle
with harp frorm John Paul Drum, and the
inspirational “Help Somebody” has a nice gospel
flavor, especially during the last minute or so.
The rousing stomper “Hollow Man” borrows the
melody from Muddy Waters’ “Can’t Be Satisfied.”
Like
many blues fans, I’m sure, Bourne contemplates
his place in the modern world with the whimsical
“Too Young To Be Old” (sadly, it’s less
whimsical than it used to be). Sax man Treinen
and trumpeter Hopkins pitch in on “Loose With
The Truth,” a pointed jab at those who play fast
and loose with the facts. The hard-charging
“Missouri Boy” is a tough roadhouse blues.
“Running Song” is a fast-paced shuffle, and “The
One” is a splendid R&B-flavored slow burner that
showcases Treinen on sax. “Dangerous Game” is a
cool, swampy blues with stinging fretwork from
Bourne and Burgin.
The
closing track, “Kansas City Grease,” is a slow
blues instrumental that features Erickson,
Lorenz, Iguana, and Grinns. It’s included as a
tribute to Lorenz and Erickson, who have both
passed away.
Cruisin’ Kansas City is a spirited workout
that touches on the music of that city as well
as Chicago. Bourne and company are strong on all
the tracks and the guest musicians make their
mark as well.
--- Graham Clarke
 The Mario Rossi Band is led by the young
Brazilian singer/guitarist Rossi, who discovered
his passion for the blues in 2013 and 2015, he
joined the band that accompanied John Primer for
a tour of Brazil, eventually participating in a
live performance on Brazilian TV. Rossi began
writing and recording blues soon afterwards,
combining it with the rock he previously
listened to as a teen.
Smoke Burst is his third release to date and
features Rossi with Edê Boy (keyboards), Marcelo
Rocha (bass), Rafael Cacavallo (drums), with
guests Lu Vitti (vocals), Steve Bell
(harmonica), and Richard Fermino (horns).
The
title track, a tasty instrumental that gives the
entire band ample space to strut their stuff, is
a most impressive start to the disc, and Rossi
demonstrates a mastery of multiple styles with
his fretwork. On the fiery “Leavin’ For A Walk,”
he adds robust vocals that match his
string-bending skills, but leaves the vocal
duties to the Brazilian songstress Lu Vitti on
the smoky slow burner “It Means Blues.” Ms.
Vitti, who is more than up to the task, turning
in an amazing performance with superb backing
from the band.
Steve Bell’s harmonica punctuates the powerful
“There’s No Hope For Willie Brown,” which also
features gospel-flavored backing vocals from
Vitti, Boy, Megally Farias, and Je Farias.
“Don’t Tell Me What To Do” is a fiesty blues
rocker packed with grit and gristle, and
“Jammin’ For Jimi” is a spirited hard rocking
instrumental that’s very much in the Hendrixian
blues mode. “Expensive Instinct” mixes in a bit
of funk to Rossi’s rock-edged guitar, but the
closer, “Cold Lonely Nights,” is pure,
unadulterated blues, with Fermino’s masterful
horns, Boy’s keyboards, and some splendid
soloing from Rossi, ending the album on a
spectacular note.
The
Marco Rossi Band’s Smoke Burst is a
marvelous set of blues and blues rock that
deserves to be heard. Rossi’s guitar work is
first rate and he gets first-rate support from
his band and guests. Expect great things from
this talented young guitarist.
--- Graham Clarke
 A
Thin Dime is a solo acoustic recording from
Robert “Top” Thomas. Thomas, part of the
wonderful Florida swamp blues band Smokehouse,
has previously released an album, The Town
Crier, acknowledging his love for that swamp
blues sound. This new release touches on his
love for classic pre-war-era country blues.
Thomas sings 14 vintage blues and roots
classics, and the acoustic format really
highlights the far-ranging talents of this
singer/guitarist.
Thomas opens with a rousing read of the title
track, attributed to Blind Lemon Jefferson. His
version of Son House’s “Death Letter Blues” is
taken at a slower, less intense pace than
House’s mid-’60s version, but with ample emotion
and grit still in place. “The Ballad of John
Henry” is a stirring retelling of the folk
classic, and “Jack of Diamonds” is the Texas
folk song (also in Jefferson’s repertoire),
while “Ella Speed” is one of the best known
Texas ballads. Thomas’ fast-paced telling of the
story is first-rate, as is his gentle, haunting
version of the blues standard “Goin’ Down Slow.”
There’s also a lively version of Texas blues
legend Mance Lipscomb’s “I Want To Do Something
For You,” a nice cover of “Shine On Harvest
Moon,” a popular tune from the early 1900s, and
an energetic take of another blues standard,
“Baby Please Don’t Go.” “I Ain’t Got Nobody” was
another popular tune from the early part of the
20th century (revised in the late ’50s by Louis
Prima with “Just A Gigolo”), and Thomas’s gently
swinging version works well here.
Thomas successfully captures the raw intensity
of the Reverend Gary Davis with his spirited
cover of “I Am The True Vine,” and delivers a
jaunty cover of Roosevelt Sykes’ “Night Time Is
The Right Time.” The final two tracks are covers
of Blind Willie Johnson’s somber “Motherless
Children” and Davis’s joyful “Oh Glory, How
Happy I Am.”
Thomas does a wonderful job with these songs,
which cover a wide variety of styles --- blues,
gospel, pop, and jazz. His skilled fretwork and
inspired vocals breathes new life into each
tune. Fans of old-fashioned acoustic blues and
roots music will want to give A Thin Dime
a spin.
--- Graham Clarke
 Out
of Missoula, Montana, the six-piece band
Mudslide Charley (Liza Ginnings – lead
vocals, Roger Moquin – drums/vocals, Russ
Parsons – keyboards/vocals, Phil Hamilton –
harmonica/sax/guitar/percussion/vocals, Marco
Littig – slide and lead guitar/vocals, Paul
Kelley – bass/vocals) play a wide-ranging mix of
blues, soul, rock, and roots.
The
band’s fifth album, Clearwater Junction,
features 11 original compositions, seven written
by Littig and four from Hamilton, that touch on
the above-mentioned genres, plus a few others
that lead to a few unexpected turns here and
there.
“Other Shoe” opens the disc, a horn-fueled
rocker (trumpeter Jeff Stickney joins Hamilton
on this track) and Ginnings’ robust vocal
carries the day with plenty of vocal support
from the rest of the band. The next track,
“Bootsy Basil,” is a hard-charging blues with a
Gulf Coast flavor, while the story-song “Road To
Brookston” leans more toward the rootsy side of
the aisle, as does the good-natured stomper
“Little Miss Molasses.”
“Long Death Ride” is a splendid slow blues
highlighted by Hamilton’s scorching harmonica,
and the jazzy “Don’t Look Bad” is driven by
Kelley’s bass, Hamilton on saxophone, Parsons on
piano, and a hip conversational vocal narrating
the harrowing tale.
Littig’s slide guitar and Parson’s keyboards
drive the mid-tempo blues rocker “Reactionary
Man,” which has a psychedelic bent to its
make-up. On the easygoing “Juniper Girl,” a song
Littig penned for his wife, his slide guitar is
prominent again in a more reserved setting.
Hamilton’s “Adrianna” has the feel of an early
Little Feat tune, while the somber gospel/blues
“Look Away” shifts gears 2/3 of the way through
and the song shifts into high gear. The soulful
closer “Stop Talking” sends the band into reggae
territory, bringing the album to a satisfying
conclusion.
Blues and roots lovers are advised to check out
Mudslide Charley and Clearwater Junction.
It’s a warm and entertaining set with much to
please fans of both genres.
--- Graham Clarke
 Franck L. Goldwasser, a.k.a. “Paris Slim,”
became a fan of the blues as a teenager in Paris
and began playing in France before being
discovered by Sugar Blue and Sonny Rhodes, who
brought him to the West Coast. Since the ’80s,
Goldwasser has played with anybody who’s anybody
on the Bay Area scene, several of whom are
featured on his latest album, Who Needs This
Mess!!?? (Crosscut Records). Goldwasser
wrote or co-authored 14 tracks, all recorded
between 2019 and 2021, with a bonus live cut
that was recorded in 2014 at the Portland
Waterfront Festival.
“Don’t Give Up On My, Baby” is a hard-charging
shuffle with crisp guitar and a world-weary
vocal from Goldwasser. “I Don’t Want Your Love
(I Just Want Your Lovin’)” is a churning hill
country tune, and “Skwurley” is a funky
instrumental teaming harp master R.J. Mischo on
chromatic with Goldwasser’s slick slide guitar
work. Goldwasser plays both acoustic guitar and
harmonica on the nimble country blues “What Am I
To Do?,” and is joined by fellow guitarist Kirk
Fletcher and Mischo for “Disküm Baåb Uleh Shun,”
a delightful instrumental that combines blues,
surf, and psychedelic rock guitar sensibilities.
The
politically-charged “Had A Dream Last Night” is
an amusing juke joint rocker, and “Paris Woman”
is a mid-tempo, loose-limbed blues. The third
instrumental, the fast-paced “Sobby Doggy
Boogie,” features Goldwasser’s sizzling lap
steel.
The
title track, a pointed look at materialism,
features Fletcher on guitar, Sugaray Rayford on
vocal, Charlie Musselwhite on harmonica, and
Jimmy Pugh on keyboards. “Monkey Junk” ventures
into psychedelic territory with Goldwasser’s
otherworldly spoken vocal against a hypnotic
musical backdrop, and “If I Could Holler” is a
gritty blues with Goldwasser doubling on guitar
and harp once again.
“Dumb & Dangerous” is a fierce reworking of
“Rollin’ and Tumblin’,” with Goldwasser on dobro
backed by other folk instruments. “Sweet Cream”
is raw and ragged hill country blues mixed with
a British blues vibe, while the brief,
fingerpicked instrumental “Raggmazazz” has a
nice country feel.
The
closing track is the live version of Elmore
James’ “Bleedin’ Heart” which really showcases
Goldwasser and his band working in the
traditional blues mode.
Goldwasser is in top form on Who Needs This
Mess!!??, a fine foray into a variety of
blues styles from one of the current Bay Area
masters.
--- Graham Clarke
 Greg Sover’s latest album, His-Story
(GSGS Music), may be his best yet. The
Philadelphia-based singer/songwriter/guitarist
offers ten songs, eight originals plus two
covers of Jimi Hendrix tunes, made even better
by the fact that Hendrix’s former Band of
Gypsies bass player, Billy Cox, plays on both
tracks. Also joining Sover on selected tracks
are bassist Kenny Aaronson, who’s played with
Bob Dylan, Rick Derringer, Sammy Hagar, Billy
Idol, and many others, and drummer/podcast host
David Uosikkinen of The Hooters. As with his
previous three releases, Sover brings lots of
energy and passion to his work, both as an
instrumentalist and vocalist.
The
haunting “Dark House” opens the disc and the
fretwork from Sover and lap steel guitarists
Brad Hinton and Kyle Perrelli is standout. The
scorching “Freedom Part 2” takes off like a
long-lost Living Colour track with thunderous
guitar work as Sover ponders his place in
America. Backing vocalist Charlene Holloway’s
support on this song is marvelous.
“Temptation” is a rock-edged blues tune with
powerful guitar and vocals from Sover that
provides a fine lead-in to the first Hendrix
cover, the driving rocker “Manic Depression,”
with Sover on guitar, Cox on bass, and Tom
Walling on drums.
The
smooth, mid-tempo “One Way Train” and the bluesy
ballad “Tonight” both showcase Sover’s soulful
vocals. He opens with resonator on the fierce
blues rocker “Living on the Edge”, and the
blistering rock workout “Song 28” features his
best guitar work of the album.
“Stuck In The Rain” is a slow blues burner that
adds Wally Smith’s B3 to Sover’s strong vocal
and guitar. The album closes with the second
Hendrix cover, the seldom heard “Remember”
(originally recorded for Are You Experienced,
but eventually released on Smash Hits).
Sover’s version is a bit peppier than the
original and works well.
His-Story is another winner from Greg Sover,
one of my favorites in the new group of blues
artists, who continues to improve as a singer,
songwriter, and guitarist with each album.
--- Graham Clarke
 Minnesota-based blues man Mark Cameron
returns with Nasty Business, his debut
release for Blue Heart Records. Cameron
(guitar/vocals) and his band (Rick Miller –
harmonica, Scott Lundburg – bass, Dan Schroeder
– drums, Sheri Cameron –
saxophone/percussion/vocals) are joined by
guests Tommy Barbarella (keyboards), Zack Lozier
(trumpet/trombone), Ian Schroeder (baritone
sax), Greg Schutte (drums) Nick Salisbury
(bass), and vocalists Tonia Hughes, Sara Renner,
and Grammy nominee Teresa James. The ten tracks
were all written by Cameron, with Miller
contributing lyrics on one track.
Cameron’s crisp guitar work (lead and slide,
thank you very much) is on display with the
rugged opening track, “Sorry,” as he voices
regrets for some of the choices he’s made. The
title track follows, incorporating a bit of funk
into the mix along with Miller’s tasty harp
work, and it’s followed by the amusing mid-tempo
bump n’ grinder “What’s For Supper.” The
sparkling “Language Of The Blues” adds horns and
backing vocals, giving the tune a soulful blues
feel, while “That’s A Fact” is a slow burner
about the end of a relationship and its effects.
“Nick’s Place” is a noir-ish spoken word tale
paying tribute to a northern juke joint and its
owner, and “Everything” is a tough blues rocker
describing a somewhat shady lady. On the
Latin-flavored ballad, “Combination,” Cameron is
joined by Ms. James on vocals and the pairing
proves to be an excellent one.
The
wry “Life Is Good” teams Cameron with Miller on
guitar and harmonica, respectively, in an
acoustic blues setting, and Miller contributed
the lyrics for the swampy closer, appropriately
titled “Voodoo.”
Mark
Cameron always provides blues fans with superb
musicianship and compelling, entertaining
songwriting. His albums never disappoint, and
Nasty Business is another keeper that keeps
that streak alive.
--- Graham Clarke
 Scottie Miller serves as keyboardist for
Grammy-nominated performer Ruthie Foster and
fronts his own Scottie Miller Band. He’s also
writes poetry and recently issued his debut
collection, Carnival Cocoon (Scottie
Miller Music, LLC), as well as a companion CD,
which sets 23 of the book’s 51 compositions to
music.
The
book is divided into five chapters: “Walking On
Eggs,” “The Gibbous Moon,” “Begger, Banker,
Fisherman Pay,” “This Love Is Found In Shadows,”
and “24 Hours in Mexico.” Miller paints a vivid
picture on poems like “Berklee,” “Space Heaters
and Cocoa,” “Whiskey, Coffee,” “Fire On The
Bayou,” “Silver Sky,” and “High School
Wrestling,” so vividly that you can almost smell
and taste and even get a sense of his emotions
on verses like “Walking on Eggs,”
“A
Better Way To Cope,” “Adrenalena,” and “There
Will Be A Raining On My Heart.” The closing
poem, “24 Hours In Mexico,” is most
entertaining. I’m not much of a poetry reader,
but I have to say I enjoyed Miller’s writing and
his knack for storytelling.
The
album that accompanies the book is also very
entertaining. Miller plays piano and
narrates/sings the 23 tunes included. He has a
warm, laconic vocal style that pulls you in to
what he’s relating. He’s accompanied by JT Bates
(drums/percussion), Jeff Bailey (double bass),
Cierra Alise Hill (violin/string arrangements),
Bex Gaunt (violin), Jesse Kellerman (viola), and
Greg Byers (cello/double bass).
I
get a strong Tom Waits vibe on some of these
tracks, and the music, touching on blues, jazz,
and folk stylings, is endlessly compelling,
reportedly much of it was completely improvised.
Ms. Foster makes a vocal appearance on “Stay,”
which addresses perseverance through tragedy and
injustices.
As
stated above, this type of literature/art is not
usually on my radar. Not that I avoid it, by any
means, I just haven’t encountered very much of
it over the years. However, I found a lot to
enjoy in both Miller’s book and his musical
interpretations of some of the poetry in
Carnival Cocoon, and I think most blues fans
will enjoy it as well. I will be interested to
see and hear what else Scottie Miller has to
offer in the future.
--- Graham Clarke
 Pennsylvania-based guitarist/singer/songwriter
Tim Woods’ latest release, For You,
pays tribute to his many musical influences, so
the ten tracks offer a variety of styles ranging
from blues to rock and folk with variations of
each genre in the mix. Woods has enjoyed a long
career, nearly five decades, performing as a
solo artist, also fronting his own five-piece
band (The Tim Woods Band) while also serving as
a longtime member of The Mountain Jam Band. He
also performs regularly as part of the Woods
Family Band with his sons Derek and Ryan. Woods’
lifelong dedication to the blues also earned him
a spot in the New York Blues Hall of Fame in
2012.
For You teams Woods with
multi-instrumentalist Bobby Lee Rodgers (who
also produced the album), keyboardist Paul
Hornsby, and saxophonist Erik Lawrence for ten
original songs, beginning with the tough
blues-rocker “Can’t Stop Rockin’,” a catchy
rocker with a strong fretwork from Woods. The
title track follows, which features Hornsby’s B3
and Lawrence’s saxophone and has a swinging R&B
feel.
“Are
You Kind?” has a late ’60s/early ’70s feel with
the churning guitars and its message of peace
and love, while “It’s True” is an easy-going
rock ballad that recalls the same era. The funky
instrumental “Mimic” features Woods’ guitar and
Rodgers’ B3.
The
emotional “Low Down Blues” focuses on recovering
from the repercussions of the Covid lockdown,
and the ballad “Believe” has a psychedelic edge
as Woods encourages us to continue to persevere
through life’s challenges. The hypnotic blues
rock n’ boogie “Reaching Out” ventures into hill
country territory, while “The Story” blends rock
with Eastern influences.
The
closer, “Within,” is an mostly-acoustic piece
that finds Woods reminiscing about a romantic
night.
For You shows Tim Woods’ diverse musical
influences to great effect. Though the
influences span multiple genres, the album flows
smoothly, owing to Woods’ deft guitar work and
songwriting and the seamless interplay with the
band.
--- Graham Clarke
 Will James is
a singer, songwriter and guitarist from England,
who traveled to Los Angeles to record this very
fine, self-released album, Sundancer. It
hit my mailbox back in April but then got
shuffled under the pile of albums waiting to be
reviewed until I dug it back out and gave it a
full listen. Better late than never, because
this is a very fine collection of 10 original
songs.
Backing James on
this session are Jon Gilutin (organ & keyboard),
Randy Jacobs (rhythm guitar), Nathan Brown
(bass), Sergio Gonzalez (drums), Dan McConkey
(sax), and Tim Quicke (trumpet). They all
provide fine accompaniment but never get in the
way of James' strong guitar playing and rather
unique vocal style.
My first impression
of James is that he's kind of a hipster
bluesman, and I mean that in a complimentary
way. He's got a very listenable, soulful voice
with just a hint of gravel and molasses mixed
in, and handles the guitar quite well on all
cuts.
The up-tempo and
quirky "Shadowman" opens the show, a head-bopper
with strong vocals from James and excellent
organ accompaniment form Gilutin. James opens
the fast-moving "Where's My Baby?" with John Lee
Hooker-style boogie riffs punctuated by
McConkey's sax. The tempo slows on the jazzy,
soulful blues "Still Blue," a relaxing number
with ethereal vibes coming from both James'
vocals and Gilutin's keyboards. James mixes in
some intricate guitar notes while singing about
that relationship that got away from him. This
one will remain in your memory for quite some
time.
The mid-tempo
"Grindstone" has James mixing in a lot of funky
effects on guitar while the horns provide a nice
foundation of sound. James gets more forceful
with his vocals as he sings "...Gotta get back
on the grindstone, gotta keep working to survive
..." The soulful, jazzy blues "Prisoner"
starts with understated vocals from James until
he starts shouting out his frustrations about
his relationship. "6up" is a mid-tempo blues
with a strong guitar solo framed by Gilutin's
organ playing.
One of the better
cuts is the up-tempo mover "Pack It Up," driven
by a propulsive drum beat as James sings about
how he's going to put that woman out of his
mind. That leads into the funky "Q Blues," with
James using a slide on his guitar chords to good
effect and Gilutin comes in on piano throughout
the tune. James isn't happy with the
totalitarian state that he's in and believes he
might have to go back home.
The very subtle,
jazzy number "Home" gets James back to where he
needs to be with his relationship, as he sings
about wanting to feel like he's home where the
heart is. Closing the album is "Sundance," a
heavier sound with blues/rock guitar chords as
James sings repeatedly about giving freedom a
chance.
With Sundancer,
Will James is presenting blues with a lot of
different sounds and influences. It's not your
typical straight 12-bar blues, but instead he
takes the music into a lot of different
directions. I've become addicted to what he's
putting down here. Give it a listen and see if
it affects you the same way. It's a journey that
doesn't follow a straight path, but one that
I've enjoyed taking.
--- Bill Mitchell
 The Nick Moss
Band featuring Dennis Gruenling has
consistently been one of the most energetic
party bands on the blues scene today, with these
Chicago cats proving it again on their latest
release, Get Your Back Into It!
(Alligator Records). They took it to another
level when guitarist Moss teamed up with
harmonica virtuoso Gruenling back in 2016, and
this latest release just proves that it's a
partnership that just plain works. Get Your
Back Into It! provides plenty of value for
your money, with 14 songs included, all
originals.
Rounding out the
band are piano ace Taylor Streiff, bassist
Rodrigo Mantovani, and drummer Pierce Downer.
Packing on an extra dose of blues adrenaline is
the addition of saxophone wizard "Sax" Gordon
Beadle for the session, and "Brother" John
Kattke shows up on organ for one cut.
Getting the show on
the road is the up-tempo jumper, "The Bait in
The Snare," with Gruenling getting his first
chance to astound with some hearty harmonica
solos. It gets the heart of every listener
pumping fast. The tempo slows on "Aurelie," with
a Slim Harpo swamp blues sound as Moss sings
about that woman he met in France, saying that,
"...I'm a stranger in your country, and I don't
parlez-vous ..."
The sound level
increases on the title cut, a mid-tempo shuffle,
with Moss adding a slide to his guitar playing
while Gruenling wails away on the harp. DG then
steps up to the vocal mic on the up-tempo
stomper "Man On The Move," before the band slows
it down considerably on a more traditional
blues, "Living In Heartache," with Moss starting
this one with an Elmore James-ish slide guitar
intro.
"It Shocks Me Out"
has a shuffle beat with the occasional stop-time
interrupting the flow. That leads into the first
of three instrumental numbers, "Out Of The
Woods," a jazzy tune with Moss showing off on
guitar while Gruenling gets more of a heavy
sound from his harmonica and Beadle blows away
on the sax, all the while Kattke making his lone
appearance with smokin' organ.
The T-Bone mood
continues on "Choose Wisely," a strong
late-night blues that gives Moss a chance to
stretch out on guitar while Streiff puts down
nice piano. If I'm forced to choose, I'll pick
this one as the album's best cut. If you agree,
then I guess I really did choose wisely.
A John Lee Hooker
beat leads the way into "Your Bark Is Worse Than
Your Bite," with Gruenling making his second
vocal appearance to go with some dirty harp
work. DG doesn't slow down at all, as his
harmonica provides the intro to the mid-tempo
12-bar blues "Losing Ground." The second of
three instrumentals, "Bones Cantina," takes us
south of the border, with Moss throwing in
samples of "La Cucaracha" just because it fits
well.
The mid-tempo blues
shuffle "Lonely Fool" packs a heavier punch,
with Moss getting a little more echo into his
vocals, before he really shines at the mic on
the 12-bar blues, "The Solution," on which he
tells us that he's not the problem but is really
the solution and if that woman calls him he'll
give her the resolution.
One more rockin'
instrumental, "Scratch N Sniff," closes the
album, with Moss getting a Dick Dale surfer
sound to his guitar while Beadle answers every
guitar line with his sax. It's just one more
heart-pumping number on this fine album.
What can I say other
than repeating myself that this is one of the
most entertaining and energetic bands around.
Get Your Back Into It! is a welcome addition
to the discography of The Nick Moss Band
featuring Dennis Gruenling.
--- Bill Mitchell |
