|
 Toronzo
Cannon is quickly moving into the upper
echelon of Chicago blues artists. After two fine
albums on Delmark Records, the one-time Windy
City bus driver moved over to the Alligator
label, with The Preacher, The Politician or
The Pimp being his second release as a
'gator artist.
Cannon is a very good singer and guitar player,
but what really separates him is his creative
songwriting.
The
opening cut, "Get Together or Get Apart," might
be viewed by the title as a word for our society
in general, but this message is instead about the
relationship with his woman. Stinging guitar
licks and strong, soulful vocals highlight this
number. The title cut comes next, a slower soul
blues on which Cannon shows us that in many ways
there are many similarities between the three
named subjects. He sings, "... We're one in the
same, just three different names, don't hate
the players, hate the game ..." and "... Quick
to take, slow to give ..."
"Chicago Way" was the title of Cannon's previous
album, but this time around it's an
auto-biographical fast-moving song that tells
the listener what he's all about and how the
Chicago way has made him what he is today ... and
he let's everyone know that, like the city, he's
got broad shoulders, too. I thought when he
launched into "Insurance" that Cannon was doing
a Jimmy Reed cover, but this is an original that
borrows heavily from the similar Reed song,
except Cannon's version is updated as a lament about the
cost of health insurance nowadays. Billy Branch
joins the band to provide harmonica
accompaniment throughout as well as a very nice solo
midway through the song.
Roosevelt Purifoy starts out "Stop Me When I'm
Lying" with some dynamite New Orleans-style
piano and the horn section of Mark Hiebert
(baritone sax), Joe Clark (trumpet) and Chris
Shuttleworth (trombone) provide the appropriate
second line backing. Cannon then tears it up on
guitar on a slow blues shuffle, "She Loved Me
(Again)," taking us back to Chi-town all the
way. Really good guitar licks dominate this
number --- listen with headphones to get the
best effect. Seven minutes of absolute dominance
of his instrument.
Prepare to be inspired when listening to "The
Silence Of My Friends," with Purifoy taking it
to church on the piano. Cannon was inspired by
Martin Luther King here, encouraging everyone to
speak out about social injustice (and, yes,
there's still plenty of injustice around us).
What a wonderful song. It'll rank number one on
this album for many listeners. Cannon then keeps it
down by the riverside for the simpler "The First
24," playing acoustic slide guitar.
Chicago singer Norma Jean joins in to trade
vocals with Cannon on "That's What I love About
'Cha," while Purifoy pounds away on the upper
register of the piano. The jazzy "Ordinary
Woman" gives Purifoy another chance in the
spotlight on a mid-tempo shuffle, showing that
he's a true unsung star of the Chicago
blues scene. Cannon comes in later with a really
tasteful guitar solo.
Wrapping up this very nice album is a slower
blues shuffle, "Let Me Lay My Love On You,"
followed by
"I'm Not Scared," an inspirational number that
includes Joanna Connor on slide guitar and Lynne
Jordan, Cedric Chaney and Maria Luz Carball on
vocals. Cannon gets into some heavy guitar
effects on, much different than how he
sounds on previous cuts.
The
Preacher, The Politician or The Pimp is likely
to rank as one of the year's best at award time,
and is another in his growing list of worthy
recordings by Toronzo Cannon.
--- Bill Mitchell
 I've
listened to and reviewed many albums by Pittsburgh
soul/blues singer Billy
Price over the years (he's now based in
Baltimore, but he'll always be a Pittsburger to
me), first seeing him around 40 years ago. Needless to say, I've always been a
fan of his very fine vocals and horn-driven
arrangements on the dozens of recordings he's
made. (In fact, his early recording of "Eldorado
Cafe" is one of the singles that
I'd need to have on a desert island mix tape).
For his more recent
albums Price has ventured west to be recorded
at the Greaseland studios in San Jose,
California, run by production start Kid
Andersen. Price's latest, Dog Eat Dog
(Gulf Coast Records), goes in some different
directions with Andersen's superb production
and a wide array of diverse instruments brought
into the mix.
Starting us off is a
Price original, "Working on Your Chain Gang," a
soulful number with just a touch of a funky
beat, with Jon Otis, son of legendary bluesman
Johnny Otis, adding congas to the rhythm. Andersen chips in a
nice guitar solo, and, of course, there are
horns in the background. There will almost always be
horns on Billy Price songs. "Lose My Number" has
a snakier sound than we normally hear on Price
tunes, thanks mainly to the late-night, jazzy
keyboard work from Jim Pugh. Price wants that
woman to lose his phone number and just go away,
taking away his pain. There's pain in his voice,
but I'd like to hear a little more power mixed
into the vocals.
My favorite cut is
the Rick Estrin-penned title cut, with the usual
Estrin high-jinx on harmonica as well as Alabama Mike
sharing vocals with Price. Lots of funky guitar
effects from Andersen also make this one a
keeper. But just as I write how much I love "Dog Eat Dog," Price comes along with a haunting
version of Otis Rush's "My Love Will Never Die,"
with echoey vocals and eerie guitar licks from
Andersen. Whew, this one's intense! Okay, maybe
the latter is my favorite cut. It doesn't
matter, because both are outstanding numbers.
"Walk Back In" is
typical Billy Price soul as he tells that woman
he's coming back looking for forgiveness
and wanting to start all over again, with the
horn section providing strong backing.
"Remnants" is a mid-tempo blues with all kinds
of unique backing sounds, notably some wah-wah
effects on Andersen's guitar.
Looking for a
classic soul sound? Then check out "Same Old
Heartaches," written by Pittsburgh area twin
brothers Mervin and Melvin Steals. I was not
familiar with the Steals brothers, but in
looking them up on the internet I learned that
they wrote quite a few classic R&B and soul hits
over the years. It's nice to hear Price cover
one of their songs, this one done originally by
the Impressions. Another more traditional soul
sound comes from the Billy Price / Fred Chapéllier composition, "More Than I Needed,"
beefed up by strings and synthesizers added by
Andersen and the female backing vocals of Vicki
Randle and Lisa Leuschner Andersen.
The Billy Price /
Kid Andersen partnership has been a good one.
While his previous recordings have all been
solid, the last couple done at Greaseland have
pumped new energy and creativity into his
recordings as well as sounds that go beyond the
classic soul / blues effects. Dog Eat Dog
is an outstanding example of how an artist can
continue to stay relevant after so many years on
the scene. It's a keeper.
--- Bill Mitchell
 This
album of 12 original songs, Souls, by
Redfish (Rakehell Music) comes hot on the
heels of the band’s highly acclaimed debut EP,
5x5, confirming the meteoric rise of
these exceptional musicians from the UK’s
England and Scotland border region.
Souls opens with an intriguing track, the
light, fuzzy sound and funky rhythm of “There’s
Nothing Else” interspersed with explosive brass
solos from Roz Shuman, Chris Riley and Ali
Paxton. “Don’t Waste The Good Stuff” is
traditional blues with superb Elmore James style
guitar from Martin McDonald who is excellent
throughout the album, deliberately understated
at times and always tasteful. The piano keys of
Fraser Clark effortlessly breeze through the
jaunty “Rakehells,” complementing McDonald’s axe
grinding and the conversational vocal style of
Stumblin’ Harris.
The
rapping "(Kick Up) Hell’s Delight" showcases the
technical prowess of drummer Sandy Sweetman and
bassist Rod Mackay, the innovative horns adding
to the quirky vibe. The tempo slows and the
temperature rises with the powerful, balladic
“Hate The Song But Love The Singer,” the
anguished vocals matching perfectly the
atmospheric guitar and piano solos. “One More
Fight” has drama and intensity, again enhanced
by Fraser’s and Martin’s inspirational
contributions.
Harris does anything but ‘stumble’ through the
smooth, soulful vocals on ‘”Just Like Peggy
Lee,” rather he reveals his impressive vocal
range. The rhythm and brass sections excel again
on the upbeat, jazz-tinged “For The Love Of The
Wrong Woman” with Clark‘s piano at its epicentre.
“It’s A Very Lonely Life” is a slow, deep blues
with some of the most intense and expressive
keyboard and guitar interludes ever to grace
such a somber occasion.
The
message might be solemn on “I Miss You So,” but
the mood is lightened by the cheerful delivery.
“Shadow On My Soul” is a magnificent song
written by Harris, inspired by Nina Simone and
brilliantly executed by this band of alchemists
transmuting the lyrics into poetry and the
musical notation into a symphony. The
boogie-woogie feel of “Hallelujah Road”
completes this beautifully arranged, glorious,
genre busting and at times breathtaking
extravaganza.
--- Dave Scott
 Big
Daddy Wilson was born and raised in North
Carolina, working on tobacco plantations and in
cotton fields as youth, going to school during
the week and to church on Sundays. He quit
school at 16 and joined the Army, which sent the
youth to Germany. After initial homesickness, he
met a German girl who became his wife, and he’s
lived there ever since. Wilson also met the
blues while in Germany, inspiring him to start
writing songs and eventually performing and
recording. His smooth and soulful vocals have
made him a favorite on the German blues scene.
Recently signed to Ruf Records, Wilson ventured
to Memphis and Muscle Shoals where he worked
with guitarists Laura Chavez and Will McFarlane,
bassist Dave Smith, and drummer Steve Potts,
among others, plus the legendary producer Jim
Gaines. Wilson’s Ruf debut, Deep In My Soul,
features 12 tracks, 11 written or co-written by
the singer. Also lending musical support are
Mark Narmore (keys), Brad Guin (sax), Ken Waters
(trumpet), Rick Steff (organ), and McFarlane,
Guin, Waters, Mitch Mann, Trinecia Butler, and
Kimberlie Helton (backing vocals).
The opener is an excellent straight-outta-Memphis
soul burner, “I Know (She Said),” a horn and
keyboard-fueled confection with goosebump-inducing
backgroung vocals from Butler and Helton. “Ain’t
Got No Money” is a mid-tempo number that
grooves, and Sandy Carroll and Narmore’s
gospel-flavored ballad, “Mississippi Me,” is a
perfect fit for Wilson’s warm vocal style.
“Trippin’ On You” is funky R&B, and the upbeat
“I Got Plenty” deftly blends soul and country,
while “Hold On To Our Love” is a sweet soul
ballad like they used to play them.
The title track has a little bit of reggae in
its rhythm that mixes well with the horns and
with Hammond and Chavez’s crisp guitar work. The
moody “I’m Walking” finds Wilson calling it
quits in a relationship, again punctuated by a
great Chavez solo. “Crazy World” is one of those
smoldering slow blues tracks that you wish would
go on for a long time, with Wilson and Chavez
doing some of their best work on the album.
“Redhead Stepchild” is about another woman who
just won’t do, while the ominously funky
“Voodoo” is about one who will.
The album closes with a snippet of acoustic
gospel, “Couldn’t Keep It To Myself,” another
track that listeners will wish lasted a little
bit longer.
Wilson’s initial releases were also more
acoustically inclined, so he steps out of his
comfort zone in a way with Deep In My Soul.
The results speak for themselves --- this is s
fine a soul-blues release as you’ll here this
year.
--- Graham Clarke
 Shane
Dwight’s latest effort, No One Loves Me
Better (Red Parlor Records), like many of
his other releases skillfully blends the blues
with country, rock, and a little bit of soul.
The ten-song set is relatively brief at 35
minutes, but packs a wallop as Dwight (vocals
and guitars) joins forces with an all-star cast:
Mickey Raphael (harmonica), Rob McNelley
(guitars), Kevin McKendree (keyboards), Gene
Dunlop (keyboards), Patrick O’Hearn (bass),
Kenneth Blevins (drums), and Bekka Bramlett and
Derek Alldredge (background vocals).
The
warm title track opens the disc, a country
rocker with McNelley contributing slide guitar
behind Dwight’s soulful vocal. “She Likes To
Ride” is an energetic, funky track, and the
gritty “If You Ain’t The Devil” lends proof to
the theory that there’s a thin line between the
blues and country music. The dark “Bullets and
Gasoline” is a grim southern rocker tale of
revenge, and “Sucker” is an interesting mix of
country, rock, soul, and hip-hop tune that works
really well.
On
the hard-charging “Stand Up,” Dwight rocks the
house with Raphael’s harmonica, Bramlett’s
frenetic backing vocals, and Dwight’s resonator
slide guitar in tow. “White Powder” is a blues
rocker about the perils of cocaine, and the
gripping “Levy Girl” is a winner, with Dwight’s
gravelly vocal perfectly complemented by
Bramlett’s haunting background vocals. The
thunderous “Shakin’” rocks hard and is a nice
lead-in to the acoustic closer, “Trial Of A
Poet,” with Dwight’s grainy vocal and Resonator
backed again by Bramlett’s vocals.
If
you’re already a fan of Shane Dwight’s, you
should already have this set. If you’re not
already a fan, No One Loves Me Better is
a great place to get on board.
--- Graham Clarke
 Adam
Holt’s latest effort, Kind of Blues
(Zenith Records), finds the Alabama
singer/guitarist blending a variety of styles.
Yes, there’s blues here but it’s blended with
country, Americana, and southern rock. Holt has
a warm, clear, singing style that lands a little
more of the country side of the country/soul
aisle, but his muscular guitar playing leans
more toward the rock side. He also wrote nine of
the ten tracks, recording the album in his
commercial studio in Alabama with support from
Owen Finley and Pierre Robinson (bass), Greg
Deluca (drums), Donnie Sundal (keys), Lee Yankie
(slide guitar), and Mark Welborn (pedal steel).
The
opening track, “Mr. Morning Drive,” was
co-written by Holt’s wife, Jillian, and is an
upbeat, loving tribute to her grandfather who
worked as a DJ for over 50 years, retiring at 90
(that’s his voice that introduces and concludes
the track). The mid-tempo “Don’t Give Up On Me
Baby” is a smooth fit for either the country or
rock charts, and the ballad “Bobby” is a pointed
plea to an addict to clean up his act. “I’m
Still Holdin’ On” is probably the most country
track on the album (nice pedal steel
accompaniment from Welborn) as Holt struggles to
leave the past behind, and “Before I Trusted
You” also has country mixed with rock.
The
amusing “Give The Dog A Bone” is a fun rocking
boogie, with Holt showing he’s not afraid to
discuss topical issues with “The Story Must Go
On” and “The Bourgeoisie” songs that discuss the
Civil Rights era and corporate America,
respectively. “The End” seamlessly combines
country with jazz, and the closer, a faithful
read of Bob Dylan’s “Lay Lady Lay” retains much
of the feel and passion of the original.
Kind of Blues shows Adam Holt to be equally
comfortable in a number of genres. He’s a gifted
singer and guitarist, and is not afraid to step
on toes as a songwriter. The album and artist
are definitely worth checking out.
--- Graham Clarke
 Call
Ear Worms, the latest release from guitarist
extraordinaire Duke Robillard on Stony
Plain Records, an oldies album if you want. It’s
mostly a collection of favorite songs that
Robillard enjoyed when he was growing up. It’s a
mixed bag of styles, a little bit different from
a typical Robillard album, but the Duke throws
enough twists and turns into the mix to make it
interesting. He also enlists several different
vocalists and guest musicians to assist him and
his core band (Bruce Bears – keyboards, Brad
Hallen – bass, Mark Teixeira - drums).
Robillard only sings on one track, the Gerry
Goffin/Carole King track “The Other Side of
Goodbye,” but his exemplary guitar work is
prevalent throughout. He only offers up one of
his own original tunes this time around, a
strong remake of “Don’t Bother Trying To Steal
Her Love” (a favorite of mine from his ’80s
recordings) with vocals from Dave Howard, lead
singer with the New England band Neil and the
Vipers. The mellow “Living With The Animals, an
interesting track from Tracy Nelson’s Mother
Earth, offers vocals from Chris Cote and
electric violin from Marnie Hall.
Frequent Robillard collaborator Sunny Crownover
sings lead on two tracks: a peppy read of the
Arthur Alexander-penned country soul number
“Everyday I Have To Cry Some” (with British pop
star Julie Grant, who covered the song back in
the ’60s) and the Brenda Lee classic “Sweet
Nothin’s.” Rhode Island-based singer/guitarist
Mark Cutler sings and plays slide guitar on Bob
Dylan’s “I Am A Lonesome Hobo,” and Klem Klimek
sings and plays tenor sax on the Chuck Berry
chestnut “Dear Dad.” Bears sings on a stellar
cover of Allen Toussaint’s “Yes We Can,” and
Teixeira does a fine job vocalizing on the
Neville Brothers’ “Yellow Moon.”
Robillard’s guitar provides “lead vocals” on
four splendid instrumentals. First up is
“Careless Love,” crafted as a swinging tribute
to Duane Eddy. Alexander’s “Soldier Of Love” is
presented as an instrumental for maybe the first
time, but based on Robillard’s smooth effort
it's definitely not the last. Robillard and the
band rip through Link Wray’s “Rawhide,” because
that’s just what you do with a Link Wray song,
and close the disc with a lovely take on the
’50s pop ballad “You Belong To Me.”
Ear Worms is a great mix of familiar tunes
and a few rarities. There’s a lot of diversity
in the song selection, and the variety of vocal
styles is a plus. In the end, as with any Duke
Robillard release, it makes for tasteful and
compelling listening.
--- Graham Clarke
 Canadian
bluesman Harpdog Brown (that’s his real
name) recently discovered that his family has
roots in New Orleans. The harmonica player has
long been a purveyor of classic electric blues,
usually of the vintage Chess and Sun Records
variety. But with his recent discovery of a
familial Crescent City connection he also
incorporates the blues and jazz stylings of New
Orleans into his usual brand of blues for his
latest release, For Love & Money (Dog
House Records).
Lending Brown a hand is guitarist/producer Steve
Dawson and a savvy, powerhouse band (Dave Webb –
piano/Hammond B3, Robert Vail Grant – drums,
William Joseph Abbott – clarinet and alto sax,
Skye Lambourne – trombone, Jerry Cook – baritone
and tenor sax, and Jeremy Holmes – bass, all who
know their way around these musical styles.
The
album consists of a baker’s dozen tracks that
move between jump blues and swinging R&B, circa
late ’40s/early ’50s. Brown does a fine job
covering several songs associated with that era:
Louis Jordan’s “Blue Light Boogie,” Memphis
Slim’s “The Comeback,” a pair from Amos
Milburn’s catalog (“Vicious, Vicious Vodka” and
“Thinkin’ And Drinkin’”), and Wynonie Harris’
“Buzzard Luck.” There are also newer songs from
former Brown guitarist Wayne Berazan (“A New Day
Is Dawning” and “One Step Forward”) and Brandon
Issak (“I’ll Make It Up To You”).
Brown wrote two songs: the entertaining “Reefer
Lovin’ Woman” and “Stiff,” a song about the
perils of being physically and financially
broken. Keyboardist Webb contributes the title
track, a rollicking look at life on the road,
and trombonist Lambourne penned the sweet closer
“Sasha’s Lullaby.”
Brown’s warm, lived-in vocals are a treat and
fit the material perfectly. The band does a
marvelous job and Dawson is a wonder, as always,
on guitar. Fans of jump blues and swinging R&B
will get their money’s worth with Harpdog
Brown’s For Love & Money.
--- Graham Clarke
 Meg
Williams’ fine EP from 2018, Maybe
Someday, enabled the Nashville-based
singer/songwriter/guitarist to compete in the
2019 I.B.C. (representing the Kentucky Blues
Society) and become the director for the house
band for the Women In Blues Showcase. She has
followed up with an excellent session recorded
at FAME Studios for her debut full-length album,
Take Me As I Am: The Muscle Shoals Sessions
(NOLA Blue Records), which features ten new
songs written or co-written by Williams, plus
second takes of two of her songs from the EP.
The
seductive “Come On Over To Me” kicks off the
disc, with Williams in fine voice backed by Dan
Wecht’s slide guitar. It’s followed by “Tell
Everybody,” an upbeat country rocker, “Shame,” a
lively venture into funk territory, and “Little
Bit of The Devil,” which retains the fiery
southern rock feel of the EP version. The
mid-tempo “Played By The Blues” is a fine
vehicle for Williams’ soulful vocals, and
“Sometimes I Need You Too” is introduced as a
ballad but slowly builds into a Allman-esque
conclusion via Wecht’s splendid slide guitar.
Williams declares on the country-flavored title
track that she’s not compromising to get what
she wants, while the “What About Me?” really
captures the Muscle Shoals spirit with
assistance from Clayton Ivey on B3, and “Can’t
Keep Waiting On You” is a spirited,
straight-ahead rocker.
“I
Feel A Heartache Coming” was one of the best
tracks on the EP, and it’s a winner here as
well, a catchy pop-rocker with a touch of soul.
The sexy “Make A Move” is funky R&B and the
closer, “Take A Chance On My Love,” is classy
soul blues.
In
addition to Wecht and Ivey, Williams gets strong
musical support from guitarist Will McFarlane on
three tracks, Bob Wray (bass), Justin Holder
(drums), Brad Kuhn (organ on one track), and
Sara Rogers (background vocals).
Take Me As I Am: The Muscle Shoals Sessions
fulfills the promise that Meg Williams showed on
her EP, definitely proving that she’s a
formidable talent as a singer, guitarist, and
songwriter.
--- Graham Clarke
 Terry
Robb is, hands-down, one of the finest
finger style blues guitarist currently
practicing; I’d argue one of the best ever.
Having heard several of his previous efforts
over the years, I would have to put his current
release, Confessin’ My Dues (Niasounds),
near the top of the heap. It’s a breathtaking
piece of work that encapsulates country blues,
jazz, swing, folk, and ragtime. He’s backed on
several of these 13 exquisite tracks by Dave
Captein (standup bass) and Gary Hobbs (drums),
with rhythm guitarist Adam Scramstad sitting in
on one track.
The
opening track, “Butch Holler Stomp,” is a short
but dazzling ragtime workout that you wish
lasted much longer than 1:52. The next track,
“Still On 101,” is a tough Delta-styled romp,
while the spiritually-tinged “How A Free Man
Feels” is the first track to feature Robb’s warm
vocals. The jazzy “It Might Get Sweaty” is a
funky change of pace.
“Heart Made Of Steel” is one of five tracks
where Robb plays with the band, and it has an
almost-rock edge with some of Robb’s most nimble
finger work, and “Now Vestopol” is an extended
acoustic workout that covers a lot of musical
ground in its six-minute running time.
“Darkest Road I’m Told” is an excellent Delta
blues that owes a debt to Mississippi Fred
McDowell’s “Highway 61,” and “Three Times The
Blues” actually leans more toward the jazz side
of the blues aisle but with Robb’s work on the
resonator being electrifying. The title track is
a lively country blues, and “Death of Blind
Arthur” (maybe a tribute to Blind Arthur Blake)
is a somber minor key blues that shifts into
ragtime near the midpoint.
“High Desert Everywhere” is a slide guitar
driven instrumental taken at breakneck speed.
“Keep Your Judgement” has an old school rock n’
roll vibe, and the pensive instrumental, “Blood
Red Moon” is a solid closer.
As
stated above, Terry Robb is one of the finest
acoustic guitarists on the current circuit. He
not only plays with precision but also with
passion. Confessin’ My Dues should be in
any acoustic guitar fan’s collection.
--- Graham Clarke
 Packrat’s
Smokehouse got their start in the late ’80s,
recording several excellent albums for the King
Snake label and developing the “Florida Swamp
Blues” sound in the process which was a deft
combination of swamp blues (via Lazy Lester and
Lightnin’ Slim) and the moody Mississippi
Delta/Chicago sounds of Howlin’ Wolf. The band
(Anthony “Packrat” Thompson – lead vocals,
harmonica, and guitar, Robert “Lightnin’ Boy”
Thomas – lead guitar and vocals, Aaron “Pops”
Watson – drums, Ken Sly – bass, vocals, and
percussion, and Peter Beers – keyboards)
recently issued a double CD live set, Men Of
The Swamp Live (Black Frost Music).
Two
live performances are represented on this set.
The first disc features a set recorded at Babe
James Center in the group’s hometown of New
Smyrna, Florida. The nearly 75 minute set
features nine songs, a mix of originals and
covers. The opener, “The Night Jack Frost Killed
Possum Brown,” is from one of the group’s ’90s
releases, Let’s Swamp Awhile, and is a
capsule summary of the band’s sound, mixing the
Delta with the swamp.
Next
up are faithful takes on Lightnin’ Slim’s “Hoo
Doo Blues” and Jimmy Reed’s “Hush Hush” (Reed’s
“Caress Me Baby” appears later in the set). The
band also covers Howlin’ Wolf’s “Smokestack
Lightnin’."
The
band original, “Low Down Rider,” is next, an
up-tempo swamp rocker. Other originals on the
first set include the rocking boogie “95 South,”
the aptly titled “Smokehouse Boogie,” and the
extended jam, "Hoo Doo Woman Blues,” which
closes the first set. Thompson’s powerful vocals
and playful stage banter are a plus and his
harmonica work is exemplary, while Thomas’
guitar work is superb, as is the support from
the rhythm section.
The
second set, recorded at Bradfordville Blues Club
in Tallahassee, Florida, is a shorter set, under
45 minutes with three songs clocking in at over
ten minutes. Beginning that set is an extended
groove on Reed’s “You Don’t Have To Go,”
followed by the slow burning original, “Sue City
Sue,” featuring some terrific guitar and
harmonica work, the swampy shuffle “Them Creepin’
Blues,” and a reprise of “Hoo Doo Woman Blues”
that goes into a great extended jam.
If
classic swamp blues is your bag, check out
Packrat’s Smokehouse and Men Of The Swamp
Live for proof that the genre is alive and
thriving. As Packrat might say, “Hammercy!!”
--- Graham Clarke
 Hell
Bound For Heaven (Stony Plain Records) is
the debut release from Manx Marriner Mainline,
a new collaboration of two roots music icons,
Harry Manx and Steve Marriner. Manx, who sings
and plays slide guitar, banjo, and the
20-stringed Mohan Veena on the disc, has won
multiple awards for his creative blend of blues,
folk, and world music. Marriner, of the Juno
Award-winning band MonkeyJunk, sings and plays
guitar, bass, Hammond organ, drums, and
harmonica. The pair wrote or co-wrote six of the
11 tunes, touching on blues and gospel music.
“Nothing,” the opening track is a bluesy shuffle
featuring a world-weary vocal from Manx, backed
by Marriner’s harp. On the next track, the
upbeat “Everybody Knows,” Marriner lays down
some gorgeous slide guitar which is punctuated
nicely by Clayton Doley on Hammond. On the
interesting title track, Marriner is supported
by The Gamblers on background vocals and Manx on
Mohan Veena. Marriner also contributes “My
Lord,” a spiritual solo effort with guitar,
harmonica and backing vocals from The
Marrinaires, while “My Only One” is a subtle
folk blues with Manx on banjo, Marriner on
harmonica, and Doley on Hammond.
The
four cover tunes appear consecutively. Charley
Patton’s “Rattlesnake Blues” gets an electric
blues treatment that moves the track from the
Mississippi Delta to the Louisiana swamps, and a
chilling take on Pops Staples’ “Wish I Had
Answered” gets a soulful and regretful vocal and
tremolo-laden guitar work from Marriner. The
Reverend Gary Davis’ “Death Don’t Have No Mercy”
is played pretty closely to the original, with
Manx playing slide guitar and Marriner singing
and playing 12-string guitar. The duo’s version
of the traditional “This Little Light Of Mine”
is a fun one, with exuberant instrumental
backing and supporting vocals from The Sahaja
Singers. The closer, “Rise And Fall In Love,” is
a beautiful ballad co-written by Manx and
Marriner.
Hell Bound For Heaven is a dynamite set of
blues and gospel tunes from two of the best in
the roots music industry. Though Harry Manx and
Steve Marriner have played together for many
years on stage, this is their first
collaboration on record. Here’s hoping that it
won’t be the last.
--- Graham Clarke
 California-based
singer/harmonica player John Clifton
latest release on Rip Cat Records is In The
Middle Of Nowhere, a strong 11-song set of
originals and well-chosen covers that span the
blues, R&B, and old school rock n’ roll. Clifton
produced the disc and gets able support from
Scott Abeyta (guitar), Jake Finney (bass),
Edward Fritz (drums/congas), and Bartek
Szopinski (keyboards), with guest appearances
from Roger Perry (guitar) and John Shafer
(tambourine).
Clifton’s previous effort, 2018’s Nightlife,
was a highly enjoyable affair and his follow-up
is just what the doctor ordered for fans of
blues from the old days. The opener, “I’m
Leaving You Baby” is from the catalog of
Lightnin’ Slim, with Clifton retaining the
original’s swampy charm with his gritty vocals
and harp. The title track follows, an original
that keeps the rumbling swamp blues rhythm
going. Next is a ripping take on Jimmy Rogers’
“If It Ain’t Me Baby,” where Clifton threatens
to blow the back off the harmonica, and the
jazzy instrumental “Cool Spot In Hell,” with
nice moments from Abeyta, Szopinski, and
Clifton.
“Poor Boy,” the Howlin’ Wolf track gets a
swinging update, and “Keep It Clean,” a pre-war
track from Charley Jordan, is converted to an
electric boogie rocker. Clifton’s original
“Junkie Woman Blues” is played in an
entertaining acoustic Piedmont style down to
Clifton accompanying himself on dobro. The other
Clifton originals are the menacing Chicago
burner “Four Years Ago” and the Rice Miller-esque
“Ain’t Spending No Money.” Clifton also covers
Junior Wells (a splendid slow burn read of “So
Tired I Could Cry”) and country music legend
Merle Haggard (a rousing “Honky Tonk Night Time
Man”).
John
Clifton manages to take the traditional sounds
of the blues and put a sparkling fresh coat of
paint on them. In The Middle Of Nowhere
is required listening for fans of the
traditional and contemporary brands of blues.
--- Graham Clarke
 I
don’t know where this Kerry Kearney
character has been hiding, but it's way past
time to flush him out for all to see and hear.
Actually, Kearney is based in Long Island, where
he’s been plying his wares for over 40 years,
earning awards in the region for his slide
guitar wizardry including induction in the Long
Island Music Hall of Fame and the New York Blues
Hall of Fame in 2013. He’s toured and performed
with the Allman Brothers Band, Dickey Betts,
Robert Randolph, and Sonny Landreth.
Kearney has managed to release 17 recordings
over his career, and I’m seriously considering
searching out for a few of them after hearing
his latest, Smokehouse Serenade
(Highlander Records). This powerhouse set
features Kearney (guitar, banjo, vocals) with
Mario Staiano (drums, percussion), Gerry
Sorrentino (bass), David Bennet Cohen (keys),
and Charlie Wolfe (harmonica) as well as a host
of guest artists. Kearney wrote nine of the 12
songs, and he covers an impressively wide range
of blues styles with these songs.
The
rousing shuffle “Shakin’ Like Jelly,” a driving
blues rocker. opens the disc with another local
legend, Frank “Kingbee” Latorre, supporting
Kearney on harmonica. “Long Tall Mama” is an
easy-rolling acoustic number that will get toes
tapping and fingers snapping. It’s followed by a
retooled version of “Statesboro Blues” that has
a rollicking Crescent City feel (with trombone
from Victor Poretz and piano from Mark Mancini),
the funky rocker “Fireplug,” and “No Way Back
Blues,” another fantastic acoustic workout, this
time with a real Delta vibe.
The
breakneck-paced “Wake Me, Shake Me, Bake Me” is
an engaging mix of blues, rock and funk, and
Kearney’s cover of the pre-war standard “Sittin’
On Top Of The World” is delightful, with more a
crisp acoustic guitar solo and great piano from
Mancini. Next up is the amazing “Camptown
Races/Smokehouse Serenade,” a six-minute-plus
instrumental that Kearney opens with banjo
before quickly launching into a dynamite
electric guitar work out that will have
listeners hitting “replay.”
On
the acoustic “Girl From Memphis,” Kearney plays
guitar and dobro, backed by Wolfe on harmonica,
and plugs in again for the sizzling “Creole
Woman,” which is bound to be a crowd favorite.
The band stays down south for the Second Line
party tune “Goin’ To The Mardi Gras” before
closing out with the stirring rocker “Pretty
Baby.”
I’m
not sure how I missed hearing the Kerry Kearney
Band before now, but rest assured that that
won’t be the case anymore. Smokehouse
Serenade is an awesome set that will not
only satisfy blues rock fans, but even the more
traditional-minded blues fans.
--- Graham Clarke
 Keyboardist
Luca Kiella moved from his native Italy
to Chicago while in his 20's, lured by the sound
of the blues. During his time in the Windy City,
he worked with Toronzo Cannon, Popa Chubby, The
Welch-Ledbetter Connection, and many others
before launching his solo career. His debut
release as a solo artist, Figure It Out,
is a five-song EP that teams Kiella with
guitarist Aaron Weistrop (guitar), Dave Forte
(bass), and Rick King (drums).
Kiella kicks off the EP with a short, but lively
boogie instrumental, “Ten O’Clock Blues,” before
diving into New Orleans funk with a tasty cover
of Jon Cleary’s “Unnecessary Mercenary.” The
sweet title track is a tribute to Kiella’s late
mother, who was always there to give him a
helping hand when he needed it. The country
classic “I Can’t Stop Loving You” gets a
complete makeover, from laidback country classic
to upbeat R&B. The closer, “So Many Questions,”
is an introspective pop-flavored ballad.
Figure It Out clocks in at around 18
minutes, but it’s a strong 18 minutes that will
leave blues fans wanting to hear much more from
the talented Kiella. There’s something here for
everybody.
--- Graham Clarke
 The
Ellis Mano Band is a group of elite studio
musicians who provide support for artists on the
Swiss music scene. Singer Chris Ellis is a
regular on the Swiss and German music scenes,
while Edis Mano is the go-to guitarist for
artists on the Swiss scene. Bassist Severin Graf
is known as “Mr. Groove” and drummer Nico Looser
has backed Tracy Chapman and Scarlet Rivera
while also serving as a member of Switzerland’s
top late-night TV show. After collaborating for
a year, the group has released Here And Now,
a ten-song set of original songs that deftly
straddles blues, soul, and pop.
Ellis’ robust vocals combine the right amount of
soul and grit on these tracks. The opener,
“Whiskey,” is a heavy-duty blues rocker that
deals with heartbreak. It’s followed by the
title track, which merges blues and soul, and
“Where We Belong,” a piano-driven heartland
rocker. The gentle ballad “Goodbye My Love”
features acoustic guitar and a bit of a
country-pop flair, while Ellis pours his heart
out on the haunting “A Lifetime,” about a lost
opportunity for love and happiness, fueled by
Mano’s torrid fretwork.
“Badwater” is a gripping southern rocker where
Ellis really gets the chance to show his vocal
range, and “Georgia” is a nice change of pace,
moving into funky blues and soul. “Bad News
Blues” is gritty, blues rock, and “I Want You
Back” is an acoustic ballad. Ellis sounds good
on all of these tracks but he really stands out
on the ballads. The closer, “Jeannine,” has a
fun, New Orleans feel with horns and piano and
dobro and backing vocals from the band.
Lending the band a hand are Manuel Halter or
Kico Babic (keys), a horn section on several
tracks that includes Florian Egli, Michael
Gilsenen, and Dave Blaser, and backing vocalists
Samia Afra and Sarah Huber.
Here And Now is an impressive debut from the
Elliis Mano Band, a group that we will hopefully
be hearing more from in the coming years.
--- Graham Clarke
 The
Indiana-based blues rock conglomerate known as
Head Honchos consists of the father/son
team of Rocco Calipari Sr. and Jr., providing a
double-whammy attack on lead guitar with Sr.,
who also is a long-time member of Howard and the
White Boys, providing vocals. They are backed by
the propulsive rhythm team of drummer Scott
Schultz and bassists Roberto Agosto and C.C.
Copeland, with additional support from Steve
Ball (keys), Phil Smith (percussion), Jo Jo
Outlich (harmonica) and Joe “J.B.” Brown (sax)
and Mitch Goldman (trumpet) on selected tracks.
The
band’s debut release, Bring It On Home (Grooveyard
Records), is a powerful, confident set of 13
tracks, with eight originals written by Calipari,
Sr. and five inspired covers. The originals
include the hard-rocking opener, “Not For Me,”
“Old And Tired,” and the energetic “Work,” which
features some tasty slide guitar. “Come Strong”
has a nice southern rock feel with the
Calipari’s twin-guitar attack, and the funky
“Next To You” offers more fierce and fiery slide
guitar.
The
band’s approach to T-Bone Walker’s “Mean Old
World” is very interesting, upping the tempo and
rocking it up a bit, giving the song an
impressive reconstruction. They also remodel The
Meters’ classic, “Fire On The Bayou,” retaining
the cushy keyboards and chunky rhythm but mixing
the swampy funk of the original with a touch of
southern rock. There are also a pair of
cautionary tales, with the grungy “Lucky’s
Train” introducing Outlich on harmonica,
followed by the breakneck, horn-fueled “Whiskey
Devil.”
The
horns hang around for an enthusiastic take on
Willie Mitchell’s R&B driver, “That Driving
Beat,” and a soulful version of Wilson Pickett’s
“99 ½ Just Won’t Do” that hews pretty closely to
the original, as does their cover of “Goin’
Down,” which really isn’t a bad thing to do in
this particular case. As Charles Oakley once
observed, “If it ain’t broke, don’t break it.”
The
closer, “Soul Free,” is a mellow Allmanesque
southern rocker that serves as a capsule summary
of the Head Honchos musical statement on
Bring It On Home, which is one that should
appeal mightily to any discerning blues rock
fan.
--- Graham Clarke
 Jason
Robert was front man/guitarist for Stone
Stanley, a California-based Americana group that
released a pair of albums, the last being The
Mudstomp Tapes in 2017. Robert recently
released his first solo effort, The Death of
Stone Stanley, a collection of ‘funeral
dirge and gospel blues songs,' as described on
his website. Robert features a dozen songs on
his debut solo set, mixing originals with
several old favorites. He plays guitar, drums,
and kalimba, backed by Scott Longnecker (bass)
with guest Jim McComas (lead guitar and
harmonica on two tracks).
The
track list includes the optimistic opener,
“Someday,” which reflects on castaway earthly
trials and tests for a better future, a somber
take on Blind Willie Johnson’s “Soul of a Man,”
an upbeat “All I Need,” which also looks at the
good beyond the state of today’s world, “Mr.
Bell,” a grim tale of a mining camp boss who
could very well represent death itself,
“Moonshiner,” a gentle take on an old Irish folk
tune, and a rumbling read of the classic “You
Gotta Move,” which is faithful to the
Mississippi Fred McDowell version.
“Good Vibes” is a relaxing change of pace with
an easy reggae rhythm, and “Sat Around” is an
acoustic ballad about unrequited love. The
electric “Never Gonna Die” is a crunching rocker
with scorching guitar work. “John The Revelator”
is the gospel blues classic, also from Blind
Willie Johnson, with a strong vocal from Robert
and equally effective guitar from McComas.
“Hereafter” is a dark, reflective blues with a
rock edge,. The closer, “Woke Up This Morning,”
is a McDowell tune which Robert relates to the
demise of his previous band and the rise of his
new solo career, one that listeners will find to
be off to a promising start with The Death of
Stone Stanley.
--- Graham Clarke
 Singer/songwriter/guitarist
Kathryn Grimm’s latest effort, Blues
Tools, features a dozen tracks, nine penned
by Grimm with three covers. The Portland
resident has previously worked with Jeff
Buckley, Michael Bolton, Bo Diddley, and
Portland blues legend Sonny Hess. She also
fronts two local bands, Kathryn Grimm and the
Blues Tools and Hippie Love Slave. On this set
she’s backed by drummers Charlie Swift, Robin
James, and Jim Hardin, bassist Kelly Swift, Mark
Frere, and Michael Sunday, keyboardist Aidean
Abounasseri, sax by Felix Sanders and Johnny
Powell, while Buckley guests on slide guitar.
Grimm is a fine songwriter who pulls from
personal experiences. For example, “God Is
Testing Me” was composed after she discovered
her van was stolen. It’s a funky rocker with
gospel background singers. “Talking To The Wind”
has a bit of a Latin lilt, referring to someone
who seems to be incapable of listening (those of
you with children might be able to relate). The
opening track, “You Make Me So Happy I Can’t
Sing The Blues,” discusses a dilemma I have
often wondered about with blues artists, and
“C’mon Home” is a song lamenting the end of a
relationship.
There’s also a powerful song, “The Best Of Me,”
which serves as a scathing indictment against
domestic violence, which was taken from her own
life. “Gone” is an irresistibly catchy rocker,
and the up-tempo “Love Gun” is driven by a
punchy sax break from Sanders. The optimistic
title track is a fun tune, also with an old
school sax solo, this time from Powell, and
guitar from Hess. On the closing ballad, “Empty
Space,” Grimm gets an opportunity to put her
vocal talents on display.
Three covers complete this excellent set: a fine
reading of the gospel standard “Troubles Of This
World,” a jazzy take on “Miss Celie’s Blues”
(from The Color Purple), and the ribald
“Hot Date With Buzz,” written by bass player
Frere and featuring Buckley on slide guitar.
Kathryn Grimm has the Blues Tools and
she’s not afraid to use them. This is a solid
album with great songs and performances from an
artist who definitely deserves to be heard.
--- Graham Clarke
 Belgian
guitarist Stef Paglia is a founding
member of the BluesBones, who won the Belgian
Blues Challenge in 2014 and finished second in
the 2017 European Blues Challenge. He’s been
playing guitar since the age of 12, getting into
the blues after being introduced to the music by
his father, and has enjoyed a fair amount of
success with the BluesBones, having also
released three albums with the band. Recently,
Paglia formed his own trio and has released his
debut as a solo artist (backed by bassist Geert
Schurmans and drummer Joel Purkess), Never
Forget (House of Tone Productions).
Never Forget consists of 12 tracks, 11
written by Paglia, who composed the music, and
his girlfriend, Iris Teunissen, who wrote the
lyrics. Paglia’s brand of blues mixes healthy
doses of rock, pop, funk, and soul, with the
opener, “Watch Out,” getting the disc off to a
rocking start. “Take Me Away” does the same
before working more toward a soul/funk mix as it
progresses. Paglia covers Jimi Hendrix’s
“Freedom,” strongly, remaining pretty faithful
to the original while turning in one of his more
powerful vocals on the album. “The Dead Tree” is
a reflective ballad which closes with a
hard-rocking flourish.
“Mystery Heaven” is a lovely, well-paced
instrumental that arrives at the midpoint of the
disc and gives Paglia a chance to display his
playing skills. The blues rocker “Twilight” is a
keeper, while “Dirty Woman” has a Southern rock
vibe, and the funky “Crush On You” is just
terrific, with Paglia laying down some cool
slide guitar. “The Unknown” is an upbeat Texas
roadhouse blues that would have been a good fit
in SRV’s arsenal. The closer, “Warmth Instead Of
Cold,” is a blues-rock ballad on which Paglia
pulls out all the stops with some of his best
fretwork.
Never Forget is a fine debut from Stef
Paglia, who shows considerable guitar chops and
fine vocal abilities. It will be interesting to
watch him develop as a solo artist over the next
few years.
--- Graham Clarke
 Vermont
native Mike Goudreau has been playing
guitar for over 40 years since picking up the
instrument at 14. His musical influences
span rock, pop, blues, and jazz. He’s had
numerous songs that have appeared on TV shows
and is in high demand as a sideman, backing up
blues artists John Primer, Diunna Greenleaf,
John Hammond, and harmonica master Lee Oskar,
among others. He’s also released 20 albums since
the mid ’90s, his latest being Acoustic
Sessions, a relaxed set that mixes blues,
country, gospel, a little jazz, and Americana.
Goudreau wrote 12 of the 14 tracks and co-wrote
the other two with David Lapp. He’s backed by
Jonathan-Guillaume Boudreau (upright bass),
Jean-François Bégin (drums/percussion), Pascal
“Per” Veillette (harmonica), Toby Wilson (dobro,
pedal steel), Erich Kory (cello), Didier
Dumoutier (accordion), Stéphane Tellier
(guitar), and David Elias (baritone sax,
glockenspiel).
The
opener is the exuberant “I’m So Glad I Have
You,” with Veillette’s harmonica nicely
punctuating Goudreau’s crisp fret work. “Tell
Mama I’m OK” has more of a rambling country
feel, even incorporating a bit of “Six Days On
The Road” into the melody, and the funky blues
“What Did I Say” is a real toe-tapper, as is
“She Talks Too Much,” which sounds like a
long-lost Elmore James-like track. The gentle
“Back To That Place” revisits the country theme,
as does the spunky “I’ve Gotten Used Of You.”
“The
Blues Is Killing Me” is a mid-tempo track that
stands out as one of the best tracks on the disc
--- well-written and played. The somber “The End
of Our Dance” is a heartfelt look at the
conclusion of a failed relationship, but the
mood quickly turns cheerful with the celebratory
“I’m So Happy We Met” and “Jello On A Roller
Coaster.” “Hear My Prayer” reflects on the
regrets of not being able to say goodbye to
someone before their passing. The instructional
“Everybody Breaks The Rules” and the country
blues “Bread And Water” are the Goudreau/Lapp
collaborations. The album closes with “Come Home
Baby,” a swinging blues that adds baritone sax
to the proceedings.
Acoustic Sessions is a fun and wide-ranging
set of original tunes from Mike Goudreau, a
gifted performer who is certainly deserves wider
recognition.
--- Graham Clarke
 St.
Louis guitarist/singer Tony Campanella is
the first signee to Mike Zito and Guy Hale’s new
Gulf Coast Records label. Zito has known
Campanella, regarded as one of the finest
guitarists in the St. Louis area, for nearly 30
years. His debut Gulf Coast release, Taking
It To The Street, is a strong 11-song set
made up of four Campanella originals, three from
Zito and four covers. Campanella plays lead
guitar and handles vocals, backed by Zito
(rhythm/slide guitar) and Zito’s band – Lewis
Stephens (keys), Terry Dry (bass), and Matt
Johnson (drums).
The
title track kicks off the disc, a swaggering
blues rocker penned by Zito that serves as a
fine introduction to Campanella’s guitar
playing. “Pack It Up” is a sassy Texas blues
shuffle, a la SRV, and “One Foot In The Blues”
is a wonderful slow burner with Campanella
turning in a powerful performance on vocals and
guitar. Next is the funky “You Don’t Know,” a
rocking read of Sonny Boy Williamson’s (Version
1) “Good Morning Little Schoolgirl,” and Albert
King’s “Finger On The Trigger.”
Eddie Vinson’s theme song, “Mr. Cleanhead,”
seems like a good fit for Campanella given his
smooth pate, and he does a fine job with an
equally smooth vocal and King-like guitar run.
The last cover, Sonny Boy Williamson’s (Version
2) “Checking On My Baby,” is rocking blues with
a touch of funk. “Texas Chainsaw” is a moody
piece teaming Campanella’s fretwork with Zito’s
ominous slide guitar, and “My Motor’s Running”
is a bouncy, upbeat shuffle. The closer, “Those
Are The Times,” is a reflective slow blues from
Campanella’s pen.
Looks like Gulf Coast Records is off to a great
start with this solid blues rock release, which
should help Tony Campanella expand his fan base
beyond the St. Louis region.
--- Graham Clarke
 Bob
Corritore’s latest release, Do The
Hip-Shake Baby! (VizzTone/SWMAF Records), is
a sequel of sorts to his release from last year,
Don’t Let The Devil Ride, in that it
features the harmonica master teaming with a
group of fellow blues artists for a classy set
of blues, rock n’ roll, R&B, and gospel tunes.
Corritore produced the album (with Clarke Rigsby
and Kid Andersen) and plays harp throughout,
taking the spotlight occasionally but always
providing rock-solid support throughout.
Corritore is joined on these tracks by a huge
cast, including Mighty Joe Milsap and the
Fremonts, who open the set with a gritty cover
of Slim Harpo’s “Shake Your Hips” and following
up later in the album with another Harpo
classic, “I’m Gonna Keep What I Got.” The
energetic Alabama Mike lends his dynamic vocals
to four tracks: Jimmy McCracklin’s “Gonna Tell
Your Mother,” Asie Payton’s “Worried Blues,” a
soulful read of Junior Parker’s “Stand By Me,”
and “Few More Days,” a rockabilly classic from
Eddy Bell & His Bel-Aires. Jimi “Primetime”
Smith sings and plays guitar on “I Got The World
In A Jug.”
The
ageless Henry Gray contributes piano and vocals
to Hank Ballard’s “The Twist,” and Cash Box
Kings vocalist Oscar Wilson does a fine job on
the Jimmy Reed tune, “Bitter Seed.” Bill
“Howl-N-Madd” Perry brings his own “You Better
Slow Down” to the proceedings, and Corritore’s
frequent recording partner, John Primer, ably
handles Muddy Waters’ “Love Deep As The Ocean,”
capturing a bit of the spirit of his former
bandleader in his delivery. Sugaray Rayford
guests on two tracks, the jumping “Trying To
Make A Living” (backed by guitarist Junior
Watson) and the gospel closer, “Keep The Lord On
With You.”
Like
its predecessor, Do The Hip-Shake!
doesn’t really break any new ground but it’s as
great a set of traditional blues as you can find
these days, venturing into a wide variety of
blues styles encompassing Chicago, Texas, the
Delta, the West Coast, and the Gulf Coast
region. Any Bob Corritore recording is worth a
listen and guaranteed pleasure for blues fans.
This album is no exception.
--- Graham Clarke
 Mighty
Mike Schermer’s latest release, Bad
Tattoo (VizzTone/Finedog Records), is the
singer/songwriter/guitarist’s seventh album
overall, and its 12 tracks show that he’s in the
upper echelon of all three categories --- a
clever, original songwriter capable of crossing
genres seamlessly, a talented guitarist, and an
engaging vocalist. Produced by Schermer and Kid
Andersen at the fabled Greaseland Studio, the
disc features guest appearances from Rick Estrin,
Austin De Lone, Billy Price, Chris Cain, Derrick
“D’Mar” Martin, Jim Pugh, and Nancy Wright.
The
opener, “She Won’t Be Coming Back,” has a cool,
almost Latin-flavored rhythm, the keyboards from
De Lone and saxophones from Eric Bernhardt and
Wright really giving the song extra punch. The
funky “Lover’s Hall of Fame” is a cool R&B track
with a clever theme, and “How Much Longer?” is a
retro rock n’ roller that incorporates Farfisa
organ to great effect, while “I Can’t Let Go” is
a soulful blues with Pugh sitting in on organ
and backing vocals from Price and L’il Baby
(a.k.a. Lisa Lueschner Andersen).
The
title track is next, an amusing track about an
unusual romantic dilemma, and the soul burner
“Ain’t That The Way Love Goes?” is a greasy,
mid-tempo shuffle, with Cain joining Pugh on
keyboards. The upbeat “One Thing Every Day” is
an optimistic, pop-tinged tune of encouragement,
and “Hey Francine!” is a jaunty country rocker,
while “Baby Down The Well” is a gritty,
unblinking view of the world today. “Suffocating
Love” reminds me a lot of an early ’70s Johnny
“Guitar” Watson track with its funky beat and
Schermer’s vocal delivery, with Cain also
joining on guitar.
“Stop Looking For Love” is a swampy blues with a
driving beat and harmonica from Estrin and the
closer, “Up All Night,” locks into a lively J.J.
Cale “Shuffle or Die” groove --- a fantastic
conclusion to a highly entertaining disc that
definitely deserves to be heard.
--- Graham Clarke
 Rick
Vito’s latest effort, Soulshaker (Vizztone
Records), finds the mulitple Grammy nominated
guitarist working through a stellar set that
shows his songwriting and singing skills are
nearly on par with his extraordinary guitar
work. Though he’s backed on a few tunes by
keyboardists Kevin McKendree (one track) and
Mark Horwitz (two tracks), bassist Charles
Harrison (two tracks), and drummers Charles
“Mojo” Johnson (nine tracks) and Rick Reed
(three tracks), Vito plays guitar, vocals, bass,
and keys on the majority of these 12 numbers,
ripping through them like a house afire.
“She’s Just Too Fine” is a hearty shuffle that
further shows Zito's guitar versatility, as does
the slow burning “I’ve Got A Secret.” “I Do
Believe” is a frenetic rocker with a sizzling
slide guitar solo, and “World On Fire” is an
ominous look at the world today. “Dancin’ Little
Sister” is a dandy old school rock 'n’ roller
that Chuck Berry would have loved, while “The
Ball And Chain” mixes swamp blues with Bo
Diddley and “I’m Going To Heaven” brings gospel
to the road house. “Walking Shoes” is a grungy,
funky urban blues, with “Promise Land”
revisiting gospel with a bit of a country feel.
Vito’s slide guitar has a different, richer tone
than one usually hears, plus he has a real gift
for melody as heard on a trio of wonderful
instrumentals, the smooth and jazzy “Doggin’
Around” (associated with Jackie Wilson), the
haunting “Soul Shadows,” and a marvelous read of
Sam Cooke’s “A Change Is Gonna Come.”
If
there’s any justice in the world, Soulshaker
should promote Rick Vito as a force to be
reckoned with in the blues world. Already
acknowledged as one of the finest living slide
guitarists, his new release also puts the
spotlight on his songwriting and singing. It’s
definitely an album blues fans should seek out.
--- Graham Clarke
 Memphis-based
harmonica ace Tony Holiday, along with
his musical partner, guitarist Landon Stone, has
been playing about 200 shows a year throughout
the nation. Along the way the duo have been
making various stops around the country, playing
the blues with some of the genre’s most highly
regarded musicians, right on their front
porches. Appropriately enough, the album is
called Porch Sessions (VizzTone Records),
and is a must-listen for any blues fan who digs
the harmonica (with two or three harmonica
masters going head to head on each track) and
deep, down-home blues at their rawest.
The
set of guest artists includes a slew of
Holiday’s fellow harmonica players, such as
James Harman, who makes three appearances on
harp and vocals, with ”Pick-Pocket Fingers,”
“Special Friend,” and “Goin’ To Court,” all of
which also feature guitarist Kid Ramos. John
Nemeth guests on two tracks, Little Sonny’s
“Woman Named Trouble” (with singer/harmonica
player Jake Friel) and a short take on Junior
Wells’ “Blues Hit Big Town.”
Aki
Kumar and Charlie Musselwhite team up with
Holiday and guitarist Rockin’ Johnny Burgin for
the standard “That’s Alright,” and Mitch Kashmar
and Ronnie Shellist join Holiday on two tracks,
“Becky Ann” and the incredibly cool instrumental
“Hip To It.”
Other guests include guitarist John Primer and
still another harmonica wizard, Bob Corritore.
Primer, Corritore and Holiday perform “They Call
Me John Primer” and “Tell Me Baby.” The closer
is the Bobby “Blue” Bland classic, “This Time
I’m Gone For Good,” with a fine vocal from
William Kidd and Shellist sitting in with Stone
and Holiday, the latter also taking vocals on
two tracks, “Three Way Party” and “Coin Operated
Woman.”
Porch Sessions is an excellent set of
traditional blues, with the various combinations
of harmonica players working splendidly. The set
is rock-solid from start to finish, and the
stripped-down, live approach works extremely
well.
--- Graham Clarke
 The
King is gone, but the band remains and is doing
him proud. The B.B. King Blues Band has
continued touring in remembrance of their late
boss. The current line-up (James “Boogaloo”
Bolton – trumpet, Eric Demmer – sax, Russell
Jackson – lead vocals/bass, Walter King – sax,
Herman Jackson – drums, Darrell Lavigne – keys,
Lamar Boulet – trumpet, Wilbert Crosby – guitar,
Brandon Jackson – drums, Raymond Harris –
trombone) boasts over 100 years of musical
talent, and lately they’ve added Michael Lee
(best known for his stint on Season 15 of The
Voice) as lead guitarist and vocalist.
The Soul of the King (Ruf Records) is a
tribute to the band’s former leader, but the
group doesn’t spend the entire album covering
old B.B. King tunes though there are a few
choice cuts of his included on the 13-song set.
Instead, they offer up a dandy set of original
tunes that one could easily see King performing
in his heyday. The disc is loaded with guest
artists (Kenny Wayne Shepherd, Taj Mahal, Joe
Louis Walker, Diunna Greenleaf, Mary Griffin,
and Kenny Neal, for starters), but it’s the band
members themselves who really earn the spotlight
with this sparkling set.
Bassist Jackson takes the mic for four of the 13
tracks, the slow burning opener, “Irene Irene,”
which includes guitar from Shepherd, the Second
Line-driven “Low Down,” the lively “Taking Care
of Business,” and “Becoming The Blues,” which
features backing vocals from Greenleaf and
harmonica from Neal. Jackson and his bandmates
wrote all four of his selections. Bolden’s
robust vocals highlight three songs: the funky
R&B track “Hey There Pretty Woman,” the swinging
shuffle “Here Today, Gone Tomorrow,” and the
jazz-flavored “Pocket Full of Money.”
Demmer, who does yeoman work throughout on alto
and tenor sax, turns in a warm vocal performance
on the smoky ballad “She’s The One.” Demmer
isn’t the only instrumental standout on the
disc, as Boulet also gets his moment in the
spotlight on “Pocket Full of Money” and “Low
Down” (with Kirk Joseph on tuba). The rest of
the band is excellent, as might be expected from
B.B. King’s band.
The
guest stars shine as well, with Neal turning in
a marvelous reading on “Sweet Little Angel,” on
vocals and guitar, Greenleaf very nearly making
“There Must Be A Better World Somewhere” her
own, and Mary Griffin and Taj Mahal having a
great time with “Paying The Cost To Be The
Boss.” Joe Louis Walker offers his own “Regal
Blues (A Tribute To The King),” a wonderful
acknowledgement of the debt Walker owes to B.B.
King for his own successful career. Lee and the
band close the disc with a goose bump-inducing
cover of “The Thrill Is Gone,” which Lee
performed successfully while on The Voice.
The Soul of the King is a blues album that
every blues fan needs to have in their
collection. It’s not just a tribute to a legend
--- it’s a statement that King’s band still has
a lot of great music left to play.
--- Graham Clarke
Hacksaw Jazz radio show summary
Radio hour # one, 10-03-19
Kurt Elling & James Morrison, "September
in the Rain", Live in New York (Indie
courtesy Sony Music/Schagerl ’19)
Bria Skonberg-Villian Vanguard, "Nothing
Never Happens" (BriaSkonberg ’19)
Otis Rush, "My Baby’s a Good ‘Un",
Southern Bred Vol. 4 (KokoMojo ’19 orig
Cobra ’69)
Otis Spann," I’m Leaving You",
Southern Bred Vol. 5 (KokoMojo ’19 orig
Chess ’56)
Twisted Rod, "Electrified", One in a
Million (Rhythm Bomb ’19)
BB & The Blues Shacks, "You Better Don’t
Wanna Know", Dirty 30 (Rhythm Bomb ’19)
Louis Armstrong, "Tin Roof Blues",
Armstrong in Europe (Dot Time ’19 unreleased
since ’52)
Shawn Purcell, "Symmetricity in the
Linear Evolution", Symmetricity (Armored
’19)
Flying Horse Big Band, "Trinkle Tinkle",
Good News (Flying Horse Records ’19)
Troy Roberts, "Trams", Days Like These
(Toy Robot ’19)
2-min break music: Chuck Mangione, "Self
Portrait"
Radio hour # two, 10-03-19
Staci Griesbach, "Sweet Dreams", My
Patsy Cline Songbook (StaciGriesbach ’19)
Jane Bunnett & Maqueque, "Sky High",
On Firm Ground/Tierra Firme (Linus
Entertainment ’19)
Roberto Fonseca, "Kachuca", Yesun
(Mack Avenue ’19)
The Soul Rebels, "Sabor Latino",
Poetry in Motion (Artistry/Mack Avenue ’19)
Derel Monteith, "Connemara", title track
(DerelMonteith ’19)
David Finck, "The Song is You",
BASSically Speaking (Burton Avenue ’19)
Kristen R. Bromley Trio, "Winter
Sunrise", Simply Miraculous (KritenRBromleyLLC
’19)
Mad Love feat. Kathleen Hollingsworth,
"Whisper Not-ISH" (Gladitude ’19)
Florian Hoefner Trio, "Loosin Yelav",
First Spring (Alma ’19)
Randy Napoleon, "Signed Dizzy, With
Love", Common Tones (Detroit Music
Factory ’19)
2-min break music: Stan Getz, "Children
of the World"
 With
over 30 new releases appearing in our mailbox
this week, here’s an entire show of them.
Results of research AFTER playing them: vocalist
Kurt Elling joined Austrailian trumpeter James
Morrison at Birdland, Canadian
trumpeter/vocalist Bria Skonberg has gone off
the deep end for our prez and the resulting
women’s march. Obscure blues singles are
re-released by KokoMojo records, two Otis’s ---
Rush and Spann. Subsidiary label Rhythm Bomb
record new sessions dead ringers for the old,
Euro rockabilly from Twisted Rod Euro blues from
BB and the Blues Shacks together 30 years. Louis
Armstrong’s 1952 Berlin concert tape finally
comes out with Trummy Young on trombone.
Pittsburgh’s Shawn Purcell feels the need to
play guitar synth, tricky a la Monk comes
director Jeff Rupert from U Central Florida of
Flying Horse Big Band. Tenor sax leader Troy
Roberts hosts an organ trio of Joey DeFrancesco
and Jeff Tain Watts, no slouches.
Hour
two opens with L.A. vocalist Staci Griesback
singing Patsy Cline, back is the all female
Latin jazz group Jane Bunnett & Maqueque.
Roberto Fonseca’s piano leans Cuban on only a
couple of his album, The Soul Rebels are an
amalgam of pop thru a New Orleans
instrumentation funnel. Pianist Derel Monteith
has energy amid an otherwise lifeless and boring
solo record --- turns out all tracks are mike
tests for his trio record released
simultaneously. David Finck makes the bass a
solo instrument, BYU’s guitar specialist Kirsten
R. Bromley is mildly happening. A group called
Mad Love calls themselves East/West
jazz/Americana-soul and features female vocal.
Pianist Florian Hoefner sounds Keith Jarret-ish
but cites Americana inspiration like Levon Helm
and Chris Thile for his arranger/trio session.
Guitarist Randy Napoleon has good orchestral
accompaniment with tenor sax.
Elaborate, expressive and very artistic is this
week’s program, Hacksaw Jazz.
I play everything I review, and review
everything I play, on-air.
--- Tom Coulson
Broadcaster-Musician
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