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Candice Ivory has been known as the Queen of Avant Soul and has frequently recorded jazz-driven original songs. Her first foray into the blues was the award-winning When The Levee Breaks: The Music of Memphis Minnie, one of the best and most intriguing albums of 2024.

Was that trip into her blues roots a one-time thing? That was the big question as to what would be next for Ms. Ivory.

She just gave us a definitive answer with the recent release of the diverse and rootsy New Southern Vintage (Nola Blue Records), with examples of multiple styles of early blues brought into the 21st century that fit the format.

The result is an outstanding album that traverses across many of the roots of the blues, all with Ms. Ivory's spectacular vocals. She's backed by one of her regular bands, The Blue Bloods, consisting of Robert Allen Parker (guitar), Adam Hill (guitar), Khari Wynn (bass), and Donnon R. Johnson (drums).

The original mid-tempo blues, "Ain't So Blind," kicks off the album in fine form, a hypnotic number in the style of John Lee Hooker's "Boom, Boom, Boom," with Parker and harp player Jan Hartmann trading riffs throughout. "Blue Blood" is another Ivory original, a raw 12-bar blues driven along by a thumping drum beat, with uncredited vocals supporting Ivory that sound so much like her that I think her singing is dubbed in.

"I'm In Trouble" is a mid-tempo blues shuffle, written by Joe Henry Hicks, with plenty of slide guitar as well as piano from guest Ben Levin. It's followed by a Robert Allen Parker composition, the eerie, slow blues, "Foolish Pleasure." Yubu Kazungu, based in Memphis but originally from Nairobi, Kenya, helps out on vocals, as he and Ivory trade verses on this song, making me feel like it could have been Robert Johnson doing this number.  Levin haunts the song even more with whistle noises, as does the harmonica fills from Hartmann.

We get a big increase in tempo on the rollicking 12-bar piano blues, "Lookin' For My Baby," which of course keeps Levin on the session pounding away on the 88s like a crazed madman. Parker and Hill trade guitar parts midway through the tune, kind of in a ''cutting heads" way. If it was truly a competition, I declare it a draw because they are very fine guitarists.

Ivory takes us to the Mississippi hill country on her own "Strong Black Mattie," given a little touch of Memphis funk with guitar effects and Chris Stephenson's Hammond B-3 playing. There's a whole lot going on with the slow blues, "Let Your Love Shine On," a Parker original that wraps in Antonio Vergara on lap steel guitar, wah, electric guitar, and background vocals, and Stephenson returning on organ. Ivory is at her best on these slow, emotional songs, with one of her best vocal performances on the album. This one touches my soul the more times I hear it.

Changing the mood still again, Ivory puts more power behind her vocals on Parker's "Look Away," with a spooky sound provided by Stephenson's B3. That leads into a 37-second spoken word piece by Andrew Cohen on folk traditions before we head way down in the Delta on a version of "Catfish Blues" that brings in Jimmy "Duck" Holmes on vocals and guitar, Damian "Yella P" Pearson on harmonica, and Levin on piano. Ivory doesn't sit this one out, as we chimes in a vocals behind the iconic Mississippi bluesman Holmes. A very well-done example of the deep blues!

Ivory goes deep into her roots on a version of "Corrina," backed only by Levin on piano and David Evans on guitar. This is another song that goes right to the soul, especially with the rawer vocals from Ivory. The same comment applies to her own composition, "Crown Royal Bag Blues," with Levin returning and Pearson sharing guitar duties with Japanese guitar master Takuto Asano.

The Ivory / Levin / Evans trio is back on the slow blues, "World Of Trouble," one that she also covered on his Memphis Minnie tribute, except this one has a longer running time. Ivory really packs a big wallop of emotion into her vocals this time around.

The same trio teams up on the closing number, "Shout The Boogie," another Memphis Minnie cover, adding Andy Cohen for a second guitar. The title says it all. It's a fast-moving boogie woogie number that gives Levin a chance to show his piano skills. This one lasts just over two minutes, but packs a lot of fun into the short run time.

After these two fantastic blues albums from Candice Ivory, we can hope that she has found a new niche and will keep putting out albums like the Memphis Minnie tribute and New Southern Vintage. I eagerly await the next one.

--- Bill Mitchell

On July 15, 1975, Antone's officially opened. Dubbed “Austin's Home of the Blues” by its owner, Clifford Antone, the Austin, Texas club gave the blues a much-needed shot in the arm. It became a draw for numerous veteran blues artists in search of a place to play their music, such as Muddy Waters, Jimmy Reed, Eddie Taylor, James Cotton, and B.B. King.

It also gave a start to newer blues bands – the Fabulous Thunderbirds, Stevie Ray Vaughan and Double Trouble, Lou Ann Barton, Angela Strehli, Marcia Ball, Gary Clark Jr., Denny Freeman, and many others.

The success of Antone's also played a major role in building Austin's reputation as a music city, leading to a recording label (Antone's Records) and a record store (Antone's Record Shop). Clifford Antone died in 2006, but the club remains a vital part of the Austin music scene, as does the record store.

The record label is now a part of New West Records. Last fall, to celebrate Antone's 50th anniversary, an all-star lineup gathered at Arlyn Studios in Austin and Electrical Audio in Chicago to create The Last Real Texas Blues Album (Antone's/New West Records), an 18-song collection of songs by some of the club's past legends from many of the current line-up of blues stars.

The opening track is a cool cover of Freddie King's “Going Down,” with Bobby Rush on vocals and harp, backed by Jimmie Vaughan and Derek O'Brien on guitars and Benny Turner on bass. Turner himself sings on Lowell Fulson's classic “Reconsider Baby,” with support from O'Brien, Anson Funderburgh, and Lurrie Bell on guitars, and Joe Sublett and Mark “Kaz” Kazanoff on saxophones.

Jivin' Gene Bourgeois (of Jivin' Gene and the Jokers) takes the mic for Big Joe Turner's “Flip, Flop, and Fly,” with Charlie Sexton and Eve Monsees joining O'Brien on guitar. Houston soul singer Kam Franklin ably handles Barbara Lynn's 1962 R&B hit “You'll Lose A Good Thing,” and Antone's favorite Lil' Ed Williams adds a little Windy City flavor as he covers his uncle J.B. Hutto's “If You Change Your Mind,” with Johnny Moeller also on guitar.

Longtime Antone's veteran Kim Wilson & The Fabulous Thunderbirds deliver a swaggering take on A.C. Reed's “Talkin' 'Bout My Friends.” 22-year old McKinley James gives a sterling interpretation of “Those Lonely Lonely Nights,” influenced by both the Earl King version and the Johnny “Guitar” Watson versions, thanks to Kaz Kazanoff and Joe Sublett's saxophones and Funderburgh and O'Brien's fretwork.

Lurrie Bell provides a superb slow burning read of the Elmore James' standard “The Sky Is Crying,” with Sublett on sax. Ruthie Foster sings “Lead Me On,” which was written by Antone's favorite Miss Lavelle White in the late 50's and became a hit when recorded by Bobby “Blue” Bland. Foster's version of the song retains much of the charm and feel of Bland's, down to the horn charts.

Doyle Bramhall II sings and plays guitar, bass, and harmonica on Eddie Taylor's “Bad Boy,” for a bit more Chicago via Austin blues, and Big Bill Morganfield, son of Muddy Waters, continues the family connection to Antone's with a gripping cover of R.L. Burnside's “Just Like A Bird Without A Feather.”

John Primer, who played with Waters at his final Antone's appearance, takes on Jimmy Reed's “Honest I Do,” with backing from Johnny Moeller of the Fabulous Thunderbirds on guitar and Steve Bell on harmonica. Guitarists Monsees. Carey Bell, and Mike Keller join forces to recreate the late, great Magic Sam's instrumental signature song “Lookin' Good,” with vocal encouragement given by ZZ Top's Billy F. Gibbons.

Lynn August passed away this past February, but the zydeco star was feeling fine when he cut a sharp cover of Guitar Slim's “The Things That I Used To Do,” with assistance from O'Brien and Monsees on guitars and Marcia Ball on piano. C.J. Chenier works up a version of Bill Carter's “Willie The Wimp” that has a real zydeco flavor with O'Brien and Funderburgh lending a hand on guitar, and Sue Foley delivers on the Lazy Lester swamp blues classic “You Got Me Where You Want Me.”

Kam Franklin returns with a soulful read of “If (I Could Be With You),” originally sung by Lavelle White back in the day, and the 95-year-old Miss White herself brings the set to a close with a sweet, improvised performance, “Message from Miss Lavelle,” backed by O'Brien on guitar, Ball on piano, and Matt Farrell on organ.

The CD is sold separately, but is also part of a bigger Antone's 50's anniversary celebration project. It's a five-disc, 41-track box set called Antone's: 50 Years of the Blues that includes a disc of rare and unreleased live tracks, a disc of rare tracks compiled from the record label's archive of songs, and a 7” single from Los Lobos (“Three Hundred Pounds of Joy”), along with a bound book of liner notes from Joe Nick Patoski and a reissue of Susan Antone's book Picture the Blues, loaded with rare photographs.

Simply put, if you're a blues fan at all, you need to have The Last Real Texas Blues Album in your collection. This set was a labor of love for all involved. It comes through on every note played and sung.

--- Graham Clarke

The latest Mississippi Heat release, Don't Look Back (Delmark Records), finds front man / harp ace Pierre Lacocque backed by a host of Chicago blues masters, including vocalists Sheryl Youngblood, Inetta Visor, Daneshia Hamilton, Danielle Nicole, and Omar Coleman. Also on the recording are guitarists Giles Corey and Billy Flynn, keyboardists Johnny Iguana and John Kattke, bassist Brian Quinn and Big Mike Perez, drummers Jason “J Rock” Edwards and Kenny “Beedy Eyes” Smith, Marc Franklin and Kirk Smothers (horns), Anthony Alexander and Natalie Bennison (percussion), and backing vocalists Nanette Frank, Diane Madison, and Mae Koen (“Nadima”).

Youngblood takes the majority of the vocals on the album, beginning with the sturdy opening track, “You Ain't The Only One,” backed by Corey's fiery fret work and spirited backing vocals from the ladies. Danielle Nicole tackles the vibrant shuffle “Third Wheel” with Lacocque's harp, Iguana's piano, and Flynn's crisp guitar work in support.

Visor and Hamilton team up on vocals for the lively “Quarter To Three,” with Ms. Youngblood returning to sing the smoky slow blues “Stepped Out Of Line” (with Iguana and Kattke on piano and B3, respectively) and the “fed up” blues “Can't Take It.”

Omar Coleman sits in on the boisterous instrumental “Moonshine Man,” joining Lacocque on harmonica with wonderful results, and Youngblood ably handles the mid-tempo “Champing At The Bit” and the rousing “Love (It Makes You Do Most Anything).”

Nicole's second vocal on the album is “Shiverin' Blues,” a splendid slow blues, and it's a standout along with Corey's slide guitar. Youngblood breaks out the poodle skirt for the vintage rock 'n' roller, “The Sock Hop,” and really delivers on “Blue Amber.”

Youngblood gives fine performances on the soulful “I Ain't Evil” and the solid-as-a-rock title track. Coleman closes things out with “Four Steel Walls,” a fine, energetic send-off featuring Coleman on vocals and joining up again with LaCocque on harp.

Lacocque wrote all the songs, and his harmonica playing is wonderful as always. A new Mississippi Heat album always puts a hop in my step because you know what you are going to get --- a fabulous team effort from start to finish.

Pierre Lacocque and band mates have struck gold again with the superb Don't Look Back.

--- Graham Clarke

It's My Time (New Folk Records) is Jimi “Prime Time” Smith's first solo album in 15 years, but the Phoenix resident hasn't exactly been idle during that time, playing or recording with Bob Corritore and Bernard Allison, among others. Smith, a Chicago native is the son of Johnnie Mae Dunston, one of the first female drummers and songwriters in the blues, playing drums with Reed and managing him in the '70s.

He was influenced by Jimmy Reed, Eddie Taylor, and Hubert Sumlin, and he has played over the years with blues legends such as Otis Rush, Albert King, Albert Collins, and Etta James.

Smith wrote eight of the 11 tracks and co-produced the album with John Wright, who also recorded and engineered the session and plays bass, tambourine, and acoustic guitar. Other musicians include Toby Lee Marshall (piano/organ), Allen “The Captain” Kirk (drums), Dave Foley (horns), and Bob Corritore (harmonica), with Trizha Eboni McDonald and Yolanda “Yo” Tharrington (background vocals).

The album opens with a rousing cover of the gospel standard, “Don't Let The Devil Ride,” with nice vocal work from Smith and background singers. “Back On The Road” is a cool, slide guitar-driven tune, and “Breaking My Heart” is a terrific blues shuffle.

“My Time” is an excellent acoustic down-home blues, with Smith on slide and Corritore on harp. The breezy “Moving On” offers more great slide guitar from Smith, who decides to put an end to a failed relationship. Marshall has a nice piano solo on this track, as well.

“She's A Peach” is a superb slow blues, reminiscent of a classic Muddy Waters track, with Smith's slide and Corritore's harp providing an irresistible combination. “I'm Your Friend” is a soulful blues with horns, Memphian B3 work from Marshall, and a heartfelt vocal from Smith.

The autobiographical “Bluzman” also serves as a mission statement of sorts for Smith as he relates his past, present, and what's ahead, punctuating the tale with some splendid fretwork along the way. “Your Love” is a slow burning urban blues with B3 and horns backing Smith's guitar and vocals.

Smith closes the album with two Luther Allison tracks, the first being the emotional “Will It Ever Change,” from Allison's final album, Reckless, in 1997, a tune that's still a solid fit in today's world. The final track is “Serious,” a smoky blues ballad originally recorded by Allison in the mid '80s that demonstrates Smith is as comfortable on the soul side of the aisle as he is on the blues side.

While we've been hearing Jimi “Prime Time” Smith fairly regularly over the past 15 years. His late 2022 collaboration with Corritore, The World In A Jug, deserves to be heard if you haven't already.

It's great to have another solo release from him and, to these ears, It's My Time stands as his best to date. Hopefully, we won't have to wait 15 years for the next one.

--- Graham Clarke

The Blood Brothers (Mike Zito and Albert Castiglia) reunite for a second studio effort, Help Yourself (Gulf Coast Records), which continues the duo's foray into their fusion of blues, soul, and rock. With support from Scot Sutherland (bass), Lewis Stephens (keys), Matt Johnson and Ray Hangen (drums), Zito and Castigliia tear through a dynamite ten-song set (recorded live in the studio) consisting of nine originals and one cover.

The title track, written by Zito, opens the disc. It's a crunchy blues rocker about taking care of business yourself, depending on no one else. Castiglia's “Can't Be A Prophet” is a gritty tale about the thrills of life on the road compared to coming back to earth when you return home. Meanwhile, the ballad “Alive” is a heartfelt love song written by Zito for his new love, who brought him back from the brink after the loss of his wife.

The band gets a chance to strut their stuff on the funky instrumental “Soulard Serenade,” before jumping into the album's lone cover, a rocking read of J.J. Cale's “Low Down.” “The Best I Can,” co-written by Zito and Castiglia, is a soulful mid-tempo number looking at a relationship on the skids, and Zito's “Prove My Love” finds him desperately trying to keep the fire alive in a romance.

Castiglia's “Ol' Vicrola” is a cool, retro rocker that looks at classic tunes of the past on a vintage record player.The tense “Running Out Of Time,” from Zito, has a restless energy as it recounts an urgent race to the border, and the album closer, “Do What You Gotta,” by Castiglia, really cooks as both guitarists let loose with all their might.

With Help Yourself, the Blood Brothers have another winner on their hands, and continue to set the bar high for modern blues rock with their well-crafted songs and gritty performances. Hopefully, Zito and Castiglia will continue to work together. It's obvious there's great chemistry between them and the band.

--- Graham Clarke

It's good to have guitarist Kirk Fletcher back in action after his career was affected by a stroke a couple of years ago. His return is celebrated with the release of a new album, Keep On Pushing (VizzTone), a message to himself after his health scare. Recorded in Nashville and co-produced by JD Simo, this new release shows Fletcher hasn't lost a thing.

The first sign that he was every bit the guitar player as before came to us in July when the single from the album was released. Fletcher tears it up on the instrumental "Croke," with his guitar gymnastics hinting at a sound that I haven't heard since Danny Gatton was alive and active. The steady blues beat of drummer Jason Smay propels the song forward.

Fletcher has been known more as a guitarist player who sometimes sings, but I like his voice on the eight cuts on which he handles vocals. At times the vocals are more reserved and mellow, which perhaps could be a result of how they were mixed, but overall his voice is pleasing to the blues lovers' ears.

I especially like the opening number, Ted Barrett's blues classic "It's Love Baby," with Fletcher putting plenty of power into his vocals. Another keeper is the title cut, his own mid-tempo blues, "Keep On Pushing," with perfect vocals and exquisite B.B. King-style guitar.

He goes back quite a few decades with both the Big Bill Broonzy classic, "Just A Dream," ending with a hot guitar solo, and Arthur Crudup's up-tempo stomper, "I'm Gonna Dit Myself A Hole." The latter has a "live in the studio" feel, but this is one that I wished the vocals had been a little louder. The same applies to the Eddie Bo New Orleans gem, "Every Dog Hs Its Day."

On the subject of older tunes, Fletcher's understated rendition of Percy Mayfield's slow blues, "Lost Love," is a delight. The tempo picks up as the song goes on with more juice in the guitar parts. Fletcher's vocals are just right on another older slow blues, Lowell Fulson's "Think Twice Before You Speak." The tempo is even slower on T-Bone Walker's "Here In The Dark," with very mellow vocals from Fletcher.

Closing the album is another instrumental, "Blues For Robert Nighthawk," with raw Delta-style guitar and limited instrumentation that allows us to feel the spirit of Nighthawk and other guitarists from that era.

This album makes me happy, because I've enjoyed every previous album from Kirk Fletcher, as well as hearing him with the various bands for which he recorded over the years. I'm glad he's back with Keep On Pushing and looking forward to more from this very fine guitarist.

--- Bill Mitchell

While I've never seen Toronto soul/blues/rock band Bywater Call in person, I've watched enough of their concert videos on YouTube to know that they are an outstanding live band. Thus, it's significant that their latest album is a live one, Sunshine Live, consisting of six of their standard numbers stretched out to give the band members plenty of time to jam.

Through their previous studio albums and concert videos, I've come to absolutely love the energetic vocals of Meghan Parnell, and of course she doesn't disappoint on Sunshine Live. She's the presence in the front of the stage, but the excellent guitarist  Dave Barnes has to be heard to be believed. Overall, it's a very tight band rounded out by Mike Meusel (bass), Bruce McCarthy (drums) John Kervin (keyboards) Julian Nalli (sax), and Stephen Dyte (trumpet).

Opening the show is "Sunshine," the song that gave the album its name. It's a funky blues/soul, with the various instrumentalists playing off each on their respective solos. We get an especially tasty sax solo from Nalli. The killer cut here is the slow, soulful ballad, "Bring Me Down," originally done on their early Bywater Call album. Plenty of hot guitar work from Barnes, while Parnell's voice really soars, especially as the tempo and volume grow throughout the nearly 10 minutes in length.

"As If," from the most recent studio album, Shepherd, has always been one of my favorite Bywater Call songs. Barnes presents a very nice, snaky guitar solo on this aggressively funky tune. Another single is an outstanding version of "Love The One," which to my knowledge they've not previously recorded. It stretches out for more than 10 minutes, giving every band member the chance to show off. This rendition could now be called a soul classic.

The slow, gospel-ish "Sign Of Peace," also first appeared on the Shepherd album. I loved the message delivered on the studio version, and this one is just as powerful, a showcase for Parnell's influential voice.

This live show wraps with "Everybody Knows," also from the Shepherd album. It starts with a very slow, eerie intro before transitioning into a mid-tempo soul. We hear big horns, powerful vocals, and a fiery Allman-style guitar solo.

Bywater Call is one of the more intriguing bands on both sides of the border. If you're new to this group, Sunshine Live is a good place to start, but I guarantee it will be the gateway to you acquiring their earlier studio albums.

--- Bill Mitchell

Deep Mud (Nola Blue Records) is the latest from Mud Morganfield, who will be forever introduced as one of the sons of Muddy Waters. The fact that vocally he sounds very similar to his late father continues to connect the two Morganfields, for better or worse.

While Mud continues to cover some of his father's music, Deep Mud represents a branching out into different sounds, and we should support that effort. After all, Muddy received criticism back in the day when he had the audacity to plug his guitar into an amplifier, basically setting the groundwork for Chicago blues as we have known it for decades.

Morganfield handles vocals on all 14 tracks and plays bass on one number. He's backed by a wide array of regular Chicago session cats, most notably the outstanding harmonica player Studebaker John, who also produced the album. Two guitar players, Rick Kreher and Mike Wheeler, are included on most cuts, but I'm not able to identify who handles which solos. I'll just settle it by saying both are very fine players.

Once I got used to the more urban sound he put into some of the songs, I liked every cut. He wrote all but two of songs, starting with his own mid-tempo 12-bar blues, "Bring Me My Whiskey," opened by Studebaker John's harmonica fills before Morganfield comes in on his typical deep, gruff vocals. "Big Frame Woman" is a funky Chicago blues, highlighted by Sumito Ariyo Ariyoshi's piano accompaniment.

The first of the two Muddy Waters originals, "Strange Woman," is an eerie, slow blues, with Mud's vocals framed by Studebaker's harmonica parts. These two Chicago regulars sure work well together. We get funky again on the mid-tempo "Don't Leave Me," as Mud confesses to his woman all of the mistakes he made but asking (or telling) her not to walk out that door.

Going into a more urban sound on "She's Getting Her Groove On," with crowd noise in the background at times. Contributing to the different sound is the trumpet playing of Phil Perkins, which he makes sound like an entire horn section, and Roosevelt Purifoy's smokin' organ solo. As explained earlier, it's a different sound from Morganfield, but I like it.

Back to a more traditional Chicago blues sound on "Ernestine," a mid-tempo blues with Purifoy's piano playing heavy into the mix and Mud's vocals a little more powerful and commanding. "Strike Like Lightning" was written by Mud, but it sure sounds like something Muddy would have done during his prime. It's a slow swampy blues with Studebaker packing plenty of emotion into his harp. One of our guitar players lays down solid slide guitar work and later a solo that summons the spirit of Muddy. "Strike Like Lightning" just might be the best cut of the album, in part because it takes us into the deep south.

Mud and the band get funky again on "Cosignor Man," with Perkins again putting out a big wall of sound and Purifoy pounding out a very fine piano solo. It's a 12-bar blues with plenty of soul, especially with the female backing singers. "Lover Man" is a very up-tempo blues shuffle that gives Studebaker the chance to show off on the harmonica.

The woman singers, Felicia Collins and Kristen Lowe, are back to give the gentle slow 12-bar blues, "In And Out Of My Life," a soulful vibe, with Ariyoshi back on piano. We get more Muddy-style guitar on the slow blues, "The Man That You're With," as  Mud's impassioned vocals tell that woman, "... I may not be the man you want, but I'm the man you're with ..." Making this cut even better are back to back slide guitar and harmonica solos. It almost sounds like the spirits of Muddy and Little Walter worked their way into the session.

"Carolina" is an up-tempo 12-bar blues, with Mud singing about that love of his, leading into the second Muddy original, the slow, plodding blues, "Country Boy," first recorded for Chess Records in 1951. Melvin "Pooky Styx" Carlisle provides the bass drum beat that slowly leads the song through its paces. Great version. Muddy would be proud.

Putting the wraps on Deep Mud is a five-minute tribute to his mother with "A Dream Walking," a slow blues on which Mud acknowledges that his father was a rolling stone but that she was always there for him, being strong in raising her children. Purifoy takes it to church for one more very nice organ solo, with background vocals by Demetrius M. Hall and Jacole Avent providing a large dose of soul.

Mud Morganfield is doing his best to not just be known as "Muddy's son," instead doing his own songs often in a different style. He'll likely never stray too far from his roots, but I'm enjoying his walks over to the other side of the street.

Deep Mud is another fine example of both his singing and songwriting skills. I recommend it.

--- Bill Mitchell

The late Mike Henderson spent 40+ years in the music business, playing guitar and/or harmonica on hundreds of sessions for artists that included Waylon Jennings, Emmylou Harris, John Hiatt, Albert King, Guy Clark, Sting, Bo Diddley, the Fairfield Four’s Isaac Freeman, Patty Loveless, Bob Seger. He also wrote songs for various country, blues, and soul artists, including Kenny Rogers, Travis Tritt, Patty Loveless, Marty Stuart, The Fabulous Thunderbirds, and Solomon Burke.

Henderson led several bands, including country band The SteelDrivers (with bandmate Chris Stapleton), the Bluebloods, and the Bel Airs, who released an album for Blind Pig Records in 1984. One of Henderson's favorite places to play was the Bluebird Cafe in Nashville, enjoying a regular Monday-night residency at the famed venue.

Last Nite at the Bluebird - Live (Qualified Records) captures Henderson with the last lineup of the Mike Henderson Band (Kevin McKendree – piano, Steve Mackey – bass, Pat O'Connor – drums) as the band rips through a powerhouse eight-song set that captures the fire and fury of the band, along with a taste of Henderson's rapport with his audience.

The set opener is an original, “Weepin' & Moanin',” with Henderson providing a superb, sizzling guitar intro complemented by his gritty vocals. Henderson ends the song with a humorous explanation of the show to follow, pointing out that it's “Blue Monday” and the “sensitive songwriters” have the night off.

The second track is a rough and rowdy cover of Blind Lemon Jefferson's “Matchbox,” with spirited work from the band in support of Henderson, and a wonderfully raw read of the J.B. Hutto slide fest “Too Much Alcohol,” with searing slide guitar from Henderson carrying the day.

The sound and fury settle back for a subdued (well, as subdued as this set gets) version of Mercy Dee Walton's “One Room Country Shack,” giving McKendree and Henderson a bit of room to stretch out on their respective instruments.

“When I Get Drunk” is a wild and woolly song that the band rips through with reckless abandon, and Henderson breaks out the harmonica for a fun romp through Big Walter Horton's “Have A Good Time.”

“Pay Bo Diddley” is a revised version of “Hey Bo Diddley,” and is a regular tune from the band's repertoire, a lament about how one of rock n' roll's pioneers was never fairly compensated for his contributions. Henderson really takes off into orbit on guitar during this one.

Henderson takes a breather to introduce the band to the audience before launching into a scorching cover of Hound Dog Taylor's “Gimme Back My Wig,” bringing the set to an appropriately raucous close.

Listening to this incredible set makes me regret that I never had the opportunity to hear Mike Henderson perform in person (he passed away unexpectedly in September of 2023).

Blues fans who like it raw but righteous will want to give Last Nite at the Bluebird – Live a spin or two. The band still plays the Bluebird on Monday nights, with Yates McKendree now fronting the band in place of Henderson.

--- Graham Clarke

Big Shoes, the Nashville-based supergroup have played with nearly everybody who's anybody over their careers. The band (Lynn Williams – drums, Will McFarlane – guitar/vocals, Bryan Brock – percussion, Mark T. Jordan – keyboards/vocals, Rick Huckaby – lead vocals/guitar, Kenne Cramer – guitar, Tom Szell – bass) originally formed as a tribute band to Little Feat, but decided to start writing their own songs, leading to making their own albums.

King Size (Qualified Records) is their fourth and latest release, featuring 13 songs, nine of which are originals written or co-written by the band. Produced and mixed by Kevin McKendree at his studio, The Rock House, in Franklin, Tennessee. The Muscle Shoals Horns (Steve Hermann – trumpet, Jimmy Boland – tenor/baritone saxes, Charles Rose – trombone/arrangements) also appear on several tracks.

The horns drive the opening track, “Halfway To Memphis,” a pleasant mix of rock and soul like they still do it in Muscle Shoals. The gritty “Can I Take You With Me” has a definite blues feel with a heaping helping of fretwork to carry the day.

“Right About Now” is a soulful mid-tempo number that gives a nod to Little Feat with it's snaky rhythm and guitar, while the amusing title track adds a taste of funk and blues to its story about a lad being sent to pick up king size Chesterfields for his mother.

The crisp shuffle, “I Don't Need Nobody,” is a cool tune with the lively horn section, keyboards, and driving rhythm support. The ballad “Hurry Up Slowly” would be a snug fit in the blues, soul, or country categories, as would “Every Song I Sing,” which follows.

“'Til He's A Memory” is a rootsy, mid-tempo number, and “You Just Know” deftly mixes country and soul as Huckaby looks back on what might have been.

On “Make It Easy On Yourself,” written and recorded by Buckwheat Zydeco in the mid-'90s, the band turns the funk up to 10.With the catchy “Yvette,” the band has a song that would be a hit if the music world made any sense at all; it's an easy fit on the rock or country charts.

“Too Many Bees” is a great song about scoping the scene at a club loaded with female prospects, and “She's A Pain,” written by Jesse Ed Davis, includes slide guitar and describes a woman who's a lot to take, but still worth a shot.

Fans of blues, rock, and soul will certainly dig Big Shoes. King Size is loaded with outstanding, well-crafted original songs and excellent musicianship that are well worth your time.

--- Graham Clarke

Drummer / vocalist John Christopher Morgan grew up in Michigan, where he was exposed to Motown at an early age. His parents were both musicians, as were his brothers, so naturally he became one as well, focusing on the drums. After touring Europe with Weather Report and Willie Bobo, Morgan joined up with Wayne Kramer and Johnny Thunders, eventually joining up with the band Gang War.

He returned to Detroit and backed up guitarist Jim McCarty, Mitch Ryder, Eddie Burns, and others before settling in California, recording with Robert Lucas, King Ernest, and Lester Butler.

Morgan recently released his debut album as a frontman, Right On Time, featuring 13 tracks, nine of which are written or co-written by the drummer. Lending Morgan a hand are guitarists Albert Lee, Franck Goldwasser, and Zach Zunis, keyboardist Martin “Nutty Brown” Gagnon, vocalists Jamie Wood, Viva Vinson, and Marcella Detroit, with harmonica ace RJ Mischo appearing on several tunes.

Lee contributes guitar on the country-flavored romp “Vidalia,” paying tribute to the Mississippi River town in Louisiana across from Natchez. Huey Lewis' doo wop tune “Bad Is Bad,” a hit in the mid '80s, is given a Chicago shuffle treatment with tasty harp from Mischo.

“Trouble Is My Business” is a noir-ish track with Morgan narrating with a laconic delivery that's a perfect fit for the song, while “Last Heartbeat” is a lilting, soulful number. The moody “San Buenaventura” offers a female vocal with a twangy Duane Eddy line on guitar straight from the '60s.

“Ain't We All In It Together” is a rocking soul number with Morgan given a spoken-word narration with help from Vinson on vocals and Zunis on guitar. “Black Bag Blues” is a stirring tribute to the late King Ernest and Lester Butler, who Morgan once worked with.

“The Jeweler's Daughter” is a rousing 12-bar blues that paints an amusing picture with its male / female vocal exchanges, while the cover of Guitar Slim's “Done Got Over It” includes jungle drums and surf guitar accompaniment in a completely unique version.

“Jumpin' With Leon” is a swinging instrumental with Goldwasser on guitar backed by an outstanding horn section, and “Black Bottom Blues” is a slow burner Delta blues with Mischo's harp backing Morgan's somber vocal missing days and musicians gone by. The cover of Bo Diddley's “Let The Kids Dance” is a lively romp, and the Cajun-styled title track closes the disc, bringing Lee back on guitar.

This is a well-crafted disc with a lot of variety that touches on blues, soul, and roots music. The original songs are very good and Morgan has a fine voice that fits all of the styles played like a glove.

John Christopher Morgan may have waited a bit before stepping out on his own, but he learned his lessons well and has put together a fine debut release with Right On Time.

--- Graham Clarke

The Name Droppers (Rafe Klein – guitar, Ron Rifkin – piano, Bobby “T” Torello – drums, Scott Spray – bass) have backed a host of blues and rock legends, including Johnny and Edgar Winter, the Rascals, and Grace Slick. They also backed Charlie Karp in the original incarnation of The Name Droppers until Karp's death in 2019, when they decided to continue the band in his memory.

The band's fifth and latest release is Cool Blue Shoes (Horizon Music Group), consisting of seven originals from the band plus three covers.

Klein takes lead vocals on the first two tracks, opening with a terrific cover of Howlin' Wolf's “Killing Floor” that really cooks, followed by the rocking title track, a “cool” track indeed.

Rifkin takes the mic for his own “Be Alright,” which has a funky R&B feel. Klein returns to sing “Keep Pushin',” a briskly-paced blues rocker, and the moving “That's The Way My Love Is,” written by Mick Jones for Foreigner.

The gritty “Hard Way” features vocals from Klein, backed by Rifkin, and Torello, and the three share lead vocals on a rousing cover of Willie Dixon's “I Cry For You.” Torello takes lead on the humorous blues shuffle “Think Yiddish,” and Rifkin sings on Klein's exuberant call and response “Yes I Will.”

The closer features Klein taking a soulful vocal on the ballad “Out of This Blue,” backed by Simone Brown's sultry background vocals and Bill Holloman's sax.

Cool Blue Shoes is another classy, rock-solid release from The Name Droppers, featuring excellent songwriting and performances that will surely satisfy blues fans.

--- Graham Clarke

Texas blues rocker Jay Hooks was born in Houston and toured with Miss Lavelle White before fronting his own band in the late '90s. He released albums on Sunburst and Provogue Records before stepping away from the music scene for a decade or so. Hooks returned with a vengeance in 2018, performing with Mark May.

Tequila & Bullets (Joplin Street Music) is the singer/guitarist's first studio release since the early 2000s.

Hooks is backed by Matt Johnson (drums/producer), Brock Proctor (bass), and Barry Seeland (keyboards). The album opens with the scorcher “Evinrude Boat Motor,” with sizzling guitar work from Hooks, followed by the title track, a gritty, mid-tempo rocker.

“A Woman Like You” is a tough rock ballad with great guitar and vocals from Hooks. “Lonesome” is one of several tunes that are reminiscent of Johnny Winter's sometimes furious fretwork, Winter being a particular guitar hero of Hooks. “Your Touch” is another Winter-esque track, both instrumentally and vocally.

“Left Me Cold” and “Mind Full” are both powerful rockers loaded with muscular guitar work and rock-solid rhythm work, and Hooks does a cool cover of Rory Gallagher's “Mississippi Sheiks,” paying tribute to the legendary guitarist and the pre-war blues pioneers at the same time.

“Redneck Shit” is a fun roadhouse raver. “I Was Wrong” is a scrappy blues rocker, while “”My Kinda Fine” has a southern rock feel.

The closing track is “Mexican Larry,” a slow blues narrative about a unique problem solver that features some of Hooks' best guitar playing on the disc.

Tequila & Bullets is a gripping, high-energy set of blues rockers that prove it's been too long since Jay Hooks was in the studio. Hopefully, he won't take as long between releases next time around.

--- Graham Clarke

Delmark Records recently collaborated with the Chicago Cubs to record a special 45 version of “Sweet Home Chicago.” The Delmark All-Stars (Bob Stroger – vocals, Carlise Guy – vocals, Mike Wheeler – vocals/guitar, Dave Specter – guitar, Larry Williams – bass, Roosevelt Purifoy – organ, and Melvin “Pooky Styx” Carlisle – drums) put together a terrific cover of the Windy City classic, along with an interesting “BBQJr” (Johnny Iguana and Jeffrey Qaiyum) re-mixed take for Side B.

The Cubs/Delmark partnership came about during a game at the beginning at the season, with a video in tribute to the history of electric blues. The All-Stars performed before and after the game, and the 94-year-old Stroger threw out the first pitch.

The Cubs are also using a blue jersey with blues-inspired typography and a sleeve patch shaped like a guitar pick in selected games this season. Hopefully, the collaboration will help the Cubs this season. They're currently in second place in their division at this time (first in the Wild Card hunt).

--- Graham Clarke

The rock n' roll legend Dion has a new release, The Rock 'n' Roll Philosopher, scheduled for October 24th to coincide with his upcoming book of the same title. The album, to be released on KTBA Records, and book are a reflection of Dion's life's journey, and should be on any music fan's list.

The label recently issued the album's first single, “I'm Your Gangster of Love,” which was co-written by Dion and Mike Aquilina. The song is a gritty blues rocker with lots of swagger that showcases a strong vocal from Dion and powerful guitar work.

Based on this track, it sounds like Dion's new album will be must-listening for blues fans.

--- Graham Clarke

Bill Blue was a veteran of the blues scene, playing with the Arthur “Big Boy” Crudup band until Crudup's death in 1974, and recording with Adelphi in the early '80s before taking a hiatus and moving to Key West where he didn't record for a quarter century.

He eventually met producer Ian Shaw, who persuaded Blue to record a pair of fine albums. Blue passed away from throat cancer in 2022, but Shaw is now releasing some previously unheard Bill Blue sides. First up is the single “I Got The Gris Gris” (Conchtown Records), a swampy blues with Blue's feral growl and his searing guitar work front and center.

Shaw promises more Blue tracks on an upcoming album to be released this fall.

--- Graham Clarke

Grady Champion's latest single, “Plug In The Sunshine,” is a positive track that encourages listeners to “get back some of the good times that the hard times stole.” Champion collaborated with Eddie Cotton on this tune, which is a keen mix of blues and R&B that should appeal to blues fans across the aisles --- .those who dig modern blues and those who like more traditional fare.

It's an inspiring song that will leave you with a smile on your face and may even lead you to focus on the good and leave the bad behind. Given recent events in my own household, it's already working wonders for us.

--- Graham Clarke

GA-20 has a new single that proceeds their upcoming album, a tasty instrumental version of the Sam & Dave classic soul number, “Hold On, I'm Coming.” The current incarnation of the band consists of founder Matthew Stubbs (guitar), Nate Edgar (bass), Brooks Milgate (organ), and is rounded out by Cody Nilsen (lap steel), and Josh Kiggans (drums).

Nilsen's lap steel drives the song, with the rest of the band helping to drive the enticing mix of blues, country, and rock 'n' roll that makes this a memorable version,. It will certainly have fans on the lookout for the upcoming album, titled Orphans.

--- Graham Clarke

Stevie J Blues' latest single, “I Ain't Drunk” (PK Music), is not the mid '50s tune penned and recorded by Jimmy Liggins and later byAlbert Collins. This new song is a tasty mix of blues, R&B, and funk. HEAVY on the funk.

It's an amusing tale, a sequel to the original tune if you will, where the singer insists he's not intoxicated, but maybe the effects are telling a different story. The irresistibly funky backbeat is augmented by some of Stevie J Blues' bluesy fretwork that lifts this already entertaining tune up to an even higher level.

This one will satisfy blues, R&B, and funk fans.

--- Graham Clarke