For Devon Allman,
the last couple of years have to be a blur. In 2011,
he became part of Royal Southern Brotherhood during
the New Orleans Jazz & Heritage Festival, resulting
in a 2012 album that won rave reviews. In 2013, he
released his album debut for Ruf Records,
Turquoise, followed by touring with RSB
(resulting in a live disc) and the band’s follow-up
earlier this year. Somehow, Allman found time to
return to the studio to record his second solo
release for Ruf, Ragged & Dirty.
For his latest
release, Allman went to Chicago and employed some of
the Windy City’s finest musicians, including
guitarist Giles Corey (Billy Branch, Mississippi
Heat), bassist Felton Crews (Charlie Musselwhite),
keyboardist Marty Sammon (Buddy Guy), and
Grammy-winning producer Tom Hambridge, who also
played drums and co-wrote several songs. The
different approach results in a set that moves away
a bit, but not completely away from the
Southern-flavored rocking soul of Turquoise and
steers more toward a blues and blues/rock vein.
The opener, “Half the
Truth” is a rugged rocker that kicks things off
nicely. “Can’t Lose ‘Em All,” penned by Hambridge
and Lee Roy Parnell, has some of the Southern rock
and funky charm found with Allman’s work in RSB. “Leavin’,”
with acoustic guitar from Corey is a more subdued,
but still intense rocker. “Traveling,” is a funky
rocker, and following the same theme (coming home
from the road) is “Back To You,” a smooth blues
ballad with some nice interplay between Allman and
Sammon.
Allman also addresses
the daily happenings of the real world on tracks
like “Blackjack Heartattack,” a gritty rocker about
the pitfalls of gambling, and a smoking cover of
Otis Taylor’s “Ten Million Slaves” covers the
history of slavery in America. Allman also covers
Luther Allison on the scorching title track and the
Spinners’ ’70s R&B classic, “I’ll Be Around.”
Hambridge (on drums and xylophone) and Allman (on
resonator guitar) close the disc with the marvelous
“Leave The City.” Oh, and don’t forget the stunning
instrumental, “Midnight Lake Michigan,” that appears
in the middle of the disc…….nine-plus minutes of
blues guitar heaven.
Vocally, Allman
doesn’t sound like his famous father, Gregg, all
that much, but he’s every bit as soulful and
committed in his approach and really shines on the
and I think Uncle Duane would be mighty impressed
with his inventive guitar. The appropriately titled
Ragged and Dirty is the truest blues
recording Devon Allman has done up to this point,
and his best work to date.
---
Graham Clarke
For his latest
release, Calling All Blues (Stony Plain
Records), Duke Robillard takes on the myriad
facets of blues and American roots music and the
locations from where these styles originally
surfaced. As always, the venerable Mr. Robillard is
joined by his regular band (Bruce Bears – keyboards,
vocals, Brad Hallen – bass/background vocals, and
Mark Teixeira – drums/percussion/background vocals),
along with guests Sunny Crownover (lead/background
vocals), Rich Lataille (alto/tenor sax), Mark Earley
(tenor/baritone sax), and Doug Woolverton (trumpet).
The opener, “Down In
Mexico,” and “Emphasis on Memphis,” both have a
strong Bluff City vibe. I really like the Stax-flavored
horns on the latter track and Robillard’s neat slide
solo. Ms. Crownover does a splendid job with the
lead vocal on the smoky blues ballad, “Blues Beyond
The Call of Duty.” On “Confusion Blues,” the vocal
is handled by Bears with Robillard adding some sweet
T-Bone-esque guitar.
“Motor Trouble” is a Texas boogie tune in the style
of Frankie Lee Sims, with Robillard’s vocal
double-tracked. The roadhouse blues rocker “Nasty
Guitar” continues the Lone Star State portion of the
disc with some appropriately grungy fretwork. For “Svengali,”
Robillard plays acoustic, slide, and electric guitar
and even pulls out a Turkish Saz while Teixeira
provides percussion on drums, wine bottles, etc.
The album ends as
strongly as it started with a redo of Robillard’s
own “Temptation,” highlighted by a funky jazz
backdrop complete with muted Miles Davis trumpet
from Woolverton, and a rowdy rock & soul cover of
the Carter Brothers’ “She’s So Fine.”
If you’ve been a fan
of Duke Robillard’s for very long, you’re no doubt
aware that he’s well-versed in not just various
shades of the blues, but also jazz, swing, and
roots. He really pulls out all the stops on this
release, with some inspired playing (he played the
slide solo on the swinging “I’m Gonna Quit My Baby”
with a broken hand) and singing. Calling All
Blues is an extremely enjoyable musical journey
through American music styles, and my new favorite
Duke Robillard disc.
---
Graham Clarke
Any new release from
the Chicago band Mississippi Heat puts a hop
in my step, and their latest, Warning Shot (Delmark
Records), is no exception, with 16 tracks of pure
blues heaven. Led as always by harmonica ace Pierre
Lacocque, who wrote 10 of the 14 original songs, and
featuring engaging lead singer InettaVisor, the band
welcomes a new guitarist this time around, veteran
Chicago string bender Michael Dotson (Magic Slim,
Aron Burton).
Of course,
Mississippi Heat is known for their dynamite band
and this disc features drummers Kenny Smith and
Andrew Thomas, guest guitarist Carl Weathersby, Neal
O’Hara (organ, piano), bassist Brian Quinn,
percussionist Ruben Alvarez, background vocalists
Mae Koen, Diane Madison, and Nanette Frank, and Sax
Gordon on, you guessed it, sax. They provide
superlative backing, with Dotson and Smith also
taking the mic on several songs.
There’s a variety of
blues styles here, beginning with “Sweet Poison,”
where Dotson’s sizzling slide brings to mind Elmore
James, the rousing Alley Cat Boogie,” the lilting
New Orleans-flavored tracks “Come To Mama,”
“Recession Blues,” and “Birthday Song,” and “Nowhere
To Go,” a serious Chicago blues track. The title
track is a nice slice of Windy City soul, with
guitar from Weathersby, and Visor teams with Dotson
and Lacocque on the acoustic Delta-styled “Too Sad
To Wipe My Tears.”
Dotson acquits
himself very well on his vocal tracks ….. the
uptempo “Yeah Now Baby,” “Swingy Dingy Baby,” a
rocking shuffle, and the atmospheric “Evaporated
Blues.” Smith’s vocal is an old-school slow blues
with some great accompaniment from Lacocque, whose
creativity on harmonica is a major presence
throughout the disc. He takes center stage on an
excellent instrumental version of the Hank Williams
classic, “Your Cheatin’ Heart.”
To these ears,
Warning Shot is Mississippi Heat’s finest
release yet. It really showcases the group’s talent
and versatility. It’s a great release from beginning
to end, just like we’ve come to expect from this
fine band.
---
Graham Clarke
Come Back Baby
is the impressive second Delmark Records release
from Chicago bluesman Linsey Alexander. The
guitarist’s Delmark debut, 2012’s Been There Done
That, was well-received and stood out as one of
the best releases of that year. Alexander, who came
to the blues from the soul circuit, puts a heavy
soul emphasis on his brand of Windy City Blues,
mixing his strong emotional vocal style with
innovative, always-tasteful fretwork.
Alexander wrote all
but two of the 13 tracks. They range from the
exquisite slow blues “I Got A Woman,” to the
rollicking shuffle “Booze and Blues,” to the funky
“Booty Call,” to the traditional blues of “Can’t
Drink, Can’t Sleep, Can’t Eat,” which features some
stinging lead work from Alexander coupled with some
fine harp from Billy Branch (who appears on two
other tracks). I really like the title track, too,
with the soul-drenched horn section.
On “Things Done
Changed,” Alexander reflects how far we’ve come in
society for the better during his lifetime. “Call My
Wife” is a humorous tale about overindulgence that
would have certainly put a smile on Detroit Junior’s
face back in the day, and “Too Old To Be A New Fool”
is a great slow blues about eventually learning from
your mistakes.
Branch, rhythm
guitarist Breezy Rodio, keyboardist Roosevelt
Purifoy, bass player Greg McDaniel, and trumpet
player Ryan Nyther are back in place for Come
Back Baby. Newcomers include drummer Pooky Styx,
Chris Neal on tenor sax, and guest Bill McFarland on
trombone. As on Alexander’s previous effort, the
session was recorded live in the studio and the band
sounds fantastic.
Come Back Baby
is an outstanding piece of Chicago blues and soul
from a master of both genres. Linsey Alexander may
be in his 70s, but he shows no signs of heading out
to pasture in the near future. Blues fans everywhere
should take this as a positive sign.
---
Graham Clarke
U.P. Wilson
burst on the blues scene in a big way during the
1990s, driven by an excellent series of albums for
JSP Records and regular visits to European
festivals. The Dallas/Fort Worth resident was never
really able to garner much attention in his home
country which, sadly, is an all-too-familiar refrain
for most blues musicians.
In the late ’90s,
Blues Archive, a dedicated group of U.K. blues fans
and filmmakers, were able to record many of the
blues artists who were touring during that period
and managed to capture Wilson in performance at
London’s 100 Club on St. Patrick’s Day in 1998.
For those who have
only heard Wilson’s guitar prowess, the DVD Live
At The 100 Club, London 1998 (JSP Records) will
be a revelation. He tears through a ten-song set
that includes several instrumentals that demonstrate
his versatility as a string-bender and his
showmanship. There’s even a chance to watch him do
his patented one-handed move on one track. He also
displays a nice rapport with the audience and
bandmates. Finally, those of us who didn’t get a
chance to see him in person can see what the fuss
was all about.
Bonus features are a
part of most DVDs and this one has some really
noteworthy extras. There’s a sound check featuring
some fantastic music from Wilson as he gets
everything in order with drummer / bandleader /
manager Steve Meek. There’s also an interesting and
insightful interview with Wilson included.
For me, Live At
The 100 Club, London 1998 was a real surprise
and a treat. I never realized that there was live
footage of U.P. Wilson in action. Not only is he in
action, but he appears to be in peak form for this
set. If you’re a blues fan at all, you definitely
need to check out this outstanding DVD, as well as
the others that JSP is currently issuing. It’s the
next best thing to being there in person.
---
Graham Clarke
The New Orleans band
Fo’ Reel came from a studio project created
by guitarist Mark Domizio (Bryan Lee, Mark Chaz).
The members include the legendary C.P. Love, soul
singer extraordinaire, and keyboardist Johnny Neel (Allman
Brothers, Gov’t Mule, Dickey Betts). Also lending a
hand are saxophonist Jon Smith, singer Rick Lawson,
drummers Allyn Robinson and Daryl Burgess, bass
player David Hyde, baritone sax man Ward Smith, and
trumpeter Barney Floyd.
Their new release,
Heavy Water, showcases the band working through
a first-rate set of New Orleans-styled blues, R&B,
and funk, with eight original tunes (two
instrumentals) written by the band, and three
dynamite covers. There’s a great variety of tunes
here, ranging from the slippery soul blues of the
title track, to the Latin-tinged “What Can I Do,” to
“Shake N Bake,” which sounds a lot like one of those
’70s-era Tower of Power songs. There’s plenty of
pure blues present as well, such as the obviously
titled “Blues,” and “Outside Love.”
The band also covers
three tunes, with the Memphis soul classic,
“Breaking Up Somebody’s Home,” being tailor-made for
Love’s soul-drenched pipes. The other two covers are
associated with Luther Allison, and both in more of
a soul vein ---”What’s Going On In My Home” and
“Just As I Am” --- and Love also does a fine job on
them. Rick Lawson provides soulful vocals on four
tunes as well, and while his vocals are distinctive
from Love’s, they are no less effective.
Two instrumentals
complete the package. “Gate” is a tribute of sorts
to Clarence “Gatemouth” Brown and Domizio recalls
the Louisiana legend with his fretwork. “Tater”
closes the disc and features some nice interplay
between Domizio and Neel. Both provide some very
nice moments throughout the album on their
respective instruments, as does the tight horn
section.
You will be obliged
to press “replay” many times while listening to
Heavy Water. It’s a fantastic mix of blues,
funk, soul, and even a little jazz, all topped with
a healthy dose of New Orleans seasoning. What music
fan wouldn’t want to give that a listen? Hopefully,
we will be hearing much more of Fo’ Reel in the near
future.
---
Graham Clarke
You can always depend
on Chicago singer/harmonica ace Rob Stone to
produce a quality set of Windy City blues. His
previous three releases are testimony to that claim.
His fourth release, Gotta Keep Rollin’ (VizzTone)
keeps that streak alive, teaming Stone with his
longtime band (Chris James – guitar, Patrick Rynn –
bass, Willie “The Touch” Hayes – drums) and several
noteworthy guest stars. Stone’s VizzTone debut
features a dozen tracks evenly split between six
originals (written by Stone, James, and Rynn) and
six well-chosen covers.
The originals include
standouts like “Lucky 13,” an old school number with
guitar from guest John Primer, the manic “Anything
Can Happen,” with some blistering piano from Dave
Maxwell and tenor sax from the great Eddie Shaw, the
Little Walter-esque instrumental, “Strollin’ With
Sasquatch,” “Wired and Tired,” with piano from Henry
Gray, and the swinging closer, “Not No Mo’.”
Stone also shines on
the diverse set of cover tunes from Johnny Jones
(“Wait Baby”), John Lee Williamson (“Wonderful
Time”), Jazz Gillum (“She Belongs To Me”), Billy
“The Kid” Emerson (the rocking “Move Baby Move”),
Willie McTell (“Cold Winter Day”), and Lonesome
Sundown (“It’s Easy When You Know How”).
Also lending a hand
on various tracks are Ariyo (piano), Frank Rossi
(drums), Eddie Kobek (drums), Jeff Stone (guitar),
and Mike Mahany and Clarke Rigsby (background
vocals). Rob Stone does an excellent job with this
sparkling set of classics and originals. There are
plenty of traditional sounds here to keep longtime
fans listening and enough of a contemporary edge for
new listeners, too.
---
Graham Clarke
The Knickerbocker
All-Stars consist of a multi-talented group of
music veterans who have played with such blues
luminaries as The Fabulous Thunderbirds, Robert
Cray, Roomful of Blues (who headlined for years on
Sunday nights at the Westerly, R.I. Knickerbocker
Café), as well as their own bands. The All-Stars
were assembled by John Paul Gauthier, Robert
Christina, and John Paul Sheerar for Open Mic at
the Knick (JP Cadillac Records), a loving
tribute to the music and artists that influenced
them.
Bob Christina,
drummer with guitarist Ricky King Russell and the
Cadillac Horns, played a big part in putting the
band together and he and Russell, along with
Christina’s brother (former T-Birds’ drummer Fran
Christina), bass player Bob Worthington, keyboard
aces Al Copley and Dave Maxwell, and an outstanding
horn section (Doc Chanonhouse – trumpet, Bobby
“Breeze” Holfelden – trombone, Rich Lataille – tenor
and alto sax, and Dennis Cook – baritone sax)
provide backing to an impressive list of vocalists
who should be familiar to blues fans.
The 12-song set list
is loaded with familiar tunes, mostly of the jump
blues and R&B variety with eight different vocalists
bringing these classics to life. Texas singer/guitar
slinger Willie Laws ably handles Gene Barge’s
“Mother-in-Law Blues” and gives a downhearted
reading of Eddie Boyd’s “Five Long Years.” Malford
Milligan breathes fire into the Bobby “Blue” Bland
classic “Turn On Your Love Light” and the swinging
“Love Disease.” Johnny Nicholas does after-hours
perfectly with the Billy Eckstine standard “Jelly
Jelly,” and does splendid versions of Lowell
Fulson’s “Reconsider Baby” and Guitar Slim’s “Along
About Midnight.”
Curtis Salgado jazzes
up another Bland tune, “Ain’t That Lovin’ You,” a
standout among standouts on this set. Sheerer steps
behind the mic for the Big Bill Broonzy tune,
“Somebody’s Got To Go.” Brian Templeton rips through
the first of two Freddie King hits, “I’m Tore Down,”
while Mike O’Connell nearly brings the house down on
the raucous closer, “Goin’ Down.”
Open Mic at the
Knick is a powerhouse set of tunes paying
tribute to a musical era that’s not nearly as bygone
as some listeners might be led to believe …… an era
that’s still celebrated on a regular basis at the
Knickerbocker Café by artists just like these. Hats
off to Gauthier, Sheerer, Bob Christina and these
musicians for keeping these blues alive.
---
Graham Clarke
The Nashville-based
band Markey Blue specializes in high-energy
soul/blues with a distinct Memphis/Stax Records
flair. Lead singer Markey has worked as a showgirl
in Vegas, a film and TV actress, a comedienne and
impressionist, and as a country singer before
returning to her soul and R&B roots. Guitarist Ric
Latina has worked as a studio and stage guitarist,
working with a list of artists ranging from Waylon
Jennings to Kirk Whalum to Gary Puckett to Rhonda
Vincent. Latina and Markey met in Nashville when
their respective bands shared a bill and decided to
join forces.
Markey Blue’s debut
release, Hey Hey (SoulOSound Records),
features a dozen original tunes steeped in the deep
soul sounds of the Bluff City, backed by a
powerhouse band versed in the genre. From the
opening cut, the decidedly upbeat “When Love Comes
Along (Hey Hey),” which features a great, playful
vocal from Markey and the band blowing at full
steam, you will be hooked.
Highlights include
the seductive “I Can’t Let You Go,” “Feeling Blue,”
which sounds like a lost Ann Peebles number, the
funky “Flames,” the sultry “Play Me,” which features
Jack Pearson on guitar, the soul-drenched “Another
Lover,” the gritty “Ain’t No Angel,” and “Baby I’m
Cryin’,” a smoldering R&B tune that closes the disc.
Truthfully, there’s not a bad tune in the bunch.
While the band offers
superlative support, really capturing the feel of
classic Memphis blues and soul, the main
attractions, Markey’s impressively versatile vocals
and Latina’s excellent spot-on guitar work, are
worth the price of admission here. Hey Hey
will certainly appeal to fans of blues and classic
soul in the Memphis tradition, but Markey Blue has
plenty to offer to fans outside of those genres with
Markey’s lovely voice and Latina’s impeccable
fretwork.
---
Graham Clarke
A couple of years
ago, Liz Mandeville was asked to write nine
songs for an upcoming album by Windy City blues
singer Shirley Johnson. During the songwriting
process, Mandeville ended up writing 19 new tunes,
and the Chicago singer/songwriter/guitarist ended up
using 11 of those songs to make a CD of her own,
Heart ‘O’ Chicago (Blue Kitty Music), a classic
album of soul, R&B, and blues.
Working with a
veteran band (Minoru Maruyama – guitar, Darryl
Wright – bass, Jeremiah Thomas – drums, Joan Gand –
piano/B-3), and a great horn section (Wade Baker –
trumpet, Eric Campbell – trombone, Oz Landesburg –
sax), Mandeville is really in her element, writing
some of her most engaging tunes, some of which are
clever modern takes on traditional affairs, such as
“Quit Me On A Voice Mail,” or “Smart Woman Foolish
Choices” (one of two duets with singer Charlie
Love).
I really like
Mandeville’s vocals on these songs. She shows a lot
of range and sounds fantastic on the old-school soul
opener, “Cloud of Love,” with comes with some
Memphis-styled B-3 from Gand and sax from guest
Eddie Shaw, the moody slow burner, “These Blues,”
and the sultry “Tic Tok.” Other highlights include
the timely “Why Would a Woman Sing the Blues,” and
“So Called Best Friend,” one of a pair of tracks
with smoking harmonica from Billy Branch, the other
being the rousing “Party At The End of Time.” Fellow
harp ace Dizzy Bolinski shines on the romper, “(Life
Is Like a) Wave,” which closes the disc.
To me, Heart ‘O’
Chicago is Liz Mandeville’s best release yet.
She writes in the liner notes that she has an
affinity for classic Chicago soul and R&B. Listening
to the disc should verify that wholeheartedly. It’s
obviously a real labor of love.
---
Graham Clarke
You might say that
playing guitar is in Murali Coryell’s genes,
being the son of jazz fusion guitar legend, Larry
Coryell. However, Coryell’s preferred musical path
centers around blues and soul. On his latest
release, Restless Mind (Shake It Sugar
Records), the guitarist deftly mixes the two genres
together, with 11 entertaining original compositions
and one classic cover.
Highlights include
“Kiss Me First,” a funky R&B track, the reflective
title track, the upbeat “I’m So Happy,” and the
straight-up rocking toe-tapper, “Sex Maniac.” “Crime
of Opportunity” is an excellent slow bluesy number
with an impressive guitar break from Coryell. On the
funky “I Can’t Give You Up” and the soulful “Tag
Along,” Coryell and his band (Ernie Durawa – drums,
Chris Alcaraz – bass) are joined by Joe Morales
(sax) and Jimmy Shortell (trumpet).
“I Need Someone To
Love” is a catchy blues shuffle with more nice
fretwork from Coryell, and “Lonely Eyes” has a Latin
flair. The urban blues-styled “Everyday Is a
Struggle” offers up some of Coryell’s best fretwork,
and Coryell’s updated reading of Marvin Gaye’s
“Let’s Get It On,” closes the disc in fine fashion.
Coryell’s guitar work is spot-on for these tunes,
rooted as much in funk and soul as in the blues, and
his vocals are standout, with a perfect mix of silk
and grit. Restless Feeling will be a great
fit for fans of blues, funk, and soul music.
---
Graham Clarke
The Kirby Sewell
Band is a five-piece outfit from Canada. Sewell,
a Calgary native, is the driving force with his
powerhouse vocals, and his bandmates (Neil Gunhold –
electric and acoustic guitars, backing vocals,
Morgan Turk – lead guitar, Jae Cho (bass), and Jim
Johnston –drums) move effortlessly from roadhouse
blues and rock to country and soul on their exciting
new release, Girl with a New Tattoo (Smelly
Cat Records).
Gunhold wrote all ten
of the tracks (with co-writing credits to Sewell on
the sinewy rocker, “Kiss You Tonight”), and they
range from the funky opener, “The Devil’s in the
Details,” to soulful numbers like “Simply Not
Enough,” country-flavored tunes like “A Better
Reason,” catchy hard rockers like “$1.11,” “Carry Me
Home,” and “Stop and Go,” and the humorous title
track, which swings along happily.
Sewell also handles
blues tracks like “Cryin’ All The Way Home,” an
entertaining minor key blues rocker and the frenzied
acoustic/electric closer, “Till the River Starts to
Overflow,” with ease. His tough, expressive vocals
make Gunhold’s songs come to life, and the guitar
interplay between Gunhold and Turk is a definite
highlight.
This is a great set
of original tunes with an old-school '70s vibe that
mixes blues, soul, and rock in equal doses. Sewell's
soulful vocals, combined with excellent songwriting
and musicianship, make this a very compelling
release, and leaves you wanting to hear more.
---
Graham Clarke
Hurricane Ruth
is a tough blues-rock band out of Illinois featuring
the powerhouse trio of David Lumsden (lead guitar),
Gary Davis (bass), Jim Engel (drums), and the
dynamic vocals of the band’s namesake, “Hurricane”
Ruth LaMaster, the little lady with the big voice.
The band made quite an impression during their
appearance at the 2012 I.B.C., with their debut
release earning a nomination for Best Self-Produced
CD at the following year’s I.B.Cs.
Their sophomore
release, Born on the River, consists of 11
original tracks, some of which were inspired by
LaMaster’s hometown, Beardstown, Illinois, which is
located on the Illinois River. The album is
energetic and intense and has the feel of a live
performance. LaMaster’s nickname is appropriate
because vocally, she is a force of nature on songs
like the autobiographical title track, the sizzling
“Make Love To Me,” and the defiant “Cold Day In
Hell.” She’s equally comfortable with the intensity
taken down a notch, such as on the blues ballad,
“The Walls.”
“Dance, Dance, Norma
Jean” is a relentless ZZ Top-styled boogie, “Slow
Burn” has a swampy metal vibe, and “Money Train” is
a funky rocker, as is the entertaining tale of “Big
Helen.” Though it’s easy to get moved to the
background with such a powerful and charismatic
singer, the band does an excellent job in support,
with some dazzling guitar work from Lunsden and
rock-solid rhythm support from Davis and Engel. The
closing track, “Real Good Woman,” a swaggering
blues-rocker, features the band and the singer at
their most formidable.
Born on the River
rocks from start to finish, and serves notice that
blues fans had better pay attention to Hurricane
Ruth. Both the band and the vocalist are equally
potent.
---
Graham Clarke
The Jake Leg
Chronicles (Indian Proud Entertainment) from
kettles | eno ain’t gonna be found in your
Daddy’s southern rock collection. You could call it
21st century southern rock if you want. I think the
kids call it Americana these days anyway. Steed
Kettles and Jeff Eno met years ago as part of the
Atlanta band Skin n Bones in the mid ’90s, and later
reunited as part of the Americana band Liberty
Jones. Kettles wrote eight of the ten songs featured
on The Jake Leg Chronicles, and his roots in
country and folk melds perfectly with Eno’s pop and
roots rock background.
Kettles’ songs run
the gamut from the country rock of “Poor White
Trash” to the moving “I’m Coming Home,” about a man
running from the law, to the break-up song “Sticks
and Stones” (also present as a bonus track “Redux”),
to the inspriational closer, “We Believe.” He also
imbues tracks like “I Think Too Much” and “The Rest
is History” with a bit of humor to lighten the mood.
This is good stuff, obviously written by someone
who’s lived it or at least been really close to it.
Eno sings on four of
the tracks, including his own “American Fool,” a
toe-tapping pop-styled country rocker about
coming-of-age. The album’s lone cover is a dandy ……
a soulful reworking of Gram Parsons’ classic “A Song
For You,” with backing vocals from Karin Johnson.
Other guest musicians include guitarist Jim Lavendar
of The Cigar Store Indians, guitarist Mike Duckworth
from Liberty Jones, keyboardist Dave James of Boy
Howdy, and David Smith, who contributes guitar,
drums, bass on mulitple tracks.
Wherever you classify
it --- southern rock, folk, blues, roots, Americana
--- The Jake Leg Chronicles is good stuff,
with songs about love, hate, misfortune, injustice,
inspiration, and everyday life that will ring true
for most listeners, especially those who share deep
south roots with kettles | eno. Fans of any of these
genres should not let this one slip past.
---
Graham Clarke
A couple of years
ago, Sista Jean & CB blessed us with Back
To The Root, an awesome set of acoustic blues
with a touch of soul and jazz featuring the
wonderfully subtle vocals of Sista Jean (Jean
McClain) backed perfectly by CB’s (Carlyle Barriteau)
guitar. After the album’s release Sista Jean
embarked on an extensive two-year world tour with
Hugh Laurie & the Copper Bottom Band, but has
returned to work with CB, who has been touring with
jazz singer Bobby Caldwell, on their second full
release, Requiem For A Heavyweight (Tribute
To Odetta), paying homage to one of her musical
heroes.
The new CD is slated
for a March 2015 release, so Sista Jean & CB have
issued the Spectacular 2 Song Double Pack
(Freckled Bandit Records) to help their fans make it
until the new CD comes out. The two songs, “Alabama
Bound” and “Easy Rider,” are both songs that Odetta
(and also Leadbelly) performed back in the day. The
uptempo “Alabama Bound” features a tough vocal from
Sista Jean and some dazzling guitar from CB, while
“Easy Rider” is taken at a slower pace, stretching
to six and a half minutes. Jean’s impassioned vocal
is spot on and CB’s understated guitar is augmented
by drums.
This two-song set
will surely please fans of the duo’s initial release
and whet their appetites for the upcoming release. I
can’t wait to hear McClain work through a complete
album of Odetta’s classic songs. This is a great
place to start to check out this pair, and it gives
you time to go back to hear Back To The Root
if you missed it the first time around.
---
Graham Clarke
Over my years of
working the International Blues Challenge for the
Blues Foundation I’ve literally met hundreds of
bands from around the world. The fortunate (or
unfortunate few) that have been assigned to compete
in the Rum Boogie have had to endure their share of
grief from me in that time, and I’m honored to call
many of them friends. Such is the case of one Jerry
Lee Gingery and his band, The JuJu Kings.
We’ve stayed in touch and I’m happy to see that they
will be back in Memphis in January for another go at
the IBC crown. Jerry Lee and his band have released
a new album, Southside of Nowhere, and it’s a
good one. Let’s give it a spin.
When I’ve seen Jerry
Lee in Memphis he always played bass while singing
the lead vocals for the JuJu Kings. I’m not
surprised that he plays lead guitar on most of the
tracks on the new disc; I’ve just never seen him do
it. We open with “Whiskey Train” and the idea of
going on a bender seems to appeal to Jerry Lee. I
hear a little North Mississippi influence in this
tune as Jerry Lee ponders life, “I asked the
bartender…what am I doing here…I said my
friend…would you be so kind….to hit me one more
time….all aboard the whiskey train.” I’m enjoying
the vibe of this tune and Doc Romanowski’s talented
keyboard work on the organ lends just the right
touch to the mix as Jerry Lee plays a wicked guitar
solo in what’s intended to be his drunken
desperation.
The title track,
“Southside of Nowhere” is next and I’m appreciating
just how tight a band the JuJu Kings are. “You’re
from the southside of nowhere…the wrong side of the
tracks…I know where you’re born…you just can’t hide
the facts…the southside of nowhere…the wrong side of
the tracks.” Doc’s back on the piano this time and
again he’s spot on with his keyboard track. Life
isn’t fair and sometimes it’s held Jerry Lee back
but he can’t help the fact he was born on “the
southside of nowhere…the wrong side of the tracks.”
Brandon Santini lends his considerable harp talents
to the mix on our next tune, “Rich Man Blues,” and
Jerry Lee’s finding life isn’t always greener on the
other side. “Got a brand new Cadillac…penthouse in
the sky….but I long to feel the Blues…one more time
before I die.” Not bad problems to have but
definitely not worth selling your soul for either.
Jerry Lee’s bass is
at the forefront of our next cut, “Something’s
Wrong,” and the rhythm section is solid with Roberto
Aguilera Jr. on the drum kit. “Magic potions…instant
delight…but that don’t…make things right…something’s
wrong.” Jerry Lee knows the path he’s heading down
just isn’t right but he’s also not sure what’s
missing, knowing my friend he’ll figure it out soon.
Brandon’s harp is back in full force as the band
moves on to “Must Have Been Blind.” “Must have been
blind…far as I can see…my little woman…she’s
starting to worry me…stepping out at midnight…to
half past three…just can’t believe…she’d be cheating
on me.” If you can’t figure that out Jerry Lee, you
must have been blind. “B&B By the Sea” is a
beautiful ballad and Jerry Lee has a definite vision
for the future of the relationship he’s in.
“Tourists in their rooms….nestled in bed…dreams of a
new tomorrow….just a swimming in their heads…by the
sea.” A quaint B & B sounds heavenly and a perfect
was to enjoy life with the one you love at a pace
that allows you to enjoy the beauty of your
surroundings.
I’ve got Brandon’s
harp and a kick drum in my ear as the band begins to
tackle our next cut, “Life Goes On.” “Dog in the
yard…squirrel in the tree…says come on down…if you
please….life goes on.” Through the good and the bad,
life does indeed go on. A quick laugh and Jerry Lee
leads the band forward in a ’50s style tune, “Hop
Skip & a Jump.” “Who’s the one you come running
to…I’m the one you come running to. Jerry Lee knows
when this girl’s relationship goes bad he’s just a
hop, skip and a jump away from her entering his arms
instead. “Going uptown to see my sweet Mae
Bea…cutest little girl I ever did see…she’s got them
long, tanned legs…and a skirt so tight…I want to
wrap her up around me…and love her all night.” Jerry
Lee’s got it bad for “Mae Bea” in “Mae Bea Sweet
Baby” and if he’s lucky, it will all work out.
Our next cut, “Sorry
for Myself,” finds Jerry Lee contemplating the
reasons for feeling down and they center around his
woman who’s gone away. “Yes, it’s late at
night…waited for a knock on my door…well my
baby…said she come in…I know it’s a lie….it’s been
six days….and she ain’t come by….sitting round
here…feeling sorry for myself.” She’s spent all his
money and I hate to tell you what you already know
Jerry Lee, but this girl just ain’t coming back. A
blistering guitar intro continues this theme of
dissatisfaction as Jerry Lee tackles the next tune,
“Tired of Messsin’ With You.” “I’m so tired…of the
things you do….well, I’m so sick and tired…tired of
messin’ with you.” Jerry Lee’s woman is not treating
him right and the best thing to do here my friend is
kick this one to the curb.
Southside of
Nowhere is dedicated to the memory of Jerry
Lee’s father, Harold Gingery, and I’m assuming our
last tune, “Daddy’s Song,” is a tribute to his
father by Jerry Lee. “Daddy died on a Monday…feeling
mighty down…cast his soul on the water…watched it
drift away…spilled ashes on the ground…where we’ll
visit here someday…Daddy dies on a Monday…life won’t
be the same.” A beautiful tune, Jerry Lee, and a
fitting end to what has been a great disc from top
to bottom.
I’ve always said that
any band that goes to Memphis to compete in the
International Blues Challenge comes back better for
the experience, and what I’m hearing in my
headphones indicates that Jerry Lee & the Juju Kings
assimilated the lessons learned very well. Kudos to
Brandon Santini for lending his amazing harp to the
mix.
I’ve enjoyed this
record tremendously. You can learn more about Jerry
Lee & the Juju Kings at
www.jujukings.com and this is a great disc to
pick up from Jerry Lee and the guys. See you in
Memphis, my friend..
---
Kyle Deibler
JW-Jones has
made his mark on the Canadian Blues scene with 12
Maple Blues Award nominations and other prestigious
awards including the Ottawa Business Journal’s
recognition as one of the “Forty Under 40” brightest
and talented entrepreneurs of the region. With all
of these accolades behind him, JW set his sights on
tackling America and enlisted the help of Tom
Hambridge to produce his first disc for Blind Pig
Records, Belmont Boulevard. It’s a hot disc
and though my ears are still blistering from the
last go around, let’s hit play again.
JW opens up with a
tune written by Tom and Colin Linden, “Love Times
Ten,” and here JW is looking for what we’re all
after, a love worth having.“ And I’m right here…just
a waiting for you…we need a love times 10…yes, just
squeeze some more in…we need a love times ten.” Tom
assembled some great players to back JW on this disc
and I hear Reese Wynan’s magic touch as part of the
mix for this tune. We move on to a strong bass line
from Dave Roe with Tom on the drums for “Watch Your
Step.” This tune has a ’60s beach feel to it as JW
sings, “You’d better take it easy, baby…before you
go away…you did me dirty, baby…you’d better watch
your step.” Karma’s got a way of evening everything
out and the pain this woman caused JW will come back
around to her some day. JW’s guitar tone is very
bright and I’m reminded of the playing of one of his
influences, Little Charlie Baty, from back in the
Night Cats day.
A very upbeat tune
that just smokes. JW’s guitar is at the forefront
for out next cut, “Blue Jean Jacket,” one that JW
helped co-write. “My blue jean jacket…I felt like I
could take on the world…those friends of mine…they
felt so fine…when I was holding my girl…in my blue
jean jacket…she held onto my side.” JW’s jacket
holds some fond high school memories for him from
back in the day and he always managed to feel
invincible in that blue jean jacket.
I hear Reese on the
B-3 and mournful tones are emanating from JW’s
guitar in “Coming After Me.” JW’s struggling to move
on from his past and it keeps coming back to haunt
him. “Feel like Jesse James…with a bounty on my
head…just trying to stay alive…but the sheriff wants
me dead…I ain’t done nobody wrong as far as I can
see….how come the blues keeps coming after me?” I
don’t know the answer to that but hopefully JW will
manage to stay one step of the demons that seem to
be haunting him here.
“Don’t Be Ashamed” is
another tune that JW wrote with Tom Hambridge and
the tone is fairly somber here. “You don’t have to
be ashamed…you’re not the one to blame…what did he
do…how did he hurt you?” JW’s guitar tone is a bit
angry here and perfectly lends credence to the tone
of desperation that he’s looking for on this tune.
Tom’s setting the tempo for “Thank You,” an original
tune by JW and here we find JW giving thanks for a
love ending in his life. “Oh…she found another man…I
guess somebody had to take a stand…thank you
baby…for doing me wrong.” JW definitely loved her
but he’s happy to be moving on from her as well and
that happens to all of us in this life.
“Magic West Side
Boogie” is another JW original, and Jamie Holmes is
keeping the steady tempo on the drums for this cut
as the band tears it up in a blistering instrumental
track before we move to “What Would Jimmie Do,” a
tune JW and Tom wrote in honor of one of JW’s idols,
one Jimmie Vaughn. “And the guitars strapped across
my back…I’m at the Regal spending on the track…the
king of cool taught me where it’s at…so I ask
myself…what would Jimmie do?” What Jimmie would do,
JW, is soulfully play the shit out of it and that’s
all I can tell you here.
Tom contributes a
tune he wrote with Gary Nicholson and others, “If It
Feels This Good Tomorrow,” to JW’s disc and it’s the
next track up. “If it feels this good tomorrow…I
know we’re doing something right…if we both wake up
dreaming…we don’t want the dream to end…we can face
the day together…over and over again.” An optimistic
tune of love and we’re all lucky if we can find a
love that “feels this good tomorrow.”
JW tackles a Buddy
Guy tune next, “What’s Inside of You,” and his
guitar is hitting all of Buddy’s notes with Reese
lending his support on the B-3. “I looked for you,
baby…I looked for you all night long….baby, won’t
you tell me…what’s inside of you?” The sentiment
finds JW trying to understand the love in his life
and it’s not a question she wants to give an easy
answer to. The band moves on to JW’s tune, “Never
Worth It,” and here we find JW in another situation
with an unhappy ending. “It’s never worth it in the
morning…when the daylight…reminds you.” JW’s hoping
he can find a way through it all but in the end,
“it’s never worth it in the morning.”
The final cut on the
record is another collaboration between JW and Tom,
the hauntingly eerie “Cocaine Boy.” “Cocaine
boy…cocaine boy…kept my truth…buried deep…yes, I’ve
got scares nobody can see…white gold…running through
those veins…a lifetime of nightmares and
pain…cocaine boy.” I’m not going to venture a guess
as to whether this tune is autobiographical or not,
but JW does indicate in the notes that some of his
tunes contain very serious personal stores from his
past and writing about them was liberating and a
part of the healing process for him. I wish you well
in this regard, JW.
Belmont Boulevard
is an interesting disc and showcases some highly
personal tunes from JW-Jones. I’d be curious to hear
some of the back stories from JW someday, and I’m
sure that will probably happen. JW’s guitar tone is
blistering and this is a very upbeat disc that Tom
Hambridge coaxed out of him for his debut on Blind
Pig Records. His intent is to take the U.S. by
storm, and this disc proves that JW is more than
ready.
---
Kyle Deibler
Time to give the Big
Hoss some credit here. Michael Hossler aka
“The Big Hoss” is best known here in Colorado as the
lead guitarist for Dan Treanor’s Afrosippi Blues
Band and has held the position for as long as I’ve
known him. So it was a bit of a surprise when I
heard through the grapevine that Hoss was recording
a CD. The gem in question, With Friends Like
These, is really a showcase of who’s who here in
Colorado and Michael Hossler is truly blessed with
friends like these. They’ve helped him make a record
to be proud of, and I appreciate his dedicating the
record to his father, John. It’s in the CD player
now, let’s give it a spin.
We open with “Shake
the Shack” and Michael has Erica Brown on vocals
with Dan Treanor blowing harp, Bill Shannon on bass
and Chooch on the drums. It’s a tune about a juke on
the edge of town and folks are partying on a Friday
night. “Shine your shoes…slick up your hair…and put
on your party dress…hard rocking ain’t nothing when
it comes to shacking the shack…shake the shack.” A
hard driving tune and it should be noted that all of
the tunes on this disc, except for “Shake the
Shack,” are originals.
“Blues Fuse” is our
next cut and it’s an instrumental with a jazz feel,
what Deanna Bogart likes to call “Blusion.”
Michael’s guitar playing is spot on and I’m laughing
at the memory of a conversation we’ve had where he
has one specific go to lick. This tune proves there
is more than one weapon in the arsenal Hoss and I’m
not buying that one anymore. “7 Step Hag” is next
and it’s another great instrumental with Ronald
Buckner on Bass and Bruce Crisman on the drum kit.
Hoss’s playing is inspired and it sounds good to
hear him stretch his musical wings a bit here. It’s
early in the record, Michael, but your Dad would be
proud of this project.
An old west feel
permeates our next cut, “Hiding in the Shadows,” and
one of my favorite singers, Rex Peoples, is at the
microphone. It’s a tune about a widow who is
mourning the loss of her husband, and the licks
Michael is trading with Nic Clark on harp give the
perfect ambience for this tune. “She hasn’t seen the
sun since her lover passed on…walks beneath the moon
from dusk to dawn…hiding, crying…carrying on…hiding
in the shadows.” Rex adds a killer vocal to this
tune and it’s my favorite song on the record.
Hoss moves onto
another instrumental, “Are You Cool Yet,” and it’s
just him on the guitar for this one. Sweeping runs
and intricate picking abound and I’m once again
reminded that Michael Hossler is a better guitar
player than he gives himself credit for sometimes.
Nice job Michael. Michael recently won the Telluride
Acoustic Blues competition with Merrian “MJ”
Johnson, and MJ’s at the mic for “You’re Gonna Miss
Me.” “Every time you think of me…it’s going to cause
you misery…you’re going to miss me when I’m gone.”
MJ works her vocal magic with this tune and it’s
definitely another favorite of mine on this disc.
Our next cut is the
instrumental, “The Right Thing by Leaving,” and Hoss
is stretching his “Blusion” wings here as well. Rich
Sallee holds down the bass line and Bruce Crisman is
on the drums for this tune. The first time I
listened to “Somewhere Down the Road,” I couldn’t
believe my ears and had to check the liner notes
twice. Michael is on the microphone for this
original tune of his and it’s the first time I’ve
ever heard him sing. Who knew the Big Hoss could
sing! “And somewhere down the road…I’ll be so far
from home…and feel so all alone.” Nice tune, Hoss,
and great job on the microphone.
“Whip, Crack,
Perfect” has more of a funky feel to it and is the
last of several great instrumental tracks on this
disc. It feels more progressive to me and I’m
enjoying the vibe of this tune. Hoss’s guitar
provides the intro for our last tune, “I Am the
Invisible Man” and Jay Forrest has the vocal for
this cut. “I am the invisible man…I can walk away…I
can say goodbye…it’s a brand new day…you won’t see
me cry…I am….an invisible man.”
I’ve always said that
the best way to judge a man is by the friends he
has, and With Friends Like These proves
beyond a doubt that Michael Hossler is a blessed
man. I’m sure this was a labor of love for Hoss, and
I’m glad to see him stretch his wings a bit and take
some musical chances on this record. Nicely done,
Michael.
---
Kyle Deibler
A former Marine,
Chris O’Leary, has certainly paid his dues to
his country and to the Blues while fronting Levon
Helm’s Barn Burners for several years. Throw in the
death of his good friend and drummer, Sean McCarthy,
and you can tell that Chris has endured his share of
trials and tribulations over the past couple of
years. In a disc dedicated to Sean, Live at Blues
Now, Chris and the band give an over the top
performance for the good folks of Basel,
Switzerland. Sound man Dave Muscheidt did an
outstanding job of capturing the band’s live
performance, and having Alex Schultz as the guest
guitarist is simply the cherry on top. It’s time to
give this gem another listen.
The band starts out
with “Give It” and the back end with Matt Raymond on
bass and Jay Devlin on drums set the tone for this
tune. Chris’s harp is added to the mix and I hear a
bit of baritone sax from Chris DeFrancesco, as Chris
pleads his case for love with the object of his
affections. “You’ve been sad and only…so many times
before…will you be my one and only…I’ll give you
what you’re asking for…give it…to me baby…give it.”
Alex’s fretwork is incendiary and we’re off and
running with it here. Throw in Andy Stahl’s tenor
sax and the horns are front and center as we move
onto “Trouble.” “I don’t know how I got here…Lord,
knows where I’ve been…I’m talking trouble…I’ve been
living in…I’d better get it all together….for all
this trouble I’ve been living in.” Chris doesn’t
really expound on exactly what the trouble was but
at least he’s willing to change his ways and begin
to move forward.
Alex is back on the
guitar and I’m wishing I was in Basel for this show.
Next up is “Louisiana Woman,” and given that Chris
says it’s a true story we’d all better be careful
down on the Bayou. “Creole Woman…all’s you had to
say…don’t worry, Cher…laissez les bon temps roulez…I’ll
still cross my heart…for it’s too late…knock on
wood…I don’t want to tempt fate.” Chris’s mournful
harp tones echo the magic to be found in the air,
and it sounds like Chris was a wise man to avoid the
temptations of the Louisiana women.
The crowd’s
applauding as the band kicks it up a notch for
Chris’s next cut, “Walk the Walk.” “Can’t run…but
you sure can hide…I got a plan to be your man….I’ll
do everything I can…keep you warm when it’s cold
outside…you can talk the talk…but can you walk the
walk?” Chris is in love but this woman may not have
the game she needs to back up her talk. Let’s hope
that Chris is right with this one. We move on to
“Water’s Risin’,” and this is a tune that Chris
wrote with Levon Helm. “I hope you can swim…honey,
our relationship might sink.” They’re experiencing
some rough times together but hopefully they’ll be
ok. “Going down…water’s rising…taking on water…I
hope you can swim, baby, our relationship might
sink”
Jay’s toms are
setting the pace for our next cut, “I Wish You
Would,” and I hear Chris’s baritone sax every now
and then. Chris is singing into his harp mic and it
gives his voice a unique twist for this tune. “Early
in the morning…bout the break of day…I’m guessing my
baby went away…please, baby baby…give me one more
try…you know I love you…want to be your man…come
back baby…I wish you would.” This girl’s gone and
I’m thinking Chris is not going to get this one
back.
“Mr. Used to Be”
gives a different twist to the same old story. Chris
is glad this one’s gone and whatever she does,
please don’t come back. “I do wish I could have
known…I had to share you with the rest of the town…I
do not miss you, baby…don’t you come home to me…I’m
perfectly happy…being your Mr. used to be.” Good
riddance to bad rubbish in this case, and Chris is
more than happy to move on.
Our next cut, “Blues
is a Woman,” has that late night, last call, club
feel to it from way back in the day. Alex is laying
down some extremely mournful tones on his guitar and
the mood for this song is perfectly clear. “Blues is
a woman…and she don’t mean me no good…she never does
like she ought to…low down woman…never does like she
should.” I love the tones form Andy’s tenor sax in
the background and it’s clear that whatever this
woman did to Chris, she hurt him badly and it’s time
he let her go.
Chris has the crowd
singing along with him on the next tune, “King of
the Jungle.” “King of the jungle…man, he’s the king
of the jungle…he’s the baddest cat around.” You know
he’s tough if the lions, tigers and grizzlies all
give him the right of way. This is a fun tune and a
welcome relief from the somber tone of “Blues is a
Woman.” Jay’s snare is at the forefront to give
“Tchoupitoulas” a New Orleans flare as Chris tells
us about this small town in Louisiana. “This small
town…ain’t no destination…people only passing
through…take a walk…down Tchoupitoulas…you never you
know what you might find…let that muddy
Mississippi…wash all your cares behind.” A quick
place to pause and reflect but a definitely a
destination to leave behind.
Chris’s baritone sax
is at the forefront of the intro to our next cut,
“Waiting for the Phone to Ring.” “Hey Rapunzel…I
know your tower ain’t no fun…you know it bound to
happen…I might as well be the one…I’ve proper
questionable raising…but I’ve got proper table
manners…in fact…instead of lowering your
standards….what’s say you lower your stance.” Chris
is working hard to charm this one but I’m not sure
Rapunzel is going to fall prey to his charms. But if
she does, oh Lord,look out!
The saxes provide the
perfect foil to Chris’s harp as the band heads into
the final cut on our disc, “History.” “Oh when I
seen your apple…you know I made your orchard my
home.” Chris has an answer for all of the heroines
from the past and he’s more than happy to include
them in his new version of “history.” Alex just
kills his fretwork on this last tune and there’s no
doubt the good folk of Basel, Switzerland witnessed
an amazing show at Blues Now.
This is Chris
O’Leary’s third disc out on the Fidellis Records/Vizztone
Label Group and it’s a good one. Dave Gross did an
amazing job of mastering the live recording and the
Chris O’Leary Band definitely tore the roof off of
Blues Now that fateful night in March.
Chris is based in the
Hudson River Valley and the lessons he learned at
the hands of the master, Levon Helm, are readily
apparent. Alex Schultz’s fretwork is amazing and
I’ve enjoyed this disc tremendously. You can learn
more about Chris O’Leary and his band on their
website,
www.thechrisolearyband.com, and grab a copy of
this live disc for yourself. After that, pour
yourself a cold one and turn it up loud!
---
Kyle Deibler
The Denver area seems
to be a location that many musicians gravitate to,
and such is the case with John Weeks. John
lived in Paris during the ’90s for quite a while and
fronted the band TNK that played over 200 dates a
year as part of the Parisian music scene. While I
don’t know the story of how John ended up in Denver,
I do know that he’s surrounded himself with some of
the area’s finest musicians in Andras Csapo on harp,
keyboards and vocals, Curtis Hawkins on bass and Tim
“Chooch” Molinario on drums for his latest project,
The John Weeks Band, and they’ve released an
excellent first EP, the self-titled John Weeks
Band. Let’s throw the disc in and give it a
spin.
John’s guitar leads
us off and I can hear AC’s organ in the background
as the band kicks it into gear for “All Night.” John
seems to know that the relationship he’s in is
ending and he’s ready for her to go. “I thought I
loved you baby…but you’re just being so mean.” It’s
not working out and John doesn’t sound distressed
that she’s leaving either. The rhythm section makes
its appearance felt in the next cut, “Devil in My
House,” and the dark tones they’re providing
compliment John’s dealing with the Devil. AC’s got
the harp in his hand now and I love the funky,
mysterious vibe of this tune. “Devil in my
house…please go…don’t stay…I didn’t ask you here…go
find somewhere else to play.” The tune has a Hill
Country vibe to it and you can hear how tight this
band really is.
Chooch kicks the
rhythm section into high gear and we move on to the
up tempo “Why Don’t We Sleep on It.” AC’s playing
some shrilling harp tones and then John’s guitar
enters the mix to take it up one more notch. I can
hear Curtis’s bass in the background and it sounds
like he brought the upright out for this one. A
tasty instrumental and the band is just killing it.
AC’s organ brings us back down to reality and slows
the tempo on our next tune, “How Can You Love Me?”
Here we find John confused as to why this woman
loves him at all. “How can you love…if you don’t
like anything….anything that I do or say?” Honestly
John, she really doesn’t and a one way exchange of
authority just won’t work. You’ve got it right when
you sing, “my friends don’t come over anymore…they
think that I’ve lost my mind.” I have faith that
John will wake up soon and this woman will no more.
Mournful tones emanate from John’s guitar and one
can only hope he figures it out soon.
AC’s harp is front
and center on “I Want to Get Back Home” and for a
minute I’m thinking I’m hearing a trumpet in the
mix. John’s been on the road a long time and home is
starting to look like the right option. “My sweet
lady’s calling…you know I should be by her side…it’s
so hard to find a way…but I, ran out of room to
roam.” Sounds like John’s wanderlust is waning and
he should be home soon. Some intricate picking on
John’s guitar leads us back to AC’s work on the
organ, and John’s contemplating the lack of
communication in his life. “When I hold you
arms…when I’m trying all my charms…I don’t know how
you feel…you never say what you mean.” That’s a
tough problem to have, John, and when you figure it
out; please let all of us know the answer to that
one.
Curtis’s bass and
Chooch’s snare take us into the last cut, “Moving
On,” with AC on the organ for good measure. “You
told me that you love me…but that was just a
lie….good thing for you….I’m moving on just in
time.” John’s being mistreated and he’s smart enough
to know when it’s time to leave. Get out while you
can, John, you’ll be glad you did.
I’ve enjoyed the
self-titled John Weeks Band and have seen John play
several times recently, but I need to catch him with
his band. He’s assembled a great band behind him and
I’m looking forward to the next release already. If
you’re in the Denver area, you can find the band’s
schedule on their website,
www.johnweeksband.com, and hit a show while
you’re here. This is just a taste of what’s to come
and that’s a good thing.
---
Kyle Deibler
The Empire Roots
Band are Bill Sims, Jr. on vocals, Woody Mann on
guitars and backing vocals, Dave Keyes at piano and
background vocals, and bassist Brian Glassman.
Separately, they've toured the world with everyone
from Odetta to Kenny Burrell to James Moody to Son
House. This is an eclectic and accomplished quartet
who pay tribute to the Reverend Gary Davis in the
recording Music From The Film Harlem Street Singer
(Acoustic Sessions) and the film of the same name.
Guitarist Mann studied with Davis, so is something
of an expert. The four are all stellar players. Sims
has a honey-soaked whiskey voice, Keyes' piano is
exceptional and Glassman offers the foundation.
The opening "Keep
Your Lamps Trimmed and Burning" has a decidedly
theatrical presentation. One gets the impression
that if this were presented in an acoustically sound
theatre, one would be able to hear clear as a bell
in the last row, minus microphones. Gary Davis
aficionados might recognize most or all of the
songs. Some folks are being turned on to his amazing
songbook for the first time in this compelling
collection. Davis recorded spiritual music and
secular music. He may have played more of the
spiritual because his wife reportedly would not
allow anything but “the Lord's music” to be played
in her home.
"Search My Heart" is
spiritual. "Mean Old World," one of the standard
Davis's, is secular. Sims is accompanied by sparse
piano, bass and then guitar in the intro. The piano
takes a superb solo before the band comes back. Sims
sings, “This is a mean world to live in/until you
die” with passion and conviction in his voice.
"There's Destruction In This Land" (“can't you see?”
) has a gospel call-and-response feel. "Soon My Work
Will All Be Done" is given a delicate guitar intro
before Sims begins to sing, “I'm going home to live
with my Lord.”
These recorded
interpretations of the music of the Reverend Gary
Davis are generally cleaner than the originals. The
players are fantastic. "Trying To Get Home" (I'm
done with the works of the Devil”) again centering
on vocals and piano, with a bass solo, is a delight.
One of the most soulful pieces on the collection.
The following "Sunday
Church Medley: Banks Of The River/Let Us Get
Together" is the most conspicuous church piece on
the set. The backing vocals gives this authenticity.
"Hesitation" is one of the most recognizable Gary
Davis tunes. Like a few others it was given a
delightful reading by Hot Tuna. The instrumental
interpretation is a toe-tapper.
There have been many
interpretations of Davis's music over the years.
This stands as one of the best.
---
Mark E. Gallo
Exposed (33 Records) is
Zoe Schwarz Blues Commotion's third album in less than three
years and it reflects the rapid progress made by Zoe
and all of the musicians during that time. They have
raised the bar once again having already set high
standards for themselves and their expanding legion
of fans.
Exposed is
quite simply breathtaking, epitomised by the opening
track "Angel Of Mercy," with its clever tempo and
mood changes as it reaches one crescendo after
another. Like Beatitudes from the Good Times
CD, Schwarz and guitarist Rob Koral have come up
with a song which will be regarded as a classic in
years to come. The lyrics are pure poetry, “The
candle of my life that burned so bright, It flickers
in my final twilight, Dancing in the shadows,
dancing in the half light, From my lips, my heart
and soul.” Indeed, all 13 tracks here are original,
dynamic, beautifully arranged and expertly produced
and mastered to achieve a crystal clear sound
quality.
The blues underpins
the track list, with the up-tempo "Let Me Sing The
Blues" and "Broken Heart Blues," plus the earthy "I
Wonder Who My Next Man Will Be." The trademark
Billie Holliday influences include "Fifteen Days"
and "Let’s Explain," whilst contemporary jazz is
represented in "Heroes" with lyrics and melody by
the talented chanteuse and composer Sue Hawker.
Zoe sings with
honesty, emotion and intensity; Rob’s guitar solos
are compelling, tasteful and interspersed with
memorable blues and rock riffs; Pete Whittaker’s
sublime, melodic Hammond organ infuses the entire
sound; harpist Si Genaro adds flair, charisma and
reflective interplay with the vocals and other
instruments whilst Paul Robinson’s drums maintain
precise rhythm and timing. What is exposed for all
to hear in this superb album is the love and
devotion of Zoe and her partner Rob, the heart and
soul which they put into their music and a band
which performs in complete synergy to produce an
awesome and unique sound.
Fortunately for all
jazz and blues enthusiasts this is one Commotion
that will not go away but continues to grow and
develop.
---
Dave Scott
