|
 I
always have a huge pile of CDs on my desk, and I
try to get through all of them in some timely
fashion. Some I just set aside because I'm just
not interested in the music on them or the
quality just isn't' good enough. But at times I
get blindsided by a band or an artist that I've
never heard of. That's the case with Takin'
Our Time (Hotsak), recorded in Berlin,
Germany by the duo of Will Jacobs & Marcos
Coll. It's good. Really, really good.
Jacobs is a young, mid-20s musician from the
States who somehow wound up in Germany, and he
handles the vocals, guitar, bass and drums on
Takin' Our Time, with Spanish harmonica ace
Coll joining in for nine very nice blues
numbers.
Kicking off the album is a Clarence Carter /
George Jackson composition, "It Ain't Safe,"
with slashing blues guitar and rich, rangy
vocals from Jacobs. It's a little bit funky and
very catchy. Up next is the original "Going To
Berlin," a Chicago-style 12-bar shuffle with
driving harmonica accompaniment from Coll. This
number shows up at the end of the album in a
live version with excellent sound quality and
minimal background noise.
Two
of my preferred cuts on Takin' Our Time
come mid-album --- the instrumental "C.J.s
Bounce," with frantic guitar licks and very hot
harp riffs, and the Deadric Malone blues number,
"Stranded," with Jacobs' slide guitar competing
for attention with heavy Little Walter-style
harp from Coll. The latter also gets to shine on
the instrumental, "Bluescazorla Boogie."
Jacobs gets funky on his guitar on the blues
shuffle, "One Too Many Times," an original
number with strong vocals. I'm also very fond of
the mid-tempo blues, "What U Doing," with Coll
going crazy up and down his harmonica similar to
what we've often heard from Sugar Blue.
Getting an actual compact disc of Takin' Our
Time may not be easy, but digital copies are
a breeze to find online. Regardless of how and
where you find it, be sure to pick up a copy of
this album. It's a keeper.
--- Bill Mitchell
 I
knew very little about saxophonist / singer
Nancy Wright before her new live CD,
Alive & Blue (Direct Hit Records), arrived
in my mailbox. She's played with a lot of very
fine blues artists, so maybe I've seen her as a
backing musician and maybe I haven't.
Regardless, I'm really impressed with what I
heard on this album recorded just about a year
ago at The Saloon in San Francisco, recorded and
mixed by the musical geniuses, Robby Yamilov and
Kid Andersen, from Greaseland Studios.
Alive & Blue is bluesy, jazzy, funky and
soulful, which basically also describes Wright's
sax playing and singing. The sound quality is so
impeccable that you may not even notice the
session wasn't done in a studio. The show starts
with an original instrumental, the very funky "Bugalu"
that could have come from a studio in Memphis,
with backing organ from Tony Lufrano. We then
first hear Wright's sassy, soulful vocals on the
funky blues number. "Been Waiting That Long."
Just as effective in showcasing Wright's dual
talents is the soulful anthem, "In Between
Tears," and the up-tempo Don Robey cover "I
Don't' Want No Man," with Wright demonstrating
in no uncertain terms what she's all about.
The
sax intro to Lazy Lester's Louisiana swamp
classic, "Sugar Coated Love," is great, with
Lufrano shining on electric piano and Wright
raising the bar even higher with her later sax
solo. If you're looking for a slower jazz
number, be sure to check out the original
"Warranty," with Jeff Tamelier backing with nice
guitar effects. Tamelier's guitar work also
stands out on the slow, late night blues,
"Bernie's Blues." But then the tempo picks up
considerably and the mood turns to sheer
raucousness on "Keep Your Hands Off Of Him."
Fans
of Allen Toussaint's music will especially
appreciate Wright's version of "What Do You Want
The Girl To Do," featuring outstanding keyboard
work from Lufrano on both piano and organ.
Closing the set is a jazzy blues shuffle,
"Rutabagas," giving every band member a chance
to show off on their respective instruments.
The
pacing and mood changes on this album are
outstanding, as Wright and the band weave
seamlessly between the various styles of music
and tempos, all brought together by her
excellent sax playing. Okay, now I know that I
need to dig deeper into her catalog, because
Alive & Blue has just whetted my appetite.
--- Bill Mitchell
 Z.Z.
Hill played a huge role in the resurgence of the
blues in the early ’80s. In the late ’60s and
’70s, Hill was a moderately-successful performer
with a few hits under his belt for several
different labels. However, upon signing with Malaco Records in 1979, he immediately began
paying dividends for the Jackson, Mississippi-based
label, with several best-selling albums and a
number of songs that even reached the R&B Top
20, including a few that have become modern
standards, such as “Down Home Blues,” “Shade
Tree Mechanic,” “Cheating In The Next Room,” and
“Someone Else Is Steppin’ In.”
Hill’s success is often credited with helping
jump-start the whole blues genre, but he wasn’t
able to reap the benefits for very long. In
1984 he died suddenly at age 48 from a heart
attack arising from a blood clot formed after a
car accident a few months earlier. Even today,
he still enjoys a big following in Mississippi;
I hear his records played frequently on R&B
stations in the state.
One of
Hill's biggest fans was
Jerry Dean Champion, the late mother of current Malaco recording artist
Grady Champion. The
Canton, Mississippi-based singer/harmonica player honors
his mom’s musical idol with his latest release,
Steppin’ In: A Tribute To Z.Z. Hill.
The aforementioned songs are all here, “Down
Home Blues” opens the disc and Champion plays
this one close to Hill’s original, and his
gritty vocal is a good fit with this song which
has been covered by many blues artists over the
years. The double-entendre romp, “Shade Tree
Mechanic,” is a standout, and Champion pulls out
all the vocal stops on the title track,
receiving additional punch from Jewel Bass and Lahlah Devine’s backing vocals and the Jackson
Horns. Champion’s read of “Cheating In The Next
Room” is soul-blues at its finest.
Longtime musical collaborator Eddie Cotton
guests on guitar for two memorable tracks, an
intense take on “Bump And Grind” and “Everybody
Knows About My Good Thing,” which he introduces
with a scorching minute and a half solo. The
blues anthem “I’m A Blues Man” serves as a great
mission statement for blues artists everywhere,
and Champion’s vocal on this track is a
standout. The amusing “Open House At My House”
was a less-familiar song, but Champion has a lot
of fun with it and with “Who You Been Giving It
To” and the Memphis-flavored “Three Into Two
Won’t Go.”
Champion is well-complemented by his backing
band. Guitarist Will Wesley is always in the
right place at the right time, and the sizzling
rhythm section (bassist Frederick Demby Sr.,
keyboardist Sam Brady, and drummer Edward
Rayshard Smith) are rock solid. The Jackson
Horns (Kimble Funchess and David N. Ware –
trumpets, Dr. Jessie Primer III – tenor sax, and
Steve Kincaid – baritone sax) are top notch in
support as well.
I think Grady Champion’s mom would pretty proud
of the treatment her favorite blues man has
received from her son on Steppin’ In. I think
blues fans will feel the same way.
--- Graham Clarke
 A few months ago Blues Bytes
reviewed
Vol. 1 of The Reverend Shawn Amos’
Kitchen Table Blues EP
series, and now it’s time to take a look at Vol.
2 (Put Together Music). Like its predecessor,
Volume 2 consists of five tracks captured during
Amos’ two-year YouTube series of the same name,
where he cooked meals and performed songs for 90
Sundays in the kitchen of his Van Nuys, Californa home
and was usually joined by other performers who
just happened to “drop by” during the
festivities. On these five tracks, Amos is
joined by Sista Jean McClain, the Mudbug Brass
Band, Mindi Abair, Lester Lands, and his
daughter Piper Amos.
The opener is the blues standard “Sweet Home
Chicago,” a subdued acoustic version with
McClain supporting Amos’ plaintive vocals. The
Mudbug Brass Band joins Amos in what must have
been a kitchen filled to near-capacity for a
rousing take of “Li’l Liza Jane,” sounding
like it must have been a ton of fun. Abair duets
with Amos on Jimmy Reed’s “Bright Lights, Big
City,” a song that the pair previously recorded
on Amos’ 2015 release The Reverend Shawn Amos
Loves You (which Abair produced). It was
really cool to hear Amos and singer Lester Lands
team up for a stripped down read of a real blast
from the past in Pablo Cruise’s ’70s smash
“Whatcha Gonna Do.”
The closing song features Amos’ oldest child,
Piper, singing lead vocals on “Mama, He Treats
Your Daughter Mean.” Obviously, the daughter and
the father share a lot of musical talent, though
she’s currently pursuing a pre-med degree. I can
just see the Reverend beaming with pride as his
daughter sings the heck out of this song.
Hopefully,
Vol. 2 won’t be the last we hear of
the Reverend Amos’ Kitchen Table Blues series.
Both sets have offered great performances and
entertaining interpretations of classic songs.
--- Graham Clarke
 It’s been seven years since we last heard from
The 44’s. During that time, the band has
undergone a nearly-complete transformation.
Singer/guitarist/original member Johnny Main is
the lone holdover from the previous band, and
he’s assembled a brand new line-up (Eric Von Herzen – harmonica, Mike Hightower – bass, Gary
Ferguson – drums) and invited guest guitarist
Junior Watson to participate in the band’s
much-awaited new release, Twist The Knife (Rip
Cat Records), a rock-solid eight-song set of
blues and roots.
The opener, “Cuttin’ Deep,” is an original
instrumental that really sets the tone for the
entire album, a tough shuffle that mixes crisp
Texas blues guitar between Main and Watson with
a funky swamp blues bottom. “Sugar You” is a
slice of old-school R&B originally written and
recorded by Richard Berry, with Main’s smooth
croon a cool complement to the band’s rootsy
approach. Main gets down and dirty with a
strong cover of “Howlin’,” giving the Wolf a run
for his money. The band keeps it in Chicago for
“Champagne and Reefer,” featuring Von Herzen’s harmonica front and center.
“Too Many Drivers,” the Lightnin’ Hopkins
standard, gets a Windy City shuffle treatment,
and “Rosie,” from Doyle Bramhall II, is a spicy
mix of blues and psychedelic rock with a
driving, hypnotic beat and Main’s tremolo-laden
guitar work. James Harman’s “Helsinki” is a
powerful slow blues, maybe the highlight of
the disc. “44’s Shuffle” is a cool redo of
the classic “T-Bone Shuffle,” closing the disc
out in fine fashion.
The only complaint about
Twist The Knife is that
there just ain’t enough of it --- only 33 minutes.
Hopefully, The 44’s won’t wait us wait so long
for their next release. More, please, and
quickly.
--- Graham Clarke
 Guitarist
Steve Howell has the amazing ability
to take classic songs and completely revitalize
and modernize them while keeping the traditional
feel of the original versions. Joined by Jason Weinheimer (bass), Dan Sumner (guitar), and
David Dodson (mandolin and banjo), Howell offers
another fascinating set, History Rhymes (Out Of
The Past Music), consisting of a dozen acoustic
tracks of blues, jazz, roots, pop, and folk
music from the previous century.
Most blues fans will be familiar with at least a
few of these songs. The opener, “There’ll Be
Some Changes Made,” has been recorded by
numerous jazz and blues artists. Howell and
company give their interpretation a light,
breezy feel. “Blues In The Night” is another
standard recorded by artists from Louis
Armstrong to Dr. John to Frank Sinatra to Ella
Fitzgerald, and Howell’s gentle, melodic version
is marvelous. Blues fans have probably heard
Rev. Gary Davis’ spirited “If I Had My Way”
presented by different artists, but Howell’s
version is as inspired as any other versions
heard.
Howell and crew also touch on folk classics like
“Jack of Diamonds” (a favorite of many pre-war
blues artists), the lovely “Frosty Morn,”
and “Texas Rangers – The Falls Of Richmond,” the
spicy ragtime “Everybody Loves My Baby,” and an
achingly tender cover of “You Don’t Know Me.”
Other blues tunes presented are Blind Lemon
Jefferson’s “Shuckin’ Sugar,” “I Got A Right To
Sing The Blues,” and a poignant read of Lead
Belly’s “Titanic,” where Howell includes the
often-omitted verse regarding then-heavyweight
champion Jack Johnson being refused passage on
the ill-fated ship.
The closer, a relaxed country blues take on
Bukka White’s “Pine Bluff, Arkansas,” may be my
favorite track on the disc, but that’s a hard
call to make because ALL of the selections are
favorites. Howell’s always-excellent guitar
work, the sympathetic backing from his band mates
and his overall love of the music (his comments
on each track in the liner notes is always
entertaining) make any of his albums required
listening, not just for blues fans but for any
person who loves music played well.
History Rhymes, taken from Mark Twain’s quote,
“History doesn’t repeat itself, but it often
rhymes,” is another wonderful addition to Steve
Howell’s catalog.
--- Graham Clarke
 I’ve heard several releases from Canadian slide
guitarist Kevin Breit over the past few years;.
His two collaborations with fellow guitarist
Harry Manx were lots of fun and his 2018 solo
release, Johnny Goldtooth and the Cherry
Casanovas, was a blast to hear. However, none of
those previous efforts remotely resemble Breit’s
latest release, Stella Bella Strada (Stony
Plain), a stunning piece of work that defies
description or musical classification. If you
listen to any music at all, there is something
on this thrilling ten-song set that will be in
your musical wheelhouse.
“A Common Vow,” the opening
number, is a
beautiful track with Breit’s slide guitar backed
by a string quartet. “Buttons and Zippers” is a
funky track that mixes second line syncopation
with Breit’s soaring slide, while “Vegas
Address” has a haunting film noir edge to it. “Mother’s Cupboard” at first listen sounds
like a pretty sedate number, but Breit manages
to throw in a few curves throughout the song.
The easy-going, delta-esque slide of “Shoo The
Bluebird” is punctuated by Mark Lalama’s
accordion and a horn section.
The title track (named after the new guitar
built for Breit by friend and master luthier
Joseph Yanuziello) is a groovy Italian-favored
shuffle with strings and Wurlitzer accompaniment
from Breit’s brother, Gary. “Of Silk and Honey”
features mariachi horns and a Mexican flair,
while the delightful “Marcello Loren” includes
the horns and a 15-piece choir.
The 11-piece
Upper York Mandolin Orchesra join Breit on “If
You Knew.” I can’t really describe the closer,
“Kick At The Grape,” other than to say that you
just need to listen to it to fully appreciate
its manic energy and madcap lunacy.
Trust me when I promise that you won’t hear
anything else like Stella Bella Strada this
year. Also, trust when I say that you need to
hear Stella Bella Strada as soon as you’re able.
It’s that much fun!
--- Graham Clarke
 Carlo Ditta’s new album,
Hungry For Love
(Orleans Records) is only his second, but the
New Orleans-based singer/songwriter/guitarist
has been on the national music scene for decades
as a songwriter and performer. With the Orleans
label
he’s made records for a host of Louisiana
artists over the past 30-plus years for
Mighty Sam McClain, Little Freddie King, Guitar
Slim Jr., Rockie Charles, Ironing Board Sam,
Coco Robicheaux, and Roland Stone. As might be
expected, his latest effort is pure Crescent
City through and through, with ten tracks split
between covers and Ditta-penned originals.
The title track opens the disc, Ditta’s
semi-spoken, gravelly vocal rumbling over a
hypnotic, snaky, swampy groove. Eddie Powers’
mid-’60s single “A Gypsy Woman Told Me” features
catchy retro keyboards from Rick Stelma and
shimmering guitar work from Ditta. The funky
“La MuChaCha Cha” adopts a smoldering Latin
groove. “Agnes English,” an obscure track
written and originally recorded by Baton Rouge’s
John Fred, gets a haunting, ominous treatment,
and Ditta goes all soulful for his own “Working
So Hard For My Baby’s Love,” with saxophone from
Jerry Jumonville.
The next two songs were part of the single
released in advance of the album (and reviewed
here in January). “Pass The Hatchet” is an
updated fun and funky track from the mid-’60s by
Roger and the Gypsies (bassist Earl Stanley
wrote this track and “A Gypsy Woman Told Me”),
and “Life In Heaven” has an ethereal swamp pop
feel, courtesy of Dave Easley’s skittering pedal
steel guitar.
Ditta’s world-weary vocal
highlights the mournful “I’m Here To Get My Baby
Out Of Jail,” originally recorded by the Everly
Brothers. The greasy, mid-tempo “It’s Up To You”
was written by Ditta, who closes with a raw take
on “The House Of The Rising Sun” that ranks
with the best interpretations you’ll hear.
The album brings to mind the classic New Orleans
R&B sounds of the ’60s, but it doesn’t sound
dated at all. Ditta pours his heart and soul
into his vocals and his guitar work. Obviously,
Hungry For Love was a labor of love for Carlo Ditta and one hopes he will find his way back to
the studio soon, and not just as a producer.
--- Graham Clarke
 Dawn Tyler Watson won the 33rd I.B.C. in 2017,
following a painful breakup of her marriage and
just a few months after undergoing
quadruple-bypass surgery (the first Canadian
artist and only the second female to take the
honor). She has spent the last two years touring
extensively in the U.S. and Canada, captivating
audiences with her high-energy performances and
powerful voice. On her latest release, Mad Love,
she’s backed for the second time by the Ben
Racine Band, along with guest artists Steve Marriner, Steve Hill, and Francois Thiffault
(who also produced).
The blues rocker “Alligator” kicks off the disc
in fine fashion with the hard charging rhythm
section of Nicky Estor (drums) and François Dubé
(bass) driving the beat and smoking harp from
Marriner. The horns (Mathieu Mousseau – baritone
sax, Kaven Jalbert – tenor sax, Nicolas Boulay –
trumpet) join in for the menacing “Don’t Make Me
Mad,” and Watson gives a compelling, heartfelt
read of the soul ballad “Feels Good To Watch You
Go.” “This And That” is a swinging, horn-fueled
original from Watson and the mid-tempo “You’re
The Only One” has a nice New Orleans groove,
plus a guest vocal from Racine.
On the title track, Watson gives a stunning
performance of a woman struggling to leave a bad
relationship. Hill adds scorching lead guitar on
this track which Watson pretty much makes her
own, though it written by Vincent Pollet-Villard.
The next track, the funky R&B number
“Masochistic Heart,” was written by Watson and
might explain her fiery performance on the
previous track. “Lost” is an absolutely haunting
song written by Watson about her doomed
marriage.
Meanwhile, “Away Too Fast” is a bit more upbeat
on the R&B side, but still finds Watson trying
to get over a recently departed lover, and the
peppy “Love To Burn” finds her just about fed up
with her significant other. The sassy “I Look
Good” is a fun jump blues about getting back on
your feet after a romantic setback, and the
closer, “The River,” is a moving gospel track
where Watson is backed by Liana Primerano.
John Sadowy contributes mightily on keyboards
throughout the disc, and other contributors
include Alain Talbot (bass trombone) and
Thiffault, who plays tenor sax and clarinet on
selected tracks.
Dawn Tyler Watson is a versatile singer and
charismatic performer who deserves to be heard.
Mad Love is a great place for new listeners to
get on board.
--- Graham Clarke
 Vocalist
Paula Harris first received attention
with her top three finish at the 2012 I.B.C.,
along with winning the Monterey Blues Festival’s
Battle of the Bands competition that same week.
Her debut release, Turning On The Naughty,
earned her a BMA nomination and the Sean
Costello Rising Star Award in 2013, along with
several other subsequent nominations for Best
Blues Band, Entertainer, and Female Vocalist.
Her newest release,
Speakeasy, finds Harris
digging deeper into ’40s and ’50s jazz and blues
with 16 mostly original tracks, which
feature the versatile singer backed by a trio
(Nate Ginsberg – piano, Rich Girard – acoustic
bass, Derrick “D’Mar” Martin – drums). Harris
sounds incredible on these tracks, her voice a
perfect mix of jazz, blues, and soul and the
trio, occasionally augmented by Bill Ortiz’s
trumpet and percussion from Kid Andersen (the
session was recorded at his Greaseland Studios),
give the songs a vintage, after-hours feel.
Harris composed ten of the tracks and they’re
an excellent lot, from the opening cautionary
tale “Nothing Good Happens After Midnight” to
the bawdy “I Wanna Hate Myself Tomorrow (For
Raising Hell Tonight),” to the bluesy ballad
“Haunted,” to the amusing “Soul-Sucking Man.”
“Something Wicked,” another original is a moody,
jazzy ballad that also features Ortiz’s trumpet
and Big Llou Johnson in a poetic rap. The
rollicking “Trouble Maker,” placed near the
album midpoint, is a nice change of pace, while
“Who Put Those Scratches On Your Back” takes a
look at infidelity.
The covers include a smoky rendition of the
Billie Holiday standard, “Good Morning
Heartache,” the ballad “This Love Is Gonna Do Me
In,” originally recorded by Pamela Rose, and
Scotty Wright’s “A Mind Of Her Own.” Al Kooper’s
“I Love You More Than You’ll Ever Know,”
originally a hit for Blood, Sweat, and Tears,
gets a masterful treatment from Harris, maybe
the best vocal on the album but that’s a tough
call to make. Harris also contributes new lyrics
for Thelonious Monk’s “Round Midnight,” that
work very well.
Speakeasy is a cool release that will certainly
please fans of late-night blues and jazz. Paula
Harris is a vocalist of stunning depth and a
songwriter of equal merit. Stay tuned for more
great music from this wonderful talent.
--- Graham Clarke
 Raised in the church singing gospel music in her
native Louisiana, singer/keyboardist Tullie Brae
followed in the footsteps of many performers who
preceded her by venturing into the world of
blues and soul music. A talented vocalist,
instrumentalist, and performer, Brae’s latest
release, Revelation (Endless Blues Records),
shows that she’s also a talented songwriter as
well, composing all ten of the tracks on the
album. Revelation was produced by Jeff Jensen, who
also backs Brae on guitar throughout along with
a host of Memphis’ finest musicians.
The opener, “Price Of The Blues,” is a
hard-hitting look, both musically and lyrically,
at domestic violence and redemption. Brae almost
growls the lyrics and Jensen’s guitar is top
notch. The soul-searching “Seven Bridges”
settles back and softens into a gospel groove
with churchy backing vocals from Susan Marshall
and Dauniele Hill, while the moody slow blues,
“Mississippi Rain," features a sultry vocal turn
from Brae and tasteful guitar backing.
“Break These Chains” is a gritty, driving blues
rocker with Brandon Santini contributing
harmonica.
“New Shoes” is an upbeat, well-crafted ballad,
comparing friendships to “a pair of new shoes,”
and the scorching “Devil In Deville” mixes
gospel with Mississippi Hill Country, propelled
by Brad Webb’s slide guitar and Brae’s riveting
vocal.
"Ain’t No Good” is a muscular mid-tempo
look at another bad relationship, and the funky
“Watch Her Move” celebrates women who have
overcome obstacles in their lives. “Shine” is a
pop-flavored ballad that offers encouragement to
listeners to keep pushing ahead, and “Thank You
Mom,” the closer, is a sweet tribute to Brae’s
mother.
I wasn’t familiar with Tullie Brae upon hearing
Revelation, but based on what I’m hearing she’s
the total package as a performer --- a fantastic
singer, musician, and songwriter. I will be
looking for more great music from her in the
future.
--- Graham Clarke
 Former Legendary Blues Band guitarist
Peter Ward
is joined by a host of New England’s finest
blues artists on his latest release, Train To
Key Biscayne (Gandy Dancer Records). The
follow-up to Ward’s excellent debut, Blues on My
Shoulders, features guest vocals from Sugar Ray
Norcia, Michelle “Evil Gal” Willson, Johnny
Nicholas, and the legendary Luther “Guitar
Junior” Johnson. Also lending a hand are
guitarist Ronnie Earl, keyboardists Anthony
Geraci and Hank Walther, drummer Neal Gouvin,
and Ward’s brother Michael “Mudcat” Ward on
bass.
Johnson appropriately takes the mic for the
opening shuffle, “The Luther Johnson Thing,” an
opportunity for the former Muddy Waters sideman
to relay his life story to those unfamiliar. He
brings his usual charm and exuberance to the
proceedings. Norcia tackles three wide-ranging
tracks; the old school rock n’ roller, “A
Westerly Sunday Night,” the vintage ballad “When
You Are Mine,” and the swinging “As Long As I
Have A Chance,” while Willson sings on the
muscular rocker “I Saw Your Home” and the spicy
but sweet “Coffee Song.”
Nicholas sings the title track, a playful,
footloose swinger, and “Change (Ain’t Never For
The Good),” a blue shuffle that speaks the truth
more often than not. Ward wrote all of the
songs, taking vocals on “Blues Elixir
(Ronnie’s Here),” backed by Earl on guitar, and
the swampy blues “Something Always Slows Me
Down.”
There are two instrumentals as well,
“Supposedly,” melding country and surf music
rather deftly, and “Anthony’s Son,” a short, but
moving solo guitar piece Ward dedicates to Geraci’s son, Todd, who recently lost part of a
leg in an accident.
Peter Ward’s
Train to Key Biscayne is a cool set
from a fine guitarist and his friends that makes
for fun and compelling listening.
--- Graham Clarke
 Kelly’s Lot celebrates their 25th anniversary
this year with their 14th release, Can’t Take My
Soul. Singer Kelly Zirbes (you may know her as
Kelly Z) and guitarist Perry Robertson have
released one powerhouse set of blues, roots,
rock, and Americana after another for a quarter
century, and this latest effort shows that
they’re poised to blast through another 25.
Zirbes and Robertson penned all 12 tracks,
which cover a wide range of blues-related topics
and touch on other genres, as well.
The rocking opener, “All I Ever Want Is The
Blues,” finds Kelly Z citing a number of her
influences, from Robert Johnson to Muddy Waters
to Koko Taylor and Etta James, while the
politically-charged “All Hope Ain’t Lost,”
encourages all to hang in there and weather the
stormy political waters. “Alyssa” is a
poignant tale of a young woman diagnosed with a
terminal disease at a young age who fought a
courageous battle and lived to young adulthood.
The swinging Cajun track, “Woe Is Me,” picks up
the pace considerably, with help from Eddie Baytos on accordion and washboard, and “Safe And
Warm” is an acoustic love song with warm musical
backing and vocals. The intense French/English
“Rise Up ((Lève-Toi)” features a duet vocal from
French bluesman Jean-Francois Thomas (guitarist
Rob Zucca handles lead guitar on this track),
and Frank Hinojosa adds gritty harmonica to the
funky “Broke Myself,” and “Let It Breathe” is a
gentle acoustic ballad.
“Dirt” is a mid-tempo rocker that calls for one
to move on to better things when bad things
start to feel too comfortable, and the sweet
“Little Bit Of This” finds Zirbes returning to
her folk-singer beginnings. The title track
should get folks on their feet with its
irresistible surf music rhythm and defiant
vocal, and the closer, “Mon Ami,” is another
French/English song, a lilting love song that
closes the album on a joyful note.
Can’t Take My Soul is a delightful set of
multiple styles and themes.
As stated above,
Kelly’s Lot looks set to cruise through another
25 years with ease.
--- Graham Clarke
 D.C. guitarist
J.P. Reali recently journeyed to
New England to meet up with his old friend Duke
Levine to record A Highway Cruise (Reali
Records), an easygoing five-song EP of blues,
country, and rock originals. Joining Reali
(vocals/electric and acoustic guitars) and
Levine (electric guitar/mandolin) on this
entertaining set are Kevin Barry (lap steel,
Dobro), Jim Haggerty (bass), Tom West
(keyboards), Mark Teixeira (drums), and Dennis
Brennan (harmonica).
The opener, “My Baby Likes To Boogie,” is, as
you might guess, a lively little shuffle that
kicks the disc off in fine fashion. “The Ballad
Of A Burglar” is an amusing Berry-esque rock n’
roller with a twist, and the title track has a
southern rock feel and offers Reali’s
reflections on the current immigration issues.
The last two tracks lean more toward country or
bluegrass, with the acoustic “Blues For Casey”
describing a character who’s suffering from the
“working at the White House blues,” and the
closer, “Whiskey For Blood,” is a cool
back-porch rambler with mandolin and Dobro
featured prominently.
A Highway Cruise isn’t all blues, but it’s a
very nice, laid-back set that will please blues
and roots fans. Hopefully, Reali and Levine will
reconvene for a full-length effort in the near
future.
--- Graham Clarke
 Blues fans may be familiar with the German blues
band B.B. and the Blues Shacks. It’s hard to
find a current band who plays the traditional
blues as well as the Blues Shacks do (Blues
Bytes reviewed their latest release, Reservation
Blues,
in July 2018). One of the band’s side
projects is backing an immensely talented
R&B/soul/blues singer Bonita Niessen, a longtime
German resident originally from South Africa.
Sweet Thing (Rhythm Bomb Records) is the second
recording from Bonita & the Blues Shacks and it
features a whopping 16 tracks, six dynamite
originals and ten classic covers.
Bonita and the band opens with a steamy cover of
“He Made A Woman Out Of Me,” first recorded by
Betty LaVette in the late ’60s, rolling into a
stomping blues shuffle original, “Momma’s Goin’
Dancin’,” and the sophisticated urban blues of
the title track, associated with B.B. King. The
uptempo “Too Much Mystery” was originally
recorded by Otis Clay, and “Who’s That Guy,” from
The Kolettes, is a delightful retro journey into
pop/soul. The sweet ballad, “Me And The
One That I Love,” came from Hugo & Luigi, and
the upbeat “Singing A New Song,” was originally
recorded by Freddie Waters.
Most of the originals are on the second half of
the CD. These were co-written for the most part
by Blues Shacks guitarist Andreas Arlt and
frontman/harmonica player Michael Arlt with
Bonita, and include the delicious “Hottest Wings
In Town,” and the old school “So Close” (which
also features Michael Arlt on backing and duet
vocals). Other originals include the Crescent City-flavored
“Southern Girl, Northern Boy,” the smoky
after-hours “Sunny Day,” a slow blues with a
nice touch of jazz , and the driving rocker,
“Singing Cadillac Song.”
The album closes with Freddie King’s “You Can’t
Hide,” with Bonita and Michael Arlt singing over
a rocking surf backbeat. It’s a fun tune and a
great way to conclude this highly entertaining
release. Bonita shows herself to be a talented
vocal in a variety of musical settings and the
Blues Shacks are at their very best on Sweet
Thing.
--- Graham Clarke
 Road Dog Dharma (Treated and Released Records)
is a continuation of the musical journey of
Reverend Freakchild. This latest entry combines
Freakchild performances of various original
songs and covers in the blues, rock, psychedelia,
and gospel genres, with snippets of radio spots
and interviews compiled during his travels. The
mixture will thrill the Freakchild fanatics and
possibly shed some light on the man, his
mission, and his music to those who are new or
relatively new to the Reverend.
There are
13 songs on the album. Freakchild and his associates
--- drummer Chris
Parker and guitarist/harmonica player Hugh Pool
--- rip through the opening jam, “Roadtrance,” a
live track recorded at NYC’s The Cutting Room,
which mixes a droning backbeat with psychedelic
guitar and other special effects. There’s also
an acoustic version of “Dial It In,” from one of
Freakchild’s previous albums, which was recorded
at WBJB in Asbury Park, New Jersey (a funky remix
version appears later in the album), “Inferno
Avenue,” a rocking track written by Parker which
revisits the classic Man vs. the Devil battle,
and a cool rocker, “All Across America,” which
addresses life and lessons learned on the road.
Freakchild offers up an acoustic
live-on-the-radio take on J.J. Cale’s “Call Me
The Breeze” (with Patrick Coleman sharing
vocals), a splendid laid back cover of ZZ Top’s
“Jesus Just Left Chicago,” and an interesting
mash-up that begins with Townes Van Zandt’s
“White Freightliner Blues” and slowly morphs
into The Beatles’ “Tomorrow Never Knows.” It's not a
merger that most music fans would ever ponder,
but in the mind of Reverend Freakchild it makes
perfect sense. Listening to it confirms his
thinking.
The last few songs lean more toward the blues
than the earlier selections. Rev. Gary Davis’
“You Gotta Move” is a great fit in the
Reverend’s repertoire, and Muddy Waters’
“Rollin’ & Tumblin’” gets a rousing treatment
that might be the best performance on the disc.
“Hippie Bluesman Blues” is Freakchild’s
recollection of a recent event when the band was
robbed of their equipment, money and clothes
during a visit to perform in San Francisco.
“Keep On Truckin’” and “The Finish Line” are
both traveling blues songs loaded with vivid
imagery.
The interviews between the songs are
interesting. We get to see what makes Reverend
Freakchild click ... sort of. I’m sure there’s much
more beneath the surface to inspire his clever
and unique musical vision. Blues fans who don’t
mind their music venturing out into interesting
and compelling new directions will certainly
find what they’re looking for with Road Dog
Dharma and Reverend Freakchild.
--- Graham Clarke
 Many years ago, a friend bought me a book called
Country And Blues Harmonica For The Musically
Hopeless. You see, I had taken up the harmonica
and this friend recognized my musical
hopelessness. Unfortunately, my career as a
harmonica player was short-lived .... actually
stillborn, but it was definitely not the fault
of the book’s author, Jon Gindick. Mr. Gindick
has enjoyed a long career as a musician and
author, creating several instructional videos
and CDs, which were sold on TV, mail order, toy
stores, and even at Cracker Barrel restaurants.
He also created the Blues Harmonica Jam Camp in
2001 and has put on 67 multi-day workshops
focusing on teaching harmonica skills.
A couple of years ago, Gindick teamed with
multi-instrumentalist Ralph Carter and released
the well-received When We Die, We All Come Back
As Music, a highly entertaining disc of original
songs. He recently released his second
recording, Love At The All Night Café (Old
Chimney Records), which includes a dozen new
originals that Gindick (harmonica and guitar)
recorded with Carter (bass, keyboards,
percussion, classical guitar, cigar box guitar)
and drummer Pete Gallagher, along with guest
guitarist Franck Goldwasser.
The opening track, “I Was Born To Wail,” serves
as a tribute to harmonica players of the
past --- Little Walter, Sonny Boy Williamson, Sonny
Terry, Big Walter, Jimmy Reed, and Howlin’ Wolf,
among others. The easygoing “Feeling Her Gone”
has a bit of a greasy Memphis feel with Carter’s
keyboards, and “Baby’s Got The Blues” is a
gritty shuffle. “The All Night Café” has a
lilting Latin groove and comical lyrics, and the
funky rocker “Load Me Up Baby” brings
Goldwasser’s guitar into the fray.
“Mississippi Moods” is a slow, reflective ballad
with some of Gindick’s finest harpwork.
“Happy Wife, Happy Life, Happy Home” is a gentle
and fun swinger that offers sage advice for
males looking to please females, and “The Song I
Couldn’t Write” is a piano-driven ballad with a
heartfelt vocal from Gindick. On the breezy
boogaloo, “I Love The Feminine Girl,” Gindick
celebrates the curves, so to speak, He also
manages to show his sensitive side on “Hand
Holding Man.” “Can’t Get That Girl Off My Mind”
revisits the Latin vibe heard earlier, and the
album closes with the ballad “In The Land Of
You.”
Jon Gindick is not only a masterful harmonica
player, but he’s also a gifted composer and his
warm vocals are a fine fit, too. Love At The All
Night Café is a strong set of blues and
blues-based original tunes with a few inspiring
surprises along the way. It just might also
inspire me to pick up his book and give the
harmonica another try.
--- Graham Clarke
 Virginia-based singer/songwriter/guitarist
Tom
Euler is an up-and-coming artist who has already
won multiple awards for his guitar playing. He
reached the I.B.C. semis in 2018 with his own
Tom Euler Band and reached the semis and the
finals in 2015 and 2016 as lead guitarist with
the Bobby Blackhat Band. Euler recently released
his debut album, Blues Got My Back, a classy
ten-song set of originals with Euler
(vocals/guitar) receiving support from Von José
Roberts (bass), Lucy Kilpatrick (keys), and
Michael Behlmar (drums).
The title track, an upbeat shuffle, opens the
disc, followed by “Bridges You Ain’t Burnt,” a
rousing blues rocker. “Played Your Part” is a
soulful slow blues featuring a heartfelt vocal
from Euler, and “Rock N’ Roll These Days” wryly
laments the current state of the music.
Meanwhile, “Broken Soul” is a bluesy shuffle
with a funky edge. On “Forgive Me,”
Kilpatrick’s piano takes on a gospel/soul Ray
Charles feel and Euler turns in a marvelous
vocal.
“Tricky Business” is a scorching instrumental
track reprised from his 2016 EP (Fool Me Once),
and “Tough Guy” is a fiery Texas-styled blues
rocker fueled by piercing lead guitar and
defiant vocals. “More To Life” is a nice upbeat
shuffle reflecting on what’s really important in
the scheme of things, and the closer, “Thoughts
Of You,” is an acoustic, pop-flavored confection
that feels like a radio hit from years ago.
Blues Got My Back is a solid, well-crafted full
length debut from a promising young talent who
deserves to be heard by a much wider audience.
Hopefully, this fine release will take care of
that for Tom Euler.
--- Graham Clarke
 During I.B.C. Week this past January,
Michele D’Amour and the Love Dealers (D’Amour – vocals,
Patrick McDanel – bass, Jeff Cornell – guitar,
Dave Delzotto – drums, Brian Olendorf – keys,
Noel Barnes – tenor sax) took advantage of some
available studio time at Royal Studios with
owner/engineer/producer Lawrence “Boo” Mitchell
to record Heart of Memphis (BluesKitty Records),
a short but potent eight-song set with seven
originals and one tasty cover that each
spotlight the band’s muscular blues/rock/R&B
approach.
The disc opens with “Another Sleepless Night,”
featuring a tough Latin rhythm and horns
(guests Greg Lyons and Greg Schroeder, trumpet
and trombone respectively, join Barnes). It’s
followed by “Dirty Pool,” a mid-tempo burner
that showcases Cornell’s top notch guitar work,
and the slinky and seductive “Come On Over.” The
horns kick in once again as the funky “Cradle To
The Hearse” picks up the pace with the rhythm
section getting good and greasy in the process.
“No Time” keeps the funk going at a hectic pace
as D’Amour and company look at, well, the
world’s hectic pace. Next up is the title track,
which recounts the band’s experiences in the
Bluff City and Beale Street during I.B.C. Week,
dropping the names of some of the city’s famous
clubs and successfully capturing the mood and
atmosphere of the city. The King Curtis
instrumental, “Memphis Soul Stew,” allows the band
to strut their stuff, just before the album
closes with “Strange Angels,” a gospel-flavored
ballad.
Short, but sweet,
Heart of Memphis has a lot of
soul and blues in its 34-minute running time,
just like the band itself. Fans of those genres
are encouraged to check out Michele D’Amour and
the Love Dealers at their first opportunity.
--- Graham Clarke
 Paul Karapiperis’ latest release,
Acoustic &
Electric Growls, is a most adventurous and
intriguing set of blues recorded by the Greek
singer/songwriter/harmonica player with eight of
his friends (lead guitarists Vassilis
Athanassiadis, Panos Badikouthis, and Panagiotis
Daras, drummers Ilias Lintzos and Nikos
Konstantinou, bassist Lefteris Besios,
clarinetist Nicholas Psarras, and vocalist
Manolis Aggelakis). Karapiperis himself also
plays all manner of guitars, bass, keyboards,
percussion, tzouras, and baglamas during the
session.
Karapiperis’ vision of the blues is moody and
atmospheric, with various traces of blues,
Louisiana swamp, Mississippi Hill Country,
Chicago and the Delta freely intermingling with
jazz, world, and sometimes psychedelic
undercurrents. The songs, all originals, paint
vivid images of places deep in the mind, of
society in general, recovering from various
types of loss (“Broken Pieces of My Wasted
Time”) , fear (“The Blues In His Veins”) and
desperation (“Trapped In A Fox Hole”).
Karapiperis’ vocals range from a deep growl to a
soulful croon, sometimes reassuring, sometimes
desperate, sometimes angry, always compelling
and ideally suited to his material, which
captures the feeling of the blues as well as
anything I’ve heard in a while. The words and
music are completely immersed in the blues. The
guitar work is just amazing on the entire set
and Karapiperis’ harmonica work is a force of
nature throughout.
Paul Karapiperis and
Acoustic & Electric Growls
stand as living proof that the blues is
definitely a worldwide feeling.
---
Graham Clarke
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