Is the harmonica
the official instrument of the blues? Whether you
believe that to be true or not, there sure is a horn
o’ plenty of impressive harpers making recordings
this year.
Matthew Skoller
is the player to watch. His Blues Immigrant
album on Tongue ‘n Groove may be the harp album of
the year for these ears. His acoustic work is
compelling, as is his flat out attack. He is
lyrically clever, as he shows on "The Devil Ain’t
Got No Music" (that’s why he lives in hell) and
"Tear Collector" (“I need someone to cry for me
tonight….little girl stole my tears/nothing’s gonna
be alright”). The band, particularly guitarists
Giles Corey, Eddie Taylor, Jr. and Carlos Johnson,
and Johnny Iguana on keys are up to the task of
backing this dynamo.
On Travelin’ With
the Blues (Dog House) Harpdog Brown
surrounds himself with a hot band and guest stars
like Charlie Musselwhite and Kid Anderson, adding
frosting to his impressive blowing cake. He covers a
variety of styles. His "Fine Little Girl Rag" and
"Cloud Full of Rain" are old style, his version of
"Bring It On Home" is dead on and "Hayward Boogie"
is an instrumental work out that harkens back to
classic blowers.
Harmonica Shah's
If You Live to Get Old You Will Understand is
the Detroit favorite’s sixth on Electro-Fi and eight
overall. It may be his best. Shah is old school
Detroit, which is a whole nuther hemisphere than
Chicago. He’s not as cerebral as most harpers. He’s
about raw emotions and the body. Lyrically he’s
about real life in his house, on his block, in his
city. There is a decided “sound” to Detroit blues
and he’s got it wired. With guitarist Jack DeKeyzer,
pianist Julian Fauth, bassist/co-producer Alec
Fraser and drummer Bucky Berger, Shah has fashioned
an instant classic.
Mitch Kashmar's
West Coast Toast on Delta Groove showcases
Kashmar as the best West Coast player/singer this
side of William Clarke. Compact and expansive at the
same time, he bridges styles and schools without
losing his unique soulfulness. The instrumental
"Makin’ Bacon" allows the band to stretch behind
Mitch who offers one of the most impressive harp
blows this fan has heard this year. "Alcohol Blues"
is a lament that every self-respecting blues album
needs and Mitch and the fellas do it proud.
See this month's Pick Hit
for a full review of this fine disc.
Moreland &
Arbuckle moved up to the big label (Alligator)
this year with their Promised Land or Bust.
With Kendall Newby on powerhouse drums and Aaron
Moreland playing guitars, including the cigarbox
guitar which he popularized, harmonica player and
vocalist Dustin Arbuckle has carved out a niche of
his own. The trio is largely about volume and
Arbuckle is more than up to the challenge. "Woman
Down In Arkansas" has a Southern twinge, "Waco
Avenue" is almost a ballad, and "Take Me With You
(When You Go)" is a hard driving tune that is a
crowd pleasing knock out.
Big Jon Atkinson
and Bob Corritore's House Party At Big
Jon’s is a superb LP. Young Mr. Atkinson is a
fantastic guitarist and singer – but this is about
the harmonica player. Bob Corritore is the owner of
the Rhythm Room in Phoenix and is on a first name
basis with many of the amazing musicians who criss
cross the country every night. He has an impressive
collection of solo and duet albums to recommend him.
This is one of the most impressive. Atkinson reminds
of Hollywood Fats and Corritore is the perfect foil.
On "She’s My Baby" Corritore’s solo is gorgeous and
on the instrumental "El Centro" the players dance
with each other to the listeners delight. The good
news is that we can expect more recordings from
Corritore.
Farbrizio Poggi
and the Amazing Texas Blues Voices (Appaloosa),
in addition to having one of the longest titles of
the bunch, is a superb album by Fabrizio Poggi
that does indeed showcase a number of Texans who
love to sing --- Carolyn Wonderland, Ruthie Foster,
Lavelle White, Mike Zito and others. Backing them
all is Poggi, an inventive and playful player who
gives plenty room to his partners while supporting
and encouraging them. On "Forty Days and Forty
Nights" he does his best James Cotton to Zito’s
Muddy, and his work behind Ms. Lavell White is
delightful on "Mississippi My Home." He stretches on
"Wishin’ Well" and offers some tasty acoustic work
behind Guy Forsyth on the closer "Run On."
Sugar Ray & The
Bluenotes are as steadfast as they come. This
latest effort, Seeing Is Believing (Severn)
is every bit as impressive as we’ve come to expect.
Sugar Ray may be the best flat out blues vocalist
since Jimmy Rushing, but he’s an equally adept
harmonicat. "Keep On Sailing" is just Ray on harp
and vocals in an extended intro and is one of the
songs of the year. Mike Welch, Tony Geraci, Mudcat
Ward and Neil Gouvin set the groove while Ray fans
the harp. "Blind Date" is a rave up, "It Ain’t
Funny" is more of the same, and "Not Me" is a
gorgeous ballad on which the harp floats. What a
great album!
Dennis Gruenling's
Ready or Not on Vizztone is a romp.
Stylistically, the erstwhile harper with Doug Deming
(who is on the disc) is generally about swinging and
upbeat rockers. Is that smoke coming from the mic?
The low register work on "Little Sugar" is
impressive, "If You Wanna Rock (You Gotta Have That
Roll)" is a rockabilly rave up, and "Count
Chromatic" is an instrumental that sounds a little
spooky.
Little Mike
usually records with his band the Tornadoes. How
Long? (ELROB) is marked as just Mike and it’s a
nice collection of originals and a few classic.
Opening with a tribute to James Cotton on his
instrumental "Cotton Mouth," he sets the pace for a
fun ride. "Smokin’" is a tune about the bad habit
that sees Mike just take off. His version of Bobby
Timmons jazz classic, "Moanin’," points to the
symbiotic relationship between harps and saxophones.
"Slam Hammer" is an instrumental that lives up to
its name, "Sam’s Blues" is a superb blues groove and
"Tryin’ To Find My Baby" is classic Chicago.
The Blues Harp
Women collection (Ruf) is a revelation. If you’d
asked me before I heard this to list all the great
female harp players, I’d have said Annie Raines and
I’d have been done. She’s here. So is Big Mama
Thornton on a truly fantastic "Downhome Shakedown."
I’m thrilled to note, too, that Lynnann Hyde, from
Kinzel-Hyde is here, doing a fine version of
"32-20." Other highlights on this 100% highlight-ful
collection are Paula Rangell, who opens the set with
the appropriate "Harmonica Girl," on which she sets
the bar for others to follow. Roxy Perry’s "Roadmaster"
is a favorite --- great vocals, a killer horn
section and, of course, harmonica blowing to match.
Beth Kohnen blows a beautiful instrumental on her "Ain’t
Easy," and "Stuck On You" from Jane Gillman duets
her clever word play with acoustic guitar and her
effective harp. Zola Moon takes it to a different
dimension on grunge-like "Mechanical Beast." The
liner notes call her “bombastic.” She’s all of that.
The harp is rudimentary but fits the bill.
The second disc opens
with Jenny Kerr’s "Cash Is King." She’s got a fine
voice to match the harp and this medium tempo blues
rocker shows yet another application for the harp.
The aforementioned Annie Raines is on board on a
take on Magic Sam’s "Lookin’ Good." Paul Rishell’s
accompaniment is equally dazzling. Annie is one of
the best out there. This instrumental is
breathtaking. Marion Turner is part of a duo, as
well. Her "He’s Gone," with Steve Plater on guitar
as Salty Dog, is just a blast. The harp is
fantastic.
Terry Leonino keeps
the duos going with her partner in Magpie, Greg
Artzner. Swinging at heart their "Meet Me Where They
Play the Blues" is a treat. Dana Dixon’s "Crazy
Maisie" features plenty of impressive harping, and
Jill Fromewich and her guitar playing partner Eliza
Lynn, as the Grit Pixies, sees her playing the full
harp with great results on "Take the Lead." She
bends and blows straight to superb effect.
Montana-based Diana Redlin doesn’t play nearly
enough on her "Never Leave Home," but when she does
she’s a jaw-dropper.
No blues collection
should be without a "Summertime." Christelle Berthon
plays a chromatic version that is a heart-stopper.
She’s classically trained and has never recorded
before. Whew! Our loss. This is hypnotic. Big Nancy,
out of New Jersey, performs a compelling "Bring It
On Home To Me" and Handy-nominated Rhonda Rucker
closes the set with an instrumental, "Rhonda Alla
Blue."
There are 31 cuts on
this double disc set. As is the case with their male
counterparts influences range from country to
Chicago to West Coast swing and the results are
generally more than impressive. The only knock is
that full personnel are not listed. There are some
pretty impressive support players aiding the cause.
All in all a great disc. It would make for a nice
holiday present.
---
Mark E. Gallo
I’ve been singing the
praises of Elam McKnight for over a decade.
His brand of blues incorporates the sounds of the
Mississippi Delta and the Mississippi Hill Country,
but since the beginning and ever-increasingly, the
Tennessee-based singer/guitarist/songwriter adds
other musical influences. Each of his four previous
releases improved on the previous one, throwing
listeners a few curves here and there and always
making for compelling listening. McKnight’s fifth
release, Radio (Big Black Hand Records), is
no exception to the rule.
For this latest
effort, McKnight has assembled one heck of a band,
with Dudley Harris, a 45-year vet of the local juke
joint scene on bass and guitar, and Eddie Phillips,
a drummer of piledriving force, along with guest
artists Donnie Apple (guitars/keyboards/producer),
Bob Bogdal (harmonica), Bobby Houle (guitar),
Michael Saint-Leon (guitar/engineer), Gary Forkum
(drums), Paulie Simmons (drums), and Jim Gambino
(keyboards).
The opening track,
the hard rocking guitar-fest rave-up “I Feel Like
Rocking” sets the bar pretty high, but McKnight
moves easily to the midtempo “Broken Eye,” which
mixes soul and gospel with the blues, then launches
into “Radio,” the album’s first single. This is one
of those songs that you feel like you already know,
an excellent bit of craftsmanship that mixes rock,
soul, and pop, just like when artists such as Bob
Seger or Boz Scaggs did it in the ’70s. If there was
any justice in the world, you’d be hearing this one
on the radio daily.
“Momma Take Me” is a
fiery blues rocker with a boatload of slide guitar
fireworks, followed by “Well I’m Bad,” a powerful
blues that brings to mind Hard Again-era
Muddy Waters and Johnny Winter. The middle of the
album moves toward the country blues and deep
southern soul with four masterful tracks: the swampy
“Gonna Find Me A Hole,” the mournful country blues
“Hard Times They Is,” “Hold Me (Just A Little Bit
Longer),” a soul/blues ballad which combines the
best of Memphis and Nashville, and the amazing “So
Weep The Sky,” a gospel blues about the topic of
death that is sung with great emotion by Dudley
Harris.
The hearty country
blues “Love Me” picks up the pace a bit, but the
roaring blues rocker “Night Wanderer” really soars.
“Oh My Baby” is a smooth urban blues with cushy
keyboards backing some sweet lead guitar. The album
closes with “Let Me Be Your Sideman,” an old-school
rock n’ roller, and a sharp topical blues, “Rich Man
Get Richer (Poor Man Get the Jail),” done pre-war
acoustic style.
No question that the
blues is strong with this release, but there are
also hints of soul and roots, rock and pop, country,
and gospel. McKnight is savvy enough to mix all of
these genres together in a totally original way. I
really dig the direction that he’s going with his
music….he’s taking the blues in new, exciting, and
sometimes unexpected directions, and it sounds so
good that you’ll wonder why it hasn’t been done
before. I’ve enjoyed all of Elam McKnight’s releases
since his debut (Braid My Hair), but I have
to say that Radio is his best.
---
Graham Clarke
No performer puts as
much of themselves into their craft as Cee Cee
James. Her songs are so personal and her
performances so intense that you have to think that
she leaves a little piece of her soul in every song
that she writes. I’ve been listening to her albums
for seven or eight years now and she never ceases to
amaze me with how deep she can go within herself.
James’ latest release is of a largely acoustic
nature, but Stripped Down & Surrendered (FWG
Records) is no less personal or intense.
James and her husband
Rob “Slideboy” Andrews composed a dozen songs that
cover the bases of the human psyche, going from
despair and desperation to hope and redemption to
salvation. She calls the title track, which opens
the disc, “the anthem for the second half of her
life,” as she comes to terms with inner demons.
Songs like “Hidden and Buried” and “The Edge is
Where I Stopped” describe how far those struggles
took her, and the inspriational strength of the
following tracks, “He Shut The Demon Down” and
“Glory Bound,” is uplifting.
“Love Done Left Home”
is a somber tune about a relationship that’s reached
its end, and “Cold Hard Gun” is a positively
chilling requiem for a friend’s lost struggle with
substance abuse, but James’ bares it all on the
stunning “Thank You For Never Loving Me,” a scathing
reproach to her father for his lack of love for her
and her family.
The mood lifts
considerably with the loping “Before 30 Suns,” a
blues shuffle loaded with swagger and sass, and
“You’re My Man,” a sweet and playful love letter
from James to Andrews. “Miner Man’s Gold” is a
poignant tribute to a fan and friend who recently
passed away. The gentle closer, “So Grateful,” finds
James giving thanks for overcoming the demons and
redeeming her life.
Andrews’ guitar work
is just amazing throughout the disc and the rest of
the band (Dave Malony – drums/percussion, Kevin
Sutton Andrews – lead/rhythm guitar, Jeffrey Morgan
– keyboards, Terry Nelson – keyboards) is excellent,
too. While the general ambiance of Stripped Down
& Surrendered is, indeed, stripped down, there’s
still plenty of fire and white-hot intensity in Cee
Cee James’ vocals and delivery. This is an album
that will reward anyone who listens, lifting them
from a dark place to a brighter one.
--- Graham Clarke
It’s been quite a
while since Reggie Wayne Morris’ last
release, so maybe a re-introduction is in order: The
Baltimore-based blues guitarist/vocalist was raised
on the blues and gospel, and learned guitar at an
early age from family members. As a guitarist, he
cites B.B. King and Jimi Hendrix as influences. He’s
released two previous albums, the last one in the
early 2000’s, but has remained active on the
festival circuit, touring both the U.S. and Europe.
His latest release, Don’t Bring Me Daylight
(Blue Jay Sound), is a most impressive set.
Morris’ lead guitar
does indeed bring to mind the guitar work of King
and there are definite flashes of Hendrix mixed in.
His vocal style is smooth and suited equally fine
for blues or soul. He shares songwriting and
production duties with Gerald Robinson, other than
one track written by Ceophus Palmer, and is backed
by a steady and reliable band (Chuck Fuerte and
Ezell Jones – drums, Vinny Hunter, Pete Kanaras,
Chris Sellman, and Ray Tilkens – bass, Mark Stevens
and Bob Borderman – organ/piano).
Highlights are many
and include the clever opener, “Son of a Blues Fan,”
which features some nice piercing fret work, “I Used
To Have a Woman,” a great old-school blues shuffle,
the funky “Sign My Check,” and the cool title track.
“Ball and Chain” moves the album a bit toward the
soul side of the aisle and Morris does a fine job on
vocals and adds some nice B.B.-esque guitar
accompaniment. The latter half of the album
continues to focus on the soul side of the blues
with “She’s Gone,” “Meet Me,” and “Ooooo Weeee” in
succession, though Morris adds some tasty guitar on
each track. The closer is the gospel track “God
Loves You,” a plea for love and unity that has an
upbeat, almost Caribbean quality.
Don’t Bring Me
Daylight has a wonderful old school feel to it,
with plenty to offer both fans of contemporary blues
and southern soul. Hopefully, Morris won’t go
another 15 years between releases.
---
Graham Clarke
Has an album ever
been more appropriately titled than Sari Schorr’s
A Force of Nature (Manhaton Records)? The
big-voiced New Yorker is already established as a
songwriter and a powerhouse live performer, but this
stunning debut release should expand her musical
horizons considerably. Legendary producer Mike
Vernon caught a live performance by Schorr at the
2015 I.B.C. and basically came out of
semi-retirement to produce this fabulous disc.
Schorr wrote nine of
the twelve tracks, and they are uniformly fine.
“Ain’t Got No Money,” the scorching opening track,
is a jab at Wall Street, while “Aunt Hazel” is a
sobering story of drug abuse (Aunt Hazel is slang
for heroin), “Damn The Reason” is a powerful tale
about domestic violence, and “Demolition Man” is
about prostitution taken from the female
perspective. The funky “Cat and Mouse,” “Oklahoma,”
and “Kiss Me” are considerably lighter fare, while
the poignant “Letting Go” was written about Vernon’s
late wife, and the lovely and contemplative
“Ordinary Life” closes the disc nicely.
Schorr covers three
tunes and really makes them her own as well. Lead
Belly’s “Black Betty” (familiar to most music fans
from Ram Jam’s roaring ’70s remake) is outstanding,
almost Zeppelinesque in its delivery with an
understated intro transforming into a rugged blues
rocker with torrid guitar work Innes Sibun, former
guitarist for Robert Plant and currently serving the
same role in Schorr’s band, The Engine Room. She
also covers Walter Trout’s “Work No More,” and
wisely enlists Trout’s services on his own tune.
The final entry in
the cover department is Holland/Dozier/Holland’s
“Stop In The Name Of Love,” and it’s totally
unrecognizable from the late ’60s reading by the
Supremes. If Diana Ross hears Schorr’s version, she
may remove it from her set list for good. Sibun’s
guitar work is another bonus on this track, and
anywhere else on the album. His fretwork deserves to
be heard.
A stunning debut
release, A Force of Nature will doubtlessly
adorn many end-of-year-best-of lists and pick up a
few other awards in the process. Sari Schorr is a
voice that blues fans will be hearing much more from
in the future.
---
Graham Clarke
After a 15-year
hiatus from the music business, Little Mike
Markowitz has been positively prolific over the few
years, scoring with two fine studio releases with
his longtime band, the Tornadoes, plus a live
release from St. Augustine BLUZFEST, and a fine
collaboration with Chicago singer Zora Young.
Little Mike’s recent solo release, How Long?
(ELROB Records), finds the blues man doubling on
harmonica and piano, with contributions from a few
Tornadoes alumni, on a dozen songs that combine
several Markowitz originals with a few tasty covers.
There’s nothing fancy
here, just old school blues played like they used to
play them back in the day, and few do this brand of
blues better than Little Mike. He dazzles on
instrumental tracks like the rip-roaring opener
“Cottonmouth,” a jazzy read of Bobby Timmon’s “Moanin,,”
a hot version of Johnny Young’s “Slam Hammer,” and
the slow cooker “Sam’s Blues.”
Acknowledged as a
masterful instrumentalist, Little Mike’s vocal
talents are often overlooked, but he’s one of the
best at this style of blues. He’s no slouch in the
songwriting department either, with tunes like “Smokin’,”
about his adventures in trying to give up his bad
habit, the soulful “Whatcha Gonna Do?,” the Windy
City-fueled “Tryna’ Find My Baby,” and “Not What
Mama Planned,” which mixes jazz, blues, and funk in
equal measures.
The serene, acoustic
“Sittin’ Here Baby,” is excellent, too. In addition,
Little Mike covers J.B. Lenoir’s title track and
Eddie Taylor’s “Bad Boy,” effectively showcasing his
keyboard skills on both tracks. Assisting Little
Mike on these tracks is a rock-solid band that
includes Cam Robb and Dave Sweet on drums, Troy
Nahumko and John Edelmann on guitar, Joe Fontenot on
bass, Ken Stearns on bass and guitar, and Mitch
Margold on Hammond B3.
Blues fans hungry for
a taste of the vintage Chicago blues will find what
they’re hungry for with Little Mike’s How Long?,
a great set that puts a modern spin on the old
classic style.
---
Graham Clarke
The Stars Motel
(Blue Kitty Music), the latest release from Liz
Mandeville, has an interesting backstory, which
spans three years and several great guitarists, all
of whom happened to be passing through Chicago
during that time. Oklahoma-based guitarist Scott
Ellison and Italy’s Dario Lombardo came for gigs and
had no lodging, so they stayed in Mandeville’s
studio and, while they were there, they wrote and
recorded three songs each with Mandeville. Later,
guitarist Miami-based Rachelle Coba also crashed
there for a few days and wrote and recorded three
songs with Mandeville. With nine songs completed,
Mandeville asked guitarist Minoru Maruyama, who
worked on her 2014 release, Heart O’ Chicago,
to co-author a few more songs with her, two of which
appear on this release.
The 11 tracks run the
gamut of blues styles. Ellison’s contributions
include the amusing shuffle “Too Hot For Love,” the
after-hours slow cooker “What Could Have Been,” and
the swinging “What Do Blues Men Like.” Lombardo’s
trio consists of the funky Windy City-styled “Blues
Is My Boss,” “Reefer And A Glass Of Wine” (which
features T-Bone-esque lead guitar from Doug Deming),
and “Bad Blues Habit.” Coba adds the New
Orleans-flavored “Everybody Knew But Me,” the
swaggering “Try Me,” and the ominous “River Of
Blood.” Maruyama’s two tracks (Mandeville saved the
rest for a future album) are the soulful ballad “One
Dance” and “Truth.”
A host of additional
musicians join the festivities throughout, including
bassists Darryl Wright, Matt Kohl, Matt Cartwright,
Heather Tackett Faludo, and Jon Parris, drummers
Robbie Armstrong and Andy Sutton, keyboardists Joan
Gand, harmonica player Dizzy Bolinsky, percussionist
Jim Godsey, and a couple of horn sections that
include Steve Hart (tuba), Alex Leong (trombone),
Jeannie Tanner (trumpet), Johnny Cotton (trombone),
and Charlie Kimble (sax). Mandeville alternates
between guitar, bass, washboard, and turns in her
usual standout vocals.
The Stars Motel
is a fine and entertaining set of tunes by a
group of musicians who obviously had a ball working
together.
---
Graham Clarke
Frank Bang has
finally made the album he’s always wanted to make.
The former Buddy Guy sideman has primarily recorded
blues rock with his band, The Secret Stash, prior to
his latest. This time around, Bang and his band, the
Cook County Kings, focus completely on the blues and
nothing but the blues. The Blues Don’t Care
(Blue Hoss Records) is nearly an hour of powerhouse
blues just like his former boss likes to play ‘em.
Bang is a 25-year vet
of the Chicago music scene. He’s in great company
with the Cook County Kings, which include drummer
Brian “B.J.” Jones, who’s worked with Junior Wells,
James Cotton, Magic Slim, and Otis Rush, bassist
Andre Howard, previously associated with Slim, Syl
Johnson, Chico Banks, Lucky Peterson, and Lonnie
Brooks, piano man Russ Green, an alumnus of Wells
and Lurrie Bell’s bands, and harmonica player Russ
Green, formerly with Bell and John Primer’s bands.
Bang decided that
since most of his favorite blues albums were live,
then that’s the path they would follow with The
Blues Don’t Care. All ten tracks were recorded
in one day, with nearly every song being a first
take. Seven of the ten songs are covers, and Bang
puts his own unique spin on them. They include Dan
Johnston’s “The Blues Don’t Care” (recently covered
by Bang’s former boss, Guy, on his Rhythm & Blues
album with Gary Clark, Jr.). Bang’s version takes a
more basic, down home approach and it works really
well.
Other covers include
slow-cooking versions of Robert Cray and Bruce
Bromberg’s “The Dream” and Wells’ “Come On In This
House,” “Possum In My Tree,” the classic
Mosley/Johnson tune made popular by Little Milton
and Magic Slim, a deliciously funk rock take on Ray
LaMontagne’s “Repo Man,” Johnnie Taylor’s “Still
Called The Blues,” done Windy City style, and the
rousing closer, A.C. Reed’s “Can’t Go On This Way.”
Bang’s originals are
standout as well. “Million Miles Away” is a midtempo
shuffle with some nice harp work from Green, who’s a
force throughout the disc. “Till The Day I Die” is a
rock-edged blues, and the nearly eight-minute “Can’t
Find My Way Home (Parts 1 & 2)” is a scorcher, with
Bang flashing his slide guitar skills to a Hill
Country beat.
I enjoyed Frank
Bang’s 2013 release, the blues rocker Double Dare,
but if he should decide to continue pursuing the
straight blues option, like on The Blues Don’t
Care, that would be perfectly fine with me.
Blues fans need more albums like this one.
---
Graham Clarke
Based in British
Columbia, Holly Hyatt and Jon Burden work as
an acoustic duo or electric trio with drummer Marvin
Walker and have played shows with artists like Harry
Manx, David Gogo, Paul Reddick, Sonny Rhodes, Jeff
Healey, Colin James, Jim Byrnes, Ruthie Foster, Leon
Russell, and Rita Chiarelli. Their music combines
the best qualities of traditional and modern blues,
from the Mississippi Delta to Chicago.
Shufflin’ The
Blues (Flood Plane Records) is the duo’s third
collaboration, and it actually captures them in
their electric trio format for the most part (three
songs are acoustic), performing live at The
Silverton Gallery in Silverton, B.C. This nine-song
set consists of five originals penned by Hyatt and
four well-chosen covers.
Opening with a gently
swinging version of Muddy Waters’ “Blow Wind Blow,”
the duo trade vocals and Burden takes an impressive
guitar solo midway through. Memphis Slim’s “Mother
Earth” gets a nice, mellow treatment and eases into
a smooth retro rocker, “Let’s Boogie,” with some
nice crisp guitar work from Burden. “Lowdown Blues”
is a fine mid-tempo blues, while the pair’s cover of
Robert Johnson’s “Come On In My Kitchen” allows
Burden to show his formidable slide guitar chops.
“Get Your Own Man” is
blues on the jazzy side, and the duo’s reading of
Nick Gravenites’ “Left Handed Soul” is a cool blues
with clever lyrics and a charming vocal delivery
from Burden. “Black Crow” has a country blues feel
with some nuanced picking and a sweet vocal from
Hyatt, and “Slushy Blues,” the closer, is a funky
shuffle that blends blues and jazz.
Hyatt’s versatile
vocals and Burden’s guitar go together like peas and
carrots, and her bass playing is standout as well.
An album like Shufflin’ The Blues sneaks up
on you with repeated listens……you find something
else you like with each subsequent listen. This is
an album that is both timeless and charming and is
recommended to blues lovers.
---
Graham Clarke
For his latest album,
Better the Devil You Know (Black Hen Music),
Canadian blues legend Big Dave McLean
ventured down to Nashville to Steve Dawson’s
Henhouse Studio and enlisted the services of Dawson
(producer/guitars/banjo/pedal steel/mandotar/dobro),
Kevin McKendree (keyboards), Gary Craig (drums),
John Dymond (bass), Fats Kaplin (fiddle/mandolin),
and the winsome McCrary sisters (Ann and Regina,
backing vocals). The end result was a marvelous set
that encompasses traditional blues and gospel, while
paying tribute to several blues masters.
The disc gets off to
a great start with McLean’s “Life On The Road,” a
track that has to be from personal experience, and
is followed by “You Can’t Lose What You Never Had,”
one of two Muddy Waters covers. On this one, McLean
takes his time and lets the song percolate along
with a Spann-like piano break from McKendree. The
McCrary sisters kick off the next tune, a smashing
cover of the Blind Willie Johnson classic, “You’re
Gonna Need Somebody on Your Bond,” which also
features Kaplin on fiddle and McLean’s harmonica.
Dawson contributes “Angeline,” a sad tune about
Johnson and his wife and their struggles.
McLean’s “I Need You”
is a fun, harp-driven country blues, and “Where The
Music Comes From,” another original, pays homage to
Mississippi, inspired by a visit to Clarksdale a few
years ago with some ripping slide guitar. Parker
Milsap’s “Old Time Religion” returns the album to
the gospel theme with some inspired steel guitar and
heavenly backing vocals from the McCrarys, and the
theme continues with McLean’s “Swingin’ on Heaven’s
Gate,” a countrified number (with Kaplin on
mandolin) which was written after the death McLean’s
father and close friend in 2000, and Jeffrey
Hatcher’s “Deliver Me.”
A sparkling cover,
“Deep Down in Florida,” is the second Muddy Waters
tune, a Delta blues song punctuated by some crisp
mandolin. Dawson’s “The Side of the Road” is an
atmospheric tribute to the Bentonia blues man Skip
James, and the introspective “Talk About a
Revolution” was penned by McLean shortly after the
terror attacks in Paris in a plea for peace. The
album closer is a raw cover of Johnny Shines’ “Pet
Rabbit,” which was recorded in a ’30s style
recording booth at Jack White’s Third Man Records in
Nashville.
A Canadian
institution, Big Dave McLean should please blues
fans from all over with this winning set of old
school blues and gospel tunes.
---
Graham Clarke
Teresa James’
ninth album with her band, The Rhythm Tramps, is
Bonafide (Jesi-Lu Music) --- both by title and
in quality. The Houston-born/L.A.-based
singer/keyboardist offers 13 excellent tracks – 11
originals written or co-written by Rhythm Tramps
bassist Terry Wilson (who also produced the disc)
and two well-chosen covers that mine equally from
the blues, soul, and country. She’s joined on this
set by an impressive list of L.A. musicians –
Wilson, Tony Braunagel, Mike Finnigan, Ron Dziubla,
Billy Watts, etc.
Songwriter Wilson and
singer James have assembled a strong set of original
tunes, including the sassy title track, the funky
“Spit It Out” and “Hollywood Way,” soul burners “The
Power of Need” and “You Always Pick Me Up,” the
gospel duet (James with co-writer Gregg Sutton) “My
God Is Better Than Yours,” the roadhouse rocker
“What Happens In Vegas,” the poppish “Funny Like
That,” and the blues ballad “No Regrets.”
The two covers are
effective, as well. James opens the disc with a
terrific version of The Five Royales’ “I Like It
Like That,” and proceeds to tear it up not only
behind the mic but on the piano, too. The other
cover ends the disc in perfect fashion, one of
James’ most-requested tunes, an inspired reading of
John Hiatt’s “Have A Little Faith In Me.”
Listeners will admire
Teresa James’ soulful and versatile vocals and her
feisty delivery, and probably also wonder why she’s
not a bigger deal on the blues scene. I know I have
certainly wondered that since I first heard her
several years ago. If there’s any justice in the
world, Bonafide will resolve that question in
a positive way.
---
Graham Clarke
Currently serving as
a headliner every Saturday night at Buddy Guy’s
Legends in Chicago, Ray Fuller and the
Bluesrockers prove that that select roster spot,
and their band name, are well-deserved with their
latest thundering release, Long Black Train (Azuretone
Records). Fuller’s been playing guitar since he was
eight years old and he has a high-energy style,
which includes some powerhouse slide work. The
Bluesrockers (Myke Rock – bass, Darrell Jumper –
drums, Doc Malone – harmonica) are a tight trio that
move easily from high-energy blues to sweaty
southern rock to greasy funk.
Fuller wrote all 14
of the tracks and if you dig straight-forward,
hard-driving rocking blues, this disc has what
you’re hankering for. With titles like “Burn Me Up,”
“Voodoo Mama,” “Somethin’ Shakin’,” “Hip Shakin’
Mama,” “Let’s Get Dirty,” and “Evil On Your Mind,”
you have a good idea of what to expect, but this is
a set of solid tunes. Fuller is an engaging vocalist
and has guitar chops to burn, particularly on slide.
“Cold Day In Hell”
and “Whiskey Drinking Woman” do slow down the pace a
bit, with more of a downhome style and some fine
harp from Malone, and the title track rocks with a
vengeance. “Louisiana Woman” and “New Tattoo” are
southern rock at its finest, “Pipeline Blues” plays
like an electrified version of an old ’30s blues,
and the closer “You’ve Got the Blues” is a
hard-driving rocker.
Long Black Train
is an impressive set of modern electric blues with
solid songwriting, savvy musicianship, and sizzling
guitar work. Any blues fans who like the modern
blues with a rock edge will be glad to have Ray
Fuller’s latest in their collection.
---
Graham Clarke
Levee Town
remains one of Kansas City’s premier blues bands and
one listen to their sixth, and best, album to date
should verify that they’re pretty high in the
standings well beyond their home city. Takin’ &
Givin’ finds the trio (Brandon Hudspeth –
vocals/guitar, Jacque Garoutte –
vocals/bass/harmonica/slide guitar, Adam Hagerman –
drums/percussion/Jew’s Harp) covering a broad base
of blues styles from their home base in K.C. to
Texas to Chicago to the Mississippi Delta and
beyond.
The 13 originals are
a great set of standout tracks, mostly written by
Hudspeth and Garoutte, include the title track, a
bluesy shuffle that kicks off the disc, the funky
“High Flyin’ Mama,” which showcases some tasty
string bending from Hudspeth, the easygoing “Kansas
City Women,” the swinging “Mr. Jameson,” “Walkin’
Down The Road” and “Every Night and Every Day” are a
pair of dandy downhome blues. The latter is one of
two tracks with vocals from K.C.-area vocalist
Jaisson Taylor, and the hard-rocking boogie tunes
“You’re So Hip” and “Letter To My Baby.”
“Charlie Brown” is a
Delta-flavored shuffle with Garoutte on slide guitar
and guest Annie P. Walser on piano, and “I’m Gone”
has a loping, countrified flair. Taylor returns to
the mic for the slow and soulful “Sunday Afternoon,”
which also includes harmonica from Jimmy Meade, B3
from Chris Hazelton, and inspired fretwork from
Hudspeth. “Do Si Do” finds the band venturing into
almost psychedelic territory with very satisfying
results, and the jazzy instrumental closer “El
Grape” wraps things up nicely.
The album’s lone
cover is a wonderful reading of the unsung Oklahoma
guitarist Ace Moreland’s “I’m A Damn Good Time,” and
it’s a perfect mix of blues and country, a
combination of which the late Mr. Moreland would
have surely approved.
Takin’ & Givin’
is an inspired and exciting offering from Levee
Town. Their longtime fans should be used to releases
like this from them by now, while newcomers will
find a whole lot to enjoy.
---
Graham Clarke
The Temprees
got their musical start in mid ’60s Memphis for Stax
Records. Originally known as The Lovemen, the group
consisted of lead singer Jasper “Jabbo” Phillips,
Harold “Scotty” Scott, Deljuan “Del” Calvin, along
with Larry Dodson, who later became lead singer of
The Bar-Kays. They recorded three albums for Stax
(on the label’s We Produce subsidiary) and later
signed with Epic Records after Stax folded. They are
perhaps best known for their first-rate cover of the
soul standard “Dedicated to the One I Love” and
their own “Love Maze” in the early ’70s.
The group remained
active until around 2001, when Phillips passed away,
but Scott and Calvin have recently reunited, along
with new member Walter “Bo” Washington, to release a
brand new album, From The Heart (Point 3
Records). This fine effort successfully recaptures
the golden era in which the group were in their
heyday with ten new tracks written by Calvin and
producer Angelo Earl, plus a sparkling cover of the
Earth, Wind & Fire standard “Reasons.”
Let me just say that
if you enjoyed listening to old school soul and R&B,
circa mid ’70s, you really need this CD. This music
is alive and well in the hands of The Temprees.
“From the Heart” is the opening track and it’s
basically a nod to their longtime fans and all their
supporters over the years. “We Do Music” is a music
lesson that recounts the history of Stax and
Memphis, calling out some of the familiar names
associated with the label --- Otis Redding, Isaac
Hayes, Rufus and Carla Thomas, and The Bar-Kays.
“Keep It Real”
promotes love and harmony via better communication,
and “Love Again” and “Say Goodbye” are a dandy pair
a slow burner that showcase those wonderful vocal
harmonies. The group thrives on more uptempo
numbers, too, like “Half Empty, Half Full,” “Baby Da
Da,” “She’s Magic,” and “Paparazzi,” which adds funk
and hip-hop to the mix, and the midtempo closer
“Live Your Life” cautions listeners to make the most
of the time that they have.
The Temprees haven’t
lost much, if anything, off their fastball, still
offering up those exquisite three-part harmonies in
a variety of settings, in both vintage and modern
musical settings. From The Heart is a great
album for those who loved classic soul and R&B like
they used to do it back in the day.
---
Graham Clarke
The Bob Lanza
Blues Band’s fourth release, Time to Let Go
(Connor Ray Music), is his best to date, an 11-song
set of killer blues rockers featuring Lanza’s
always-exciting guitar work and his rock-solid band
(Sandy Joren – bass, Vin Mott – drums, harp, Randy
Wall and Arne Wendt – keyboards, Steve Krase and Don
Erdman- harp) plus the Cranberry Lake Horns and
backing vocals from The Robernaires.
Lanza’s original tunes are always compelling and the
five on this release are no exception. The title
track is particularly moving, written after the
passing of Lanza’s mother and brother, while “When
The Sun Comes Up” is a crisp blues rocker. “You’re
Not In Texas” is an entertaining shuffle, and
“Johnny Smith” is a fiery rock n’ roller like they
used to do ‘em. “Rush’nThe Blues” is a fine
instrumental tribute to Otis Rush.
One of the highlights
of Lanza’s albums is the unique and imaginative way
that he handles cover tunes. On Time to Let Go, he
capably handles tunes associated with Hank Williams
(a rip-roaring horn-driven “Mind Your Own
Business”), Muddy Waters (“Go No Further” and
“Walkin’ Thru the Park”), Ronnie Earl (a stirring
“Follow Your Heart”), Percy Mayfield (the soulful
“Love Me or Leave Me”), and the standard “Your Turn
To Cry.”
Lanza is known for
his mad guitar skills, but he also does a fine job
behind the mic, and the band provides outstanding
support. Time to Let Go is another winner
from this top notch New Jersey ensemble.
---
Graham Clarke
Tami Neilson
was part of the Canadian band The Neilson Family,
who toured across Canada for years opening for
numerous country music bands. She is best known for
her 2014 album, Dynamite!, which was
considered by many music critics to be one of the
best country albums of that year. She began
recording her follow-up, Don’t Be Afraid
(Neilson Records), but stopped when her father, Ron
Neilson, unexpectedly passed away in February of
2015. Picking up the pieces after the grieving
process, Neilson was able to finish the project,
which is an incredibly personal and heartfelt blend
of soul, blues, and country music.
Neilson’s vocals are
just amazing in their versatility and range. She’s
as comfortable singing country tracks like “Only
Tears,” the smoldering “If Love Were Enough,”
“Lonely” (an awesome duet with Marlon Williams), and
“Heavy Heart,” as she is tackling the swinging blues
of “So Far Away,” or the deep soulful gospel of
“Bury My Body,” the old time rocker “Laugh Laugh
Laugh,” the Latin-flavored “Loco Mama,” or “Holy
Moses,” the rockabilly rave-up and first single.
The tender title
track opens the disc. It was the last song written
by her father, while he was in the hospital, and
Neilson’s delivery is somber yet still powerful ,
probably the best performance on an album loaded
with great singing. “The First Man” is Neilson and
her brother Jay’s moving tribute to their father,
and if it doesn’t put a lump in your throat or tears
to your eyes, then you have no heart whatsoever. A
short demo of Neilson’s dad singing part of the
title track from his hospital bed closes the disc
out.
I nearly forgot to
mention the backing musicians, who add so much to
this already great album. Delaney Davidson produces
and plays guitars on the disc and he’s joined by Joe
McCallum (drums), Ben Woolley (bass), Dave Khan
(guitars/strings), and Red McKelvie on pedal steel
guitar.
Don’t Be Afraid
may be classified as a country album, but it’s so
much more than that. The blues permeates through
every song and this rich, nearly perfect album will
cross genres to appeal to any fan of soul, blues, or
roots music and deserves to be heard.
---
Graham Clarke
Gina Sicilia
has been wowing audiences since her auspicious 2007
debut release, Allow Me To Confess. A
supremely gifted vocalist, Sicilia is every bit as
formidable as a songwriter. Both of those qualities
are readily available on her sixth and latest
release, the EP Sunset Avenue (BlueElan
Records). Although brief in duration (around 17
minutes), Sicilia packs quite a punch on the disc’s
five tracks (four originals, plus one inspired cover
of the Exciters’ 60’s smash “Tell Him”).
Sicilia’s originals
include “Abandoned,” which can best be described as
a soulful country blues. Sicilia’s tortured vocals
are very powerful here. “Never Gonna End”
passionately confers the current divided state of
affairs on the world stage, and effectively conveys
her concerns without being preachy. ”I Cried” and
the smashing closer, “They Never Pay Me,” both show
why she’s regarded as one of the finest vocalists
currently practicing in the blues field.
Lending superlative
support are a great set of backing musicians,
including producer/guitarist Glenn Barratt,
keyboardists Walter Runge and Joel Bryant, guitarist
Ron Jennings, bassist Ken Pendergast, drummer Scott
Key, fiddler Gary Oleyar, and backing vocalist
Charlene Holloway.
Gina Sicilia
continues to amaze and impress with her extensive
talents as a singer and songwriter. Sunset Avenue
will leave her fans and any new listeners hungry for
more.
---
Graham Clarke
In 2008, Thomas Forst
was a Regional VP for Cox Communication Group, at
the peak of his executive career in TV advertising.
He and his wife had just finished paying the last
college tuition bill of their youngest child. At
that point, he quit his regular job to pursue a full
time music career. Now dubbed Tom “The Suit”
Forst (for his habit of wearing a suit on
stage), the guitarist has played hundreds of shows
and recorded a couple of albums, one with the NYC
blues trio Suit Ty Thirrsty and one with the Jason
Gissner Band.
Now Forst is
releasing his solo debut, On Fire (Factory
Underground Records), which consists of 11 tracks,
eight written by Forst or co-written with his late
friend Gary Youell. Their tunes cover familiar blues
topics, such as the cautionary tale, “The Wolf’s At
The Door,” which opens the disc, and “Play Like The
King” which decries those muscle-headed guitarist
who are all speed and flash, but with no soul.
“Going Home” is a sharp country blues, “She Was
Right” is a tight and funky blues rocker, and “Still
On The Run” is a potent shuffle.
Forst takes a clever
lyrical approach on some of his originals, such as
the wry “Unfaithfully Yours” and the soulful
“Consolation Man,” about a substitute lover who’s
only a phone call away, and Youell penned “Women of
the World,” describing the increasing role of women
in the affairs of the world. Forst also offers up
three choice covers --- a scorching reading of Joe
Walsh’s “Walk Away,” a hard rocking take on the
Howlin’ Wolf standard, “Killing Floor,” and a jazzy
reworking of the Marvin Gaye classic “I Heard It
Through The Grapevine.”
Forst’s guitar work
is impressive and he’s a strong and capable vocalist
in the variety of styles presented here. He receives
excellent support from Paul Nelson (slide guitar on
“Still On The Run”), Grace Kelly (sax), Mike DiMeo
(keys), Chris Redden (percussion), Jeff Ganz (bass),
Jessica Klee (guitar on “Women of the World”), and
backing vocals from Hollis Long, Tiffany and Tiffany
T’zelle.
On Fire is a
superb showcase for Tom “The Suit” Forst’s
considerable skills as a guitarist, vocalist, and
songwriter, and should definitely satisfy blues rock
fans. Stay tuned for more good things to come from
this talented artist.
---
Graham Clarke
The Blind Lemon
Peel All-Stars are an interesting blues ensemble
based in L.A. In addition to having one of the
coolest blues band names ever, this assembly of
musical talent really kicks butt in a variety of
ways. They can get low down and funky, they can get
low down and dirty, and they can just get low down
playing urban or country blues. The band’s latest
project, Don’t Tear My Clothes, is a set of
the most original, unique, even quirky blues that
you’ve ever heard or danced to.
Fronted by
charismatic lead vocalist Blind Lemon Peel (a.k.a.
David Hale), the band really cooks on this 10-song
set of mostly originals, most written with tongue
firmly set in cheek. The midtempo R&B opener “Wear
What I Please” has a touch of New Orleans thanks to
a sweet piano break, while a sharp cover of “My
Dog,” familiar to Elvin Bishop fans, is pure fun.
“No Time Off (For Good Behavior)” is a slow blues
about that lover that just about every man wants
until they actually get her, and “I’m So Horny (The
Crack of Dawn Ain’t Safe)” may be an old line, but
it’s an irresistible country-styled rocker in the
hands of these guys.
The title track is a
standout slow burner with excellent guitar work from
Steve Burgh, while “Shake Your Love Thing” is a
greasy, funky shuffle that will get listeners out of
their chairs. “Can’t Get Up (Offa That Much Love)”
would have been a comfortable fit on the ’70s R&B
charts with the cushy keyboards from Diamond and the
sweet backing vocals. The humorous swinging blues
“Marry My Money Again” leads into the nine-minute
Delta-flavored slide guitar fest “Boogie Man of
Love,” with some nice interplay between Hale, Burgh,
harmonica player Mark Granville.
The closer is a
horn-driven (courtesy of the Uptown Horns) R&B
middle finger to any detractors, “!!!! Everybody,”
which ends things on an entertaining note. It’s easy
to get caught up in the sometimes offbeat and
idiosyncratic of the songs here, but the Blind Lemon
Peel All-Stars most definitely know their way around
the blues. Don’t Tear My Clothes is an
amusing and enjoyable set of blues that is
guaranteed to please.
---
Graham Clarke
Earlier this year,
singer/guitarist Peach Reasoner traveled to Denmark
to perform with her band at one of her favorite
venues, the Café Bartof. Someone had the inspired
idea to record the performance for a live album, so
the result is Peach & the Almost Blues Band’s
A Night in Copenhagen (Magic Music). Joined
by Ken Stange (Joe Cocker, Roger Miller, Jose
Feliciano), who plays keyboards and harmonica, the
band played a warm and intimate set that consists of
one original tune by Reasoner and seven far-ranging
covers.
Reasoner is a
talented vocalist and a formidable guitarist, and
her band (Michael Engman Rønnow – guitar/backing
vocals, Helge Solberg – bass/backing vocals, Niclas
Campagnol – drums) provides excellent support. The
eight-song set includes a cozy reading of Bob
Dylan’s “Tonight I’ll Be Stayin’ Here With You,” a
smooth “Never Make Your Move Too Soon” (associated
with B.B. King), the blues standard “Little By
Little,” Harvey Scales’ 60’s R&B hit “Love-Itis,”
Jodi Siegel and Danny Timms’ “Come Up And See Me
Sometime,” and a spirited take on Frankie Miller’s
“Ain’t Got No Money.” The lone original, written by
Peach, is the ballad “Tell Me You Love Me,” which
shows her to be a fine composer.
A Night in
Copenhagen is a superb release which captures
Peach & the Almost Blues Band in peak form in a
comfortable setting in front of an obviously
appreciative crowd. Ms. Reasoner is a compelling
vocalist and guitarist and hopefully, we will hear
more from her soon.
---
Graham Clarke
Ever
heard of Joey Gilmore? I'm sure that some of you are
shaking your heads, because the truth is that this
cat deserves to be better known. The latest from
The Joey Gilmore Band, Respect The Blues
(Mosher St. Records), is a prime example of the
man's high quality southern soulful blues. Gilmore's
guitar work alone is enough to put him on the map,
but his rich, gravelly vocals also suit his material
well. In addition, he brings along for the ride a
couple of guest vocalists --- Edlene Hart, Domino
Johnson --- to make this an album worth
finding.
Opening the disc is a
solid mid-tempo blues, "Man Of My Word," with Sonny
Boy Williams' organ accompaniment laying down a
foundation for Gilmore. This one gets stronger at
the finish line, building up to a bluesy crescendo
in the last 30 seconds. It's a strong segue into the
hot guitar solo launching "Can't Kill Nothin'," an
up-tempo blues shuffle written by William Bell and
given a solid soulful feel by the horn work of Yoel
Hyman.
Rockin' Jake guests
on harmonica, nicely accenting Gilmore's expressive
vocals on "Brownskin Woman." That leads into one of
my favorite cuts on the album, a Lou Pride cover, "Livin'
A Lie," with Johnson taking over with his smooth,
silky voice. Johnson also gets to show off his vocal
range on the slow blues "This Time I'm Gone For
Good."
Ms. Hart is featured
on two numbers, the first being the Aretha Franklin
classic, "Chain of Fools," which also wraps in
portions of the soul classic "See Saw." Hart and
Gilmore later team up with call-and-response vocals
on the closing number, a cover of "Night Time Is The
Right Time" --- the best version I've heard since
the late Nappy Brown was doing it as part of his
live shows.
Don't let Joey
Gilmore be a secret any longer. Respect The Blues
is one worth finding, as are the other half dozen or
so releases available from this Florida-based dude.
---
Bill Mitchell
Here come those Wolf
Records guys again, attempting to release every song
possible from every legendary blues artist from the
past. This time they're focused on the iconic
singer/guitarist Leadbelly, with Good
Morning Blues, featuring what they say are "his
best 24 songs," covering the period from 1935-1944.
The back album cover also mentions "improved sound
quality," and while some of the songs still sound a
bit scratchy, the sound quality is better than on
many other recordings from this period.
If you're at all
familiar with Leadbelly, then you'll already know
many of the classic songs here, all of which are
part of American folklore. Included are "Midnight
Special," "Rock Island Line," "Easy Rider," "On a
Monday," "The Bourgeois Blues," and, of course,
"(Good Night) Irene."
Albums like this are
essential if you are trying to keep a complete blues
library. It's not something you're going to throw on
for your next dinner party, but you'll want to have
it around when you occasionally get the urge to hear
one of the classics of the genre.
---
Bill Mitchell
