Done With the Devil reviewed by Mark Thompson

Done With the Devil
Jason Ricci & New Blood
Eclecto Groove Records
www.jasonricci.com
www.eclectogroove.com
12 tracks/61:03

Through their many appearances over the years at Big Cities Lounge, Jason Ricci and New Blood have developed quite a local following. It is always fun to count the number of harmonica players in the audience at one of their shows. But Jason is not the whole show, a point he firmly emphasizes in the liner notes on the band’s latest release. Last year Shawn Starski was named one of “The Top Ten Hottest New Guitar Players” by Guitar Player magazine. Todd “Buck Weed” Edmunds is a monster bass player, equally at home playing James Brown funk or big band jazz. Drummer Ed Michaels is the most recent addition to New Blood. His skill as the timekeeper provides a solid foundation for the band’s improvisational forays.

Ricci has always been an eclectic musician. He has solid credentials as a bluesman, having played with the likes of Big Bad Smitty and R.L. Burnside in juke joints throughout the Mississippi delta. But his musical tastes go way beyond the simple 12-bar blues format. Check out the supercharged cover of The Misfits punk classic “I Turned Into a Martian”. Ricci shouts and howls through the lyrics as Starski fires off a taut guitar solo over Michaels powerful rhythm. Then Ricci unleashes one of his dazzling harmonica runs, playing complex lines at a pace faster than the mind can comprehend. The band tackles the jazz classic “Afro Blue”, with Ricci taking the opening solo at a breakneck pace, using a simple diatonic harmonica to create an intricate solo full of technical brilliance. After Starski and Edmunds turn in solid solos, Ricci finishes the track with more outstanding blowing, including a quote from “My Favorite Things”. Producer Phillip Wolfe fills in the arrangement on Hammond organ. The band also stretches out on the Edmunds instrumental, “Ptryptophan Pterodactyl”, with Wolfe on the Fender Rhodes keyboard.

The disc also features plenty of blues material. Willie Dixon’s “As Long As I Have You” is propelled by Michaels big beat . Ricci hoarse vocal contrasts with the clean guitar lines Starski contributes. Michaels handles the vocal on his original , “Keep the Wolf From My Door”. The track’s menacing tone comes from Starski’s outstanding guitar work and a booming bass line from Edmunds on the sousaphone. The band goes acoustic on “How It Came to Be”, with Starski singing his composition and playing the dobro. The title track is a high-energy rockin’ blues piece with more stellar harp playing from Jason. The band plays tribute to a friend lost to cancer on “Holler For Craig Lawler”.

The soulful “Sweet Loving” has a strong vocal performance from Ricci and some sparkling melodic guitar playing from Starski with another solid contribution from Wolfe on organ. Jason is even better on the autobiographical “Broken Toy”, his impassioned vocal and harp playing effectively conveying the dark emotional content of the track

After playing hundreds of gigs for each of the last few years, Ricci and his band mates have developed into a musical powerhouse. They have the talent and skills to head in any direction that their musical muse takes them. Producer Wolfe has done his job, keeping the band focused and reining in some of the excess of prior projects. The end result is the strongest release yet for Jason and New Blood. This one should please their many fans and garner them some attention from discerning listeners around the world.

My Walking Stick reviewed by Mark Thompson

My Walking Stick
Jim Byrnes
Black hen Music
www.blackhenmusic.com
13 tracks/54:36

Jim Byrnes may not be a familiar name to most people but fans of the old television shows Wiseguy and The Highlander will certainly recognize this actor who also has had a lengthy recording career. Originally from St. Louis, Byrnes has been living in Toronto for decades and has been won numerous Canadian blues music awards. His new release features a variety of styles of music that explore the roots of American music.

Byrnes handles all of the lead vocals and adds guitar to several tracks. He receives excellent support from Steve Dawson on a variety of string instruments, Keith Love on double bass, Stephen Hodges on drums and Chris Gestrin on organ. Vocal support comes from the gospel trio, The Sojourners (Marcus Mosely, Will Sanders, Ron Small), on nine cuts.

The eclectic program includes the title track, an Irving Berlin composition with a swing jazz feel accented by the violin work of Jesse Zubot, and a joyful remake of “Lookin’ for a Love” with Byrnes on guitar. He tackles a modern-day classic, “Ophelia”, from the pen of Robbie Robertson. This song has appeared on the playlist for numerous bands lately. Byrne’s voice is tender one moment, then adopts a gritty tone when the tempo picks up speed. It’s generally not a good idea to recreate a classic performance of a tune, but Byrnes is up to the task on “I’ll Drown in my Own Tears”. The arrangement sticks close to Ray Charles’ original take but Byrnes interpretation showcases his impressive vocal skills.

“Three Shots” tells the story of a card game gone bad, a brooding tale of cheating and death. Byrnes lays down some tough slide guitar licks on his original song “Ol’ Rattler”, with Gestrin’s organ driving the arrangement. Another standard, “Walk on Boy”, sports the sound of a hammer driving steel while Dawson contributes an impressive slide guitar work. Two gospel tracks, “What Are They Doing in Heaven Today” and “I Want My Crown”, give the Sojourners the chance to shine in support of Byrnes, who impresses again with range and versatility of his vocals.

Dawson handled the role of producer for this release. His arrangements create a rich musical landscape for the vocal parts. The intricate mixture has instruments moving to the forefront, making a statement and then drawing back to be replaced different instrument. Byrnes ties it all together with his compelling vocal performances. The disc has a slower pace and refrains from lengthy solos. It is a recording that should garner Jim Byrnes some well-deserved recognition for his musical talents.

Leap of Faith reviewed by Mark Thompson

Leap of Faith
Seth Walker
Hyena Records
www.sethwalker.com
12 tracks/44:25

While his name might not be familiar to most of you, the latest from Seth Walker is his fourth release in the last twelve years. Walker spent the last decade honing his craft in the vast musical community of Austin, Texas. He possesses a smooth-as-silk voice with good range and also plays guitar. He is backed by a solid group that includes award-winning Canadian guitarist Colin Linden and Kevin McKendree on keyboards. Several tracks feature a string section with all the parts played and arranged by Chris Carmichael. Walker and Nicholson co-wrote eight of the tracks and Walker penned “Lay Down (River of Faith)”.

The opening track, “Can’t Come With You,” has a jaunty rhythm and a soulful vocal from Walker. Linden’s slide guitar sparks the arrangement. “Rewind” sounds like a lost James Hunter track. Walker can’t quite match the supple nature of Hunter’s voice but the cut is still a gorgeous ballad with string accompaniment.

The title track was on a release by Delbert McClinton back in 1997. Walker handles the up-tempo groove with ease but his voice lacks the gritty edge that McClinton used effectively on his version. Linden contributes another engaging guitar solo. The pace slows down on “I Got a Song”, giving Walker the chance to be a crooner ala Sinatra. Nicholson’s lush arrangement never overwhelms Walker’s voice while establishing the late-night feel that is the essence of the track. Percy Mayfield’s “Memory Pain” is a short piece pushed by a horn section and McKendree’s piano.

“Dig a Little Deeper” sports another soulful vocal from Walker over McKendree’s swirling chords from the Hammond B-3 organ. The pace slows down on “Lay Down (River of Faith)” and the band switches to acoustic instruments but Walkers passionate singing makes this piece one of the disc’s highlights. Nick Lowe’s “Lately I’ve Let Things Slide” gets transformed into a country ballad .

Walker breaks out the boogie beat on “I Don’t Dance”, which should become a theme song for men all over the world ! Seth proves that he has the vocal chops to handle the deeper blues material. And when the band cuts loose on the rocking “Something Fast,” Walker’s vocal rides the beat but avoids the temptation to push too hard in response to the band’s relentless pace. “In the Dark” sports a Bo Diddley beat and some wicked guitar licks from Linden. The disc ends with another ballad, “Falling Out of Love”. Walker’s phrasing expertly captures the inherent longing in the lyrics.

Walker is mining the same musical territory as other singers like J.J. Grey and Eric Lindell - the place where blues, soul, rock and country get so entwined that the resulting mix can’t be classified but it sure sounds cool. His voice may not be as distinctive as those two but this release provides plenty of proof that Walker may be the best singer of the bunch. Nicholson’s production keeps the instrumental solos to a minimum, placing the focus squarely on Walker, whose easy-going vocal style makes every track a delight.

Troubled Child reviewed by Mark Thompson

Troubled Child
Charles Wilson
Severn Records
www.charleswilsonlive.
com
www.severnrecords.com
10 tracks/41:29

Charles Wilson career started in Chicago at the age of seven. Encouraged by his uncle, Little Milton Campbell, Wilson cut his first record in 1964 and he remains a star on the southern soul circuit. To date his strongest release was If Heartaches Were Nickels on Delmark Records, which led people to peg him as blues singer. While Wilson has cut some strong blues records, he has always been a talented soul singer in search of the right opportunity to display his abilities.

Enter Severn Records, who enlisted David Earl and bassist Steve Gomes to spearhead this project. They selected a stellar collection of tunes from some of the best songwriters in the soul genre - Don Robey, Denise LaSalle, Sam Dees, George Jackson and Clay Hammond. Gomes contributed two gems and co-wrote a third cut with Ronnie Earl Horvath. Next Earl & Gomes surrounded Wilson with a full band, complete with horns, a string section and backing vocals. The horn and string arrangements were entrusted to the veteran Willie Henderson Jr., who arranged and produced hits like Tyrone Davis’ “Turn Back the Hands of Time”. The band includes Mike Welch on guitar, Benjie Porecki on organ and electric piano plus Robb Stupka on drums.

Full-blown productions can often bury a singer under the weight of so many instruments and voices. In this case, all the parts fit together to create the perfect vehicle to showcase Wilson ‘s marvelous voice. Listen to his gentle touch on the opening lines to “The Good Side of My Girl”. By the end of the track, his voice soars over Porecki’s organ swirls as Charles testifies about the love of his life. The ballad “Someone Must of Taught You” finds Wilson pleading for trust from a lover who has been burned before. Wilson’s performance on “Somebody’s Tears” evokes the memory of legendary soul singer, O.V. Wright. The title track is a pointed social commentary on life in the inner city. Wilson expertly captures the despair and pain expressed in the lyrics.
Another highlight is the cover of Bob Marley’s “Is This Love”. All hints of reggae are gone, replaced by a percolating rhythm track that is once again driven by Porecki on organ. The instrumental backing on this track harkens back to the glory days of the Hi Rhythm section. Wilson’s passionate vocal commands your attention in the midst of the horns and backing singers. On the opening track, “Where My Baby Went”, Wilson makes you feel the pain of a good man done wrong by a Cadillac-chasing woman. The hard-hitting groove of “Put Something Into It” serves as a reminder that Wilson is more than just a sweet soul man.

Given the full support of Severn Records, Charles Wilson finally delivers the thoroughly outstanding performance that many have predicted for him, given the opportunity. This is deep soul , presented with class, sophistication and expert musicianship. Wilson disdains attention-grabbing vocal tricks and concentrates on singing from his heart and soul. This recording is a marvelous achievement that may prove to be the crown jewel in Wilson’s career.

From the Root reviewed by Steve Jones

From the Root
Zac Harmon
Northern Blues Music, Inc.
www.zacharmon.com
www.northernblues.com
14 tracks/

Zac Harmon’s discography is quite impressive. As an LA studio musician for many years, he recorded with many fine bands and musicians. He was finally “discovered” in 2004 when he was sponsored by the Southern California Blues Society and won the International Blues Challenge as “Best Unsigned Band.” Two years later he won the Blues Music Award for “Best New Artist.” He originally hails from Jackson, Mississippi, and his bop claims he is disciple of Jackson’s Farish Street blues sound. His musical roots are strong and his talent is exceptional!
“From the Root” is his fourth CD (his first with Northern Blues after a French release and two others available on CD Baby) and showcases Harmon’s songwriting and performing abilities. It is a beautiful blend of blues, soul, and a little reggae. It captured my interest immediately; I was tapping my foot and groovin’ to the beat on the CD’s first track.

About half of the songs are straight up blues. “Hattie Mae,” “Keep the Blues Alive” and “Scratch” are great examples of how this artist excels in the Delta tradition. His blues are awesome and the backing sounds from the other band members are equally good. Jimmy Z’s harp work is exceptional throughout.
The other half of the album focused predominantly on Zac’s funky and soulful side. The opening track “Don’t Give Me Another Reason” smartly mixes soul with some blues. Sueann Carwell’s vocals with Harmon on “The Price of Lovin’ You” are sultry and seductive. “Back Bitin’ Back Stabbers” and then Smile on Your Face” and “Want Ads” are at ends of the soul spectrum, from a funked up dance tune to two that are in the style of older Al Green stuff.

It’s a great CD and Harmon shows his talents and versatility. To note, Zac will be performing locally at the Paramount Blues Festival in Grafton, WI, on Saturday, August 22nd, 2009 and I look forward to the show! He’s a great musician and performer, and his new CD is worth checking out!

Slide to Freedom 2: Make a Better World reviewed by Steve Jones

Slide to Freedom 2: Make a Better World
Doug Cox & Salil Bhatt
Northern Blues Music, Inc.
www.northernblues.com
8 tracks/50 minutes

This is quite the striking album. Doug Cox plays Resophonic Lap-styled slide guitar while Salil Bhatt plays slide on his lap with the Satvik Veena. A sequel to their2007 endeavor, Slide to Freedom 2 continues the marriage of the blues with traditional classical Indian music and takes it even one step further. New Orleans vocalist John Boutte adds his soulful warmth and charm with vibrant vocals to contrast the unique sliding sounds of lap played stringed instruments.

Before I get into the music, I feel compelled to talk about the Indian “guitar.” Called a ‘Veena’, it is a traditional Indian stringed instrument which originated back in the 1600’s. A resonator chamber (carved out of some sort of hardwood) attached to a long neck with many strings that play both melody and resonant harmonies give it a familiar sound. Vishwa Mohan Bhatt, Salil’s father, developed the Mohan Veena, a hybrid slide guitar, about 30 years ago. It has 19 strings under very high tension and is played lap-style. It has a carved spruced top, mahogany back and sides, a mahogany neck, and a flat, fretless, rosewood fingerboard complete the construction. His son Salil has created a new variant on the Veena and has named it the Satvik Veena. This is made of a 100-year-old oak wood block; its top made of pinewood to let the sound filter and resonate and it has two f - shaped sound holes to provide the easy emergence of sound. It looks sort of like a confused hollow bodied guitar on some big time steroids.

When I first put the CD in and went through it I said, “Wow!” I had not heard the original CD, so I guess I was not prepared. The sound is lilting and mysterious, yet somewhat familiar. Cox and Bhatt take their guitars seriously and make some beautiful sounds blend into a web of lap slide perfection. I try to stay away from blow by blow reviews, but in this case I make an exception and cover the CD from stem to stern.

The opener, “Make a Better World,” is a song about tolerance and living together. The blend of American and Indian instruments brings home the ideas spoken to in the lyrics and vocals. It is a beautiful song. “A Letter Home” follows, an interesting instrumental piece that winds and slides through hills and valleys for nearly 10 minutes yet it does not drag. Two songs later the guitar players go off on another long instrumental venture called “Blessings,” another compelling blend of American and Indian music with a bit more tempo. Sandwiched between them is “I Scare Myself,” a hauntingly beautiful love song.

Boutte impresses with his vocals; his efforts along with the two slide-men make even the traditional hymn “Amazing Grace” sound fresh and new. Another longer instrumental follows this, “The Moods of Madhuvanti,” and it is classical Indian music done with a Resophonic harmony. They also cover the Beatles’ “For You Blue;” it is interesting to contrast Lennon’s fuzzy lap slide work in the original song with Cox and Bhatt’s slides and Harrison’s vocals with Boutte’s. The Indian guitar sounds in this song feel natural; it is as if the Beatles’ intended this song to be in their post-Maharishi visit music style.

“Freedom Raga” closes the set. A ‘raga’ is a traditional Hindu music style where the tune uses a base note with five or more notes form the basic melody. Boutte’s vocals “I got freedom” and “walk with me” rhythmically repeated and the guitar work make this another compelling tune.

I really enjoyed this album. The more I played it the more the nuances of harmony and tone came out and made the further listening even more fun. The backing sound of Dinah D on bass and Ramkumar Mishra on tabla and percussion make it all the more inviting and driving. And Salil’s dad makes a guest appearance on the Beatles’ cover on his Mohan Veena, making the guitar harmonies even more divergent and special. It is a great album. As a blues fan, if you have even the faintest spark of interest in Indian music, this album is a must to buy!

Living in the Light reviewed by Steve Jones

Living in the Light
Ronnie Earl and the Broadcasters
Stony Plain Recording Company
www.stonyplainrecords.
com
12 tracks/78:13

Ronnie Earl’s approach to both his life and music are thoughtful and reflective. The original tunes and the choices for covers allow you to feel the compassion of this man in his work. A great set of musicians joined him for this album and he gets them to perform in the same manner; they really deliver the goods. This is an exceptional CD with a dozen solid and soulful tracks.

Kim Wilson provides vocals and harmonica on three cuts. Robert Jr Lockwood’s “Take A Little Walk With Me” is downright full of the blues. In “Child of the Survivor” Earl’s lyrics allow Wilson to delve respectfully into the Holocaust. Earl (the child of two survivor parents) asks in his song, “Have you heard the blues, do you know the blues, do you know what it’s like to hear the cry of the Jews?”, and Wilson’s demonstrative vocals impress while his harp punctuates this touching track. “Donna Lee” is another original song in the traditional Delta blues style with Earl’s masterfully picking at his guitar and Wilson showing great restraint on both the lyrics and harp in this slow and seductive blues.

Bob Dylan’s “What Can I Do For You” features Dave Keller backed by the 10-person choir from Earl’s First Baptist Church of Littleton asking both vocally and with their music what they can do for the Lord. Keller’s great vocals are featured on another number, the powerful opening song penned by Earl “Love Love Love.”

“S.O.S.” and “Recovery Blues” are examples of Earl’s seductive charms. These two songs are slow but searing guitar instrumentals featuring Earl at his best with Dave Lumina’s Hammond B3 organ harmonizing and testifying nicely along with the guitar. The CD is full of thoughtfulness and restraint, showing the human is greater than the instrument and that music does not have to be excessive to be impressive. Earl’s guitar and the supporting work of Wilson, Keller, Lumina, Jim Mouradian on bass, Lorne Entress on drums, David Maxwell on piano for a couple of tracks, Rod Carey on bass for one cut and Jason James on second guitar on another give us a clean and beautiful set of songs to kickoff the summer with! If you love the blues delivered by musicians in touch with both their souls and their instruments, you cannot pass this one up!