Crossroads Blues Society Music and Video Reviews

The Best Of Kay Kay and The Rays reviewed by Harmonica Joe Poluyanskis

2012-01-09T10:51:00.000-08:00

The Best Of Kay Kay and The Rays

Catfood Records

www.catfoodrecords.com

15 tracks/64:13

“The Best If Kay Kay and The Rays”, released by Catfood Records, 15 tracks from three CD’s they previously released. These recordings, “Kay and the Rays featuring Abner Burnett”, “Texas Justice” and “Big Bad Girl” contain a swell mix of Texas funk, soul and blues. The Rays were formed in 1997 by Abner Burnett and Bob Threnchard. Soon they discovered Kay Kay Greenwade, a big bad girl with a powerful vocal presence, and the band name was changed to Kay Kay and The Rays. The first recording was more or less a demo and the other two were released after Johnny Rawls joined the group.

Kay Kay and The Rays grew to be a band with eight musicians which created a powerful full sound. When you add the big vocals of Kay Kay Greenwade to the mix you have one awesome force of music. They played their music in a big club in Texas and toured California, Florida and then in Chicago. “Texas Justice”, produced by Johnny Rawls, got the group a lot of attention and respect. Then “Big Bad Girl”, produced by Grammy winner Jim Cannis, let us know that Kay Kay was the big bad girl. This lady has the pipes to belt out a song but can also bring it down and make one pay attention. This CD got very good reviews for the whole band. When things were really going good for this group, family tragedies caused the band to break up. Soon after, Kay suffered a stroke and other medical problems. It is unlikely that Kay Kay and The Rays will ever reunite. The Rays still backs up and records with Johnny Rawls.

This CD contains all of the talent that they put into releasing their three CD’s. The Ray’s have a large sound that showcases the guitars, keyboards and horn players as well as a fine bass and drum line. Add Kay Kay’s huge vocal input and they create a real force in the music world. This recording has too many musicians to give them all due credit here. You can go to www.catfoodmusic for more info.

The lyrics from some of the tunes hit hard upon social problems and injustices in the World and Texas. Some of the lyrics on “Lone Star Justice”, Enron Field” and “Texas Justice” are so hard hitting that the tunes were banned from airplay in Texas. I guess that this is part of the blues also. One should take a hard listen to these tunes written by Bob Trenchard, the bassist and leader of the band.”Hold On To What you Got”, a Johnny Rawls tune, is a standout track on the CD. This song features a great duet from Johnny Rawls and Kay Kay that really show off both of their vocal talent. This track brings out strong emotions and deep feelings from both artists. Rawl’s guitar skill also is high -lighted here. Another tune , Stevie Ray Vaughn’s “Crossfire” lets Kay show that she can put her own take on a song and make it work.

“The Best Of Kay Kay and The Rays” is funky, soulful and bluesy making it just the best of Kay Kay and The Rays.

Reviewed by Harmonica Joe Poluyanskis

Blue Skies Calling reviewed by Mark Thompson

2012-01-09T08:04:00.000-08:00

Blue Skies Calling

Boy Wells

Marcel Marsupial Records

www.boywells.com

12 tracks/44:24

Mark Schultz is a veteran of the Washington D.C. music scene, spending a lot of time playing southern rock including membership in Southern Legend, an Allman Brothers tribute band. Going by the stage name Boy Wells, Schultz was also a friend and student of the legendary guitarist Danny Gatton. Wells moved to Austin, TX in 2006 after a family tragedy, where he spent several years dealing with a debilitating disease. Finally healthy, Wells uses his new disc to showcase his skill as a guitarist and songwriter.

“Mr. Coluzzi” is a funky instrumental that opens the disc, Featuring a strong bass line from John Prevetti who once was a member of Gatton's band. Bill Watson blows some hot sax and Brian Simms helps keep the dance groove going with robust work on the organ. Wells shows he is no slouch on guitar on “World Weary & Blue”, his razor-sharp slide playing and robust vocal working well with Jimi Lee's strong harp work.

From there, Wells offers a program as eclectic as what Gatton was known for. “Bring it Back” is a rocker with Allmanesque- guitar sounds while the title cut combines rock with country influences, powered by the ethereal sounds of Rickie Simpkin's violin. Wells turns in a fervent vocal on “Love in Vain” before digging deeper for “Devils Backbone Blues”, done on acoustic slide guitar. The instrumentals “Tin Water” and “Traveller” are hybrid tracks that expertly mixes rock, country jazz and bluegrass elements with Wells laying done a strong solo acoustic solo on the latter track. Simpkins and Becky Taylor on banjo are key contributors on both songs. “Mon Angel” is a gentle love ballad with a convincing vocal from Wells.

A truly special bonus included with this release is a CD-Rom portion with an actual lesson that Wells had in the late 70's at the Gatton house. You get to hear the two musicians interacting, discussing various chords and techniques. The real thrill is hearing Gatton cut loose in comfortable surroundings, showing once again why he achieved legendary status for his abilities and skill on guitar.

While this release offers only a sampling of blues, there is plenty of good music to enjoy. Wells has crafted a diverse batch of original material that refuses to fit into any particular genre. With the help of his expert supporting cast, he makes the music come alive. Go to the website and see for yourself.

- reviewed by Mark Thompson

Tempered in Fire reviewed by Mark Thompson

2012-01-09T07:59:00.000-08:00

Tempered in Fire

Lisa Mills

Self-released

www.lisamills.com

10 tracks/49:33

Born in Mississippi and now residing in Alabama, Lisa Mills had to travel to the U.K. and Europe to jump-start her career. She has a powerful, sultry voice that drips southern soul, leading some writers to liken her as a female version of Otis Redding. Mills does her best to validate that comparison on her cover of Redding's “These Arms of Mine”. Her immaculate phrasing and pleading tone are guaranteed to grab at your heartstrings. Equally fine is her version of the Wet Willie hit, “Keep on Smiling”. The rhythm section of Ian Jennings on double bass and Eric Hughes on drums set an appropriate groove while Nick Payne on saxes and Matt Winch on trumpet add an extra boost of energy to the track.

Mills explores her country roots on “Blue Guitars From Texas”, a smokey ballad that features the massive tones from Andy Fairweather Low, who should be familiar to blues fans as a long-time member of Eric Clapton's band. The tension builds throughout the song until Mills cuts through it at the end with brawny vocalizing that demonstrates why Sam Andrew selected her to be the lead singer for a three year stretch in Big Brother & the Holding Company. The title cut is another masterful performance as Mills uses her impressive vocal range to express a love that has stood the test of time.

“I'll Never Fall in Love Again” is a rockabilly rave-up powered by a driving beat from Hughes and ringing chords from Low's guitar. Mills turns a weaker track, “Why Do I Still Love You?”, into something worthwhile with a closing segment that features more energetic vocalizing. The smoldering emotions revealed on “My Happy Song” are a far cry from those indicated by the title. Mills once again impresses with passionate singing that never goes over the top.

The opening cut, “Tennessee Tears”, is a slower-paced tune about leaving home. “Countryside of Life” is a rocker that takes a while to build up some steam but once Mills cuts loose, it is clear why she was a worthy successor to the Janis Joplin legacy. At one point, she suddenly unleashes a stirring cry that signals the depth of her feelings.

There are plenty of female vocalists out there vying for your attention. Lisa Mills is one of the best that I have heard. Besides her magnificent voice, this release features an impressive batch of songs, strong support from the band and top quality sound. Take the time to check this out !!!

- reviewed by Mark Thompson

Classic Moments in Jubilee Showcase reviewed by Mark Thompson

2012-01-09T07:29:00.000-08:00

Classic Moments in Jubilee Showcase

Independent DVD release

www.jubileeshowcase.com

Every Sunday morning for over twenty years, WLS Channel 7 in Chicago ran a pioneering program dedicated to gospel music called Jubilee Showcase. Hosted and produced by Sid Ordower, the Showcase brought the best gospel singers and groups into the viewers homes. For many African-American families, the show helped them get in the proper state of mind for their real Sunday church service. Some of the greatest names in gospel music appeared on the program, including James Cleveland, Albertina Walker, the Mighty Clouds of Joys and the man who defined Gospel music, the Rev. Thomas A. Dorsey, writer of classic hymns like”Precious Lord, Take My Hand” and “Peace in the Valley”.

This new DVD release scratches the surface of material from the long-running series by presenting the musical performances from four separate programs without any commercial interruptions. The first episode may be in black & white but the music is exceptional, starting with the Staples Singers doing “Wish I Had Answered”. Roebuck “Pops” Staples lays down the rhythm on his reverb-drenched guitar while his children – Mavis, Cleotha and Pervis – sing for God's glory. Mavis takes the lead with her powerful voice, which also gets a workout later on a stirring “Hep Me Jesus”. Pops laid back vocal style is featured on “Gambling Man”. The other famous group on the bill was the Soul Stirrers, who once featured a youthful Sam Cooke on lead vocals. James Phelps does his interpretation of Cooke's style on “Resting Easy” while Billy Arthur impresses on “Looking Back”. The show also features a fixture on the Chicago gospel scene, the Norfleet Brothers, whose close harmony vocalization is spotlighted on “My Lord is Waiting All the Time”.

The second show switches to a color broadcast and provides a glimpse of the joyful noise raised by the New Friendship Inspirational Choir. Inez Andrews shows why she was one of the music's most popular singers throughout her career as she testifies on “Lord, Don't Move the Mountain” and “Toiling”. The Soul Stirrers return with a new line-up, this time featuring the brawny voice of Martin Jaycox on “Resting Easy” and an exquisite lead vocal from Willie Rogers on “Oh, What a Meeting”.

The third program features the pioneering Andrae Crouch and the Disciples. Crouch caused a revolution in gospel by incorporating pop and soul music elements to highlight his positive message. While the presence of horns and strong bass lines had purists ringing their hands in consternation, the groups performances show that Crouch was pushing the evolution of the music in an attempt to reach beyond the faithful to those in need of God's healing power. His songs and performances are inspirational, making it clear that his heart was in the right place.

The final installment focuses on two singers who had ties to James Cleveland, Jessy Dixon and Gene Viale. The Jessy Dixon Singers feature the leader backed by three female vocalists. They open with a rousing “Wait On Jesus”. Viale was a solo performer with an emotive style highlighted on “He's Wonderful”, an approach that undoubtedly served him well in his later career as an ordained minister.

The Salem Travelers were a quartet backed by a band with guitars, bass and drums. Both Robert J. Dixon on “Tell It Like It Is” and Arthur Davis on “Things I Used To Do” deliver commanding lead vocals. Another high point is the rave-up at the end on “I Know What Prayer Can Do” as all of the cast joins in, constantly switching the lead as the song steadily grows in intensity.

The DVD can be ordered directly from the website for $20 plus s&h. Included on menus that give additional information on the main performers, a complete listing of the songs from each show that details who was singing the lead vocal and a brief history of Jubilee Showcase. The only issue that one might have is that there isn't more of this great material included on the release. Hopefully this is the first in a series of discs. Once you get a chance to see this volume, you'll know that there has to be treasure trove of other amazing performances waiting to see the light of day. Don't delay – grab a copy of this one and enjoy the majesty of voices raised in celebration !!!

Reviewed by Mark Thompson

Memphis Mojo reviewed by Steve Jones

2012-01-09T07:26:00.000-08:00

Memphis Mojo

Louisiana Red & Little Victor’s Juke Joint

Ruf Records

www.louisiana-red.com

12 tracks

Red’s going to be eighty years young in a couple of months. He’ll be touring a heavy set of dates in Europe when he turns eighty, and he still sounds and acts fresh as a gnarly old daisy; well, bluesmen and daisies may not go together but hopefully you get the picture.

This is a dirty old, down home sounding album, focusing on straight up, traditional Delta blues. His life has been a blues song. His mother died a week after he was born, his Dad was murdered by Klansmen when he was nine, and his first wife died of cancer just as he was about to be rediscovered n the 1970’s. He spent a lot of time in Europe and was rediscovered in the US again in 1997. He followed up his 2008 blues and Greek bouzouki CD with the award winning You Got to Move in 2010 and this CD last year. He’s as hot as he ever was!

Surrounded by Little Victor, Bob Corritore, David Maxwell, Mookie Brill, and others, Red put out a great set of tunes here. He penned all but one– Blind Lemon Jefferson’s “See That My Grave is Kept Clean”. A haunting hollow electric guitar sound by Red graces this track; that and his authentic vocals make it a winner. Even more impressive is that he’s created 11 new songs and all are pretty damn good. I’ve listened a dozen times and can’t pick out a favorite because they are all intriguing and well-done.

This is a great album. Red’s vocals and guitar and Little Victor’s guitar are so well done and Corritore’s harp is a great accompaniment. I loved this one as will all traditional blues lovers!

Reviewed by Steve Jones

THE Real Deal reviewed by Harmonica Joe Poluyanskis

2012-01-09T07:24:00.000-08:00

THE Real Deal

Sharon Lewis & Texas Fire

Delmark Records

www.delmark.com

13 tracks/60:22

“The Real Deal”, released by Delmark Records, is Sharon Lewis’ debut CD on her own. Previously she was a guest vocalist on Dave Spector’s “Live In Chicago” CD/DVD. On this recording Sharon was a powerful standout addition. Lewis’ upbringing in Texas exposed her to gospel music as a choir member. Another influence to her music knowledge was Tina Turner’s great R&B style. Moving to Chicago put Lewis in touch with the blues scene which in turn resulted in her forming her own band, Texas Fire, in 2005.

The list of tunes on “The Real Deal” includes seven songs written by Sharon Lewis. Her lyrics take us into her world and also touch on social issues of the times. Lewis’ vocals are of the type that we want to hear on a true blues recording. There is the presence of that raw blues feeling tempered by the gospel go to church quality. Lewis has a powerful and raspy sound that adds her flavor to her songs.

Joining Lewis on this recording are the members of her band Texas Fire. On lead guitar is Bruce James doing a swell job on most tracks of the recording. He is a real compliment to Lewis’ vocals. Adding the drum line and backup vocals is the very talented Tony Dale. Melvin Smith stands out on bass while Deitra Farr adds some really fine background vocals. Roosevelt Purifoy is a huge plus with the organ and piano. I must mention that the Chicago Horns also add a lot to this great bands sound.

Guest guitarist Dave Spector, on three tracks, brings his outstanding talent and sound into the mix of this recording. This is very evident on “You Can’t Take My Life” which an outstanding track on the CD. With lyrics such as “I’ve got a lot of living to do, you can’t take my life –I’m going to find a new man – you go back to your wife” tells us that this is really about the blues in our life. I guess we can also say that it is a social statement. Take a good listen to this tune. By adding Roosevelt Purifoy’s piano talent along with Spector’s guitar work this tune makes for some great listening.

“Mojo Kings” is an upbeat song with some racy lyrics about mojo kings. On this track special guest Billy Branch treats us to a taste of his awesome harmonica licks. This tune is a welcomed plus to “The Real Deal”. This recording is a good mix of styles of songs that showcase Sharon Lewis’ vocal as well as lyrical talent. It also lets us see that here band is a very compatible mix for her style. I really did not care for the addition of the tune, “Ain’t No Sunshine”, but this is only my personal opinion.

“The Real Deal”, with Sharon Lewis & Texas Fire is all that and more. It is the real deal. Truly this is one recording that you can kick back and enjoy.

Reviewed by Harmonica Joe Poluyanskis

The Skinny reviewed by Denny Barker

2012-01-09T07:20:00.000-08:00

The Skinny

Ian Siegal & The Youngest Sons

Nugene Records

www.nugenerecords.com

11 Tracks/55:09

Here's the skinny, the lowdown, on British bluesman Ian Siegal's sixth studio album that is somewhat of a departure from the norm. Recorded in North Mississippi, without his regular band, Siegal collaborates with The Youngest Sons who are, literally, the youngest sons of local blues legends, Garry Burnside on bass (son of RL Burnside),Robert Kimbrough on guitar (son of David Kimbrough Jr), Rodd Bland on drums (son of Bobby Blue Bland), and Cody Dickinson producer (son of Jim Dickinson).

The CD opens with the Siegal penned title track "The Skinny", an easy going tune featuring Siegal on slide, guest Alvin Youngblood Hart on second guitar, and The Youngest Sons. The vocal is raw, the lyrics clever, with Siegal on top of his game. Makes me want to dust off the Conrad and fire up the Kustom. Following is Tony Joe White's very cool "Stud Spider", a funky blues tune with some intense vocal, nice wah wah guitar from Siegal, and a firey solo from Robert Kimbrough. If I had any doubts about this CD, they are rapidly disappearing.

Moving on "Hound Dog In The Manger", co-written with British guitarist Sam Hare, is a dark, brooding, sinister tune with more good guitar work from Robert Kimbrough. "Picnic Jam" is a sweet, simple, easy going tune, with some great slide guitar, that has the feel of a lazy, sunny afternoon in the park. Sounds good to me as my outdoor thermometer shows 19 degrees.

Another highlight is "Moonshine Minnie", a nice, funky, groovy tune that is well done with both Siegal and Kimbrough on guitar. Next is Gary Burnside's "Garry's Nite Out", a country blues tune featuring Garry on guitar with Ian adding some great slide. The closer, "Hopper", is a tribute to the easy rider actor Dennis Hopper, featuring Siegal on lead guitar, a nice way to bring it to a close. "The Skinny" is a good album that is raw, intense and at times just plain

fun. Siegal and the Youngest Sons have given a strong performance that is entertaining and enjoyable to listen too. If you like something a little out of the norm, this is it, "The Skinny" by Ian Siegal and The Youngest Sons. Good stuff!

Reviewed by Denny Barker

Kid Man Blues reviewed by Harmonica Joe Poluyanskis

2012-01-09T07:18:00.000-08:00

Kid Man Blues

Bert Deivert

Bert Deivert/Hard Danger Studio

www.deivert.com/blues

12 tracks/45:41

Bert Deivert’s approach to the blues is definitely different than the mainstream blues player’s. He takes the blues somewhere else but remains bluesy. Originally from Boston, Bert has made Sweden his home base for now. This CD, “Kid Man Blues”, was recorded in Sweden, Bangkok, Thailand and Mississippi. Just hearing this fact lets us know that the music is going to have many influences. Deivert’s knowledge of guitar came from Skip James, Son House and Sleepy John Estes to name a few. Adding the mandolin to his repertoire also increase the vast knowledge of the blues that he has attained. Yank Rachell and Carl Martin style of mandolin playing are very evident in Bert’s music.

“Kid Man Blues” is really a treat for us that enjoy hearing the mandolin in blues. As Bert mentions the mandolin is a understated instrument in this genre of music. There does seem to be a resurgence going on with the fine players such as Rich DelGrosso, Billy Flynn and Gerry Hundt. “Kid Man Blues” is a good collection of tunes done by Sleepy John Estes, Son House, Carl Martin and other traditional blues artist. Bert also added “Lulu” that he wrote. Deivert has taken each of these tunes made them his own musically and lyrically. He is present with both his mandolin and guitar on some tracks.

“Kid Man Blues”, the title track, gives us Bert’s mandolin skills on a fine slow tune by Carl Martin. This song also showcases Janne Zander adding his guitar to the mix of things. Listen carefully and you will also catch the fiddle of Steffan Jonsson in the background. This adds a diverse touch to the tune. The lyrics tell of a young man caught up with a older married women which is a real tale of the blues.

Included in the mix of songs are two outstanding instrumental tracks. “Lula” is a straight forward blues tune that has the late great Sam Carr on the drums. Bill Able and Fredrick Karlsson add their guitars to Bert’s mandolin playing making this tune a very pleasurable ride into the blues. “Nong-Harn Blues” features Dulyasit “Pong” Chandravuth on the Republic Resonator guitar. With Deivert’s mandolin chattering away in the background and the guitar playing from “Pong’ this tune picks up an Asian influence to it. This tune still retains a blues base to it while you listen to both musicians. RL Burnside’s “Goin’ Down South” is taken down a whole different path by Deivert. Here he plays both the mandolin and lap steel guitar, adds Janne Zander’s guitar and Nina Perez’s violin. This tune also treats us to Suchet Malhotra with his cajon, a box like drum, in the background. This track took me some plays to get into it but it is worth the trip.

Going into Bert Deivert’s world of blues is an experience that will grow on you. If you are stuck in the genre of pure full blown blues do not overlook a listen to “Kid Man Blues.”The mandolin is an instrument that has a big place in the blues genre. Thirty years of performing and 12 CD’s later has also earned Bert Deivert a place there.

Reviewed by Harmonica Joe Poluyanskis

Leaving Mood reviewed by Mark Thompson

2012-01-09T07:15:00.000-08:00

Leaving Mood

Toronzo Cannon

Delmark Records

www.ToronzoCannon.com

14 tracks/60:19

In today's edition of the Chicago Tribune, one of the featured articles was the last in a series by music writer Howard Reich on Blues music in Chicago, a piece entitled “Is this the twilight of blues music?”.

(http://www.chicagotribune.com/entertainment/music/ct-ent-1228-blues-20111229,0,3640054.column)

Reich identifies a number of serious issues including the continued loss of legendary musicians like Pinetop Perkins, Hubert Sumlin and Willie “Big Eyes” Smith as well as a suffocating lack of exposure in major media outlets even in the city that claims the music as its own. The writer also comments on the difficultly that newer musicians have in gaining a foothold in the blues clubs, even though it makes sense for the clubs to nurture new voices that might catch the ear of a new generation of listeners.

If blues music is dying, you would never know it after you listen to the first major label release by Toronzo Cannon. Schooled in southside clubs like Theresa's Lounge, Cannon has been honing his craft in Chicago clubs for over a decade as a leader and a sideman for artists like Wayne Baker Brooks and Joanna Connor. Now his blistering guitar work, knock-out songs and soul-wrenching vocals make it clear that Cannon has the ability to help keep the blues tradition alive and vital.

Check out “Chico's Song”, Cannon's celebration for the late Chico Banks with a foot-stomping rhythm, sweet guitar licks and Matthew Skoller's superlative harp playing. On the opening cut, “She Loved Me”, Cannon explores the darker side of life with a guitar tone that harks back to Hound Dog Taylor. Special guest Carl Weathersby shares the spotlight with Cannon on “Hard Luck”, both men laying down incendiary guitar solos, with Weathersby breaking a string in the process.

Cannon gets first-class support from Roosevelt Purifoy on keyboards, Larry Williams on bass and Marty Binder on drums. Rhythm guitarist Lawrence Gladney co-wrote seven tunes with Cannon and contributed two originals - “Come On” finds Cannon bemoaning his fate after the end of a relationship and pleading his lover to return home while “Baby Girl” has a funky, strutting beat that underscores Cannon's exuberant performance. Weathersby returns on “Earnestine”, handling the lead guitar parts while Cannon focuses on singing while Purifoy dazzles with a brief solo on the organ.

On the title cut, Cannon slows the pace to describe a man losing control of his life, taking the song to an unexpected conclusion. He avoids making the vocal too strident, which adds to the sense of despair. Another highlight is “Open Letter (To Whom it May Concern)” that finds Cannon using a distorted vocal to comment to on the sometimes cutthroat nature of the Chicago blues scene. The song features an insistent guitar lick and more stellar harp accompaniment from Skoller. Cannon displays his soul influences on “You're a Good Woman” with Purifoy on the Rhodes electric keyboard. Another highlight is the smoldering rendition of Nina Simone's “Do I Move You”, with Cannon's earnest vocal matched by his impeccable guitar work

Delmark Records deserves praise for continuing their tradition of releasing recordings by working Chicago blues musicians. While some fear for the future, Toronzo Cannon uses vibrant material coupled with his unbridled enthusiasm to provide ample evidence that the blues tradition is safe in his hands. His energetic approach is sure to connect with blues lovers all over the world. Expect to see this one on some of the lists for top Blues recordings for the year!

Reviewed by Mark Thompson

At His Best – Live reviewed by Mark Thompson

2012-01-09T07:06:00.000-08:00

At His Best – Live

Sean Costello

Landslide Records

www.landsliderecords.com

17 tracks/71:36

At the time of his tragic death just before his 29th birthday, Sean Costello was touring in support of his new recording. That Delta Groove release, We Can Get Together, confirmed that Costello had finally developed vocal skills equal to his undeniable ability as a guitarist. Coupled with powerful new material, all the pieces were in place for Costello to grab a bigger share of the spotlight. Now all we can do is savor the second compilation from Landslide Records that reminds us of what a loss we suffered three and a half years ago.

The tracks on this disc stretch over a seven year period, documenting Costello's growth as an artist. The earliest cut is from a June, 2000 show at Upfront & Company in Marquette, MI. Costello tears through an energetic version of “San-Ho-Zay”, showing that he was always a compelling guitarist. Costello returns to the same venue ten months later for a spirited rendition of “Reconsider Baby”. Two performances from Buddy Guy's Legends in 2002 expose some of Costello's vocal limitations at the time but his fiery string-bending make “Blue Shadows” and Magic Sam's “All Your Love” worth a listen. When you compare these cuts with “Check It Out” from France late in 2007, one quickly hears the maturation in Costello's singing. His approach is more confident, his voice more flexible and able to generate an emotional response, which you can clearly hear from the audience reaction at the conclusion of the track.

Other highlights include three tunes from what was obviously a killer evening at the Double Door in Charlotte, NC. Costello covers his soul influences on “Can I Change My Mind” before digging deep into Johnny Taylor's “Doing My Own Thing”, his vocal steadily building in intensity until he switches over to guitar for a rousing conclusion. Next is a stirring run-through on the instrumental “The Hucklebuck” with Matt Wauchope on organ sharing solo honors with the leader. An unknown venue in Richmond, VA was the scene of a blistering guitar work-out on “Motor Head Baby” while a 2007 show in Tallahassee, FL produced a dark rendition of “The Battle is Over But the War Goes On”. An uncredited date from Boston is probably from the later part of Costello's career. The sizzling performance of Robert Ward's “Peace of Mind” features Costello's tough vocal over Melvin Zachary's throbbing bass line.

Part of Costello's success was due to the fine musicians who backed him night after night on stage. In addition to those mentioned, band members included Paul Linden on harp, piano and organ, Aaron Trubic on bass plus Terence Prather and Roy Hangen on drums. Sound quality varies a great deal between the various shows. Some of the dates have a muddy sound with limited range but everything is listenable.

If you need any more encouragement to check this one out, you should know that part of the proceeds from sales of this release will benefit the Sean Costello Memorial Fund for Bi-Polar Research. What a great way to honor Costello's legacy and get yourself over an hour's worth of his knock-out live performances!

Reviewed by Mark Thompson

Red Roots reviewed by Harmonica Joe Poluyanskis

2012-01-09T07:05:00.000-08:00

Red Roots

Andy Poxon Band

Eller Soul Records

www.andypoxon.com

13 tracks/56:28

Andy Poxon’s first CD release comes at the young age of 17. So here we go again with thoughts of a kid over playing guitar licks and singing blues lyrics without meaning in a falsetto style voice. Well to be honest, this was my first thought when I took a look at the cover of Red Roots. It is a good thing that I went beyond the cellophane wrapper.

Andy’s CD debut, on Eller Soul Records, is a mix of 13 tunes written by him. He also is the producer of this project. This young artist seems to be much more advanced than his age implies. As you can tell already I am impressed by his talent. Joining Andy on Red Roots are very capable older musicians that include Russ Wasson playing bass and Mike O’Donnell on the drums. Both of these men have a long list of credible credentials. Also joining in on the mix of this recording are Ray Tilkens on keyboards and Zach Sweeney with rhythm guitar. This makes for a solid band backing up Andy’s guitar and vocals.

The opening tune on Red Roots is “Hottest Thing In Town”. This tune starts out with a rock solid bass line from Russ Wasson which leads us into an introduction of Poxon’s musical talent. His vocals on this tune are strong and his lyrics easy to follow. Listening to his guitar licks on this upbeat swing type tune will make one aware that this “kid” has paid his dues at a very young age. I am sure the best is still to come! This song is a great way to open a debut recording.

“I’ll Sing The Blues” presents some of Poxon’s very blues solid guitar playing. H e seems to take his time and leave space to create a great blues feeling to his playing. “There is only one thing he can do when he comes home to an empty home – go to his room and sing the blues” is an example of Andy’s lyrics. They are well rounded and blues based. Where he found out so much about love, girls, hottest thing in town and pretty baby is scary in itself but it is the blues. This CD is mostly blues with some rockabilly, some soul and a little jazz.

Andy Poxon Band’s CD, Red Roots, is one of those examples of “you can’t judge a book by its cover”. At first glance, I said to myself “where is this recording going to take me?” Well to my surprise it has been a great trip into the blues. This young man, Andy Poxon, should go a long way into the world of the blues. Take a listen to Red Roots.

Reviewed by Harmonica Joe Poluyanskis

Jederman Remixed– The Soundtrack reviewed by Steve Jones

2012-01-09T07:02:00.000-08:00

Jederman Remixed– The Soundtrack

Hans Theesink

Blue Groove Records

www.theesink.com

18 tracks

Hans Theesinks last CD made it’s way through our reviews to high acclaim. When I saw this album was the soundtrack to a morality play I must admit that I was more than a little concerned about what I might have bitten off to review. No worry, though. Theesink remains a great bluesman, acoustic (and electric) guitar player and interpreter of roots music.

His deep bass voice with a bit of a cool vibrato warms the soul as he delightfully plies the strings of his guitar. He opens with a super Tom Waits cover, “Way Down In the Hole”, singing about keeping our devils way down in the hole. I was sold. A cool start to an interesting and impressive CD.

Not having seen the movie, I can’t see the visuals that these songs were chosen to accompany. The mix is eclectic, somewhat dark, and somewhat witty. Jederman means “Everyman” and this is an old English morality play from the 15th century. Everyman tries to convince everyone in the play to accompany him and improve their lot. One can see the good versus evil line played out in the songs selected; the delivery is very interesting.

Johnny Cash’s “The Man Comes Around” follows, again dark, yet hopeful. “No Expectations” and “Sympathy For The Devil” get a down tempo acoustic treatment in Theesinks dark tones, showing a side of these songs the Stones did not. A dark and mournful “Mother Earth” cover is another striking song, with vocals shared with Terry Evans.

He gets almost upbeat with Joe South’s “Games People Play” which closes the album, but his mournfulness “shines” through with a cool backdrop of accordian accompanying him. Hank William’s “Angel of Death” gets treated to a dark down tempo and is also quite interesting.

Ray Charles’ “I Got a Woman” is the most positive note on the CD, not that the downtrodden sounds are bad. The other covers are also well done as are original tracks he chose. If you like the darker side of the blues, done mostly acoustic, you’ll enjoy the heck out of this. Quite interesting and quite well done!

Reviewed by Steve Jones

Four reviewed by Mark Thompson

2012-01-09T06:52:00.000-08:00

Four

Kilborn Alley

Blue Bella Records

www.kilbornalley.com

11 tracks/49:04

Now operating as a quartet, Kilborn Alley serves up another batch of tunes that hit home with a cutting edge that honors the blues tradition while mixing in some of the soulful seasoning that has always been a distinguishing element of the band's music. Andy Duncanson handles the lead vocals and guitar with Josh Stimmel also on guitar, Chris Breem on bass and Ed O'Hara on drums and backing vocal. The group gets help from several special guests including Gerry Hundt on harmonica, Vince Salerno on sax and Travis Reed, a member of the Nick Moss Band, on organ and piano.

Duncanson has a marvelous voice that is rough around the edges, yet also capable of expressing breathtakingly deep emotions that hit hard at your soul. His yearning, pleading vocal on “You Were My Woman” drives home the pain of a love lost. The band channels the sound from the glory days of labels like Stax and Hi Records on “Good Advice”, with Reed on organ providing the perfect backdrop for Duncanson as the singer pours out his feelings in soul-wrenching fashion. Duncanson's finest moment comes on the opening two lines on “Going Hard”. The lyrics “Whiskey bottle, on my bedside table..” don't seem like much until you hear his spine-chilling delivery that immediately transport you to a time when each of us has stood alone, late at night, battling our demons. Later in the track, Stimmel matches the singer's intensity with a lengthy guitar solo that showcases his distinctive style.

Breem and O'Hara lay down a driving shuffle on the opening number, “'Rents House Boogie”, with Stimmel's taut rhythm guitar part serving as a counterpoint to Hundt's harp. “Wandering” is a joyous romp with Hundt blowing in the upper register of his harp ala Jimmy Reed. The tough groove on “Fast Heart Beat” returns the band to the traditional Chicago sound while the instrumental “Argyles and a Do-Rag” celebrates Stimmel's sense of style with both guitar players trading the lead position. “Sitting on the Bank” employs the classic riff from “'Rolling & Tumbling” with Hundt once again making a key contribution. Another highlight is Duncanson's moving rendition of “Couple of Days (Change My Ways)”, a song that illustrates again how well the group can handle gentler, soulful material.

Kilborn Alley continues to impress with their outstanding musical interplay and knock-out vocals. If you are looking for some blues music worth spending your hard-earned dollars on, I strongly suggest that you start your search with this release. It comes highly recommended !!

Reviewed by Mark Thompson

Here I Am reviewed by Mark Thompson

2012-01-09T06:49:00.000-08:00

Here I Am

Nick Moss

Blue Bella Records

www.nickmoss.com

www.bluebellarecords.com

11 tracks/71:59

Nick Moss continues his exploration of the music that moves his soul. On his last release, Privileged, Moss made it clear that he was moving beyond the traditional blues format, incorporating elements of the rock music he grew with and also using his songs to express some of his views on the state of our nation. On his new recording, Moss takes another step forward by disbanding the Flip Tops and forming a new band of younger musicians who have the chops to keep Moss operating at the top of his game. The members include Travis Reed on keyboards, Patrick Seals on drums and Nik Skilnik or “Stumpy” Hutchkins on bass (note: Matthew Wilson is now the bass player for the band).

The title cut is a hardcore rocker with Moss revisiting the “don't judge a book by its cover” theme and making it clear that he doesn't want to be pigeonholed or categorized. Nick wrote “Candy Nation” after watching an endless stream of drug commercials on TV after being unable to sleep after a late-night gig. He ponders our reliance on “miracle” pills despite their often serious side effects. “Why You So Mean” is a ferocious boogie tune that features excellent interplay between Reed's piano and Moss on slide guitar. The plight of middle class families is covered on “Blood Runs” with the heavy riffs from Moss's guitar giving voice to the anger of working families struggling to get by.

Moss lays down a plaintive vocal on “Here Comes Moses”, a song that finds him mixing biblical images in attempt to understand life and his attempts to live it on his own terms. Moss gets help from Michael Ledbetter on backing vocals. Ledbetter's singing on the sessions created such a strong impact that Moss decided to add him to the band. Ledbetter, Shuree Rivera and Jennifer Evans bring a gospel intensity to “It'll Turn Around” as Moss shares a soulful expression of his hope for the future, punctuated by a biting slide guitar solo. “Katie Ann (Slight Return)” is a simple love song that serves as a launching pad for Moss to pay homage to the Jimi Hendrix legacy with an extended guitar workout.

The disc comes in an attractive gate-fold package designed by Nick's wife, Kate at Moonshine Designs. Included are comments from Jimmy Thackery as well as a booklet with complete session notes and lyrics for each song. Blues purists will have a hard time with this one. But there will be plenty of listeners who can relate to where Nick Moss is coming from. He continues to expand his horizons and we should be thankful that he refuses to get comfortable. His restless soul conjures up powerful emotions in his music and guitar work remind us once again that he is one of the best in the business.

Reviewed by Mark Thompson

Nothin’ But Trouble reviewed by Steve Jones

2012-01-09T06:41:00.000-08:00

Nothin’ But Trouble

Kathi McDonald & Rich Kirch

Tear Drop Records

www.teardroprecords.com

9 tracks

What do you get when you take two veteran blues musicians, nine classic tacks, and a backline of two of Chicago’s best? You get a great little CD that is a lot of fun!

Kathi has performed in some legendary bands and recordings, including being an Ikeette with Ike and Tina Turner’s Las Vegas shows, Leon Russell’s “Shelter Peole” recordings, The Rolling Stones “Exile On Main Street” and replacing Janet Joplin in Big Brother and the Holding Company. Rich toured with Jummy Dawkins and Jimmy Rogers while in Chicago, then moved out west and played with John Lee Hooker for 13 years. They bring their decades of blues and music experience to the mix for this record.

Frank Bandy is on bass and Marty Binder is on drums. This is one of the top backlines one can get in the Windy City, and then Brother John Kattke adds his great Chicago keyboard work to the mix. This is a great accompaniment to Kathi and Rick and they are all solid throughout!

They open with “Rollin’ and Tumblin’” where Kathi screams and growls and Rich wails on his guitar; it is a moving performance. Elmore James’ “Talk to Me Baby” has McDonald in the stratosphere while Kirch is steady and firm on his axe work. Up next is “Trouble” where the duo slows things down, but it is still hot stuff. A wicked guitar solo opens up the cut and then McDonald gives it her all as the band burns through great slow blues.

Willie Dixon’s “Wang Dang Doodle” gets a nice, gritty cover, and then they lay into “Big Leg Woman” before Jimmy Reed’s classic “Baby What You Want Me Me To Do”. These are some tracks that defined the Chicago blues scene and they do them justice here. Kirch has spectacular tone and Kathi lays her soul out on vocals.

Ray Charles’ “What I Say” goes to a bluesier sound with McDonald and Kirch, nicely done, including the big guitar solo. McDonald sings to “Shake that thing” and testifies here nicely, and then the last two cuts are movers and “shakers”, too: “Shake Your Money Maker” and “Shake your Hips” close the set. Hot stuff!

I recommend this for blues fans who want to hear things done in true Chicago style with electrically charged female vocals. Top notch guitar work is quite solid and impressive, too. Go give this a listen!

Reviewed by Steve Jones

Shine reviewed by Denny Barker

2012-01-09T06:40:00.000-08:00

Shine

Dani Wilde

RUF Records

www.rufrecords.de

11 Tracks/52:32

For the second time in recent months I have had the pleasure to review a solo CD by one of the participants of RUF Records "Girls With Guitars". The first was "Runaway", from Kansas City native Samantha Fish, and now "Shine", the latest release by British born singer , writer, guitarist, Dani Wilde. Produced by blues veteran Mike Vernon (Eric Clapton, Fleetwood Mac, John Mayall) "Shine" features eleven tunes, nine of which were penned by Wilde. The CD opens with the title track, an upbeat toe tapper, with passionate vocal from Wilde and impressive harp work from Will "Harmonica" Wild (Dani's brother). Next, one of my favorite cuts, "Some Kinda Crazy" is an easy going tune with a hot guitar solo from Ben Poole and great vocal from Wilde.

A fine cover of the Stones "Miss You" fills the third slot, complete with a horn section, organ, and once again, some fine harp work from brother Will. Moving on to another of my favorites you"ll find Dani giving a strong

performance on "Red Blooded Woman", a well written tune that is a bit of a rocker. Up next, the mournful and dark "Don't Give Up On Me", is an interesting tune with a great solo from Stuart Dixon on guitar.

Dani then changes pace on "Abandoned Child", a slow bluesy tune featuring Laura Chavez on guitar, that was inspired by Ms. Wilde's visit to an orphanage in Africa. Up next is the upbeat "Born To Love Him' with Wilde delivering a fine vocal performance to go along with her unique finger picking guitar work. "Where Blue Begins",yet another of my favorites, has Dani delivering another great vocal performance, complemented with solid guitar work from Stuart Dixon, and

nice sax from Martin Winning. Dani gives her all on this CD, and the result is, impressive vocals on well crafted tunes that you will listen to over and over. If you are not familiar

with Ms. Wilde, do yourself a favor and get a copy of "Shine", an apt title for a well done CD.

Reviewed by Denny Barker

Leave the Light On reviewed by Rick Davis

2012-01-09T06:23:00.000-08:00

Leave the Light On

Sena Ehrhardt Band

Blind Pig Records

www.senaehrhardt.com

10 Tracks

Sena Ehrhardt grew up with blues music in the Minneapolis-area. Her greatest influence was her father, a local blues guitarist extraordinaire playing in the area. Ed Ehrhardt recognized Sena's potential so they decided to establish the Sena Ehrhardt Band. Sena chose to record ten compositions that she co-wrote with her father for their debut album Leave The Light On. This dynamic father/daughter duo of Ed and Sena Ehrhardt teaming up with bassist Steve Hansen and drummer Tim Hasler are currently touring the midwest to promote their new album. Sena's vocals are sharp, articulate, and incisive, belting out all ten numbers on the CD. Ed provides smooth rhythm guitar and fiery guitar solos throughout the entire album.

Sena will make you a believer on the opening tune "My Bad" with straight ahead traditional hard driving blues. The title track "Leave the Light On" is a mixture of blues, funk, and jazz driven by the sultry, seductive vocals from Sena. "On the Clock" opens with an extraordinary guitar solo combined with the best vocals on the entire CD. You can hear the strong persuasion in Sena's voice on tunes "Lovers Can't Be Friends" and "The Best Thing" as she sings straight from the heart! Ed adds some powerful guitar solos on both tunes. The band delivers some steady rollin' blues on "Same Team" with Sena offering good advice. "Last Chance" is tune with a slow Texas beat as Sena lays it on the line by stating "this wasn't your second chance it was your last chance." Ed follows with some down and dirty guitar riffs. Once again that strong conviction can be heard in her voice as Sena convinces her audience "you are the one that sustains me" on the tune "Hear Me" backed once again by a terrific performance by the band members. "Hear Me" opens with a boogie woogie beat and then explodes with Ed's searing guitar solos and Sena's gritty, soulful voice. Leave The Light On concludes with a funky tune "Fool Out Of Me" with Sena echoing the warning "don't make a fool out of me."

If ever there was a lady born to sing the blues it is Sena Ehrhardt! This is an album I would have to file as one of the best of the year. Ed Ehrhardt is one of the most impressive guitar in the business! This is one of the hottest bands performing today. Their debut album tells the story.

Reviewed by Rick Davis

Gimme the Jimmys reviewed by Mark Thompson

2012-01-09T06:19:00.001-08:00

Gimme the Jimmys

The Jimmys

Brown Cow Productions

www.thejimmys.net

11 tracks/48:47

This one gets off to a rockin' start as our favorite band from Monroe, WI delivers a high octane performance on "HaDaya HaDaya" that illustrates everything that makes this band special – tight musical interplay, a blazing hot horn section and Jimmy Voegeli's spirited vocals and keyboard work. Drummer Mauro Magellan was an original member of the Georgia Satellites - his fellow band member, Dan Baird, adds his guitar to the track along with Warner Hodges of Jason & the Scorchers fame, who lays down a brief but incendiary guitar solo.

Voegeli wrote all of the songs for this project. He recorded two of the songs during his lengthy stint as a member of the Westside Andy/Mel Ford Band. The latest version of "Girl All Woman" emphasizes the New Orleans R&B elements of the song, with the tenor sax solo from Bryan Husk driving home the point. Bun E. Carlos of Cheap Trick contributes some cowbell to the track. "Love Will Find a Way" has a driving rhythm from Magellan and bassist Johnny Wartenweiler. Voegeli plays some rollicking piano lines and Ken "Birddog" Olufs gets a chance to showcase his skill on the harmonica. The horns bring an extra layer of liveliness to the track.

The pace slows on "Baby's So Fine" with Voegeli's compassionate vocal one of the disc's highlights, surrounded by the majestic sounds of his Hammond organ and a sympathetic alto sax solo from Peterson Ross. Baird's slide guitar on "She Don't Love Me" has the band sounding like the classic version of Little Feat. The instrumental "Jimmys Groove" establishes a blue-funk feel with the band's guitarist, Dave Potter, playing some of his always tasteful licks. Voegeli stars again on the organ as the horn section blasts away in the background and Carlos sits in on drums. "JiMo Boogie" features Magellan as the sole support for Voegeli's extended piano solo that again highlights the influence of the New Orleans piano tradition on his style along with a few hints of ragtime piano. Voegeli switches to the Rhodes electric piano on "All I Ask" and Potter gets a another chance to shine.

There are two songs that show the group's versatility as well as proving that they aren't afraid to move beyond more traditional material. The soulful "Hell or Heaven" has a mainstream rock sound with soaring vocals, a dynamic horn chart and a miin-guitar army comprised of Baird, Hodges and Billy Flynn. Baird plays a succinct solo at the mid-point before Flynn brings you home with some exquisite playing that captures the B.B. King sound. There is a second, shorter version of this track at the end of the disc, intended for radio play. "The Tree" is a distinct departure from the rest of the disc. Voegeli and his wife, Laura, often visit her mother. There is a small cemetery nearby that the couple often strolls through. They always pass by a grave that sits under a Yew tree. The song is Voegeli's imagining a possible storyline that ties together the departed soul and the tree. His dark, gloomy vision tells the tale of a father's love and sacrifice for his daughter, that later brings additional tragic consequences. The string section comprised of Chris Wagoneron on violin & viola and Mary Gaine on cello and parlor bass help establish the haunting mood. The Amateur Horn Stars - Husk, Ross and Chad Whittinhill on trumpet & flugelhorn - also make key contributions.

If you have caught one of the Jimmys live shows, you know what to expect from this disc - and you won't be disappointed. There is plenty of the band's upbeat, good-time music that they are famous for. Some might be slightly disappointed at the number of high-profile, special guests. But they all make solid contributions without impacting what the Jimmys are all about. And every band needs to find an edge that helps with their marketing. When you have a collection of musicians this talented, and a frontman with the charisma of Jimmy Voegeli, you are guaranteed plenty of musical fireworks. This is a fine first effort and has me already anxiously awaiting the next Jimmys recording.

Reviewed by Mark Thompson

The Moon Is Rising: Songs of Robert Nighthawk reviewed by David Stine

2012-01-09T06:18:00.000-08:00

The Moon Is Rising: Songs of Robert Nighthawk

Donna Herula

Self produced

www.donnaherula.com

12 tracks/38:15

I first encountered Donna Herula at the solo/duo shootout at The Harlem Avenue Lounge in Berwyn a couple years ago. She stood out not as the only female to show up, but as a confident and deliberated interpreter of old time blues music. Relying on her voice and a couple metal-bodied guitars, Donna held her own against some pretty darn good competition.

This second CD finds the Illinois native covering the earlier songs of Robert Nighthawk. Most were written by Nighthawk with a couple that he covered. Herula is accompanied by her husband Tony Nardiello on guitar on several tracks, as well as the harmonica of John Jochem. Occasionally she employs a Porchboard and tambourine for drum effect. Herula has performed these Nighthawk songs at blues festivals in Chicago, Helena, AK, and on King Biscuit Time.

First time listeners might find Herula’s voice slightly “little girl,” and too articulate. She pronounces every syllable. Where most blues singers use "goin, you can hear Herula's "goinG." There’s no little girl behind the big sound she gets from her national guitars though. This is the Donna I remember from the shootout: she can really dig into a resphonic guitar.

“Take It Easy Baby” starts the disc and sort of sets the tone for the CD. One can easily imagine this rendering as a set started as well. John Jochem adds nice harmonica accents and holds things down while Herula solos. This delightful song is the longest of the CD at 4:36. Song two shifts the mood into a Herula-adapted, dreamy take on the title cut. Herula employs electric violins near the end of the song to great effect turning a blues song into a near-classical piece. The deft-fingered portrayal of “Return Mail Blues” brings up the third slot. One of my favorite cuts, both vocally and instrumentally, is song four, “I’m Getting Tired.” Herula takes gender liberties with both the last song as well as “Jackson Town Man,” making them her own. Song six “Lonesome World” is another toe tapper and slide marvel. “Crying Won’t Help You” is a nice choice for this age of role reversals, and Herula does justice to the song by playing, singing and adding her own percussion. “Bricks In My Pillow” also moves along nicely, again with John Jochems on harmonica. “Gonna Move To Kansas City” is another favorite of mine. “Gonna’ move to Kansas City, baby, where they don’t like you . . . .” Yes. It’s a Jim Jackson song covered by Nighthawk and now Herula, and a song that deserves being heard again. “Friar’s Point” allows Herula to intertwine finger picking and slide work - something she does quite well. “Maggie Campbell” is a song Robert Nighthawk covered, providing a beautiful format for the interplay between Herula and Jochems - another album standout cut. The CD concludes with “Every day and Night” which seems to encompass the best elements of almost every tune on the CD.

My only slight complaint with this CD is, at times, Herula plays so fast that she has to rush certain vocal phrases. Word constraints keep me from too many accolades, but I think this CD deserves your time and money, especially if you like older blues with some slight modern updates. Herula bravely takes on a male icon, makes his music her own. In this age of overwrought electric blues, this alone is quite an accomplishemt. She plays well, she sings well, acknowledges her predecessors, and brings the best part herself into what she does. Amen, Donna.

Reviewed by David Stine

Live From The Long Island Blues Warehouse reviewed by Rick Davis

2012-01-09T06:17:00.000-08:00

Live From The Long Island Blues Warehouse

The Sean Chambers Band

Blue Heat Records

www.sean

chambers.com

10 Tracks

If white hot blues are your passion, you must put The Sean Chambers Band on your list to experience. Working and learning guitar from one of the masters of Delta Blues, Hubert Sumlin, Sean has taken the art of blues guitar to a whole new level.

He has paid his dues by sharing the stage with blues guitar legends B.B. King, Robin Trower, Bo Diddley, Leslie West, Robert Cray as well as other noteworthy blues figures like Koko Taylor, Kim Wilson, Greg Allman, Little Milton, James Cotton and Pinetop Perkins.

Their new live album is the follow up to the previous studio CDs Ten Till Midnight, Strong Temptation, and Humble Spirits. The last CD, Ten Til Midnight, spent three months on The Living Blues Charts as well as reaching #5 on the XM/Sirius B.B. King Bluesville Charts and #6 on The House of Blues Radio Charts. This CD received airplay throughout the entire world. Their new CD, Live From The Long Island Blues Warehouse, is the first real live collection of Sean's style of raw blues guitar that has earned him the title, according to Guitarist Magazine, as one of the Top 50 blues guitarists of the last century. It is predicted to exceed Ten Till Midnight. Backing Chambers on this live session are Paul Broderick on drums, Tim Blair on bass, and Gary Keith on blues harp. It opens with a pair of tunes written by Chambers himself "Dixie 45" (instrumental) and "Love Can Find a Way" demonstrating the lightning speed of his guitar expertise. These tunes set the pace for the remainder of this high powered performance. The live show continues with the tune written by James/Lindsey, "Full Moon On Main Street," done earlier by Fred James, The Kinsey Report, and Omar and Howlers. This live version by Chambers is an explosive guitar version with Sean's own gritty vocals throughout the song. His rhythm and lead guitar on the next self-penned tune "Strong Temptation" would rival SRV himself. He continues with the Elmore James tune "Dust My Broom" combining his interpretation with Delta and Chicago blues flavor that you have never heard before! His slide guitar is indeed quite a tribute to the King of slide guitar. His blues guitar style and vocals are perfect for the Bill McLess tune "Crazy For Loving You." The live show continue with the hard drivin', heart pounding tune "Danger Zone" and Chambers/Blair tune "Too Much Blues" where Sean pulls out all of the stops with his blistering guitar work. The band really rocks the house on the Chambers tune "Hip Shake Boogie" featuring a solo by both Tim Blair and Paul Broderick. They conclude the show with an electrifying 11 minute version of the Chambers blues tune "In The Winter Time" that echoes throughout the Long Island venue.

My only regret is that I couldn't be in the front row for this one. It will be challenge for the Sean Chamber Band to match this live CD. It is truly a live show any blues fan should hear!

Reviewed by Rick Davis

Voodoo Workin’ reviewed by Harmonica Joe Poluyanskis

2012-01-09T06:16:00.000-08:00

Voodoo Workin’

Steve Gerard & The National Debonaires featuring James “Rock” Gray

www.bluesdegree

records.com

www.national

debonaires.com

10 tracks/30:56

Steve Gerard & The National Debonaires third CD, “Voodoo Workin’”, was released this Sept. by Blues Degree Records. This band is made up of some very talented musicians lead by Steve Gerard, an accomplished guitarist who has shared the stage with Hubert Sumlim, Albert Collins and Anson Funderburgh to name a few. Joining Gerard for this recording is Mike “Shinetop Jr.” Sedovic playing piano and the B3 organ and Greg Demchuk is blowing the harmonica. Doug “Mr. Low” James joins in with his saxophone and Preston Hubbard adds the bass line to the mix. Beating his way on the drums the band has Dwight Ross Jr. doing a swell job.

James “Rock” Gray is the featured vocalist on “Voodoo Workin”’. Gray’s vocals as well as his song writing ability bring a bunch to this recording. Three of the tunes on the CD were penned by Gray and they bring a lot of emotion to the mix. James Gray’s voice, to me, has that laid back, sincere feeling it that reminds me of Sleepy John Estes and Yank Rachell. This style is easy to listen to and also gets one into the blue mood. Before doing Voodoo Workin’ James Gray, who is 71 years old, had not been recorded. Thanks to Steve Gerard for getting this done.

“Voodoo Workin’, the opening tune on the CD, give to us the feeling of New Orleans style blues. Steve Gerard shows off a bunch of his fine guitar work while Mike “Shinetop” Sedovic treats us to some really outstanding B3 organ soloing. This tune has a certain eerie quality to it that also introduces us to James Gray’s outstanding vocals. At only two minutes in length, this song just gets us into the mood and then just dumps us off.

This recording project, from Steve Gerard, showcases three songs written by James Gray. His lyrics are the real deal tales of life that are produced from the heart of this man. They seem to have that certain grittiness to them about hard times and love of one’s life. “One Of These Days” is probably the song from “Voodoo Workin’ that I enjoy the most. Again the B3 sounds, produced by the talent of Mike Sedovic, stand out and also highlight the heartfelt vocals of James Gray. His vocals just have a pure blues quality to them that are grabbed by the ears. This is really a good tune to take in.

“Ain’t Going To Let Her Go” features Greg “Junior” Demchuck playing some of his real deal blues harmonica. His playing is really a swell addition to this recording of this Jimmy Anderson tune. This track also highlights all the talents of Steve Gerard & The National Debonaires. This is really an outstanding band. We get the powerful feel of the drum beat going on here with the piano plunking along as well. The harp has gone into the high pitch blues mood on this song along with a bunch more B3 backup. Steve Gerard throws in a bunch of guitar licks along with James Gray’s vocals making this tune another standout one from “Voodoo Workin”.

Steve Gerard did a fine job of mixing up types of tunes on this CD recording to give us insight to the quality of the musicians of the Debonaires. At the same time Steve Gerard stands out as a fine guitarist as well. Adding James Gray’s one of a kind talent to “Voodoo Workin” makes it a memorable recording. My only problem with this CD is that it is only about 31 minutes long and just leaves me wanting more of it.

Reviewed by Harmonica Joe Poluyanskis

Sister Vagabond reviewed by Steve Jones

2012-01-09T06:12:00.000-08:00

Sister Vagabond

Candye Kane Band

Delta Groove Music, Inc.

www.candyekane.com

13 tracks

Candye Kane’s life has been filled with challenges. Pancreatic cancer, a difficult childhood, a teen mother and more diversity of problems than any one person should have to put up with. Yet she sings with great aplomb and abandon, belting out one hit song after another. “Superhero” was her album that really showed she had stepped up her game, and this new one is equally outstanding and poignant, if not even better!

She begins this outstanding studio recording with Johnny "Guitar" Watson's “I Love to Love You,” a sultry and sexy rendition with some wicked guitar by Laura Chavez. Kanes’ vocals are always a bright spot, being likened by some to being a modern day Bessie Smith. But while we expect Candye’s big presence, Laura Chavez has completed her coming of age and gives her all in song after song. She is one of the hottest guitar players out there right now! This duo could not be more different personally and stylistically- Kane is the ebullient, effusive and outgoing showman while Chavez is quiet and restrained except when her six stringed axe is blazing, which is what she does on each of the tracks.

Nine of the tracks were written collaboratively by Kane and Chavez. They start off with a 60’s sounding song that could have easily been King and Goffin writing for the Shirelles. “Love Insurance” is a bouncy track featuring Kane’s vocals and a nice horn section. She likens love to needing insurance, written when she in dire need of health insurance and she made the leap from health to love in this fun yet poignant track. Irony and humor fill “You Never Cross My Mind”; Chavez delivers a very swinging tune to Kane’s lyrics and plays some excellent guitar while Sue Palmer on keys adds dimension to the cut. They bring some accordion and horns to “Have A Nice Day”, giving the track a distinctive New Orleans flair (along with more catchy lyrics). There’s a lot of dark and down tempo stuff here, all good and interesting, too. Excellent song writing and delivery by Kane and Chavez top to bottom on their tracks.

The other covers bear some mention. Kane does a self-proclaimed greased-up version of the Brenda Lee song “Sweet Nothing”, and sells the sound quite well. It’s grittier and far further down in the dirt than Ms. Lee could ever take it. Steve White wrote “Down With the Blues” for Candye and passed away from throat cancer while the CD was being made. Acoustic, slide and baritone guitars give this a dark sound and Kane’s vocals also get the effect going; a very touching piece. Jack Templeton wrote the last of the covers (along with Glenn Frey) and James Harman adds some down and dirty harp to this one. Kane let’s loose and delivers another great song.

This is a superb follow-on to Candye Kane’s exceptional “Superhero” album. In my mind, both vie for top spot in her repertoire. Stylistically this is a big deeper and darker, but I can’t decide which I liked better. Suffice it to say that if you want to hear one of the best female singers out there accompanied by one of the best up and coming guitar players in the world collaborating on lots of really nice original tunes and great covers, get your wallets out now. Highly recommended!

Reviewed by Steve Jones

Runnin’ With Scissors In Your Hand reviewed by Harmonica Joe Poluyanskis

2012-01-09T06:11:00.000-08:00

Runnin’ With Scissors In Your Hand

Rich Berry

Catseye Productions

Liberty Street Records

www.richberryblues.com

10 tracks/36:56

Recently in Quincy, my wife Alice and I were able to see Reverend Raven & The Chain Smokin’ Altarboys do their fine job of playing the blues. This was at a Blues in the District show at Washington Park. They gave the large crowd present a great evening of blues. The next day we were also able to see Rich Berry, from Kansas City, do four sets of Delta acoustic blues. I had not seen Rich for three years so this event was a big treat. Rich also put his whole blues career on the line and let me sit in on harmonica for one tune.

“Runnin’ With Scissors In Your Hand” is Berry’s 5th CD release; all of these have been well received by blues fans. “Headin’ South On A Delta Breeze” was voted the traditional style blues album of 2009 by www.bluesundergroundnetwork.com. Berry is very well known in the Kansas City area and stays busy playing the blues and also doing Blues In The Schools programs. Besides playing the National steel and acoustic guitars, Rich plays harmonica, sings, keeps the beat going on the porch box and writes all his tunes. While playing cover tunes he has a way of putting his own style into them. His many influences include Robert Johnson, Bukka White, Son House, Muddy Waters and Howlin’ Wolf to name a few.

“Runnin’ With Scissors In Your Hand” is one fine recording of the 10 Richard Sailsbury, AKA Rich Berry, penned tunes on this CD. These are a group of stories of life, hardship, love, joy and just tales of the blues as told by Rich Berry. This album opens with Rich showcasing his fine National slide guitar playing on “Killin’ Me By Degree”. This is a tale about a love gone astray. “Give me your love, then take it away, you’re killing me by degree” tells us that this tune is a trip into the blues. Rich’s lyrics need to be listened to with intent as he puts a lot of meaning into each song. Berry is a wire rack harp player, which is not an easy task. He does a heck of a good harp solo on this tune. He has a bunch of good things going on with his style of playing both guitar and harp.

The title track, “Runnin’ With Scissors In Your Hand”, has Rich doing his thing with the acoustic guitar and his harp again. Rich, to me, shows us that he has his own style of playing harmonica. This is a good way to go, I like it. This tune has a steady blues groove going for it. There is another love going wrong story for us all to listen to. It has to be one weird feeling to be with someone and feel as if the relationship is like runnin’ with scissors in my hand”. This insight into life is what Rich Berry’s song writing is all about.

Meeting Rich Berry and his wife, Cathy, has been a great blues experience for me. These two are really blue lovers trying to keep the blues and live music going down the highway. They are doing their part to do so. “Runnin’ With Scissors In Your Hand” is a great example of their dedication to the blues. Rich’s CD’s are available from PayPal.

Reviewed by Harmonica Joe Poluyanskis

Blacks, Whites and the Blues reviewed by David Stine

2012-01-09T06:08:00.000-08:00

Blacks, Whites and the Blues

Mark T. Small

Lead Foot Music

www.marktsmall.com

14 tracks

Mark T. Small is a bit of a chameleon. The artwork on his self-produced CD portray an ageless blonde man dressed somewhat "hippie-ish" in beads and turned up Nehru collar. Also apparent are fancy tooled cowboy boots peeking out from leather pants. The back of the CD shows Small holding an acoustic guitar. OK, so he doesn’t dress the part, what's music like, you ask? A quick view of song selections indicate LOTS of blues songs that have been done, done, and redone. So what DOES Small bring to the table?

Song one on the CD is a cover of Muddy Waters' “Trouble No More” done with a combination of the “Smokestack Lightening” riff coupled with the "You Don't Love Me Baby" riff. Seems to work for Small, and it works for me. Thus the stage is set: covers of electric-style blues songs (mostlty), done on an acoustic guitar, with Small playing electric guitar riffs. “Boogie Woogie Guitar Man” is the only original on the disc, but it allows Small to show off his acoustic licks while keeping a Hell-bent pace. The pace is so fast that Small’s lyrics almost miss delivery. Need another look at “Little Red Rooster”? Mark Small provides one on cut three. Again, rather than taking a down home approach, Small treats this cover as if he were playing an electric guitar (with some hints of SRV) in a band situation. "Hesitation Blues" comes as a slight surprise in that Smalls plays it without guitar histrionics. Nothing new here, but maybe that's meant to be a surprise. Small switches to an electric guitar for John Lee Hooker's "Bang Bang Bang Bang" answer to "Boom Boom Boom. Wait a minute - where's a new read on a takeoff on a song that's a takeoff on a song? It's not here. So what is Small's point with all the covers if he plays a lot of them like everyone else? Maybe it's to show us that he CAN cover a range of tunes in his style and the style of others. I guess not every blues CD has to break new ground. Next up is Mississippi Fred McDowell's "61 Highway", done on a National metal body guitar and it, too, is delivered in a haunting stripped down to the bone arrangement: voice, slide guitar and foot. "Old Gray Mare” is a traditional country folk song that Small deftly picks and sings. Another traditional finger-picked tune follows with "Six White Horses." Are these the "Whites" referred to in the title? Next is, believe it or not, "The Thrill Is Gone," done slowly with speedy runs over the 1/2 time version. Hmmmmm. Might work better live, Mark. Song ten is another Fred McDowell tune, "A Few More Lines." Small does a fine job of alternating slide lead lines over the thumping rhythm notes. To me, this is the best cut on the disc. Like "Rooster," does "Catfish Blues" need another examination? Small thinks so. Well his version echoes many of the versions you've heard. Small is unstoppable - next up is THE most covered song in the blues: "Sweet Home Chicago." His is a rock n rolly version with the Robert Johnson lyrics. Nuff said. Small closes the disc with two instrumentals, "A Georgia Camp Meeting," a mid-tempo fingerpicked number from Kerry Mills and a Scott Joplin compliment called "Solace."

My sense is that Mark Small loves playing guitar, loves his influences, and wanted a CD to sell at live venues. Although not much of this breaks any new ground, there is a certain boldness in Small's taking on some of the old chestnuts and putting his spin on them. If you are looking for new and refreshing, I guess look elsewhere. If you are looking for a solid disc of mostly blues music done mostly on acoustic guitar, then you should check out Blacks, Whites and the Blues.

Reviewed by David Stine

The Waiting Game reviewed by Rick Davis

2012-01-09T06:07:00.000-08:00

The Waiting Game

Jimmy Dasher

Melodic Undertone Production Group LLC.

www.jimmydasher.com

12 Tracks

It would be difficult to categorize the music on Jimmy Dasher's debut release The Waiting Game since it covers a wide spectrum of musical styles. His influences draw from Jimmy Page, jazz/funk players like Eric Krasno of the band Soulive and jazz great John Scofield. "It all gave me an outside the box perspective on guitar," he notes. "I got the sloppy rock style from Page and then the musical prowess from people like Scofield. Willie Nelson is also a big influence, and I think he is really underrated as a player."

The debut album draws from musical sources like rock’n’roll, current indie music, soul and funk, blues, jazz, folk and country and weaves them into his own create style. The last group to transform so many styles together were the Beatles in the later years of their career. The Waiting Game begins with the instumental "Six In The Back" heavily influenced by Bill Wither's "Lean On Me." "Get Burned" is a light, almost whimsical tune. The next song "Against The Wall" reminds me again of material you would hear on a later Beatles album. "8 On The Way" tends to have almost a new age/jazz sound with a surrealistic guitar added. Being a jazz fan, I found this song to have a lot of merit. This smooth jazz instrumental leads right into the next tune "Square One" with no break. The tune begins with a glockenspiel, continuing with slow jazz beats and guitar work flowing well throughout the entire song. "When It Comes To Love" has a very haunting background blended with a fiddle to compliment Dasher's vocals. To change the pace, "Three In The Front," a bluegrass tune, adds fiddle, lap steel, and harmonica that echoes at the end. "You Say You See Me" starts off with a hint of blues guitar for a soulful mix.

"Wishing I Was In Heaven" has been compared to Robert Plant’s solo work with the group Band Of Joy. It even parallels a tune you could hear on a Moreland & Arbuckle CD with that familiar cigar box slide guitar sound. In my estimation, this was shared as the best tune on the album with "In The End" a superb acoustic instrumental. "Let's Get Hitched" would definitely fit into the country genre. The title track "The Waiting Game" concludes the CD with a blend of piano, guitar, and vocals from Dasher.

After listening to The Waiting Game I think you will agree it is an eclectic melting pot of music Jimmy Dasher has established into a style all his own.

Reviewed by Rick Davis

Sittin' on the Right Side of the Blues reviewed by Mark Thompson

2012-01-09T06:04:00.000-08:00

Sittin' on the Right Side of the Blues

Bernie Pearl - with Mike Barry

Major Label Recordings

www.berniepearl.com

15 tracks/65:32

This live show was recorded in February of this year at Boulevard Music in Culver City, California. Bernie Pearl is an old-school acoustic bluesman who studied with many of the legendary musicians who experienced career rejuvenation during the blues & folk revival in the 1960's. He had the distinction in 1968 of becoming the first all-blues FM DJ in the Los Angeles area. His partnership with Harmonica Fats created a potent acoustic duo that garnered several W.C. Handy Blues Music awards nominations in the mid-1990's. Pearl has been playing guitar for over fifty years, developing an intricate finger-picking style that takes listeners back to the formative years of the blues genre.

The set list features tunes from a number of Pearl's mentors including Lightnin' Hopkins, Mance Lipscom and Mississippi Fred MacDowell. Pearl picks out a sprightly rhythm on MacDowell's "I Believe I'll Carry My Hook", using slide on a national steel guitar. His slashing slide work on "New Hollow Log Blues" offers a fine contrast to Pearl's deep, resonant vocal. More impressive is Pearl's ability to capture the essence of the Lightnin' Hopkins guitar style on "Jailhouse Blues". He slows the pace down on Hopkins "Shinin' Moon", playing a number of dazzling runs while Mike Barry provides a walking bass line. Pearl continues to show his debt to the masters with a stirring cover of the Son House standard, "Shetland Pony Blues". His powerful singing continually diverts your attention from his masterful guitar work. The forceful run-through of Mance Lipscomb's "Night Time is the Right Time" is another highlight of the disc. Pearl plays more outstanding slide guitar in the hard Delta style on "I Can't Be Satisfied" but his vocal effort lacks a similar intensity.

There are six original compositions written by Pearl, including two instrumentals. "Outside Boogie" is based on a Magic Sam guitar riff but Pearl spins complex variations on the theme that demonstrate the extent of his skills. In the introduction to "I Ain't Hurt", Pearl denies stealing any licks from Mississippi John Hurt while acknowledging that when a guitarist does three finger picking in the key of G, it is almost impossible to avoid comparisons. He pays tribute to the musicians who influenced him on the title track, his warm, heartfelt vocal ringing out over the driving pulse from his guitar. "Flat-Footed" is a humorous commentary on financial hard times spiraling out of control. The liner notes with the disc state that "You Can Break My Heart" is incomplete and different. You will agree when you hear it as it is lyrically challenged and the pieces do add up to a coherent package, although Pearl lay down several fine solos.

The closing number is a favorite of Pearl's, Fred MacDowell's " Shake 'em Down", and his energetic rendition is another highlight of the disc. Pearl's fingers dance across his guitar's fretboard as he uses his slide to create the propulsive drive required for this tune. At the same time, his unforced, warm vocal contrasts nicely with his metallic guitar tone. There is plenty to enjoy on this project. Pearl obviously learned his lessons well. Blues lovers who are looking for a more traditional blues sound should snap this one up right away.

Reviewed by Mark Thompson

Extreme Makeover reviewed by Harmonica Joe Poluyanskis

2012-01-09T06:02:00.000-08:00

Extreme Makeover

Whiteboy James And The Blues Express

www.ripcatrecords.com www.whiteboy james.com

12 tracks/40:20

Rip Cat Records 2011 release of Whiteboy James and the Blues Express’ new CD, “Extreme Makeover”, is a very exciting project. Having been around the West Coast blues scene in the 1980”s and 90’s this band carries on in the styles of Rod Piazza, James Harmon, Hollywood Fats and William Clarke. The Blues Express Band with James has a really big sound and feel to their music presentation. After an absence from the music scene the band reformed with a different bass player and drummer. “Extreme Makeover” is a new rendition of the band’s debut album from 1992. This CD features Whiteboy James on harp and vocals, Scott Abeyta playing guitar, Blake Watson on bass and Max Bangwell. This is an appropriate name for a drummer.

This recording contains a varied mix of 10 tunes penned by Whiteboy James plus “I’m Ready” from Willie Dixon and “Stay Out Late At Night from I. Turner. This is really a good mix of tunes with something for everyone. Right out of the wrapper we get treated to an example of James’ harmonica skill on “Big Butted Women”. He has that electric blues tone and phrasing that defines the blues harmonica. Abeyta’s guitar work also stands out on this tune. The Blues Express band carries with it a big rich blues sound that is very ear grabbing. WB James’ lyrics on “Big Butted Women” are of that racy type that gets your attention right now. James is telling the story as he wants it told. This track does a fine job of showcasing Abeyta’s guitar playing as well as having James doing a great job with his harp solo. Good tune.

“Gold Brick Box” is one of my favorite tracks to listen to on “Extreme Makeover”. Scott Abeyta walks us into the tune with some powerful guitar playing and just continues doing so throughout the entire song. Here we have an example of Scott’s creative, none predictable solid guitar style. James’ vocals are full of a very confident swagger that will draw you into his lyrics on this track. “Slow Down And Let Me Love You” is another song that features WB James’ harmonica playing. Here we have some more real blues harp without any fluff and over playing. James’ ability to pen great lyrics along with the bands very solid blues sound makes real quality blues.

Whiteboy James And The Blues Express’ CD, “Extreme Makeover”, is an example of a fine recording that is upbeat and exciting. This project features a band that is not afraid to play the blues for us. With a solid bass line and drum beat backing James’ vocals and Abeyta’s guitar there are not any clunkers on “Extreme Makeover”. I do wish that WhiteBoy James would have added more of his harp playing. As the Willie Dixon tune goes, “I’m Ready”, ready to hear more of Whiteboy James And The Blues Express.

Reviewed by Harmonica Joe Poluyanskis

Unconditional reviewed by Rick Davis

2012-01-09T06:00:00.000-08:00

Unconditional

Ana Popovic

Eclecto Groove Records

www.anapopovic.com

12 Tracks

It has been over two years since Ana Popovic has returned to the studio after her last studio recording Blind For Love in July of 2009. Popovic is considered world wide as one of the best female contemporary blues guitarists performing today. Having seen her perform live, I would concur with that statement! Since she was introduced to a wide variety of music at young age growing up in Serbia, she always delivers a perfect blend of rock, jazz, and soul with blues as the foundation for of all her music. Some of today's contemporary blues has fused traditional blues and rock giving us the best of both music worlds that we have cherished for years.

Unconditional, Popovic's new release, gives listeners more of a traditional blues sound than her previous studio recordings. The album was recorded at the famous Piety Street recording studios in New Orleans working with grammy-winning producer John Porter. It was her intention to capture that New Orleans musical tradition so famous in the Louisiana Delta. Included on the CD are tunes made famous by some Ana's favorites, including Koko Taylor, Buddy Guy, Otis Spann, Nina Simone and Sugar Pie DeSanto. She either wrote or co-wrote with Mark van Meurs eight of the twelve cuts on this new CD. She was joined in the studio by an all-star cast of New Orleans' finest musicians such as famed slide guitarist Sonny Landreth, Jon Cleary and David Torkanowski on Hammond B3 and piano, Calvin Turner on bass, and Doug Belote on drums. Also included as a guest on the album is extraordinary harp player Jason Ricci. This collection of blues opens with a very roots oriented tune "Fearless Blues" demonstrating superb acoustic guitar and keyboard accompanied by rich background vocals. The hard driving number "Count Me In" combines the fiery guitar of Popovic and the explosive harp of Jason Ricci to take your pulse to the edge. The title track "Unconditional" is a masterful blend of slide guitar and keys with Ana reminding us of the unconditional love displayed "back in the day" delivered in her sultry voice. This is followed by an extremely soulful tune "Reset Rewind" a reflection of life. "Slideshow" is the Popovic/Landreth slide guitar shootout extravaganza that I could only imagine as a live performance on the banks of the Delta! "Business As Usual," also co-written with Mark van Meurs, is another soulful blues tune about a couple who has fallen into the daily routine of life, losing their passion for each other. She begins a guitar solo midway in the song and slowly builds to a blistering, explosive finish towards the end. Ana offers a little caution on "Your Love Ain't Real" as she begins with a subdued, sultry voice and ends up with a powerful delivery of her message. The Nat Adderley/Oscar Brown Jr. tune "Work Song" is a high energy arrangement with world class guitar solos by Ana. "Summer Rain" starts out with a funky rhythm guitar and continues with smooth vocals by Ana, harmonizing background vocals, and a strong guitar finish. Ana's vocals and slide guitar version of KoKo Taylor's "Voodoo Woman" combined with New Orleans style drums will send you to Congo Square and put a spell on you! Popovic closes with a slow traditional Mercy Walton song "One Room Country Shack" followed by the McAlister/Vail classic blues tune "Soulful Dress" covered also by blues female artists Sugar Pie DeSanto, Marcia Ball, and recently by Maria Muldaur.

''The title Unconditional,'' Ana says, ''describes what I feel on stage. That place is simply unconditional. It is magical. It's just me and my guitar, notes, sounds and drum grooves. I let the band lift me up, and I feed off of their energy. I hate to think when playing. I only feel. Unconditional is how I stand towards my music - it's mine, it's sacred, and it's with no boundaries - absolute, definite. I tend to put everything I have into it and don't let anything or anyone get in between, except the people that truly inspire me.'' This new release is a masterpiece showing the versatility of both Ana Popovic's vocals guitar expertise.

Reviewed by Rick Davis

Low Down and Tore Up reviewed by David Stine

2012-01-09T05:59:00.000-08:00

Low Down and Tore Up

Duke Robillard Band

Stony Plain Records

www.stoneyplain

records.com

14 tracks/49:13

Duke Robillard can be likened to your favorite chain restaurant; he’s tasty, consistent, and even though his “menu” might change slightly from “meal” to meal, you know, pretty much beforehand what you’re going to be tasting. The only difference is Duke doesn’t tour much so he’s not everywhere. The Duke Robillard Band’s latest, Low Down and Tore Up, stays pretty much true to his established format: jump blues with some Chicago style thrown in with Duke on guitar and vocals, Bruce Bears on piano, Brad Hallen on bass, and Mark Teixeira on drums. Sidekick Sax Gordon adds tenor and baritone sax parts on all but thee cuts.

The disc starts with Eddie Jones’ (AKA Guitar Slim) “Quicksand.” Here we have a nice walking blues with interplay between guitar, sax and piano. No surprises, but if you’re a Duke fan do you really want any? The tempo picks up a bit for Eddie Taylor’s “Trainfare Home”; more piano, more sax and Duke’s signature fat guitar sound. There’s a nice “Got My Mojo Workin’” break in the middle. The next cut is titled “Mercy Mercy Mama,” another gem unearthed by Duke who is the master of little known blues finds. The standard blues framework is augmented with Bears’ New Orleans style piano giving the song a nice twist. “Overboard,” another find, is a great jumpin’ collision of vocals, sax and piano. If you can just sit and listen to tune you must be in a coma! Great fat guitar from Duke. This is where he lives and breathes, that sound that came out of guitars right after the big bands when venues and orchestras got smaller and smaller. The band slows it down, thankfully, for Pee Wee Crayton’s “Blues After Hours.” More tasty riffs from Duke and low down piano and standup bass. The drums are barely there. Oh yeah! Bartender, another drink please. Ready to boogie? John Lee Hooker’s “Want Ad Blues” is next. The signature one-chord romp is here with some added stops. Not known for his licks, any Hooker tune is wide open for interpretation by others. Duke does a nice job of staying true to the original and yet slapping his signature on this tune and yes, you can hear some John Lee in the guitar riffs. Dave Bartholomew might not be a common name to those who don’t travel to New Orleans, but he’s a giant among giants in that town. Duke’s rendering of Bartholomew’s’ “Do Unto Others” adds to Duke’s desire to expose lesser-known songwriters to his audience. Jimmy McCracklin, too, is not a household name but Duke’s take on “It’s Alright” might change all that. Yes, more formula here: sax, piano, jazzy guitar, and Duke’s bitten-off vocal phrasing. Remember, you came here for consistency. Song nine is Marcia Ball’s “Play With Your Poodle.” With less pounding piano, the listener is forced to pay more attention to the lyrics and coming from a male, this song is much more, well, suggestive. From the Elmore James vault comes “Tool Bag Boogie,” another swinging tune allowing Bear and Gordon to step into the spotlight. “What’s Wrong,” again, is a nice find. The “Hoochie Coochie Man” riff meets Duke’s big band sentiments somewhere in New Orleans. That’s my description and I’m sticking to it! “I Ain’t Mad At You” might be familiar to you but what stands out here, and throughout the disc is how much Duke can do with a small cast. You swear you’re enjoying a 10-11 piece band. Nice. Another in the “low down” bracket is the funny/sad “The 12 Year Old Boy.” Where does he find these things? The disc ends, as it began, with another Guitar Slim tune: “Letter For You Baby.”

The disc ends, as it began with the ensemble doing what it does best, deliver that the guests ordered: taste, consistency and satisfaction. Duke is productive, but he doesn’t change it up much. Maybe this is the secret to his success. Happy listening!

Reviewed by David Stine

Trying to Hold On reviewed by Mark Thompson

2012-01-09T05:57:00.000-08:00

Trying to Hold On

Diunna Greenleaf

Blue Mercy Records

www.diunna.com

14 tracks/58:12

For many blues fans, Diunna Greenleaf may be an unfamiliar name. But once you take a look at her resume, you find yourself puzzling over why more people haven't heard of this talented singer. She served for three years as the first woman president for the Houston Blues Society. For ten years, she was a vocalist for the Legendary Muddy Waters Band, which included other members like PinetopPerkins on piano, Bob Margolin on guitar and Willie “Big Eyes” Smith on drums. In 2005, Diunna and her Blue Mercy band won the award for Best Band at the International Blues Challenge sponsored by the Blues Foundation. Greenleaf has been nominated for numerous Blues Music awards, winning the 2008 prize for Best New Artist Debut. Her new recording makes it clear that she is one of the finest blues singers around.

Greenleaf chose to use some of her closest musical friends on this program of ten originals and three covers. The opening track, “Be For Me”, has Bob Corritore on harp, Margolin on guitar, Chuck Cotton on drums and Mookie Brill on bass. Greenleaf's powerful voice rides the loping rhythm while Corritore expertly provides accents with his harp. “I Can't Wait” is a simple tribute to blues music that Margolin's raw slide guitar turns into a houserockin' gem. Guitarist Chris James and Patrick Rynn on bass takes over for Brill on “I'm a Little Mixed Up”, a tribute to Koko Taylor as once again Margolin shines on guitar, Greenleaf's singing easily matching his intensity level. Corritore sits out on the title track, a tune that takes a hard, unapologetic look at the life of a blues musician and mourns the loss of legends like Perkins.

Fellow Texan Anson Funderburgh adds his distinctive guitar work to two cuts. “Sunny Day Friends” is a song Greenleaf wanted to record as a duet with Funderburgh's former musical cohort, Sam Myers. But Myers passed away before the session could be scheduled. Once again, her voice dominates the proceedings even with the addition of Ron Jones on sax and John Street on theHammond B-3 organ. Diunna gives another rousing performance on “I Got a Notion to Leave” with Funderburgh taking several tasty solos.

Other guests include Rich Del Grosso, who adds his mandolin to the acoustic gospel rendition of “Beautiful Hat”, and Smokin' Joe Kubek's stellar guitar work is delight on “Taking Chances”, which Greenleaf wrote for Kubek and his soon-to-be wife.

Diunna also explores her gospel roots. First, she gives a magnificent reading of “Growing Up and Growing Old” backed by sensitive accompaniment from Margolin and Corritore. Also included is a brief segment of Greenleaf's 102 year old grandmother, Sylvie Travis, singing “He Is Everything to Me” followed by Diunna raising her glorious voice unaccompanied in tribute on the same song.

Several tracks feature the Blue Mercy band with the slow-burn on “Double Dealing” presenting Greenleaf a chance to show her grittier side with guitarist Jonn Del Toro Richardson showing that he is the equal of the other guitarists on the project. Billy Branch sits in on the final track, “Cause I'm A Soldier”, a song Greenleaf wrote for at her brother's military funeral. She also served in the U.S. Army and you can hear the pride in her soulful rendition that pays touching tribute to all those who serve our country. She is the constant throughout the changing musical line-ups – her wonderful voice, compelling songs and strong performances make this a must-hear recording.

Reviewed by Mark Thompson

Runaway reviewed by Denny Barker

2012-01-09T05:50:00.001-08:00

Runaway

Samantha Fish

RUF Records

www.rufrecords.de

10 tracks/47:00

Fresh off her success on "Girls With Guitars", Samantha Fish has released a very good solo album "Runaway". Produced by Mike Zito, this CD features 8 original tunes, one
co-written with Zito, and a cover of Tom Petty's "Louisiana Rain".

"Runaway" opens with "Down In The Swamp", a hard driving blues tune with an edgy riff that is one of the many highlights on this CD. Following is the up-tempo title cut,
featuring some great guitar work and impressive vocal by Fish. The mood changes on cut #3, "Today's My Day", a very nice blues song showcasing Fish on slide guitar. Next is "Money To Burn", a laid back low key tune that starts slow and easy and slowly builds toward the end.

"Otherside Of The Bottle", is one of my favorite cuts. The song is a simple, whimsical
tune that shows Samantha's writing prowess, impressive vocal range, and her expertise on guitar. It's a great example of less is more - the guitar work, the simple bass line and drum beat fit this song perfectly. Next Fish and Zito team up on an upbeat rocker, "Push Comes To Shove", a nice tune, well done, but somewhat generic compared to the rest of the CD. "Feelin Alright", the CD closer, has a late night, smokey, jazzy feel that is somewhat of a departure from the rest of the CD, but works well as the final cut on a great set of tunes.

Ms. Fish and Mike Zito have put together an excellent CD that just gets better everytime I listen to it. Ms Fish seems to have it all. She writes good and interesting songs, plays great guitar and sings with a strong, confident, and impressive voice. I expect her to be around for a long, long time. To quote Samantha, "You can't runaway from the blues, don't even try".

Reviewed by Denny Barker

Steady Love reviewed by Steve Jones

2012-01-09T05:43:00.000-08:00

Steady Love

Maria Muldaur

Stony Plain Records

www.mariamuldaur.com

13 tracks

Let me say that any teenage boy who was about my age growing up that did not have a crush on Maria Muldaur after just listening to “Midnight At The Oasis” was either deaf or on their deathbed. That bias aside, Maria is a superbly talented singer who can make any song sound good. With “Steady Love” she has returned to the Crescent City and surrounded herself with a huge cast of over a dozen outstanding supporting artists and has produced a really great CD!

The title track has a great horn arrangement provided by the inimitable Jimmy Carpenter. Muldaur sings of what a “more seasoned” woman appreciates in her relationships. She growls and purrs nicely through this one; Shane Theriot adds a cool little guitar solo, too. The CD opens to the driving , stomping strains of Theriots guitar. Elvin Bishop’s “I’ll Be Glad” is a good vehicle for Muldaur to set the stage with- it jumps out at the listener and grabs them by the collar. The Bobby Charles standard “Why Are People Like That?” shows Muldaur at her bluesiest. Rick Vito penned “I Am Not Alone” and plays slide on it; the cut is a slow and grooving spiritual that Maria nails. “Walk By Faith” and “I Done Made Up My Mind” let Maria take the spiritual in musically different directions and succeeds each time. Muldaur takes us to church in “As An Eagle Stirreth In Her Nest” and makes you want to throw your hands up and dance. Percy Mayfield’s “Please Send Me Someone to Love” gets a sultry and sensual cover by Muldaur.

She gives us a great ride top to bottom on this CD. I really enjoyed it and you can see she had a good time putting it together in her performances. I liked this CD a lot. Her fans will love it and those new to Muldaur can see her bluesy side by buying this well done CD!

Reviewed by Steve Jones

From Timbuktu to the Mississippi Delta reviewed by Mark Thompson

2011-12-05T12:52:00.000-08:00

From Timbuktu to the Mississippi Delta

Pascal Bokar Thiam Ed.D.

155 pages

Cognella, division of University Readers, Inc.

www.pascalbokarthiam.com

The front cover of this book states the author's intent - “How West African Standards of Aesthetics Shaped the Music of the Delta Blues”. It is a noble intent, to cover the history of major African nations, cross-continental trade that facilitated the sharing of many things including music plus 350 years of slave trading that forcibly brought millions of Africans to North America. Bokar Thiam makes the effort but comes up well-short of the mark.

Here are some of the issues with the book:

– While the book has 155 pages, there is actually less than 50 pages of text including the introduction. The rest of the book is filled with pictures, maps and dead space. Given that the author is attempting to cover a span of history that covers many centuries, the amount of space dedicated to the book's topic is woefully inadequate.

– A number of the maps in the book are slightly out of focus, making it difficult to read some of them. With all of the printing technology available today, there really is no reason not to have sharp images throughout the book, like the map found on Pg. 25 of the empire of Ghana during the medieval period.

– Several pictures are used multiple times. The cover has a small photo of Taj Mahal playing the banjo. The same image is on Pg. 16 with a caption identifying it as Taj Mahal. When the photo appears again on Pg. 152, it is identified only as an African American playing the banjo. Images of the painting “Old Plantation” depicting slaves making music and dancing are found in close-up on Pg. 76 and in a wider view on Pg. 136. Other photos that appear twice include Basekou Koutate playing the ngoni (Pgs. 15 & 132), Papa Diabate performing on the kora (Pgs. 15& 102), Mandinka dancing (Pgs. 18 & 69) and a Diola musician playing the akounting, a stringed instrument (Pgs. 110 & 152).

– Bokar Thiam writes with a scholarly tone that can make it a difficult read for the average person. There are sentences, like the one to start Pg. 80, that fill an entire paragraph of 7 ½ printed lines. His description of the “swing” rhythm in West African music seems to be written for music majors (Pg. 79).

– The author repeats certain facts and/or concepts repeatedly throughout the book, sometimes on the same page. Example – Author references the the unclear origins of Blues music in the second paragraph on Pg. 130, then restates the same info in the first line of the next paragraph.

On the plus side, the numerous photos of instruments, artifacts, sculptures and cravings help illustrate the authors points regarding different African cultures. His description of the oral tradition of transferring knowledge is interesting, particularly when the author discusses the secrecy involved in protecting the accumulated wisdom. Bokar Thiam states that we still do not fully understand the theorems the Egyptians used to build the pyramids. He adds “.., one can rest assured that the Greeks and the Romans would have built pyramids twice the size as those found in Egypt” had they gained access to the mathematics and physics knowledge required.

Included with the book was a recording entitled Savanna Jazz Club, featuring the author on guitar and vocals in a straight-ahead jazz format. The supporting cast includes well-known drummer Donald “Duck” Bailey on several cuts and a rhythm section comprised of four Senegalese percussionists on a set list heavy with standard tunes like “Donna Lee” and “I'll

Remember April”. Bokar has a fleet-fingered style that meshes well with the percussion. Other solo honors go to Dr. Karlton Hester for consistently entertaining saxophone work. The final track, “Road Blues”, is a swinging example that marks the end result of the musical assimilation process that the leader tried to cover in his book.

The author is offering a signed copy his book on his website for $50. Even if his cd is included, the price is too steep for a product that reads more like a expanded outline for a book rather than a thorough, finished product.

Reviewed by Mark Thompson

No Lie reviewed by Mark Thompson

2011-12-02T09:55:00.000-08:00

No Lie
Sanctified Grumblers
Self-released
www.sanctifiedgrumblers.com
17 tracks/54:17

Crossroads members should certainly be well-acquainted with Eric Noden from his frequent trips to Rockford over the years to participate in our Blues in the Schools program as a solo artist or with his musical counterpart, Joe Filisko. This project finds Noden in his familiar roles as lead singer and songwriter for half of the tunes. He also plays guitar and banjo guitar. He shares the spotlight with the multi-instrumentalist Rick Sherry, who plays washboard, harmonica, guitar, banjo guitar, clarinet and kick drum in addition to handling some of the lead vocals and composing five of the songs. The band is filled out with Beau Sample on bass and jug plus Mike Hogg on sousaphone. Additional support comes from Jim Becker on fiddle, saw and mandolin – Tom V. Ray on banjo & ukulele – and Mike Reed on drums.

As you can tell from the list of instruments, the Grumblers play music in the old-time string band style, with Hogg's sousaphone giving a nod to the New Orleans brass band tradition. Up-tempo tracks "Stump Grinder" and "Ramblin, Ramblin, Ramblin" give the group a chance to show that, given a chance, they'd have no problem filling the dance floor. Noden's delicate guitar lines play off the booming sousaphone on "9 Bar" while Sherry and Noden do a vocal duet. The insistent beat and Noden's expressive singing make "Broke & Dead" a standout track. Sherry's mournful harp and Becker's fiddle playing dance around the vocal line to great effect.

The Mississippi Sheiks are one of the Grumblers main influences. They cover a Sheiks tune, "Jailbird Lovesong" with fiddle and banjo featured behind Sherry's lead vocal. "Stain on the World" takes a humorous look at the people who claim to see miraculous images in things like toast or bedsheets. Sherry, the founder of Devil in the Woodpile, is a magnificent washboard player, spinning out dazzling rhythms on cuts like the the instrumental "Push Reel" and on the band's theme song, "EZ Ridin' Grumblers", with Noden once again taking vocal honors. "I Hate You Gin" is well-played the band but it exposes Sherry's vocal limitations. The New Orleans connection is highlighted on "SG Blues" with Sherry's clarinet adding charm to the cut.

Along with groups like the Carolina Chocolate Drops and the South Memphis String Band, the Sanctified Grumblers are doing their part to fuel the renaissance of pre-war blues and jug band music. These guys really have a knack for the older styles – and they don't forget to have fun along the way. If you're yearning for a break from the standard electric blues format, No Lie is a fine introduction to a band that will bring a smile to your face and set your feet to tapping.

Reviewed by Mark Thompson

Gospel Blue reviewed by Mark Thompson

2011-12-01T13:30:00.000-08:00

Gospel Blue
Brick Fields
Self-released
www.brickfieldsmusic.com
10 tracks/48:15

Based out of Eureka Springs, Arkansas, Brick Fields is a six member band lead by the husband and wife team of Rachel a & Larry Brick. The group is unique in several ways. First, the nine tunes written by the couple have lyrical content heavily influenced by their Christian faith. Next, Rachel Brick plays flute -an instrument rarely associated with blues - on several tracks. The final defining characteristic of this ensemble is Rachel's magnificent alto voice that is capable of turning anything she sings into a memorable experience.

“On the Vine” opens the disc with Rachel joyfully espousing the value of holding on to the promise from Jesus that love will grow through the hardest times if we keep our faith. Larry, Rachel and Rain Equine combine their voices on a beautiful acappella segment to open “In the Light of Love”. Rachel's flute serves as a counterpoint to her dynamic vocal and Casey Terry accentuates the arrangement with one of his engaging sax solos. Larry's sensitive acoustic guitar accompaniment on “Hopelessly Addicted” serves as a springboard for more of Rachel's earthy vocalization on love in it's many forms.

The rhythm section of Johnny Ray on bass and Caleb Bomar on drums create a funky backbeat on “Talk About the Weather” while Terry delivers another solid tenor sax solo. Rachel can barely control her passion as she sings about the impending final reckoning on “These Are the Days”. The band slows the pace on the ballad, “How Long”, which is not the classic blues tune but an original that finds Rachel interspersing tender moments with emphatic statements that blur the lines between the secular and spiritual realms. Another highlight is “Cryin'” as Rachel pours her heart out over the misery of life with Randy Fairbanks on organ adding depth while Larry plays a short but dramatic guitar solo.

“Go On with the Soul” finds Rachel as she utilizing every facet of her powerful voice as it dips and soars through the gentle gospel ballad. Larry's tasty guitar work and Terry's sax stand out on the up-tempo workout “Lord I'm Coming Home”. The lone cover is the gospel standard “Amazing Grace”. The band uses a bluesier arrangement which surprising falls short of energy and conviction found on the rest of the disc, although Fairbanks on organ adds some sense of church.

Those of you who might be put off by the references to God, Jesus and religious beliefs should know that the lyrics on Gospel Blue are not always overt statements of faith. The songwriting often blurs the separation of the heaven and earth, so that the material can be enjoyed no matter what your beliefs. And once you hear Rachel Brick lift up her voice, it really doesn't matter what she is singing about. Her voice will comfort and soothe you while the band gives her expert support. If you enjoy outstanding singing, you need to check out this recording.

Reviewed by Mark Thompson

Boom! reviewed by Mark Thompson

2011-11-28T11:38:00.000-08:00

Boom!

Tom Hambridge

Superstar Records

www.tomhambridge.com

11 tracks/38:00

Tom Hambridge has captured the attention of the blues world through his work on Living Proof, Buddy Guy's last release. Hambridge was the producer, drummer and songwriter for this project that has captured numerous Blues Blast and Blues Music awards, including Song of the Year honors for the title track.

His latest solo recording finds Hambridge enlisting the services of several Nashville-based musicians – guitarist Rob McNelley and keyboard wizard Kevin McKendree from the Delbert McClinton band plus Tommy MacDonald on bass. Their expert assistance allows Hambridge to explore all of his musical interests while maintaining a consistently exciting sound.

“Upside of Lonely” takes a humorous, tongue-in-cheek look at the advantages of being single with McNelley's taut guitar licks sparking the basic blues rhythmic pattern. On “Never Gonna Change”, Hambridge sings with authority while guest Mark Jordan pounds the piano and McNelley plays slide guitar with a dirty, nasty tone that makes this track another highlight. Hambridge switches to a lighter country-rock sound on “The Best in Me” before demonstrating his mastery of the current country music sound on “I Got Your Country Right Here”, complete with soaring vocals, raging guitars and references to several of the classic southern rock bands. “I Keep Things” has bright, ringing guitar parts that echo the Tom Petty sound as Hambridge runs through some his important possessions.

The band channels the Rolling Stones sound on “Two Thumbs Up”, a spirited, straight-ahead rocker about a woman with star quality. McNelley once again sets the pace with his outstanding playing as Hambridge's vocal leaves you wondering just what exactly are his intentions. “The Pistol” tells the tale of death, stolen money and a lifetime of looking over the shoulder, waiting for retribution. The full-blown arrangement features an insistent beat from Hambridge and lots of guitars while McKendree on piano fills in any open spaces. Each band member gets to stretch out a bit on the driving instrumental “Bangin' Around”. The reflective “Things I Miss the Most” finds Hambridge yearning for his loved ones back home as he deals with the rigors of life on the road. McKendree's pumping piano propels the ramped-up tempo for “I Had a Real Good Time”, with Hambridge once again showing his skill as a rock-n-roll singer.

Despite his success, Tom Hambridge has no intentions of limiting himself just to blues music. And the world is a better place for that decision as Boom! is an outstanding rock-n-roll recording. Hambridge and friends wrote a engaging batch of songs that his veteran band brings to life in performances that will burrow into consciousness and stay there for days. When was the last time you listen to a recording like that? Highly recommended !!!

Reviewed by Mark Thompson

Hoodoo Man Blues reviewed by Mark Thompson

2011-11-28T09:13:00.001-08:00

Hoodoo Man Blues

Junior Wells' Chicago Blues Band, featuring Buddy Guy

Delmark Records

www.delmark.com

26 tracks/63:03

The best-selling title in the Delmark Records catalog, Hoodoo Man Blues presents an actual Chicago blues band recorded in all of its glory without an concerns about commercial potential. The album has long been considered a essential classic of modern electric blues, in no small part due to the presence of two legendary musicians. Among the many accolades it has received is the 2008 induction into the GRAMMY Hall of Fame.

Delmark owner Bob Koester let Junior Wells dictate the direction and tone of the sessions. It proved to be a wise decision as Wells dominates with his hard-edged vocals that add a dose of south-side funk to the proceedings. His dynamic harp playing shows that Wells learned plenty when he replaced Little Walter as a member of the Muddy Waters band. Originally billed as “Friendly Chap” on the initial album pressing due to contractual concerns, guitarist Buddy Guy proves he was the ideal partner for Wells. His clean, jangly rhythm lines are an integral part of the band's tough, hardened sound. When Guy's amp failed at the start of the sessions, engineer Stu Black ran Guy's guitar through a Leslie speaker normally used for the Hammond organ. It resulted in an unusual tone that added another unique quality to the album.

The latest version of this classic features the original twelve tracks plus six alternate takes, including three of “Yonder Wall”. There is one unissued cut, “I Ain't Stranded” and seven brief segments of discussion during the recording sessions. The crystal clear sound lets you hear every note, making it clear that the rhythm section of Jack Myers on bass and Billy Warren on drums laid down a solid foundation for their more famous colleagues. The stunning gatefold package designed by Kate Moss at Moonshine Design includes a sixteen page booklet with updated liner notes and eight unpublished photos from the studio, one of which is the lone shot of Guy.

As you listen to this classic, it is hard to believe that it only took seven hours of recording for the band to create classic performances like the three Wells' originals, “Snatch It Back and Hold It”, “Ships on the Ocean” and the brooding slow blues, “In the Wee Wee Hours”. They prove to be equally adept at

at updating classic songs in their modern (for that time) style. Wells adds an extra layer of bravado to “Good Morning Schoolgirl” before the band roars through a lightning-quick rendition of “Hound Dog”.

On the title track, Junior's confident vocal rides over Guy's otherworldly guitar tone while the Kenny Burrell instrumental, “Chitlins Con Carne”, allows Wells to demonstrate his mastery of the harp.

Whether or not you already own a copy, this remastered version offers enough additional material to justify your purchase of the latest edition. Voted a Desert Island disc by Living Blues magazine, you can't go wrong with two blues legends captured in their prime, at the start of a partnership that brought both musicians international acclaim. Hoodoo Man Blues is a defining moment in the blues tradition – no collection should be without it.

Reviewed by Mark Thompson

Holler and Stomp reviewed by Mark Thompson

2011-11-28T09:10:00.000-08:00

Holler and Stomp

The Cash Box Kings

Blind Pig Records

www.cashboxkings.com

12 tracks/41:01

It is getting harder and harder to find a hardcore blues recording amidst the steady stream of releases that promise blues but deliver rock music with faint blues influences. Thankfully, the Cash Box Kings celebrate their new association with the Blind Pig label by delivering a recording that is full of authentic, Chicago-style electric blues that is sure to excite blues fans around the world. The rotating line-up of the band is anchored by Joe Nosek, Oscar Wilson and Kenny “Beedy Eyes” Smith, who keep the music suitably grounded in the blues. The rest of the participating musicians are all highly regarded veterans who bring a wealth of experience to the group.

Check out the driving rhythm on Nosek's original “Fraulein On Paulina”, a musical tribute to sweet-loving woman from the northside of Chicago. Smith sets the pace on drums with help from Jimmy Sutton on bass. Joel Paterson lays down a swinging guitar solo followed by some fine harp from Nosek. The band brings the sound of the Louisiana swamp to the southside as singer Oscar Wilson goes off in search of his woman and some hot links on another original, “That's My Gal”. The easy-rolling groove on “Barnyard Pimp” recalls the Jimmy Reed style and features a call-and-response between Wilson's robust vocal and Nosek's echoing harp lines.

On “Feel Like Going Home”, the band captures the deep blues sound that defined the Muddy Waters legacy, primarily due to Wilson's eerie recreation of Muddy's vocal style while Paterson lays down plenty of nasty slide guitar licks. The buoyant rhythm of the title track frames a strong vocal from Nosek and more of Paterson's stellar slide guitar work. The proceedings shift to country blues on the instrumental “Hayseed Strut”, with Billy Flynn on mandolin and Barrelhouse Chuck on piano getting solo space. Both men regularly perform as members of the Cash Box Kings. Nosek pays tips his hat to a regular visitor to southside Chicago clubs on the closing track, “Tribute to the Black Lone Ranger”. Smith lays down one of his patented shuffle beats while Nosek threatens to blow the reeds out of his harp.

The breadth of the band's musical interests comes to light in their choices of tunes to cover. Wilson's exhilarating singing and Barrelhouse Chuck's Farfisa organ spark a rendition of an early Rolling Stones cut, “Off the Hook”. Sutton's high-pitched voice takes the lead on a rocking version of RaySharpe's “Oh My Baby's Gone”. A remake of Hank Williams “Blues Come Around” retains the country influences while some dazzling piano from Barrelhouse Chuck and a spirited solo from Paterson inject an equal amount of blues feel to the performance. Wilson's earnest singing on Lightnin' Hopkins “Katie Mae” is another memorable highlight.

This is one of those discs that will find a permanent place in your cd player. Even though the musicians change from track to track, the Cash Box Kings maintain a consistently high standard of performance throughout the disc. Equally impressive is their varied approach, expertly mixing various aspects of the blues genre into an outstanding collection. This one deserves your undivided attention – and comes highly recommended !!!

Reviewed by Mark Thompson

AWARE reviewed by Mark Thompson

2011-11-28T09:07:00.000-08:00

AWARE

Trent Romens

New Folk Records

www.trentromens.com

10 tracks

The debut recording from this eighteen year old from the Twin Cities quickly establishes that Trent Romens is a compelling vocalist and songwriter who also is a skillful guitarist. At times, it is hard to believe that Romens has only been playing guitar for seven years, His music displays a maturity typically found in more experienced musicians.

On his covers of two classic songs, Romens shows that he has absorbed plenty of lessons from the blues tradition. His blazing slide guitar work invigorates “Going Down Slow”. He switches to acoustic slide on “Key to the Highway”, his aching vocal capturing the longing in the lyrics.

The rest of the playlist is filled with original tunes. The brief “Material Blues” is a haunting number with strong backing vocals from Cate Fierro and Shalo Lee. The crunching rhythm on “Right Back Where I Started” provides the springboard for more high-energy slide work from the leader.

The rest of the tracks contain some blues influences but are predominately rock tunes. “With You” features Toby Marshall on the Hammond organ and Allman-esque guitar work from Romens. The rhythm section of John Wright on bass and Jordan Carlson on drums navigate the shifting tempos on “Stimulate Me” while Romens some arena-rock guitar licks. The gentle, lilting rhythm on “Hey Now” closes the disc with Romens contemplating the future of mankind.

There are plenty of hotshot guitar players out there looking to break out to wider audience. Trent Romens provides some evidence that he may possess talent and skill that could lift him above the crowd. It will be interesting to see how his career develops as he straddles that spot where rock and blues music intersect. In the mean time, there is enough blues content on this release to warrant a visit to Romens website to give his material a listen.

Reviewed by Mark Thompson

Real Good Friend reviewed by Steve Jones

2011-11-23T12:39:00.001-08:00

Real Good Friend

D’Mar & Gill

Airtight Productions

http://www.cdbaby.com/
cd/dmargill

10 tracks

D’Mar & Gill are two accomplished musicians who got together and to tour and put this CD out and I am a little intrigued by it. Chris Gill is a slide guitar wizard and D’Mar is a big-time percussionist. They don’t have their own web site but I stole this info from their Facebook page: “Derrick D'MAR Martin has toured as the lead drummer for Little Richard for the past sixteen years. D'MAR pairs his energy and magnetism with bluesman Chris Gill. Gill gained knowledge of the blues firsthand from Bentonia legend Jack Owen, with whom he spent days on the porch pickin' and nights soakin up the blues at the Subway in Jackson, Mississippi. Both performers are accomplished solo artists in their own right and bring the wealth of their experiences two this musical partnership made in heaven. The skill and energy of D'MAR mixes with a greasy slide from Gill for songs that come straight from the soul of their home -- Mississippi.” They also competed as a duo in the 2011 IBC this past January.

Okay, so now we all know who they are, but what is this record all about? It’s an acoustic/resonator steel guitar player and singer who is deeply based in the blues who is accompanied by a percussionist who offers up a variety of styles and instruments that go back to even traditional African sounds. Frankly, the highest points of the recordings for me were the percussion work by D’Mar. It is gripping and quite interesting. Chris Gill is a more than adequate guitar player and vocalist, but the beating of the skins is unique and quite cool, and D’Mar also sings backing vocals. The overall sound is not what you’d expect of a Delta based acoustic duo due to D’Mar’s congas and other somewhat extraordinary drums (at least in this setting).

The duo offer up nine original cuts and one cover, Willie Dixon’s “My Babe”. It is a bit disconcerting at first to hear the congas doing the lead in for this familiar song, but once you get over that it was kind of interesting. The original cuts are ok. I think they are set up well to show their talents on guitar and percussion. They aren’t anything really new and completely different, but they are good. The vocals throughout are also good but sometimes left me wanting a bit more. Gill’s guitar work is excellent, but it’s the drums that keep you listening. I can’t say I have ever said that about any blues song let alone a complete album of them.

If you are an acoustic blues fan who likes to hear a new twist on things, this may be the CD for you. For damn sure this CD is different; these two guys are talented. It’s worth a listen if acoustic blues and traditional African percussion are your thing.

Reviewed by Steve Jones

Send Me No Flowers reviewed by Rick Davis

2011-11-21T13:47:00.000-08:00

Send Me No Flowers

Connie Lush

Wolf Records

www.connielush.com

11 Tracks

Connie Lush is one of the finest blues singers to come out of the United Kingdom in recent years. Voted Best UK Female Vocalist by the readers of Blues in Britain five different years places her in an elite group of blues artists. In France, she won European Singer of the Year beating all the of the competition in the French Blues Trophies awards for 2002. Connie has one of the most incredible blues voices you will ever hear. Her powerful vocals are the UK's answer to a combination of Etta James and Tina Turner.

Her new CD Send Me No Flowers is also a testimony to her talent as both a singer and songwriter. She wrote or co-wrote six of the eleven cuts on the CD. Joining Connie on her latest studio album are Terry Harris on bass, Peter Wade on guitar, Nick Skorecki on Keys, and Mikhael Weizman on drums. The album opens with a slow Doc Pomus tune "Lonely Avenue" featuring superb slide guitar solos by Peter Wade backing the explosive vocals of Lush. Her powerful vocals and Wade's slide guitar continue with a song written by Connie "Morning Blues." She continues with another one of her tunes "Crying Won't Help You" this time with a soulful, sultry voice demonstrating the versatility of her repertoire. Her third self-penned song, the title track "Send Me No Flowers," really rocks! "Take The Stars" written by both Wade and Lush is a slow acoustic tune with features guitar solos also showcasing Nick Skorecki on the keyboard. The CD continues with a rockin' gospel "Jesus On The Mainline" and moves to the deep soulful blues tune "I Could Have Had Religion." This powerful blues band would outperform the competition on the Lush/Harris tune "Queen." They follow up with another slow, deeply soulful Mize/Allen tune "(You Keep Me) Hangin On." The next tune is a traditional almost New Orleans style gospel tune "Nobody's Fault." This collection of superb music concludes with a mysterious, haunting tune written by Lush and Skorecki "Yeh Yeh I Know You."

I found Connie Lush & The Bluesshouter highly entertaining on their CD Send Me No Flowers. Here is one for your blues collection. We could only hope for a blues festival performance here in the United States.

Reviewed by Rick Davis

Live In England reviewed by Harmonica Joe Poluyanskis

2011-11-21T13:44:00.000-08:00

Live In England

Hamilton Loomis

Ham-Bone Records

www.hamiltonloomis.com

14 tracks/72:48

“Live In England” was recorded at Famous Monday Blues in Oxford, England and Liverpool Marina in Liverpool. This whole recording is the real deal without overdubs allowed anywhere. Maybe this is how all music should be recorded.

If you are not familiar with Hamilton Loomis, this recording will give you insight to who he is and what he is all about. Loomis is a multi-instrument player, including guitar, bass, keyboards and harmonica. Besides all of this he is a charismatic, intense, animated blues singer as well as a fine song writer. This man is just one plateful of blues.

Hamilton had a great mentor in BoDiddley. At the age of 16 he was given the chance to show his stuff to BoDiddley. He must have done this well as this relationship turned into a longtime friendship as well as having a musical mentor. This shaped the direction that his music was going to follow. Other influences for him include BB King, Joe “Guitar” Hughs, Clarence “Gatemouth” Brown, Albert Collins and Johnny “Clyde’ Copeland. You can go to www.hamiltonloomis.com for more information.

Joining Hamilton on stage is the very talented Stratton Doyle playing his powerful style of saxophone, keyboards and adding vocals. Bringing on the bass line is Kent Beatly, who also adds some great bass solos to the mix. The steady-ready drummer on the recording is Jamie Little who also adds vocals. Along with HL this band is one tight, talented music machine.

After a short introduction, “Live In England” opens with a really outstanding instrumental piece. “Pull Strings” is almost five minutes featuring the musical talents of these powerful band members. This selection is bluesy, funky, jazzy and just plain good to listen to. Stratton Doyle, on sax, walks us into the music world of the Hamilton Loomis Band with his outstanding solo. Doyle is one of my favorite sax players to see perform on stage. This sax solo sets the stage for Hamilton to show us where his guitar skills are coming from. The mix of these two playing back and forth is very entertaining. While on this track, the drum beat from Jamie Little is very present as well as Kent Beatly’s bass line is holding everything together. This tune is a great way to start out a blues CD.

“Bo Diddley” opens with the all familiar Bo Diddley beat. Hamilton plays his Diddley style guitar on this tune and lets us know that he paid attention to his mentor and friend. His vocals are well phrased with the music and have that real a blues quality to them. Stratten Doyle jumps into the mix adding some of his keyboard talent to the tune. This track is a real hit for me!

“Workin’ Real Hard” is the tale of the guitar man playing his music. He is just “workin’ real hard, doing nothin’ at all” and “playing music all night, having a ball”. This is the blues guitar man’s life. Hamilton gives us a full blown sample of his guitar skill on this tune while pumping the audience to join in with him. This song is another keeper from HL.

“Live From England” is one fine example of Hamilton Loomis’ vast talent and love of the blues. He comes to entertain the fans every time that he is on stage. Putting this all together with the powerful band joining him makes Hamilton Loomis “Live From England” a real listening pleasure to me.

“Ain’t Just Temporary” Hamilton Loomis “Blind Pig Records” - 11 Tracks 49Minutes 18 Seconds

While talking about Hamilton Loomis, I want to take time to mention another of his fine recordings. “Ain’t Just Temporary” was released by Blind Pig Records in 2007. Hamilton Loomis showcases his many talents on this one also. Most of the tunes on this CD were written or co-written by Hamilton Loomis. Almost all of the music is performed by HL. This includes guitar, harmonica, bass, keyboards, organ, drums as well as the vocals. This man is very multi-talented.

“Ain’t Just Temporary” opens with “Best Worst Day” a tale of a relationship that is just not right. The lyrics, “she takes everything that I’ve got, I can’t stand it but I can’t stop”, “she makes me crazy, it hurts my mind but it feels so good that I just keep coming back” still after all this, “it is the best worst day of my life” tells us a real blues story. Loomis gives us insight into his song writing ability here. The song starts with Trevor Root on drums walking us into Hamilton’s guitar lead right into the vocals. Besides HL”s guitar, keyboards, bass and vocals we are presented really saxophone playing from Vince Palumbo. This is a good tune for me.

“You Got To Wait” features Bo Diddley on guitar and vocals with Loomis. This is quite fitting to have his mentor and friend record this tune with him. This song features some great lyrics about taking your time will make it better. I assume that this relates to playing the music. You can take the lyrics where you want. Hamilton plays some awesome slow blues on this tune. The interaction between the two players here is very interesting. This is what the blues are about.

“Ain’t Just Temporary” is a blues project well done that does the many talents of Hamilton Loomis justice. I really like and will listen to this CD more than a few times

Reviewed by Harmonica Joe Poluyanskis

That’s Why I Don’t Sing The Blues reviewed by Steve Jones

2011-11-21T07:47:00.000-08:00

That’s Why I Don’t Sing The Blues
Bobby Messano
Prince Frog Records
www.bobbymessano.com
10 tracks

I met Bobby via our Crossroads’ Facebook page. After chatting for a while, he sent me a copy of his CD to listen to and review. I must admit that I along with other members of Crossroads get a lot of solicitations to listen to and review CDs; I work so as not to be skeptical and keep an open mind in all cases. So when this album arrived in the mail I popped it in my stereo and was pleased to have been very impressed from start to finish. This is one heck of a rocking blues CD!

Messano had a hand in all but one song, the other being a Jimmy Hendrix cover. The songs are not overstated, they are balanced and well-arranged. Messano’s vocals and guitar are spot on. Steve Geller provides support on bass, Joey B Banks is on drums and none other than our own local boy Jimmy Voegeli is on a variety of keyboards along with the Jimmy’s trio The Amateur Horns (Pete Ross on alto sax, Chad Whittinghill on trumpet and Bryan Husk on tenor and bass sax).

Messano blends blues and rock into a well-presented fusion of sounds. Opening up with a couple of more traditionally blues songs in “More Than Meets the Eye” and the title cut and then slipping into a more rocking mode for few cuts feels comfortable. But then he falls completely back into the blues with the “Gypsy Eyes” Hendrix cover using a beautiful acoustic slide- a touch of genius! He then blisters through a rocking cut entitled San Antone, gives us grooving some slow blues in “My Life in Bags”, and then switches through in a boogying country blues with “Nickels and Dimes”. He finishes up the CD with a very interesting cut called “Pride of the Cockney Rebels”. When I saw the title I expected a grandiose take on rocking blues like the Who, Moody Blues or even Emerson Lake and Palmer. I was pleasantly surprised with a really nice mid-tempo rocking blues with hot guitar and B3 interplay by Messano and Voegeli.

I was really impressed by this CD- Bobby has laid down 9 super original tracks and an inspired cover. He surrounded himself with some great musicians and has produced an exceptional CD- I really recommend this one!

Reviewed by Steve Jones

Wisdom reviewed by Steve Jones

2011-11-20T18:22:00.000-08:00

Wisdom

Susan Angeletti

Self-Released

www.susanangeletti.net

7 tracks

It seems more and more that the albums we get to review are a stretch from what we’d call traditional blues and in some cases not even blues at all. This album falls in that latter category. It’s really a rock album, but it’s one helluva rock album. Angeletti’s vocal wail and scream in a stylistic manner similar to the stratospheric offerings of Heart’s Ann Wilson. Bruce J. Korona’s guitar is wickedly rocking in the manner of many of the 80’s rockers but adds his own original twists. They are both talented individuals and their sound is very big and very tight.

“Eye to Eye” verges on blues but really is more aptly classified a rock ballad. The title cut is rock that has a bluesy tinge, but again it’s very cool rocker. “Got To Have You Baby” has some call and response, but in a rocking setting. “Rock Me Right” (another nice song written by Tom Hambridge) opens with a blistering rocking beat and atmospheric vocals which continue into “Hypnotized”. “Knock On My Door” goes more in a Journey/Heart does rockabilly direction, but it’s cool with a bit of a blues rocking boogie beat. “Myrtle Beach” is a mid tempo rocker that Angeletti also handles well. Angeletti wrote or co-wrote the rest with Korona and delivered a nice set of rocking tunes.

There are a lot of contributors on this CD adding to the big, rocking sound. Ted Wert’s keyboards added some nice depth and sound to the album and the two “Polish Pauls” (Dawicki and Dabrowski) are super in their rocking back line support. Produced by Jim Fogarty (who also appears on piano, acoustic guitar and backing vocals), the CD has a nice balance and mix. The only complaint is that it is just 7 songs covering a meager half hour. It is a wild half hour ride as Angeletti delivers her blistering vocals with an equally burning guitar and supporting cast. Hot, rocking stuff for fans of that genre!

Reviewed by Steve Jones

Tales from Lenny's Diner reviewed by Rick Davis

2011-11-20T18:15:00.000-08:00

Tales from Lenny's Diner

Sabrina Weeks & Swing Cat Bounce

Self released

http://swingcatbounce.
shawwebspace.ca

11 Tracks

If you haven't heard Sabrina Weeks & Swing Cat Bounce prepare yourself for the most dynamic west coast swing blues band of the year and a blues voice that will capture your soul! Sabrina is on of those gifted blues singers that could successfully handle any tune written. She has been performing professionally over 20 years. At live performances, Sabrina is a natural entertainer captivating her audiences with her stage presence. She has shared the stage with such performers as Colin James, Powder Blues, and Steppenwolf. Their debut CD Tales from Lenny’s Diner reached #1 (#12 overall) on the Roots Music Report Blues Music charts. "Top of the Charts" report rated the CD in the top 100 new releases in 2010/2011. The CD is currently receiving airplay throughout the world. The rest of the stellar musicians on this album are Mike Hilliard (lead guitar), Ed Hilliard (drums), Ken Sell (bass), and Bill White (rhythm guitar). These artists are all very well known both locally and nationally, and have at least 30 years each of musical experience. Additional artists include, Dave Webb (keyboard), Linda Kidder (BG vox), Vince Mai (trumpet), and Jerry Cook (saxes).

From the opening track, "Boogie Downtown" to the closing notes of the last track, "Independent Woman", Tales From Lenny's Diner delivers some of highest caliber tunes that I have heard for a long time especially for a debut album. The production of the CD was handled quite well , by Jack Lavin, of the Powder Blues Band and recorded at the Crying Light Studios in Vancouver. "Boogie Downtown" and "Fingers In My Pocket" deliver a high-spirited, commanding set of swing numbers guaranteed to keep your feet moving in every direction. "Something's Got a Hold On Me," an Etta James tune, opens with a great gospel sound, sliding smoothly into a rollicking tempo. "Thinking Of You" features some of the best guitar solos on the CD, combined with Sabina's irresistible, alluring vocals. Sabrina & Swing Cat Bounce will send a shock wave through you as they open with "Bad Boys" showcasing this powerful swing blues band. Sabrina slows it down with sultry, steamy, vocals captivating you with "Detour" along with a torrid sax solo and background vocals. The band delivers a stormy big band blues sound on "Ain't My Time To Sing the Blues." Sabrina returns with seductive vocals on "All That Love." She captures the female audience belting out tunes "Wrath of Mom" and "Spend a Little Time" completing the album with the female anthem "Independent Woman."

I think you will agree that this swinging boogie blues band stands out as one of the best in the blues world today. It is easy to see why Sabrina & Swing Cat Bounce is receiving the national recognition after listening to Tales From Lenny's Diner.

Reviewed by Rick Davis

If I Don't Got You reviewed by Steve Jones

2011-11-02T11:11:00.000-07:00

Nov

If I Don’t Got You

Matthew Curry

Self Released

www.matthewcurry.com

9 tracks

Every time a new teenage act comes around with any sort of talent, the blues world seems to get all agog. Few of them really inspire me to spend more than a passing moment listening to them, or if they achieve their potential they transition over into the rock scene and forget the blues that made them famous. In this case I think we really have something different. Matthew Curry transcends the hype and performs, sings, and writes extraordinarily well. He and his team produce music like highly talented and seasoned professionals. To use a perhaps over-used expression, I really think he IS the real deal.

What I like about Matthew Curry is pretty much everything he does; a mere 16 years old yet he has great “feeling” to his work. He does not overstate his case. The guitar notes have air and space between them, even when he goes out on the big, solo riff. The vocals are gritty yet tight and precise. He has soul and really feels the blues. And added to all of that are the arrangements; they include a brassy horn section and keyboard that add depth and richness to the overall sound. Seven great originals followed by two stunning covers make up this CD.

The CD opens with the title track, a rocking song with a funky and soulful sound. Curry shows us he can sing, play and arrange great songs right off the bat and sets the stage for an exceptional introduction to his music. The horn section adds a lot to this track, making it sound even better but not over the top. Curry next moves into “New York City Blues”, where he trades some licks with the keyboard and delivers some extremely awesome guitar solos while delivering very nice vocals. “Storm’s a Brewin” is a hot instrumental track where Curry channels a little of the Allman Brothers’ Dickey Betts sound (or maybe even some classic Marshall Tucker Band-styled licks), but he is original and creative; this is not a “copy cat” sort of track. He is showing us what he does best- write and play awesome songs built on a theme and then takes them in his own original direction. He gives us some big riffs and licks but (as I stated before) they are not overdone. The restraint and artistry comes into play and we see talent that truly belies his age.

“Walk Out The Door” is next up, and Curry again treats us to some atmospheric stuff yet remain bound in the blues and not in some mega-rock sort of mode. The organ here plays a nice counterpoint to Curry’s guitar and the song just rocks from beginning to end. Matthews’ vocals are also tight- he sells the lyrics with his great intonation and fire in his voice. On “Hear The Highway” Curry takes us on another fiery ride, where he tells us the story how he wants to hit the road and bring his blues to the world, and I believe him. This kid is committed to his craft and his roots in the blues sound deep and firm. The guitar here is driving and flaming hot. The tone and timber slow way down on the next cut, “Blinded By The Darkness”. This is the longest track on the CD by far at over seven minutes. What is cool is that the song does not drag- Matthew delivers slow blues to us in a manner that makes you just sway back and forth to and ask for more. The horns play a big part again, adding their charm and depth once again. The tenor sax solo is poignant, and the organ solo is also super. Doug Daniels provides support is on sax just for this tracks and he is just great. Curry’s vocals and guitar are truly “real”, too. Slow blues done wrong can be just awful; here we have slow blues done right, with a great mix of musicians who support each other quite well.

The last original cut is the song “Dancing To The Blues”, with a driving beat and wickedly hot guitar solos. The first seven cuts were all originals and are exceptionally good. The last two songs are covers and they also amazed me. Curry delivers a spectacular take on Charlie Patton’s “High Water Everywhere”, giving it a New Orleans sort of sound with slide guitar that immediately made me think of Sonny Landreth. The almost demonic drum and bass lines are in the style of Landreth’s “Congo Square” and the slide work is just impeccable and impressive. Curry amazed me even more here with this creative cover than on his original cuts with his unique approach to Patton’s song. The last track is a more straight-up cover of Warren Hayne’s “Soulshine”. It is done in more of an Allman Brothers/Government Mule style, but Curry gets creative with the horn section adding a great dimension to the cut. Curry sells the vocal solos with a strong showing and his guitar work emulates the style of Haynes, but his delivery is in a slightly more up tempo mode than the original, which gives us Curry’s unique spin on this while paying homage to the original at the same time.

Curry’s band “The Fury” are exemplary. Randy Hoffman on guitar, Greg Neville on drums and back-up vocals and Jeff Paxton on bass and back-up vocals are superb support for this young star-to-be. They are flawless in their work with Curry. Erik Nelson on keyboard and organ is also outstanding. I noted Doug Daniels’ support on sax on the one track above, but Jim Kozak plays the sax on the rest of the CD and he is no slouch, either. Mark Babbitt on trombone, and Greg Hensel and Charlie Mueller on trumpet really add to this body of work, and backing vocals by Karyl Carlson, Nel Erikson and Robin Willis all make for a great sound. Nelson and Carlson also serve as the CD’s co-producers and, as I’ve noted, do a stellar job making the sound and blend of musicians seamless and full bodied- well done!

I usually try to give constructive criticism when I hear new artists. In this case I am somewhat speechless. All I can say and hope is that Matthew Curry stays true to himself and his blues back ground. He is real, he is good, and he is not some Stevie Ray Vaughn wanna-be. I thoroughly enjoyed this album and I highly recommend it! I can’t wait to see this great young artist live!

Reviewed by Steve Jones

To Behold reviewed by Steve Jones

2011-09-19T09:03:00.000-07:00

To Behold

Monkey Junk

Stony Plain Records

http://monkeyjunkband.com

10 tracks/43 minutes

What would happen if you took the smooth funkiness of John Nemeth and mixed it with the raw, primal energy and sounds of Lightning Malcolm and Cedric Burnside? Why, you would, of course, get Monkey Junk.

Three guys from Ottawa, the home of the Senators and a traditionally rabid hockey town. They came together in 2008, produced a first CD in 2009 and now this new one from June 2011. Monkey Junk is Steve Marriner (vocals, harmonica, keyboards, guitar), Tony D (lead guitar), and Matt Sobb (drums). Monkey Junk is hot. Screaming hot. White hot. I love these guys and the sound they have. I am so glad to have finally discovered them and I want to hear more.

The CD opens to a driving beat that perhaps hearkens even as far back as to prehistoric times. Driving, throbbing drum beats, big guitar sounds, scorching harp and poignant vocals; "Mother's Crying" grabs your lapels and says "Dammit- listen to me!" and you just have to, over and over again. It is a call to arms and just great stuff. They change up the tempo with Hank William's "You're Gonna Change (Or I'm Gonna Leave)", and, while slower, the swamp gets thicker and grabs you some more until you just can't get out. And where else have you ever heard the word "peaved" used well in a song if at all? Seminal stuff. I love this song and it's tribal thumping, exceptional vocals and lyrics, hot guitar and harp; as Keith Jackson used to say, "Whoa, Nellie!"

Did I mention there is no bass player? A little baritone guitar is thrown into the mix, giving a deep resonant sound to back things up, but like Hounddog Taylor no bass is needed.

Track 3 is funkier, darker, some what brooding, and just impressive. "Right Now" is one of nine originals here. "Let Her Down" follows and if the last song was brooding then this one is downright depressing, yet one just gets caught up in the emotion. The feelings these guys express in their music are superb and sublime. In "With These Hands" they stay in the swamp but take things up into the world of the living. A love song, done in a style that really reminded me of John Nemeth. Classy vocals, packaged nicely and professionally with the band's outstanding backing work.

"You Don't Know" is big, driving and rocking blues. It builds and builds into a finale of cajun hot stuff. Then comes "While You Are Mine", a swampy ballad served up like it should come with cornbread on the side. They give us "Running In The Rain" next, another driving, throbbing tune. It's sort of a mix of country, blues and maybe even a little Gospel sound served up with Spanish Moss dangling down the sides. "All About You" is a gritty, slow cut showing the band's "tender" side. As if Marriner's vocals were not enough, the guitar and organ sell this one big time. They finish up with "The Marrinator"; it begins as a stripped down, acoustic piece with raw harp, then it goes over to the electric side for a rousing run to the finish line.

I'm sold- these young guys are great. I want to see and hear them play live. You do, too. Trust me on this. They are a great band who will be taking the blues world by storm! Kudos to Stony Plain for promoting this great band and their hot blues sound!!!

Just A Dream reviewed by Rick Davis

2011-09-19T09:02:00.000-07:00

Just A Dream

Moreland & Arbuckle

Telarc Records

www.moreland-arbuckle.com

12 Tracks

If you have never seen or heard guitarist Aaron Moreland and harpist/vocalist Dustin Arbuckle, combined with superb drums of Brad Horner, you are missing one of the best young trios in the blues business today. Their music will have your heart pounding with the powerful hard-driving guitar of Moreland, the raw vocals and electrifying harp of Arbuckle, and the pulsating drum beat of Horner.

The Kansas blues group met at an open-mic jam in Wichita, Kansas, in 2001. Moreland, who had been influenced at an early age by groups like Led Zeppelin, Creedence Clearwater Revival, Black Sabbath, Charley Patton, Motley Crue, finally decided on staying with traditional blues. Arbuckle, deeply in tune with the Mississippi Delta blues, was intrigued with harpists Little Walter and Sonny Boy Williams and guitarist Son House. Moreland joined Arbuckle’s blues rock band just a few months before the group dissolved, then the two started a quartet called the Kingsnakes, which Arbuckle describes as “electrified Mississippi blues mixed with a sludgy, jam-oriented rock thing.” This eclectic group could be best construed primarily as a soul, country, funk, jam rock, and blues group. Horner joined in 2003, left for a period of time, returning in 2006. By then Morland and Arbuckle had decided to continue to lay down tracks on their own. Moreland's signature guitar sound is created using conventional Telecaster, steel, and Les Paul guitars, but that early 1900 Delta bluesman sound comes from a hand-crafted four string cigar box guitar with one string feeding into a bass amp and the other three feeding into a guitar amp.

Their lastest CD Just A Dream, is a follow up to their last Telarc CD Flood which included the hard drivin' tune "Legend Of John Henry" along with 12 other blues treasures! Just A Dream, a CD Morland and Arbuckle spent a lot of time producing, opens with the two most powerful tunes "The Brown Bomber" and the highly charged "Purgatory." Moreland and Arbuckle have created a great distorted sound with a little slide guitar on both tunes. There is a high quality sinister video available on the internet of the tune "Purgatory." The title track "Just A Dream" give us just a hint of county blues with almost a southern rock style guitar with incredible harp and vocals from Arbuckle. "Travel Every Mile" offers a slow haunting sound with subdued background vocals once again showcasing both artists. They continue with a Tom Waits tune "Heartattack & Vine" a song they frequently do live. "Troll" moves into an almost psychedelic rock mode with a 60's sounding keyboard throughout. "Gypsy Violin" is a tune of silent thoughts blended with a 60's background. "Shadow Never Changes," with it's thought provoking lyrics, has a mystical underlying tone, combined again with subtle keyboards in the background, much like a Pink Floyd tune. "Good Love" brings back that early Delta sound by both Moreland and Arbuckle. Arbuckle starts "Who Will Be Next" rockin' on harp, a song sounding much more like a typical traditional blues number. "So Low" give you classic rock guitar sound typical of the 60's. Moreland and Arbuckle conclude this collection with a contribution by Steve Cropper of Booker T. & the M.G.'s on "White Lightnin'," with Cropper providing guitar riffs throughout the song.

What a follow up to the last brilliant CD Flood ! Moreland sums it up by saying, “This is the best record of our careers…” I’m not sure listeners would survive anything better, but I’d bet they’d give it a go.

Reviewed by Rick Davis

In The Light reviewed by Bob Haendler

2011-09-19T08:59:00.000-07:00

In The Light

Susan Wylde

Sun, Moon & Stars Entertainment

www.susanwylde.com

12 tracks/48 minutes

Susan Wylde has attracted much attention in Canada where she is a classically-trained conservatory graduate. This work is a pleasant mix of original songs and covers. When thinking of ways to describe this CD words like “smooth”, “mellow”,”laid back” came to mind. Yes, there is a definite jazz atmosphere produced but still some very good blues. Susan’s song writing and piano are top-notch. Her supporting cast of remarkable musicians make each song a joy to listen to: Dave Morrow,Denis Keldie, Martin Aucoin- keyboards, Jack deKeyzer, Pete Schmidt- guitar, Alec Fraser- bass, Rick Donaldson- drums, percussion, Colleen Allen, Turner King- tenor sax, Dave Dunlop- trumpet, coronet, Jerome Godboo, Paul Reddick- harmonica, and Jasmine Bailey- backing vocals. These all are mentioned because the “band” was flawless and are a large contribution to the CD.

Tracks that stand out :

One Real Man original shuffle

Love Me All Night Long original

Three Hours Past Midnight Johnny”Guitar” Watson cover

In The Light original

Georgia On My Mind Hoagy Carmichael cover

The last two songs are covers of The Thrill Is Gone and At Last. These songs done in Susan’s laid-back style left me thinking that the thrill was indeed gone. There was nothing bad in the songs, but if you are going to cover a classic song give it your own twist or angle. She did not convince me with these selections. The CD would have been improved by dropping them.

At the end of the day this is an easy listening blues CD that I really did enjoy. Drop it in your player, pour a glass of wine and relax.

Reviewed by Bob Haendler

Crazy Sun reviewed by Rick Davis

2011-09-19T08:58:00.000-07:00

Crazy Sun

JT Coldfire

Entertainment One Music

www.jtcoldfire.com

13 Tracks

Another Texas guitar slinger has hit the blues scene. JT Coldfire, not really new to the blues world, has been playing professionally for over 15 years across the United States and Europe. Born in Corpus Christi in 1980, Coldfire became a blues fan at an early age. He has gained the reputation in the blues world of being one of the most dedicated musicians in Austin. JT has been known to play three shows a night, never repeating the same song in a nine hour stretch. His experience as a singer/songwriter/guitarist/producer has gained him recognition as one of the standouts of the new blues generation. He has been compared to Stevie Ray Vaughan, Freddie King, Muddy Waters, and B.B. King but has really developed a style all his own.

His previous CD title was Coldblooded released in 2010. JT has since released his most recent CD titled Crazy Sun, a superb collection of his riveting vocals combined with lightning and acoustic guitar styles. The CD also reflects a wide range of different blues tunes from acoustic style "Pistol Lead," "Lower The Ladder," "Mr. Jones," and "Sweet Little Isa" to the jazz piano style tune "She's Crazy." His versatile guitar style and songwriting changes with "White Collar Street Life" blending well with Banzai LARocca on harp. The title track "Crazy Sun," and the tune "I Won't Never Go" shows Coldfire's ability to tear up the fretboard much like the late Stevie Ray Vaughan. He includes the hard drivin' Texas style shuffle "No Time For Sleepin" midway through the CD. "Johnny's Gone," "Hangin' Tree", and "Lee Malone" best express JT's incredible versatility as an both an accomplished singer and guitar player. He even includes the honky-tonk blues number "Bad Day" to add a little more variety to a captivating collection of blues.

Crazy Sun is one of those blues albums you simply can't stop playing. No two songs sound the same. You owe it to yourself to put JT Coldfire in your blues collection!

Reviewed by Rick Davis

An Old Rock on a Roll reviewed by Mark Thompson

2011-09-19T08:56:00.000-07:00

An Old Rock on a Roll

Kenny “Blues Boss” Wayne

Stony Plain Records

www.kennyblues-boss.com

www.stonyplain-records.com

13 tracks/53:59

The title of this disc alludes to the age of the “Blues Boss”, but you'll have a hard time believing that Kenny Wayne is 67 years old after you hear this outstanding recording. Playing with the energy and enthusiasm of a younger man, Wayne romps through a bakers-dozen of original tunes that showcase his strength as a songwriter and his boogie style of piano playing. He has an engaging style of singing that conjures up memories of Charles Brown and Amos Milburn.

His backing band is lead by ace guitarist Duke Robillard, who also produced the project. The rest of the musicians are drawn primarily from the alumni list of Roomful of Blues – Mark Teixeira on drums, Doug James on baritone sax, Sax Gordon Beadle on tenor sax, Doug Woolverton on trumpet, Carl Querfurth on trombone and Brad Halle on bass. In addition to piano, Wayne adds some organ on several cuts.

The jaunty rhythm on “Searching For My Baby” makes it an easy choice for the opening track with Robillard's guitar offering strong support for Wayne's spirited piano solo. With the horns and organ filling in the space behind him, Wayne describes his attempts to deal with life's travails on “Fantasy Meets Reality”. Robillard's guitar dominates the arrangement on “Devil Woman”, his penetrating licks contrasting nicely with Wayne's laid-back vocal. “Wild Turkey 101 Proof” is a good-natured drinking tune with Wayne and Robillard sharing the solo space.

Other highlights include the title cut, with Wayne offering a summary of his view of life and career - and “Don't Pretend”, a slow blues that gives Wayne ample space to show off his tremendous skills on piano. The relentless drive of “Heaven, Send Me An Angel” underscores the songwriter's plea for relief from an alcohol-fueled rage over the miseries of this world. “Bring Back the Love”is a ballad with the horns cushioning the leader's tender vocal. The band harks back to the days of house rent parties on “Rocking Boogie Party”, with Wayne laying down plenty of dazzling piano runs.

The band slips into a gospel vein on the instrumental closing number, “Give Thanks”. Wayne pounds away on the piano and adds swirling chords on the organ while Robillard picks out more tasty licks.

It is a fitting close, showing the depth of Wayne's musical experiences. There are some who have lamented the future of blues piano due to the recent passing of Pinetop Perkins. Not to worry – the tradition is safe in the capable hands of the Blues Boss. This one is a contender for best Blues recording of the year and should not be missed.

Reviewed by Mark Thompson

Lit Up reviewed by Harmonica Joe

2011-09-19T08:55:00.000-07:00

Lit Up

Victor Wainwright & the Wildroots

WildRoot Records

www.wildrootr-ecords.com

14 tracks/ 53:17

Victor Wainwright & the WildRoots new CD, “Lit Up”, is a great follow up to their debut release “Beale Street to the Bayou”. This recording was produced and arranged by Stephen Dee. Dees along with Wainwright wrote the tunes on “Lit Up”. Greg Gumpel and Weston Bradigan each co-wrote a song also. Both Dees and Wainwright are diverse song writers. This project is a swell mix of blues, blues rock, Cajun boogie and some swing feel.

Victor Wainwright plays powerhouse blues on his boogie piano throughout “Lit Up”. His vocal range is big, powerful and raspy with a true blues sound and feeling. He can also bring it down for the slow blues. Stephen Dees takes on the roll of a fine bassist as well as being an acoustic guitar player. Joining Victor and Stephen forming the WildRoots are an awesome list of musicians. There is really a lot to listen to in “Lit Up’. Greg Gumpel brings on the electric as well as the resonator guitar to the mix. Billy Dean drives the drum line; Patricia Dees is on saxophone along with Ray Guiser who also adds his feel with the clarinet.

This fine band also adds a swell list of guest musicians to “Lit Up”. The list here includes Charlie DeChant on sax and clarinet, Chris Stephenson on the Hammond B3 organ, Bob Dionne adds the trombone and also Ken Titmus is brings his trumpet to the mix. Another powerful addition to this recording is Mark “Muddyharp” Hodgson. Mark’s harp playing seems to not just play the same thing that most harp players do. This is a special treat for us harmonica fans. As you see from this line up of musicians there is going to be a lot going on in this CD.

“Coin Operated Women” is a catchy, fun song that showcases Wainwright’s barrelhouse piano style. This is what a boogie piano should sound like. This is some hard charging piano. Added to the mix are really good sax background and solos with some really good blues lyrics. “I’ve got a coin operated women – I drop in my coin – She won’t be satisfied till she takes everything I got”. This is the blues, a fact of life.

Victor brings the mood down a bunch with “Pile of Blues”. “Maybe I could change what I do and give up the booze” kind of tells us the tale of this track. Victor’s raspy vocals stand out here. Mark “Muddyharp” Hodgson’s very tasteful harmonica is outstanding in this song. Add Greg Gumpel’s resonator guitar and this song truly is a “Pile of Blues”.

Lit Up” from Victor Wainwright & the WildRoots is one of those recordings that I could go on and on about with nothing bad to say. There are 14 tracks of blues that will leave you wanting to hear it again. Check this group out and enjoy. This is a keeper!

Reviewed by Harmonica Joe

The Late Show reviewed by Bob Haendler

2011-09-19T08:54:00.000-07:00

The Late Show

Barry Levenson

Rip Cat Records

www.barryleven-son.com

15 tracks/1 hr 17 min

If you love blues guitar (and I do ), this CD is a must have. What a terrific platform for showcasing Barry Levenson’s immense talent. With 10 of the 15 tracks being instrumentals one would think that your ears would grow tired from being assaulted by wailing guitar. Definitely not the case here. Levenson plays with the clarity and simplicity of knowing what notes “not to play”. Add in guest vocals like Finis Tasby, Mary Williams and Johnny Dyer and they have created a joy to hear. We get good old West Side Chicago blues as well as tunes that will bring Stevie Ray’s Riviera Paradise to mind. Barry’s love affair with his Fender guitars has seduced me into falling in love with his playing.

This CD is highly recommended.

Reviewed by Bob Haendler

Strictly Whatever reviewed by Steve Jones

2011-09-19T08:52:00.001-07:00

Strictly Whatever

Harry Manx & Kevin Breit

Stony Plain Records

www.stonyplain-records.com

12 tracks/43 minutes

Manx and Breit are two Canadian masters of things stringed and they offer an assortment of instruments and sounds here that will captivate those looking for a modern variety in style and sound. While not a true blues album there are elements here and there that will give blues fans something to chew on and the rest will satisfy anyone with the love of interesting music.

Baritone and electric, baritone, electric and National Steel, lap slide and electric, baritone and electric sitar, electric and National Steel, lap slide and ukulele, banjo and electric, baritone and mandolin, and mohan veena, lap slide, acoustic and electric guitars are the various combinations of instruments offered by these two talented guys. They fuse blues, jazz, rock, folk, world music, and Indian music into a body of delightful sounds while sharing the vocals back and forth (and occasional together) on the CD,

The boys penned ten of the songs themselves. The CD begins with a cover of the classic "Sunny" with Manx singing and the baritone guitar deeply bleating behind a stinging electric guitar lead and a little National Steel filler. I was intrigued when I heard this, and did not really know what to expect given the mix of instruments listed. They then get a little driving and rocking on "Nothing I Can Do", folky and funky on "Looking For A Brand New World", psychedelic on "Hippy Trippy", and kind of country bluesy on "Mr Lucky". So five songs into the album and they were all over the genres of music.

The next two tracks are new age and new age meets the blues and heavy metal. "Note to Self" could be something right out of the Windham Hill songbook and "Do Not Stand and Weep On My Grave" is a very cool tune written by Mary Elizabeth Frye with a heavy guitar line overlaid on new age sounds. Ukulele predominates "Little Ukulele", a folky and fun track. "There Was a Girl" is a country rocker with Breit laying some bottle neck out nicely on the guitar solo. On "Looking for a Plan" they sing of life’s troubles and pleasures, with lyrics commenting on our lives while they rock with a fuzzy sound. "Dance With Delilah" is a bouncy track with bone crunching mohan veena along with electric and acoustic guitars and lap slide. BIg, bad, cool sounds there. They close with "Carry My Tears Away", a sorrowful ballad with mandolin rounding out the soulful sound.

Ok, so it ain't exactly blues, but it is very interesting and I think the variety of stringed things played at high level with interest most blues, rock and country music fans. The songs have great stories and the variety of stylistic play coupled with all sorts of guitar work make this an very strange and fun ride. Stony Plain has put out a variety of interesting stylized albums over the years and they continue to offer different music than will make you sit up, listen, and think a bit as you enjoy them.

Reviewed by Steve Jones

Blue and Instrumental reviewed by Steve Jones

2011-09-19T08:51:00.000-07:00

Blue and Instrumental

Ivan Appelrouth

Eller Soul Records

www.ellersoul-records.com

15 tracks/62 minutes

Ivan Appelrouth has played for thirty years in both the New England stomping grounds of the likes of Duke Robillard and Roomful of Blues as well as in his home state of Virginia. He has put in his time and earned accolades among those who have heard his guitar work. He put together a CD with a dozen "original" songs and three covers, all instrumentals. The sound is authentic blues and the musicianship here is excellent by both Applerouth and his band.

Joining Ivan on the CD are John Cocuzzi on piano and vibes, Dave Cwiklinski on trumpet, Tommy Hannigan and Steve Potter share duty on bass, "Big" Joe Maher on drums, Steve Ott on B3, and Chris Watling on sax. This is a well-synched band with a great sound. They all play off well on each other and add bits and pieces of interest to the mix.

The CD is a lot of fun to listen to and you can tell these guys like to play together. The biggest complaint I have is that Appelrouth's "original" songs are just tribute pieces where he's rearranged many of the blues greats stuff into nice little packages he's produced. It's not a rip off or anything- he lists his stuff as tributes to T-Bone Walker, Magic Sam, Albert King, Junior Wells and others. It's good stuff, but from my perspective it really is an album of covers/medleys. That being said, it is still a lot of fun and it had my foot tapping.

Applerouth doesn't remain in the box here. He tries to put his spin on things; he even messes with the tempo to jazz things up as in the very up tempo first of his Magic Sam take offs, "Tribute to Magic Sam". The tempo is very upbeat and swinging, not what one would expect them hearing Sam's magical riffs. The next time through he goes the other way and the tempo is way slower than Sam's. The band adds solo after solo to show they are not slouches either, tightly jamming and playing through each tribute.

The out and out covers are Albert Collins' "Frosty", a nice “Strollin' with the Bone" and the weakest link on the CD which a kind of lounge lizardy sounding "Strangers On the Shore" with some heavy organ that really did not sell me. He is at his best laying down the Carl Hogan/T Bone Walker/Chuck Berry riffs in his Walker tributes. He really wails. The opening and closing "Olsen Ranch Shuffles" also are tight pieces with great guitar work and great sax solos.

Overall, it's a nicely done album. If you want to hear regional bluesmen put their spin on classic blues sounds with the focus on the instruments and no vocals, this might be your cup of tea. The guys are talented and Applerouth can really play the guitar. There is nothing new here, but there are some talented guys playing their hearts out. Applerouth is an excellent guitar player and does not go to the excesses like many do- he plays with restraint and has a great feeling for the music. I enjoyed listening to this CD.

Reviewed by Steve Jones

Medicine reviewed by Steve Jones

2011-09-19T08:49:00.000-07:00

Medicine

Solomon King

JLM, Inc.

www.solomonking-music.com

10 tracks/28 minutes

Of the two new albums entitled "Medicine" on the market recently, this pales to insignificance behind the new issue by Tab Benoit. The music and sound is raw, the songs are not impressive and the minimalistic mix of a guitar playing vocalist and drums just doesn't cut it. Couple all that and less than a half hour of music makes this one an easy one to pass up.

Kings is pictured in SRV-like regalia on the CD cover. Any similarities to the long deceased Mr. Vaughn end there. King plays and sings in a very rough and edgy style, adding effects to make it even more distorted and edgy. It does not work. It just sounds forced and fake.

The opening song is the title cut and is perhaps the high point of this CD. Slow and downbeat, the song is like a barbiturate laden ride on the periphery of the blues. King's voice cracks and he tries to be earthy and bluesy; it almost works but I really did not enjoy this. It goes downhill song by song, with a muddy sound and bad effects. The lowest point is the closing cover "Be My Baby": It's a depressing ride and the only saving grace it that the song ends quickly and the CD is over after this.

I try to find something good to focus on for my reviews, but there is nothing here to grab hold of. Maybe I missed the bus on this one, but it's edginess just sounds bad and the musicianship is not of the highest quality. A lot of work needs to be done to get this act up to snuff.

Reviewed by Steve Jones

The Mighty Mojo Prophets reviewed by Harmonica Joe

2011-09-19T08:45:00.000-07:00

The Mighty Mojo Prophets

Rip Cat Records

Mighty Mojo Prophets www.mightymojo-prophets.com

www.ripcatrecords.com

13 tracks/45:22

The Mighty Mojo Prophets is an excellent Southern California blues band. This CD “The Mighty Mojo Prophets” is their debut recording released by Rip Cat Records. As soon as this CD is placed in a player you realize that you are in for a real blues experience. This band was formed in 2007 and played local clubs, blues festivals and have even opened for Elvin Bishop. Tom “Big Son” Eliff, lead vocalist, and Mitch Dow, guitarist, are the base for the band. These two also the main song writing force for the recording. The rest of the band consist of bass player Scott Lambert, Johnny Minguez beating on the drums, while Alex “Lil” Woodson joins in with his harp. This mix of blues player’s presents their style of West Coast blues to us while maintaining a quality of “high-powered” old school blues. This whole group plays well together.

“Evil Sometimes” starts out with “Lil A” walking into the song with some ear grabbing harmonica. We are quickly aware of “Big Son” and his well tune blues vocals. This opening song is upbeat and lets us be aware that we are in for a musical treat. We should pay attention to Goodson’s harp solo on this tune. This is a good song to introduce us to The Mighty Mojo Prophets. That is a mouthful, maybe I will say The MMP Band .

“Night Train”, treats us to some slow blues featuring Mitch Dow’s distinctive guitar playing. His guitar work on this tune is really some fine stuff. Also in the mix is the subtle distorted harp playing from “Lil A”. His harmonica solo here really is an earful of blues. This track, for me will be one of my top of the list tunes. “Friday Night Phone Call’, an upbeat West Coast, swing, jump type, tune featuring two guitar solos from guest player Junior Watson. These really highlight this song. Eliff and Dow’s lyrics tell us a tale of a phone call about a love gone band and over. This is what the blues is about.

“Mighty Mojo Prophets” has a big list of guest players adding a whole bunch of goodness to this recording. There are two fine harmonica players, Johnny Mastro and San Padro Slim and guitarist Junior Watson and Scott Abeyta. Also joining the band are Whiteboy James with vocals, Eddie Esudillo playing sax and Edo Guidotti playing the organ. This mix of musicians is one powerful addition to the CD! This is not a minus but The Mighty Mojo Prophets seems to be very capable of standing on its own. It is really hard to review this and point out the fine merits of the band with all of the other powerful artist involved.

“The Mighty Mojo Prophets” is one awesome recording! This band will move forward and become a force behind the blues scene in the future. This is a CD that I will highly recommend listening to.

Reviewed by Harmonica Joe

Triple Threat reviewed by Mark Thompson

2011-09-19T08:43:00.000-07:00

Triple Threat

Joe Krown, Russell Batiste Jr., & Walter “Wolfman” Washington

Self-released

www.joekrown.com

12 tracks/70:12

Some years ago the Bullseye Record label released a compilation with the title Ain't No Funk Like New Orleans Funk, a phrase that soon showed up on t-shirts in shops throughout the city. There has always been a strong element of funk throughout the various strains of the New Orleans musical tradition and now three renown musicians return with their second release that highlights the deep grooves that are unique to the city.

Joe Krown played keyboards as a member of the great Clarence “Gatemouth” Brown's band. He is one of the hardest working musicians in NO, whether playing solo piano in the House of Blues gift shop on a Saturday afternoon, playing solo piano or leading his Organ Combo in one of the clubs. He sticks with his 1958 Hammond B-3 organ on this project, using it to supply the bass line in the absence of a regular bass player while filling plenty of musical space with dazzling runs and slinky rhythms.

Russell Batiste Jr. comes from one of the legendary New Orleans musical families, learning to play the drums at an early age and developing a style that brings the the traditional second-line beat into the modern era. His standing as a first call drummer is apparent from the list of top NO bands that he has played with – Papa Grows Funk, Harry Connick Jr. and the Funky Meters. Batiste is also a skilled songwriter, contributing three instrumentals on this project.

Walter Washington has been one of the most celebrated musicians in New Orleans, with a career that stretches over five decades. As a teenager, he toured with singer Lee Dorsey (“Working in a Coalmine”) before adding his guitar to the band backing Irma Thomas. He also worked another acclaimed singer, Johnny Adams, who mentored Washington on becoming an accomplish vocalist. Since striking out on his own, the Wolfman has has served up a rich mixture of soul, blues and jazz elements that give his music its distinctive sound.

Seven tracks are instrumentals and all are worth repeated listens. Batiste Jr.'s “Rollin' With Big Pat” is a joyous musical celebration with Washington's clean, bright guitar tone offering a nice contrast to Krown's darker organ tones. The title track features an insistent beat from Batiste and some fleet picking in a jazz vein from the Wolfman. Krown delivers a smoldering performance on “Dame Dreaming”, with Washington adding another spirited guitar solo. “Down By the River”, a Krown original, will put some bounce in your step and finds the organist utilizing the melody from Stephen Foster's “I Dream of Jeannie with the Light Brown Hair”.

Washington handles the vocals on five tracks, stretching his phrasing of the lyrics on “Last Two Dollars” and putting his wide vocal range to good use on “Only You”. Some of the lessons Washington learned from Adams are illustrated on the moving interpretation of the ballad, “For Your Love”. The title track of one of his first solo projects, “Out of the Dark”, gets an intensely emotional reading that makes it another standout track.

If you haven't explored the wealth of infectious grooves that NO musicians have been producing for decades, grab a copy of this recording - plug it & turn it up - and prepare yourself for a master class in what makes New Orleans music special.

Reviewed by Mark Thompson