Cotton Field of Dreams reviewed by Mark Thompson

Cotton Field of Dreams

Albert Bashor

Earwig Music Co.

www.earwigmusic.com

14 tracks/57:59

It took nineteen years but Albert Bashor finally has a recording out on Earwig Records, Michael Frank's label. The two had discussed the possibility of working together in 1993 when Bashore

 was a member of the acoustic duo 32-20. But the plans never came to fruition and Bashore went on to a career that ranged from playing drums for Root Boy Slim & the Sex Change Band to doing session work for blues producer Bob Greenlee at his King Snake studio.

The setlist is comprised of original material by Bashor, who handles the lead vocals and plays acoustic guitar. One song, “Rockin' Red Rooster”, was recorded by Lonnie Brooks for his Alligator release Roadhouse Rules. The songwriter's version features Forrest Rodgers on slide guitar and Ron Holloway on tenor sax with Bill Payne of Little Feat fame adding some spice on piano. Payne switches to organ on “Tater Diggin' Woman”, creating a funky mode for Bashor's exuberant vocal. “So Blue” features a sultry duet with Bashor sharing the spotlight with Shay Jones on a acoustic number that displays some jazz influences, a point driven home by Holloway's blistering solo.

On the title track, Bashor makes an attempt to imagine the thoughts of early bluesmen has they struggled to plot a way out of the back-breaking manual associated with King Cotton. The dark, harrowing tone generates the appropriate backdrop for Bashor's melancholic singing. The leader gives listeners a glimpse of his storytelling skill on “Poodle Ribs Story”, guaranteed to give you pause the next time you contemplate ordering some BBQ. The associated song has a jaunty rhythm and more fine work from Holloway.

Some of the tracks have a strong musical foundation but suffer from generic lyrics. The opener, “Jukin' Down on Johnson Street”, has Bashor looking back seventy-five years to the day David “Honeyboy” Edwards first met Robert Johnson. But the promising storyline line never really goes anywhere with the second verse simply a roll-call of famous blues singers. The band digs into “Fetch Me”, with rocker Pat Travers delivering a meaty solo. But the repetitive lyrics diminish the impact despite Bashor's energetic attempt to make them relevant. “No Place Like Home” is a travelogue that mentions the familiar spots like New Orleans, Memphis and the Mississippi Delta. Bashor regains his footing on the humorous “Seeing Eye Dog Blues”, featuring some outstanding country blues harp from Michael Frank.

Three songs - “One Last Time”, “High On Your Love” and “Lucky Man” - are love songs that fall into a gentler folk-rock vein. I found myself picturing Ricky Nelson – Garden Party era - singing the first tune. Nothing wrong with the performances but they are a marked departure from the rest of the cuts.

Besides the previously mentioned musicians, additional help comes from Mike McConnell on guitars, Larry Jacoby on bass and Willie Hayes on drums. The varied, well-played program shows that Albert Bashor refuses to be plugged into some narrow stylistic vein. Time will tell how listeners will respond to this solid representation of his musical vision.

Pimento Project reviewed by Denny Barker

Pimento Project
The Blue Olives

Self Released
www.blueolives.com
5Tracks,/22:38

The Blue Olives latest release PIMENTO PROJECT, the bands 4th album, is a very well done set of self penned original tunes. A large group, seven members, with a big sound, the Olives are much more than just a blues band. They are a group of seasoned musicians who have done a nice job of combining blues, rock, funk with a touch of jazz, reminiscent of B S &T. Creative writing, varied themes and strong vocal performances from four of the bands members have combined to produce an interesting and entertaining CD

The disc opens with a nice blues tune SEE YOU SMILE well done with some great sax work to compliment the fine vocal work from keys man Todd Phipps. The second track, Three Hour Tour, is a clever tune based on the cast of Gilligans Island. Although somewhat of a departure from the norm, it shows the bands willingness to have some fun and do something different, a fun listen and one of the highlights of the CD.

Tracks three and four demonstrate the vocal prowess of. Baseman Johnny Payne who says WERE DOING THE BEST WE CAN and he hopes YOU'RE FEELIN THE BEST YOU EVER HAVE. An upbeat happy tune that says MUSIC HAS THE POWER TO MAKE YOU MOVE.

The closer I WON'T LET YOU GET AWAY AGAIN is by far my favorite cut on this CD. Featuring two lead vocalists, it's bluesy, jazzy and easy going with some great muted horns that compliment the fine vocals from saxophonist Joan Herzing and keyboard man Todd Phipps. I have listened to it a dozen times and I still want more, a great finale to a fine piece of work from the Blue Olives. If you have not seen and heard them live, be sure to catch one of their shows soon. Based in Madison, they perform regularly in the Wisconsin and Northern Illinois area and can be seen frequently at the Chicago House of Blues. PIMENTO PROJECT, a fine CD, get one soon and enjoy.

Always and Never reviewed by Steve Jones

Always and Never

JT Coldfire

Crazy Sun Publishing

www.jtcoldfire.com

10 tracks

Guitar pandemonium is breaking out and it is breaking out right here in the 1’s and 0’s imbedded in this CD– holy cow!  The blues meets rockabilly meets cowboy country meets rock and then some!

This Austin boy is smoking hot.  All original cuts penned by Coldfire, I am very impressed with this effort.  Cool little songs; the accompanying literature calls the mix “eclectic” and there is no denying that!  I really enjoyed this stuff.

It really is country along with the  blues, but it’s both, mixed up and done well, except when he’s at 100 mph doing rockabilly (which is also quite good). “Party Lovin’ Papa” is pure rockabilly and the opener “Get it On (in the Back of the Bar) mixes all three types of music. “it’s Alright With Me” rocks out like a George Thorogood tune, again mixing up genres.

The blues  comes on strong as he opens with hot Chicago licks to open “Rather Die In My Sleep”.  “”Toast to a Bluesman” gives us the blues with some clipped vocals and a slow and cool groove along with another classic intro on guitar.  “I’m the Best Thing You Ever Had” is more hot blues, served up slow and full of spice; the guitar is sultry and sweet here! “Tell me Mama” gives us more of the hot, slow blues, mixing guitar and hot harp licks.

On the country rocking side are “Tired Man’s Blues;” it’s blues but it has some accordion and swagger to the country side of things.
Let’s Go for a Drive” has some great bluesy harp and sultry shared vocals with Anna-Carin Borgdtrom, a nice mix of country and blues. “Feelin’ the Music” is acoustic cowboy country, with too much liquor, hangovers, and a good twang to it.

Also on the CD are Roland “Woe” Guajardo on harp and BG vocals, Magnus Edland on bass and BG vocals, Bjorn Lexelius on organ, Clas-Goran Dahlberg on accordion, Pelle Sundqvist ondrums and BG vocals, Ingemar Rogefeldt on gutar and BG vocals, Per Eric Johansson on piano, and Kaj Sundqvist on sax.  They all add a lot to this gumbo of goodness.

This honky tonk bluesman gives us a mean mix of stuff here, very richly American with his Scandinavian backing musicians.  I highly recommend this one for a good summer car trip to rock out with as you hit the roads to vacations, festivals and weekend fun!

Talking Guitar

Paul Rishell with special guest Annie Raines

Mojo Rodeo Records

www.paulandannie.com

13 tracks/39:56

There were plenty of people who discovered blues music in the 1960's, gaining a life-long passion for this true American art-form. Some of these people were inspired to pick up instruments and learn how to play. Of the ones who settled on guitar, there weren't many willing to devote the long hours needed to master the instrument, playing at a level that allowed the musician to share the stage with legendary artists like Son House, Johnny Shines and Brownie McGhee. Even fewer had the skill and fortitude to make a career out of blues, first on electric guitar before migrating back to the acoustic format that initially captured their imagination.

This brief synopsis of Paul Rishell's career is a lead-in for his latest project, featuring Rishell's intricate picking on a bevy of songs from some of the greatest of the early blues pioneers. In the brief liner notes, Rishell references the music's importance in his life and offers this recording as a gateway for leading listeners back to the music's roots. Starting with Huddie Leadbetter's “Fannin' Street (Mr. Tom Hughes Town)”, he plays a hypnotic, percussive pattern that provides a contrasting backdrop to his warm vocal. Rishell's National Steel guitar rings out on Charley Patton's “Down the Dirt Road Blues” before pairing spell-binding picking with heavyhearted singing on Blind Lemon Jefferson's “One Dime Blues”. Another highlight occurs on “Special Rider Blues” as Rishell reaches into the falsetto range to capture the eerie quality of Skip James' original version. He delivers a nuanced performance on a tune from the obscure Clifford Gibson, “Tired of Being Mistreated”, his restrained vocal expertly mixing anguish and resignation.

Rishell shows his affinity for the work of Blind Boy Fuller by covering two of his tunes – his fingers weaving delicate, seamless rhythmic lines on “Weeping Willow Blues” while “Screamin and Cryin the Blues” benefits from Rishell's robust descriptive portrayal of a man dealt a losing hand. One of Rishell's originals, “Louise”, was included on the first recording under his name, Blues On a Holiday. Here it receives a spirited run-through powered by a toe-tapping pace.

 Another selection from that album, Tommy Johnson's “Big Road Blues”, finds Annie Raines supplying impeccable fills on her harmonica with a rich, burnished tone. The duo has a musical partnership that has spanned two decades, so it's no surprise that they sound so comfortable together on another original, “I'm Gonna Jump and Shout”. They finish with “Michigan Water Blues”, trading articulate solos and giving us one final reminder of the enormous depths of emotion their music can create. The end result is an intimate celebration of the acoustic blues tradition and a noteworthy achievement in Paul Rishell's career.

Used and Defiant reviewed by Rick Davis

Used and Defiant
The Charles Walker Band
Ehlona Records
http://walkerband.com/
11 Tracks

It is no surprise after listening to Used and Defiant that the Charles Walker band performs some of the best funk, R&B, and blues in the Midwest. Their live shows are just as explosive and energetic as their original tunes found on their CDs. The band has been the opening act for artists like Aaron Nevelle, Robert Cray, BB King, Richard Marx, Eddie Shaw (Howlin Wolf’s Sax Player), Booker T, Earth, Wind & Fire, Cameo and Bernard Allison.  Walker worked as an improvisational comedian for years giving him experience working with audiences in preparation for his musical career. Charles who plays tenor saxophone, keyboard, writes tunes, and is the band leader received his formal jazz training at UW Eau Claire. He started with the band Muddy Blues releasing the CD titled Low Down Dirty Blues. His jazz and blues influences include Luther Allison, Ray Charles, Illinois Jacquet, Louis Jordan, Stan Getz, Lester Young, Dexter Gordon, Charlie Parker, Sax Gordon, Keb’ Mo, and John Coltrane.

The line-up on Used and Defiant consists of Charles Walker on tenor and alto saxophone, Shanna Jackson handling the lead vocals, Misha Zigfried on lead and rhythm guitar, Kent Hamele on bass, Joey B. Banks on drums and percussion, and Rob Waters featured on the Hammond B3 organ, piano, and Wurlitzer.

The only cover song on the CD is Robert Johnson’s "Stones In My Passway," a high-powered arrangement of the original acoustic version done by Johnson. The CD opens with the funky tune "Life Is Now" with Jackson's soulful, powerful vocals erupting right from the start. Misha Zigfried's superb B.B. King style lead guitar on "One" is featured along with the soulful vocals delivered from Jackson once again. "Bump It" is a perfect blend of rock "n" roll and rhythm and blues with Walker featured on saxaphone. "Funky Sexy" delivers shades of a 60's Motown tune with a little psychedelic guitar and Walker's smooth jazz saxophone. "Wore Out" switches from soul to swing, showing just how versatile this band can perform. "Exquisite Soul" is a perfect description of a smooth soulful tune with a Latin beat. "Stomped All Over" offers a very slow, traditional blues tune with Jackson reaching down to surrender her powerful blues straight from the heart. "Arrogance" returns to the ultra-funky psychedelic soul of a 70's tune like Billy Preston's "Outa-space." "Boogie Woogie" is a hard drivin' number showcasing the vocals of Jackson, the Hammond B3 organ of Rob Waters, and high-powered guitar of Misha Zigfried. The CD concludes with the funky title track "Used and Defiant."

Walker's knowledge of music arrangement can be paralleled to anyone in the business today! The musicality and vocals of this CD are about the best that I have reviewed in recent months. It is a perfect blend of jazz, blues, funk, and soul. Walker's showmanship is something to behold if you have the opportunity to attend one their shows.

Wanna Feel Somethin' reviewed by Rick Davis

Wanna Feel Somethin'

Mary Bridget Davies

Self-released

http://marybridgetdavies.com/

10 Tracks

Mary Bridget Davies started out in competition and on professional tours as a dancer. Since she was from Cleveland, Ohio and also very talented as a singer she went to Robert Lockwood Jr.’s jam night at the original Fat Fish Blue in Cleveland. She attended as an observer and then returned to perform the following week. After hearing her on the opening tune, she got her first band job on the spot! The band starting touring nation wide and represented the Rock and Roll Hall of Fame at the International Blues Challenge two years in a row. The band was nominated several times by the Cleveland Scene and Free Times for Best Blues Band, with Mary winning the Best Vocalist Award in 2004.

In 2005 a new lead actress/vocalist was needed to portray Janis Joplin in the smash Off-Broadway musical, Love, Janis. Mary got the lead out of 150 people auditioning for the honor of portraying Janis, with the musical later touring the country. For her performance, she was awarded Best Moment In Theatre in 2007 by the Kansas City Pitch. Big Brother & the Holding Co., Janis Joplin’s original band, was so impressed they asked Mary to sing with them in 2006 as they toured the United States and Europe.  Once again in 2007 she had the opportunity and was asked to join the cast of the Tony Award nominated Broadway musical–It Ain’t Nothin’ but the Blues–a musical about the history of the blues.

Mary is now focusing all her efforts on delivering her powerful, soulful, blues vocals with The Mary Bridget Davies Group. In 2011, the group was the International Blues Challenge second place winner. They are enjoying the success of their new CD, Wanna Feel Something, with Mary handling the lead vocals, Dave Hayes on guitar and vocals, Gary Roberts on bass and vocals, Chris Hazelton on organ, keys and vocals, Joe Voye on drums and vocals, Pete Carroll on trumpet and vocals, Nick Rowland on saxophone and vocals, and Aaron Thomas on tambourine. The first tune, "Your Kinda Love" by G. Roberts, opens with shades of Muddy Waters as Mary delivers the blues like no other female vocalist that you will hear! "Won't Pay You Mind," another original song, offers a superb rocker by this extraordinary group of musicians. Dave Hayes will impress you with his guitar solos on the original, slow number "Same Ol Blues." Mary will set you straight with her bold and beautiful vocals on the fast pace, funky, K. Massey tune "Real Thing." It delivers some tasty rhythm and lead guitar, along with support from a very sharp horn section. Another original song, "Getting Stronger" opens and continues with a raw slide guitar, along with that "Janis" quality that can be heard in Mary's vocals. Chris Hazelton is showcased on organ with the original song "Wanna Feel Something" and the Eagles mega hit "Take It To The Limit." Mary delivers her own gospel performance with her vocals that you won't hear on the original Eagles version. You will receive some good advice from Mary on the original song "Trick The Devil" blended with smooth slide guitar  solos. The band shifts gears with the muted trumpet opening on the Noel Gallagher jazz tune "Wonderwall." Mary Bridget Davies shows you how versatile her vocals can be on the concluding Chi Coltrane tune "Thunder and Lightnin'."

You have to experience vocals and a band performance like this for yourself. This CD smokes from beginning to end. This has to be one of the premier bands to capture live!

Review by Rick Davis

Just a Dream reviewed by Steve Jones

Just a Dream

Moreland and Arbuckle

Telarc Records

www.moreland-arbuckle.com

12 tracks

Gritty, grunge-based blues rock is the staple of these two Wichita based gents whose second Telarc release is a great follow-on to the critically acclaimed album Flood. These two guys are perhaps not the cup of tea everyone expects in the blues world, but if you like a heavy distorted lyrics and sound with big, nasty guitar licks, throbbing drum beat and overblown harp, well then step right up and enjoy this CD.

Opening with “The Brown Bomber”, the boys get right down to it with a filling busting driving beat and huge sound.  Track two tones the pace down a bit with the cover track, understandable lyrics and more of a faster ballad rock approach.  “Purgatory” is not as overdone as the opener, and it gives us a cleaner version of the grunge sound to appreciate.  Good lyrics and a nice harp leads and solos sold me on this one.  The mean harp opens track 4 (“Travel Every Mile”) and comes back in “Heart Attack and Vine”.  The big driving rocking beat and sound is there, too, as it is in almost every track.

“Troll” has more musical heavy handedness and then comes the short “Gypsy Violin” with some coolly odd voiceovers.  “Shadow Never Changes” is as close to a ballad as these guys get in a dark retro sort of way.  But then “Good Love” blasts off and it’s back to hot, straight and normal. “Who Will Be Next” and “So Low” are somewhat similar to the rest, but then they switch it up a little and close with a more country sound on “White Lighnin’.

If you like large, overblown sound and good lyrics (when you can understand them) in a heavy handed rocking blues sort of way, this is something to check out.  I like the sound, but sometimes the three or so variations on the theme get a little repetitive.  It’s good stuff, but the songs have some similarity in their approach. It’s raw and hardy stuff, and one can picture if the Delta blues was created today in this world of electrical technology we might have gotten something that sounds like this. 

Reviewed by Steve Jones