Leave the Light On reviewed by Rick Davis

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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