Choice Cuts reviewed by Rick Davis

Choice Cuts

Big Pete

Delta Groove Music, Inc.

www.big-pete.nl

13 Tracks

Dutch blues vocalist and harp master Pieter "Big Pete" van der Pluijm may not be a familiar name to American blues fans, but he's already well established in the Netherlands making it his native home base in North-West Europe. Big Pete cites his influences to be Muddy Waters, Jimmy Rogers, Little Walter, Lester Butler, and William Clarke. He made the decision to purchase his first harmonica after seeing Lester Butler on national television in 1993. At the age of 23, Pete was chosen for a tour to honor the music and memory of legendary harmonica player and vocalist Lester Butler (the Red Devils and Thirteen), backed by Matt Scofield, Eddie Clark, Rick Reed, and Enrico Crivellaro. The project was so successful, that a CD of the Lester Butler Tribute Band was recorded, followed by more tours. This secured Big Pete as premier next generation blues performer in the Benelux region. He went on to form and record with groups like The Strikes, The Backbones,  and M.O.C.T. (Men Of Considerable Taste). His growing reputation led to tours and performances backing many internationally acclaimed blues artists including Alex Schultz, Mitch Kashmar, Monster Mike Welch, Hook Herrera, Matt Schofield, and Ian Siegal. Pete's introduction to the U.S. began in March 2010 with his appearance on The Mannish Boys' 5th anniversary release Shake For Me. Pete closed out the album paying tribute to the late Lester Butler on the New Orleans tune "Way Down South," backed by Kid Ramos, Willie J. Campbell and Jimi Bott along with special guest pianist Andy Kaulkin, who previously recorded with Lester Butler on the  album Thirteen.

Big Pete makes his American solo album debut Choice Cuts with an incredible all-star recording lineup featuring Kim Wilson, Paul Oscher, Al Blake, Johnny Dyer, Alex Schultz, Kirk Fletcher, Kid Ramos, Rusty Zinn, Shawn Pittman, John Marx, Mojo Mark, Rob Rio, Willie J. Campbell and Jimi Bott. Choice Cuts is destined to become a classic blues CD in time. He opens the CD with a tribute to Lester Butler by performing the Butler tune "Driftin'." The legendary tribute continues with "Can't You See What You're Doin' To Me" by Albert King, "Act Like You Love Me" by Jimmy Rogers, "Just To Be With You" by Roth Bernard, "Don't Start Crying Now" by James H. Moore, "I Got My Eyes On You" by "Smoky" Smothers, "I Was Fooled" by Jody Williams, Howlin' Wolf's "Rockin' Daddy," Jimmy Roger's "Left Me With a Broken Heart," Little Water's "Just Your Fool," the William Clark instrumental "Chromatic Crumbs," Willie Dixon's "I'm a Business Man," and the blues classic "Hey Lawdy Mama."

After previewing Choice Cuts, which will soon become a classic, you will agree that Pieter "Big Pete" van der Pluijm sounds more like a seasoned 50 year Chicago harp blues artist than a 33 year old blues performer from the Netherlands. Given the sound of his vocals and harp mastery, he is destined to be one of greatest to play the blues. Never before has group of blues artists of this caliber been assembled like this to record a blues tribute! 

Reviewed by Rick Davis

Overclocked reviewed by Rick Davis

Overclocked

Jim Allchin

Sandy Key Music LLC

www.jimallchin.com

13 Tracks

Jim Allchin grew up in rural Florida living in a one-room house his dad built with his own hands. Jim worked in the surrounding fields at a young age, sacrificing his education to made ends meet. "We may have had essentially nothing, but I had a fantastic childhood." Inspired somehow by Jimi Hendrix, Allchin picked up a guitar and decided to follow the same path as did the southern boys Lynyrd Skynrd and the Allman Brothers working as a starving musician to pay for his education. Jim decided to choose the field of computer science and worked his way through school by touring with his band. This led to Masters and Doctorate degrees from Stanford University and Georgia Institute of Technology. In 1990 he joined with Microsoft and became a leader in the world of computer science and software. Bill Gates was once made the statement of Jim, "He’s a brilliant technologist, visionary and a strong leader." Faced with life-changing health issues in 2003, Jim made the decision to return to music. "It forced me to re-examine my life." He continues, "When you look out over the abyss, you say, 'Hmmm…better make sure I do all the things I want to do.' Had that not happened, I probably would have written software until I was 90."

Over the years, Jim has persevered to become the best at whatever he wanted to do in life. Performing musically was no exception. His latest project Overclocked, is a blues exploration CD covering a wide range of blues styles. He surrounded himself with some of the top musicians in the Seattle area where the album was recorded, mixed, and mastered. His sensational lead and slide guitar is displayed throughout the entire CD.   Overclocked opens with the title track and a boogie guitar intro only to explode into guitar blues-rock masterpiece! "Willow Tree" and "Back In The Swamp" incorporate a perfect blend of guitar/keyboard solos and a superb horn section. "Don't Tell Me What To Do" is typical of the Texas style guitar heard from the late great Stevie Ray Vaughan. "One For The Money" exudes the sultry vocals of Keely Whitney and the fiery guitar licks of Allchin. The instrumental "Fall" can only be compared to page out a Stevie Ray Vaughan or Joe Satriani songbook. The horn section, band, and guitar solos on "Dr. J" and "Just Playin With Me" connect like an overloaded circuit! They slow things down with "Mr. Unknown" as Jim delivers vocals with a smooth rich flow and guitar licks to match. "Perfect Game" provides a mellow harmony created by Jim and Keely Whitney.

"Flirt" would make a perfect tune from a rock anthology. This original collection concludes with a couple of tunes displaying Jim Allchin's mastery of the guitar.

"The One" is the final vocal number on the CD. "Opening My Eyes to Love," a haunting instrumental comparable to the work of the late Gary Moore, is a perfect ending to an incredible showcase of  both up-tempo and slow tunes, jazz, blues, slide guitar, and ballads.

Overclocked is more than a CD. It is the story of Jim Allchin and his passion for music. We will be expecting even more from him in the near future.

Reviewed by Rick Davis

Blues at the Border reviewed by David Stine

Blues at the Border

James Armstrong

Catfood Records

www.jarmblues.com

11 tracks/45:06

This is James Armstrong’s fourth CD and my second encounter with his music (I own his previous, Got It Going On). Armstrong, is a bluesman who leans toward soul and funk while maintaining enough “heritage” to keep frowning blues fan engaged. Armstrong writes, sings, and plays guitar. On this disc, his songs are augmented by his band comprising keyboards, drums, bass, backup female vocals. Like my previous experience, this CD is refreshing in its upbeat approach to the blues' most common themes: lost love, sin, death, laws, and relationships.  James Armstrong never fails to create songs that will have you playing them back in your head.  

Armstrong kicks off the CD with the memorable "Everything Good To Ya (Ain't Always Good For Ya)." This funky romp features B3 organ and Armstrong's and his female "church choir" belting our the refrain. Taken tongue-in-cheek, the song still rings so true with today's need to self indulge. "Somebody Got To Pay," is a minor key lament about the fact that nothing in life is free from, well, some sort of "debt." (Listen to Armstrong’s lovely walkup between chords.) "Baby Can You Hear Me," shows Armstrong's roots, mixing blues, jazz, and pop sentiments. One of Armstrong's strong suites is his tackling day-to-day themes in an upbeat way, allowing the listener to avoid, well, the blues.  "Blues At The Border" begins with a metal body guitar riff taking us in to Armstrong's slide-driven attack on the heavy burden of "identification" when travelling. Funny, yes, and oh so true. Remember this song the next time you're waiting to take off your shoes, etc. at the airport security gate. "Devil's Candy" deals with a well-known theme, saved in this case by Armstrong's slide guitar and driving beat.  You can guess the devil's candy is: you want it; you shouldn't have it, but . . . . "Nothing Left To Say," addresses the end of a relationship where the closed subject meets the one more try. "High Maintenance Woman" has echoes of Albert Collins' "Master Card" in it. This hilarious tune details Armstrong's life with a woman who has "more moves than Sinatra and more swings than Tiger Woods." Like "Master Card,"  Armstrong carries on a conversations with his woman, but remains unable to curtail her habits. "Good Man Bad Thing," is the story of a man at the threshold of committing a sin and questioning the wisdom  of going "in." Young Man With The Blues," might be the story of Armstrong or any number of bluesmen. With its "All Along The Watchtower" intro, this song overviews vignettes from life that drive a "young man" to the blues. "Brand New Man" is the jazziest cut on the CD. Armstrong trades licks with B3 player Bob Trenchard. Another cool groove, ala Jimmy Smith. "Long Black Car" completes the disc with solid advice about what it takes to get into heaven. In the hands of someone else, these songs might seem preachy, but here the arranging and flow keep us listening, enjoying, and part of Armstrong's "congregation."

Although Armstrong is not terribly well known, his discs are enjoyable and funky. He deserves more attention than he has gotten. If unique take on soul blues is a good listen for the mores ardent blues fan as well as a wider black audience. Blues At The Border is another solid disc from James Armstrong.

Reviewed by David Stine

Voodoo Moon reviewed by David Stine

Voodoo Moon

Savoy Brown

Savoy Brown Music

Ruf Records (www.rufrecords.de)

9 tracks/45:30

If I tell you there is nothing really new on this disc will you be disappointed or cheer?  Savoy Brown has been cranking out boogie blues for 40+ years and perhaps we've all come to expect solid boogie blues sans surprises. If that is the expectation, then Savoy Brown has delivered again. Voodoo Moon rocks from beginning to end while dancing near blues and leaning more toward rock. Yes, Savoy Brown is really Kim Simmonds with a rotating cast of players, but who really cares? This configuration is Simmonds (guitar and vocals), Joe Whiting (sax and most vocals), Pat DeSalvo (bass), and Garnet Grimm (drums). A close listen reveals snippets of keyboard work from Andy Rudy, as well.

Voodoo Moon starts with a tune titled "Shockwave," and no surprise, is rock-flavored, romp with overdriven guitar and walking bass.  I can't imagine a first-time listener, but this song captures what latter day SB is all about: heavy guitar boogie with hints of blues, and male bravado. "Natural Man" unravels blues cliches to reveal a "natural man" free from the "magic" sometimes perpetrated by blues men. Is this a signal that Savoy Brown doesn't see itself as a "blues" act? I believe so. Side note- the song was written by Simmonds. "Too Much Money" addresses a common complaint: is there such a thing as too much money? "She's Got The Heat" is a slide-guitar driven rocker that breaks no new ground, but again, isn't this part of SB's longevity, a consistent product? "Look At The Sun" delivers a rather confused message about either love conquering all or look toward God, or, well, some sort of enigmatic hippie credo that perhaps was meant as album filler. For me, this is the weakest cut in execution and lyric-wise.  "24/7" redeems the previous cut with its ferocious instrumental boogie. The dance quality keeps this one from my filler list. And to the ear of the Savoy Brown fan, it would be an accurate guess if you heard this being played in the record store. (Are there record stores anymore??) "Round And Round," sung by Simmonds, reveals an aging voice and song that harkens back to the Savoy Brown of the 70s with its under-the-top delivery and somewhat weary sentiment. The title cut melds Brit blues with bayou mystery.  Again, not the most earth-shattering lyrics, but still better than some of the forced rhymes and cliched lyrics I've encountered in the blooze genre (sic, modern day blues-like music). The CD ends with "Meet The Blues Head On," a strong, guitar-heavy, riff-driven blues rocker, with lyrics of little consequence that will have people rocking to the anthem like refrain.

In the liner notes, Simmonds claims this is his, uh, THEIR, strongest album since the 70s. That may be true, I sort of lost them somewhere in the 80s. Voodoo Moon, has its moments of rocking pleasure. If you are a SB fan, than this CD will make you happy. If you are a fan of Johnny Winter, George Thoroughgood, and the like, there's a lot here to like as well. As I stated, Savoy Brown's longevity is due, in part, to delivering a certain amount of preconceived expectations album after album. To this end, Voodoo Moon delivers.

Reviewed by David Stine

I'll Be Alright reviewed by Rick Davis

I'll Be Alright

Jumpin' Jack Benny

Boppin' Records

http:jumpinjackbenny

blues.com

11 Tracks

Jumpin' Jack Benny is one of the most extraordinary Las Vegas style acts you will see today! The band rocks with Benny Cortez on vocals and harmonica, Tony Fingers on guitar, Eric Tice on drums, Mike Stover on bass, and Kirk Nelson on keyboards. After listening to their debut album I'll Be Alright, you can hear the influence from artists like Koko Taylor, Little Walter, James Brown, Paul Butterfield, Freddy King, and Stevie Ray Vaughan.

They open with the Ronnie Earl/Darrell Nulisch tune "I Don't Believe" blending the superb guitar solos of Fingers, Nelson's keys, and the high-powered vocals and energetic harp of Cortez. This opening number sets the stage for a world class collection of blues tunes. They call on the back up vocals of Betsy Villasenor and a powerful horn section on the self-penned hard drivin' R&B tune "Tell Me Please." The second Cortez/Fingers song "Let Your Love Go" (shades of a Bob Seger tune) employ a strong back up vocal entourage. The title track, another Cortez/Fingers tune "I'll Be Alright" is the one that really emphasizes this showcase of all-stars. The third self-penned tune is the title track "I'll Be Alright." "Mean Woman Blues" a Brother Red (James Achor) number opens with one incredible guitar intro and then explodes with Tony Fingers tearing up the fretboard along with the extremely soulful voice of Cortez. The entire band with Cortez and Fingers once again in the spot light tear it up on the Koko Taylor (LaSalle) song "Find a Fool." On the next Cortez/Fingers tune "Big Woman Blues," they slow it down a bit and give you a sample of the expertise of Fingers on the slide guitar. The party continues with the Little Milton tune "Take Me Out To Hear Some Blues" and the Cortez/Fingers Jump/Jive number "Party's On." The band captures the essence of their rollicking live performances on the album with the CD concluding with a live version of the Smokin' Joe Kubek (La Salle) tune "One More Song" and another original tune "You Got Yours I Got Mine."

Jumpin' Jack Benny delivers a high energy performance in this their debut album. It will leave you as exhausted as one of their live shows. If at all possible, catch one of their shows and in the mean time sample this extraordinary blues group on YouTube.

Reviewed by Rick Davis

Old Man in Love reviewed by Rick Davis

Old Man In Love

Travis Moonchild Haddix

CDS Records Entertainment, LLC

www.travishaddix.net

12 Tracks

Travis "Moonchild" Haddix began his music career playing the piano at the age of seven. He was so inspired by B.B. King when he played daily at the studios of WDIA in Memphis, that he soon abandoned the piano for the guitar. After his family moved from Mississippi to Milwaukee, Wisconsin, he continued to develop into an accomplished musician. In 1959 he moved to Cleveland, Ohio where he joined the D.L. Rocco Band which later earned him a spot with the Little Johnnie Taylor group. He has made contributions to the albums of Artie "Bluesboy" White, Dickie Williams, Jimmy Dawkins, Michael Burks, Charles Wilson, the late Son Seals, and Lee "Shot" Williams.  In 1999 Travis received Best Male Blues Artist, Best New Blues Artist, Best Blues Entertainer, and Contemporary Blues Artist Of The Year.

Old Man In Love, the latest CD from Haddix, is cleverly written with the interjection of humor especially on numbers like "She Hit A Grand Slam" and "Cialis Before I See Alice." Travis produced and has wrote all the music. His experience playing lead guitar and well as his seasoned vocals are backed by a full all-star band with the line-up consisting of Ed Lemmers on bass, Brian Hager and Mike Calhoun on guitars, Gil Zachary on piano, Don Williams on organ, and Jeremy Sullivan on drums. The horn section making a strong contribution to the album, are Jeff Hager, trumpet and arrangements, David Ruffin on tenor sax, and T.J. Fortunato on baritone sax. "She Hit A Grand Slam" is the opening number with a funky twist and a superb horn arrangement not to mention solid guitar solos and soulful vocals from Haddix. The title track "Old Man In Love" tells the story of such an intense love for a woman that she "can tell me to go to hell in such a way that I’m looking forward to the trip." I believe this song captures the many years of experience on guitar as well as any cut on the album. He really cuts deep with the soulful guitar licks on the slower blues tune "Stankin' Thankin." The age old concept of trust seems to be the issue on "Two Steps From A Lie." "Break A Habit With A Habit" is another soulful blues tune dealing with a woman who, according to Haddix, can't break and old habit with a new habit. "Stiff Stuff," another funky tune, explains the process of aging in great detail. In his up tempo, funky tune "Too Narrow," everything in his world it seems is "Too Narrow." His guitar expertise once again takes center stage as he shares his subconscious thoughts in "Dreamed I Was Dreaming." The B.B. King style guitar is heard throughout the next tune "Let Me Owe You One." Haddix can't buy into the lies he hears in the tune "Stop Lying About Your Age." He brings in more funk and a full horn arrangement, along with fiery guitar solos, to conclude this new collection of blues gems with the tune "Cix Spells Six."

I highly recommend Old Man In Love. This CD deserves to be on a major blues label.

Reviewed by Rick Davis

And I Still Rise reviewed by Harmonica Joe Poluyanskis

And I Still Rise

Heritage Blues Orchestra

Raisin’ Music

www.heritageblues orchestra.com

12 tracks/48:56

The Heritage Blues Orchestra takes a bold step defining African –American music and blues with the release of “And I Still Stand.” This recording is packed with 12 powerful tunes that hit upon what the blues are about. I will say that this CD is not for you that are looking for straight blues with guitar, bass, drums and vocals. This project is one that made up of something different.

HBO band features Bill Simms Jr. on electric and acoustic guitar, vocals and handclaps, Chaney Simms, his daughter, with vocals and handclaps, Junior Mack playing dobro, electric and electric slide guitar plus vocals. Kenny “Beady Eyes” Smith takes on the roll of drummer and percussionist while Vincent Bucher does an outstanding job with the harmonica.  HBO also features a very outstanding horn ensemble including saxophone, trumpets, trombones, tuba and a sousaphone. This group adds a powerful plus to the dynamics of this recording.

The opening tune on “And I Still Rise” is Son House’s “Clarksdale Moan”. This version just jumps out and gets your attention right now. Junior Mack’s guitar work walks us into a powerful drum line from “Beady Eyes” Smith which sets the stage for Bucher’s steady chugging harmonica background. Junior Mack’s vocals are full and strong giving the song the true blues feel we are looking for. The addition of the horn section with the harmonica grabs at your ear adding a whole new dimension to “Clarksdale Moan.” This tune makes a real statement on where this recording is taking us.

“Go Down Hannah” gives an example of a work song – field song with the strong vocals of Chaney Sims. This tune really is a statement from this band. Next we venture into the world of gospel blues with “Get Right Church” which features slide guitar from Junior Mack and really strong three part harmonies. Also include on “And I Still Rise” “Big Legged Woman” with Matthew Skoller a fine harp solo and “Levee Camp Holler” which comes on really strong.

My favorite song on this recording is the rousing, Bill Sims JR’, rendition of McKinley Morganfield’s “Catfish Blues.” Featured though-out this track is the fusion of the horn section and Vincent Bucher’s harp playing. This combination just works to bring a unique full sound to song. Sims does strut his stuff on vocals here also.

The Heritage Blues Orchestra is a very unique group of musicians and vocalist that take us on a blues venture unlike most groups. Their presentation of blues and African-American music is true to the past but also is taken into a whole new direction. “And I Still Rise” makes a strong statement of blues history and at the same time infuses jazz, gospel, and funk into the world of root music blues. Take the time to listen to and find out about the Heritage Blues Orchestra and their CD “And Still I Stand.”