An Evening with Eric Bibb reviewed by Steve Jones

An Evening with Eric Bibb
Eric Bibb
M.C. Records
www.mc-records.com
14 tracks/64 minutes

I became very intrigued with Eric Bibb a couple of years ago at the Mississippi Valley Blues Festival. On stage, all alone with his acoustic guitar , standing lean and tall, he presents a stark appearance. When he begins to play the stage transforms and fills with the presence and timbre of this man who is cool, comfortable and immensely talented. He grew up in NYC in a musically blessed family and the great music DNA continues with Eric.

The CD, released in September, presents Eric live and paints a great picture of the this folk blues artist and his abilities. Recorded live The Basement Night Club in Sydney, Australia back in 2002, it captures the soul and heart of the artist. Most of the tracks are originals and the few covers offer up a great mix.

The CD features Eric on acoustic guitar and Dave Bronze on bass. The pair of stringed instruments weave a seductive and appealing web of roots music. Whether he is strumming out a soulful, folksy ballad and getting down to it, Bibb’s music truly captivates the soul.

Whether secular or sacred, his vocals and guitar work portray a man who is in tune with his music. “Panama Hat” is a cute little finger picking tune about a fixated but patient guy breaking in a new hat. The Reverend Gary Davis’ tune “I Heard the Angels Singing” was the show’s encore and is the last track on the CD. Eric’s version is a moving piece of music.

“Don’t Ever Let Your Spirit Down” and “Right on Time” are also powerful, spiritual numbers that evoke emotion and fire. “Sebastian’s Song” is a tight little instrumental he wrote for his then 10 year old Son; the fingers seem stroll across the strings effortlessly in this cool track.

Acoustic music is always best in a live environment. Studios often do not adequately showcase the feelings that emanate from the music. This live set aptly capture Bibb and his repertoire as he moves back and forth from silky and sultry ballads over o bouncy finger picking and then to fiery spirituals with ease. He is an exceptional artist and this CD is a must for fans of acoustic music.

Ghost Kings of Beale Street reviewed by Steve Jones

Ghost Kings of Beale Street

Chainsaw Dupont

Blue Warrior Records

www.chainsawdupont.com

15 tracks w/interactive materials

Chainsaw Dupont is a “Delta-born and Chicago-made” guitar slinging bluesman who has put out some really interesting music and lyrics. With this album, Chainsaw has completed his trilogy of “Blues Street” CDs. This CD was preceded by Lake Street Lullaby and Bourbon Street Breakdown, so Dupont has now covered the Chicago, New Orleans and Memphis styles, the triad of blues music capitals and styles.

Recorded in Memphis’ legendary Sun Studio (and partly at Delmark in Chicago), the album really hearkens more to the sound produced over at the other old famous studio in Memphis– Stax Records. This album is truly a mix of the styles and genres around Beale Street. Soul, rockabilly, R&B, blues, jazz, funk, rock and inspirational music are all represented in this 15 track effort (13 plus 2 bonus tracks), but the big musical backdrop here hearkens to the R&B and Soul sounds that made Memphis famous. One can almost taste the smoky, dry rubbed barbeque as you listen to this music.

The sound is very-Memphis like and it is quite the ride down Beale Street with a plethora of good backup artists and guests on the CD. The Blues Warriors backing Dupont are Jack “Jungle Dog” Baker on bass, Christopher Robinson on drums, Patrick Dugan on piano and guitar, and the “Chain Gang” horns of Brennan Connors on tenor and alto sax and Julian Harris on trumpet and flugelhorn. Other artists drop in for support on various tracks.

“Sinners or Saints?” is a rockabilly take off on a gospel-like number asking whether many music legends are sinners or saints. This is probably my favorite track on the CD as it assaults the inspirational in both a somewhat-reverential and off beat way.

Another hot track is the instrumental “Funky Foot” where Chainsaw stirs up some great blues and rock licks on his guitar. Dupont follows this song with more great guitar and some mean BB King-like licks in a slow blues duet number with Patrick Dugan called “When It’s Sweet.” The two of them trading licks makes for some down and dirty music. If you need to find a blues guitarist to learn from, these two tracks will tell you that this Chicago bluesman is right there ready to school you with the best of them.
Dave Specter parries with him on guitar on “Never Know,” a choral blues-rock number that Dupont calls “existential,” and later on in “Bluesomatic,” a self-proclaimed blues infomercial. Probably the most whacked out numbers on the CD, we get to see Chainsaw pushing the musical limits yet making the ride fun and enjoyable.

I loved the entire set of songs , but one other bears some mention. “Flame of Love” hearkens back to 70’s R&B with some heavy horns and bass sounds. The whole CD is filled with the deep dark bass and horn arrangements but it really comes out and grabs you by the scruff of the collar on this track.

Dupont becomes Otis Redding, BB King, Howlin’ Wolf, Wilson Pickett, Sam without Dave, Duane Allman and other “ghosts” of Beale Street in this exceptional Memphis music ride. I expected this to be a mix of music, but I got even more than I bargained for in listening to it. Soup to nuts, we see all of Memphis and it’s musical style in one man and his music. Chainsaw Dupont is quite the multidimensional man and this CD is proof positive this artist will be making an impact on the blues music scene for years to come!

Alley Cat reviewed by Steve Jones

Alley Cat
Westside Andy/Mel Ford Band
False Dog Records
www.westsideandy.com
14 tracks/52 minutes

It’s tough to review a disc from a band that has three front men who routinely play the role with a fourth behind the drum set. It’s tough to review a disc where the band seems to just be having fun and exhibits a true “joie de vivre” in their music. It’s tough to review a disc like this.

No it’s not. It is a wonderful thing, actually.

Andy, Mel and the rest of the band are guys who are just doing what they love to do– make great music. They’ve done that for fourteen years now, a feat unto itself. Most of the Crossroads members know these guys from up the road in Madison.

For those of you who may not know them, let me have the honor of introducing them to you. Westside Andy Linderman is the harp player, Mel Ford plays guitar, Jim Voegeli is on keyboards, Tony Menzer is on bass and Steve Dougherty is the drummer. Andy, Mel, and Jimmy are vocalists and songwriters, and Steve provides backup vocals. Any of these guys could be the front man for the band full time and succeed. When you have all that talent and fourteen years of friendship and camaraderie you get music that is spectacular.

Whether it’s Mel picking away on his guitar to a rockabilly tune or Andy wailing on harp and bending notes to the nth degree or Jimmy tickling the keys, we have here a band that delivers a sound and style of music that is impossible not to tap your foot or get up and dance to. And Tony and Steve provide a superb backbeat that allows the other three to move off into their worlds and come back in without worry.

The CD opens with a catchy rockabilly number of Mel’s that is the title track. The tune opens like a Fabulous Thunderbirds like manner with the beat and guitar and harp wailing away. I was almost ready for Kim Wilson to jump out and start singing and Mel was there. These guys are cut from the same cloth and the bands play with the same reckless abandon. In fact, the only track that was not penned by the band is Kim Wilson’s “She’s Hot,” which the band grooves impeccably.

Voegili’s “Can’t Be True” features him on vocals and B-3 organ. His organ playing is gritty and funky and his vocals and interplay with Ford and Linderman make for a whirling dervish of a track. He is equally comfortable in barrelhouse style piano or laying out hot licks on the old B3. His keyboards are exceptional.


Andy’s harp is equally gritty and gets down to the funkiness that the best harp players bring to their work. The “Gamblin” Woman” track opens with the growling distorted harp sounds that showcase Andy’s talents. Whether down on the low end or squeaking out the high notes, his harp work is equal to anyone out there.

Mel is adept at suave Les Paul sound like “Jobless Recovery” even goes acoustic for us on the final track “Molly’s Rag.” His steady picking and fretwork are just fantastic. He and Andy go back and forth by themselves on the final cut as a super finale to this long-awaited studio album.
Their fans will enjoy this studio set as will folks who are not yet initiated into the following they have built for themselves. No one who listens to this album can escape it’s pull. The rich sounds that these guys produce are infectious. Once they get into your blood you will be cruising the Southern Wisconsin/Northern Illinois Area clubs to go watch and listen to these guys.

I have no qualms about recommending this CD to anyone who wants to experience the blues being play by men who are so well versed and credible at their craft. And after all that, you even get CD liner notes written by our own Mark Thompson. This CD is a great effort and needs to be in your collection!

Since Way Back reviewed by Harmonica Joe

Since Way Back

Gerry Hundt

Blue Bella Records

http://www.steadygroove.com/

www.myspace.com/gerryhundt

http://www.bluebellarecords.com/

13 tracks

"Since Way Back" by Gerry Hundt is a unique blues recording. Gerry has joined in the revival of the blues mandolin blues music. Having only been playing mandolin for about two years, Gerry has already developed his own unique style. With his influences from Johnny Young, Billy Flynn and Rich Del Grosso, he has developed his own style on the mandolin and has not just copied the style of these influences.

On this project Gerry has surrounded himself with some great musicians. Gerry has the ability to play just about any instrument, write his own tunes and sing the vocals. This made it possible to select who he wanted to be on the record with him to blend in on each particular track. With Bill Lupkin on harmonica, Piano Willy Oshaway on piano, Josh Stimmel on electric guitar and Bob Carter on drums, Gerry has formed a great blues band. Joining the group also is Nick Moss on bass and acoustic guitar. Barrelhouse Chuck is a great addition on piano for the final track, "End of the Day Blues".

Gerry, who has been a band member of the Nick Moss and the Fliptops band for the past three years, has joined up with Nick to produce this project. This is a well done recording that showcases Gerry's musical knowledge, song writing ability, vocal talent and mandolin skills. Gerry brings himself to the task and is also willing to take risks to fulfill his musical thoughts.

Having written all but two tracks on this CD, Gerry can show his true feelings and has the ability to express them. There are tales of women, whiskey, sadness, happiness and a true feeling for the blues genre included in this recording. Gerry's tunes have something for everyone. They are up and down and sad or happy." Bad Water" is a true life inspired blues tune. This is the story of drummer, Bob Carter's family experience with a poisoned farm well. It is quite moving. Bill Lupkin's harmonica licks add an eerie mournful quality to the story.

The three instrumental tracks are the place that the mandolin gets to stand out. The mandolin adds an extra uniqueness to the music which makes one pay attention. The sound just grabs you by the ear and gets a hold of you.

Of the two tracks not written by Gerry, "Burning Fire" by Otis Spann is a standout on this CD. With Willie's piano working with the mandolin and Gerry's vocal quality this is a job well done. Gerry has brought maturity and feeling to his vocals at a young age.

I feel that Gerry with the help of Nick Moss and a fine band has done a great job on this recording. He does a good job of showcasing his mandolin playing and brings interest to an instrument that we are not too familiar with. I like that. I don't see him moving back to Rockford as the lyrics on one of his tunes states.

I am sure that we will all be looking for new stuff from Gerry. Maybe he will play tuba blues next. Why not, when one can.

The King Live at AVO Session Basel reviewed by Mark Thompson

The King Live at AVO Session Basel

Solomon Burke

Distributed by MVD Visual

NTSC DVD - 75 minutes

4:3 Full Screen w/Dolby Surround sound

Solomon Burke is indeed the reigning king of Soul - the last of his generation. Burke had a number of hits in the sixties before changing musical trends pushed him to the sidelines for several decades. He had a part in the movie “The Big Easy” and received some attention when the Blues Brothers covered one of his hits, “Everybody Needs Somebody to Love”. In the last five years, his career has been revitalized through three new recordings, each one gathering plenty of praise and critical acclaim. One listen is enough to demonstrate that Burke’s voice is still a marvelous instrument that can sing with power in the low register and then soar into the upper end of the scale.

This show from November 8, 2003 captures the full-blown King Solomon show in all of it’s glory. After two instrumentals for the band, Burke arrives on stage and takes a seat on his throne, necessary because he weighs well over three hundred pounds. He quickly demonstrates his vocal prowess on a burnin’ take of “Down in the Valley”, with an animated Burke playing to the audience. He follows with a Tom Waits ballad, “Diamonds in Your Mind”, hitting and holding a note at the end as easily as he did four decades ago.

Other highlights include a soulful “Georgia” with some fine organ work from Will Smith. Burke doesn’t hold anything back as he lays down his personal testimony to love. The super-charged version of “Cry to Me” provides further proof that Burke hasn’t lost a thing. He slows the pace for a heartfelt take of “A Change is Gonna Come”, breathing life into this well-worn classic.

The disc bogs down when Burke turns the mic over to his seventh son, warning him not to do any rap. Instead his son sings “Mona Lisa” and in the process shows he is not in his father’s class as a singer. But he is better than his sister, who follows with a lackluster attempt at “I Will Survive”. Burke probably wanted these performances included but they are a distraction and not up to the quality of the rest of the disc. The set also includes three medleys that include classic rock and soul tunes. Solomon makes each one interesting but it would have been nice to hear him do a couple more of his own tunes instead. Towards the end of the set, Burke invites members of the audience on stage to dance, making sure to keep the entertainment value high.

This disc provides a very solid performance of a giant of soul, still able to rock the house, even if he has to do it sitting down. Some tactful editing could have created a stronger package. But this is the only live show that I am aware of Burke on DVD. He wins the audience over with his spirited performance and his vocal artistry. You will definitely want this one if you are already a fan

Change Our Ways reviewed by Mark Thompson

Change Our Ways
Root Doctor
Big O Records
http://www.big-o-records.com/
http://www.rootdoctorband.com/
10 tracks/53:00

The initial release from Root Doctor was a strong collection of blues and soul tunes. Their new recording is more of the same, with six original songs from band members and four quality covers. The band has a solid foundation from veterans James Williams on bass and Rick Bole on drums. Greg Nagy is a tasteful guitar player. Jim Alfredson is a master of the Hammond organ.

Freddie Cunningham is the focal point of the group with his masterful lead vocals. He has a deep, powerful tone that can glide through a love song or dig deep into the emotional well on a scorcher. Listen to him on the opening track, “Blues Will Take Good Care of You”. Alfredson lays down a percolating organ track on his original as Cunningham’s vocal smoothly relates the power of a blues record. The jaunty “Keep Our Business Off the Streets” is a cautionary tale from Nagy and Alfredson that is one of three tracks to feature the Motor City Horns. Nagy supplies a fine guitar solo.

Cunningham co-wrote “Give Me Love” and that may be why he lays down one
of his stronger vocals performances. He is even better on “Lucky One”. Here he shows that he is a skilled soul singer, his voice full of emotion and strength, able to easily soar into the higher end of range as needed.

As good as the originals are, the band once again shows it’s knack for taking well-known tunes and giving them the Root Doctor treatment. Roy Hightower’s “Root Doctor” is a natural choice and Cunningham’s vocal has the right mixture of menace and seduction. The rhythm section gets to strut it’s stuff , laying down a deep groove on a cover of the Meter’s classic “People Say”. Alfredson takes the vocal and dominates the proceedings with his driving organ work.
Even better is a superb version of “Soul Shine”, a classic written by Warren Haynes. Cunningham manages to convey the world-weary resignation in the lyrics while still expressing the hope of a better day. Listen to him testify at the end of the track.

The disc closes with a stunning performance of “I Wish It Would Rain”. Alfredson leads off on piano as the only support for Cunningham’s passionate vocal . The basic accompaniment allows the listener to really hear the superb ability that Cunningham has to generate just the right amount of emotion in his singing. He never shows off or pushes too hard. And just when you expect the band to join in, you instead get a cello and violin plus some subdued backing vocals. The focus is on Cunningham for six minutes and he is up to the task.

Root Doctor should continue to gain national attention from this recording. The talent of Cunningham and Alfredson set them apart from many other bands seeking the spotlight. Go to their website and check this one out. I’m betting that you’ll like it as much as I do !!!

Rocket Number 9 reviewed by Mark Thompson

Rocket Number 9

Jason Ricci & New Blood

Electo Groove

http://www.jasonricci.com/

12 tracks/74:11

It has been a long uphill climb for Jason Ricci. After a number of years of constant touring and a series of self-released recordings, the guys have finally have a shot at the brass ring. Electo Groove is a new label, an offshoot of the Delta Groove company. That means better studios to record in, bigger budgets and plenty of advertising in wide range of musical publications. Any of you who have caught one of Jason’s live shows at Big Cities over the past couple of years know that this band deserves wider recognition.
The CEO of Delta Groove, Randy Chortkoff, decided to create Electo Groove as vehicle for musicians that were pushing the boundaries in music, bands that did not fit the more traditional approach found on DG recordings. A fine harp player himself, Chortkoff was blown away by Jason’s talent and equally impressed with Ricci as human being. He hired famed British producer, John Porter, to guide the project. And together, Jason, Porter and New Blood have created a work that explores the depth of Ricci’s musical vision while highlighting the instrumental virtuosity of the band.
“The Rocker” opens the disc with an examination of addiction, Ricci snapping out the lyrics with his hoarse, rough voice. Guitarist Shawn Starsky contributes a brief but powerful solo before Ricci displays some of his fantastic harp work. The next track was written during a stretch Ricci spent in jail. “I’m a New Man” is a tale about unrecognized personal growth. Starsky channels the spirit of Steve Cropper with his chord playing before taking a soulful solo - followed by Ricci exploring the upper ranges of his harp.
In the CD notes, Ricci comments that “Loving Eyes” is his favorite of all the songs he has written. He refers to it as “Junior Kimbrough meets the Byrds”. The song tends to drag a bit until Starsky leaps in with a series of power chords before taking off on a solo flight that confirms that he is a guitar player to reckoned with. Then the band lowers the intensity level before Ricci jumps in with another harp outburst full of inventive lines easily executed at lightning tempos.
The group is joined by Michael Peloquin on sax for the funky Starsky original “Dodecahedron”. Shawn once again steals the spotlight with his powerhouse guitar playing. This recording confirms that Shawn has developed his talent to a level that puts him in the same league as Jason. His efforts throughout the disc always captures your attention and raises the intensity of each performance.
The band finally gets around to playing some blues on tracks like “Deliver Us” with Jason and Shawn trading off leads at a rapid tempo. “The Blow Zone Layer” puts the spotlight on Jason for one of his patented harp workouts that will have you shaking your head in amazement. Starsky jumps in with some rockabilly-style guitar. They follow that with one of the highlights of this disc, the slow blues “The Way I Hurt Myself”. Ricci lays down a strong vocal on the mournful tale. Starsky tears it up on guitar once again and Ricci provides a contrast by staying in the upper of the harp.
“Snow Flakes and Horses” is an original tune that Ricci has already recorded several times. But this version is the final word. Todd ”Buck Weed” Edmunds lays down a booming bottom-end on bass and Ron Sutton on drums supplies a strong beat. Jason and Shawn once again stage a musical dialogue that delights with energy and creativity.
The title track closes the disc. Written by jazz iconoclast Sun Ra (aka Sonny Blount), this cut shows the imagination the group has and clearly shows that Electo Groove is willing to let it’s artists truly push the envelope. This challenging work channels the spirit and irreverence of Frank Zappa, with Jason taking a brief foray on a nose flute before switching to harp.
It is exciting to finally get a recording by this band that fully explores the many facets of their talents. A couple of tracks may be fall into the category of acquired taste. But Jason, Shawn, Todd and Ron did not play it safe. And to their credit, the powers-that-be at Electo Groove gave the band the freedom to put together a recording that clearly demonstrates the incredible musical ability of the entire band as well as the depth of their influences. You can’t stuff this recording into any one category. They are just too good for that !!!