The Groove: Nov-Dec 2015

SJ: The IBC became a truly

international event under

your tutelage. How did you

make it grow?

JS: I think attention to

detail and the yearly com-

mitment to make it better

made it more worthwhile

to the artists and more fun

for the fans. As a result, it

has grown every year.

Specifically, with respect

to the international par-

ticipation, inasmuch as I

have twice lived and

worked outside of the

United States, when given

the opportunity I treated

them with respect. They,

in turn, began to trust and

appreciate this organiza-

tion as one that valued

their contributions over

many, many years.

SJ: The Foundation is in

great financial shape now

as compared to when you

took over. What were the

critical things that hap-

pened to ensure the sol-

vency of this great organi-

zation?

continued on page 2

Interviewing Foundation CEO Jay Sielemen

Inside this issue:

News 1-10, 29-30 Music Reviews 10-28

Playlist, Members 31

Membership Application 32

Upcoming Events 32

We last spoke with Jay Siele-

man in May 2009 and wrote

about it in our July-August

2009 Newsletter. On Octo-

ber 1st, Jay will be stepping

down and the next President

& CEO, Barbara B. Newman,

will take charge of the Blues

Foundation. Moving from the

Board of Directors to becom-

ing President and CEO in

2003, Jay Sieleman has made

a significant impact on the

Foundation and the world of

blues music as we know it.

SJ: Hello again, Jay! You’ve

been at the helm of the Blues

Foundation for a dozen years

now. The Blues Hall of Fame

opened this past May. Is that

the crown jewel of your ten-

ure at the Foundation?

JS: That is for other people

to say. My wife Priscilla

calls it my “legacy” but I

do not think in terms like

that. I really look at it as

one more thing that was

part of doing my job. But

certainly, it is a huge ac-

complishment for—I would

say the blues community

but there were many peo-

ple in the blues community

who did not come forward

to support the effort--the

many donors who made it

possible. It is their gener-

osity that should be ap-

plauded.

2016 Crossroads Blues Festival Lineup

Announced

Reverend Payton’s Big Damn Band: from South-ern Indiana this hill coun-try blues band is getting people on their feet and dancing to their groove!

Tad Robinson: the soul-ful sweet sounds of Tad Robinson delight blues fans across the globe!

Ghost Town Blues Band: we will be jamming’ and groovin’ to the swingin’ sounds of this exciting young Memphis band!

Joanna Connor: the mis-tress of the slide guitar, Joanna is one of the world’s finest slide play-ers and will give us an energizing show!

Flaming Mudcats: The top blues band from New Zealand graces our stage; they play authentic Chicago blues all the way from Auckland!

Birddog and Beck: be-tween acts we have our Solo/Duo Blues Chal-lenge winners who will delight our crowd!

See page 5 inside for more details

Remembering Bob Lowther David Stine

It’s hard to believe I’m writ-

ing about Bob Lowther in the

past tense. Bob was a musical

force to be reckoned with

and his loss will be felt for

many years. His passing

leaves the local and regional

blues community without one

of the best boogie woogie

piano players in the area.

I first met Bob in 1992. He

seemed to

appear out

of no-

where just

as Clyde

Cole, Har-

vey Wil-

helms,

and I were

trying to

get a long-

discussed

The Crossroads Blues Society Newsletter

TheGROOVE November-December

2015

Bob Lowther

Jay Sieleman

http://www.google.com/url?sa=i&rct=j&q=&esrc=s&source=images&cd=&cad=rja&uact=8&ved=0CAcQjRxqFQoTCKnwpf3hocgCFYHLgAodvcYIXQ&url=http%3A%2F%2Fwww.makingascene.org%2Fmusic-on-the-couch-show-285%2F&psig=AFQjCNF9qoSVHij-YtnkGgz9kOtl1Tf0Wg&ust=144380555579332

place?

JS: We have been meeting and talking

ever since she was selected as my suc-

cessor. Much of it will take place while

she is on the job. Each month is differ-

ent at The Blues Foundation so she is

aware that she will have to go through

a one-year cycle before she will have

been exposed to all the different aspects

of this position. When confronted with

something, if she needs my input, I am

at her disposal. I will do whatever she

wants or needs to help her succeed.

But as of October 1, I have no position,

I have no authority.

SJ: So what is life going to be like after

the Blues Foundation? What are your

future plans?

JS: I guess my planning will begin Oc-

tober 1! I will have plenty of time then

to plan. I have not paid that much at-

tention to my personal life in the past

12 years. I will be starting over in a lot

of ways.

SJ: Jay, thank you for your candor and all

that you have done for the Blues Founda-

tion and the world of blues music in gen-

eral. We wish you and your wife the best

as you move on to other endeavors and

we hope to see you at future blues events!

JS: We

cut ex-

penses and

staff in the

beginning.

We did

what indi-

viduals are

instructed

to do—cut

debt, save

a six-

month

rainy day

fund and

then begin

to invest for the long term. We have

maintained a small but very dedicated

staff all of these years, relied on the

goodwill of many volunteers, and bene-

fitted from professionals who steeply

discounted their services because they

were interested in the welfare of The

Blues Foundation. We still do not

spend money unless it is absolutely nec-

essary. In twelve years, we never

bought a paper clip and The Blues

Foundation almost never paid for a

“business lunch.”

SJ: The BMAs (former WC Handy

Awards) have also grown and become

more respected. Is anything in planning

to further grow the BMAs?

JS: I am not aware of where the BMAs

might go. Newbies often talk about

getting the show live on network TV.

No one who has suggested it or who

said they could make it happen has

ever come close. Does anyone really

want the network deciding who gets to

perform? Our mission is to honor the

BMA nominees and if it takes us five

plus hours to showcase the top blues

artists, so be it!

SJ: How does the Foundation work with

the community and other Memphis and

area agencies and how are they involved

in the various activities the Foundation

manages?

JS: This is a bit of an oversimplifica-

tion but The Blues Foundation is an

The Groove- Crossroads Blues Society Newsletter

Interview with Jay Seileman

continued from page 1

international organization based in

Memphis. The local affiliate is the

Memphis Blues Society. We interact

with the Memphis community in vari-

ous ways but our mission is not Mem-

phis-centric in any way. From a Mem-

phis point of view, we are an entity that

drives tourism to Memphis via the IBC,

BMA and Blues Hall of Fame. We pri-

marily get support from ArtsMemphis

(the local arts funding organization)

and the Memphis Convention and Visi-

tors Bureau.

SJ: The HART Fund has been a great

benefit to many musicians. Can you tell

us how it came about and how the fund

has made a difference?

JS: The HART Fund was the idea of

Mike Kappus, long-time head of The

Rosebud Agency. He was the initial

funder as well, donating proceeds from

tours he put together with Handy

Awards winners. Hence the name --

Handy Artists Relief Trust (HART).

Since 2003, we have disbursed almost

$300,000 for medical and funeral ex-

penses.

SJ: After all these years and all the bands

and acts you’ve seen do you have any

favorites that you gravitate to?

JS: I love singers and songs the best. I

have more Frank Sinatra CDs than any

other artist. My favorite CD of all time

is Rapture by Anita Baker. I just love

that album and have since it came out

in ’86 or ’87. When it comes to blues,

my hands down favorite is Taj Mahal.

He can sing and play anything, any

kind of blues style from around the

world. I truly dig Blues Hall of Famers

Bobby “Blue” Bland, Charles Brown

and Otis Clay. In recent years, I al-

ways prefer releases by the likes of

John Nemeth, Johnny Rawls or Tad

Robinson. Almost anything released

by Severn or Cat Food Records. I am

definitely more in the BMA soul blues

camp.

SJ: How will the transition from you to

Barbara Newman be handled and take

Crossroads Blues Society Officers

and Board Members Contact Info President: Steve Jones [email protected]

Vice-President: Bill Graw [email protected]

Secretary: Bonnie Fox [email protected]

Treasurer: Terry Keller [email protected]

Board of Directors:

Denny Barker [email protected]

Rick Davis [email protected]

Bob Haendler [email protected]

Ken Pearson [email protected]

Rick Hein [email protected]

November-December 2015

So here I sit, remembering my big-hearted friend who did all he could for Ernie Brown; who couldn’t say no to a benefit; whose adaptability allowed him to play Chicago blues and New Orleans syncopa-tion and lots of styles in between; and whose smile and enthusiasm will remain in our hearts forever. I had pushed for a Port Bluez reunion late this summer and was working on next year’s crawfish boil with The Rhythm Mas-ters. But Bob is irreplaceable. Bob was a partner in crime for the most outlandish gigs, a songwriting partner, a Jazzfest roommate, a go-to guy if you needed a band in a hurry, a friend, and to all of us who knew him, a beacon of enthusiasm. I will never be able to listen to Professor Longhair without thinking of Bob. His loss will be felt by everyone who knew Bob, played with Bob or met him once. Bob loved the blues, loved his family, was giv-ing to a fault, and never heard of a gig he wasn’t up for. This poor tribute is all I have. In 23 years of ups and downs, I didn’t think I could miss someone so much. Goodnight sweet prince. David Stine Robert J. Lowther, 60, passed away Sunday, Oct. 18, 2015, at home. He was born Feb. 14, 1955, in Elgin, IL; the son of James and Dorothy (Plettau) Lowther. Robert graduated from Palatine High School, he married Cyn-thia K. Williams Lowther on April 1, 2010, in Hot Springs, AR, with the ceremony in New Orleans, LA. Robert was the owner and President of Freeport Builders. He was a member of the Crossroads Blues Society; he was a musician, blues keyboard, piano player and an avid fisherman. He is survived by his wife, Cynthia K. Williams Lowther of Freeport, IL; children, Justin Lowther of Carterville, IL, Brianna (David) Weichel of Sycamore, IL, Maxwell Lowther (Ashley) of Naples, FL, and William E. Lowther of Tomah, WI; 5 grandchildren; step-daughter, Michelle MacAdam of Denver, CO; sister, Susan (Greg) Steiner of Destin, FL; 2 nieces; 1 nephew; and many beloved friends. Robert is preceded in death by his parents and step-father, Fred Lauterburg. Visitation will be from 4 to 8 p.m. Monday, Oct. 26, 2015, at the Schwarz Park Blvd. Chapel, 608 S. Park Blvd. In lieu of flowers, a memorial has been established in his memory. Online condolences and memories can be shared with the family at www.schwarzfh.com. (Bob Lowther was one of the first to serve on the Board of Directors for Crossroads Blues Society and served for three terms from 1995 to 1997, He then served as Crossroads’ President for two terms from 1998 to 2000. RIP to a very fine man!)

blues band together. Once Ernie Brown was cajoled into joining, we searched for a drummer. But then Bob happened. He came with skills, personality, and Chicago resume. What better than the “Muddy Waters” configuration? Bob had hung out, he claimed at Muddy’s house and learned from Pinetop Perkins. Once we solicited Frank Whalen to be our drummer, we were on our way as Port Bluez. Bob added lot to the sound immediately and would have taken over the band had it not been for five other strong personalities. Besides Bob’s timing, Crossroads Blues Society, then based in Lanark, was in its infancy, and we became the local favorite, playing so close to home. But, as with every band, direction became an issue: some wanted a Chicago-style blues band, some wanted a more Westcoast sound, and some wanted a “Blues Brothers” type band. Three years in, Clyde Cole de-parted and we became The Ernie Brown Band. Bob had become Ernie’s patron saint by this time: Port Bluez gave up a portion of almost every gig to supplement Ernie’s take home. If Ernie needed some-thing, we played a benefit at Bob’s behest. Ernie and The Po’Boy was really a vehicle for Bob to get Ernie more work and more spotlight. Although some feather were ruffled (me and Frank), no one stays mad at Bob for very long. Several years after the demise of Port Bluez, Bob and I became president and vice president, respectively, of Crossroads Blues Society. I don’t’ recall much about this reign except trying to get bag stage passes at New Orleans Jazzfest one year! Ask some longtime CBS member if we accomplished anything of note.

As Ernie got more and more frail, Bob and CBS organized more benefits for Ernie in Freeport and Rockford for Ernie. Port Blues reunited for all of these. We played our last show as Port Bluez with Ernie in Freeport in the summer of 2005. Ernie was too sick to perform much, so we asked both “Harmonica Joe”, and Ted Lawrence to help out. The Freeport Jour-nal Standard did a nice feature on us and remains a treasured memory for all who loved the band. In early 2005, I got a call from Bob about doing a Red Cross benefit in Freeport for the recent Tsunami disaster. The spon-sors were doing a Cajun theme and wanted a Cajun band. Because Bob had an accordion setting on his keyboard, he again massaged old relationships and The Rhythm Masters were born. Named after my Mother-in-Law’s high school band, The Rhythm Masters would do the Tsu-nami benefit in 2005 and later that year, a Katrina benefit and 2005, a benefit for children in 2006, and a handful of crawfish festivals in Sycamore, IL. The list of the bands Bob was in and the people he sat in with would require an-other feature. Long story short, Son Seals, J.B. Richie, Jimmy Lee Robinson are the ones I know of for sure. When he wasn’t playing, he was selling pole buildings or fishing. I get tired just thinking about the road miles Bob has racked up since I met him. He was a true road dog. My last cou-ple of years in New Orleans, Bob would call the day I was leaving and he was just getting into town from Florida or Gulf Port. The timing was terrible.

Remembering Bob Lowther

continued from page 1

Port Bluez with Bob Lowther

guitar lessons, vocals, and songwriting. Students from other schools will be brought in to also work in the program at East HS. The programs will conclude with an evening show at the newly renovated East HS auditorium for the students, par-ents, families and friends of the students and Crossroads. The dates are still being firmed up at press time, but if you are reading this you can attend! Exciting days are ahead in January at the IBC and in February with our first resi-dency BITS program!

Jimmy Nick and Don’t Tell Mama featuring “Hot Rod” Rodney Brown on the tenor sax and Birddog and Beck will be representing Crossroads at the International Blues Challenge (IBC) January 26th to 31st in Memphis. The young and energetic Jimmy Nick and his band won last years’ Crossroads Blues Challenge and due to a paperwork error on our part they were unable com-plete registration to compete, so we are having them represent us for the 2016 challenge. Jimmy is a fine blues and rockabilly performer with great song writ-ing abilities that go well with his out-standing performance skills. Rodney Brown on sax offers a measure of great authentic Chicago blues to the mix and we wish them the best as they compete; they are highly talented and that should serve them well in this year’s competition! Ken “Birddog” Olufs and Warren Beck won our Solo/Duo Challenge at Mary’s place. It was a tough day of judging as they and Dan Phelps both competed at a high level and a split decision had Birddog and Beck as the choice for Crossroads. Congratulations to Dan Phelps for his performing and for representing us in 2014! Ken and Warren had a great set of tunes and really put on a show for us Both artists share the vocals. Ken is an exceptional harp player and Warren is a keyboard wiz– both are very talented and will do well down in Memphis.


Jimmy Nick &Birddog and Beck Headed to the IBC; Dan Phelps to Conduct Two-Week BITS Residency with Rockford’s East HS

Despite not repeating in the Challenge, Dan Phelps will be working with us and East High School for Crossroads first foray into BITS residency programming. We obtained a grant from RPS 205 who had gotten a Kennedy Center Arts and Music Grant that will allow us to have a blues musician in school every day over a two week period. The program will kick off with a January assembly for fun and then the residency will take place in early to mid-February with Dan Phelps working with students on


Crossroads Announces 2016 Festival Lineup

approach to the guitar is to take it and make it sound like no one else can. As a slide player she is up there with the best. Sonny Landreth is my benchmark and I think she could hold her own with him! We are so looking forward to having her at our event!

Opening the day will be a band from Auckland, New Zealand. They were in the states in 2013 and we added them to our already full lineup as an opening act for the first Field of Blues festival at the base-ball park in June 2013. The Flaming Mud-cats are an exciting and great sounding band. When we heard that they wanted to return to the United States we figured we could help them and they could help us! Their first CD was "Gave You What You Wanted" and it is a huge album with a driving beat and superb sound. They fol-lowed up their USA tour filled with inspira-tion and came out with "Mistress," a fan-tastic sophomore effort. You can sample them at their website and on You Tube.

This is a great lineup and we will also fea-tured 2015 Solo/Duo Crossroads Blues Challenge winners Birddog and Beck be-tween acts and with Ken Olufs also con-ducting our harmonica workshop!

Variety is the spice of life and we have lined up a very spicy event for you all for 2016. Our lineup covers a wide spectrum of blues styles from hill country to the streets of Chicago via Auckland, NZ!

“BROWN COUNTY, IN — The Rev. Pey-ton’s Big Damn Band bridges genres and eras with an intensity and effortlessness few contemporary artists possess. And their new album So Delicious elevates the trio’s work to a new level. Produced by Rev. Peyton, So Delicious offers the band’s most diverse collection of songs buoyed by the Rev.’s supercharged six-string virtuosity — a unique style of finger-picking inspired by his Delta blues heroes, but taken to new, original heights. The fifth full-length original album by the group — which includes Breezy Peyton on washboard and supporting vocals and Ben Bussell on drums and supporting vocals — is their debut on Yazoo Re-cords, a label known for the historic reis-sues of blues and other old time American music that are the bedrock inspiration for the Rev.’s sound and approach.

“Yazoo was my favorite record label grow-ing up,” he explains. “For fans of old coun-try blues and all manner of early American music, they are the quintessential label. And for me, it’s like being on the same label as Charley Patton and ‘Mississippi’ John Hurt. To think that Yazoo believes we are authentic enough to stand with the other people in their catalog means a lot.” The Rev. Peyton’s Big Damn Band has always been strong on authenticity, play-ing music that blends blues, ragtime, folk, country and other traditional styles with the sleek modern energy of do-it-yourself, homespun, punk fueled rock. And per-forming tunes plucked from their lives, their community or from the canonical songbook that fed the Rev. Peyton’s for-mative creative identity. It’s a mix that’s allowed the band to win fans from all cor-ners of the Americana and rock worlds, and bring a new generation to blues and other forms of American roots music.

Next up for our festival announcement takes us down the soul blues road. The blues and soul are inextricably mixed and this singer we have coming epitomizes the essence of soul blues. Originally from New York and now living in Indianapolis, we have none other than the great Tad Robinson coming out to perform for us. Tad attended Indiana University’s School of Music and later moved from Blooming-

ton, Indiana, to Chicago to sing as part of Dave Specter and the Bluebirds. He has recorded with Dave Specter, Big Shoul-ders and BB and the Blues Shack and has released six records on his own, his first two on Delmark and the last four on Sev-ern Records. He now resides back in Indi-ana and continues to regularly tour and perform to appreciative crowds! Tad has been nominated for eight Blues Music Awards over the years. His latest and recent release “Day Into Night” was nomi-nated for a Blues Blast Music Award and is receiving other accolades for the fine music on it. He is a performer of high cali-ber and expresses great feeling in his vocals. We are proud to have him as part of our lineup!

Our third band to announce is one that rocks and swings its' way through the blues. Horns, keyboard, guitar, and no, it's not the Jimmys (Switzerland- they can't make it). All the way from Memphis we will be featuring the Ghost Town Blues Band!!! Their web site tells the whole story: "Beale Street’s latest success story and 2014 International Blues Challenge 2nd Place Winner was Ghost Town Blues Band. Not your grandpa’s blues band, their live show has been captivating audiences in the U.S. and Canada with a second-line horn entrance, cigar box guitars and electric push brooms to Allman Brothers style jams and their rapping trombone player. Both Preston McEwen be-hind the drums and Matt Karner on the bass guitar are a punishing rhythm section behind frontman Matt Isbell with raunchy cigar box guitar licks and chainsaw rhythms. With the addition of Trombonist Suavo Jones, Jeremy Powell on keys and finally Josh Roberts on lead guitar, the grooves go from funky to funk-nasty as the band gains more notori-ety in the blues and jam circuit." This is going to be one helluva band to listen to!

Fourth to announce is Joanna Con-nor. Joanna is no stranger to the Rockford area. She played at Big Cities Lounge many, many times over the years. In fact, she was play-ing there the night of the first Cross-roads meeting I attended. It has been far too long for this guitar great to have been gone from Rockford and we have her in our lineup! Her


this period, but it can and other great

tunes can be found on 1995’s The Com-

plete Capital/Black And White ses-

sions.

#45 – Stevie Ray Vaughan & Double

Trouble – Texas Flood – 1983

(1954-1990) Such a big star, yet cut

down in his prime. We all have heard this

great recording with “Love Struck Baby”,

“Pride And Joy” and “Texas Flood”.

Own it and enjoy it. Add In Step or Live

Alive to go deeper into his catalog.

#44 – Various Artists – Deep Blues –

1992 – OST

(1992)Robert Palmer the author took a

recording system into the delta area

and did modern field recordings of

artists in the area. These are juke

joint style blues from relatively un-

known artists at the time. R.L. Burn-

side, Junior Kimbrough, Big Jack

Johnson, and Jessie Mae Hemphill

are among the artist recorded. Check

out the movie about these recordings

for more fun.

In the last issue we left off with #50, re-

peated here. We feature #’s 26 to 50 in

this issue.

#50 – Kokomo Arnold - The Com-plete Recorded Works In Chronologi-cal Order: Volume 1 – 1994 – Compi-lation (1901-1968) James ‘Kokomo’ Arnold

was a fine slide guitarist that recorded 88

sides for Decca between 1934-1938. In-

cluded here are the classic “Milk Cow

Blues”, “How Long, How Long Blues”

and “Sagefield Woman Blues”. With this

tasteful release you will want more, so get

the rest with The Complete Recorded

Works Vol 2, 3 & 4.0 Lists

#49 – Sonny Boy Williamson – Down

And Out Blues – 1959 – Compilation

(1899-1965) This is Sonny Boy Wil-

liamson II (Rice Miller). He was the later

of the 2 Sonny Boy’s who played with

Robert Johnson. Included here is “Don't

Start Me To Talkin'”, “Keep It To Your-

self” and “All My Love In Vain”. Grab

the 2 CD set The Essential Sonny Boy

Williamson for his great Chess sides.

#48 – Sonny Boy Williamson – King

Biscuit Time – 1970 – Compilation

(1899-1965) This is a fine set on the Ar-

hoolie label. A few greats are here, in-

cluding “Eyesight To The Blind”,

“Pontiac Blues” and “Do It If You

Wanna”. For more SBW try out Real

Folk Blues & More Real Folk Blues.

#47 – Bukka White – The Complete

Bukka White – 1994 – Compilation

(1906-1977) The recording is his entire

output for the Vocation label. He had a

rough life, and spent time in prison.

“Parchman Farm Blues” and “Sleepy

Man Blues” are favorites. Check out Re-

visited from 2003 that combs through

more of Bukka’s work.

#46 – T-Bone Walker – The Complete

Imperial Recordings (1950-1954) –

1991 – Compilation

(1910-1975) The great Texas guitar

sound cannot be missed. From his Impe-

rial sides we get "The Hustle Is On",

"Cold Cold Feeling", "Blue Mood" and

"Vida Lee". No “Stormy Monday during

Top All Time Blues Albums by Mark Nelson, courtesy of John M. Becker


Ready”, “Rollin’ Stone”, Hoochie

Coochie Man” and “I Just Want To

Make Love To You” are all here.

With 12 tracks we get the cream, but

certainly not all of the Chess re-

cordings. For later Muddy, try Hard

Again from 1977. 1990’s Chess Box

is a 3 CD collection that takes you

deeper into the grand period of Chi-

cago blues.

#37 – Memphis Minnie – Bumble

Bee- The Essential Recordings of

Memphis Minnie– 1995

(1897-1973) One of the best early

blues singers is Memphis Minnie.

She was very popular, and recorded

many sides. This is a top flight com-

pilation of her work in the early

years. “What’s The Matter With The

Mill”, “When The Levee Breaks” and

“Pickin’ The Blues are great songs.

For more Minnie, grab 1999’s Black

Widow Stinger.

#36 – Blind Willie McTell – The De-

finitive Blind Willie McTeel – 1994 -

Compilation

(1901-1959) A fine guitarist and a

pretty good singer, Blind Willie was

known for his 12 string guitar work.

There is no “Statsboro Blues here, as

it was recorded on Victor in his early

career. You can find it on 2002’s

The Definitive Blind Willie McTell

1927-1935.

#43 – Big Joe Turner – The Boss Of

The Blues - 1982

(1911-1985) The leading R&B jump

blues vocalist from the 40’s and 50’s.

Two classics are here “Cherry Red” and

“How Long Blues”. Or a bigger over-

view, pick up 1989’s Greatest Hits col-

lection which had “Shake, Rattle & Roll”.

#42 – Big Mama Thornton - Ball And

Chain - 1989 - Compilation

(1926-1984) One of the great blues &

R&B singers of her period, Big Mama

knew her stuff. Included here are “Sweet

Little Angel”, “Ball And Chain”, and

“Hound Dog”. There are great recordings

in the 2000 3 CD set called The Com-

plete Vanguard Years.

#41 – Otis Rush – Right Place,

Wrong Time – 1976

(1934 – Present) The man who put

the west side sound on the map is

Otis Rush. The guitar style and vo-

cals put him to the top. “Tore Up”,

“Rainy Night In Georgia”, and the

title cut make this a classic. Sadly

Otis cannot perform anymore. You

can get more great Otis Rush with

1994’s Ain't Enough Comin' In.

#40 – Otis Rush – Right Place,

Wrong Time – 1976

(1934 – Present) Otis’s great re-

cordings for Cobra are brought to-

gether here. “I Can't Quit You

Baby”, “Double Trouble” and

“Checking On My Baby”. For more

Otis, check out 1988’s TOPS (Live

SF Blues Festival) and hear some

live Otis.

#39 – Jimmy Rogers – Chicago

Bound – 1970

(1924 – 1987) Jimmy was Muddy’s gui-

tarist in the original band. He played

there and solo over the years. “Luedella”,

“Chicago Bound”, “Sloppy Drunk” and

“Blues Please Leave Me Alone” are stand

out tracks. 1997’s The Complete Chess

Recordings are a great next step in the

Jimmy Rogers discography.

#38 – Muddy Waters – The Best Of

Muddy Waters – 1957 – Compilation

(1915-1983) Muddy should be

known by all. This is a greatest hits

from the peak Chess years. “I'm


Complete Recordings 1949-1962.

Pick it up to explore deep into the

early B. B. King.

#30 – Robert Johnson – The Complete

Recordings – 1990 – Compilation

(1911-1938) Robert Johnson lived a short

life, but his music has lived on in song

movies. You get all the songs and all the

takes there are in this collection. “Come

on in My Kitchen”, “Cross Road Blues”,

and “Traveling Riverside Blues”. This is

all he gave us, so if you want more, go

listen to all the covers that have been

done.

#29 – Blind Willie Johnson – The Com-

plete Blind Willie Johnson – 1993 –

Compilation

(1902-1947) Blind Willie Johnson was

one of the finest gospel blues artists ever.

He has been covered by many over the

years. You can listen and enjoy “If I Had

My Way I'd Tear The Building Down”,

“Let Your Light Shine On Me” and

“Mother's Children Have A Hard Time” .

It is a 2 disc set. Search out the covers of

his tunes to enjoy more.

#35 – Magic Sam Blues Band – Black

Magic – 1969

(1937-1969) His life was cut short at 32 but the legacy lives on. One of the finest purveyors of west side blues guitar, this recording gives us “Easy Baby”, “San Ho Zay” and “You Belong To Me”. For additional Magic Sam, grab 1967’s West Side Soul and 2001 compilation The Es-sential Magic Sam: The Cobra and Chief Recordings 1957-1961.

#24 – Little Walter – His Best – 1997 –

Compilation

(1930-1968) Little Walter really

brought the harmonica to its modern ur-

ban feel. He remains one of the best.

This compilation draws from his Chess

years, including “Juke”, “Mellow Down

Easy” and “Mean Old World”. Go get

The Blues World Of Little Walter a

fine Delmark recording for more great

blues.

#33 – Little Milton – Greatest Hits

(Chess 50th Anniversary) – 1997 - Com-

pilation

(1934-2005) He recorded for Chess/

Checker and also for Sun, Stax and Ma-

laco Records. This is his best from the

chess period. “We're Gonna Make It”,

“Grits Ain't Groceries” and “Who's

Cheating Who!” are classic soul laden

blues. You can go back to the beginning

and get the Sun Records Sun Masters

from 1990.

#32 – B. B. King – Live At The Regal –

1965

(1925-2015) The King of The Blues

was never better than this night at the

Regal. It is his playing singing and stage

presence that all brought him his level of

fame. “Every Day I Have The Blues”,

“You Done Lost Your Good Thing Now”,

and “Sweet Little Angel” bring life to the

legend here. To dig deeper into Riley

“Blues Boy” King, run and get King Of

The Blues 4 CD set from 1992 and enjoy

it.

#31 – B. B. King - Singin' the Blues /

The Blues – 1991 – Compilation

(1925-2015) This is a reissue of 2

early LPs from B. B. King. These are

from the late 50’s, and bring use great

tracks like “Everyday (I Have The

Blues)”, “Why Does Everything Hap-

pen to Me.” and “Please Love Me”.

There is a new 6 CD collection called


allow Italian and other Euro-pean blues fans to also see and hear what the US has to offer when he tours. An amusing story is that when he and Linda were here he'd asked to get a local backline duo and a keyboard player for the shows. We could not come up with a keyboard player for those dates, so we arranged to have local guitar player Bar-stool Bob Levis play guitar to back him up and round out the sound. When we discussed this with Luca he said, "Bob Levis? Isn't he the guitar player who played with Otis Rush?" We told him yes. Luca replied, "My friend and I took the train to listen to him in Denmark when they were on tour there. I love Bob Levis! I should be playing for him!" Small, small world. We had reviewed his album in the Jul-Aug 2015 issue of The Groove, our bi-monthly newsletter. We are excited to have this fine album by our outstanding Italian friend of Crossroads Blues Society repre-sent us in the Best Self Produced CD Category for the 2016 International Blues

#28 – Skip James – Today – 1966

(1902-1969) As part of the revival of the

blues in the 60’s, Skip James made some

of the best new tunes. Skip brought us”

I'm So Glad.”, “Hard Times Killing Floor

Blues” and a cover of “How Long Blues.

For more Skip James, take a listen to The

Complete 1931 Recordings issued in

1994.

#27 – Lightnin’ Hopkins – The Herald

Recordings 1954 – 1989 – Compilation

(1912-1982) One of the great county

blues singers. He was highly prolific,

recording for many labels over the years.

The best here are "Sittin' Down Thinkin'",

"Hopkins' Sky Hop" and "Lightnin' Don't

Feel Well". There is so much more, but

you should enjoy 1991’s The Complete

Aladdin Recordings (2 CDs).

#26 – Buddy Guy – Stone Crazy – 1981

(1936 – Present) One of the guitar greats

is Buddy Guy. This is an Alligator re-

lease the predates his Damm Right I Got

The Blues breakout for his career resur-

rection. “I Smell A Rat” and “Outskirts

of Town“ are fiery blues guitar songs.

For more Buddy Guy, enjoy 1994’s Slip-

pin' In.

#25 – Blind Blake - Ragtime Guitar's

Foremost Fingerpicker – 1984 – Com-

pilation

(1893-1934) He is referred to as ‘King

Of The Ragtime Guitar’. He was a pro-

lific recorder of music, cutting 79 sides

for Paramount. In this fine collection you

will find “Too Tight Blues No. 2”,

“Skeedle Loo Doo Blues” and “Southern

Rag”. To really dig deep, you can ob-

tain the 5 CD All the Published Sides

put out in 2003. Crossroads Blues Society nominee for best self-produced CD for the 2016 IBC is Luca Giordano's Off The Grid. Cross-roads and Luca first crossed paths when he accompanied Linda Valore to Rockford for two shows in April 2013. We fell in love with him, his vibrant guitar playing, vocal work and his intense energy. Luca visits the US at least once a year; he always comes out during the time of the Chicago Blues Festival. During every visit we try to get together with him and listen to his music. In 2014, Crossroads brought Luca and Spanish harp great and crooner QuiQue Gomez to the northern Illinois area for a few shows. Again in 2015 we arranged with Dave Potter to have Luca and Quique perform at Boundaries in Be-loit this past June. Luca also tours Europe extensively and he brings with him many of the great Chi-cago blues artists. He works diligently to

Luca Giordano’s Off the Grid Nominated to Compete for Best Self Produced CD at the 2016 IBC


“Gate’s Salty Blues” offers more great guitar work and horns. Nixon growls out the vocal lead while Andy T blasts out the guitar solo; Nixon closes resolute in find-ing a new woman and then Andy takes us out on the back of his guitar. Things rap up with “This World We Live In,” a soulful blues ballad. Social commentary about the sad state of affairs is the theme, but Nixon offers hope in stating love is the answer. A great cut to close out a great album! The solos on the B-3 by Kevin McKendree are fabulous. Steve F’dor on piano is solid and the backline of Denise Fraser on drums and Rick Reed on bass is also quite good. Andy’s guitar is poign-ant and beautiful as he paints a backdrop of our desperate times with his strings. There is nothing to complain about here. This is one of the finest albums of the past year. It needs a spot in any blues lover’s collection! Reviewed by Steve Jones

Numbers Man Andy T Nick Nixon Band Blind Pig Records www.andytband 14 tracks/54:28 The Andy T Nick Nixon Band has pretty much taken the blues world by storm. This is their third release on a major label. It was nominated for both a Blues Blast and a Blues Music Award for Best Tradi-tional Album. Blending the incredible tal-ents of Memphis performer and music educator Nick Nixon and the acclaimed guitar player “Andy T” Talamantez whop was Southern California born and raised, this is a superb album and I think it is their best yet. Anson Funderburgh has pro-duced another gem in this CD and he and the band are (and should be) proud of their superb efforts! The primary band is Nick on vocals, Andy T on guitar, Larry Van Loon on B3 and piano, Jim Klinger on drums, and Sam Persons on bass. The keys and backline are long-standing stalwarts in the band. Guests include Anson Funderburgh (guitar), Kim Wilson (harp), Christian Doz-ier (piano and accordion), Zeke Jarmon (rubboard), and the Texas Horns (Kaz Kazanov on tenor sax, Al Gomez on trum-pet and John Mills on baritone sax). The last track features an assortment of other guests. 10 originals and 4 covers are the mix here. The CD opens with “Shut the Front Door,” a jumping cut where Nick bemoans his baby leaving him and Anson and Andy T respond to him with some heavy duty, driving guitar work. Anson begins with the lead and a killer guitar solo and then Andy takes the solo and lead. Support by van Loon with some boogie woogie piano and savory B3 really fills out this track, a great opening for this album. “Devil’s Wife” is a song about a woman who, based on the title alone, must be quite “special.” The mid tempo shuffle is very danceable. Great guitar, keys and a heavy dose of horns make this one a winner. “Deep Blue Sea” is a down tempo swing tune with the horns heavily involved in the groove. Nixon paces out the vocals well and the horns do a sort of response to his calls. Andy’s tasteful solo is followed by an equally tasteful B-3 solo. I could envi-sion Cab Calloway singing this to a wild

response! “Tall Drink of Water” starts with a bit of a Cajun sound as Dozzler’s accor-dion sets the tone and pace for this song. Andy T comes in with a short, stinging guitar solo and then it’s back to the bayou for some more two stepping fun. The title track is an ode to a man who has connec-tions and helps regular folks get things done that may or may not be done within the law. This is some nice slower blues with Andy showing us his stuff and the B-3 and horns filling in nicely. “Pretty Girls Everywhere” is a bopping cut with piano, horns and guitar sweetly sup-plementing Nixon’s vocals. Andy’s solo is rocking and then Kaz comes in for his solo and does a great job tanking us out. “Blue Monday” is a dirty and low-down slow blues where Andy and Nick give us an outstanding effort. Dozzler play some pretty piano in here, too, but it’s Nick’s testifying that is the key to this one. Andy’s long solo is sweet. Van Loon dodges in and out on the B-3 to make things even more soulful. “Hightailin’” is a guitar based instrumental that Andy excels at. The B-3 support is quite tasteful and well done; the backline beat is also rock steady. On “Sundown Blues” Wilson appears on harp and he and Nixon are at ease trading off the lead. Traditional, straight up blues here; well done! Kim is on fire for his solos and Nick stays right up there with him the rest of the way. “Tell Me What’s The Reason” is a swinging cut that jumps, jives and wails as Nixon bounces through the lead. Andy come in for a bouncy solo and then it’s time for a long instrumental barrage. Great horn work and keys once again! Anson returns for a solo and some work on “Be Somebody Someday” which is stellar stuff. The baritone horn is a stand-out, too. “What Went Wrong” has Dozzier returning on the squeeze box and Jarmon do-ing some cool percussive stuff as Nixon testifies and asks about a relation gone bad. The old Gatemouth Brown tune

Music Reviews

of much of this album, as well as having a great core riff and some fine slide work at its heart. A gentler tune but equally tough in terms of subject matter is “Cardboard Box”, a co-write between John Hahn and Briton Ian Siegal. Alvin Youngblood Hart plays guitar and shares vocals on this harrowing tale of homeless people which is mainly acoustic. Shemekia takes us on a jaunty country detour on the amusing “Driving Out Of Nashville”, the last of the Hahn/Wood songs, Pete Finney’s pedal steel giving the song an appropriately country feel. Shemekia seems to relish some of the funny lines here: “I’m driving out of Nashville with a body in the trunk, trying to figure out the depths to which I’ve sunk. I never hit the big time, but I went out with a bang, ‘cos country music ain’t nothing but the blues with a twang”. The second half of the album is all covers, starting with a great version of “I Feel A Sin Coming On”, a song once sung by Solomon Burke. Those are big boots to fill but Shemekia is more than capable of doing so and you can really believe that she is about to fall to temptation, her vocal well supported by backing vocalists and horns. A rhumba rhythm opens Jesse Winchester’s “Isn’t That So” and the lyrics follow on nicely from the previous song, as Shemekia sings of following your heart and “finding the line of least resistance”. ZZ Top’s Billy Gibbons joins in the fun on the remake of the band’s “Jesus Just Left Chicago” with some meaty power chords well supported by Lex’s bass and some interesting percussion additions from engi-neer Mike Poole. John Fogerty’s CCR anthem “Long As I Can See The Light” is a superb song and Shemekia’s version compares well to the original with plenty of guitar work on both slide and ‘twangy’ lead. The Albert King cover “Wrapped Up In Love Again” adds Shemekia’s regular road guitarist Arthur Neilson who plays some strong blues licks for us, even man-aging some of Albert’s famous sustains. The album closes with a gentle acoustic reading of Jessie Mae Hemphill’s gospel piece “Lord, Help The Needy”, Sheme-kia’s voice set against just echoey slide, acoustic bass, minimal percussion and what sounds like some ethereal harp work (uncredited). As on several tracks, She-mekia wears her social conscience on her sleeve. This is a fine album with no weak cuts, probably even stronger than 33 1/3 which was nominated for a Grammy. Recom-mended and likely to be on many ‘best of’ lists at the end of the year. Reviewed by John Mitchell

Boomerang Eric Sardinas and Big Motor Jazzhaus Records www.ericsardinas.co.uk/ 10 Tracks Originally from Florida, but now hailing from California, Eric Sardinas make no pretense of being anything but blazing guitars and party time. This release is his sixth. He is joined by bandmates Levell Price (bass) Bryan Keeling (drums). You better not forget your earplugs for their performances. The songs are all origi-nals. Eric uses electrified custom dobro resonators and both steel and acoustic resonators. He gets every sound there is from them. Let’s jump into the music. “Run Devil Run” hits the listener with the dobro reso-nator from the first note. Might be a bit of Aerosmith here in this rocking mid tempo song. The title cut “Boomerang” grabs a bit of Chuck Berry to start, but rolls through your ears like a fast paced train. “Tell Me You're Mine” is a mid tempo harder rock tune, with maybe a hint of blues riffs. Eric’s vocals are not too bad on this one. We get a blues based ballad up next with “Morning Glory”. It’s nice to hear them slow it down a bit. Up next is a blues rock tune called “Bad Boy Blues”. It is a blues tune with keyboards added by Dave Schulz and great slide by Eric. This is a pretty good blues rock ballad. Things really slow down in the opening for “If You Don't Love Me”. The pace grows, but stays in a rock/blues rock vein with some nice back and forth vocals. Eric really brings his slide on blues based “Trouble” (written by Leiber & Stoller). This high powered blues rocker will be a pleaser to his fans. It hits more of a rock groove near the end. “Long Gone” is rocker to me. I don’t see a great deal of blues in this one, but it is a credible rock song. The Howlin’ Wolf penned “How Many More Years” is given the Sardinas feel. Wolf might like this raucous version of his tune. The CD closes with the shuffle feel of “Heavy Loaded”. The tune is fun, and the sound is augmented by Celine Covin on Mojo Juice Harp, and kazoos by the Hilo Bay Honorary Brigade. This one is certainly for the blues rock crowd. It is interesZting that he did not play guitar on this one. He certainly is making an attempt to bring the blues and rock together for his audience, and it has

a few moments. This one is not for the purist, or maybe not even the casual lis-tener. Those who like their rock loud and their guitar work fast will enjoy this one. It will never be a weak set of music with Eric Sardinas. Reviewed by Mark Nelson Outskirts Of Love Shemekia Copeland Alligator 2015 www.shemekiacopel-and.com www.alligator.com 12 tracks; 44 minutes Everybody knows Shemekia, daughter of Johnny Copeland and now firmly established as one of the top singers in contemporary blues. Still only in her thirties, this is her seventh al-bum, again with Oliver Wood (with whom she made the Grammy-nominated 33 1/3) as producer and guitarist. Executive pro-ducer John Hahn again contributes mate-rial, having a hand in four of the songs here, three with Oliver. As ever, Sheme-kia includes one of her Dad’s songs and also covers songs from the repertoires of Sonny Terry and Brownie McGhee, ZZ Top, Jessie Mae Hemphill, Solomon Burke, Jesse Winchester, Creedence and Albert King – quite a range! The musi-cians featured alongside Shemekia’s pow-erhouse vocals and Oliver’s guitar are Jano Rix on drums and keys and Lex Price on bass. Guests include guitarists Billy Gibbons, Alvin Youngblood Hart, Arthur Neilson, Guthrie Trapp, Will Kimbrough and Robert Randolph and horns are added to two tracks by Matt Glassmeyer. The CD opens with the title track, a song typical of Shemekia – a powerful rocker with a social conscience – as she tells of the difficult lives that people in poor areas have to survive. A second Hahn/Wood tune explores more difficult lyrical territory as Shemekia takes us to “Crossbone Beach” where she appears to have been passed a drugged drink – “my soul washed up on Crossbone Beach, close to hell as you can reach”; however, she gets her revenge later in the song! Johnny Copelan’s “Devil’s Hand” is lower key to start with, more doom and gloom as She-mekia “saw the devil playing his hand; you know he wrecked my life just like a hurri-cane” but soon ramps up as the horns back up the chugging guitars, another excellent track. “The Battle Is Over (But The War Goes On)” was a tune done by Sonny Terry/Brownie McGhee and it fits perfectly with the social conscience nature


http://www.ericsardinas.co.uk/


know she exists: “Tell me how this hap-pened though we’ve never met. You cap-tivate my very soul, won’t let my heart forget. So I will watch you, as I wonder…” Reggie catches the mood of angst in his work on the outro. “Wearin’ Me Out” fea-tures Dan’s piano on an uptempo rocker, a song in which Lara expresses her relief that her guy is walking out, as she is fed up with the relationship! “T-Dawg” sounds like it should be a Texan instrumental but turns out to be another fine ballad with solo features from Al and Reggie whose smouldering sax is great here. “Don’t Mess With My Baby” has a smooth vocal from Lara on a soulful tune with a catchy refrain featuring a fine guitar solo. The band adds some jazzy overtones to the smooth grooves of “Love Me Tonight” courtesy of Dan’s electric piano work and Reggie’s laid back sax and some slinky guitar work from Al, another good track. “I’m Over It” is driven by the rhythm sec-tion and some funky piano work and a muscular sax solo from Reggie while “Say Goodbye” is a churning R n’ B ballad with Reggie’s sax at Lara’s side as she emotes about her emotional loss. The band add some New Orleans influences (Reggie comes from NO) on “Love Of Mine” before “Shadow Groovin’” does what the title suggests by placing Lara’s vocals in front of some moody sax and an arrangement that borders on smooth jazz. The CD closes with the title track “Howlin’” on which Al’s slide and Dan’s piano work initially make you think Little Feat before Reggie’s sax arrives to take us back to NO, the rhythm section playing some great stuff in support, a fine way to end the CD. As with their first CD you have to take your hat off to this band for having the confidence to offer an entirely original set of tunes. What is more they have written several great songs here, the whole being well recorded and produced. Definitely one worth readers’ attention. John Mitchell

Behind Blue Eyes Eddie Dattel Inside Sounds www.insidesounds.com 11 tracks/42 minutes Inside Sounds is the Memphis-based home of The Daddy Mack Blues Band, Billy Gibson and other local artists. The label was founded by Eddie Dattel who has periodically re-leased some of his own music, this latest being his third CD. All the material was written by Eddie with one track being co-authored by Wally Ford. Eddie sings lead throughout and contributes mostly acous-tic guitar, with some piano and percus-sion, and a wealth of Memphis-based musicians contribute to the recordings including Matt Isbell (Ghost Town Blues Band), Brad Webb, Daddy Mack Orr, Dave Smith, Steve Potts and Jackie John-son. The music is pretty varied as Eddie sets out his intentions on the opening “Real Slow Down Home Blues” as guitarists Adam Levin and Eric Lewis play the blues and Carl Wolfe adds smoky sax to support Eddie’s rather world-weary vocal. “I Ain’t Goin’ Fishin” is acoustic with some nice slide work on resonator from Eric Lewis as Eddie sings of a relaxing approach to life: “I watch the sky turn orange and count the stars coming out; everybody’s busy fishin’, well I still got my doubts”. A gospel rave-up seems to be the inspiration for “Deep Fried Hallelujahs” which starts well with plenty of slide from Brad Webb but rather loses momentum as the final section sim-ply repeats the title over and over. More successful is “In New Orleans I Had A Prayer” as Eddie’s light voice carries the tune well over a fine horn arrangement and choral vocals, Eddie’s lyrics regretting his move away from the Crescent City. The horns also play a vital role in the short but sweet “Can’t Make It Without Your Love”. “Always Want You” sounds a little like an Everley Brothers tune but also rather exposes Eddie’s vocal limitations though the backing vocals (Charles Pon-der, Nora Tucker) do help him out consid-erably. The song co-written with Wally Ford is “Memphis State Of Mind” which, with the saxophones and a funky arrangement certainly does evoke the city of the title, Charles and Nora again adding chorus vocals. “I Can’t Take You With Me When I Go” is another acoustic piece with Matt Isbell’s dobro and harmonica the featured instruments with just percussion, double bass and Eddie’s acoustic guitar, a pleas-

antly catchy piece which suits Eddie’s voice well. Eddie looks south down the Mississippi for a second time on “Prince Of New Orleans”, a tribute to the late James Booker which takes the form of a sad ballad with more than a hint of French chanson; Joe Restivo’s guitar is very Gary Moore in style and Tony Thomas certainly evokes Booker’s spirit with some fine piano work. It is then back to a very stripped down acoustic style with “Orphan Blues” as Brad Webb plays acoustic slide with Eddie providing some percussion on tambourine. Eddie closes the album with another ballad “If Ever I’m Wrong” which has some anthemic moments from Eddie’s piano and Tony Thomas’ organ. Once again the backing vocals are spot on (Jackie Johnson, Vicki Loveland) and Matt Isbell plays some great guitar. Overall there are some solid songs here and some fine playing. Eddie has not got the strongest voice but he sings clearly so we can hear all the lyrics and it is always good to find someone capable of writing original material. Reviewed by John Mitchell Howlin’ Lara & The Bluz Dawgz Lock Alley Music www.laraandthebluz-dawgz.com 12 tracks/47 minutes In 2013 I had the pleasure of reviewing the debut CD from this band and two years on their second CD is even better. The band comes from Nashville and con-sists of Lara Germony on vocals, husband Gregg on bass, Al Rowe on guitar, Dan Nadasdi on keys, Reggie Murray on sax and Ray Gonzales on drums. Everything you hear was written and played by the band members, the trio of the Germonys and Al Rowe writing most of the material with some help from Dan on four cuts and a little outside help on two songs from Chris Buck, a Nashville based songwriter and drummer. Lara’s voice is clear and flexible and leads the band well on opener “Uh Huh” with rocking piano and guitar, Reggie’s sax adding some nice accents. “Flat Line” follows with some great sax and guitar throughout, an early highlight. That is followed by some striking guitar work on the gorgeous ballad “I Wonder” in which Lara pours her heart out as she yearns to get close to a guy who does not seem to

blues, as witnessed by the rockabilly of “Rough And Tumble Guy” with its twin guitars creating a sound that could have come out of 1950’s Sun Studios. “If It Ain’t Broke Don’t Fix It” follows with a lilt-ing country feel and some amusing lyrics around the title theme and the ballad “Only A Fool” has twin sitars playing the melody; this one is a collaboration be-tween Webb and Dan Penn and it’s a strong song, but far removed from the blues. “I Gotta Move” is a 1964 Kinks tune in their typical pop/R n’ B style and it is good to hear one of Ray Davies’ old tunes covered. Webb’s “Too Much Sugar For A Nickel” is a nice country tune with some solid baritone guitar from Webb and is followed by a cover of Conway Twitty’s “Lonely Boy Blue” and R.S. Field’s “I’m Not Just Anybody’s Fool”, a gentle country ballad. So far there has been little or no blues in evidence. “Yard Dog” has some blues content with its guitar attack and insistent drums and things take a definite turn for the better for blues fans with a cover of Otis Rush’s “It Takes Time” that rocks along well, probably the outstanding blues cut here. Frankie Lee Sims’ “Lucy Mae Blues” features distorted vocals which give the effect of an ‘old blues record’ and did not work well for this reviewer though the Jimmy Reed cover, “I’m Gonna Get My Baby”, with slide and baritone guitars, works fine. Those two blues are split by Charlie Rich’s “Who Will The Next Fool Be” and although Charlie is mostly re-membered as a country artist this is one of his songs that has been recorded by many different artists and Webb’s version reminds us that blues and country are not that far apart. The album closer is Webb’s “Stones In My Pathway” that bears some resemblance to the Robert Johnson song of a similar title and that is underlined by use of the ‘old 78’ effect; a short snatch of the same tune opens the album and the song therefore acts as a bookend. Overall this is a CD that does not have a lot to offer for blues fans but makes a de-cent listen for a wider audience. Not one for this reviewer but Webb has many fans who will enjoy this disc. John Mitchell

Angels Sing the Blues Featuring Liz Mande-ville, Mary Lane, Shirley Johnson with Johnny Drummer and the Star-lighters Earwig Records 17 tracks (15 songs, two spoken)/73 min-utes Earwig Music presents us with a live show from 2007 recorded at Chicago’s Taste Entertainment Center. This is a continua-tion of the musical shows that are done for the American Society on Aging Events. The liner notes are a little bit disjointed, but what we have here is Johnny Drum-mer and the Starlighters show band per-forming and backing Shirley Johnson, Mary Lane and Liz Mandeville. Produced by Michael Marcus and John Migliaccio, the duo has also done 20 years of Blues Brothers impersonations. They reenact the “Please Don’t Kill Me Sequence” from the film. Al “Guitar” Short and bassist Danny O’Connor open the CD vocally with “A Real Mother For Ya” and “Cold Women With Warm Hearts” respectively and do a good job. Drummer then comes out and is featured for a couple of songs on “Gonna Sell My Cadillac, Buy Myself A Mule” and “Born in the Delta,” two songs he wrote. He gives it his all and entertains the crowd. Shirley Johnson is then fea-tured on track that has no crowd noise, so I’m guessing it’s one of three studio cuts. The vocal mix is very different, too. She does a nice job with “Get Your Lovin’ Where You Spend Your Time” and the keyboard work by Drummer is espe-cially good behind her. Mary Lane then is on a couple of live tracks, “Just As Grown As You” and “Ride in Your Automo-bile.” She struts her stuff and shows us what has sustained her in the business since she came on the scene in the 1950′s. Drummer is then featured on the vocals in “Rockin’ In The Juke Joint.” Shirley Johnson then does “I’m Gonna Find Me a Lover,” “Unchain My Heart” and “You Can Have My Husband But Please Don’t Mess with My Man.” Her deep and breathy voice impresses and the guitar solo on the latter track by Anthony Palmer is the finest of the live ones on the CD. Drummer then introduces Liz Mandeville for “Use What You Got” and “I Just Want to Make Love To You.” She gives us the sexiest and sultriest perform-ances of the night here. Back to the stu-dio we go with all three ladies and Drum-mer and others to perform “Angel From

Montgomery.” The songs stands out as different due to the big production and sound compared to the live stuff with lots of backing vocals overlaid on the cut. Nicely done, but it does not fit in well. By the way, the guitar solo here is fantastic. The Blues Brothers dialogue follows; while I guess it was perhaps fun to witness in my mind it might have been better left off the CD and let the music speak for itself. But it is captured from the event and it was part of the show. Then we have the final studio cut with Mary Lane doing “Run a Red Light.” Another nice cut, but again it is different in timber and tone from the live stuff. Mary lets it all hang out and delivers a great perform-ance. While I enjoyed the CD, the song selec-tion ranges from ok to very good and the recording tends to be a little unbalanced at times with the live vs. studio stuff. It’s almost as if they threw in a few studio recordings to give us some filler. Maybe putting them all together as a bonus track section at the end might have been better for the sequencing. If you are a big fan of the artists here or you want a souvenir of the event, you might want to pick this up. The artists are having a good time and play to the crowd. The ladies and gentlemen fea-tured here are putting on a show and the crowd loves it. Reviewed by Steve Jones Mississippi Moderne Webb Wilder www.webbwilder.com Landslide Records 14 tracks/46 minutes Webb Wilder has been absent for a while, busy with his collaboration with Sue Foley that spawned two albums. Now he is back after a five year solo hiatus with an album that sees him collaborating with many old friends: the core band is Webb on guitar and vocals, Bob Williams on guitar and vocals, Tom Comet on bass and vocals and Jimmy Lester on drums. Guests include George Bradfute and Joe V McMahan on guitar, Bryan Owings and Jon Radford on percussion, Greg Morrow on drums, Micah Hulscher on keys and Patrick Sweany and the McCrary Sisters on backing vocals. Webb had a hand in the writing of five tracks and covers a vari-ety of other material, both blues and other styles. Indeed, much of the album is not


account of several romances in which she concludes that “shackin’ up ain’t all it’s cracked up to be, feels so good until you get fed up”, concluding that greater stabil-ity and longer term commitment may bring more honesty and stability to the relation-ship. Dropping the pace, “I Am Family” is a superb song with some moving lyrics: “Out in California again, don’t have a dime and you don’t have a friend. Somebody somewhere did you wrong, how many times have I heard that song. I tried to help you for all those years, been a lot of anger and a whole lot of tears; been here before, this crash and burn is feeling real old.” Mike’s piano work here is terrific and supports Deb’s emotional vocal really well, the backing vocalists also doing a great job on the choruses. Deb is just as happy singing soul as the funkier blues and rock elements of the first few tracks and the first cover is “Sweet Feeling” (Candi Staton/Clarence Carter/Marcus Daniel/Rick Hall) and it works just fine before the gospel-toned “Born To Love You” finds Deb confessing her love for someone – perhaps her son Elijah? “Seven States Away” is a shuffle that re-counts a tour down south and Deb really missing her family, counting down the states until she gets home. Tom Waits’ “Way Down In The Hole” adds some men-ace to the set with Jimmy Powers’ harp combined with Mike’s organ work provid-ing an almost horn-like accompaniment while the original “Step Back” is a slow, moody piece with some gospel parts and finds Mike on echoey electric piano and moody organ with Deb producing a par-ticularly fine vocal. David Egan has writ-ten songs that have been recorded by artists such as Tab Benoit, Marcia Ball and Etta James and his and Buddy Flett’s “You Don’t Know Your Mind” fits perfectly into the groove and style of this album in a relentlessly funky version. “Crazy ‘Bout You Baby” is a Sonny Boy Williamson song but has been sung by Tina Turner (in her days with Ike) and more recently by Gina Sicilia. Deb’s take on the song is quite fast, almost rockabilly, with more fine piano and guitar work. Deb’s final original is “Slow As Molasses, Sweet As Honey”, a slow blues with an excellent, sultry vocal and a well-poised solo from Allen and more stellar keyboard work from Mr Fin-negan. The album closes with Allen work-ing the wah-wah pedal hard on a swampy take on Dr John’s “I Been Hoodoed”. Deb continues to progress both as a singer and songwriter and this latest al-bum is well worth a listen. John Mitchell

It’s Always Something Slackjaw Self Released www.slackjawblues-band.com/ 10 Tracks Out of New Jersey we have the debut release of Slackjaw. This is a 3 piece band. The 3 band members are John Thompson (guitar, vocals), Carl Capodice (Bass) and Randy Marinelli (drums, har-monica). They have cut their teeth playing weekend after weekend, sometimes sup-porting blues and blues rock band in the area. All songs are originals. I love the logo for this band. It really jumped out at me. Instantly in the first cut I hear some fine Texas blues called “Carried By Six” . The get into a groove and we hear some great harp from Randy Marinelli. The song has a great lyric with ‘I’d rather be judged by twelve than carried by six’. The second cut is “Commit A Crime”. It is a fast paced blues rock with some funk thrown in. The title track “It’s Always Something” comes out blazing with a mix of British blues and a hint of Texas. Vocals are a bit lost in the mix. “New Addiction” brings things to a bit of a lower level. This is a more radio friendly track, with a better mix of the vo-cals. The band takes us down a slow blues burn with “Don’t Give Me No Jive”. This is much more of a straight blues song, with guitar maybe a bit above the rest in the mix. I like “Whiskey Lane” as a near southern rock tune. It takes me back to some of the Capricorn label stuff in the 70’s. This is a well done blues rock tune. “Soul's Up For Sale” also has a bit of southern rock touch to it. It’s a great song title for a blues song. I was surprised by “If You Ever Leave Me”. I did not expect this type of southern soul tune to be on this CD. They do a fair job on it too! The funk jumps out on “Cold Day In Hell”. The bass and drums lay down a solid line. The vocal styling fit the tune well. The CD closes out with a country blues rocker called “Bottle Of Whiskey”. This is a real change of pace, and a nice addition to the CD. There are some great harmonies on it! These guys covered a bit of the blues-blues rock spectrum of tunes. They play well, and seem to enjoy playing. I hope they can expand on this for their second CD. I hope this attention give them more recognition. They are good at what they do, though may not be favored by the

purists. I bet they are fun on a Saturday night. For you blues rocking fans check this one out. I want a t shirt with the logo also! Reviewed by Mark Nelson Sweet Soul Deb Callahan Blue Pearl Records www.debcallahan-band.com 13 tracks; 57 minutes It has been four years since Deb released “Tell It Like It Is”, the gap being partly ex-plained by her becoming a mother and this album is dedicated to her son Elijah. For her fifth release Deb took her new songs to California to record with producer Tony Braunagel at Johnny Lee Schell’s Ultratone Studios. As with most projects in which Phantom Blues Band members play a significant role this is a good album: Tony plays drums with Reggie McBride on bass, fellow Phantom Mike Finnegan on keys and Deb’s regular guitarist Allen James on all tracks, Johnny Lee Schell adding slide to one track; harp is added by Jimmy Powers and an array of backing singers help out: Teresa James, Leslie Smith, Lydia Hillard, Mike Finnegan and Johnny Lee Schell. Deb brought eight songs to the sessions, mostly written with Allen or Chris Arms who produced her earlier albums. The five covers were sug-gested by Tony Braunagel to fit the up-beat mood of the record and come from Candi Staton, Doctor John, Tom Waits, Sonny Boy Williamson and David Egan – quite a diverse set. The album opens with four originals, start-ing with the funky “Big Love”, Deb singing of her feelings towards her “new love and it feels just right”. The crisp and funky rhythm section is brilliantly supported by Mike’s organ work and Allen steps out to nail the solo on guitar. Juggling mother-hood with everything else in a busy life takes careful planning and Deb seems to have managed that well, to judge by “I Keep Things Running”: “If you want something done, I’m the girl to go to. I’m in the know, I run the show, I carry the weight, never hesitate”. However, there are some aspects of modern relationships that don’t seem to work for Deb as she states in “Shackin’ Up”. A rocking tune with Johnny Lee Schell’s slide and Mike on both piano and organ underpins Deb’s


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track here, Bob takes an extended piano solo, ably supported by the rhythm sec-tion, especially bassist Jeff Dean. The second cover is Muddy’s “She Moves Me”, Bob using a stomp box and dispens-ing with a drummer to give a very authen-tic country blues feel with harp and upright bass. The second tune with horns is the wittily titled “Don’t Threaten Me (With A Good Time)”, Bob playing piano, B3 and ‘funky clavinet’ and aided by no fewer than five backing vocalists. This one cer-tainly zips along with Bob D. taking a strong solo and Bob M’s piano work out-standing. “Watching Over Me” recounts the occasion when, literally down to his last dollar, Bob put his last coin in a Las Vegas slot machine and won $200! It took Bob 25 years to write this one, a very personal song that suggests that although he is not a man of faith, he still wonders if someone was not looking out for him at that moment. The song is appropriately gospel in tone with churchy organ and superb backing vocals. After that “Chinese Algebra” is an instrumental that emerged from a desire to write a tune that would contain all elements of Bob’s play-ing and “discourage had harmonica play-ers from asking to sit in with the band”! Appropriately there is no harp here but plenty of rapid time changes, all three guitarists making the most of the inter-ludes between Bob’s twinkling piano work. The album closes with “Can’t Get There From Here”, Bob’s explanation of how quickly life passes by: “Once I was beauti-ful, now I just look good for my age; so full of promise, now I’m just full of rage. I know where I want to go but I can’t get there from here”. A slow tune with Bob’s electric piano set against some nice dobro work from Bob M. and a last chance to appreciate the contribution that the back-ing singers make to this album. “Mojo Deluxe” offers an impressive snap-shot of Bob’s abilities: a serviceable voice, strong keyboard playing, interesting songs, a strong band and a well-produced album make for an enjoyable listen. This is not always blues but there is enough blues content to satisfy this reviewer and to suggest that readers may want to take a look at Bob Malone. Reviewed by John Mitchell

Must Be Crazy Andy Poxon Eller Soul Records www.ellersoul-records.com 13 tracks Andy Poxon is the exceptional, young, red-headed guitar player who sings, and writes his own songs who is taking the blues world by storm. The sound blasting his big, hollow bodied guitar along with his impassioned vocals make it obvious he is going to be a force to be reckoned with. Joining him here is the young keyboardist, producer and song writer who performs and co-wrote 5 of the 14 new cuts. Ken-neth Blevins on drums, Steve Mackey on bass, Jim Hoke on sax, and backing vo-cals by the McCCrary Sisters and Chloe Kohanski round out this fine musical as-semblage. Big, bold, blazing tunes like “You Must Be Crazy” swing, blues and jump blues on cuts like “Next to You,” “Making a Fool,” and “I Want To Know;” these songs are great examples of the talent here. Poxon is an amazing player and singer and McKendree is also the real deal on piano and organ. Poxon is giving us blues in the style of BB King and T-Bone Walker in a yong, white red-headed body. Slow blues done superbly also are in the wheelhouse of this young man. “Cold Weather” is a more gutteral and visceral example while “Too Late” is a jazzier slow blues. “Don’t Tell Me What to Do” is another example with another gutsy performance where soul and slow blues come together. “Too Late” is a jazzy slow blues that is deliv-ered sublimely. “Living Alone,” “Give Me a Chance,” “Don’t Tell Your Mama” are mid-tempo pleasers, songs that you can dance to and listen to and just enjoy the hell out of. Soulful ballads are also delivered with feeling and moxie. “Harder Everyday” and “Already Gone” show another side of Poxon and company. The CD closes with a heavy organ and guitar instrumental led by the two masterminds of this CD, McKendree and Poxon. Penned by Poxon and Yates Mckendree, this is a very cool cut showcasing both artists. This Washington DC blues mans’ third album is his best album yet. Fine produc-tion, songs and (especially) performances make this a CD that will likely garner rec-ognition! Very highly recommended!!! Reviewed by Steve Jones

Mojo Deluxe Bob Malone Delta Moon www.bobmalone.com 12 tracks; 51 minutes Bob Malone is a classi-cally trained pianist who has forged a reputation as keyboardist for John Fogerty’s band and has released several albums of his own as well as playing ses-sions with many well-known names. On his eighth solo album Bob plays all key-boards and lead vocals, supported by Bob Demarco, Tommy Williams and Marty Rifkin on guitars, Kenny Aronoff, Rich Zukor and Mike Baird on drums, Tim Le-febvre, Jeff Dean and Ritt Hein on bass, Chris Trujillo on percussion and Stan Behrens on harp; an array of backing singers appear on seven tracks (Lavone Seetal, Karen Nash, Trysette, Sarah Nolan, Ali Handal, Amy Engelhardt, Cha-risse Lucena, David Manuel), strings are added to one and a horn section of Lee Thornburg (trumpet), Nick Lane (trombone) and Tom Evans (sax) embel-lish two tracks. Bob had a hand in writing most of the material here with just two covers on the album which was produced in California by guitarist Bob Demarco. The two opening tracks are co-writes with Bob D. “Certain Distance” is a strong opener, a pounding rocker with vibrant harp and some keening slide supporting Bob as he states that “It ain’t personal if I don’t know your face, I keep a certain distance from the whole human race”. Bob then tells us that his addiction is to his lover’s “Toxic Love”, a mid-paced tune with some fine slide dobro and Bob’s pi-ano, both of which make room for Stan’s harp in the middle section – a strong tune. Ray Charles’ “Hard Times” is treated with the respect it deserves in a classic read-ing of a classic tune, Bob’s voice well suited to the song. “I’m Not Fine” has a funky feel with good backing vocals sup-porting Bob’s lead vocal and his keyboard skills are to the fore here as one can hear both piano and organ in the mix. “Paris” is a ballad with strings, accordion and stately acoustic piano, both beautifully played by Bob. “Paris is just another city without you”, sings Bob as he longs to get home to his love, despite the beauty of the French capital. In “Looking For The Blues” the horns and backing vocalists add some additional punch and Marty Rifkin’s slide work is great, the whole hav-ing a bit of a Little Feat feel to these ears. “Rage And Cigarettes” brings guitarist Bob D. back to the front with some good slide work on one of those chugging rhythms that get inside your head. The longest


slower blues tune. Reese Wynans helps out on the keys here also. “Everybody Ought To Be Loved” find Wy-nans and Helm back with the band. This is a fine Americana type tune, with some Nashville influences threading through it. The title track “Rich In Love” starts as a slow mysterious song. The musical inten-sity grows with all the instruments painting this hurting mysterious tune. Helm, Mus-selwhite and Wynans all pitch in on this one. In “Date With The Stars” is a differ-ent tune. Tim Lauer puts his organ into this tune. The song grabs a country feel, yet the lyrics and vocals almost go to a 60’s teenage love song. This one con-fuses me a bit. In “And Then You Begin” we have another modern country blues ballad. Lyrically it is a good song about starting over. The pace finally picks up with “No More Cheap Wine”. Reese Wynans returns on this tune. Linden provides a few fiery gui-tar licks too. “Luck Of A Fool” has a coun-try mixed in with some Sun Records feel to it. Wynans adds some keyboard fire-power to this one. The slower pace re-turns with “I Made A Promise”. This is a somber ballad love song with a strong country feel. Closing out the CD is “Paybacks Are Hell”. It’s another slow ballad, which I think could be speed up and might come across better. Overall this is a well played, solid vocal and well produced CD. It is at the merge of the 3 rivers of music (country blues and Americana) forming its own new water way. I enjoyed it, though not sure it will get play after play. It may be a bit too country for me, but it is strongly per-formed. I’d like to hear them rev it up a bit too! If this fits your musical cup of tea, then go grab it. Others might just enjoy it too. Reviewed by Mark Nelson

Road Be Kind Andy Cohen Earwig h t t p : / / andycohen -music.net/ 16 Tracks Andy Cohen was bitten by the folk music bug at an early age. His career has been built as a preserver of pre-war blues/folk/true Americana music. He also writes tunes and is a wonderful performer. He is a remaining bridge back to the masters that are now gone such as Rev. Gary Davis, Etta Davis, and Son Thomas. Most of the music is solo work. I hear the tunes one might have heard in the old folk clubs in Chicago containing ragtime, folk, old time blues and a bit of gospel. He has made many recordings over the years, with this being his latest. The opening cut is “Five And Ten Cents Blues”. Cohen tells the tale of what you would find in the old five and dime stores. It is a fun folk tune. Luke Baldwin wrote the next tune “Seldom Seen Slim”. It is a song about defining what is truly riches. I like the blues tune “Spread The News Around”. It comes to us from Sonny Terry. No harmonica is included here. I would have liked for the late Steve Good-man to have performed “Road Be Kind”. This is a fine traveling song. I like the finger picking blues style of “Windy And Warm”. The instrumental fits into this CD well. A bit of humor comes through with the lyrics of “More Wood”. It tells the tale of keeping warm with a wood fireplace in winter. I could imagine hearing “High Country Caravan (Song For Stephen Stills)” during a night at Holstein’s in Chi-cago. It is a great story telling tune. The next old tune is called “Mysterious Mose”. It was actually a part of Betty Boop car-toon in the 30’s. “Fort Sumner Dance” was co-written by Cohen with Steve Cormier. It is another story song, with fine guitar work. U. Utah Phillips was quite the song writer and performer “The Good-night - Loving Trail” comes from him, and gets a fine rendition here. “Seaboard Train” comes from the 40’s from Sam McGhee and Larry Johnson. I like the guitar work on this one, it gets a fast paced picking! Humor and more than a few jokes are a part of “Talkin' Hard Luck”. I bet this one is a fun one live. Up next is an old Scot-tish folk song “Ten And Nine” from Mary Brooksbank. She was a union fighter in her home area as well as a singer. An

Irish instrumental medley is next called “Blarney Pilgrim/Jig McCoy”. I like the fine tune “John Ate The Locust And The Honey”. The music carries the feel of the lyrics to me. Cohen closes out the CD with the ever popular “Blackbird”. It is done as an instrumental, and closes out the CD well. So there we have it. Andy Cohen is a wonderful minstrel of song. His trouba-dour songbook brings back tunes that may have been forgotten. He brings life to these traditional tunes. It has blues elements, but much much more. Some tunes might be given more life with a bit more instrumentation. If you get the chance to hear him in an old tavern on a brisk day with your favorite beverage, you will have a good time. He will take you back to a different time. Reviewed by Mark Nelson Rich In Love Colin Linden Stoney Plain h t t p : / /www.colinlinden.com/ 12 Tracks Colin Linden is back with a CD full of his original tunes. He is originally from Canada, but calls Nashville home these days. With a busy schedule, Linden returns to recording with Stony Plain where he made his first recordings back in 1986. In recent times he has worked with Diana Krall, Rhiannon Gib-bons, Bob Dylan, T-Bone Burnett and the TV Show Nashville. This is his 11th re-cording over the years. Linden has many production credits in his biography also. He has won 8 JUNO awards in Canada for his blues work. This set of songs blends blues, country and Americana. The opening cut “Knob & Tube” is an acoustic love song comparing the spark between the two potential lovers being like what runs between a knob and a tube in an amplifier. Amy Helm joins with some harmony vocals in this fine tune. On the soft and a bit mysterious “I Need Water”, Linden and his band lay out a fine song with crisp playing and singing. I like the lyric ‘I Need Water To Build These Tears’. The song has Americana/New Country leanings and is quite good. A strong not sad ballad “Delia Come For Me” is next on the CD. The singing is quite good, and the production is well balanced. Charlie Musselwhite adds his trademark harmon-ica to “The Hurt”. I like the vibe on this


In early 2015. Randy Jacobs joins on the guitar for the project. The live set opens with “Here She Comes”, a short introduction piece. We get a blazing sax riff that leads us to the title track from her last CD “Wild Heart”. This instrumental tune shows her strong sax skills. “Haute Sauce” is fast paced, with a smooth jazz feel. Her sax domi-nates the tune that really stretches out to almost 8 minutes. A song about winning “I Can't Lose” is a bit of blues rock. We hear her powerful singing voice for the first time on the CD. The band gets a bit funky on “Bring Him On” intro of Sweet Pea Atkinson. It segues into a rocking blues version of “Ball And Chain” (not the Janis version) with Sweet Pea on vocals. “Be Beautiful” is a light hearted uplifting song about staying positive. Mindi pro-vides a nice sax solo in the middle. At just over 7 minutes, the band really stretches its chops on this one. I like the funky intro to “Gone”. It is a nice mid tempo junky R&B tune. “Make It Happen” was co-written by Booker T. Jones. It has an or-gan intro followed by a strong sax line by Mindi. This jam instrumental is a strong tune. Things rock out with “Bloom”. It has a jazzy feel to it, with some rock mixed in. At almost 5 minutes, they have time to stretch this one out in a good way. I like the vocals on “I'll Be Your Home”. This original tune has Sweet Pea singing a duet with Mindi. The band puts their own version of “Summertime” together. It’s a rocking instrumental version of this classic Gershwin tune. Jacobs puts some wailing guitar licks together on this tune. Their version times in at 7:35. “Flirt” bor-rows a bit of a Sly Stone intro as the band keep pushing tempo. The band keeps the funk throughout this long instrumental. In closing, Sweet Pea rejoins the band for a cover of James Brown’s “Cold Sweat”. Clocking in at past 8 minutes, the opening riffs are very Stevie Ray Vaughn. It then settles more into a funky groove that was a cloud pleaser that night. This was a well done live album. Overall this is a mix of smooth jazz, funk, blues, rock and soul. I’m not seeing a great deal of blues here, but Mindi shows herself to a good performer, and a strong sax player. There are good originals and some select covers. If you like this end of the music spectrum, you will enjoy this. If you are a died in the wool blues fan, you might just like it too. I think jazz and smooth jazz fans will love this one. Reviewed by Mark Nelson

Juke Joint Rambler Johnny Tanner Self released 14 Tracks With the relocation to California by Texas blues artists in the 1940's, the West Coast blues were born, influenced by jazz and jump blues with strong piano-dominated sounds and jazzy guitar solos. The artists responsible for developing West Coast blues were blues legends like Little Willie Littlefield, a West Coast blues performer and pianist, guitarist T-Bone Walker, pian-ist/songwriter Amos Milburn, singer Percy Mayfield, Charles Brown, Pee Wee Cray-ton, and Lowell Fulson. Other California artists following the same trend later on included Hollywood Fats, Jr. Watson, James Harman, Charlie Baty, Kid Ramos, and Rod Piazza, with newcomers like The 44s, Kyle Jester, and Johnny Tanner also following a similar style.

In the early 70's Johnny Tanner con-nected to blues music and in particular to Chicago blues. He was compelled to fol-low a host of blues artists directing his attention to the amplified electric harmon-ica. His passion for the blues continued to become intense over the years and after meeting Chicago blues veterans Dave Clark and Frank Rossi in Phoenix, the three musicians decided to form a trio. Johnny Tanner and his Aces covered ma-terial by some of the blues legends like Muddy Waters, Bo Diddley, The Fabulous Thunderbirds, Eric Clapton, and Sun-nyland Slim. Joining Johnny Tanner on his debut al-bum Juke Joint Rambler are some of the best West Coast musicians from the past, assembled to celebrate a blues style that continues to remain popular today. Com-bining the West Coast artists Jr. Watson, the Hollywood Fats Band's "rhythm sec-tion," consisting of Fred Kaplan on piano, Larry Taylor on bass, and Richard Innes on drums with guitar greats Rusty Zinn and Billy Flynn in addition to second bass player Randy Bermudes, produce an un-beatable amalgamation of blues styles. The collection is broken into two sessions with the early session from 1997, labeled as The Pasadena Session, featuring Wat-son on guitar, the Hollywood Fats rhythm section, with Turmes and Faberge on sax. The later Berkeley Session from 2001, feature Zinn and Flynn on guitar, Ber-mudes on bass, with Innes on drums for both sessions. The band begins with the Little Walter

classic "I Got To Go," with Tanner match-ing him note for note on harp and his vo-cals a perfect fit for the Little Walter tune. It maintains that Chicago blues flavor with Zinn and Flynn combining on guitar. The 50's Memphis Edward Curtis and Ahmet Ertegun American rhythm and blues song "Lovey Dovey" adds that West Coast ele-ment this time with Jr. Watson on guitar for that distinct California sound.

"Searchin' The World Over" is one of Tan-ner's own tunes with superb harp much like the legendary Jimmy Reed, with Wat-son providing more West Coast guitar in support of Johnny. Tanner puts his signa-ture on the K. B. Kennard rock tune "Bring Her Back To Me," released in 1957 by Billy Robbins and the Johnny Otis band. The band really brings a full orchestra sound to the Eddie Jones tune "I Done Got Over It," focusing on the sax of Tur-mes and Faberge and piano of Fred Kap-lin. Tanner pays a tribute of sorts to Little Walter by including the pair of Walter Ja-cobs songs, "It Ain't Right" and Nobody But You." Included also in his tribute are Sonny Boy Williamson's "Checking On My Baby" and "Stop Breaking Down," with the 1958 Howlin' Wolf classic "I Didn't Know." Tanner completes this spectacular album with some more of his own material in-cluding his slow tempo tunes "Blue Vapor" and "Lighthouse For My Soul" combined with the vibrant songs "Run Around Woman" and "Out Arizona Way."

You owe it to yourself to put Johnny Tan-ner's album Juke Joint Rambler on your purchase list. His vocals are a perfect marriage for all blues styles and quite a match for some of the best harp you will hear today. With a supporting cast like this one, his debut release can't miss. Review by Rick Davis Live In Seattle Mindi Abair and The Boneshakers Concord www.mindiabair.com/ 14 Tracks Mindi is a veteran sax player, vocalist and writer. Her studies earned her a degree from Berklee College of Music. Besides her own 7 studio recordings, she has ap-peared in many other recordings. Her past works cross pop, jazz and rock. Her work as a sideman takes her across the country. She has toured with Aerosmith and Max Weinberg. This live CD was recorded at the Jazz Alley in Seattle, WA


https://en.wikipedia.org/wiki/Jazz

https://en.wikipedia.org/wiki/Jump_blues

https://en.wikipedia.org/wiki/Piano

https://en.wikipedia.org/wiki/Jump_blues

https://en.wikipedia.org/wiki/Little_Willie_Littlefield

https://en.wikipedia.org/wiki/Little_Willie_Littlefield

https://en.wikipedia.org/wiki/Amos_Milburn

https://en.wikipedia.org/wiki/Percy_Mayfield

https://en.wikipedia.org/wiki/Percy_Mayfield

https://en.wikipedia.org/wiki/Pee_Wee_Crayton

https://en.wikipedia.org/wiki/Pee_Wee_Crayton

http://www.merriam-webster.com/dictionary/amalgamation

https://en.wikipedia.org/wiki/Memphis_Edward_Curtis

https://en.wikipedia.org/wiki/Ahmet_Ertegun

https://en.wikipedia.org/wiki/Ahmet_Ertegun

https://en.wikipedia.org/wiki/Rhythm_and_blues

http://www.mindiabair.com/


Later he did a few albums under his given name. He has issued 2 acoustic CDs under Lazer Lloyd name before this self titled release. In 2012 he was a part of the Memphis International Blues Competi-tion. He is touring the United States in the fall of 2015. This release is electric blues and rock for your enjoyment, with all of the tunes recorded in Israel In the opening cut of the CD, the band really set a blues rocking beat. “Burning Thunder” is a strong blues rock tune, with fine guitar work. On “Suffering” I hear a bit of Richard Thompson voice and guitar in the tune. It’s maybe more rock than blues, but it is powerful. Lazer pulls out his harmonica for “Rockin' In The Holy Land”. This has a country rock feel to it, and is very lively. Things slow down for the ballad “Never Give Up”. The guitar work is good, with nice lyrics. Heavy guitar licks throttle the opening of “Out Of Time”. The blues rock lovers out there will like this powerful tune, though the vocals are a bit buried. I like the blues tune “Broken Dreams”. There is a good feel to this song. “Set My Soul Free” starts off with a bit of Hendrix style guitar, followed by a biting rhythm tune. Again the vocals could be a bit higher in the mix. Now for the lone cover on the disc, “(Sittin' On) The Dock Of The Bay”. It is a real change of pace for the disc. It is played well, but not sure Lloyd’s voice is made for it. “Moroccan Women” gets a bit swampy and smoky. This slower paced modern blues tune is pretty good. Blues rock with a hint of British blues is the recipe for “Love Yourself”. It is a catchy tune. A more main stream blues is represented by “Time To Love”. It has tasty guitar line, with a bit of Buddy Guy built into it. This diverse recording closes out with a ballad called “Whole Heart”. This is a blues bal-lad with maybe a gospel hint to it. I like that Lloyd wrote most all of the songs. His guitar work is very good. A few cuts are from a point of reference from his adopted home which gives all of us a bit of a different view of the world. This is a pleasant recording, though not a classic. I’ll look forward to hearing more as time goes by. Give this one a listen, you will likely enjoy it. Reviewed by Mark Nelson

Someone Like You Albert Cummings Blind Pig Records 12 Tracks It's been said that blues sooths the soul but in Albert's case, he can sooth, stimulate, and in some cases electrify his audiences with his show stopping performances and grip-ping studio work. From his album True To Yourself, Cummings himself tells us "Well it's hard to feel bad when the blues makes me feel so good." Those vibes seem to be transferred to his fans, whether it comes from his powerful live performances or from one of his seven studio albums. Cummings joins the ranks of some of the most powerful contemporary blues-rock guitar players on the scene today. His red-hot, emotional vocals seem to be a real match for his highly charged guitar style. Guitar One explains it best with the quote "He attacks his axe with unbridled ferocity and deep soulfulness... his depth and expression are matched only by his terrify-ing technique and tone." His experience since 1998 has proved to be valuable, working with veterans like Tommy Shannon and Chris Layton, who along with the legendary Stevie Ray Vaughan, initially sparked Albert's interest in blues music, leading to the rewarding career that he now enjoys. The remaining members of Stevie Ray Vaughan and Double Trouble were in turn impressed with Albert's debut album The Long Way (Albert Cummings and Swamp Yankee) in 1999, which lead to them producing and playing on the 2003 release From the Heart. This was the first recording session for Shannon, Layton, and Wynans after the passing of the late great Stevie Ray Vaughan. Cummings was joined once again by Tommy Shannon on his first Blind Pig release True to Yourself in 2004, this time produced by Jim Gaines, one of the best in the blues business to-day. Staying with Blind Pig Records for his next three releases, Albert has returned to the recording label for his latest release Someone Like You. Keeping the music fresh and energetic, Grammy-winning producer David Z has assembled a brand new cast of musicians including Mike Fin-negan on keys, Tony Braunagel on drums, and Reggie McBride on bass, in addition to adding Jimmy Vivino, leader of The Basic Cable Band on the Conan TV show, along with the sensational vocals of blues recording artist Teresa James. The album delivers original powerful, soul-

driven ballads with blues played the way it was meant to be played. It opens with the hard drivin' tune "No Doubt," blending the vocals of Albert and Teresa with the heavy rhythm guitar and fiery guitar solos from Cummings. Jimmy Vivino joins Albert on guitar for intense, unrestrained blues on "I Found You." "Up Your Sleeve" and "Make Up Your Mind" serve up some hard rockin' Texas style roadhouse blues. On "Movin' On," the band combines Southern rock with funk for a tune that would even mesmerize Jerry Reed. They slow the pace down considerably to add some soul to the recipe on the song "So Strong." Teresa and Albert harmonize well on "Finally In Love," to compliment Albert's solo vocals and highly charged guitar so-los on this well written tune. The band takes a slow burning blues avenue on "Little Bird," as Cummings take center stage with both passionate vocals and lead guitar, with Vivino once again joining him on guitar. "Meatlocker" is quick, fast paced, jazz infused instrumental guaran-teed to satisfy. Laid back describes the tempo of "I'm In Love With You," much like a Jimmy Reed classic with some siz-zling guitar licks added by Cummings. "Old Dog" shakes, rocks, and smokes, demonstrating just how tightly this band really performs. With Mike Finnigan on keys and the rhythm section providing the explosive driving force behind "Stay Away From My Sister," Albert Cummings com-pletes his new collection of original tunes with an absolute guitar clinic on this tune. In reviewing a masterpiece like Someone Like You, I realize the level of talent heard from contemporary blues guitar slingers today. Albert Cummings keeps raising the bar with each and every new live concert and release of energetic blues guitar mu-sic. After listening to this CD, you will be convinced that blues music is still alive and well! Thank you Albert. Review by Rick Davis Lazer Lloyd Lazer Lloyd Lots Of Love Records www.lazerlloyd.com/ 12 Tracks Lazer Lloyd (Eliezer Blumen) comes to us originally from born in New York, raised in Connecticut, but has been a resident of Israel since 1994. He studied music at Skidmore College while in the United States. In Israel, he initially performed with psychedelic jam band Reva L’Sheva.


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mid tempo swinging feel to it with fine bari-tone sax work by Aaron Getsug. Burns shows his harmonica licks on “A String To Your Heart”. Things slow down on this deep 12 bars blues number. Things take off on “Rock Awhile”. It has some Chuck Berry feel to it, as the piano really carries the track. From the past Burns plays the Ben E. King hit “Stand By Me”. This cut is very clean and done well with a bit of latin wiggle to it. We go back to an early R&B feel on “Surrounded”. Things hop with the horns adding their might to the song. “I Know You Hear Me Calling” is a soulful and strong track. The organ and piano work with the horn section to give us a great track. Up next is the Little Walter track “It Ain't Right”. It has a bit of “Mojo” in it, and is well played by the band. I was really taken by the remake of “Messin’ With The Kid”. This funky version takes it far from the Junior Wells version. Good work! The final cut is the traditional gospel song “Wade in the Water”, It’s a nice way to end this great CD. What can I say, this is another high quality disc from Jimmy Burns and Delmark. He covers lots of ground here and still keeps the quality high. Hats off to Dick Shurman too. This release is a keeper, go and get it for your collection, and enjoy it. This will get into the rotation for quite awhile. Go see Jimmy if you can, he is a real gem. Reviewed by Mark Nelson

Woodchopper’s Ball Jay Gordon and Blues Venom

Shuttle Music www.bluesvenom.com/ 12 Tracks The album title here on the latest from Jay Gordon really tells a tale about the music. He delivers red hot blues rock with a non-traditional sizzling guitar. Jay and the band work on the west coast. Raised in Chicago, Jay got some blues exposure. He has recorded 14 CDs over the years, and headlined in Europe. Eric Clapton invited Jay to play at the 2004 Crossroads Guitar Festival. Half of the cuts are new, and the other half remas-tered from earlier recordings. Only 3 of the 12 are covers. The main band is Jay Gordon (guitar, vocals), Sharon Butcher (bass), Rich Wenzel (B3 and piano) and Rich Gordon Lambert (drums). So fasten your seatbelts and enjoy the ride. The CD opens with “The Stinger” which rips into your aural senses from the first note. This is fast and loud guitar driven blues rock at almost an extreme. “Hobo Hilton” settles into a slower bluesy groove with a loud wailing guitar. The lyrics do tell a good story about being in Los Angeles and being homeless. Rich Wenzel is great on the B3 on this one. With a title of “Chainsaw Boogie” you know it’s not gonna be a ballad. I hear a touch of English rockin’ blues in this one. One might think of Led Zeppelin when you hear “Stranger Blues”. I hear a fast guitar, with solid drums. It equals a pretty good rock song here, with a hint of blues. Sharon Butcher grabs the vocals on Koko Taylor’s “Voodoo Woman”. This song is a lava fueled rocker. It is an all out guitar assault. The music drops to an acoustic level in honor of the traditional “Travelin Riverside Blues”. Gordon’s dobro assault is still all out, but at a lower decibel level. It is a nice change of pace. The blues rock continues with a deeper blues vein on “Pain” I like the slide work, and the better blues beat. A more slow blues groove is the backbone of “Message to Collins”. The guitar work is a salute to Albert Collins. Up next is a 12 bar Chicago blues based blues rocker “Drippin’ Blues”. It’s in a slow Johnny Winter vain. The band holds a nice slow groove for Gordon’s guitar to soar over. I am reminded of some of David’s Bromberg’s blues with “Pure Grain Alco-hol”. It’s a slow blues groove dedicated to drinking! This is a more band concept set-ting for the group, with the piano work showing up well, and less soaring guitar overall. Get the fire extinguishers ready

when you play “Blues Venom”. The great B3 and scorching guitars might start a fire. It runs over 9 minutes so the band really stretches out. There is a guest on Missis-sippi Saxophone who does a fine job. He is Mario Ramirez (Younger brother of Richie Valens). The recordings final song is “Original Sin”. This cut clocks in at over nine minutes too. This controlled frenzy holds up well, and I would bet is a staple of their live shows. I had not heard Jay Gordon play until this review. He has rock chops with a side of blues, and is not a bad singer. The rest of the band plays well in the music he plays. This is music for some but certainly not all. The band will be well received in Sturgis over the King Biscuit Festival. If you enjoy that big blues rock guitar sound, then this will be for you. Reviewed by Mark Nelson It Ain’t Right Jimmy Burns

Delmark www.jimmyburns-band.com/ 15 Tracks This is the 6th CD on Delmark for Chicagoan bluesman Jimmy Burns. He has been a popular part of the Chicago blues scene for decades. I enjoy Jimmy as a performer and an interpreter of songs. The legendary Dick Shurman pro-duced this CD, so that is always a plus. There is a horn section on 4 of the cuts. The band also consists of Anthony Palmer (Guitar), Ariyo Ariyoshi (Piano), Roosevelt Purifoy (Organ), Greg E.G. McDaniel (Bass), and Bryant “T” Parker (Drums). So on to the music! The opening cut is a Chicago blues num-ber “Big Money Problem” written by Billy Flynn. The band really grooves on this fast paced song. Flynn also wrote the second cut “Will I Ever Find Somebody”. The horn section is on this cut giving it a more soulful feel, along with good piano by Ariyoshi. Otis Rush’s “Snaggletooth Mule” shows adds some west side sound to the CD. It slides on with a bit of Memphis feel to it too. Things pick up with “Long as You're Mine”. This R&B flavored tune comes from Percy Mayfield. This is a strong R&B num-ber with the horn section back in the mix. Jimmy’s brother Eddie wrote the next tune “Hard Headed Woman”. It’s a fine Chicago shuffle with tasty guitar from Burns. The 6th cut is “My Heart Is Hangin’ Heavy” written by Percy Mayfield. It has a bit of Stax sound to it, and is done very well. The next cut “Crazy, Crazy, Crazy” has a


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http://www.jimmyburnsband.com/

late great Sam Myers, who helped Zac along the way. Two of his biggest influ-ences as a young man were local guitarists Mel Brown and Jesse Robinson (who played with Howlin’ Wolf). After moving to L.A., he got work as a songwriter and pro-ducer, and worked on some major films, TV shows, and commercials. That Delta blues spirit remained so strong in his heart, he began playing at the L.A. blues club Dave and Ricky’s Inn, connecting him to the blues once again. Now as experienced musician/singer/songwriter, he has developed into an ex-traordinary live performer and has launched his fifth studio album titled Right Man Right Now. With a hard charging rhythm section the band opens with "Raising Hell" and do they ever! The foot-stompin' tune also fea-tures guests Lucky Peterson on the organ and Anson Funderburgh on guitar. "Ball And Chain" features some haunting slide guitar and according to Zac no hope for the future. He calls on guest Bobby Rush for help on the vocals and his masterful harp to compliment his own guitar and vocals, backed by a strong horn section for the song "Hump In Your Back." Lucky Peterson is again featured on organ for this tune and the next "Stand Your Ground." The next guest to make an appearance is Mike Finni-gan from The Phantom Blues Band, playing organ on the title track Right Man Right Now. Zac reassures that special someone that he is the man she needs the most, until her real love comes along. "Feet Back On The Ground" gives you a real taste of that Delta soul that can be heard in both Harmon's voice and blues guitar. "Long Live The Blues" is Harmon's tribute to the music that captures your soul, reassuring everyone that "the blues is here to stay." The bass line of Buthel starts things off with a funky groove on "Back Of The Yards," Harmon's ballad about life in the "hood." He features Mike Finnigan once again on or-gan to meld with his guitar and rhythm sec-tion. Chef Deni provides some superb harp on the John Lee Hooker tune "I'm Bad Like Jesse James," with Harmon getting down and dirty on vocals and guitar. Mike Finni-gan is featured on organ for the last time on the straight ahead Delta blues tune "Ain't No Big Deal On You." The Zac Harmon Band wraps up the collection with "Good Thing Found," featuring the first class horn section for the last time on this powerful closer. This is one artist you will want to see live at a venue in your area. In the mean time, Right Man Right Now will fuel that burning desire to do the "Mississippi Boogaloo." Reviewed by Rick Davis

Born To Play Guitar Buddy Guy Silvertone www.buddyguy.net/ 14 Tracks Buddy Guy came to Chi-cago in 1957. Now al-most 60 years later he is still making music and supporting the blues music with his famous club “Legends”. I’ll not list all the awards, because you as a blues reader should know most of it already. He has released nearly 30 studio recordings. This CD has a few guest stars, but much of it is Buddy and his band making his music. I spot a couple of covers, but the remaining is Buddy and/or his band writing the songs. I have enjoyed a great deal of what Buddy has recorded over the years. His live shows to me have suffered a bit from show-ing us how he can play “Jimi, or Stevie Ray, or Eric”. I want to hear Buddy Guy and we get that on this CD. “Born To Play Guitar” opens the CD and is a biographical look at Buddy himself as written by Tom Hambridge and Richard Fleming. It is a slow grinding fine piece of guitar work, with emotional singing by Buddy. Billy Gibbons joins Buddy on the Texas rocker “Wear You Out”. I think Billy brings his style from ZZ Top to this one. The guys seem to be enjoying themselves on this rocker. Up next is “Back Up Mama” a guitar/piano based tune that plays well into Buddy’s wheelhouse. It is slow and grinding, letting the guitar work of Buddy and Rob McNelley shine through. Kim Wil-son and his harp join Buddy on the classic “Too late”. This is solid old Chicago blues with Wilson giving great instrumental sup-port. On “Whiskey Beer & Wine” Doyle Bramhill II (Guitar) and Reese Wynans (B3) join the fun. This one rocks a bit more than it blues, but has a strong instrumental base, and conversational lyrics from Buddy. Kim Wilson returns on “Kiss Me Quick”. This is Texas blues with some fine harp from Kim. Kevin McKendree adds some fine piano too. The Muscle Shoals Horns add their mark to “Crying Out Of One Eye”. This is a fine song that really gets a grind-ing, swampy treatment from the band. On the 8th cut, a cover, Josh Stone joins Buddy for “(Baby) You Got What It Takes”. This is more of a radio friendly song. They trade the vocals back and forth well, but it’s more popish than blues. We learn about Buddy’s upbringing and his mama’s discipline in “Turn Me Wild”. The broomstick by her bed “wasn’t for sweepin’”. That might get you in trouble today, but it worked for Buddy in his youth. Eventually the blues got deep inside his soul. I like this one. On “Crazy World” buddy goes into a more contemporary

piece reflecting how the world has changes and so has the music. It is a song that should make you think more than a bit. Things speed up on “Smarter Than I Was”. Buddy is playing a bit angry on this one, but not out of control. The lyrics are insightful too. It’s not your old blues, but pretty cool to hear. “Thick Like Mississippi Mud” is a rocking horn driven piece of blues. The Muscle Shoals gang is back on this modern Buddy blues song. Buddy and Van Morri-son pay homage to his great friend B. B. King with “Flesh & Bone”. Buddy and Van trade verses on this emotional tribute. It’s a mid tempo tune, with the McCrary Sisters adding some backing vocals. I like this one. The CD closes out with another trib-ute, this time to Muddy Waters. “Come Back Muddy” is well played with piano and guitar carrying the load. Bramhill and Wy-nans rejoin Buddy on this one. He tells the story of saying goodbye to Muddy and what Muddy meant to him. Reviewed by Mark Nelson Right Man Right Now Zac Harmon Blind Pig Records www.zacharmon.com/ 11 Tracks I could make the state-ment that Zac Harmon's vocals and guitar work were made for the blues but after listening to his new CD, I believe the blues were made for Zac Harmon. Now that I get an overview of his talent, having seen him live, I can see why he won first for bands at the 2004 Blues Challenge as Zac Harmon & the Mid-South Revue (Southern California Blues Society) and Best New Artist Debut for his album The Blues According To Zacariah at the 2006 Blues Music Awards in Memphis. Growing up in Jackson Mississippi, the home of Malaco Records since 1968 and one of the leading record companies for gospel, blues and soul music in the United States, served as an inspiration for the young eighteen year old guitar player. He was able to develop his craft, sharing the stage with several of the touring acts who came to Jackson, like Z. Z. Hill, Doro-thy Moore, and many others. The Malaco label has recorded many leading soul and blues artists, including Bobby Bland, ZZ Hill, Latimore, Shirley Brown, Denise La-Salle, and Tyrone Davis. As a registered pharmacist, Zac's Dad knew his customers like B. B. King, Bobby Rush, Ike and Tina Turner, and Little Milton. His dad developed a friendship with Muddy Waters, known at the time as McKinley Morganfield and the


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https://en.wikipedia.org/wiki/Bobby_Bland

https://en.wikipedia.org/wiki/ZZ_Hill

https://en.wikipedia.org/wiki/ZZ_Hill

https://en.wikipedia.org/wiki/Latimore

https://en.wikipedia.org/wiki/Shirley_Brown

https://en.wikipedia.org/wiki/Denise_LaSalle

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https://en.wikipedia.org/wiki/Tyrone_Davis


“Day Three Jam.” This album really sets the bar high for JJ. He relaxes by tending to his nut trees on his old family farm where he also has a recording studio. The music comes from and is recorded right in the swamps and marshes of North Florida. One can feel the dampness and heat that emanates from this music and the sounds of the band. For those not familiar with this, let me describe it for you; I spent 7 years living around the marshes of southeast Georgia, right across the river from Flor-ida. As with other hot places, the heat ripples up from the ground, distorting your vision as you gaze off towards the hori-zon. There are lots of rivers and marshy areas that evaporate in the heat, and those waters hang around you like wet, personal wall paper. It does not allow you to move at your fastest paste; life slows down this stagnant volume of evaporated water surrounds you and will not leave you. There are smells of a little mold and rotting vegetation that are always present; not bad, not good, but just there. There may also be some good spicy smells from a nearby house boiling up some shrimp or blackening some wonderful fresh fish or from the smell of sweat from a lover or close friend that fills your nostrils as the heat par boils both of you. Music is still played on some of the front porches and in town squares, where you become part of the country and the country becomes part of you. There are the blues that re-mind us of days past and the hopes for a future of plenty and health; the love of life that we are blessed with: families, friends and loves. That is the world of JJ Grey and that is his music. Buy this record and you, too, can become part of all of this. Reviewed by Steve Jones

Ol’ Glory JJ Grey & Mofro Provogue Records www.jjgrey.com 12 tracks JJ Grey and the band offers up a dozen new tunes that demon-strate the growth of their music from “swamp pop blues” into something deeper and with more feeling. The blending of soul and funk into the country-styled blues of North Florida with more complexity and arranging has allowed Grey to become quite the band leader on top of being a great singer and songwriter. Ol’ Glory is his and the bands’ biggest and best work yet. Grey’s web site lists his musical repertoire as: “Vocals, Guitar (PRS Guitars, Gibson SG, Gibson 337, and Gibson Southern Jumbo Acoustic, with vintage Fender Showman w/ Tone Tubby 2x12, Fender Super Reverb, and Fender Champ amps), Keyboards (Wurlitzer 200a, Nord Electro), Harmonica (Lee Oskar, Hohner).” Quite the musician, and if you’ve seen him live or are a fan you know what a great act this is. Along with the 48 year old Jack-sonville, Florida resident on the record are Dennis Marion on trumpet, Anthony Far-rell on organ, Andrew Trube on guitar, Todd Smallie on bass, AC Cole on drums, Art Edmaiston on sax. Luther Dickinson adds his dobro and Derek Trucks makes one guest appearance. “Everything is a Song” opens the CD. A tune that sways and swings in a very R&B manner, the song showcases Grey’s vocal prowess and saxophonist Art Edmais-ton’s special horn arrangements. The songs builds and fades a few time as Grey gives a very emotional performance. The song eventually builds to a frenzy and then fades out smoothly, a very cool opener that regales about life being a symphony of music to enjoy. “The Is-land” follows, a down tempo, acoustic cut where Grey lets it all hang out in a starkly haunting manner. He sings, “All beneath the canopy or ageless oaks whose secret keep forever in her beauty, this island is my home.” Poetic and deep, Grey pre-sents a very cool cut with acoustic guitars layered over some steel guitar and har-monica providing that canopy for us. “Every Minute” starts out slowly and the instrumentation and backing vocals come in and the song builds into a huge, soulful testimonial by Grey who says he is, “Loving every minute of living.” Derek Trucks adds his special touch to this song. The next cut gets even more soulful as

Grey delivers “A Night to Remember.” Taking an almost syncopated approach to the vocals, Grey sings of his upcoming rendezvous. There is a nice guitar solo and then the bass transitions back to Grey as he culminates his conquest. In “Light a Candle” Grey gives another soulful performance as he asks his woman to light a candle for him as he’s on his way back home to her. The horn work is stalwart here as it is throughout. The blend of the horns, guitar and all the vo-cals is somewhat symphonic in nature. “Turn Loose” turns the sound into to a very syncopated funk and Grey and com-pany deliver another winner. “Brave Lil’ Fighter” has sort of a retro sound and beat that hearkens to the 1970’s, blending soul and rock. He belts out the vocals as the band builds up the sound around him. The song takes a brief respite and then goes out in a long blaze of soul, rock and funk. The stratospheric trumpet work and the guitar groove are beautifully done here. “Home in the Sky” takes things down several notches with Grey offering up a very pretty ballad for the listeners. Things then explode with “Hold on Tight.” There is a big intro with distorted guitar and horns that then transitions to a very interesting, soulful cut. Grey sings to his woman that, “He can’t wait for the kids to go to sleep,” and then the guitar returns for a huge solo. The vocals line comes back to earth again and Grey woos his woman some more. The guitar again returns to great effect and the song then fades; very interestingly done! “Tic Tac Toe” has a Southern, country blues feel to it. The song again starts a bit mellow and then things get interesting as the horns and vocals ebb and flow; Grey repeats the approach as he sings about how life can play games with us and we can also play games within it. The title track is next, a big number with Grey emoting heavily over a very funky beat and the band is in full support. The tune reminded me of something that would be a perfect James Brown tune. Grey is a wild man who de-livers a fantastic performance here as do all his cohorts on the album. Big horns, big vocals, a big backline beat and a big guitar groove. Grey testifies his way through this and by the end of the song you believe! The album closes with “The Hurricane,” where Grey goes acoustic and delivers another great ballad. Thoughtful and sublimely done, Grey is masterful in all ends of the spectrum of pacing, tone and timber to his vocals. This is some great stuff and if you register with JJ Grey on line you can download a free 13th cut,

about liking a woman different from all the others. He’s gotten the, “Better deal.” In “The Catch I Wanted” we have another song concerned with the woman he has in his life. This is pretty much straight up funk a great groove. “Dead End Street” is a slow, soulful tune about life and relationships reenergized in the backseat of a car on dead end street. A big guitar intro starts “Fair Weather Lover” off as Cotton testifies with his six strings to us before doing so with words. Sloooooow blues that are deep and full of grit. “Filling Me With Pleasure” is a cool R&B number with a well-distorted guitar and a funky backbeat and nice organ work. In “Hard Race to Win” Cotton returns to soulful, slow tempo-ed blues Eddie tells of his fathers’ advice. The preacher told him life is a hard race to win and how he’s come to grips with life as he keeps learning. There is a beautiful, stinging guitar solo here as Cotton winds his way through the cut. “Je Ne Sais Quoi,” or “I Don’t Know Why,” is next, a song about a women he can’t quite explain More soulful, slow, funky blues. Cotton picks out a great beat on his guitar and the organ bridges between the chorus and verses as he unsuccessfully tries to figure his woman’s appeal. Next up is “Mississippi,” a tribute to his home state. It’s a nice, bouncy, mid-tempo blues with a funky side. Cotton spells out the state’s name and the band responds in a swinging kind of a call and response. Eddie’s guitar stings like a hornet in the solo here. “My Money” is straight up blues with Grady Champion filling the harp duties as he and Cotton spar back and forth. Cotton’s guitar is impressive while Champions sound and approach on harp is good but somewhat repetitive. The organ and horns intro “Ego at Your Door,”a soul-filled R&B number “Race to the Dollar” talks to us about the struggles to make ends meet. Shirking fam-ily life to earn and spend it all before their needs are met is one of the darker songs here and Cotton punctuates the mood well with his guitar work. He closes out the al-bum with “War is Over,” an outstanding very slow piece that opens with a great guitar intro and then gets into a mournful and sweet call to his woman, “Let’s make love the war is over” and to wipe the slate clean and start all over.” The guitar is impeccable here as Cotton works over the slow back-beat and gives an impassioned perform-ance. I really liked Cotton’s last album, but this one is really spectacular. Soul, funk, blues and R&B all stirred together into a wonderful mix of tasteful and tasty original songs. Fans of the blues and souls will find this album right up their sleeves. Most highly recommended!!! Reviewed by Steve Jones

Into the Deep Galactic Provogue http://galacticfunk.com 11 tracks Galactic is a staple of the New Orleans music scene, playing a blend of funk and jazz jam band music. Ok, so let’s start this review off by saying this is not a blues album. Not because I’m some sort of purist, but be-cause it’s just not a blues album. It perhaps has basis in the blues but it certainly is a mish mash of New Orleans jazz and funk, and there is some very cool stuff here. It’s just not blues. The CD starts off with a vibrant, horn-forward instrumental called “Sugar Doosie” and if that doesn’t get the blood flowing then nothing will. JJ Grey then appears on “Higher and Higher,” which is pretty much straight up soul and funk mixed with some modernistic siren noises but very cool in and of itself. Macy Gray lends support to “Into the Deep,” a somewhat blues influenced jazz and rock ballad that she grits and growls out. “Dolla Diva” features David Shaw and Maggie Koerner and it is straight out hip hop laid on New Orleans funk. “Long Live the Borgne” is a heavy instru-mental funk tune with a huge bass groove, outer space B-movie electronic sounds and a killer organ lead. Back on earth, “Right On” features Ms. Charm Taylor from the group Honorable South. Hip hop and pop are the order of the day; she has a really unique vocal presence. “Domino” features Ryan Montbleau, a Bos-ton based folk, blues, funk and American singer. He’s got another interesting voice and this funk tune showcases it well; this is probably my favorite cut. “Buck 77” is an huge, effect laden instrumental that reminds me of an amalgam of current horror movie soundtracks and New Orleans funk. Strangely, it works well. Mavis Staples then joins in for “Does It Really Make a Differ-ence.” The music takes a turn back into the realm of reality with Mavis delivering a fine performance on this song of relationships overlooking the little things. Here we have blues and soul done with emotion and feel-ing. The song builds from a level of restraint to a set of bigger instrumental solos and then Mavis comes back with more of a vengeance. She then takes it down for the final verse and then sings the chorus where she and the instrumental backing take the song out nicely. Brushy One String is the artist featured on “Chicken in the Corn.” In reality he is Andrew Chin, son of Jamaican artist Freddie McKay. He is known for his guitar work, including a one-stringed guitar that he takes his name from. Here we have a funk tune with him in the lead and Galactic providing great instrumental support. The

CD closes to “Todays Blues,” a soulful in-strumental that is very blues centric in its’ approach and tone. The organ plays the lead here and it sings to us as be sway to the groove. This is a beautiful, sedate num-ber that showcases the band playing with restraint again and yet delivering some ex-pressive music. Now in their 21st year together, Galactic’s 11th CD is their first on Provogue and it’s a good one. Not for blues purists, but it is something for those who like a modernistic approach to New Orleans music that has evolved into using hip hop, funk and jazz to deliver a great sound. Robert Mercurio, Jeff Raines, Richard Vogel, Stanton Moore, Ben Ellman and Corey Henry are the cur-rent lineup of the band; if you ae a fan this is something you’ll want to own. If you want to hear how todays’ sounds blend with the sound of New Orleans, you should also pick this one up. It’s different than your standard blues and it may take a listen or two to grow on you, but it’s worth the effort. Reviewed by Steve Jones One at a Time Eddie Cotton DeChamp Records http://www.eddiecottonjr.com 14 tracks Eddie Cotton, Jr., hails from Vicksburg, Mississippi. With a musical background from Jackson State University, working with Jackson-area bluesman King Edward Antoine, and serving as minister of music in his father’s church, Eddie Cotton was the 2015 winner of the IBC band com-petition, the second winner in a row nomi-nated by the Vicksburg Blues Society. As you will recall, Mr Sipp was the 2014 winner. Cotton blends blues and soul into a spicy mélange of sweet music. Cotton’s band includes JJ Thames on back-ing vocals, Myron Bennett on bass, Samuel Scott Jr. on drums James “Hotdoog” Lewis on organ and keys, and the Jackson Horns (Kimble Funchess on trumpet, Jessie Primer III on sax and Mike Weidick on trombone). Funchess and Harrison Calloway did the horn arrangements. Starting off we get the title track, a funky cut of Cotton’ s blues and soul as Eddie be-moans the fact that he can only take care of one woman at a time. His guitar, the horns and organ are arranged well. His work on vocals and guitar on this song and through-out are spectacular. His guitar solo here on this is huge. “Be Careful” Has Eddie trading vocals with some licks on the harp by Carlos Russell. Nicely done slow blues! “Better Deal” is more up tempo and funky number with Eddie going falsetto at times to sing



dose of funk and soul into the proceedings starting with “It Ain’t What You Got,” a full-throttle workout with horns blaring away be-hind the leader’s soaring lead vocal. Another tune from their Live Tonite recording, “Miss Lovin’ Her,” generates a moving performance from Pittman on a touching ballad.

Andy Poxon was only sixteen years old when he cut his debut recording, Red Roots. You would never know from listening to the cut that opened that disc, “Hottest Thing In Town”. Sounding like a rockabilly rebel with a bad case of the blues, Poxon fires off some fleet-fingered picking that is guaranteed to get you up and dancing. “I Need My Girl” sports a slow, steady beat as the youngster waxes on about the girl of his dreams before using his guitar to tell the world how he feels. These tracks state a strong case for Poxon’s future, which has come to full fruition on his latest EllerSoul release, Must Be Crazy, one sure to make some Best of the Year lists.

This one holds together with one first-rate track after another. If you haven’t heard any of the great EllerSoul releases, this sampler definitely will make you feel bad about all of the great sounds you have been missing. Worth the price of admission!

Reviewed by Mark Thompson

Blues & Soul Collection Various Artists EllerSoul Records www.ellersoul-records.com 12 tracks/51:20 Featuring a cross section of artists from the EllerSoul label, this set provides a wide range of interpretations of blues music in the here & now. Singer Marion James had a hit back in the mid-60s and earlier in that dec-ade her band included a young Jimi Hendrix and Billy Cox and bass. Jacobs certainly hasn’t lost a thing as witnessed by the open-ing track, “Tables,” with the singer admonish-ing a no-good man while a full band with horns struts its stuff in fine style. The other cut from her Essence album, “Please Don’t Waste My Time,” has her in a sultrier mood on a slower cut that still packs quite a punch complete with a strong slide guitar interlude. The key man at the label, L’il Ronnie Owens, blows some fine harp as part of an acoustic duo with singer & guitarist Terry Garland. Their “Dude Boy Boogie” is a romping work-out featuring Garland’s slashing slide playing along with some fierce harp action. “Bettin’ On My Baby” has Owens on lead vocal and

features more of his wailing harmonica. Both tracks are from their Live At The Canal Club recording. Backed by his band The Grand Dukes, Owens appears on two additional cuts. “Long Distance Lover” hits you with a swinging tempo, a cool vocal from the leader, and a full-bodied, amplified harp tone that rocks the house. A nasty guitar lick kicks off a down-in-the-alley foray through “Wine Headed Woman”. With a distorted vocal and a propul-sive rhythm, this track is a knockout. After hearing the Grand Dukes tunes, you will un-doubtedly want to go searching for a copy of their Do What Cha Do’ release. Guitarist Ivan Appelrouth breaks things down a bit on the instrumental “Blues A La King,” building his extended solo segment around some B.B. King licks. John Cocuzzi lays down some splendid late-night piano over sustained notes from Chris Watling on saxo-phone. No surprise here – “T-Boned Again” is a rollicking tribute to the legendary T-Bone Walker with Appelrouth doing some nimble guitar picking on another number from his Blue And Instrumental album. Julius Pittman & the Revival inject a healthy

http://www.ellersoulrecords.com

http://www.ellersoulrecords.com


Michelle “Evil Gal” Willson engage in a flirtatious duet. Norcia bares his soul on the lush ballad “Don't Keep Me Waiting,” then his wailing harp plays off the leader's sparkling piano runs on “Sad But True”. Even better is the rough-and-tumble rendi-tion of “Heard That Tutweiler Whistle Blow”. Norcia adopts a gritty approach to lyrics that describe trying to escape the hanging tree by heading north to Detroit to work for Mr. Ford, buttressed by more reed-bending and Geraci's beautifully crafted piano solo. “The Blues Never Sleeps” is a driving shuffle set up by Michael “Mudcat” Ward on bass and Marty Richards on drums. It gives the leader the opportunity to play some rollicking piano while Nulisch gets his chance to blow some more harp. Blues and rock elements converge as Willson provides a dramatic performance on “If You Want To Get To Heaven”. In her lone appearance, vocalist Toni Lynn Washington brings an earthy quality to “Diamonds and Pearls,” another highlight thanks to Geraci's two-fited piano playing and a fiery Welch solo. “Cry A Million Tears” is a tender, slow blues with Nulisch weaving a impassioned promise of love accompanied by the rich details Geraci extracts from his piano. One of two instrumentals, “In The Quick-sand, Again” is a dark but dance-able number with Welch picking some Freddie King licks before the leader gives the pi-ano keyboard a workout. “Blues For David Maxwell” is Geraci's reverent tribute to the late piano master, six minutes of richly textured, soul-shaking music that perfectly captures the pain of losing a good friend. Norcia shows that he can handle a tear-in-your-beer song with a measured vocal on “Too Late For Coffee,” then utilizes me-ticulous phrasing to make you feel the heartbreak on “Your Turn To Cry,” a song that echoes the legacy of Charles Brown with Geraci adding lush chords on the Hammond organ. Anthony Geraci resists the urge to place himself squarely in the spotlight. He gath-ered up some good friends, encouraged them to do what they do best, mixed with a well-rounded program of original mate-rial tied together by his robust keyboard efforts. The end result is diverse package with plenty of the old-school vibe guaran-teed to satisfy your soul! Reviewed by Mark Thompson

Hoodoo That We Doo The Beat Daddys Melrose Hill Records www.thebeat-daddys.com 11 tracks/38:56 It is probably a safe bet that many blues fans have never been exposed to the Beat Daddys. Hard to believe that a band that formed almost thirty years ago has man-aged to go on despite a lack of attention. It is even harder to believe that a band that creates music as compelling as the cuts on their latest release can’t find a wider audience. The tandem of Larry Grisham and Tommy Stillwell has been the rock that the band is built on. Grisham handles the lead vocals and harmonica while Stillwell contributes all the guitar parts plus backing vocals. With only one cover, they co-wrote the majority of the tracks. They get able ac-companiment from David Parks on all things percussive and John Gillespie on bass. One cover, “Chains,” opens the disc with the rattling of the metal links as Grisham quietly chants the lyrics. Once the band kicks in, Stillwell’s slide guitar and Grisham’s wailing harp create a moody, dense sound that seems to call out from the grave. “Sorry” finds Grisham warning a woman that her misdeeds will some lead to a world of suffering similar to what she has put him through. The emotional turmoil doesn’t let up on “You Made Me Cry,” a passionate lament focused on the aftermath on a divorce and all of the unre-solved emotions. “The Moment” is a soulful ballad about putting your life back together, sparked by Stillwell’s heated solo and Patrick Pre-ston’s organ accompaniment. Spirits im-prove on “Pie or Cake,” a solid shuffle with plenty of Grisham’s dirty harp for a sound straight out of the local juke joint. Things slip back into the American Gothic feel on “HooDoo Woman”. Stillwell shines on gui-tar as Grisham tells the world about the woman who had him enchanted from their first encounter. Grisham sounds convinc-ing while laying down the humorous perils of “DUI Love,” when a man gets too much good loving. Preston returns on “Been Thinkin’,” the organ setting up a deep groove behind Grisham’s plea to a woman spurning his attention. Stillwell’s taut gui-tar licks up the emotional ante, making this track a definite highlight. “Luck’s Got To Change” is a searing medi-

tation by a man staring at the edge of the emotional precipice, praying for escape because “bad luck must be my first, last, and middle name”. Grisham doesn’t over-play his hand, keeping the pain on slow burn even after Stillwell ratchets up the intensity. The duo dedicates “Blues Can Heal You” to the spirit of the late B.B.King but the song suffers from lightweight lyr-ics. The final track opens with a slide gui-tar and Grisham’s voice off in the dis-tance, joined by the rhythm section before the soundstage opens up, creating “I Need A Woman,” a hard rocking number with Grisham belting out his need for com-panionship in no uncertain terms. He punctuates his message with some mournful tones from his harp as the song fades to black. There are plenty of raw emotions vividly expressed throughout this release. Be forewarned that the emotional honesty can be hard to listen to at first, simply be-cause it is a rare commodity in today’s world. Larry Grisham and Tommy Stillwell have lived up to the catch phrase, blues with a feeling. Give this one a listen. It is time that the Beat Daddys to get some long over-due recognition. Reviewed by Mark Thompson Fifty Shades Of Blue Anthony Geraci & the Boston Blues All-Stars Delta Groove Music www.deltagroove-music.com 13 tracks/54:18 The front man for Little Anthony and the Locomotives in addition to being an origi-nal member of Ronnie Earl & the Broad-casters, Anthony Geraci has used his key-board skills to support a lengthy list of many of the legendary blues artists. Many listeners will recognize his name from the multiple releases from Sugar Ray Norcia and the Bluetones. Also an accomplished songwriter, Geraci penned the title cut to the band's Living Tear To Tear project that garnered several Blues Music awards nominations. The strength of his writing talent is also illuminated by the thirteen songs he composed for the second pro-ject under his name. One of four guest vocalists, Darrell Nu-lisch's voice conveys plenty of heartbreak-ing dismay on “Everything I Do Is Wrong,” answered by a penetrating guitar solo from Monster Mike Welch. The pace quickens on the title track as Norcia and

http://www.thebeatdaddys.com

http://www.thebeatdaddys.com

http://www.deltagroovemusic.com/

http://www.deltagroovemusic.com/

lyrics to this song, it is essentially a jam session for the entire band. The next track is “Back to the Boogie.” An astute selection as the last track for this album. No one holds back, and you can feel how well these musicians work together. The main riff is very similar to ZZ Top’s La Grange, but with impactful and power-ful harmonica, and some sneaky smooth guitar solos by Jack Kolb. The song essentially makes you want to hit repeat and listen to the album again and again. One of the things that I appreciated the most about this CD is the diverse array of blues mu-sic across the 11 tracks. It would be an excel-lent gift for anyone just getting into the blues, or for people that like a lot of different types of music but might not have the time or patience to listen to different styles each day. The next time I am in New Orleans, I will definitely stop by the US Mint. I wish I could have been there on the night this album was recorded. Bottom line, I loved the album, and you will too. Reviewed by Wes Ralph

Live at the Old U.S. Mint Smoky Greenwell’s New Orleans Blues Jam Greenwell Records http://smokygreen-well.com/ 11 tracks/56:54 Smoky Greenwell is an extremely accom-plished harmonica ace, and this is his tenth album. The album was recorded live at the old US Mint Building in New Orleans, and includes guest appearances from Mark Pentone and Bruce “Sunpie” Barnes. The album begins with “Smoke Alarm.” This song is not the same as Smoky’s earlier work, although it shares the same title. It wastes no time in getting right into some powerful yet smooth harmonica. The song has tremendous rhythm and teases us with a very short yet crisp guitar solo. There are no lyrics at all, and al-lows the listener to focus on the skill of each band member. A really solid intro to the CD. “My Own Blues Club follows; the pace slows down considerably on this track. The story is a synopsis of Smoky owning a blues club that eventually goes under due to Hurricane Katrina. Excellent high pitched harmonica and a solid base guitar work are what I liked the most about this track. The last line in the song is simple and absolutely hilarious (you’ll have to listen to understand). “Peter Gunn” is an American private eye television series which aired on the NBC and later ABC television net-works from 1958 to 1961. This song was later used as the theme music for the wildly popular video game ‘Spy Hunter’, which basically de-fined my childhood. Even though it is a cover, turning it into a blues song is tremendously original and features excellent work on the tenor sax by Smoky Greenwell. The song is nostalgic and new at the same time. It’s great! “Power of Now” is a solid amount of harmonica and the first song that really features Jack Kolb’s skills on the guitar. The lyrics are simple yet elegant (every moment every moment each and every moment is brand new….. when you’re living in the past there aint nothing you can do…..) Great teamwork by the entire band on this track – it has a very smooth pace that is a good listen after a long day. “Jodie” (written by Mark Pentone, who sat in on this song). Good pace, and even better vocals. Mark Pen-tone has a slightly raspy voice, but it’s still very smooth and easy to listen to. I had heard the song before, I liked this live version better. “I Earned the Right to Sing the Blues” (also writ-ten by Mark Pentone , who sat in on this song). I like the premise of this song, and I really liked the harmony that the band members exhibited by singing the chorus line together - the first song on the CD where they did this. A really nice harmonica solo in this track, approaching the pitch of a flute at times. You will want to sing along with this song. “Between Iraq and a Hard Place” features very original lyrics on this track, but it does not get too political. This is a slow paced blues song. I would have liked it more if it were after My Own Blues Club, or if My Own Blues Club were just

before this track. The listener can definitely appreciate the style differences between Smoky Greenwell and Mark Pentone after the two previous tracks. Next we have “Need a Friend” (written by Joseph Young). Pete Brad-ish has lead vocals on this song, and does a remarkable job. He has a deep and powerful voice, and still keeps a consistent drum beat present in the background. I wish that he sang more on this album. There is superb pace on this track, and the entire band gets behind Smoky on the main riff. “Love’s Gone” (written by Bruce “Sunpie” Barnes, who sat in on this song). Has Bruce play the accordion and if that’s not enough to entice you, he has a voice that rivals Isaac Hayes. The authentic style of New Orleans music comes through in this song. There is a hint of Zydeco in this track, and it is extremely well done. This song also features a fantastic deuling guitar / accordion with Jack Kolb and Bruce Barnes, respectively. “Leroy’s Shuffle “(also written by Bruce “Sunpie” Barnes, who sat in on this song) will make you want to dance, unless of course you are on an airplane or crowded city bus. There are not a lot of



and Gordon offer up some more good solos again. “Too Bad, So Sad” is an-other driving cut with Monica taking the reigns and Weld offering up some more big time guitar along with some fine assis-tance from Greg Guy. J.B. Hutto’s “20% Alcohol” has Weld giving a passionate rendition of his mentor’s old song. Bobby Rush appears again with some sweet harp throughout and also adds a great solo to make things sweeter. Weld shouts and growls out tune and then blazes in another well done solo on guitar. The title track is reprised to close things out. The guitar is gutsy and stinging and Weld, Myhre, and Taylor doo wop along with it to finish out a truly fine set of tunes. These new songs have become staples of Weld and the band’s live shows. The energy is high and the songs make you want to get up and boogie. Weld and company are at their best. This is their best album to date, surpassing Burnin’ Love (their inaugural album for Delmark) in sound and song quality. That album was no slouch either, but in my mind this one is even better. Weld’s guitar hits the stratosphere as he and band have come out to make a statement. If you want to hear how well the West Side of Chicago remains represented in today’s blues then look no further; this is a great album that you will enjoy over and over again! Reviewed by Steve Jones

Slip Into a Dream Dave Weld and the Imperial Flames Delmark Records www.delmark.com www.daveweld.com 13 tracks Dave Weld is today’s guitar master of the Chicago West Side blues sound. Study-ing under J.B. Hutto and influenced by Hound Dog Taylor, Weld has been im-mersed into the grit, power and energy of the West Side’s very pronounce blues style. In this, his second effort for Del-mark Records, we see further maturation in the song writing by him and his partner of many years, “The Lovely Monica”(as Dave calls her at their live shows). He and Monica Myhre have penned together or alone 11 of these cuts. Drummer Jeff Taylor wrote another and the lone cover is from Weld’s mentor, J.B. Hutto. The songs here feature Weld and his band playing with hjigh energy and near-reckless abandon. This is not an album for the faint of heart. Dave does all of the guitar work and he and Monica share the vocals except for Taylor’s cut which he sings. Also here on the CD are Harry Yaseen on piano, Greg Guest on piano and organ for a few cuts, Brother Dave Kaye on bass, Greg McDaniel on bass for one cut, and a horn section of Parris Fleming, Rajiv Halim and Bryant Smith on cut 4 and Kenny Anderson, Hank Ford and Bill MacFarland on track 6. Bobby Rush is a guest on hard for a couple of tracks, Greg Guy appears on guitar on track 11 and Sax Gordon makes three appearances on the album. The title track kicks things off with Dave testifying and playing some stinging lead guitar. Yaseen’s piano and Guest’s organ work add a great dimension to the song, but its Dave’s guitar that steals the show. Monica comes in after the big solo to front the band, showing restraint when needs and tearing it up when appropriate. Weld, Myhre and Taylor harmonize nicely. This has to be among the best songs Weld has done in his repertoire. “Sweet Rockin’ Soul” is a boogie woogie rocker that Weld blasts out the vocals along with a lead guitar of mega proportions. His solos leave nothing behind, big, meaty and juicy guitar that could wake the dead. Yaseem keeps up on the piano and makes the boogie woogie feel just right as you grab for your dancing shoes. Kaye and Taylor also get some solo time near the songs end, a totally rollicking ride throughout! Myhre leads the charge in “Looking for a

Man,” a song that the title completely ex-plains for us. Myhre lays out her criteria as she growls and belts out the lyrics. Rush makes his first of two appearances and, as expected, nails the harp here. Weld offers another huge solo; this is an-other big, up tempo tune that makes one want to dance to. The first horn section appears on “Take Me Back,” a tune with a funky groove and nice horn arrangement. Weld takes charge of the vocals as the groove drives it all along and Monica as-sists on a couple of choruses. It builds to an almost frenetic end; one can almost feel the beads of sweat rising on Weld’s brow as he figuratively rips the strings off the guitar as the horns blare in an impas-sioned manner. The next cut is classic Dave Weld; “May Be Right, May Be Wrong” is a great song for Weld to shout out the lead vocals in classic style. The tempo is driving here, too; this band never rests! Monica comes in and demands to be held and squeezed; she and Weld har-monize some more and Weld’s great gui-tar takes to his final vocal. The two take us home as they demand physical atten-tion as they jointly sing, “Come on and hold me!” They finally take the tempo down a notch in “Sweet Love (Dulce Amour)” where the horns join Monica in a more restrained cut. Weld’s guitar is also more subdued to match the timber of the tune. Myhre croons in both English and Spanish as she weaves a beautiful web of a tune for us. Ford gives us a nice solo on tenor sax that also rates a mention. The shackles then come off for “Louise” when the band hits high gear and Monica moans and screams her warnings to Louise about marrying that man. The beat is driving and Weld offers a distorted solo before Sax Gordon makes his first appearance, a nice, greasy tenor solo. “Tremble” is another cut where Gordon makes an appearance to fill as Weld testifies both vocally and on guitar. Weld begs for help with his ‘trembles” as the tune builds into a whirling finish. Slow blues is next in “Walk on Down” where Weld show us his chops on guitar and Myhre gives another effective perform-ance. Yaseen gives us a nice, big solo here, too. Jeff Taylor takes over for “Dorothy Mae,” offering up his sonorous tones as he tells a tune of church folk gone bad. According to Taylor, the titled woman appears not to be too truthful; his vocals are solid and offer a cool contrast to Weld and Myhre. Weld


Crossroads Shows and Events New Savages at the Lyran Club Sept.New Savages at the Lyran Club Sept.New Savages at the Lyran Club Sept.

Nick Moss Labor Day PartyNick Moss Labor Day PartyNick Moss Labor Day Party

Michael Ledbetter and Pierre LaCocque Michael Ledbetter and Pierre LaCocque Michael Ledbetter and Pierre LaCocque

at Nick’s Partyat Nick’s Partyat Nick’s Party

Little Charlie Baty, Anson Funderberg and Mark Hummel at Little Charlie Baty, Anson Funderberg and Mark Hummel at Little Charlie Baty, Anson Funderberg and Mark Hummel at

Nick Moss’ Labor Day EventNick Moss’ Labor Day EventNick Moss’ Labor Day Event

Liz Mandeville at the Hope and Anchor, Liz Mandeville at the Hope and Anchor, Liz Mandeville at the Hope and Anchor,

Loves Park, ILLoves Park, ILLoves Park, IL Dave Fields at the Dave Fields at the Dave Fields at the

Lyran Club with Justin GatesLyran Club with Justin GatesLyran Club with Justin Gates


Roscoe’s Dan Phelos at the Blues Blast Music Roscoe’s Dan Phelos at the Blues Blast Music Roscoe’s Dan Phelos at the Blues Blast Music

Awards in ChampaignAwards in ChampaignAwards in Champaign

Mark Thompson, Reverend Raven and Mark Thompson, Reverend Raven and Mark Thompson, Reverend Raven and

Steve Jones at the Blues Blast AwardsSteve Jones at the Blues Blast AwardsSteve Jones at the Blues Blast Awards

Badger Bowl Blues with Billy Flynn, Badger Bowl Blues with Billy Flynn, Badger Bowl Blues with Billy Flynn,

Rocvkin” Johnny and More!Rocvkin” Johnny and More!Rocvkin” Johnny and More!

The Saltines at All Saints The Saltines at All Saints The Saltines at All Saints

The New Savages at the Lyran Club Oct.The New Savages at the Lyran Club Oct.The New Savages at the Lyran Club Oct.

Josh Hoyer at the Hope and AnchorJosh Hoyer at the Hope and AnchorJosh Hoyer at the Hope and Anchor

Top Blues Releases October 2015

Sunday Morning Blues WKGL-FM 96.7 The Eagle

Rockford, IL

Dave Weld and the Imperial Flames / Slip into a Dream / Delmark Joe Louis Walker / Everybody Wants a Piece / Provogue Duke Robillard / The Acoustic Blues & Roots of Duke Robillard / Stony Plain The Jimmys / Hot Dish / Brown Cow Productions Tommy Castro & The Painkillers / Method to My Madness / Alligator Shemekia Copeland / Outskirts of Love / Alligator Fiona Boyes / Box & Dice / Reference Recordings - Blue Empress Guy Davis / Kokomo Kidd / M.C. Re-cords Buddy Guy / Born to Play Guitar / RCA Silvertone Jimmy Burns / It Ain't Right / Delmark Billy Branch and the Sons of the Blues / Blues Shock / Blind Pig Walter Trout / Battle Scars / Provogue Dave Alvin & Phil Alvin / Lost Time / Yep Roc Joe Bonamassa / Live at Radio City Mu-sic Hall / J&R Adventures Morry Sochat & The Special 20s / Dig In / Galaxie The Reverend Shawn Amos / The Rev-erend Shawn Amos Loves You / Put Together Nikki Hall / Heavy Hearts, Hard Fists / Deep Fryed

This list is submitted to Living Blues Magazine for inclusion in the Octo-ber 2015 National Radio Chart. This list is compiled from actual radio air play statistics. WKGL-FM broad-casts 2 hours of the blues per week.

Rich Gordon Sunday Morning Blues WKGL-FM 96.7 The Eagle 3901 Brendenwood Road


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The Hope and Anchor Saturday Blues

Schedule is set through April 2015.

From 8 PM to Midnight, $5 cover after 8

PM or free prior to that for dinner guests.

Featuring fine English pub fare, the

Hope and Anchor is a great spot for din-

ner, craft beers, liquors, and great live

music! At 5040 N 2nd Street, Loves Park

IL, USA, phone 815.633.2552 for info!

11/14 The Jimmys

12/12 Jimmy Nick and Don’t Tell Mama

12/31 New Years Eve Dave Fields

1/9 John Primer

2/13 Tad Robinson

Lyran Society Friday Blues The Lyran Society has decided

to add blues to their Fish Fry and Steak

Dinners with performances generally

twice a month on the first and third Fri-

day of each month at their club. August

is a special month with three shows!

Located half a block east of 7th Street at

1115 4th Ave, Rockford, IL 61104, you

can call (815) 964-0511 for info. There is

no cover charge, it’s a free show. Open

to the public, all ages are welcome!

November 6: Dave Weld and the Impe-

rial Flames (CD Release Party)

November 20: New Savages

December 4: New Savages

December 11: Blueshawks

December 18: Jimy Sohns and Bobby

Messano

December 31: New Years Eve Party with

Dave weld and the Imperial Flames

January 1: New Savages

January 15: Martin Lang and Billy Flynn

February 5: New Savages

February 19: Roy Orbison Tribute

www.bluesblastmagazine.com

The Groove is a bi-monthly publication of the Crossroads Blues Society. The PDF version (typically 14 to 28 pages) is emailed to members of Crossroads. Hard copies (12 pages) are sent out members without email ($5 membership surcharge).

Editor in Chief: Steve Jones

Music Reviewers: Dennis Barker, Rick Davis, Bill Graw, Rick Hein, Steve Jones, John Mitchell, Mark Nelson, and Mark Thompson

All un-credited content by Steve Jones

The year is almost over. We have great news!

On page 5 discuss our announced 2016 festi-

val lineup– we have a great variety planned

of talent for you! Rev. Peyton’s Big Damn

Band, Tad Robinson, Ghost Town Blues Band,

Joanna Connor and the Flaming Mudcats are

featured on the main stage and Birddog and

Beck are between acts with Ken Olufs con-

ducting a harp workshop. See inside for

more info.

November and December have lots of great

blues events coming up. The Hope and An-

chor has the Jimmys in November, Jimmy

Nick in December for the Crossroads Christ-

mas Party, and a special show on New Years’

Eve with Dave Fields! What a great way to

close our 2015 and welcome in 2016! And

next year we have John Primer, Tad Robinson,

Tweed Funk, Reverend

Raven and much more

planned for there! See

inside for dates and details.

First and Third Friday Fish

Fry Blues continue at the

Lyran Club. See inside for

details. Free shows twice a

month plus a New Years

Eve Party with Dave Weld

and the Imperial Flames.

Congratulations to the acts

representing us at the 2016

International Blues Chal-

lenge! Jimmy Nick and

Don’t Tell Mama will be our

band entry and Birddog

and Beck represent us as

our solo/duo entry. See

page 4 for details.

The Ice Hogs have 11 home

games on Fridays with

blues before each of them.

Also see inside for a poster

with details on that!

BITS is also in planning. A

two-week residency with

Dan Phelps early next year

and more are in planning!

News and Upcoming Events

Crossroads Blues Society P.O. Box 840 Byron, IL 61010

News Blog with our Latest Info: http://crossroadsbluessociety. blogspot.com

Music Reviews: http://crossroadsreviews.blogspot.com

Crossroads Blues Festival at Lyran Park: www.crossroadsbluesfestival.com

Email us at: [email protected]

Also on the web at: www.crossroadsbluessociety.com

Keeping the Blues Alive Since 1994 2014 Blues Foundation Keeping the Blues Alive Affiliate Award Recipient

2014 Chicago Blues Hall of Fame Inductee

Blues on Local Radio WNIJ - 89.5 FM

Friday evenings from 9 PM to midnight with Harold Brown

Saturday afternoons from 1 to 4 PM with Patrick Sheehan

Saturday evenings from 9 PM to midnight with David James

The Eagle - 96.7 FM

Sunday Morning Blues now from 8 AM to 10 AM with Rich Gordon

Membership Application

www.CrossroadsBluesSociety.com

Yes! I’d love to be a part of the Crossroads Blues Society!

Name_____________________________________________

Street Address___________________________________

City________________ State______ Zip Code________

Phone_____________________________________________

Email Address____________________________________

New -or- Returning Member

This will be a membership for an/a:

Individual ($15) -or- Family ($25) -or-

via email via email

Individual ($20) -or- Family ($30)

via regular mail via regular mail

Please cut out or copy and mail this form and

payment to:

Crossroads Blues Society Bring this to

P.O. Box 840 our next meeting

Byron, IL 61010 and get a free CD!

The Crossroads Blues Society Newsletter

The GROOVE

The Groove: Nov-Dec 2015

Documents

Transcript of The Groove: Nov-Dec 2015