Marshall Gilkes Waiting To Continue

Marshall Gilkes
Waiting To Continue
Alternate Side Records

Trombonist, composer, and bandleader Marshall Gilkes is back with a trio recording. He has an impressive resume, including being a member of Maria Schneider's Orchestra, being part of Colombian harpist Edmar Castañeda's trio, and working in New York's thriving Latin music scene. Originally this album was to be titled "Play Date," but because of the pandemic and "after several months at home, living in limbo, "Waiting to Continue" proved to be a more suitable title."

This album was initially supposed to be recorded in April 2020. With the cancellation of tours for what was supposed to be a busy first half of 2020, the pandemic led him to be home with his family. Gilkes was able to finally able to get into a recording studio in early July. They recorded this album under social distancing guidelines with Clarence Penn on drums and Yasushi Nakamura on bass. Most of the music was written before the pandemic, with two of the 11 compositions penned during the quarantine.

The title track was written during the quarantine, and Gilkes states, "That piece is about the situation that 2020 brought upon us. I think all people, especially musicians, are wondering when we'll be able to move forward and are feeling unsure about what's on the other side of this." He brought trombone chorales he recorded at home to begin and conclude this track in a sober mood and state the melody leading to his marvelous improvisation with Nakamura and Penn providing a floating backing. Gilkes displays his considerable technique and a strong lyrical sense with his brushed tone and fluid playing. Penn dazzles with a deft touch and his soft rhythmic accents.

Another tune, "Archie Theme," was hatched during his wife's pregnancy and is built over a spirited motif with Penn crafting a Latin-tinged rhythm for Gilke's buoyant solo. "Longing For Home" has another lovely melody written before the pandemic. It reflects the prospect of being apart from the family for a lengthy time. Nakamura displays his touch and his improvisatory approach. The following composition, "Taconic Turns," has his twisting solo and the step forward, step backward, groove echoing driving on the Taconic Parkway,  

One remains impressed by the music Gilkes and his trio plays throughout this album. Whether a straight-ahead groove for "The Nod" or the gorgeous ballad "Anya's Tune" (another number with the prerecorded trombone chorale)," Gilkes displays plenty of imagination and nuance with Nakamura and Penn complementing and adding to the performance. "Play Date," a contrafact of "Cherokee," played at a leisurely pace with Gilkes' solo building the performance's intensity. The rhythm duo really hit the groove on a bouncy blues, "The Usual."

As sterling as Gilkes, Nakamura, and Penn play here, a trombone trio has a somewhat limited tonal palette. The tracks' programming provides a variety of grooves and song types. This helps maintain a listener's attention for the hour or so of music here if they wish to listen to this in one sitting. It contributes to the listener's enjoyment of this first-rate recording. It is available at bandcamp, https://marshallgilkes.bandcamp.com/track/waiting-to-continue.

I received a download from a publicist. Here is a selection from "Waiting to Continue."

Melody Gardot Sunset in the Blue Rodeo

Melody Gardot
Sunset in the Blue Rodeo
Verve

While her roots are a jazz singer, Melody Gardot may be more accurately described as a vocal stylist. Her soft, sensual, smoky, sultry singing might remind listeners of Peggy Lee with a tinge of Billie Holiday. On her latest recording, she has reunited with arranger and composer Vince Mendoza and engineer Al Schmitt for this exploration of standards and originals set against lush orchestral settings. Trumpeter Till Bronner and guitarist Anthony Wilson are among the players.

Despite the orchestral backing on this album, there is an intimate quality to her vocals. This is heard on the opening "If You Love Me" with her plea to let her know. My download to review does not include full personnel, but there is a lovely trumpet solo likely by Bronner. There is a lovely duet, "C'est Magnifique," with Fado singer Antonio Zambujo, that mingles Portuguese with English and French with some soft Spanish guitar. The Spanish guitar is also present on the lively Bossa Nova, "Ninguem, Ninguem."

Her atmospheric, evocative singing is exquisite, particularly on "Ave Maria," which is not the religious song but a torch song. Then there is a dreamy interpretation of "Moon River," followed by a delicate, blue-tinged, "I Fall In Love Too Easily," with tasteful guitar accompaniment. It closes this sterling new recording from Melody Gardot.

I received a download to review from a publicist. Here is the duet with Antonio Zambujo, "C'est Magnifique."

Dave Keller You Get What You Give

Dave Keller
You Get What You Give
Tastee Tone Records

Singer-guitarist-songwriter Dave Keller has put together a special new recording dedicated to raising funds toward enhancing racial justice and equity. Keller, whose mix of soul and blues has earned him acclaim, fans, and friends, is joined by Trudy Lynn, Joe Louis Walker, Annika Chambers, Johnny Rawls, Annie Mack, Dawn Tyler Watson, Brother Bob White, Carly Harvey, Toussaint St. Negritude, Katie Henry, Chad Hollister and others who donated their time and talent for this recording. Even before release, raised over $2,000.00 from pre-orders with "all of which will go directly to groups working for racial justice and equity." The list of recipient groups includes the NAACP Legal Defense Fund, Know Your Rights Camp, N'COBRA, and Jus' Blues Foundation.

Separate apart from the fundraising aspect of this album; the performances are stunning. This starts with the opening duet between Keller and Annika Chambers, "One More Tear." It is a superb Memphis soul styled song about two lovers who can't get over each other. The production, the playing, and the singing are exceptional. It sets the tone and standard for this album. More of the same is present in the duet with Carly Harvey, "The Thing We Do," as the two celebrate their love for each other. Another outstanding duet is the title track with Annie Mack with its country-soul flavor. There is an uplifting duet between Keller and Dawn Tyler Watson, "God Is Love/ Love Is Everything."

Among other inspired songs are "The Evil Men Do." This song has a topical lyric about this land be haunted with bodies handing on the tree and lying on the ground under a knee as Annika Chamber, Annie Mack, and Johnnie Rawls add their voices. Ira Friedman adds a stark piano backing, with Tom Palance adding a haunting trumpet solo. Friedman's spare piano also backs Keller's sober vocal on "The Spark." Brother Bob White sings and plays piano on the classic gospel number "Precious Lord, Take My Hand" with Keller adding responsive guitar.

There are other equally stirring performances. These include those with Joe Louis Walker and Katie Henry. Also, Keller's acoustic steel guitar and harmonica support Toussaint St.Negritude on the spoken blues "I'm Gonna Let It Shine," about standing on the banks of tomorrow and pressing for a brighter tomorrow. This number concludes a remarkable recording, one of the finest new recordings I have heard in 2020. "You Get What You Give" is not merely great music but raises money for a great cause.

I received my review copy from a publicist. Here Dave performs "The Evil Men Do."

Peter Leitch New Life Orchestra New Life

Peter Leitch New Life Orchestra
New Life
Jazz House

This two-CD collection of big band performances highlights the composing and arranging skills of Peter Leitch, who continues to create music when no longer able to play. Leitch was a guitarist who lost the use of an arm as a result of life-saving treatment for lung cancer. Leitch says, "At my age [74], I considered myself retired from the music business. I couldn't play anymore. But I couldn't get rid of this urge to be involved in music and it seemed to me that the only way I could do it was to start writing. I wrote a few things and wanted to hear what they sounded like, set up a rehearsal and it went from there. Suddenly I found myself being a bandleader, which I didn't expect to happen." The title 'New Life' in his orchestra's name, and this recording refers both to his odyssey and the music itself.

For this recording, he has assembled quite a line-up for his orchestra. Members of the band include Duane Eubanks trumpet,  Bill Mobley on trumpet, flugelhorn, Tim Harrison on flute, Jed Levy on tenor sax, flute, and alto flute, Steve Wilson on alto & soprano sax, Dave Pietro on alto & soprano sax, Carl Maraghi on baritone sax, bass clarinet,  Matt Haviland on trombone, Max Siegel on bass trombone,  Phil Robson on electric guitar, Chad Coe on acoustic guitar; Peter Zak on piano, Dennis James on arco bass, Yoshi Waki on bass, and Joe Strasser on drums.

Leitch spent two years composing, arranging, and orchestrating the 17 pieces that comprise this project. In search of a personal voice in writing for a medium-sized ensemble, he was looking for something that sounded like a bigger band and also had the freedom and looseness of a small group. Additionally, he wanted to combine the written and the improvised seamlessly. In the liner notes, Leitch also writes about avoiding the traditional groupings of sections in favor of other instrumental combinations that result in different sonic textures. The program on the two discs correspond to 2 sets of music in a concert or club, and there is a little over two hours of music heard.

There is plenty of interest provided by Leitch's compositions starting with "Mood For Max" that was written for his oncologist. It is a bright, breezy performance with the flutes adding an unusual flavor to the ensembles and a solid trumpet solo. "Portrait For Sylvia," dedicated to his wife, is a lovely ballad taken at a marvelous tempo with another exquisite trumpet solo and some superb guitar from Phil Robson. There are also performances dedicated to Clifford Jordan and Charles Davis. "Clifford Jordan" is a swinging salute to the great tenor saxophonist set against a crisp Latin groove with inspired tenor sax from Jed Levy and rousing baritone sax by Carl Maraghi. "Ballad For Charles Davis" has outstanding ensemble work and short, notable solos from several players.

For some reason, listening to several of the performances suggest the late, great Oliver Nelson, whose most famous recordings involved a sextet or septet, but also wrote some rousing big band charts. "Sorta Kinda" and "Penumbra" are both performances that evoke the groove of some of Nelson's recordings and shows how successful Leitch was in achieving his goal of having his orchestra sound like a bigger band but had the freedom and looseness of a small group. After "Monk's Circle," written to commemorate the official renaming of the cul-de-sac in Manhattan where the Monk family resided for years, the orchestra performs the classic "'Round Midnight." Guitarist Robson first sets out the melody before the ensemble with Leitch's judicious employment of flutes in setting the atmosphere. Flutes also help set the mood for the bright, brisk "Exhilaration." Jed Levy wrote "The Minister's Son" in honor of the late jazz pianist John Hicks. Levy solos at length, followed by Peter Zak's thoughtful, fluid piano.

A lengthy blues "The Long Walk Home" brings this recording to a close opening with fine blues playing from Zak before the full horns come in, and the members all get a chance to solo. Acoustic guitarist Chad Coe channels Freddie Green on this superb cut. It is an excellent close to a first-class straight-ahead big band recording with outstanding compositions, a top-notch ensemble, and terrific soloists.

I received my review copy from a publicist.

Danielle Miraglia Bright Shining Stars

Danielle Miraglia
Bright Shining Stars
VizzTone

Boston-based Danielle Miraglia has straddled musical genres from folk, Americana-roots, and blues as a solo artist and with her band the Glory Junkies. There have been comparisons made of her to Bonnie Raitt and Lucinda Williams. This new album highlights the folk-blues aspect of her music. It is an entertaining mix of her attractively sung renditions of classic blues with her original originals that range from blues-rooted to folk-country. She is aided on her performances by the viola of Laurence Scudder, the guitar of Peter Parcek, and the harmonica of Richard Rosenblatt.

With a gentle foot stomp, her mesmerizing guitar riff, and Scudder's melancholic viola, a brief instrumental "Sounds Like Home" leads into her rendition of "See See Rider." She is a striking singer who provides a slight folk tinge with a clean as spring water voice. Scudder's doleful viola accentuates this. Miraglia mixes in choice originals like the topical "Pick Up the Gun," a protest against gun violence as she sings that another should pick up a gun to give her a reason to shoot. Then there is "You're Gonna Make Me Lonesome When You `Go," with Parcek's stinging guitar has a feel of a Tracy Chapman styled blues. Her heartfelt singing matches her distinctive lyrics. Another similar original is "Meet Me In the Morning," with her strong guitar playing with Rosenblatt adding harmonica.

There is plenty of charm in her cover of Keb Mo's "You Can Love Yourself," with Parcek's use of sustain giving his backing a steel guitar flavor. Miraglia renders a reflective interpretation of Tampa Red's "When Things Go Wrong," although her version is based on Big Bill Broonzy's recording. She accompanies herself very effectively, displaying technique as well as restraint.

Other tracks include intriguing covers of songs by Janis Joplin and Robert Johnson. Danielle Miraglia has a melodious voice with considerable appeal, and with the backing provided, has produced a gem of roots music.

I received my review copy from VizzTone. Here Danieel performs "Sounds Like Home," and "See See Rider."

Roderick Harper Evolving

Roderick Harper
Evolving
Self-produced

"Evolving" is the latest release from New Orleans-based vocalist Roderick Harper. It was recorded live with a cast of friends and mentor, including appearances from late piano legend Ellis Marsalis, sax icon Donald Harrison, and vocalist/drummer Jamison Ross. Others among the accompanists include pianists Oscar Rossignoli, Jesse Davis, Shea Pierre, and John Jones; bassists Robin Sherman and Roland Guerin; drummers Chris Guccione, Gerald Watkins, and Geoff Clapp; and soprano saxophonist Roderick Paulin. Among the twelve tracks are originals mixed in with some choice covers sung with a smooth, romantic warmth and soulfulness that are tastefully supported. At times Harper suggests to this listener a softer version of Donny Hathaway and other places a jazzier Johnny Mathis.

There is plenty of romanticism on the opening "Infinite Heart," which was co-written with Donald Harrison. Harrison graces this track with an airy solo. The late Ellis Marsalis provides the understated piano accompaniment for the blue ballad "Never Let Me Go" that complements Harper's disciplined singing. It is followed by a marvelous rendition of Donny Hathaway's "Someday We'll All Be Free," with Rossignoli superlative accompaniment. His singing here displays his mastery of phrasing, diction, pitch, and dynamics. There are also compelling interpretations of "The Big City" and "Look What I Got," where Harper extracts every iota of meaning from the lyrics.

Other standout selections include his horn-like scatting for Ivan Lin's "Valsa Minera," the heartfelt rendering of Charles Mingus' "Duke Ellington's Sound of Love," and a buoyant treatment of Alvin Battiste's "Salty Dogs." There is a gentle, reflective quality in his singing of "Do You Know What It Means To Miss New Orleans?" that is the final track. John Jones' Fender Rhodes provides an airy setting for the vocal, with Roland Guerin adding a terrific bass solo. It is as memorable and engaging performance as the other songs on this superb album of jazz singing.

I received my review copy from a publicist. Here is Roderick Harper performing "Never Let Me Go."

Duke Robillard & Friends Blues Bash!

Duke Robillard & Friends
Blues Bash!
Stony Plain

Duke Robillard had built up such a distinguished body of recordings as an artist and producer over five decades. This latest release is another chapter in his well-regarded career about which he states is "packed with plenty of bright sounding Fender guitar a la Ike Turner, Lefty Bates, etc. Just a good listening or dancing record like the blues records I bought when I was a kid." His intent was "to make a straight vintage-style blues album with rhythmic grooves and no hook-laden songs." "Blues Bash!" Certainly accomplishes his objective.

Playing on this recording is his band of Bruce Bears on keyboards, Mark Texiera on drums, and either Jesse Williams or Marty Ballou on bass. Then there is the horn section of Greg Piccolo on tenor sax, Rich Lataille on alto and tenor sax, and Doug James on baritone sax. Mark Hummel adds harmonica, and Robert Welch adds piano on one track. On a cover of Smiley Lewis' "Ain't Gonna Do It," the band consists of Mark Braun on piano, Marty Ballou on bass, Marty Richards on drums, Al Basile on cornet, and Sax Gordon on sax. Besides Duke, Chris Cote and Michelle Willson are heard on vocals.

Duke is focused playing his Fender guitar on these recordings, whether evoking Ike Turner behind Cote's vocal on the cover of the Kings of Rhythm recording "Do You Mean It," or channeling Lefty Bates on a rendition of Bates' instrumental "Rock Alley." He plays in the manner of Johnny Rogers in the cover of Roy Milton's shuffle "What Can I Do," as well as suggesting early Johnny Guitar Watson on "Give Me All the Love You Got."

The music is impeccably played with some top-flight singing, especially from Cote on "Do You Mean It" and Wilson, as she interprets a lesser-known Helen Humes recording, "You Played on My Piano." Her vocal exhibits plenty of humor the lyrics lend themselves to. Duke himself sings quite well with the Chicago styled blues "No Time," with Mark Hummel adding harmonica on perhaps Duke's finest vocal on the album. The other players are sterling, including Piccolo with a booting tenor sax solo on "Rock Alley" and Doug James rousing baritone on "You Played on My Piano."

The rest of the ten tracks are as entertaining and well-played with a special salute to the jazzy atmospheric instrumental "Just Chillin'" that closes this latest outstanding recording from Duke Robillard.

I received my review copy from a publicist. Here is "Do You Mean It!" from Blues Bash!"

Peter Veteska & Blues Train Grass Ain't Greener On the Other Side

Peter Veteska & Blues Train
Grass Ain't Greener On the Other Side
Self-Produced

A native New Yorker, guitarist Peter Veteska was initially inspired by Derek & the Dominoes and the Allman Brothers' blues-influenced rock. As his tastes grew towards jazz and funk, he has delved more into the blues with some rock tinges in the past few years. "Grass Ain't Greener …" is his most recent recording (the 5th with the Blues Train). The Blues Train consists of bassist Coo Moe Jhee and drummer Alex D'Agnese. Jeff Levine appears on keyboards with guest appearances from Mikey Jr. on harmonica, Jen Barnes on vocals, and Roger Girke on guitar. Veteska wrote 6 of the ten songs.

This recording is a well-recorded, solidly played blues recording. Things open up with Mikey Jr. adding some powerful harp behind Veteska on "Am I Wrong Pretty Baby." Veteska shows himself to be a capable, gritty and appealing singer who invests plenty of fervor into his vocals. His fretwork is also noteworthy with a touch of his swing set against the hard groove the rhythm set while Levine adds some Chicken Fried grease with his organ solo here and elsewhere. Against a blues-rock shuffle group, Veteska and Jen Barnes revive the Brooks Benton-Dinah Washington classic, "Baby You've Got What It Takes." Barnes has quite an attractive singing style that meshes with Veteska while the band lays down a chugging groove.

Against the tough band performances, "I've Been Missing You" is a change of pace as Veteska unplugs and pours his heart into missing his love. "Learning the Blues" has a jazzy lounge feel, although Veteska is less convincing as a crooner than his singing elsewhere. "Thinking and Drinking" is a relaxed rocking blues with inspired guitar playing, while Roger Girke adds his guitar to the spicy revival of Ray Charles' "Heartbreaker."

Veleska imaginatively covers Willie Cobbs' "You Don't Love Me," with a touch of funk added to the groove. The title track is blues-rock with some Hendrix-styled wah-wah's guitar. If not to this writer's taste, it may be to your liking. In any event, this writer was impressed by Peter Veteska's imaginative and inventive guitar playing, passionate singing, and top-notch backing musicians.

I received my review copy from a publicist. Here is a video of Peter Veteska & Blues Train performing.

Johnny Iguana's Chicago Spectacular

Johnny Iguana
Johnny Iguana's Chicago Spectacular
Delmark

This album is subtitled "A Grand and Upright Celebration of Chicago Blues Piano." Pianist Iguana is a Philadelphia native who moved to Chicago after joining the late Junior Wells' Band. This is his first album under his name, although I am familiar with him from the group The Claudettes. Producer Larry Skoller helped provide the organizing theme for this recording as Iguana pays tribute to seven Chicago blues piano legends. Helping him on these sessions are some of today's finest players, including Michael Casey or Kenny Smith on drums; Bill Dickens on bass; Billy Flynn, Bob Margolin, John Primer, Lil' Ed Williams, or Philip-Michael Scales on guitar; and Mathew Skoller or Billy Boy Arnold on harmonica. Singing on this album are Matthew Skoller, Billy Boy Arnold, Lil' Ed Williams, John Primer, and Philip-Michael Scales.

There is plenty to enjoy such as when Iguana evokes Joshua Altheimer's style while Billy Boy Arnold revives Big Bill Broonzy's "Hot Dog Mama" that closes this album. Iguana also suggests Big Maceo on Arnold's revival of John Lee Williamson's "You're an Old Lady." These selections' swinging feel may be due in part to Kenny Smith's drumming and Billy Flynn's fleet guitar.

The album kicks off with Iguana saluting Memphis Slim behind John Primer's vocal on "44 Blues." The rendition is based on Slim's 1959 recording with Willie Dixon, and while Iguana ably pounds on the ivories, one wishes that Caskey was a tad less prominent on the drums here. Primer also handles the vocal on Howlin' Wolf's "Meet Me in the Bottom," with Iguana hinting at Little Johnny Jones' style.

Guitarist and songwriter Philip-Michael Scales contributes an intriguing role rendition of Gil Scott-Heron's "Lady Day and John Coltrane," which allows Iguana to show off a jazzier side. Lil' Ed Williams sings and plays slide guitar on Otis Spann's "Burning Fire" and Elmore James' "Shake You Moneymaker." On these selections, Iguana recalls Otis Spann and Big Moose John Walker, respectively. Lil' Ed sings and plays strongly, and Caskey's drums are not as prominent. Matthew Skoller handles the vocal and plays choice harmonica on "Stop Breakin' Down." This performance is based on Junior Wells' "South Side Blues Jam" recording and again Iguana channels Otis Spann.

I again note that there were no bass players on these selections as Iguana wanted the bass lines to emanate from the studio piano and his left hand rather than a bass player. These selections come off as solid, traditionally rooted Chicago blues. There are four instrumentals with bass player Dickens added to Iguana and Caskey. While displaying Iguana's technique and skillful playing, these selections are enjoyable but a bit too much flash and show for this listener's taste.

If imperfect, overall "Johnny Iguana's Chicago Spectacular," is a showcase of Iguana's considerable talent, and a very notable salute to Chicago blues piano legends.

I erected my review copy from Delmark Records. Here is a video of Johnny Iguana playing Big Maceo's "Chicago Breakdown."

Douglas Olsen 2 Cents

Douglas Olsen
2 Cents
Self-Produced

Veteran trumpeter Douglas Olsen makes his recording debut as a leader with "2 Cents." A mainstay on the New England scene, Olsen's trumpet and flugelhorn are joined on this recording by Dino Govoni on alto and tenor saxophone, Angel Subero on trombone and guiro, Yaure Muniz on trumpet, Tucker Antell on tenor saxophone, Tim Ray on piano, Dave Zone on bass, Mark Walker on drums, and Ernesto Diaz on congas. These musicians are heard in differing configurations on a program of nine bop and Latin jazz tunes that include a couple of bop classics and Olsen's originals.
 
Olsen's "Tailwind" is an uptempo quartet number that allows the composer to showcase his crisp, bright tone with some fiery playing before Ray takes a hot solo with Zone and Walker adding a crisp groove. Govoni adds tenor sax for the relaxed, strutting groove of the title track, with bassist Zinno taking a solo on a number with the mix of polish and fire that was characteristic of the legendary Clifford Brown-Max Roach quintet. "Critical Mass" is a first-rate straight-ahead hard bop performance with Olsen and Govoni memorably soloing and trading phrases. Olsen's flugelhorn shines on a lovely ballad, "Una Para Ti." The energetic "Passage" is another strong hard-bop quintet performance.

On Dizzy Gillespie's "Algo Bueno" (aka "Woody'n' You"), Angel Subero, Year Munizt, Tucker Antell, and Diaz replace Govoni on this terrific Latin jazz performance. Besides his interplay with Olsen, Subero adds plenty of heat with his trombone solo. Fats Navarro and Howard McGhee collaborated on "Boperation," which is played at a slower pace than usual and spotlights Olsen and fellow trumpeter Muniz.

Kudos to Douglas Olsen for his compositions, superb playing, and leadership of the first-rate musicians heard with him. The result is this outstanding recording.

I received my review copy from a publicist. It is available as a download (and perhaps CD) from bandcamp, https://douglasolsen.bandcamp.com/album/2-cents. Here is a performance from Douglas Olsen.

Ella Fitzgerald The Lost Berlin Tapes

Ella Fitzgerald
The Lost Berlin Tapes
Verve

"The Lost Berlin Tapes" is a previously unissued Ella Fitzgerald recording that came from Verve Records founder Norman Granz's private collection. It was recorded at Berlin's Sportpalast on March 25, 1962, with Ella accompanied by the trio of pianist Paul Smith, Wilfred Middlebrooks on bass, and Stan Levey on drums. It was recorded a little over two years after the February 1960 concert that became one of her best-known and best-selling records, the Grammy Award winning "Mack The Knife: Ella in Berlin."

Ella is in good spirits here and with little duplication of the earlier Berlin show ("Summertime" and "Mack the Knife"). Things kick off with a spirited "Cheek to Cheek" with an appreciative audience evident throughout. She playfully incorporates the names of Sinatra, Eckstine, Belafonte, Perry Como, Count Basie, and others into the lyrics of "My Kind of Boy." The accompaniment is sublime as expected, and even a drum solo from Levey on "Clap Hands, Here Comes Charlie!" There are songs associated with Julie London ( a dramatic "Cry Me a River"), Ray Charles (a playful "Hallelujah, I Love Him So"), and Billie Holiday ("Good Morning Heartache")."

Particular favorite selections include the ebullient "Jersey Bounce," with her scintillating scatting; the thoughtful "Someone to Watch Over Me," and "Taking a Chance on Love," where Smith's dazzling accompaniment matches her horn-like phrasing. Others will undoubtedly find other selections to be of equal or greater appeal. Let listeners be thankful that we have this marvelous new addition to Ella's discography.

I received a download to review from a publicist. Here is Mack the Knife" from this recording.

New Orleans High Society

New Orleans High Society
Self-Produced

New Orleans High Society originally started with a weekly gig in New Orleans playing a distinctive interpretation of the traditional New Orleans repertoire. Based on the traditional jazz sound of George Lewis, Kid Howard, and the like, the group adds sprinklings of Afro-Cuban, gospel, and modern trip-hop. Having played together awhile, they put together this eponymously titled recording. The group is comprised of Cleveland Donald - Trumpet, Lead Vocals, David Bode - Soprano & Tenor Saxophone, Peter Gustafson - Trombone, Yacine Sebti - Piano, Vocal, Stephen Bohnstengel - Bass, and Trenton O'Neal - Drums. Angie Z sings on one selection.

The band's repertoire does not have many surprises, and they play with a clean feel. Trumpeter Donald is a genial, if not striking vocalist, as shown on the pleasant "Down By the Riverside" that opens this set. There is more fire in his trumpet playing and ably supported by the band. One of the highlights is the Afro-Cuban rendition of Hoagy Carmichael's "New Orleans," with Arnold again crooning before Bode takes a rugged tenor sax solo against the energetic rhythm. Gustafson takes a gruff trombone solo as well. There is also a well-played rendition of Duke Ellington's "Creole Love Song." Gustafson's outstanding growling plunger mute trombone is featured along with some lovely clarinet by Bode.

An entertaining rendition of "Ice Cream" may not capture the unbridled enthusiasm of George Lewis' performances, but it has charm. Pianist Sebti ably handles the vocal on "On the Sunny Side of the Street," along with some choice piano and then solos by Gustafson and Donald. A pleasant staple of the Chicago school of jazz, "At the Jazz Band Ball," follows before Angie Z charms us with her vocal on "When It's Sleepy Time Down South." The band imaginatively reworks the trad standard, "That's A Plenty," that sports a Bode soprano solo before the performance segues into an Afro-Cuban groove with Donald's trumpet adding tropical heat over Sebti's Afro-Cuban piano before transitioning back into the traditional; arrangement.

A pleasant rendition of the New Orleans folk standard "Lil' Liza Jane" closes a well-played, imaginative, and entertaining traditional jazz rooted recording.

I received a download of this album from a publicist. Here is "New Orleans" from this album.

Aubrey Wilson Quartet Honeysuckle Rose

Aubrey Wilson Quartet
Honeysuckle Rose
Self-released

The Fats Waller song "Honeysuckle Rose" provides the debut album's title from vocalist Aubrey Wilson's Quartet. This album was recorded at Toronto's Canterbury Music Company by Jeremy Darby with Ms. Wilson's vocals accompanied by Chris Bruder on piano and Wurlitzer, Tom Altobelli on bass, and Sean Bruce Parker on drums. Luis Deniz plays alto saxophone, and Scott Taplay plays guitar on two selections, respectively.

Wilson is gifted with an appealing voice with her pure, clean phrasing and diction, as well as fluid, nuanced phrasing. The group has worked out some fresh arrangements for some familiar songs, including the opening "Nature Boy," with a stutter step groove, tuneful scatting, and Taplay's searing rock-inspired guitar. Particularly impressive is the reflective rendition of the title song, taken at a far slower tempo than usual. Taplay's guitar adds atmosphere with his use of effects. There is her singing on a charming, relaxed waltz, "Alice in Wonderland," followed by the relaxed swing of "I Will Wait for You" with Deniz's marvelous dry martini alto sax solo.

 Also notable is the vocal for Mark Murphy's lyrics for Oliver Nelson classic "Stolen Moments," with her horn-like phrasing complemented by Bruder's keyboards. Another unexpected delight is the melodious performance of The Beatles' "Norwegian Wood," with a free-floating piano solo and propulsive drumming. The remaining selections are of a similar level and receive superb backing on this excellent set of jazz vocals.
 
I received a download of this album from a publicist. This CD is available on bandcamp, https://theaubreywilsonquartet.bandcamp.com/album/honeysuckle-rose. Here is a short clip of her performing.

Kid Ramos/ Bob Corritore Phoenix Blues Sessions

Kid Ramos/ Bob Corritore
Phoenix Blues Sessions
SWMAF Records/ Vizztone

This album is one of three new releases from harmonica player and blues producer Bob Corritore's vaults. These are sessions from the late 1990s to the early 2000s that were initially released as a benefit album for Kid Ramos in 2012 when he had a cancer scare. It has been revised, remastered, and reimagined for a commercial release. Included are previously unissued material, new mixes of material, and alternate takes. Besides Ramos on guitar and Corritore on harmonica, Chico Chism is on drums throughout. Chico sings on one track. Other singers here include Nappy Brown on two songs, Henry Gray on four (he plays piano on five), Chief Schabuttie Gilliame on two, Big Pete Pearson on two, and Dr. Fish on one. Other players include Johnny Rapp on guitar or mandolin, Paul Thomas on bass on all but one song, Mario Moreno on bass on one, and Tom Mahon on piano for six.

There is plenty of straight-forward and noteworthy performances starting with an exceptional shuffle rendition by Nappy Brown of Walter 'Lightnin' Bug' Rhodes' "Aw Shucks Baby," with the Kid laying down an easy rhythm accompaniment as Henry Gray rocks the ivories. In contrast to Nappy's blues shouting, he takes a more relaxed folky vocal on Smokey Hogg's "Baby Don't You Touch My Clothes." Kid Ramos is more prominent with some slashing guitar backing Henry Gray's vocal on "Come On In." I am not familiar with Dr. Fish, but he is outstanding singing Eddie Boyd's "24 Hours." Corritore is terrific on chromatic harmonica while Kid Ramos plays some jazzy single note fills. Henry Gray returns for a first-rate rendition of Elmore James' "I Held My Baby Last Night." Gray is upfront with Kid Ramos' guitar in the background as he channels some of Elmore's accompaniments to Willie Love and Sonny Boy Williamson. Gray also enthusiastically revives Hot Lips Page's "They Raided The Joint," and the easy rocking shuffle "Talkin' Bout You."

Big Pete Pearson's cover of Albert King's "Natural Ball" is taken at a more relaxed pace than King's original, with Kid Ramos adding drive to the groove with his playing. Kid Ramos' stunning Muddy Waters styled slide guitar is present on Pearson's reworking of Little Milton's recording "Possum in My Tree." Pearson takes this strong soul-blues and makes it an intense Chicago blues for one of this album's highlights. Chico Chism handles the vocal on an imaginative rendition of "Mother-in-Law Blues," as Kid Ramos channeled Willie Johnson and Calvin Newborn. It is a sterling performance taken at a much slower tempo than the song is usually performed at. Chief Schabuttie sings "No More Doggin'" with a hoarse, graveling vocal set against a chugging groove. Kid Ramos adds some stunning playing to Schabuttie's "Snake Crawls at Night" that closes this disc.

Blues lovers will enjoy this collection of very entertaining traditional ensemble blues, and for those, like me, who missed the original release will welcome this edition.

I received my review copy from Vizztone. Here is a performance by Bob Corritore and Kid Ramos but not from this album.

Jeff Williams Live at the London Jazz Festival - Road Tales

Jeff Williams
Live at the London Jazz Festival - Road Tales
Whirlwind

Ohio native, drummer Jeff Williams, has become part of the London England jazz scene, and "Road Tales" is his sixth release for Whirlwind. This live performance has him leading a quartet with longtime collaborators, altoist John O'Gallagher and tenor saxophonist Josh Arcoleo, and bassist Sam Lasserson completing the rhythm section.

A simple reference point for this quartet's music might be Ornette Coleman's Quartet or Old and New Dreams, with a bit of some of the AACM or BAG bands tossed in. "New and Old" is not a composition inspired by the group Old and New Dreams, but instead inspired by his father's passing. Against the rhythm section's free-floating support, Arcoleo robust and rambunctious tenor sax impresses. He mixes flurries of notes with sustained tones. Bassist Lasserson is an anchor for this band as well as a solid soloist. O'Gallagher provides a contrast in tone but also has a rowdy sense in his playing.

While the entire performance was fascinating, there were some standout moments. There is a Caribbean feel to "Borderline" with the two horns stating the melodic line over Williams' light drumming. O'Gallagher takes a lengthy, heated solo followed by one by Lasserson. Williams' tempestuous drum solo opens up "Oddity," with interesting rhythm changes and O'Gallagher's fiery alto sax. Among the other selections are three compositions, "Under The Radar," "Search Me," and "Scrunge," that form what Williams laughingly refers to as "the airport security suite." It is an intriguing 'suite' mixing some free-floating and free form improvisations with funk sections.

There is much to praise about "Road Tales." Jeff Williams and his first-rate quartet provide listeners with an excellent and engaging set of contemporary jazz.

I received a download to review from a publicist. Here is "Double Life" from the album.

Erin Harpe Meet Me In the Middle

Erin Harpe
Meet Me In the Middle
Juicy Juju Records/VizzTone

The daughter of a gifted blues interpreter and painter, Erin Harpe, has developed into quite a blues singer and guitarist. After several successful albums with her Delta Swingers, he new album is an album of duets with her husband Jim Countryman who plays ukulele bass and adding backing vocals. She is a fine guitarist and singer. Her vocals are sweet and sassy, being more Bonnie Raitt than Joanne Kelly, but delivered with a natural, unforced quality.

A relaxed, back porch feeling characterizes these performances, whether the traditionally rooted originals like "Hard Luck Woman," or a heartfelt cover of Sippie Wallace's "Women Be Wise." She is a marvelous guitarist, and her slide playing evokes the late Alan Wilson of Canned Heat fame on an assured rendition of "Rollin' and Tumblin'." Other standout tracks include her revival of Lucille Bogan's "I Hate That Train Called the M&O," and the minstrel-rooted "Pick Poor Robin Clean."

Harpe also does justice to her rendition of Memphis Minnie's 'What's the Matter With the Mill" before closing this recording with an old-time country-styled gospel original "One Fine Day." Erin Harpe, a first-rate interpreter of traditionally rooted blues, has produced another gem of a recording.

I received my review copy from Vizztone. Here is Erin performing "Rollin' and Tumblin'."

Amber Weekes The Gathering

Amber Weekes
The Gathering
Amber Inn Productions

I was captivated by Amber Weekes' wonderful album, "Pure Imagination" from earlier in 2020. This latest release is a wonderful Holiday album backed by an all-star group of musicians, including strings and horns. She utilizes Mark Cargill's arrangements along with a cast of top Los Angeles-based musicians. These include pianists Josh Nelson, Tony Campodonico, and Eddy Olivieri; bassists John B. Williams, Adam Cohen, and Kevin Brandon; drummers Fritz Wise, Sinclair Lott, and Nathaniel Scott; guitarists Paul Jackson, Jr., Doug MacDonald, and Jacques Lesure; tenor-saxophonist Rickey Woodard; trumpeter Andrew Carney; and a string section.

Weekes enchants with her honey-voice, the clarity of her diction, her phrasing, and her vocal dynamics. With Josh Nelson's elegant piano, Carney's muted trumpet, and Cargill's lush string arrangement, she immediately connects to the listener with "The Christmas Waltz." Then she embraces "I'll Be Home For Christmas" with an understated, whispered vocal set against a light accompaniment. There is superb acoustic guitar from Paul Jackson, Jr. Cargill provides a hard-swinging arrangement for Weekes' flirty vocal for "I Saw Mommy Kissing Santa Claus," with Rocky Woodward's sterling tenor sax in the spotlight as well. Jacques Lesure's bluesy guitar adds to the atmosphere of "What Are You Doing New Year's Eve."

Saxophonist Woodward adds his robust playing to the playful swing of "Winter Wonderland," which is followed by a soft, sweet rendition of "Silent Night." Weekes contributed the lyrics to the joyous title track Cargill, and guitarist Gregory Cook wrote the music for. With backing vocals and Mark Cargill adding a violin solo, this track celebrates families gathering for the holiday season. It is an exuberant end to this delightful, exquisite holiday jazz vocal recording.

I received my review copy from a publicist.

Corey Ledet Zydeco

Corey Ledet
Corey Ledet Zydeco
Nouveau Electric Records

Houston born Corey Ledet keeps the zydeco flame burning bright with this new release full of hot grooves and soulful vocals. It was mostly recorded at Dockside Studios, Maurice, Louisiana, in June 2019, with one selection recorded during the Covid-19 lockdown. Corey is featured on lead, harmony and background vocals, accordion, drums, and washboard. Others playing on this album are Cecil Green on Hammond B3 organ, bassist Lee Allen Zeno, harmonica player Grant Dermody, Julian Primeaux on rhythm and lead guitar and backing vocals, and Gerard Delafose on drums and washboard.

Ledet comes from a family rich in music history. His great grandfather played bass with Bunk Johnson, while his grandfather, Buchanan Ledet, was the first zydeco drummer playing with Clifton Chenier and Rockin' Dopsie. Buchanan invented the twice-pumped bass drumming pattern called "double clutching" that's been an integral part of the genre ever since and is celebrated by the exuberant "Buchanan Ledet Special," one of several songs enthusiastically delivered in French.

Things start with the spirited "This Is All I Want," which conjures up the non-stop grooves of Boozoo Chavis. It is followed by "Buchanan Ledet Special," which has a brief spoken introduction. "Mon Marche" is a French rendition of Fats Domino's "I'm Walking" in a manner that would make Clifton Chenier smile. A bit more of a Clifton Chenier flavor is heard on "Per Mo (Call Me)." Grant Dermody adds a harmonica solo here. Dermody also is featured on the warp speed rendition of Ledet's cover of Big Joe Turner's hit "Flip Flop and Fly." He captures some of the high energy of such post-Chenier-Buckwheat Zydeco acts like Dwayne Dopsie. Try not to at least move one's feet listening to this track.

"Nina's Hot Step" is a traditionally rooted two-step creole instrumental that is a solo performance that Corey recorded to complete this project and adds to the variety of music here. Also, there is a delightful waltz, "Mon Make (I Miss)" that evokes Chenier's "Louisiana Waltz" from an early Arhoolie album. Ledet evokes some of the zydeco greats without imitation and, with his superb accordion playing and first-rate singing, has produced a sterling recording. The only possible complaint is that the playing time is short, but there is not one wasted moment.

I received a review download from a publicist. After writing the review I came across an article about the issues the pandemic has created for cajun and zydeco artists with the closure of clubs and cancellation of festivals that were major sources of their income. Corey was one of the artists mentioned, so purchasing this album helps Corey out in addition to providing the listener with some superb music. It is available on Bandcamp, https://coreyledetzydeco.bandcamp.com. Here is a video of Corey performing a song not on this album, "Promised Land Two Step." Yes, that is Paul 'L'il Buck' Sinegal on guitar on the left.

Henry Gray & Bob Corritore Sessions Vol. 2: Cold Chills

Henry Gray & Bob Corritore
Henry Gray & Bob Corritore Sessions Vol. 2: Cold Chills
SWMAF Records/ Vizztone

This is the second volume of performances the late Henry Gray made with Bob Corritore, the Phoenix blues promoter, harmonica player, and record producer. It collects 14 performances (and one phone message) recorded over the span of a couple of decades. Gray was a mainstay of Howlin' Wolf's band for over a decade before relocating to Louisiana. He passed away in January 2020 at the age of 95. I wrote about the previous volume, "This is a solid and delightful collection of classic Chicago blues with a touch Louisiana swamp blues mixed in. Given that this is labeled Vol. 1, one looks forward to a further release of Henry Gray's blues sessions with Bob Corritore." That further release has arrived.

Besides Gray's Chicago piano, he sings on eight tracks. Other vocals are provided by John Brim, Jimi' Primetime' Smith, Eddie Taylor Jr., Tail Dragger, and Chief Schabuttie Gilliame. The impressive musicians heard here include guitarists John Brim, Bob Margolin, Eddie Taylor Jr., Robert Lockwood Jr., Johnny Rapp, Illinois Slim, Johnny Burgin, Chris James, and Kirk Fletcher. Chico Chism handles drums on most selections with Brian Fahey, Steve Cushing, and Marty Dodson also are heard. Bassists include Bob Stroger, Troy Sandow, Paul Thomas, Patrick Ryan, Pops McFarlane, and Mario Moreno.

Gray was a husky pianist influenced by the great Big Maceo, but with his own distinctive style and phrasing. The opening selection "Cold Chills' is a strongly performed slow blues he first recorded over a half-century ago. Margolin and Corritore add strong guitar and harmonica in support. There is a rollicking rendition of GL Crockett's "Look Out Mabel" with a hint of "Mystery Train" in the melody. A John Brim phone message telling Bob he should hook up with Gray leads to Gray backing Brim on a terrific Chicago blues "Moonlight Blues." It is followed by Eddie Taylor Jr.'s fine rendition of Jimmy Rogers' "Going Away Baby." Gray's backing on these tracks are terrific. Also, Tail Dragger is heard on the slow Howlin' Wolf styled "Hurt Your Feelings," and the rocking shuffle "Birthday Blues." Chris James and Kirk Flecther enliven this last recording.

Gray provides a robust vocal to "Mother-in-Law Blues" with a choice Robert Lockwood Jr. guitar solo in addition to Gray's choruses. The is plenty of energy in Gray's rendition of J.B. Lenoir's "The Mojo," and even an unusual cover of Hank Ballard's "The Twist." This number was from Gray's last Phoenix session with Corritore. This collection of Henry Gray performances closes with a robust rendition of "Going Down Slow," with outstanding guitar from Johnny Rapp. The performances here are consistently enjoyable with several exceptional ones. As I said about the earlier release, this is a delightful collection of Chicago blues with a touch of Louisiana swamp blues.

I received my review copy from Vizztone. Here is a performance by Henry Gray and Bob Corritore of Jimmy Rogers "Blues Won't Let Me Take My Rest."

Greg Nagy Stranded

Greg Nagy
Stranded
Big O Records

This writer first became aware of singer-guitarist-songwriter Greg Nagy as part of the soul-blues group Root Doctor, when they appeared at the Pocono Blues Festival. Shortly after that appearance, Nagy focused on a solo career. About his last recording “Fell Toward None,” I observed that it was "an intelligently produced and performed recording that is full of soulful vocals, superior fretwork and focused accompaniments."

Nagy's latest recording, "Stranded" (Big O Records), reunites him with his frequent collaborator, Jim Alfredson who handles the keyboards and produced this with Nagy. Alfredson may be best known as keyboard player with the terrific vocalist Janiva Magness, but is an outstanding keyboard player and has produced several strong organ jazz recordings. Zach Zunis guests and solos on one of the tracks which are mostly Nagy originals (with several choice covers).

At the time of recording "Stranded", Nagy's 24 year old marriage was in dissolution and the pain from that colors these performances. This tone for the album is set with the title track (by Rick Whitfield and Jeff Paris) where he sings about being "stranded in the sea of tears in an island of broken hearts." The passion of his vocal is matched by his short guitar lines, and that is characteristic of the performances here where the focus is on the singing, not on his guitar chops. On Alfredson's "Walk Out That Door," Nagy tells this lady that he can tell she's lying and things won't be the same anymore. There is a strong solo break by Alfredson here.

Noteworthy is the rearrangement of a Bobby Bland classic "Ain't No Love In The Heart of the City" which is given a reggae groove as Nagy sings strongly. Perhaps no song covers the heartache Nagy was going through as "I Won't Give Up," with a compelling lyric of a scared heart and not giving up or give in, and with the lean, tight backing it is a commanding performance. Another striking performance is "Long Way To Memphis" with its stark, insistent groove, while "Been Such a Long Time," with Nagy singing "its been such a long since you gave her love away" and holding her heart apart, has a funky groove that certainly will get folks up and dancing.

If the tone of many songs here are of broken hearts and relationships, Nagy sings that all he wants to hear his woman say is "welcome home, welcome home" on the closing "Welcome Home," a ballad by Kevin McKendree that closes out this album. "Stranded" is a another excellent recording by Greg Nagy that brings together solid playing, strong, soulful material and vocals that are full of heart and conviction.

I received my review copy from a  publicist. This review originally appeared in the May-June 2025 Jazz & Blues Report (Issue 360). Here Greg performs "Born Under A Bad Sign" from 2013.

Doxas Brothers The Circle

Doxas Brothers
The Circle
Justin Time

The Doxas Brothers, Chet on saxophone and Jim on drums, have been making music together since they were in the crib. In their Mid-teens, they started playing in night clubs, and their early days found them playing in dance bands, rock n roll clubs, society parties, radio shows, and even burlesque reviews. Since those days, Jim and Chet have gone on to tour the world and played with some jazz giants, including Carla Bley, Oliver Jones, Dave Douglas, John Abercrombie, Steve Swallow, and Joe Lovano.

Filling out the band are bassist Adrian Vedady and pianist Marc Copland. Vedady is a long-time associate of both brothers and has played with Jim at the Upstairs Jazz Bar in Montreal every Monday night for the last ten years. Copland, Jim, and Adrian have performed together as a trio for several years, providing a tight, empathic setting to add saxophonist Chet. Copland dazzles on the title tune as well as on Adrian Vedady's "Temporal," after the composer's impressive bass solo. "Temporal" is also notable in showcasing the band's ability to shift the musical temperature as the performance evolves.

Chet Doxas also composed a gorgeous ballad, "A Word to the Wise," that is played at a stately tempo with exceptional solos from him and pianist Copland. Another notable track is "Joan's Song," which had moments that suggested Keith Jarrett's American Quartet. "Another Soapbox" is a terrific performance that starts as a pianoless trio before Copland enters with restrained piano. Chet Doxas plays with plenty of fire before Copland solos with Jim Doxas imaginatively adding rolls and rhythm accents.

Chet Doxas displays his exquisite ballad playing on Gordon Jenkins' jazz standard "Goodbye." It concludes this consistently excellent recording. The Doxas Brothers impress with this recording, and one looks forward to more from this superb band.

I received a download of this album from a publicist. Here the Doxas Brothers perform "The Circle."

Thelonious Monk Palo Alto

Thelonious Monk
Palo Alto
Impulse!

Much has been written about the circumstances that led Thelonious Monk to perform at a California High School while Monk and his quartet were appearing at a San Francisco club. You can look up stories in the New York Times and other sources, or the liner notes for this fascinating 1968 Concert recording that has been released after a short delay. In any event, Monk was with his quartet of Larry Gales on bass, Charlie Rouse on tenor sax and Ben Riley on drums for an afternoon set.

A gorgeous rendition of "Ruby My Dear" opens and the highly underrated Rouse sounds wonderful as Monk lays down his unusual accompanying accents and unique solo. This is followed by a length rendition of "Well You Needn't" that Rouse opens with a lengthy solo. Monk follows with a solo displaying his distinctive note and chord placements while Riley dances with the groove before soloing himself. It is an exhilarating performance followed Monk playing a remarkable solo piano rendition of "Don't Blame Me," that displays his stride piano roots. The full Quartet returns for a swinging, "Blue Monk," the afternoon's lengthiest performance with all the members soloing. A crisply, energetic "Epistrophy" follows before the concert (and this recording) closes with a lovely solo piano rendition of "I Love You Sweetheart of All My Dreams."

This must have been a wonderful afternoon (the full details are included in the accompanying booklet) and the music still sounds fresh and contemporary 52 years after it was performed. Monk lives.

I received a download to review from a publicist. Here is the Thelonious Monk Quartet from another performance playing "Round Midnight."

Classic Blues Artwork From the 1920's - Vol. 18

Various
Classic Blues Artwork From the 1920's - Vol. 18
Blues Images

This is the latest Blues Calendar put together by collector John Tefteller. Like past editions, this Calendar for 2021 brings together for each month twelve stellar images taken from rare photographs and record company advertisements that appeared in African American newspapers. For each month, the accompanying CD includes a recording by the artist depicted by the picture or ad. There is also brief biographical information for that artist. The accompanying CD also included recordings by other artists or previously unissued test recordings.

Until recently, the compilation only included pre-World War II recordings. This year we still have twelve recordings relating to the Calendar illustrations. All extra selections are all by one artist, pianist-singer Lost John Hunter. Hunter's eleven songs include the first Blues Session that Sam Phillips recorded at his Memphis Recording Service, the legendary Sun Records Studio. While there is no mention if the recordings on this CD were restored using the American Epic series process, the sound is outstanding.

The first selection is a rowdy string band number by Peg Leg Howell and His Gang, "Too Tight Blues." That number showcases the down-in-the-alley fiddling of Eddie Anthony. Bertha Henderson, accompanied by Blind Blake, delivers a brooding, melancholy vocal on "Terrible Murder Blues," about killing another woman so she "can't stay here no more." Murder is also the theme of pianist Walter Roland's "Cold Blooded Murder," a fine blues in a Leroy Carr manner (think Carr's "Mean Mistreater") with Josh White adding some exquisite guitar. Josh White's guitar is also heard supporting the great Buddy Moss on Moss' superb East Coast blues, "Undertaker Blues." The interplay between White and Moss is sublime.

Meade Lux Lewis' "Honky Tonk Train Blues" is one of the greatest piano blues ever recorded. Tefteller obtained a new store stock copy of the original Paramount 78 (he would rerecord it frequently), and it is a pleasure to hear this legendary recording in such clean condition. It is followed by another blues classic, John Lee 'Sonny Boy' Williamson's "Good Morning School Girl." On this often covered classic recording, Williamson's vocal and harmonica is accompanied by Robert Lee McCoy (aka Robert Nighthawk) and Big Joe Williams. Next up is Lead Belly's "New Black Snake Moan," which showcases his forceful singing and driving twelve-string guitar on a commercially released recording. Next up is a recording, "Pneumonia Blues"  by Lead Belly's one-time musical partner, Blind Lemon Jefferson.

Willard "Ramblin'" Thomas's superb slide guitar is displayed on a terrific "Hard To Rule Woman Blues." It is followed by Victoria Spivey's "Witchcraft Blues," a previously unissued recording from her last Vocation recording session in 1937. Her strong vocal about hoodooing her man is backed by a vibrato-heavy saxophonist and a plodding drummer.  Blind Boy Fuller's "Rag, Mama, Rag," with Reverend Gary Davis on second guitar and washboard, is one the finest Piedmont Blues with superlative fingerstyle guitar and a wonderful vocal. A rambunctious performance by Rev D.C. Rice, "The Angels Rolled The Stone Away," opens with his hellfire preaching before he leads his congregation in enthusiastic song. It concludes the Calendar portion of the accompanying disc.

Lost John Hunter's real name was Lindell Woodson. He was born blind and became the pianist and organ player at the Church of Gold in Christ in Memphis. He changed his name to Lost John Hunter so he would not rile up members of the congregation who were not fans of Devil's music. With guitarist Herman Green and a couple of other friends, he formed a group Lost John Hunter and His Blind Bats, and they made the 11 selections, all of which were previously unissued. His second session produced recordings that were released on the West Coast 4 Star Records.

Hunter was a gravelly, hoarse singer with a rough barrel-housing piano style backed by Green's guitar in a manner that has a feel to some of Sunnyland Slim's late 40s and early 50s recordings with Robert Lockwood Jr., if not quite as accomplished. There are two takes of "Miss Thelma Mae," a song similar to Detroit bluesman Baby Boy Warren's "Hello Stranger." Other selections include a boisterous instrumental, "Lost John's Pinetop's Boogie," and two takes of another slow blues, "You Gotta Heart of Stone." Another track is an early alternate of "Boogie For Me Baby." He would rerecord it at his second session, and that recording would be issued on 78. Musically, this song suggests an attempt to capture some of the boogie-woogie success of Cecil Gant. This selection has some of his best piano playing among the tracks by him, which add to the value of this year's Calendar and CD.

While this year's Calendar is available at other sources, you can get more information at BluesImages.com, including details on previous Calendars and some previous CDs, along with t-shirts and posters.

I purchased the Calendar and CD. Here is the back cover.

Kurt Allen Whiskey, Women & Trouble

Kurt Allen
Whiskey, Women & Trouble
Self-produced

Listening to singer and guitarist Kurt Allen, this writer is reminded, in part, of the late Johnny Copeland, particularly with his urgent, raspy singing. His guitar playing is more in a blues-rock vein, but with a very capable band of Lester Estelle Jr. on drums, Craig Kew on bass, and Beaux Lux on keyboards on keyboards and saxophone, the overall effect is pretty blues-oriented. Pete Carroll adds trumpet while Trevor Turla plays trombone on half of the ten songs. Beaux Lux wrote all of the horn arrangements, while Allen wrote all of the songs.

While the opening "Graveyard Blues" comes across as a bit heavy-handed blues-rock, things get more to a straight blues groove on "Watch Yo Step," with a strong vocal, as he tells his women he is wise to her ways with the horns riffing in support. His guitar tone on these opening numbers comes across to these ears as a bit too distorted. He certainly puts plenty of fervor in the slow blues "How Long," for instance. The title track is a fine rocking shuffle with a leaner guitar tone. This track is followed by an aptly titled "Funkalicious" with Allen adding a spoken rap about soul food. Other songs include a heartfelt soul ballad "Count On Me," and the strutting "Roadrunner," which is neither the Bo Diddley nor Junior Walker tune. Lux adds raspy sax on this selection. The album closes with the crisp rock and roll of "Sweet T," with Lux playing some rollicking piano and Allen adding some searing guitar.

My only reservation about this recording is the tone of Allen's guitar. My comparison to Johnny Copeland is based only on, what I find to be, a similarity in their respective voices, not that Allen is trying to sound like Copeland. Allen is an excellent singer who receives top-notch backing resulting in a most engaging album.

I received my review copy from a publicist. Here from 2020, the Kurt Allen Band performs "Better Think Twice."