Frank Bey All My Dues Are Paid

Frank Bey
All My Dues Are Paid
Nola Blue

Take a veteran soul singer, pair him with a terrific backing band, and have them record a choice collection of under-recorded covers and new songs, and one has Frank Bey's new soul-blues recording. " All My Dues Are Paid" is produced by Kid Andersen (Rick Estrin is co-producer) and recorded at Andersen's Greaseland studio. Andersen adds his guitar to this session, and other backing musicians include Jim Pugh on keyboards, Jerry Jemmott on bass, Alex Pettersen on drums, Eric Spaulding, and Nancy Wright on saxophones. Lisa Leuschner Andersen and D'Mar are among the backing vocalists here.

Reviewing Bey's album with the Anthony Paule Band, "Soul of the Blues," I noted how he evoked the late Solomon Burke and Mighty Sam McClain. Listening to this recording, one also hears tinges of Brook Benton, Percy Sledge, Jimmy McCracklin, and Percy Mayfield. Things start on a high note with "Idle Hands," which was originally recorded by Eddie Palmieri and Harlem River Drive. Against the churning groove and brassy backing with a blistering Eric Spaulding tenor sax solo, Bey delivers this topical song. It is followed by the Billy T Band's break-up song, "One of These Days," where is gritty baritone is supported by a lazy, swampy backing. Another notable performance is the soulful rendition of Mike Schermer's "It's a Pleasure." Rick Estrin contributed an old Nightcats classic "Calling All Fools," an excellent swinging, uptown blues with Nancy Wright blasting off on tenor sax after Jim Pugh's piano solo. There is plenty of grit in Bey's singing here.

The title track is an autobiographical bit of funk penned by Bey, Kathy Murray, Estrin, and Andersen, as Bey authoritatively sings about always pushing against whatever obstacles he faced, and now is his time to shine. Jack Sanford takes a vibrato-laden tenor sax solo on this track. He pours plenty of heart into his interpretation of a George Jones hit, "He Stopped Loving Her Today," which has strings added in the backing. A choice rendition of another Estrin penned Nightcats number, "I'll Bet I Never Crossed Your Mind," follows. With booting sax from Nancy Wright, Bey evokes the legendary Jimmy McCracklin on this performance. A couple of Percy Mayfield numbers follow. There is a horn-driven treatment of "Never No More" with Lorenzo Farrell's chicken shack organ and some sizzling guitar from Andersen to support Bey's shouting. In contrast, "Ha Ha in the Daytime," is performed in a more intimate, laconic setting with Jim Pugh on piano and Eric Spaulding on tenor sax backing Bey's more reflective vocal.

Among the other selections is a cover of Arthur Alexander's southern soul tune "If It's Really Got To Be This Way," a reflective interpretation of Lou Reed's "Perfect Day," and an intense rendition of John Lennon's "Imagine," that builds with a gospel-rooted intensity. The latter number closes this superb showcase of Frank Bey's passionate, nuanced singing.

I received my review copy from a publicist. This review originally appeared in the January-February  Jazz & Blues Report (Issue 388). Here is Frank Bey singing "Imagine."

 

Rick Estrin & The Nightcats Contemporary

Rick Estrin & The Nightcats
Contemporary
Alligator Records

If one counts the nine albums when Little Charlie Baty led the Nightcats, this is the fourteenth album by the tight West Coast ensemble. It is the fifth since Rick Estrin took over leadership after Baty retired from touring. With Christoffer "Kid" Andersen on guitar (who also doubles on bass and others instruments), Lorenzo Farrell on keyboards and Derrick "D'Mar" Martin on drums, the Nightcats remain one of the tightest blues bands going. Others heard on this recording include Alex Pettersen on drums; Quantae Johnson on bass and background vocals; Lisa Leuschner Andersen on background Vocals; Jim Pugh on organ and The Sons Of The Soul Revivers on background vocals. This was recorded at Andersen's Greaseland Studios.

Rick Estrin wrote nine of the twelve tracks, Andersen and Farrell one each and there is one 'obscure' cover. Besides being one of today's t blues harmonica players, Estrin is among the blues finest songwriters. His songs are usually laced with ironic humor, and sometimes biting commentary, and one has a combination hard to beat. Estrin wrote nine of the twelve tracks, Andersen and Farrell one each and there is one 'obscure' cover. Nothing showcases the ironic humor and his commentary better than "Root of Evil." On this song, Estrin asks if money is the root of all evil, what does one call being broke. It is a typically well-played, well-paced performance with a thoughtful unamplified harp solo and a short Farrell solo. The title track starts as a brisk shuffle blues as Estrin sings about the blues not going out of style. It morphs into Estrin's humorous escape into making his music 'contemporary.' Andersen adds a chorus of blues-rock guitar, even having a rap from D'Mar Martin thrown in with a jam band freakout.

Estrin always seems to find himself in strange relationships as in "She's Nuts." On this performance, he has a superb harmonica solo in the vein of Rice "Sonny Boy Williamson' Miller.  Elsewhere, he sings about the older man with his young lover who has her hands in his pocket in "Nothing But Love," the one cover. He has a superb amplified harp solo with swooping saxophone-like lines as Andersen provides subtle backing. There is the soulful blues "New Shape (Remembering Junior Parker)" with a harp solo that evokes the legendary blues giant.

Estrin is also not afraid to showcase the band as on Andersen's instrumental "House of Grease" which sounds inspired by Freddie King performing "Big Legged Woman." Besides Andersen's excellent playing, Farrell has a tasty piano solo. Farrell wrote the jazzy instrumental "Cupcakin'," a jazzy instrumental with Andersen's fleet, jazz-inflected playing complementing Farrell's organ grooves. Estrin also adds his own wide-open harp. Estrin's "Bo Dee's Bounce," is a lively instrumental that showcases Estrin's driving harmonica with Andersen taking a short, imaginative guitar break. It closes another terrific recording by Rick Estrin & The Nightcats, full of excellent material and superb playing.

I received my review copy from Alligator. This will be available on September 20. Here is a video of a recent performance by Rick Estrin & the Nightcats.

Billy Price Dog Eat Dog

Billy Price
Dog Eat Dog
Gulf Coast Records

It has been at least four decades since Billy Price and the Keystone Band issued their first album. After relocating to Baltimore from Pittsburgh, Price remains quite active with his deep blue-eyed soul. He traveled to Kid Andersen's Greaseland Studios to record this latest recording. He has quite a studio band including Andersen on guitar and assorted instruments, Alex Petterson on drums, Jerry Jemmott on bass, Jim Pugh on keyboards, Eric Spaulding on tenor sax, Jack Sanford on baritone sax, and John Halblieb on trumpet. Congas are present on most selections and played by Jon Otis (one of the late Johnny Otis' sons and Vicky Randle. Randle was also one of the background vocalists along with Lisa Leuschner Andersen, Charlie Owens and the Sons of the Soul Revivers. There are also guest appearance from Rick Estrin, Alabama Mike, and Mike Zito, who is Gulf Coast Records co-founder.

Standout tracks on this include the original "Lose My Number" as he tells his former lover that she can forget about him, as he is still hooked. Then there is a brassy, strutting interpretation of Bobby Byrd's "We're on Love." The title track was written by Rick Estrin who adds chromatic harp and solos superbly. Alabama Mike adds his powerful singing to that of Price on a topical blues about trying to make it in a world where they sing describing various social ills. Price's cover of Otis Rush's "My Love Will Never Die" gets to showcase Andersen's incisive guitar as well as the horn section. "All Night Long Café" is a funky original with Mike Zito adding some searing guitar. French guitarist Fred Chapéllier, t, a frequent collaborator with Price, co-wrote the cheating blues "Remnants," and the soulful ballad "More Than I Needed." The latter number evokes the classic Philadelphia soul sound.

"Dog Eat Dog" is another well-produced and solidly recorded new release adding to Price's fine body of recordings.

I received as a download from a publicist. Here he is from a recent performance with his Charm City Rhythm Band.

Whitney Shay A Woman Rules The World

Whitney Shay
A Woman Rules The World
Little Village Foundation

There is something about a recording that makes one take notice, especially when it is by an artist that one was previously unaware of. San Diego vocalist Whitney Shay made that impression when I first started listening to her assertive "Ain't No Weak Woman," that opens up this new release of modern urban blues and classically oriented soul. Supporting her expressive singing is the excellent support that producer and guitarist Christoffer 'Kid' Andersen has provided. On this she is supported by a studio band that includes Jim Pugh on keyboards, Kedar Roy on bass, Alex Pettersen on drums and 'Sax" Gordon Beadle on saxophones with Igor Prado and Aki Kumar among those guesting on selected tracks.

"Ain't No Weak Woman" is one of four songs Shay co-wrote with Adam Eros, and she vigorously delivers her lyric that having a weak moment does not make her a weak woman. It is a moving vocal set against a driving groove with a superb Sax Beadle tenor sax solo. More raspy sax opens a lesser known Dinah Washington number "Blues Down Home." The terrific horn arrangement and her superb vocal suggests she could handle a straight jazz recording as well as she handles the blues and soul here. This track also has Jim Pugh's greasy organ accompaniment, a nice harp break from Aki Kumar and booting sax that evokes Eddie Chamblee and the like. After a hint of New Orleans on another original, "Don't You Fool Me No More," Igor Prado adds his slashing guitar and a  vocal on another original, the funky "Love's Creeping Up On You."

The title track was Denise LaSalle's answer to James Brown's "It's a Man's World." Sdt against the firm accompaniment, moaning and shouting, she delivers another knockout vocal. Andersen's sitar helps open her fervent blues shouting on a reworking of Little Richard's "Freedom Blues," followed by a strong deep soul interpretation of Candi Staton's "Get It When I Want It," with Sax Beadle's baritone sax a significant part of the backing. Among the other selections is the low-key original lament, "Empty Hand," where her phrasing and vocal dynamics stands out.

Another driving Little Richard number "Get Down With It," closes this recording. The terrific studio band and Andersen's production along with Shay's powerful, nuanced singing result in a superb recording.

I received my review copy from a publicist. I have made some stylistic edits to the review that originally appeared in the July-August Jazz & Blues Report (Issue 379). Here is a video of Whitney Shay performing.

Billy Price Reckoning

Billy Price
Reckoning
VizzTone

This latest recording by the blue-eyed soul blues singer had him team with guitarist and producer, Kid Andersen. It was recorded at Andersen's Greaseland Studio with Anderson on guitar (and organ on two tracks), Alex Pettersen on drums, Jerry Jemmott on bass, Jim Pugh on keyboards, Johnny Bones on sax, and Konstantins Jemeljanovs on trumpet with Nancy Wright taking a tenor sax solo on one selection among others guesting here. There are originals from Price, Jim Britton, and French guitarist Fred Chapellier, along with songs previously recorded by the likes of Bobby Bland, Otis Redding, Swamp Dogg, and Johnny Rawls.

Price has been singing this music for decades. This writer remembers hearing his strong renditions of songs associated with of O.V. Wight on the Bama Hour over WPFW hosted by the late Jerry Washington. One can't have a stronger endorsement than this of how strong a singer Price was, and is, in this musical vein. This latest recording shows he still brings everything into the fervent, soulful music here.

There are so many gems here starting with the bluesy and driving "39 Steps," that opens the program, followed by his straight reworking of "Dreamer," the title track of a 1974 Bobby Bland album. It has a nice arrangement, strings and vocal chorus. The title track is composed by William Troiani and Hakon Hoye and opens with a brief excerpt of old-time preaching. It is a funky soul performance with punchy horns to which Andersen adds some punchy guitar. There is a driving take on J.J. Cale's "No Time" followed by a nice rendition of an Otis Redding soul ballad, "I Love You More Than Words Can Say," with one of his finest vocals here. It is followed by an uptempo rendition of Johnny Rawls' "I Keep Holding On." Other strong performances include his insistent vocal on Denise Lasalle's "Get Your Lie Straight," the original "Expert Witness," with a riff evocative of the Five Royales' classic "Think," and Swamp Dogg's topical "Synthetic World," with its call for a more natural world.

With Kid Andersen's crisp production and strong studio support for the stalwart blue-eyed soul-blues singer, "Reckoning" is another welcome addition to Billy Price's body of recordings.

I received  my review copy from VizzTone. This review has appeared in the July-August 2018 Jazz & Blues Report (Issue 379), although I have made a few minor stylistic changes to the published review for clarity's sake. Billy Price's website is http://billyprice.com. Here is a video on the making of "Reckoning."

Rick Estrin & The Nightcats Groovin' In Greaseland

Rick Estrin & The Nightcats
Groovin' In Greaseland
Alligator Records

Its been 30 years since Alligator signed Little Charlie and the Nitecats. Guitarist Charle Baty was the bandleader, by Rick Estrin fronted the band with his somewhat gruff, heartfelt wise-guy vocals (a phrase Bruce Iglauer employs describing Estrin's singing), authoritative harmonica and songwriting, full of wit and wisdom. In 2009, when Baty retired from touring, Estrin took over the band and this is the fourth CD under his leadership. Greaseland in the title refers to the studio that Nitecats guitarist Kid Andersen operates where this disc was recorded. His productions have been among the finest recent straight-ahead blues and roots recordings from any source and this disc has much of the same qualities with clean crisp sound. Lorenzo Farrell is on keyboards while Alex Pettersen occupies the drum chair. There are a number of guests on various tracks including saxophonist Nancy Wright, bassist Jerome Jemmott and electric pianist Jim Pugh. Estrin contributed 11 of the tunes here (one a collaboration with Andersen), while Andersen added one as did keyboardist Farrell.

As suggested above, this is a wonderfully played recording by a super band, starting with the kicking opening shuffle, "The Blues Ain't Going Nowhere," with a litany of reasons why the blues ain't dying with some fat chromatic playing. Then there is the humor of "Dissed Again," with Farrell's rollicking piano. It is followed "Tender Hearted" with Estrin's talking about the experiences with back biting rats so he is tender hearted no more. It has  scintillating tremolo-laced guitar from Andersen along with more strong chromatic harp. Joe Kyle on bass and Pettersen lay down a nicely restrained groove here. Andersen's terrific tribute to Lonnie Mack, ""MWAH!" is a reworking of Mack's classic instrumental "WHAM!," and he captures Mack's Magnetone amp sound.

"Another Lonesome Day," is a slow blues with Andersen evoking Otis Rush and Ike Turner, while Estrin is in a Sonny Boy Williamson II vein with his crying harp playing here. It is followed by the Estrin-Andersen collaboration "Hands of Time," with a groove evocative of "High Heel Sneakers," and some strong amplified hard. Farrell is featured with his greasy organ on the jazzy "Cole Slaw," with a short harp break and some very nice fretwork from Andersen. After a heated shuffle celebrating partying going on at Greaseland, "Hot in Here," there is a strong topical blues "Living Hand To Mouth."

The album closes with a harmonica feature "So Long (for Jay P.)" that showcases not simply Estrin's virtuosity, but his taste and how he shapes his solo. With the excellent backing here, and the throughout this recording, it is fitting coda to another marvelous recording from Rick Estrin & the Nitecats.

I received my review copy from Alligator Records. Here Rick Estrin & The Nightcats are seen performing "The Blues Ain't Going Nowhere."