Jose Ramirez Here I Come

Jose Ramirez
Here I Come
Self-Produced

Originally from Costa Rica, singer-guitarist-songwriter Jose Ramirez has been making a name for himself in the Blues World. Residing in the Washington, DC area recently, he won the 2019 DC Blues Society's Battle of the Bands. Representing the DC Blues Society, he competed in the Blues Foundation's International Blues Challenge, where he finished second overall, an impressive achievement. Ramirez was poised to start touring in support of his debut album "Here I Come," when the Covid-19 pandemic put a wrench in his plans. He has relocated to Florida to ride the pandemic out, and eventually resume his performing career.

The pandemic may have suspended his live performances, but thankfully not prevented the release of this new recording. Ramirez teamed up with Anson Funderburgh, who produced this disc that was recorded in Austin, Texas. Funderburgh guests on two of the 11 songs. Others playing on this recording are Jim Pugh on piano and organ, drummer Wes Starr, bassist Nate Rowe, and the legendary Texas Horns.

Ramirez wrote nine of the eleven songs, and he impresses immediately with the opening title track, a relaxed walking tempo shuffle as he sings about some of his influences and inspirations as he pushes on to reach his musical goals and keep the blues alive. It is refreshing to hear such a gifted singer and guitarist rooted in straight-ahead blues. Listening to his vocals, one would not guess that English is not his first language, but even more impressive is his phrasing and vocal dynamics. One might suggest a cross between Floyd Dixon and Fenton Robinson as a rough analogy. His guitar playing is also old-school, with touches of T-Bone Walker as well as B.B. King.

Ramirez can croon in his interpretation of a lesser-known T-Bone Walker recording, "I Miss You Baby," or get down and funky on "Gasoline and Matches," where he shares guitar duties with Funderburgh. There is a burly baritone sax solo on the last number that I presume is from Kaz Kazanoff. This latter number also displays his songwriting craftsmanship. "One Woman Man," where Ramirez sings that he is not looking for love and is not a one-woman man. It features a searing guitar solo and an inspired piano solo by Pugh to close this performance. From straight blue shuffles, Ramirez also delivers a bit of solid soul with "The Way You Make Me Feel," a track that evokes Tyrone Davis. Again Pugh stands out with his comping behind an excellent vocal. Often Robert Johnson covers are forgettable, but Ramirez places his stamp on this number by transforming "Traveling Riverside Blues" with a reggae groove. Pugh's organ and the crack rhythm section lay the foundation for his piercing guitar.

"Here I Come" is not merely an impressive debut of a promising artist. Anson Funderburgh's top-flight production and a fabulous studio band provide the foundation for Jose Ramirez to showcase his gifted songwriting along with his terrific vocals and guitar playing. It is a superb recording.

I received my review copy from a publicist. Here is Jose Ramirez performing "Here I Come."

The Texas Horns Get Here Quick

The Texas Horns
Get Here Quick
Severn Records

The Texas Horns, comprised of Mark "Kaz" Kazanoff (tenor sax), John Mills (baritone sax), and Al Gomez (trumpet), are one of the most in-demand horn sections for both recording sessions and on tour with some of the biggest names in the roots music world. "Get Here Quick" is their own album of blues, soul and roots music, backed by an all-star group of supporting musicians. Special guests include singers Curtis Salgado, John Nemeth, Gary Nicholson, Guy Forsyth, and Carolyn Wonderland; as well as guitarists Ronnie Earl, Anson Funderburgh, Johnny Moeller, Denny Freeman, Derek O'Brien, and Jonn Del Toro Richardson. Also, Red Young and Nick Connolly play keyboards.

"It took us a year to make 'Get Here Quick,'" recalls Mark Kazanoff, who with his horn-mates arranged all the songs and horns on the sessions. "I don't usually like to do record production projects like that. But this time, we had so many wonderful guest musicians in mind that we knew we would never be able to get everyone together in one place for a week or two; so we did the CD bit-by-bit. That also allowed us to use a couple of different rhythm sections."

There is a mix of vocals along with rhythm and blues instrumentals in the vein of King Curtis and Junior Walker. One of the top tracks, "Guitar Town," opens this recording. Guy Forsyth sings John Mills clever lyrics about knowing about every dive in the city, but it is hard being to be saxophonist in a guitar town. Anson Funderburgh is the lead guitarist and trades fours with Kazanoff, Mills, and Gomez respectively. Carolyn Wonderland sings vigorously and plays lead guitar on the driving performance of Kazanoff's "I'm Doin' Alright, at Least for Tonight," supported by a blistering Gomez trumpet solo. Mills composed the instrumental "Feel No Pain," with Johnny Moeller's stinging guitar set against the riffing horn before Mills wails on the baritone sax followed by Moeller's terrific guitar solo.

Gary Nicholson wrote and sings "Fix Your Face," on which he also plays guitar. After Kazanoff takes a honking tenor sax solo that the late Big Jay McNeely would have been proud of, Ronnie Earl displays his distinctive style. Nicholson also contributed the bouncy "Soulshine," with Anson Funderburgh on lead guitar and a terrific tenor sax chorus from Kazanoff. Gomez' instrumental "2018" has a New Orleans meets Bo Diddley groove. Moeller and Nick Connolly play short guitar breaks before a section of the interplay between the three horns.

Riffing horns provide a setting for Johnny Moeller's guitar leads on one of Kazanoff's instrumentals "Better Get Here Quick." There is fiery Gomez trumpet and an electric piano break from Young. Kazanoff also wrote the soul-ballad, "Love Is Gone" with a terrific John Nemeth vocal and, a booting Kazanoff tenor sax solo. Mills' "Sundown Talkin'" showcases more blue-eyed soul with a passionate Curtis Salgado vocal. Kazanoff sings in an almost talking blues manner "You Can't Be Serious," a protest blues about this 'rich man's paradise." It has a concise Jon Del Toro Richardson guitar solo while Derek O'Brien adds slide guitar fills.

If there is one fault, the horn section unison leads generally are not as memorable as the vocals or various solos are. Still, there are some exceptional performances throughout, even on those that are merely entertaining.

I received my review copy from a publicist. Here are The Texas Horns performing in 2018.

Jimmy Carpenter Walk Away

Jimmy Carpenter
Walk Away
Threadhead Cultural Foundation/ VizzTone

Saxophonist Jimmy Carpenter is perhaps best known as a member of Walter ‘Wolfman’ Washington’s Roadmasters as well as playing with blues-rocker Mike Zito. He has recently issued a CD “Walk Away,” co-produced with Chris Finney with a core band of guitarist John Fohl: keyboards from John Gros; bass from Casandra Falconer and drums by Wayne Maureau. Carpenter handles vocals, saxophones and rhythm guitar with a variety guest appearances including vocalist Reba Russell, guitarists Anson Funderburgh and Mike Zito and trumpeter Anthony Gambrell (Carpenter’s band-mate in the Roadmasters).

Carpenter, known for his robust saxophone, shows himself to be quite an affable singer on the 13 originals here starting with the easy rocking “Can’t Let Go” that features some fiery Funderburgh guitar along with some grease on the Hammond B-3 from Gros. The crisp ensemble playing and the brassy horn arrangements are typical of the production throughout with plenty of punch. The title track has a southern swamp-rock feel with a strong R&B accent with Fohl’s guitar accenting the vocal before Carpenter takes one of several full-toned solos on his recording. “When You’re Ready” is a driving rocker with nice interplay between guitarists Fohl and Zito, along with Zito’s scorching guitar solo.

“She’s Not You” opens with some commanding saxophone before a soulfully sung lament about this woman telling him he seems distant while he still can’t get over his ex on a number that is evocative of Bruce Springsteen. Another song suggesting Springsteen is the jaunty “Crazy ‘Bout You.” “Seventh Street Shuffle” is a greasy instrumental taken at a walking tempo while “C King Blues” is a feature for his sax with a loping tempo. The subject of “More Than Meets The Eye” causes heads to turn although her looks hide what is inside her. This has a Memphis funk backing with a similar feel to the blues-soul of “Hard To Be Cool.”

After the garage-rock flavored “On the Outside,” (where Carpenter is looking in), “Walk Away” closes with “Fellow Traveller” a duet with Reba Russell. Fohl’s judicious use of tremolo and Maureau’s stick work contribute to the wistful atmosphere here along with a nice sax solo. There is plenty of music to enjoy here as Carpenter shows in this recording that integrates his blues, country, soul, and pop influences, he is far more than a road house saxophonist.

I received my review copy from VizzTone. This review originally appeared in the January-February 2015 Jazz & Blues Report (Issue 358). Somehow I forgot to post it before, so I am belatedly posting in now. Tomorrow I will be posting my review of Jimmy's most recent recording, "Plays The Blues." Here Jimmy Carpenter doing an in-store performance in New Orleans at the Louisiana Music Factory with a band including John Fohl and John Gros.

Andy T Band Double Strike

Andy T Band
Double Strike
American Showplace Music

One of the real pleasures of the past few years were releases by the Andy T - Nick Nixon Band. Health issues has forced Nixon to have to retire from performing and his vocals on this album are his last. Guitarist Andy Talamantez has since recruited Michael A. Benjamin, aka Alabama Mike, to become the lead vocalist with his group. On this new release, Nixon and Alabama Mike each take 6 vocals and their is one instrumental.This is co-produced by Andy T and Anson Funderburgh, who adds his guitar to four tracks. Others on this session include Larry van Loon on keyboards (Mike Flanigan is one one track); Johnny Bradley on bass; Jim Klinger on drums and Greg Izor on harmonica for one track. Kaz Kazanoff leads the Texas Horns as part of the backing.

Fans of Gulf Coast to West Coast blues will find much to enjoy here starting with a shuffle "I Want You Bad," with Alabama Mike's gospel rooted vocals along with backing from Andy T's Johnny 'Guitar' Watson meets Ike Turner fretwork along with Funderburgh's own Texas meets B.B. King approach. Alabama Mike is very strong on the Nixon-penned, crying blues, "Sad Times," and the strong original he wrote with Andy T and Anson, "Doin ' Hard Time." With Izor on harmonica adding a country flavor, Nixon ably delivers the lyrics on a Jimmy Reed-influenced shuffle, "Deep Inside," a Nixon's original. Nixon also delivers solid vocals on a couple of Chuck Willis' numbers "I Feel So Bad" (patterned after Little Milton's recording) and "Juanita." Both also have strong guitar, but the latter number stands out perhaps because it is less familiar. Nixon's solid cover of Goree Carter's "Drunk or Sober," has a understated mambo groove blistering guitar and gutbucket tenor sax from Kazanoff, while on "I Was Gonna Leave You," Nixon evokes the deep soul Goldwax recordings of James Carr, with another solid sax solo and Funderburgh's biting lead guitar.

Funderburgh's "Mudslide," is a relaxed instrumental shuffle showcasing both guitarists and van Loon. "Where Did Our Love Go Wrong," is a swamp pop ballad written by Kazanoff, with a strong Alabama Mike vocal, another terrific slashing guitar solo in the vein of Johnny 'Guitar' Watson, and a booting baritone sax solo from John Mills. It closes this excellent collection of blues performances and shows that with Alabama Mike, Andy T will be continuing the fine modern blues that he had been making with Nick Nixon.

I received my review copy from a publicist. Here is a short video of Andy T Band with Alabama Mike in performance.

The Fabulous Thunderbirds Strong Like That

The Fabulous Thunderbirds
Strong Like That
Severn Records

Severn has just issued the latest by The Fabulous Thunderbirds, "Strong Like That." While in its earliest incarnation it was as much associated with both pop tunes and classic blues, this new release is rhythm and blues associated with a distinct Memphis-Muscle Shoals flavor starting with the opening rendition of the Temptations classic "(I Know) I'm Losing You" on which Roosevelt Collier adds steel guitar behind Wilson and this edition of the Thunderbirds of Johnny Moeller on guitar, Kevin Anker on keyboards, Steve Gomes on bass and Robb Stupka on bass. Wilson immediately establishes how authoritative a singer he is and while playing harp, Collier's steel guitar dominates the performance as it takes it out while Wilson adds harp.

Paul Kelly's southern soul classic "Don't Burn Me" follows with a guest appearance from Anson Funderburgh with Wilson's very soulful singing caressed by the solid accompaniment and backing vocals along with Funderburgh's guitar break. It is followed by some swampy blues soul with Moeller's effective use of tremolo and Wilson's harp on "You're Gonna Miss Me." Wilson and band provides a fresh arrangement of an Albert King recording, "Drowning On Dry Land," with some harp that evokes Junior Parker on a terrific, and original performance of this number. Wilson's original "Smooth," has a danceable loping groove and nice harp and the title might aptly describe the character of the performances here, smoothly and cleanly executed by also soulful and far from sterile. Nice punchy horns here led and arranged by trumpeter Kenny Rittenhouse.

After a solid cheating soul number, "Somebody's Getting It," Wilson opens his original "Meet Me On the Corner," with some tough amplified harp, as he tells his lady to meet him when no one can see. Also among the songs here is a nice rendition of the Eddie Floyd classic "I've Never Found A Girl (To Love Me Like You Do)." Gomes contributed the closing title track, another strong slice of soul-laced blues with some harp, solid horns behind a fine vocal that closes this fine new recording by the Thunderbirds.

I received my review copy from a publicist. This review originally appeared in the November-December 2016 Jazz & Blues Report (Issue 369). Here is a video of this edition of The Fabulous Thunderbirds from 2016.

Jonn Del Toro Richardson Tengo Blues

Jonn Del Toro Richardson is likely best known as guitarist with the terrific singer, Diunna Greenleaf. He also collaborated with Rich DelGrosso for a warmly received recording. "Tengo Blues" is a solid new self-produced recording by him that is distributed by VizzTone. This was recorded in Austin and produced by Jonn and Anson Funderburgh, who also plays on three selections. The band backing Jonn includes Nick Connolly on keyboards, Nathan Rowe on bass, Wes Starr on drums and the Texas Horns with Kaz Kazanoff. The leader wrote all 13 songs, with Gary Vincent and Anson Funderburgh each contributing to two songs.

Ax expected from both Del Toro Richardson's playing and the band assembled here, one has some nicely played songs that cover a variety of musical textures and flavors. He comes across as quite an appealing vocalist. A good singer, Del Toro Richardson sings honestly and with heart while laying down plenty of strong guitar. There is an almost Koko Taylor groove for "I'm Her Man," which is a celebration of his guitar as he sings he can make her laugh, cry, moan and sigh. "Love If You Want It," is not the Slim Harpo number but an original that is built on a lazy Jimmy Reed shuffle groove. "Triple Lindig" is a jazzy instrumental (very nice guitar) with Connolly on organ and horns adding to the flavor of this performance and followed by the Tex-Mex flavor of "The Moment" with the Texas Horns adding a mariachi feel along with some superb trumpet.

A Memphis funk groove is present on "Can't Run From Love," with a catchy lyric that "you don't find love, love finds you." "Get Me Back To Texas," one of the songs which Anson Funderburgh is present has a groove that evokes Hound Dog Taylor. "This I Know" is a swamp pop ballad the performance of which sounds like a Gulf Coast adaptation of a Charles Brown number and has a nicely played and paced guitar solo, while "Tell Me Pretty Baby" is updated T-Bone Walker styled jump blues with terrific guitars from both and "Wild Ride" is bluesy rock and roll with Connolly's rollicking piano coming off like Johnnie Johnson.

The title track, "Tengo Blues" is a splendid organ-guitar instrumental with a latin groove that displays Del Toro Richardson's inventive, fiery playing as Rowe and Starr provide a crisp groove with a touch of a latin accent. With solid production and marvelous Performances, "Tengo Blues" is a fine showcase for Jonn Del Toro Richardson's considerable talent.

I received my copy from the record company. This review originally appeared in the March-April 2016  Jazz & Blues Report (Issue 365) on page 16 (you can download the issue at jazz-blues.com), although I have made a few stylistic changes from that review. Here is Jonn Jonn Del Toro Richardson in performance, and if this doesn't knock you out, I do not know what will.

Golden State Lone Star Blues Revue

The eponymously titled Electro-Fi album by the Golden State Lone Star Blues Revue brings together singer and harmonica player Mark Hummel with guitarists Little Charlie Baty and Anson Funderburgh, R.W. Grisby on bass and Wes Starr on drums. They are friends although only some have played together prior to this revue. They are joined by Jim Pugh on keyboards, along with saxophonists Eric Spaulding and Jack Sanford for this recording that Chris "Kid" Andersen recorded at his Greaseland Studios.

Its a terrific set of all blues with any lumpy or rocky filler that contains a mix of interpretations of  lesser known blues gems along with originals penned by Hummel. Hummel has been and remains a real good vocalist and here this starts with the opening rendition of Gatemouth Brown's "Midnight Hour." In addition to Hummerl's vocal there is  plenty of slashing guitar by Baty and Funderburgh, both of whom delight with their contrasting styles. Hummel plays harp on Billy Boy Arnold's "Here's My Picture," followed by Hummel's original shuffle "Prove It To Me" with some greasy fafisa sounding organ and terrific guitar (I suspect from Charlie Baty). Hummel's moody "Cool to Be Your Fool," with backing from just piano and rhythm, borrows the "Sittin' on Top of the World" melody.

Lowell Fulson's "Check Yourself" takes listeners  into a jump blues vein with Hummel taking a harp solo followed by some blistering playing (likely from Funderburgh). Baty trades fours with Hummel's harp in the relaxed rendition of Mose Allison's "Stop This World," with Pugh terrific again. An older Jimmy McCracklin tune "Take a Chance," takes us uptown on a rocking number that sounds like it would have if Junior Parker had done it. "Walking With Mr. Lee" is a terrific feature for Hummel's harp, while the Grisby penned "Detroit Blues," is a nice lazy Jimmy Reed-style shuffle. Among the other selections is a solid cover of J.B. Hutto's "Dim Lights" if Hummel can't match the fervor of Hutto, it still has terrific slide guitar.

This is a terrific revue and reports of their shows seems consistent with the music here. The performances are marvelously performed and backed by an excellent rhythm section. Fans of real deal blues are in for a treat with this gem.

I received my copy from a publicist. Here is a recent performance by them.

Tad Robinson Day Into Night

Blue-eyed singer Tad Robinson returns for another helping of soul and blues on Severn Records "Day Into Night." Robinson has matured as a singer and his vocals (and occasional harmonica) are backed by the Severn house band of Johnny Moeller, guitar; Robb Stupka, drums; Steve Gomes, bass and Kevin Anker, keyboards. DC area organ wizard Benjie Porecki is on one track and Anson Funderburgh and Alex Schultz also add guitar while trumpeter Kenny Rittenhouse provides the handsome horn arrangements.

With the exception of a cover of "Lead Me On," Robinson, Gomes and Anker contributed these solid originals that evoke the classic Memphis sound, especially Hi Records, with the understated, smoldering feel of many of these performances. One highpoint is "Lonely Talking," with Robinson's soul vocals on this modern urban blues enlivened by Funderburgh's guitar bursts. Rittenhouse's arrangement for "He's Moved On"  has a touch of the Philadelphia Sound with backing vocals added as Robinson tells his lady she will realize that he has moved on. "Lead Me On" has a fresh arrangement allowing Robinson to place his own spin on this Bobby Bland classic with a heartfelt moaning vocal. "While You Were Gone," has a bass pattern that evokes "Take Me To the River" and on which Robinson adds a dose of harmonica.

The overall tenor of the performances (including the backing and arrangements) of "Day Into Night" are very much in the manner of the late Severn soul-blues legend Lou Pride. Severn has produced another modern urban and soul-blues recording that showcases how striking a singer Tad Robinson is.

I received my review copy from a publicist.  This review originally appeared in the May-June 2015 Jazz & Blues Report (Issue 360). Here Tad performs "That's How Strong My Love Is."
 

The Texas Horns Blues Gotta Holda Me

 

Mark ‘Kaz’ Kazanoff may be the best known of The Texas Horns, a trio of horn players who have contributed to numerous fine recordings. Kaz brings his tenor sax and harmonica along with John Mills who plays baritone and tenor saxophones and Adalberto Gomez on trumpet to “Blues Gotta Holda Me” (VizzTone). Recorded in Austin in 2014 the three are joined by guitarist Derek O’Brien, and drummer Barry Frosty Smith along with a variety of guests who include Nick Connolly, Marcia Ball, Ronnie James, Johnny Nicholas, W.C. Clark, and Anson Funderburgh.

There is a mix of instrumentals and vocals (most of which are taken by Kazanoff) on a recording that breaks no new grounds perhaps, but makes for enjoyable listening and likely to be a favorite for dancers. The music is well played and there are plenty of strong horns solos. The standout vocal is a soulful one from W.C. Clark on Kazanoff’s original “Cold Blooded Lover,” while Marcia Ball does a credible cover of the Smiley Lewis classic recording “Go On Fool,” with the horns providing an unusual Mariachi tint to the performance.

Musically, the rendition of “You’re Driving Me Crazy” is better than Kazanoff’s bland vocal. The performance sounds like it was based on the Big Joe Turner rendition from classic “The Boss of the Blues” album on Atlantic. He takes a terrific tenor sax solo on this. Also his vocal on the Percy Mayfield classic “Lost Mind” lacks the grit of Mayfield’s original as well as the brilliance of the late Johnny Adams’ rendition. Finally, as much as he tries, he can’t bring the ebullience needed on a rendition of Louis Jordan’s “Caldonia.” Here he is company with others like Muddy Waters and Gatemouth Brown who have faltered on this.

The instrumentals are fun, finger popping tunes with the exception of a terrific rendition of “People Get Ready.” The opening “Soul Stroll” kicks this off with a nice shuffle groove while Mills’ “Kick Me Again” has a march like feel with some robust playing from Mills on the baritone and O’Brien on guitar. “Rippin’ and Trippin‘“ is a hot number for the jitterbuggers while the funking rendition of Hilton Ruiz’s ”Home Cookin’” has soulful grease from Connolly on the B–3 along with some tough playing from each of horns.

“Blues Gotta Holda Me” may not be a compelling recording, but it certainly is a fun and entertaining recording that is a welcome change of pace for blues listeners.

I received my review copy from Vizz-Tone. Here is a video of them performing.

J.T. Lauritsen - Play By The Rules

Blues has become an international music and a recording by Norwegian harmonica-accordion player (Jan Tore) J.T. Lauritsen, Play By The Rules (Hunters Records) illustrates this. For nearly 20 years he has led The Buckshot Hunters who have had several well received recordings. The present recording was recorded at sessions in Memphis and Oslo, Norway and has appearances by Victor Wainwright, Anson Funderburgh and others on various tracks. Greg Gumpel or Willie C. Campbell on bass, Wainwright on keyboards and Josh Roberts are common to the Memphis recordings while Atle Rakvåg on bass, and Ian Frederick Johannessen on guitar are on the Oslo sessions. Jon Grimsby is drummer throughout while guitarist Arnfinn Tørrisen and keyboardist Paul Wagnberg are heard on both sessions.

Lauritsen impresses on this marvelously varied group of performances. One would be surprised listening to him sing to discover English is not his first language. He sings in a natural,relaxed fashion and the supporting musicians do a bang-up job in backing him on some nice covers and originals. William Bell’s Everyday Will Be Like A Holiday starts this recording off on a nice southern soul vein followed by the Crescent City groove on Lauritsen’s original Next Time, with  zydeco flavor provided by the leader’s accordion with Wainwright taking a rollicking piano solo. Te title track is a nice slow blues with Josh Roberts adding slide guitar. Billy Gibbons on harp joins Lauritsen on a easy rocking shuffle rendition of Walter Horton’s Need My Babe, taken as a medium shuffle which is followed by Wainwright’s Memphis Boogie, that he gets off to a rollicking start followed by Roberts crisp solo and then more boogie woogie piano before the leader steps up.

We are taken back to New Orleans on Big Joe Maher’s Ever Since The World Began, which then followed up by a fine take on the Cookie and the Cupcakes swamp pop classic Mathilda. Like the rest of this recording, it is wonderfully played and sung at the right tempo. Anson Funderburgh adds strong guitar to Find My Little Girl as Lauritsen sings about going back to Dallas, Texas to find his little girl while plays rhythm guitar on the atmospheric take on Gillian Welch’s Valley of Tears.

The performances on Play By The Rules never come off as hurried or frantic and there is a genuine soulful quality to J.T. Lauritsen’s vocals that make this release well worth noting.

I received my review copy from a publicist. Here is a video of J.T. Lauritsen.

Ruff Kutt Blues Band's That’s When The Blues Begins

Formed by Bassist James Goode with Anson Funderburgh on guitar for a previous self-issued recording that benefited the Blues Foundation’s HART Fund, the Ruff Kutt Blues Band returns with a second album That’s When The Blues Begins on VizzTone. On this collection of new recordings the band is fronted by vocalist Finis Tasby (on what may be his final recordings given the severe stroke he recently suffered) and Zac Harman who also plays guitar. Others on this session include Wes Starr on drums, Ron Jones on saxophone, and keyboardist/engineer Gentleman John Street on keyboards. 

From the opening song, Deep Elam Blues where Finis sings “I live on Elm Street, I got the deep Elam blues, I play my guitar on Elm Street, I got the deep Elam blues … I see women come and go, I wish I could make one of them mine …” to the closing When a Bluesman Goes to Heaven, where Harman sings about Pinetop jamming with Sammy Myers, Little Milton and others, this a full dose of nothing but the blues. Goode writes some solid no frills blues songs, Anson is riveting on guitar and Tasby and Harman sound great delivering the lyrics. 

Zac Harmon, James Goode, Finis Tasby, Anson Funderburgh (courtesy VizzTone)

Don’t It Make You Cry is a nice blues about Tasby’s woman leaving him that evokes the Big Jay McNeely-Little Sonny Warner classic, There Is Something on Your Mind, with Ron Jones standing out on sax here. Harman is showcased on the easy rocking shuffle Oh Woman, as well as Blues Ain’t a Color, (“The blues ain’t a color, its the way you feel”). Harman’s soulful singing will be no surprise to those familiar with his recordings and live performances. Jones has another strong sax solo on Oh Woman.

It also helps that the band gives first-rate backing through the varied moods and grooves from the slow drag of Deep Elam Blues, and the funky underpinning of Blues in My Blood (another song displaying Goode’s way with words), as well as on “Oh Woman.” They never rush things and their crisp, yet understated playing enhances the singing. It is welcome, when so many records marketed as ‘blues’ sound like album-rock, to hear first-rate blues played as on That’s When The Blues Begins.

I received my copy from the label. 

Andy T - Nick Nixon Band Drink Drank Drunk

Andy “T” Talamantez is a Southern California native who spent eleven years touring with Smokey Wilson and Guitar Shorty, although in recent years he has been based in Nashville where he has been hosting the Nashville Blues Society’s regular Sunday night jam. It was at the jam that he heard Nick Nixon. “The first time Nick sang next to me on stage I got goose bumps. Nick sings like I’d like to able to sing.” A guitarist himself, Nixon, developed a relationship with Andy T. ““Andy plays great in every style of blues, so I like to just play rhythm and let him handle the hot stuff. But even when he’s playing the hot stuff, Andy knows that the blues is about soul and feeling, not about playing a lot of notes.”

The partnership formed at the Sunday Jams has developed into a most formidable band. The Andy T - Nick Nixon Band has a debut recording on Delta Groove, Drink Drank Drunk. The CD is produced by Texas guitarist and band leader, Anson Funderburgh, who first met Andy T while Andy T was touring with Guitar Shorty. Anson with his association with various singers fronting The Rockets, most notably with the late Sam Myers, brings his experience in making a number of solid recordings. A variety of individuals add backing here including pianist Christian Dozzier, bassist John Garza, and drummer Danny Cochran.

There is a mix of interpretations of some post-war blues classics and originals with the tone set by the rendition of Gatemouth Brown’s Midnight Hour, with Nixon’s singing complemented by Andy T’s guitar playing which evokes Johnny ‘Guitar’ Watson, and this track is followed by a cover of Watson’s Don’t Touch Me. The fifties West Coast flavor is continued in the title track, an original from Tom Hambridge and Gary Nicholson, with Ron Jones adding some raspy sax behind Nixon’s vocal celebrating a 24 hour happy-hour with a lazy groove suggestive of Watson’s Motorhead Baby, with Andy T adding some stinging guitar. Nixon’s voice can soar, but also he is able to sing in a relaxed baritone as on Paul Gayten’s No Use Knockin’ with Jones’ sax featured.

Dozzier’s accordion lends a Tex-Mex flavor on Andy T’s original Have You Seen My Monkey, with a slashing guitar solo. This is followed by the crisply played guitar feature for Andy T and Anson Funderburgh, Dos Danos, with Jones wailing on a sax break as well. Nixon’s No End To The Blues has Nixon really tearing into the vocal joined by Markey’s backup singing here with more blistering guitar. On My Way To Texas is a wonderfully paced original that celebrates the blues history and the wide open spaces of Texas as Nixon sings give me some Lightning, T-Bone, Frankie Lee and Albert is so cool. Nixon’s You Look So Good, is a relaxed Jimmy Reed styled shuffle with Brian ‘Hash Brown’ Calway adding harmonica. Dozzier is on accordion for the closing track, a cover of Ray Charles’ I Got a Woman, where Nixon displays his gospel roots in his fervent singing. 

This is a wonderfully produced recording with a terrific studio band to support Andy T and Nick Nixon in marvelous, wonderfully paced and performed performances. Andy T impresses with his fluidity, tone and taste while Nixon brings pretty of heart and soul to his nuanced vocals. Not simply an impressive debut, Drink Drank Drunk will have listeners wanting another dose of music from The Andy T - Nick Nixon Band. 

I received a review copy from Delta Groove. Here the two are performing Have You Seen My Monkey.

Anson Funderburgh & The Rocket's Best!

The review below was part of a review of several Black Top Records compilations issued by Shout Factory in 2006 and appeared in the September-October Jazz & Blues Report (issue 286). I may have received this directly from Shout Factory or from the publication. Reviews of the other two compilations will run in the next couple weeks. I have made some stylistic changes. I should point out that a  number of the Black Top recordings are available in reissue and you might want to check collector's choice music as well as other websites.

Shout Factory has been reissuing product from the catalog of the Black Top label, arguably the label that from the mid-eighties through its demise in the nineties, had the strongest catalog of blues releases in that period. Earlier releases included the discs of Solomon Burke, and a Hubert Sumlin one. Three new releases are “Best of” collections centered on three of the label’s artists that do include recordings these performers made for other labels.

It was ironic that I received, Blast Off -- The Best Of Anson Funderburgh & The Rockets, the day word that Sam Myers, the great Mississippi vocalist had passed away. It is odd that this reissue does not mention featuring Sam Myers who appeared on most of the Rockets discs after Myers joined Anson and his varying line-up over the years, especially since the band took off as one of the preeminent blues bands after Myers became featured. 

The above is not to say that the band was shabby with the original vocalist Darrell Nulisch who certainly turns in an amiable performance on Earl King’s Come On, but a younger Nulisch simply had not developed the authority that Myers brought with his singing and harp as evident on A Man Needs His Loving, Moose John Walker’s Ramblin’ Woman or Buddy Guy’s reworking of Barrett Strong’s Money, $100 Bill. Additionally Myers brought his considerable harp talent to the recordings and live dates. Anson himself displays his sizzling playing as well as his impeccable taste, and is featured on Down at JJ’s. While the backing personnel changed over the years, they remained a tight, swinging outfit. 

There are numerous pleasures to be heard on all 17 selections which is compiled from all nine Rockets recordings, including selections from the two Bullseye Blues albums and the two with Nulisch and one certainly hopes that at least a few of the Rockets CDs featuring Sam Myers including Sins, Rack ‘Em Up, and Tell Me What I Want to Hear, are issued in their entirety. 

Here is a video clip of Anson Funderburgh and the Rockets featuring the late legend, Sam Myers.

Mike Morgan & The Crawl - Texas Men

Mike Morgan & the Crawl is one of the acts that emerged on the late lamented Black Top label with a rootsy tinge blues attack that was especially rooted in the traditions of Texas and the Gulf Coast. Starting in 2002, Severn Records started issuing new recordings by this band. Later they issued a CD of Morgan with fellow Texan Randy McAllister. Here are two reviews from a few years back of the Mike Morgan and The Crawl releases with some minor editing to reflect the republication. Severn Records provided me with the review copies.

First up is a review from 2002 of Texas Man, that originally appeared in the September/October 2002 Jazz & Blues Report (Issue 259).

Veteran Texas bluesman Mike Morgan’s new album Texas Man (Severn), brings together Gulf Coast gumbo and guitar shuffles with a healthy dose of Hound Dog Taylor inspired Chicago slide boogies.

Originally issued in Holland, Texas Man opens with the title track, a shuffle that celebrates Morgan’s Texas origins and Texas blues. Renditions of Guitar Gable’s swamp blues instrumental Guitar Rhumbo and Morgan’s original Whoa My Darlin’, show how comfortable he is working within the Louisiana Swamp Blues vein. The latter number almost sounds like a new Lazy Lester number while Wild About You Baby, Gimme Back My Wig, Taylor’s Rock and See Me in the Evening, are Hound Dog Taylor-styled slide guitar romps. Five Thousand Miles From Home is a terrific slow blues with Riley Orborne’s organ contributing nice atmosphere.

Among the others who can be heard backing Morgan’s earnest singing and strong fretwork are guitarists Jon Moeller and Anson Funderburgh, and harmonica player Gary Primich. Perhaps nothing musically original here, but everything is done so well and with enthusiasm and spirit. One will have a hard time not tapping one’s foot listening to this.

The following review of Live in Dallas appeared in the April 2004 DC Blues Calendar.

Severn has just issued the latest cd by them,, Live in Dallas. Paired with second guitarist Chris Zalez, bassist Rhandy Simmons and drummer Kevin Schermerhorn, Morgan treats the Dallas club crowd to some rocking music.

Much of this is originals, although Morgan and (Lee) McBee did not write the classic Earl King number Those Lonely, Lonely Nights. Nothing profound here, just hard rocking blues for an enthusiastic Texas crowd as he tells his lady he loves her too much on One of a Kind, while on Frankie Lee Sims’ Frankie’s Blues, he slows down the groove and delivers the vocal in a straightforward, effective manner. Mother--in-Law Blues benefits from the nice easy groove that Morgan & the Crawl hit.

Perhaps some of the lengthier performances might have benefited from some editing, but that is a minor quibble. Morgan is a steady singer and a guitarist who really works the groove while spinning out his lines and the Crawl is rock solid behind him, resulting some entertaining blues.

Here is Mike Morgan & the Crawl in performance.