Sugar Ray and the BlueTones featuring Little Charlie Too Far From the Bar

Sugar Ray and the BlueTones featuring Little Charlie
Too Far From the Bar
Severn Records

The new Sugar Ray and the BlueTones album is a corker of a recording. The regular cast of Anthony Geraci on piano, Michael 'Mudcat' Ward on bass, and Neil Gouvin on drums support Ray Norcia's vocals and harmonica. Handling the guitar on this recording is (Little) Charlie Baty playing on some of his last recordings. Duke Robillard, who produced this recording, adds his guitar to four songs. This stellar band is heard on nine originals from Norcia, Ward, or Geraci along with six covers of songs that have not become hackneyed from being over-recorded.

Norcia is superb, whether singing with his warm natural baritone or laying down swooping horn licks on the harmonica while the backing is stunning. Norcia's vocals flow naturally with a relaxed, mellow flow suggestive of Junior Parker and Fenton Robinson. His harp playing can rock like a Big Jay McNeely sax solo or warble like Sonny Boy Williamson. Baty's guitar sings whether comping, adding subtle comments to the vocal, or a sizzling solo. Robillard is more in a jazzy single note o his selections while Geraci is at the top of the game, at times channeling Otis Spann and elsewhere laying down his accompaniment with a jazz-tinged sophistication. The supple rhythm from Ward and Gouvin completes this sublime music.

The recording opens with a spirited reworking of The Five Royales "Don't Give No More Than You Can Take," with Norcia's ripping horn-like solo and Baty's explosive playing. It is followed by a first-rate rendering of John Lee Williamson's "Bluebird Blues" with Geraci superb while Norcia's harp evokes Rice Miller. There is plenty of humor in several songs, including the title song. It is about folks who go to a restaurant or bar and wondering when they will get served. After a swamp-pop flavored "Too Little Too Late," Norcia showcases his virtuosity on the energetic instrumental "Reel Burner." His playing on it is more James Cotton than Little Walter here. An excellent cover of Little Walter's "Can't Hold Out Much Longer," follows. One of the most original lyrics here is "Numb and Dumb" about a woman that has Norcia under her thumb as he wonders who she is taking home.

There is a somewhat frantic feel to "My Next Door Neighbor," with Baty blasting off with rockabilly-laced solo, although Norcia's vocal lacks the relaxed quality due to the frenzied tempo. On the cover of Otis Spann's "What Will Become of Me," Geraci is outstanding as channeling the legendary blues pianist behind Norcia's heartfelt singing. Robillard adds his touch to the jazzy feel of "What I Put You Through," as well as the standard, "I Got a Right To Sing the Blues." Another selection that Robillard is present on is Mudcat Ward's "The Night I Got Pulled Over." It is a talking blues with Norcia providing the narrative of a traffic stop without a reason because he fit a profile.

An alternate take of "Reel Burner" closes this album. That song title is an allusion to what Duke Robillard observed that the band was so hot that they even set a multi-track tape machine on fire. As hot as some of the performances are, others bring out different qualities and moods. Whatever the tempo or feeling, "Too Far From the Bar" is simply a stellar blues recording.

I received my review copy from a publicist. (This CD is being released on September 18). Here is a video from 2019 of Sugar ray and the BlueTones with Little Charlie and Duke Robillard.

Anthony Geraci Daydreams in Blue

Anthony Geraci
Daydreams in Blue
Shining Stone Records

Anthony Geraci has had a lengthy career behind the keyboards. He has made substantial contributions to the bands of Sugar Ray Norcia and Ronnie Earl and been featured on over 50 recordings. Anthony Geraci's prior album "Why Did You Have To Go," I wrote, "There is so much to enjoy on this recording from the fresh, varied material from Geraci, his own consistently strong playing, a solid studio band, and terrific singing and playing." This latest album, his third as a leader, has 10 Geraci originals among the 12 tunes. He sings one vocal, with the other vocals handled by Dennis Brennan, who also contributes his harmonica. Monster Mike Welch, Walter Trout, Troy Gonyea, and Peter Ward are heard on guitar, while Michael 'Mudcat' Ward is on bass, and Jeff Armstrong is on the drums. Horns are provided by Scott Arruda on trumpet and Mark Early on saxophone, with Arruda, the principal arranger.

Musically this is a solid, varied program of blues and related music. There is the jazz-laced piano, biting guitar of Monster Mike Welch and fiery horns on the opening "Love Changes Everything" with its positive message. Then there is a Louisiana flavored blues ballad "Tomorrow May Never Come." The studio band is terrific and lending the music a relaxed intensity. Brennan is a capable, although not exceptional, singer. Walter Trout adds some scorching blues-rock guitar on "No One Hears My Prayers," with one of Brennan's most fervent vocals. Geraci is terrific accompanying the vocal.

Geraci takes the vocal on "Tutti Fruity Booty," a raucous jump blues rocker with tough boogie-woogie styled piano. "Mister" is one of two first-rate Chicago styled blues on this recording. Brennan's harmonica is spotlighted on this along with Geraci's Otis Spann piano pounding. There is a rendition of the classic Earl Hines recording that featured "Billy Eckstine, "Jelly Jelly," that allows Geraci to display a sophisticated touch with Welch adding a jazzy solo. One of the most memorable songs is "Dead Man Shoes," about thrift store used shoes and what kind of man would wear these shoes. It has one of Brennan's best vocals here as well as his atmospheric harmonica. Brennan wrote this song with Troy Gonyea and Peter Wolf.

A short instrumental by Geraci and rhythm, "Ode to Todd, Ella and Mike Ledbetter," is dedicated to Tom Hyslop, Ella Miller, and Mike Ledbetter," closes another entertaining recording from Anthony Geraci.

I received a review copy from a publicist. Here is a performance of Anthony Geraci from September 2019.

Ronnie Earl and the Broadcasters Beyond the Blue Door

Ronnie Earl and the Broadcasters
Beyond the Blue Door
Stony Plain Records

Ronnie Earl and the Broadcasters have returned with this latest recording. Earl, one of the premier blues guitarists, is joined by his Broadcasters: The core group of Broadcasters – Dave Limina, Hammond B3 and piano; Diane Blue, vocals; Paul Kochanski, bass and Forrest Padgett, drums. Also joining them Anthony Geraci, piano; Peter Ward, guitar; Mario Perrett, tenor sax; Scott Shetler, Baritone Sax, Larry Luisgnan, guitar; Michael Rush, bass and Scott MacDougal, guitar. Also appearing are special guests David Bromberg, acoustic guitar and vocals; Kim Wilson, harmonica and vocals; and Greg Piccolo, tenor sax. Bromberg also provides notes on each of the 15 songs.

I have enjoyed Diana Blue on prior Earl recordings, but her cover of "Brand New Me" surprising me with her stunning singing. With Earl's subtle guitar and horns in the background, she delivers an impressive cover of an Aretha classic. Diana Blue also is heard on a medium-tempo shuffle, "The Sweetest Man," with Limina stretching out while Earl is excellent  behind Blue's splendid singing. She also puts her own stamp on Timmie Thomas' "Why Can't We Live Together," and she is superb on the revival of "A Soul That's Been Abused," with Earl dazzling, and Limina greasy. This song first recorded on a Hubert Sumlin Black Top album with Mighty Sam McClain singing and Ronnie playing the second guitar. Then there is the superb slow blues Earl wrote with Steve Gomes, "Peace of Mind." The Broadcasters create an after midnight ambiance behind Blue's vocal while Earl's playing is sublime. There is a terrific updating of the Gamble Huff Philadelphia soul classic "Drowning In a Sea of Love," with Earl spectacular as he pulls out all the stops.

Kim Wilson, Anthony Geraci, and Peter Ward join on a remarkably fresh interpretation of Howlin' Wolf's "Baby How Long." The tempo is slowed down into making this a relaxed shuffle with the marvelous interplay between Wilson's harp and Earl's skittering guitar with Geraci on piano and Peter Ward in rhythm guitar. Earl adds some scintillating obligatos behind Wilson's vocal. Wilson also takes a terrific harmonica solo, and there is some excellent, nuanced guitar by Earl and Ward. Wilson is also heard on Little Walter's "Blues With a Feeling." This is taken at a slower tempo than the original. Special kudos to bassist Kochanski and drummer Padgett for maintaining this slow drag tempo. Earl's backing again is exquisite behind Wilson's vocal and harmonica. Wilson and Geraci also join in on Earl's take from a phrase in "Smokestack Lightning."

"Drown In My Own Tears" displays Earl's impeccable phrasing and nuanced use of dynamics, and only the late Earl Hooker showed such an ability to convey such feeling with similarly small tone variations. Greg Piccolo contributes a strong chorus on tenor sax as well. A duet between Earl and Piccolo, "Alexis' Song," has Earl chording behind Piccolo's probing sax. "T-Bone Stomp" is a T-Bone Walker-inspired relaxed shuffle with Limina also featured. The closing track is a moving "Blues For Charlottesville," with Earl's guitar conveying as much feeling as any lyric might.

The least memorable track was the duet between Earl on his Stratocaster and Bromberg on acoustic guitar, a cover of Bob Dylan's "It Takes A Lot To Laugh, It Takes a Train To Cry," that is a bit too loosely played. It is a minor blemish on another marvelous Ronnie Earl recording.

I received my review copy from a publicist. This review appeared in the September-October 2019 Jazz & Blues Report (Issue 386). Here is a short video animation clip for "The Sweetest Man."

 

Anthony Geraci Why Did You Have To Go

Anthony Geraci
Why Did You Have To Go
Shining Stone Records

Pianist and organist Anthony Geraci brings his four decades plus experience with Sugar Ray and the BlueTones to a second album under his own name. He has brought together quite a group of folks including vocalists Sugar Ray Norcia, Sugaray Rayford, Michelle “Evil Gal” Willson, Willie J. Laws, Dennis Brennan and Brian Templeton; guitarists Ronnie Earl, Monster Mike Welch, Kid Ramos, and Troy Gonyea; bassists Willie J. Campbell and Michael 'Mudcat' Ward; drummers Jimi Bott; Marty Richards, and Neil Gouvin; and horn players Sax Gordon and Doug Woolverton.

Geraci wrote all thirteen of the songs and they cover a variety of tempos and styles starting with the opening "Why Did You Have To Go" wonderfully sung by Norcia with some terrific Texas to West Coast slashing guitar from Welch. It is followed by a hot shuffle, "Don't the Grass Look Greener," with some shattering guitar from Kid Ramos along with a hot Rayford vocal. Ramos takes the lead on the Chicago blues shuffle groove of "Fly on the Wall." Willie J. Laws handles the vocal on a song that sounds like an unissued Johnny Young number while Ramos plays more in a traditional Chicago vein and Geraci superbly channels Otis Spann This number contrasts with the late night feel of "Angelina, Angelina," where Rayford pleads vocal about his woman leaving him stranded at the Courthouse door. "Long Way Home" has a New Orleans groove with horns adding punch  (Woolverton soars on his trumpet solo), while Geraci plays solid Crescent City styled piano.

"Two Steps Away From The Blues" sounds like a classic 50s Texas urban blues wonderfully sung by Michelle Wilson, while more Chicago styled blues can be heard in "Time's Running Out," with Norcia singing wonderfully and Ronnie Earl taking the lead guitar solo. "Baptized in the River Yazoo," is a delightful down-home Willie Laws vocal backed solely by Geraci's superb backing. Dennis Brennan, while not bad, is perhaps the less striking singer on this recording, although the backing he receives on "Too Many Bad Decisions" is excellent. "What About Me" is a nicely done vocal duet between Michelle Wilson and Brian Templeton.

After Geraci channels Spann again behind a first-rate Norcia vocal on "My Last Goodbye," (with more sterling Ronnie Earl guitar), this album closes with his jazzy instrumental "A Minor Affair," a swinging cool number with Woolverton plays with a nice middle-range tone, followed by a driving solo from Gordon. There is so much to enjoy on this recording from the fresh, varied material from Geraci, his own consistently strong playing, a solid studio band and terrific singing and playing. "Why Did You Have To Go" is superb.

I received my review copy from a publicist. Here is Anthony Geraci live.

Peter Ward Blues on My Shoulder

Peter Ward
Blues on My Shoulder
Gandy Dancer Records

New England guitarist Peter Ward has not forgotten his blues roots growing up in Maine. " I grew up wearing out the vinyl records trying to understand how Robert Jr. Lockwood, Tiny Grimes, Louis Meyers and Jimmy Rogers made songs sound so good. It's what I wanted to do." The chords, fills and bass runs still delight him today and he treasures when Otis Rush told him decades ago that he (Peter) played chords like "an old man." He also had a stint touring as part of the Legendary Blues Band, "The way they played blues was everything I believed in, then and now."

On this recording of 12 originals and a cover of Robert Nighthawk's recording of "Kansas City Blues," he has an all star cast of players on various tracks, including guitar legend Ronnie Earl, Sax Gordon Beadle on sax and the members of Sugar Ray and the Bluetones: Sugar Ray Norcia (vocals and harmonica), “Monster” Mike Welch (guitar), Anthony Geraci (piano), Michael “Mudcat” Ward (Peter’s brother – bass) and Neil Gouvin (drums).

Ward is a Chicago blues traditionalist as evident on the opening "She Took It All," a song about his ex taking his Cds and mp3s set to a Jimmy Rogers styled shuffle groove with Norcia adding  nice harmonica along with a fine guitar solo and it has one Ward's better vocals here. "Witch Hazel" is a tribute to Chuck Berry with simple bass and drum support and an effective Berry inspired guitar solo. The title track is a modern Chicago blues with a driving groove and more fine harp from Norcia. It is followed by "Collaborate," a song where Norcia takes the vocal (and has a harp solo) with Ward displaying Robert Lockwood Jr.'s influence and Sax Beadle adding musical accents.

Instrumentals like "Shiprock," show his deft touch and a relaxed attack, while "Southpaw," is an tough organ-guitar number with Rusty Scott adding grease while Ward is in a jazzy vein here. His playing on "On the Ropes," has a bit of country twang mixed in. Geraci and Norcia also sound fine here. Geraci's rollicking piano is present on "What Can I Do To You?" with fair singing along with the backing. Ronnie Earl and Sax Beadle are on a couple tracks, an easy rocking shuffle, "It's On Me," and a tough West Side Chicago styled blues, "A Little More." Earl is terrific behind Ward's singing, and really explodes on the latter number. "Colletta" has a country blues feel with Eric Kilburn adding mandolin, and followed a cover of Robert Nighthawk's recording of "Kansas City Blues," a song first recorded by Jim Jackson in the twenties.

The closing "Drummin' Willie," is a tribute to Willie 'Big Eyes' Smith, who had "that deep blues sound," and his remembrance of Willie and the Legendary Blues Band as he lists some of those he has played with. It is set to a Muddy Waters styled backing by Sugar Ray and associates. It is a straight-forward, solid close to this recording. Ward is an effective, if not great, vocalist, and a fluent guitarist rooted in the classic Chicago blues tradition and produced a very appealing release.

I received my review copy from a publicist. I have made a few clarifying edits to the review that appeared in the November-December 2017 Jazz & Blues Report (Issue 375). Here is Peter performing "Kansas City Blues."

 

Monster Mike Welch and Mike Ledbetter Right Place, Right Time

Monster Mike Welch and Mike Ledbetter
Right Place, Right Time
Delta Groove Music

Having been part of the Chicago Blues Festival Tribute to Otis Rush, it was natural that Mike Welch and Mike Ledbetter collaborate on a recording and the spirit of the legendary Rush is evident on this new recording by the two, from the title that evokes a legendary Rush album, to the performances by vocalist Ledbetter and guitarist Welch that both show the deep impact of Rush' soul-searing music on both.

They are backed by Welch's associate in Sugar Ray & the Blue Tones, Anthony Geraci on keyboards, Ronnie James Weber on bass and Marty Richards on drums along with appearances from Laura Chavez on guitar; and Sax Gordon and Doug James on saxophones and they play wonderfully starting with a cover of an Elmore James recording "Cry For Me Baby," with Welch echoing Eddie Taylor's original guitar part, and closing with a nice instrumental shuffle feature for Welch's Rush-influenced styling, "Brewster Avenue Bump."

The only overt Rush cover is a fine rendition of "I Can't Stop Baby," Willie Dixon's reworking of "I Can't Quit You Baby," Rush waxed for Chess. But the spirit of Rush is also present in reworking of Jimmy Robins' bluesy Northern Soul groove, "I Can't Please You"; the reworking of Junior Parker's "How Long Can This Go On," into a West Side Chicago shuffle; as well as playing the Tampa Red-Robert Nighthawk's gem "Crying Won't Help You Baby," as if Rush recorded it. This here is also a nice reworking of the Jerry Leiber-Artie Butler funk, "Down Home Girl," along with the Rush inspired originals, Welch's deep slow blues, "I'm Gonna Move To Another Country," and the Ledbetter penned medium tempoed shuffle "Can't Sit Down."

The only possible quibble that might be leveled is that Ledbetter might have slightly tempered a couple of the vocals such as the opening "Cry For Me Baby." That might be in part a result of Ledbetter's 'operatic training' which I was not aware of before reading Dick Shurman's liner notes, but one can find no other fault in his strongly projected singing. This is a minor, and a subjective, criticism of what is an excellent recording.

I received my review copy from Delta Groove. Here Monster Mike Welch and Mike Ledbetter perform Otis Rush's "Right Place, Wrong Time," at the 2016 Chicago Blues Festival.

Sugar Ray and the BlueTones Seeing Is Believing

Sugar Ray and the BlueTones
Seeing Is Believing
Severn Records

"Seeing Is Believing" is the latest from One of today's top blues groups, Sugar Ray and the BlueTones. Once again the quintet has produced a dozen blues grooves including eleven originals from the band members. Ray Norcia has certainly become a most expressive singer while Monster Mike Welch a superlative guitarist such as when he evokes Otis Rush on the title track behind Norcia's Junior Parker-like soulful crooning. Add Anthony Geraci's two-fisted piano, Michael Mudcat Ward's rock solid bass and Neil Gouvin's crisp drumming, and one has one superb band.

One should not be surprised by the variety mix of sounds here including Geraci's rock steady "Noontime Bell," where Norcia sings about leaving his ex-before that noontime bell before taking a charged harmonica solo while Geraci takes a piano break that would have made Otis Spann smile. On "Keep On Sailing," Norcia opens in the manner of one of Rice 'Sonny Boy Williamson' Miller's unaccompanied solo performances with the band joining halfway in, and then followed by a hot shuffle, "Blind Date" that provides another showcase for Norcia's harp as well as Welch coming across like a cross of country swing version of Willie Johnson. Welch is showcased on an instrumental rendition of B.B. King's "You Know That I Love You," suggesting, but not imitating, King's guitar sound. What a nice tribute to the late legend.

The rest of the album is similarly first-rate with strong songs (including the blues ballad "Not Me" and the Muddy Waters' styled "Too Hundred Dollars Long" with terrific slide guitar), fine vocals and a superb band, which should not be surprising since since they have had the same line-up since Welch joined them 16 years ago (and the other four have been together 40 years). Hearing is believing Sugar Ray and the BlueTones with "Seeing Is Believing" being another terrific recording of tough Chicago-styled blues.

I received my review copy from a publicist. This review originally appeared in the September-Octobetr 2016 Jazz & Blues Report (Issue 368). Here is Sugar Ray and the BlueTones in a 2016 performance.

Anthony Geraci and 50 Shades of Blue

“50 Shades of Blues” is a new Delta Groove recording by keyboard wizard Anthony Geraci and The Boston Blues All Stars. Geraci is best known in anchoring the keyboards for Sugar Ray and the Bluetones, and he is joined by his band-mates: Sugar Ray Norcia, guiatrist Monster Mike Welch, bassist Michael ‘Mudcat’ Ward and drummer Neil Gouvin (although Marty Richards handles the drum chair for most of this). Guests include Darrell Nulisch, Michelle ‘Evil Gal’ Wilson, and Toni Lynn Washington, who along with Norcia, handle the vocals. Geraci produced this, in addition to playing piano and organ, and writing all 13 songs.

He gives some really wonderful new blues heard in terrific performances by all involved. Darrell Nulisch sings the opening “Everything I Do Is Wrong,” that sounds a song Otis Rush should have recorded for Duke. It features a tough Welch solo while Geraci pounds the ivories. The title song follows, a jump blues duet shared by Norcia and Wilson, with rollicking piano. Welch plays in a T-Bone meets B.B. vein on this. The next two selections are classic Chicago styled blues. “Sad But True,” is a Tampa Red styled blues with Welch on slide and Norcia on harmonica. It is followed by the stunning Muddy Waters influenced “Heard Thet Tutweiler Whistle Blow,” with Norcia singing about going to Detroit to build a car for Mr. Ford. Geraci channels Little Johnny Jones and Otis Spann on these two songs.

More Otis Spann influence is present on the closing “Blues For David Maxwell,” a superb instrumental tribute to the late pianist with Geraci's at perhaps his finest (and he is exceptional thoughout). This performance builds in intensity as Welch adding fiery guitar before Ward’s bass leads the band into a surprising concluding portion where they evoke Pharoah Sanders “The Creator Has a Master Plan,” with Norcia playing wood flute here. It is a marvelous finale to a stellar recording. Anthony Geraci is a first-rate blues songwriter and a terrific keyboard player. With these superb musicians supporting him, there should be no surprise about the consistently marvelous music on “50 Shades of Blue.”

I received my copy from Delta Groove. Here is a performance from the CD release party.

Sugaray Rayford Is Dangerous

I was familiar with Caron 'Sugaray' Rayford prior to his joining The Manish Boys. About his self-produced debut album Blind Alley, I observed, "Not many singers can take us from the delta to the modern chitlin’ circuit as easily as he does. A big man with a big voice and plenty of personality that makes Blind Alley a recording to savor." He can be heard on "Double Dynamite," the most recent recording by The Manish Boys where he shared vocal duties with Finis Tasby. With Tasby's recent health problems, Sugaray Rayford has become the primary vocalist for the rotating talent that play in that group. 

Delta Groove has just released the label's first release by Sugaray Rayford, Dangerous. Producer Randy Chortkoff has brought together an impressive group of supporting players including harmonica players Sugar Ray Norcia, Kim Wilson, Big Pete and Chortkoff himself; guitarists Kid Andersen, Franck Goldwasser; Gino Matteo and Monster Mike Welch; keyboardists Anthony Geraci and Fred Kaplan; bassists Willie C. Campbell and Bill Stuve; and drummer Jimi Bott. Several tracks have the horns of saxophonist Ron Dziubla and trumpeter Mark Pender. This is a first-rate studio band to back Sugaray's vocals.

There is a nice mix of material from the Chicago blues shuffle that Sugar Ray Norcia penned, Country Boy, a song reminiscent of Dave Bartholomew's similarly titled track.which sports Norcia's harp as well. The Sugaray and Norcia trade vocals on Norcia's amusing Two Times Sugar with Monster Mike superb here. Sugaray's "Stuck For a Buck" is an amusing uptown number as his woman has maxed out his credit cards with punchy horns. Chortkoff contributed I'm Dangerous, a fine lyric that evokes Muddy Waters (especially Muddy's recording Evil) as Rayford shouts that he is a natural born lover. Going Back To Texas is another fine Muddy Waters styled number with a melody that goes at least back to Otis Spann's Hungry Country Girl, that the great pianist recorded with Fleetwood Mac. 

Goldwasser channels T-Bone Walker on the excellent rendition of Pee Wee Crayton's When it Rains It Pours as Sugaray gives a wonderfully nuanced vocal while he shouts out Gatemouth Brown's Depression Blues, with some terrifically slashing guitar in the  manner of fifties Johnny 'Guitar' Watson from Kid Andersen. Andersen and Chortkoff also shine backing Sugaray on the cover of Junior Parker's In The Dark. 

Closing out Dangerous is a rendition of Son House's Preaching Blues with some nice slide guitar from Goldwasser. It is an interesting and enjoyable performance, if not completely successful to these ears. It does not diminish the overall excellence of the blues heard here. Sugaray Rayford is such an impressive singer and with excellent material and the superb backing band, Dangerous is another terrific album from a gentleman who is quickly solidifying a place in the upper ranks of blues singers today.

I received my review copy from Delta Groove.  This will be issued on September 17. This review has also appeared in the September-October issue of Jazz & Blues Report (Issue 350) which may be downloaded as a pdf file at www.jazz-blues.com.  Here is a video of Sugaray with The Manish Boys.

Sugar Ray Norcia's My Life, My Friends, My Music

Severn has just released a new CD by Sugar Ray and the Blue Tones, My Life, My Friends, My Music. It has Sugar Ray Norcia backed by his long-time associates, Michael ‘Mudcat’ Ward, Neil Gouvin and Anthony Geraci with guests Duke Robillard, Monster Mike Welch, Greg Piccolo, Doug James, Carl Querfurth, and Bob Enos. It gives him a chance to be heard in both a jump blues vein (after all he was Roomful of Blues’ vocalist for several years), a fifties Chicago blues vein and in some more intimate settings as well. 

Norcia has established himself as a solid, strong vocalist and this recording is no exception although his covers of Oh, Babe, and I Like My Baby’s Pudding pale compared to Wyonnie Harris’ definitive renditions. An amusing original, Little Green Talking Frog, is in a similar musical vein and Norcia is not afraid to handle a New Orleans ballad, I Want To be With Her, as well as the Andy Kirk (Pha Terrell on vocal) classic, Until the Real Thing Comes Along, although overshadowed by fifties renditions by Big Joe Turner and Jimmy Witherspoon (Spoon’s rendition recently made available on a superb Mosaic Selects reissue).

 A certain imagination in backing is present on Money Taking Mama, with spare accompaniment led by Geraci’s strong piano which evokes Tampa Red and Big Maceo. It is followed by a nice reading of Rice Miller’s stop-time I Don’t Know. An original gospel tune, No Sorrow No More, has a Piedmont, Sonny Terry and Brownie McGhee flavor, while Do You Remember has him nicely handling a Big Maceo song, styling his vocal after the piano blues giant with Monster Mike Welch adding some nice acoustic guitar fills. 

Its another engaging release from Sugar Ray and his friends, imaginatively programmed and with his originals mixed in with songs that have not been recorded to death. Not an essential release, but one that certainly will entertain many.

This review originally appeared in the July-August 2007 Jazz & Blues Report (Issue 295). I likely received my review copy from a publicist. He is a performance by Sugar Ray & the Blue Tones from around the time this album was released.

Sugar Ray & The Bluetones Hit All The Right Notes

Severn has just issued the latest from Sugar Ray & the Bluetones, Evening. The latest from the veteran New England band featuring the vocals and harmonica of Ray Norcia, the piano of Anthony Geraci,and the guitar of Monster Mike Welch tackles a typical range of Chicago and modern urban blues which are played in a traditionally rooted, but fresh approach. Michael 'Mudcat' Ward's bass and Neil Gouvin's drums fill out the solid rhythm section for the Blue Tones,

I have been a fan of Norcia since when I saw him in 1978 backing J.B. Hutto in New York City (when Ronnie Earl was still with him), and since enjoyed his stint with Roomful of Blues in addition to his strong body of recordings, this new release brings together a few choice interpretations of less covered blues with idiomatic blues originals that thankfully show little, if any, blues-rock tinges.

This set kicks off with Johnny Young's I Having a Ball, with Norcia blasting out some harp and then belting out an ebullient vocal that captures the spirit of Young's original; as Geraci pounds away at the keys and Welch suggests the brilliance of the late Sammy Lawhorn with his accompanying riffs and single note runs. Welch contributed the slow blues Hard To Get Along, as Norcia sings about needing to get better than he is in a performance that evokes the classic Chess sound before they cover Otis Rush's Checker recording You Know My Love, which was based on Rush's Cobra recording My Love Will Never Die. It takes a fair amount of bravado to cover Rush, and Norcia able handles the vocal while Welch rips off strong guitar that recalls Rush.

The mood changes with the lazy groove of Dear John. Sugar Ray’s harp here shows a touch of Walter Horton's influence as Sugar Ray laments his women leaving for his brother John. Sugar Ray celebrates his woman on I Like What You Got, followed by the “talking blues vocal of Too Many Rules and Regulations, as Geraci channeling Otis Spann and Welch adds scintillating fills behind Sugar Ray's talking vocal. Dancing Bear (Little Indian Boy), opens with Norcia playing a native American Flute, before delivering a lyric singing about a proud Indian boy. It is followed by a nice rendition of the standard Evening, made famous by Jimmy Rushing and T-Bone Walker. Geraci is outstanding on piano and organ, while Welch rips off a hot solo.

The harp at the very beginning of I Came Down With The Blues suggests Slim Harpo before Sugar Ray eases into a more Sonny Boy Williamson II vein. I'm Certain That I'm Hurting, is a lively shuffle with Sugar Ray is hurting about his girl's flirting. The closing, slow instrumental XO, allows Sugar ray to demonstrate his fluid attack and strong tone. There are a couple songs on which the lyrics are not be as strong as the superb playing by the Bluetones, but they consistently nail the performances here. I previously mentioned the contributions of the soloists the contributions of bassist Ward and drummer Gouvin, who (with Geraci) provide the solid, swinging foundation here, merit commendation. Evening is another first-rate effort from Sugar Ray & the Bluetones.

This is scheduled for release on October 18, so consider this review a heads-up. A publicist provided me with my review copy.