Ilya Portnov Strong Brew

Ilya Portnov
Strong Brew
Self-Produced

Russian born harmonica player Portnov impresses on this most enjoyable collection of blues, gypsy jazz and other roots music. A background that included studying classical piano, he also absorbed rock and blues growing up. He studied at the New England Conservatory of Music wherever he received a Masters Degree. He was the first person accepted in NEC with the diatonic harmonica s his main instrument. Taught in Russia to play the harmonica, his teacher Alex Bratetsky showed him an overflow technique, and introduced him to harmonica innovators, Howard Levy, Jason Ricci and Carlos del Junco, making him realize he could play anything on the harmonica. Moving to the US enabled him to meet and study with them, and delve deeper into blues and other roots music including Brazilian choro.

On this nine song program Portnov is supported by Kid Andersen on guitar and bass, Chris Burns on piano and keyboards, June Core on drums with Ben Andrews (a member of Portnov's band Choro Bastardo) adding violin to two tracks, Rob Vye, adding guitar on one track and percussion on another, Robby Yamilov adding bass to one track. It was the recorded by Kid Andersen at his Greaseland Studios.

It opens with the very appealing, old time country tinged "Sunny Afternoon Blues," where his harmonica and Andrews' violin make for a very engaging performance with his playing evocative of jazz harmonica players such as Henrik Meurkens. Against an energetic gypsy flavor (Burns keyboards adds to the flavor with Andersen channeling the Ventures and other surf guitar instrumentals), Portnov dazzles with his sax-like lines.On "Dance Of A Lonely Doll," his wonderful playing is in a gypsy jazz vein with Burns deft piano accompaniment along with very light bass and drums. Rob Vye's guitar introduces Rev Gary Davis' "Cincinnati Flow Rag" with some wonderful fingerstyle picking before Portnov joins in and then the full ensemble on a lively acoustic band number.

The waltz "In a Town Garden" is another charming gypsy-flavored tune with some nicely played harmonica and organ from Burns. "Behind The Wall," is a solid instrumental in a Little Walter vein with some fat toned Mississippi saxophone while Burns and Anderson lay down some solid support and Core is superb on this easy rocking instrumental. The title track is a laid back, four o'clock in morning, blues instrumental played relatively softly with tasteful solos from Burns and Andersen in addition to the leader. "1928" is a lovely tango which also features Ben Andrews' violin.

Its back to the blues on the closing "Till Early Morning," with its infectious Bo Diddley groove and enticing tremolo employed in Andersen's guitar playing. Portnov is a marvelous harmonica player and is backed by the marvelous studio band on this marvelous recording.

I received my review copy from a publicist. Here is a performance by Robert Vye and Ilya Portnov.

Blue Rider Trio Harp, Steel and Guts

Blue Rider Trio

Harp, Steel and Guts

Mapleshade 06932

Salty Dog-1/ Easy Rider-1/ Last Fair Deal Going Down-1/ Death Have No Mercy In This Land/-1 Ride ‘Till I Die-1/ Make Me A Pallet -2/ Black Betty-1/ Stagolee/ Sweet Home Kokomo-1/ Silver City Bound/ Long Tall Mama-2/ See See Rider-1/ Diddy Wa Diddy-1. 47:43.

Ben Andrews, g, vcl; Mark Wenner hca-1; Jeff Sarli -b-1; Larry Willis-2. 12/99-01/00. Upper Marlboro, MD

The Blue Rider Trio is a Washington, D.C. area-based acoustic blues trio centered around Ben Andrews’ guitar and vocals. The Trio also includes Mark Wenner (of the well-known band, the Nighthawks) on harmonica, and Jeff Sarli (currently with John Mooney, and formerly with Big Joe & the Dynaflows and Bill Kirchen & Too Much Fun) on acoustic bass. "Harp, Steel and Guts" is the second Blue Rider Trio Mapleshade release, although the disc includes a couple solo tracks by Andrews and two duets by Andrews with pianist Larry Willis. 

While often described as a delta blues stylist, Andrews’ blues is as indebted to the East Coast blues tradition (particularly Blind Willie McTell), the music of Leadbelly, and the early city blues of Big Bill Broonzy and the like. Andrews is a very skilled guitarist, whether playing a slide solo or tear off a fingerstyle run. Throughout he maintains a steady, unhurried, rhythm. Andrews also injects plenty of personality to well worn songs. His version of Robert Johnson’s “Last Fair Deal Gone Down” transforms the Johnson lament in an lively East Coast blues with very nice slide guitar picking. “Sweet Home Kokomo” is less distinctive, and owes much more to Johnson’s “Sweet Home Chicago” than it does to Kokomo Arnold’s “Kokomo Blues.” Sarli consistently provides a steady rhythmic anchor and Wenner adds a most sympathetic accompanying voice. His atmospheric playing adds to Andrews’ solemn treatment of Reverend Gary Davis’ stark “Death Have No Mercy In This Land.” 

Andrews’ rendition of “Stagolee” is derived from Mississippi John Hurt’s recording, while “Silver City Bound” was originally a Leadbelly tribute to Blind Lemon Jefferson. The two duets with pianist Larry Willis are disappointing as Willis sounds a bit tentative accompanying Andrews. Occasionally the performances comes off a bit too self-conscious as on “Easy Rider”, but overall, this is music that has captured Andrews’ passion for many years and it sounds as if he is far from being bored with the songs here. One gaffe in the packaging has “See See Rider” called “C.C. Rider on the back tray card.

I received my review copy either from Mapleshade or from Cadence, in which this review originally appeared in 2001. This is available and also as part of "Early Morning Blues: The Complete Blue Trio Sessions." Ben Andrews passed away in 2011 and was only 51. I had the pleasure of knowing him and see him play numerous times and miss him. Here is a 1990 performance of "Gallows Pole."