Eddie C. Campbell That’s When I Know

Eddie C. Campbell
That’s When I Know
Blind Pig

This writer had the pleasure to see Eddie C. Campbell when he was part of Willie Dixon’s Chicago Blues All Stars in the late seventies, after his critically acclaimed LP King of the Jungle. Campbell’s distinctive playing and singing was a highlight. He moved overseas in 1984 and produced some of the best blues albums ever recorded in Europe. He has returned to the US in time for his wife to deliver a son, and produced this fine new album available on Blind Pig.

Comprised completely of Campbell originals, what sets apart both this album and Eddie’s music is how nicely paced it is. There’s no frenzy in his playing or mannerisms in his vocals. Both his slightly twangy guitar and his laconic singing are marked by a clean articulation of songs and notes, and his backing is tight, but never intrusive or overbearing. His songs hit a variety of moods, though usually marked by considerable humor. The echoes of his old friend, Magic Sam, might be evident, but he certainly is his own man.

About the only complaint one might raise is that this is over in a little over 40 minutes, but, another way to look at it is that it is all good stuff - it is a recording which possesses little filler. A very enjoyable listen.

I likely received a copy of this from Blind Pig. This review originally appeared in the December/ January 1994/1995 Jazz & Blues Report (issue 197). It is currently available used or as a download. Here is Eddie C. Campbell performing.

Mitch Woods And His Rocket 88’s Shakin’ The Shack
Blind Pig

San Francisco pianist Mitch Woods and his bay area jump band, the Rocket 88’s, serve up another helping of jump blues mixed in with some Professor Longhair inspired rockers. A two-handed pianist rooted in boogie woogie and post war jump blues piano, he is also a capable, if unexceptional vocalist. Woods’ Rocket 88’s are a solid band with two fine saxophonists, and Derek Irving’ s guitar. This is at least his fourth album and is comprised of a set of originals mostly patterned after the jump blues of the past. There are echoes here of Ray Charles, Professor Longhair, Louis Jordan, Larry Williams, and Amos Milburn, and if Woods doesn’t reach the level of these past masters, his performances are still quite good. The best track is the superb Cryin’ For My Baby, a slow blues reminiscent of Charles Brown’s Black Night. Not everything is based on classic jump blues. Zydeco the Boogie is a rocking zydeco number although but the lyrics about mixing zydeco and boogie ignores the fact Zydeco long ago incorporated elements of boogie woogie. The closing track, Bonin’, is a feature for guitarist Irving who turns in a T-Bone Walker styled performance. This is Mitch Woods’ most consistent album as he continues to help keep jump blues alive.

This review originally appeared in the January-February 1994 Jazz & Blues Report (Issue 188). I likely received a review copy from Blind Pig. Here is Mitch over 25 years later with a band including the late Herb Hardesty at the 2011 New Orleans and Jazz Heritage Festival.

Billy Branch Blues Shock

It has been years since Billy Branch’s last recording, a Japanese CD shared with guitarist Carlos Johnson, a decade ago. Thankfully Blind Pig has issued a new release by Branch and the Sons of the Blues, “Blues Shock,” that is a thoroughly entertaining, wonderfully played recording that showcases Branch’s heartfelt singing and songwriting on an imaginative, varied program. He is joined by Dan Carelli on guitar, Sumito ‘Ariyo’ Ariyoshi on keyboards, Nick Charles on bass and Moses Rutles Jr. on drums (and one vocal). Ronnie Baker Brooks guests on one track on guitar and vocal and the Chicago Horns led by Bill McFarland add punch to three tracks.

There is plenty of funk, down home groves and stellar musicianship. The CD opens with “Sons of the Blues” penned by Branch and poet Sterling Plumpp, on which Branch sings “some people don’t know my name because all they got is a very weak game, I am the son of the blues (2x).” Set against a strutting funk groove Branch lets us know he “is the man who makes the news” before blasting off a fiery harp solo set against the punchy horns. It’s followed by Branch picking up the chromatic for a terrific cover of “Crazy Mixed Up World,” which would make up Little Walter smile, especially his solo and special note should be made of the contributions Carelli and Ariyoshi provide with their fills in supporting the lead.

The title track is a punchy number built over Carelli’s slide guitar riff with the horns with Branch singing about a feeling coming over, it ain’t pneumonia or the flu, but its a crazy, funky feeling one can’t shake, the “Blues Shock.” It’s followed by the amusing “Dog House” as Branch and Brooks sing sleeping on the couch and the spouse leaving kibbles and bits for dinner. After this wonderfully paced performance, there is a straight cover of Shorty Long’s early Motown groover, “Function at the Junction” followed by the disc’s most remarkable performance, “Going to See Miss Gerri One More Time,” about Gerri Olivier who owned the legendary Palm Tavern in Chicago’s Bronzeville neighborhood for about 50 years. The Palm was a legendary place near the Regal Theatre and Branch recounts her coming from Jackson, Mississippi as part of the Great Migration and celebrates the Palm and the many legends who performed there before the Palm was torn down a few years back. There is a definite country-soul flavor to this remarkable performance that serves as a tribute to a remarkable lady.

Ariyoshi contributed the instrumental “Back Alley Cat” which allows Branch to showcase his harp set against Ariyoshi’s rolling piano. A rousing boogie rendition of John Lee Hooker’s “Boom Boom” is followed by Moses Rutles Jr.’s amusing vocal on”Slow Moe” highlighted by Rutles almost stuttering vocal and effective use of stop time by the band. Branch’s lyric about Slow Moe taking his time, as well as being built to last is supported by some superb harp in his backing. “Baby Let Me Butter Your Corn” is a burning shuttle with an amusing lyric (I’ll keep on churning till that butter comes”) and rollicking piano and harmonica solos.

An instrumental “Song For My Mother” closes this recording exhibiting his marvelous tone as well as his construction of his solo. It concludes one of the most stimulating recent blues recordings. “Blues Shock” mixes a variety of material and moods and will make one laugh as well as listen to Branch’s storytelling here along with some stunning musicianship.

I received my review copy from Blind Pig Records. Here is a video of "Blues Shock.

Shawn Holt & the Tear Drops Daddy Told Me

Shawn Holt is the son of the late blues legend, Morris “Magic Slim’ Holt, and after the passing of his father has taken over The Teardrops. Blind Pig has just issued the first CD from Shawn Holt and The Teardrops, Daddy Told Me, and it is a strong recording very much in the vein of his father with driving medium tempo shuffles and slow-drag, bump and grind, blues. In addition to his guitar and vocals, he is joined by Levi William on guitar, Chris Biedron on bass and Brian ‘B.J.’ Jones on drums. On two selections, John Primer, who had a long tenure playing with Magic Slim, replaces William.

The tone is set with the opening Fannie Mae, where the Teardrops groove kicks in with Holt delivering the lyrics playing stinging guitar. The title track is an original, but based on Howlin’ Wolf’s How Many More Years and Baby How Long. Holt is a terrific singer who sings a bit more directly than his late father, as heard on his rendition of A.C. Reed’s Buddy Buddy Friends. This was a staple of Magic Slim’s repertoire which might explain why is is erroneously credit to Holt and not Reed. Other standout tracks include the rollicking rendition of Jimmy Reed’s Down In Virginia, and the Junior Wells, classic Little By Little. Primer handles the vocal and lead on Bo Diddley’s Before You Accuse Me, and which incorporates  the Dust My Broom riff.

Besides his strong singing and guitar playing, Shawn Holt also contributed several originals including the title track and the powerful Love Got Me Walkin’. The music here never sounds hurried or frantic and the medium tempos will undoubtedly appeal to dancers. Shawn Holt and the Teardrops may be perpetuating Magic Slim’s legacy with the performances on this first-rate recording, but he also shows that he is himself a promising, significant voice for today’s blues.

I received my review copy from Blind Pig Records.  Shawn will be appearing at the Pennsylvania Blues Festival in July. Here is a video clip of Shawn at Kingston Mines in Chicago with Eddie Shaw making guest appearance.

Rod Piazza Kept It Real

Another older review of a Rod Piazza album that dates from 2004. Piazza has such a strong catalog that you should be aware of.

Rod Piazza and the Mighty Flyers have a new disc on Blind Pig, Keepin' It Real. Its the first disc to feature guitarist Henry Carvajal and drummer Paul Vincent Fasulo. Long-time bassist Bill Stuve remains along with Piazza and his wife, pianist Honey Piazza.


The album attempts to recreate the feel of their live performances with Piazza even introducing the band on the opening track, Big Blues Party. As might be expected, the group is tight and swings with the rhythm section being real fine. Drummer Fasulo is a fine replacement for Jimi Bott while guitarist Carvajal is another fine guitarist to play with Piazza, and takes a credible vocal on Ain't Nothing Happening.


There is a nice mix of material with the reworking of Baby Please Don't Go strongly evoking Muddy waters' classic recording. While I find Piazza an inconsistent singer, he is strong on the rocking Baby Please Don't Go, patterned after Muddy Waters' classic recording. Of course he is a brilliant harp player as the evocative West Coast Midnight Blues displays as does his consistently swinging, and inventive, playing that also displays his marvelous full-tone. Piazza is a master of the Mississippi Saxophone indeed.


Like his live performances, this set contains a boogie feature for Honey Piazza, Buzzin', which unfortunately goes on too long as doesthe closing Devil's Foot. One problem with an album like this, the attempt to recreate a live performance leads to the failure to edit one's performances which mar what is otherwise an enjoyable album.


Unfortunately, Piazza has a back catalog that this competes with and for those new to him, I would recommend the exceptional two-cd survey of his career that appeared on Tone-Cool a couple years ago.

This review was written in 2004 and likely appeared in the DC Blues Calendar, then the DC Blues Society’s newsletter which I edited at the time. I received my review copy from the record label.

Robin Rogers New CD is Reason to Celebrate Her

The release of Robin Rogers’ new Blind Pig CD, “Back in the Fire,” should have been a cause of celebration and a further step in her career’s evolution and growth. However, serious health issues have arisen (discussed below) that may soon still this powerful and soulful voice. The comments of her many admirers and friends suggest that this will be a considerable loss, both in musical and personal terms. I have not had the pleasure of meeting her or seeing her perform, but statements from fellow blues-woman Debbie Davies, and XM-Sirius blues programmer, Bill Wax, make it clear that she is a very special person, not simply a special talent.


And what a voice she has. She sings with complete authority and total conviction which is evident on the opening track, “Baby Bye-Bye,” that starts with hard hitting guitar from her husband Tony, before Robin emphatically tells her ex that the only one he loves is himself and he ain’t gonna steal Robin’s pride. Tony Rogers builds a nice solo here with the rest of the band solidly keeping the groove (and in the case of Mark Stallings on organ add to the atmosphere). Its a strong performance of a striking lyric. Robin adds nice harp to “Second Time Around,” with Kerry Brooks on bass, producer-drummer Jim Brock and Stallings on piano maintaining an easy shuffle groove with Robin taking a nice harp solo on a lively performance. “You Don’t Know,” takes down the heat down as Robin sings in a low-key manner about how she has rested in the shadows and let love pass her by as she has been hurt too many time. Again, the Rogers have such a way with words and Robin sings with as much soul here and Tony adds a sweet guitar solo.

Photo by Bob Hakins
courtesy of Blind Pig Records

Among other selections, Robin marvelously interprets the Little Willie John classic “Need Your Love So Bad,” with horns part of the backing and Bob Margolin guests and palys a strong guitar solo. “I Know I Done Wrong,” is a lively number with a New Orleans flavored groove as Robin admits she has been a bit wild. In this disc of wonderful performances, the most powerful may be “Don’t Walk Away Run,” Chuck Glass’ song of spouse abuse as Robin entreats her friend to get away from the abuser who drinks too much and loves to fight with no one his own size. The simple backing helps make Robin’s urging that her friend “leave him tonight before the morning sun, don’t walk away (pause) run,” stand out even more. Robin’s harp also adds to the mood on this compelling performance.

This terrific recording is counter-balanced by the fact that less than a month prior to its release, Robin Rogers, who had hospitalized for sever liver problem, was diagnosed with liver cancer.  A scan prior to surgery revealed an untreatable cancerous tumor on her liver.  She is not a candidate for a liver transplant so she had been sent home for hospice care. A trust fund has been set up to help with medical expenses and also aid for Tony who will be out of work. Like most musicians, they do not have health insurance and depend on touring income for their livelihood.  Expenses for hospice care, medicine, and everyday living will be extremely high.  Much of this is taken from from the Blind Pig Records website, which also has information on how one can help Robin and Tony and provides information on benefits as well (there is a Facebook page, Robin Rogers Benefit Central), and to a paypal link on the Charlotte Blues Society's homepage  to make direct donations. There is also a direct link to Robin Rogers’s webpage, www.robinrogers.com, from which one can directly purchase Robin’s CDs including the excellent “Back in the Fire.”


For FTC purposes, Blind Pig records sent the review copy of this. I also have separately purchased a copy of this recording and made a donation to Robin. I hope that other blues and music fans will take my lead and buy some of her wonderful music from her website.

John Németh's Magic Touch

In light of John Németh's new Blind Pig release, Love Me Tonight, I thought it would be appropriate to post a review of his earlier Blind Pig disc, Magic Touch, which has been posted on Amazon.com. I wrote this in early 2007.

One of the real pleasures I have is hearing a new voice that just blows me away being rooted deep in the blues tradition, yet singing and playing with an authority that would have been at home on a blues recording 40 years ago. Born in Idaho, John Németh has been growing a body of followers including guitarist Junior Watson and Steady Rollin’ Bob Margolin and after a couple of CDs has signed with Blind Pig and has a new CD, Magic Touch, that is a stunning release. He is simply a wonderful singer that to this listener suggests Junior Parker mixed with Bobby Radcliffe and an equally superb harp player. This CD is produced by Anson Funderburgh (who plays on 1 track) with Németh backed by a terrific band that includes great Junior Watson on guitar and Kaz Kazanoff and the Texas Horns. Németh blasts off with a strong reworking of Junior Wells’ Blues Hit Big Town (great harp along with the vocal) before followed by the funky originals Blue Broadway and the title track, both sporting strong crying vocals and terrific playing from Watson (who gets into a rock and roll vein on the title track). Willie Dixon’s Sit and Cry the Blues, was one of Buddy Guy’s earliest recordings and the version here with Watson’s evocation of Ike Turner’s trebly playing on Guy’s original as Németh’s convincingly the lyrics in his natural soulful style. She Did Not Show sports some harp in a Rice Miller vein on a blues set to the Sittin’ on Top of the World/ Some Cold Rainy Day melody, while Up to No Good evokes Sam Cooke’s Bring It On Home, with more exquisite harp playing. Come On, a polka-blues (yes you read that correctly) closes this album on a fresh, delightful note. Blind Pig in their publicity for this suggests that Magic Touch “is destined to be one of the most remarked upon releases of 2007.” Well it is January as I write this, but they are likely right, as this is simply terrific and hopefully Németh will do so touring in support of this.

Blind Pig's latest releases are a mixed bag

Couple of new releases from Blind Pig to briefly note. One is the latest from Magic Slim & the Teardrops, Midnight Blues. It is an enjoyable release in his immediately recognizable sound with his grinding slow blues and highly danceable walking shuffles with his solid singing and stinging lead guitar. He is backed by his band of guitarist Jon McDonald; bassist Danny O’Connor and drummer David Simms, with guest appearances by James Cotton, Lil Ed Williams, Lonnie Brooks, Elvin Bishop, and a Gene Barge horn section. Its a typical mix of originals and lesser known blues from other singers. Let Me Love You, is a typical Slim shuffle with a driving beat and a solid vocal followed by a nice rendition of Muddy Waters’ You Can’t Lose What You Ain’t Never Had, with James Cotton chiming in on harp. Lil Ed joins for the frantic rendition of Hound Dog Taylor’s Give Me Back My Wig, that is a tad busy sounding. Little Milton’s Lonely Man, is slightly flat, but the take on Spider in My Stew, with Lonnie Brooks guesting, is much better as Slim and company grind out a most persuasive performance. The country flavor of Going Down The Road Feeling Bad, adds variety but its more of a novelty track here. Full Load Boogie, is a nondescript instrumental but followed by a terrific take of Muddy’s Crosseyed Cat with a groove that chugs along like an irresistible force. Elvin Bishop helps out on the slow-drag Carla, while Slim reworks Cryin’ Won’t Make You Stay, from a slow-drag number to a jaunty shuffle employing the Dust My Broom, groove. A few tracks may be relatively disappointing, as Slim seems incapable of producing a bad recording. This is not Slim’s most impressive effort, but its far from a poor effort.

The other new Blind Pig disc is a live release by Albert Cummings, Feel So Good, that I would describe as a blues-tinged hard rock date as opposed to a blues. A power guitarist, just supported by bass and trio. He bellows out his vocals while hammering out some sizzling guitar pyrotechnics. The opening Party Right Here, and the succeeding Why Me, have a flavor not dissimilar from what one might see/hear on CMT or some contemporary country stations, although a bit more rocked out and certainly not sung with any great distinction, and taken at breakneck tempos. Sleep, a somewhat dreamy rock ballad is taken at a slow tempo with a more relaxed vocal and nice thoughtful guitar. A medley of Hootchie Cootchie with Dixie Chicken owes more to the Allman Brothers, Z.Z. Hill and other southern boogie rockers than Muddy Waters or B.B. King which also is evident by Barrelhouse Blues, which evokes Hendrix’s Voodoo Chile, while Your Own Way, is musically suggestive of All Along the Watchtower, with a long-extended screaming guitar solo, Cummings does a creditable hard-rock rendition of Led Zeppelin’s Rock & Roll, which indicates where the core of Cummins’ musical heart is. He bellows out that the Blues Makes Me Feel So Good, but this disc must not be the blues, because it don’t make me feel that way.

Blind Pig Signs Big James Montgomery, appearing in Baltimore area August 31

Big James Montgomery IMG_1210.JPG
Originally uploaded by NoVARon

One of the real pleasant surprises of the 2006 Pocono Blues Festival was the performance by Big James and the Chicago Playboys. James Montgomery is a big man and he has a presence as a singer and when playing his trombone as well as is backed by his fine band which adds a heafty dose of soul and funk to his blues stew. At the festival I purchased Now You Know, which was his third CD (self-released and included nice recordings of some of the songs he performed including the title track, "Chicago Is Da' Home 4 Da' Blues", "Hustler's Paradise," and Albert King's "Angel of Mercy." What a nice soulful vocal delivery he has, and his trombone along with the guitarist and other bandmembers play some interesting and funky stuff. More recently he issued Thank God I Got the Blues, that is a similarly fine effort, celebrating the blues with plenty of heart of soul.

Yesterday (August 25), I got an email from Blind Pig announcing they signed Big James. "Blind Pig Records has announced the signing of Big James & the Chicago Playboys, a brass band that combines blues, soul, R&B and funk into a rollicking, horn-drenched stage party.

The bandleader and trombone player, Big James Montgomery, who also serves as singer, songwriter, and producer for the group, sports a voice as big as his girth. This year he received his second Blues Music Award nomination as “Horn Instrumentalist” and the title track from his last solo effort, Thank God I Got The Blues, will be featured in the upcoming movie Cleaner, starring Samuel L. Jackson and Eva Mendes."

The press release also notes that Big James Montgomery is a three time winner of Living Blues magazine’s Critic’s Choice Award for “Most Outstanding Horn Player and that he will start working ona new album in November.

While I would not use the term brass band to describe his sound, I agree his horn-led band mixes blues, soul and funk for a rollicking, horn-drenched stage party that is unique in the blues today. For those in the Baltimore-Washington area he is appearing at the Baltimore Blues Society's Alonzo Memorial Picnic on Sunday August 31 at the Rosedale MD American Legion Hall. For information on that event visit the BBS website. His CDs, Thank God I Got The Blues and Thank God I Got The Blues are available at cdbaby.com.

Nappy Brown returns

Its been a decade since Napoleon Brown Goodson Culp, better known as Nappy Brown, last had a new recording out. Thanks to producer Scott Cable, Brown has a terrific new recording available on Blind Pig, Long Time Coming. Helping on this new recording is a terrific band that includes guitarists Bob Margolin, Junior Watson and Sean Costello, keyboardist Jim Pugh, bassist Mookie Brill, saxophonist and harpist John Nemeth, and drummer Big Joe Maher. There is a mix of new versions of some of the songs most associated with Nappy Brown (Don’t Be Angry and The Right Time (which Ray Charles made famous as Night Time is the Right Time) along with a nice selection of material that range from hot jump blues like the opening Keep On Pleasin’ You to the more downhome feel of Walter 'Lightning Bug' Rhodes Aw Shucks Baby, You Were a Long Time Coming and the Little Walter classic Who. Aw Shucks Baby is the one track not from this session as it was from a performance at the Phoenix, Arizona club, The Rhythm Room. Brown's voice sounds like he has lost little over the years, comparing his renditions of Aw Shucks Baby and The Right Time with renditions on a 1991 Ichiban album by him. The new versions benefit from a much crisper band that adds more punch to the proceedings. I know Margolin has performed with Nappy over the years, but special mention must be made of Big Joe Maher’s drumming. Maher anchored the band that backed Nappy Brown in 1991 DC Blues Festival, and besides his own swing based jump blues, has been a sought after drummer for touring acts as diverse as Earl King, Johnny Adams, James ‘Thunderbird’ Davis, and Jimmy ‘T-99’ Nelson. Maher’s playing playing is consistently in the pocket. The foundation of Maher's drums and the electric bass of Mookie Brill is one reason the music here sounds so crisp and vigorous. There is plenty of terrific guitar throughout and Nappy is in real good voice, whether employing a stuttering shouting vocal on Don’t Be Angry, handling a ballad, Give Me Your Love, or singing with faith on the closing, Take Care of Me. One would be hard pressed to find any recording by Nappy as good as this one since his classic Savoy recordings. Highly recommended. For those in the Washington DC area, Nappy Brown appears at the State Theatre in Falls Church, November 2.