Duke Robillard & Friends Blues Bash!

Duke Robillard & Friends
Blues Bash!
Stony Plain

Duke Robillard had built up such a distinguished body of recordings as an artist and producer over five decades. This latest release is another chapter in his well-regarded career about which he states is "packed with plenty of bright sounding Fender guitar a la Ike Turner, Lefty Bates, etc. Just a good listening or dancing record like the blues records I bought when I was a kid." His intent was "to make a straight vintage-style blues album with rhythmic grooves and no hook-laden songs." "Blues Bash!" Certainly accomplishes his objective.

Playing on this recording is his band of Bruce Bears on keyboards, Mark Texiera on drums, and either Jesse Williams or Marty Ballou on bass. Then there is the horn section of Greg Piccolo on tenor sax, Rich Lataille on alto and tenor sax, and Doug James on baritone sax. Mark Hummel adds harmonica, and Robert Welch adds piano on one track. On a cover of Smiley Lewis' "Ain't Gonna Do It," the band consists of Mark Braun on piano, Marty Ballou on bass, Marty Richards on drums, Al Basile on cornet, and Sax Gordon on sax. Besides Duke, Chris Cote and Michelle Willson are heard on vocals.

Duke is focused playing his Fender guitar on these recordings, whether evoking Ike Turner behind Cote's vocal on the cover of the Kings of Rhythm recording "Do You Mean It," or channeling Lefty Bates on a rendition of Bates' instrumental "Rock Alley." He plays in the manner of Johnny Rogers in the cover of Roy Milton's shuffle "What Can I Do," as well as suggesting early Johnny Guitar Watson on "Give Me All the Love You Got."

The music is impeccably played with some top-flight singing, especially from Cote on "Do You Mean It" and Wilson, as she interprets a lesser-known Helen Humes recording, "You Played on My Piano." Her vocal exhibits plenty of humor the lyrics lend themselves to. Duke himself sings quite well with the Chicago styled blues "No Time," with Mark Hummel adding harmonica on perhaps Duke's finest vocal on the album. The other players are sterling, including Piccolo with a booting tenor sax solo on "Rock Alley" and Doug James rousing baritone on "You Played on My Piano."

The rest of the ten tracks are as entertaining and well-played with a special salute to the jazzy atmospheric instrumental "Just Chillin'" that closes this latest outstanding recording from Duke Robillard.

I received my review copy from a publicist. Here is "Do You Mean It!" from Blues Bash!"

Joe Louis Walker Viva Las Vegas Live

Joe Louis Walker
Viva Las Vegas Live
Cleopatra Blues

"Viva Las Vegas Live" is, I believe, the 26th album from Joe Louis Walker, and the 4th live album, in his Hall of Fame recording career that goes back to 1986. Of the blues artists who emerged from the 1970s on, I would be hard-pressed to find one who has produced such a substantial body of music as well as continues to play such a diverse repertoire. Besides his superb, imaginative guitar playing, he is one of today's blues most powerful, moving singers.

"Viva Las Vegas Live" is available as a CD/DVD package, with the same music on both. It was recorded and filmed at The Railhead at the Boulder Station Hotel and Casino on August 2, 2018. In addition to Walker's guitar and vocals, Bruce Bears is on keyboards, Lenny Bradford on bass, and Dorian Randolph on drums.

The songs here span over two decades of Walker's career opening with the hot rocking "I'm Not Messin' Around" and include the driving blues-rock of "Do You Love Me." One risk of live recordings is that some performances are better experienced live. On disc, the same performance sounds over-extended. "Sugar Mama" has strong vocals and guitar, Bears is first-rate, and Walker even plays some harmonica, but at 16 minutes it goes on a bit too long for these ears. While lengthy, it is not a poor performance.

One can appreciate that Walker maintains such a broad and deep repertoire. "In the Morning" was the title track of his 2002 Telarc album, while "Soldier For Jesus" harkens back to his gospel roots. A rollicking rendition of "Too Drunk To Drive Drunk" has some Chuck Berry styled guitar along with Bears' barrelhouse piano. A rocking "Like It That Way," with some intense guitar has him tell his women to give Walker all her love, that's all he needs. All the band members solo on this selection.

The DVD is pretty straight-forward in presenting these performances with crisp camera work that focuses on Walker and his band. There may be a few flaws here, but that does change the fact that this album is an accomplished live recording.

I purchased this. Here is the official trailer for this release.

Duke Robillard And His Dames Of Rhythm

Duke Robillard
And His Dames Of Rhythm
M.C. Records

This new release from Duke Robillard is a bucket item dream come true with him on acoustic arch-top guitar and occasional vocals along with his rhythm section of Bruce Bears on keyboards (with Kelley Hunt subbing on three tracks); Brad Hallen on bass; and Mark Teixeira on drums. There is also a horn section including regular collaborators Billy Novick on clarinet and alto saxophone; Rich Lataille on alto and tenor saxophone and clarinet; Carl Querfurth on trombone; and from Vince Giordano's Nighthawks, Jon Erik Kellso on trumpet and Andy Stein on violin, with arrangements mostly from Novick or Kellso. With these players, Duke has a program of songs form the twenties and the early thirties with the dames of Rhythm, Sunny Crownover, Kelley Hunt, Elizabeth McGovern, Maria Muldaur, Madeleine Peyroux and Catherine Russell handling the bulk of the vocals with Duke adding a couple.

The general tenor of the music here is early and pre-bop swing jazz as opposed to the jump blues of much of Duke's recordings. The music is handsomely played and the ambience is not far from that of Giordano's Nighthawks starting off with Crownover's bright, cheerful vocal, joined by Duke here, on the opening "From Monday On," with some terrific violin from Stein, and followed by Muldaur's wistful handling of "Got the South in My Soul," with Querfurth's growling trombone adding flavor, a lovely clarinet solo from Novick and a brief guitar break. Crownover has a naughty innocence on "My Heart Belongs To Daddy," with its light Latin groove and marvelous Novick arrangement.

Peyroux's is flirty on "Squeeze Me," however she lacks the emotional depth of Billie Holiday on "Easy Living," although she is nicely supported. Similarly, Elizabeth McGovern comes off lightweight on her interpretation of another number associated with Holiday, "Me, Myself and I." Catherine Russell is superb as always on a sublime rendition of Benny Carter's "Blues In My Heart," with John Kellso's superb arrangement and growling trumpet (along with Querfurth's similarly toned trombone) lending this sublime performance an Ellingtonian flavor.

"Please Don't Talk About Me When I'm Gone" features singing from Kelley Hunt with sparse backing primarily from Bears and Duke for the first couple verses, before the rhythm kicks in to back Mark Earley's tenor sax solo followed by Kellso's trumpet and then she leads the band on a rousing close. She also has a marvelous take on "Lotus Blossom," a number I am familiar with from Jimmy Witherspoon, and kudos to Rich Lataille for his arrangement. With the combination of Duke's guitar, her piano, Novick's clarinet, and Stein's violin, she does a marvelous rendition of the torch song, "If I Could Be With You (One Hour Tonight)."

Duke's own vocal features include the bouncy "Walking Stick," with Kellso's arrangement showcasing Stein along with Kellso's fiery trumpet, along with the gently swinging lament "What's The Reason (I'm Not Pleasin' You)." The instrumental "Call of the Freaks" closes this out with Duke playing Lonnie Johnson to Kellso's Henry 'Red' Allen on a nice rendition of a tune recorded by Catherine Russell's father, Luis in the early 1930s. If the vocals by Hunt and Russell stand out over the others here, it should be noted that there is appeal to all of the vocals, and does nothing to lessen the delights heard in Duke's revival of some musical gems from the distant past.

I received my review copy from M.C. Records. Here is "Squeeze Me," from the album.

Paul Gabriel Man of Many Blues

Paul Gabriel
Man of Many Blues
Smoke Ring Records

"Man of Many Blues" is the latest CD from New England based guitarist-singer Paul Gabriel. Duke Robillard, who also plays on this recording, produced it. Gabriels performs 13 originals and is backed by an all-star cast of musicians, including Duke Robillard (acoustic archtop guitar, electric guitar); Scott Spray (a veteran of both Edgar and Johnny Winter bands), long-time Gabriel friend and band member Frank Davis and Paul Opalach (bass); Mark Teixeira (drums); Sugar Ray Norcia (harmonica); Bruce Bears (piano and Hammond organ); Lonnie Gasperini (Hammond organ); Howard Eldridge (vocals); Christine Ohlman (backing vocals); Mark Earley (tenor and baritone sax); and Doug James (baritone sax). This is the second album by Gabriel that Robillard has produced and it is dedicated to Gabriel's friend Georgia Louis, a 1960s Gospel and Blues singer.

The recording has a varied program of blues, blues-infused rhythm and blues and pop. Gabriel, to these ears, strength is his vocals. He sings naturally with a relaxed sense of timing that this listener finds appealing. He has written several memorable, adult songs that are handsomely played with some strong solos, but the performances are vocal focused. There is a celebration of music on the opening track, a New Orleans blues "I Feel Good." On the pop-flavored "Cold Cold Cold" with Mark Earley's tenor sax adds flavor to a song that has hints of the music of Steely Dan, and Hall and Oates. Sugar Ray Norcia adds his harmonica to the folk-blues lament, "I'll Be That Way Sometime." There is a Johnny 'Guitar' Watson funk flavor to "No Finance No Romance" on which Howard Eldridge shares the vocal.

"Blues For Georgia," dedicated to Georgia Louis, is a jazzy R&B instrumental displaying Gabriel's thoughtful, non-flashy guitar playing. There is the world-weary humor of "Second Story Man," as he traipses all across town with a woman who can't find her key when she gets home. Both Gabriel and Robillard have concise solos on this. Musically "Man of Many Blues" evokes some of Johnny Adams' Rounder recordings. It has a lyric about a person who took some abuse in his life but never took shortcuts with some biting jazz-inflected blues guitar. "Face Full of Frown" is a lively jump blues shuffle with a driving guitar solo. Dear John Letter" closes this CD in an album rock vein with some searing guitar.

 I do have one complaint, and that is the text on the album cover is very difficult to read. The red type on the dark brown background does not help the legibility of text. About the music, I enjoyed it very much. I might not call this is the best thing since sliced toast with orange marmalade, but Paul Gabriel brings sophistication and a deep blues feeling to these well-recorded, well-performed and delightful musical performances.

I received my review copy from a publicist. This review appeared in the September-October 2019 Jazz & Blues Report (Issue 386), although I made minor stylistic changes. Here he performs "Blues For Georgia."

The Duke Robillard Band Ear Worms

The Duke Robillard Band
Ear Worms
Stony Plain

About "Ear Worms," his latest recording Duke Robillard states "“Ear Worms was conceived as an album of songs that I heard and was attracted to growing up. They are not of one particular genre or style, but rather songs I heard in my pre-teens to my later teens." The term 'ear worms' itself refers to "a song you can’t get out of your head because you love it so much, or it can also be a mundane piece of drivel that haunts you like a bad dream." Besides find some choice gems, he also has contributed some originals.

Backing Duke and his guitar is his long-term band of Bruce Bears on keyboards, Brad Hellen on bass and Mark Teixeira on drums. Robillard, Bears, and Teixeira each sing one vocal apiece, with guests Dave Howard, Julie Grant, Sunny Crownover, Chris Cole, Mark Cutler, and Klem Klimek, handling the remaining vocals. Duke himself observes he only sings one tune here as his voice has been giving him trouble. A variety of players add their instrumental talents to various tracks. This is a fun, wonderfully played recording with the liner booklets including Duke's comments on each song.

"Don't Bother Trying To Steal Her Love" opens this recording with Dave Holland ably handling the vocal. On this Duke channels Ike Turner a little in his rock and roll solo, Duke's only vocal is on the Gerry Goffin and Carole King penned "On This Side Of Goodbye," which he derives from an Eric Burdon recording. It is Baxter Hall doing the guitar rave-up. "Living With The Animals" was the title of an album by Mother Earth with Duke sounding like B.B. King backing Chris Cote's vocal. Duke's instrumental take on "Careless Love," that he opens focusing on the low strings with reverb and tremolo in Duane Eddy's style before moving to his own style with Bears taking a taut solo and the band striking a nice shuffle groove for all the swing dancers. Other instrumentals include his relaxed, trebly rendition of Arthur Alexander's"Soldier of Love," and the burn the town down cover of Link Wray's "Rawhide."

Arthur Alexander's "Everyday I Have To Cry Some" may be most familiar from Dusty Springfield's recording, but was also recorded by another British singer Julie Grant, who Duke met as a booking agent for Connecticut casinos and then discovered her history. She reprises her recording with Sunny Crownover adding her vocal here with terrific backing. Crownover does a marvelous job reworking Brenda Lee's hit, "Sweet Nothin's." Klem Klimek sounds like Levon Helm on Chuck Berry's "Dear Dad," on which one can almost imagine Duke doing a duck walk. Bruce Bears sings a nice rendition of Lee Dorsey's "Yes We Can" while Teixeira does the same on The Neville's "Yellow Moon." These are marvelously played covers of the New Orleans music classics.

A lovely, jazzy instrumental treatment of "You Belong to Me," brings this thoroughly engaging release to a close. I am sure I am not the only one who will have some 'ear worms' from the performances here.

I received my review copy from a publicist. This review appeared in the May-June 2019 Jazz & Blues Report (Issue 384) although I have made stylistic revisions. Here is a recent performance of Duke Robillard doing a Tom Waits song.

 

Duke Robillard and His All-Star Combo - Blues Full Circle

Duke Robillard and His All-Star Combo
Blues Full Circle
Stony Plain Records

"Blues Full Circle," the title of Duke Robillard's new Stony Plain recording, in part refers to his back to the basics approach of this mostly small band, old school blues. Duke is joined here by his long-time associates Bruce Bears on keyboards, Brad Hallen on bass and Mark Teixeira on drums with Gordon Beadle and Doug James each adding sax to one track There are guest vocals from Sugar Ray Norcia and Kelley Hunt and Jimmy Vaughan adding his guitar on one selection. Duke contributed eleven songs, eight recent ones (one a collaboration with Vaughn) and three from 30 to 45 years ago. Kelley Hunt contributed one and one was a Jimmy 'Baby Face' Lewis song.

Recording of this album was interrupted after recording of seven songs by rotator cuff surgery and after a year off the remainder was cut. I have noticed that in recent recordings Duke's phrasing of his vocals sound self-consciously deliberate. This can be heard on several tracks here including the opening "Lay a Little Lovin' on Me," although as one listens to the excellent performances here it is a minor issue. The spirit of Eddie 'Guitar Slim' Jones is evident on several selections here including the tribute "Blues For Eddie Jones" as well as "Rain keeps Falling," with the slashing guitar work and the slow "Morning Dove" that also suggests Johnny 'Guitar' Watson, one of numerous guitarists influenced by Slim (also Albert Collins, Buddy Guy, and Earl King).

A nicely paced shuffle "No More Tears," finds Duke more in a B.B. King guitar vein while "Last Night" is influenced by some of the Duke recordings of Bobby Bland and Junior Parker with a superb Sugar Ray Norcia vocal and Sax Beadle adding tenor and baritone. After the New Orleans groove of "Fool About My Money" with terrific piano from Bears, Kelley Hunt takes the vocal and boogie piano (Bears is on organ here) on her rollicking celebration of Duke's home studio "The Mood Room." Doug James adds baritone sax behind Duke and Jimmy Vaughan on their easy rocking instrumental duet "Shufflin' and Scufflin'," with some organ grease from Bears in addition to the expected superb solos from both guitarists.

As usual, Duke's band is in top form, and whatever quibbles I might have about Duke's singing (and it is a minor point), the music on "Blues Full Circle" is exceptional.

I received my review copy from a publicist. This review originally appeared in the November-December 2016 Jazz & Blues Report (Issue 369) although there are corrections and minor revisions from that published review. Here is Duke and Monster Mike Welch along with Duke's band.

 

Billy Price & Otis Clay This Time For Real

 

This writer remembers listening to the legendary Washington DC radio programmer, Jerry "The Bama" Washington, in the 1980s playing some deep soul along with blues on his Saturday afternoon WPFW program. It is where I first became introduced to the remarkable blues-eyed deep soul singer, Billy Price. Price grew up and modeled his music on the Hi Records great like O.V. Wright, Al Green, Syl Johnson and Otis Clay. On his first album, the title track was his take on Clay's "Is It Over?" On the basis of that recording, Clay joined Price, in the early eighties, on stage to sing it as a duet in a Washington DC club. And the two have been doing it together for years on stage, but finally Price and Clay have an album together, "This Time For Real" on the VizzTone distributed Bonedog Records.

Duke Robillard produced this and brings his guitar along with his band of Brice Bears on keyboards, Brad Hallen on bass, Mark Teixara on drums, Mark Earley on saxophones and Doug Woolverton on trumpet (Earley did the horn arrangements), with Theresa Davis, Dianne Madison and Diana Simon adding backing vocals. Together they produce some strong idiomatic backing modeled after the classic Stax and Hi recordings that provides a solid foundation for Price and Clay.

Otis Clay is a remarkable singer, although one might detect slight aging in his voice. However, it is not reflected in the character or phrasing here. Price's urgent style complements Clay so they come off quite well, like a modern Sam and Dave or Bobby and James Purifoy. The album kicks off on a strong note with the driving "Somebody's Changing My Baby's Sweet Mind," with the two taking things down on the ballad "I'm Afraid of Losing You." Clay did the classic Spinners classic "Love Don't Love Nobody" on his "Live in Japan" recording, and the two interpret in a manner that captures a bit more of the Philly Soul feel of the Spinners original.

"Going to the Shack" captures the classic Stax sound while the two reprise a Joe Tex ballad "I'll Never Do You Wrong." The funk of "Broadway Walk," with a choice Robillard solo, is followed with the country soul feel of "Book of Memories." This disc closes with a ripping rendition of Sam and Dave's "You Got Me Hummin'," that closes wonderful deep soul collaboration. It took three decades but finally Price and Clay got it done on "This Time For Real."

I received a review copy from VizzTone. Here is Otis Clay performing an O.V. Wright classic that has become a staple of Clay's repertoire as well as tune Billy price has also handled.

The Blues Soul of Billy Boy Arnold

Produced by Duke Robillard, Billy Boy Arnold’s new Stony Plain recording “The Blues Soul of Billy Boy Arnold” has him performing songs he has long loved along with originals, early R&B songs, blues/jazz standards and some rare soul gems. Arnold’s vocals and harmonica are backed by Robillard’s guitar and band with Bruce Bears on keyboards, Brad Hallen on bass and Mark Teixeira’s drums with a horn section of regular Robillard associates Rich Lataille, Mark Earley and Doug Wooverton.

Arnold can be an effective vocalist but with some exceptions, including a compelling West Side Chicago blues-styled remake of B.B. King’s “Worried Dream” (with some great Robillard guilt), and the classic Chicago blues shuffle groove of Arnold’s original “What’s on the Menu Mama,” most of this is simply pleasant. Arnold’s use of harp on an old Mack Rice soul classic “Coal Man” gives it a different flavor, but his limited range and simple vocal style doesn't render a strong impression on the old Eddie Miller classic “I’d Rather Drink Muddy Water” or “Nat Adderly’s “Work Song” (with Oscar brown’s lyrics). These are not bad performances, but there are many better recordings of “Muddy Water” (thinking Lou Rawls and Carmen Bradford) and Gregory Porter has placed his stamp on “Work Song.”

There is a nice variety of material and Duke has provided solid settings for Arnold’s singing with solid playing by all including nice slide guitar from Duke on “99 LBs.”  Bears plays some rollicking piano on ”Muddy Water,” and displays a jazzy touch on “St. James Infirmary.” Arnold adds nice harp throughout in his distinctive style and the ensemble give a touch of Southern Soul in the backing for the remakes of “Coal Man” and Joe Tex’s still relevant topical song “A Mother’s Prayer.” They also do a solid job in backing Arnold on a nicely done Ray Charles cover, “Don’t Set Me Free” 

“The Blues Soul of Billy Boy Arnold" is an enjoyable recording with a couple of stand-out selections.

I received my review copy from a publicist.  Here is Billy Boy from several decades ago strongly singing a Jimmy McCracklin classic.

Andy Poxon Tomorrow

I first became aware of Andy Poxon as a mid-teen guitar prodigy with a distinctive red-haired afro. Recently I saw him with DC area saxophonist Scott Ramminger with whom he had shared a short tour and the two were playing songs from their respective recent releases. Listening critically I was struck by the maturity he displayed as a guitarist, singer and songwriter. These qualities led Duke Robillard to produce his new Ellersoul records recording Tomorrow. On the notes he observes that Andy “is a complete and mature musician at the ripe old age of 18.” Further Duke notes that how Andy arrived there was partially “derived from intense listening and research for the American traditions of of blues,early R&B, classic country hillbilly, rockabilly, swing and jazz.”

Tomorrow was recorded in Rhode Island under Duke’s supervision with his band of Bruce Bear on keyboards, Brad Hallen on bass and Mark Teixeira on drums with Duke adding guitar, and horns from Rich Lataille, Mark Earley and Doug Wolverton. With the exception of an instrumental Jammin’ At Lakewest, co-written with Duke, Poxon composed all of the performances.

The music on this is quite enjoyable as Andy has crafted songs that reflect his musical inspirations with a definite pop slant perhaps. His natural singing shares the appeal of the lyrics with elements of blues and classic R&B (a definite New Orleans flavor can be heard on several songs including the lively All By Myself). Other songs reflect his youthful experiences such as You Lied where he caught her with him and finds his baby has lied to him from the start and tore his world apart and College Boy, with its rollicking groove as his baby left him for some old mean college boy. The title track is a lovely ballad with a hopeful lyric and nice trumpet from Woolverton. 

Here is Andy Poxon with saxophonist Scott Ramminger at JVs in Falls Church.

In addition to his songs and vocals, his guitar playing stands out. With all these ear-splitting blues rock guitar prodigies being touted and promoted, it is refreshing to listen to Poxon’s guitar. One can hear elements of rockabilly mixed in with his straight blues attack. His attack, tone and the swing in his solos contrasts with the blues-rock of some of his contemporaries. A good case in point might be the closing Jammin’ at Lakewest. This is a jump blues instrumental feature for Poxon and Robillard, with swinging single note solos from both. Its certainly refreshing to hear a young guitarist who does take off from Stevie Ray Vaughan but rather channels such legends as Tiny Grimes, Al Casey, and Johnny Rogers.

It is tempting to talk about someone of Andy Poxon’s age as a performer that exhibits considerable promise and how interesting it will be to see how his music evolves. It must be stated that Tomorrow is a choice recording of blues and roots that stands on its own considerable merits.

I received my review copy from Andy. This review was written a couple months ago and I should have posted this earlier. Here is a short video clip of Andy and Scott Ramminger I took.

Sunny Crownover Is Right Here Right Now

Boston based vocalist Sunny Crownover has come to attention of music listeners through several swing-oriented albums produced by Duke Robillard. Now Duke has recorded her first contemporary blues album, Right Here Right Now (Shining Stone Records). In one sense it should not be surprising that they have put together a straight blues recording as Duke first saw her performing with 2120 South Avenue, a Boston based blues band led by Harvard University professor Charles Sawyer. 

Duke on guitar anchors the backing band that includes the keyboards of Bruce Bears, Brad Hallen’s bass and Mark Teixera on drums and percussion. There is a horn section including Doug James present on several songs, while Sugar Ray Norcia’s harmonica enhances several tracks. Songwriter Gary Nicholson collaborated with Duke on a number of songs. There is a strong consistency to the performances throughout.

Having heard Sunny Crownowner more restrained approach from an earlier recording that featured her, I was struck from her opening vocal on the Memphis soul-based Oh Yes I Will! how much more of a presence she displayed singing on this. The material is quite varied and includes some Chicago-style blues with Norcia on harp and one more traditional jazz-blue with the clarinet of Billy Novick. Robillard’s jazzy guitar fills and solo with restrained backing frame her singing on Brenda Burns’ One Woman Man, as she sings “no more love for free, you gotta do some work before you get it from me.” In addition to her soulful vocal on Love Me Right, there is rollicking piano from Bears and strong harmonica from Norcia. Robillard’s trebly guitar, Norcia’s harp and the lazy groove lend a swampy feel to Robillard’s Roll Me Baby. 

Cook In Your Kitchen gets the groove rocking and rolling with Bears outstanding as he channels Johnny Johnson. The strutting horns on Warned take the blues uptown, whereas on Al Basile’s,I Might Just Change My Mind, the horns and buoyant rhythm section sound more in a jump blues vein. Billy Novick’s clarinet on Hi-Heels and Home Cookin’, lends a old-school jazz flavor behind her delightful vocal as she sings about about all that a lady needs to do to keep her man satisfied. Duke’s slide guitar channels Elmore James on Trust Your Lover while Norcia adds his fat tone harp playing while Sunny sings about having to let go of one’s suspicions and trust one’s lover so one doesn’t worry one’s mind. 

A swampy and soulful rendition of Joe Tiven’s Can’t Let Go, is the final selection on this excellent album. Sunny Crownover’s earlier recordings displayed talent and promise. On Right Here, Right Now, she has certainly arrived.

I received my review copy from a publicist.

Duke Robillard's "Low Down and Torn Up"

Duke Robillard's new Stony Plain CD, Low Down and Torn Up, presents the veteran singer and guitarist on a program of 14 interpretations of older jump blues and Chicago blues. It was recorded live with his regular band of Bruce Bears on piano, Brad Hallen on bass, Mark Teixeira on drums (and one vocal) with Sax Gordon playing tenor and baritone sax. Mark McCabe replaces Bears on 7 songs. Songs derive from recordings by Guitar Slim, Tampa Red, Sugar Boy Crawford, Pee Wee Crayton, Elmore James, Eddie Taylor, John Lee Hooker, Jimmy McCracklin, and Bobby 'Blues' Merrill. Most of these songs will be unfamiliar. Elmore James' Twelve Year Old Boy and Tampa Red's Let Me Play With Your Poodle, are perhaps the best known songs heard here.


The strengths of this record are the strong ensemble playing along with Sax Gordon's playing. On Eddie Taylor's Trainfare Home, Gordon sounds like a mix of J.T. Brown's nanny goat tone and Eddie Shaw's raspy overblowing attack. Robillard's vocals sound a bit muffled on this session especially on the opening interpretation of Guitar Slim's Quicksand. Tampa Red's Mercy, Mercy, Mercy, sounds better, with Matt McCabe on piano evoking Little Johnnie Jones as drummer Teixeira suggests Judge Riley who played on many late 40's Bluebird Record sessions. Let Me Play With Your Poodle also sports some fine piano with a capable vocal although, in my opinion, it is not as strong as the renditions of this by Lightnin' Hopkins, Marcia Ball and Chick Willis.


Teixeira handles the vocal on a frantic rendition of Sugar Boy Crawford's Overboard, with Gordon taking a nice tenor sax solo. Blues After Hour is a nice low-key remake of the Pee Wee Crayton instrumental classic that showcases how tasteful Duke can be, while the rendition of Crayton's recording, Do Unto Others, is a rocker with a Crescent City groove and blistering guitar. Robillard's cover of John Lee Hooker's Want Ad Blues is a boogie that conjures up Hooker's 50's Vee-Jay sides. Its interesting to hear a cover of Tool Bag Boogie, one of Elmore James instrumentals where he did not play slide. Gordon rips off some hot sax while Duke plays solidly in a T-Bone Walker-ish vein.


Covers of Jimmy McCracklin, Elmore and Sugar Boy Crawford strike me as more successful instrumentally as Duke's vocals here generally strike this listener as a bit mannered, although I would suspect some of you would disagree. There is much I like about this, but I can only recommend Low Down and Torn Up with reservations. 

My review copy was provided by a publicist for this release.