Adrianna Marie And Her Roomful Of All-Stars

Adrianna Marie And Her Roomful Of All-Stars
Kingdom of Swing
VizzTone

West Coast chanteuse Adrianna Marie has a second recording of jump blues and swing backed by a fine band including underrated guitarist L.A. Jones, pianist Al Copley, bassist Kedar Roy, drummer Brian Fahey and the Roomful Horns (Doug James, Rich Lataille, Doug Wooverton, Mark Early and Carl Querrfuth). Duke Robillard, who did the studio production, and Junior Watson guest on selected tracks while Bob Corritore is on harmonica for one tune.

There is a mix of originals by Adrianna along with covers of classic blues and swing numbers. The originals are pretty good songs and like everything this is well played in the vein of the early jump blues style of Roomful of Blues with plenty of brass as on the opening title track, her tribute to the swing era although the real king of swing was King Carter and not Goodman. Some nice growling trumpet from Wooverton on this selection. A similar thrust is "Gimme a Roomful," a salute to swing and Roomful of Blues."

A straight cover of an Esther Phillips' classic "Better Beware" is followed by a rollicking original "Sidecar Mama" that sounds like a cover of an unissued Camille Howard or Wynona Carr recording with a superb solo. "Memphis Boogie" is another noteworthy original in the jump blues tradition. These are fun sides with plenty of solo space, although when she attempts renditions from Ellington "Mood Indigo," Billie Holiday, "The Blues Are Brewin'," her vocals are enjoyable but hardly distinctive. And if not in the league as a singer on Helen Humes' level, her rendition of Humes' "Drive Me Daddy," displays her good taste in material. The terrific Muddy Waters' styled slide guitar, has Bob Corritore's harmonica lend it a Chicago blues meets jump blues feel.

"Jump With You Baby" gives several of the players a chance to solo while L.A. Jones duets with her on the boisterous "T-Bone Boogie," a thinly disguised reworking of Big Joe Turner-Pete Johnson classic "Roll 'Em Pete," with a terrific Doug James baritone sax solo and Al Copley laying down some strong boogie woogie piano. Jones takes a T-Bone Walker styled solo here followed by his wonderful playing on the closing instrumental "Blues After Hours." It closes an enjoyable and well-performed, if not outstanding, swing and blues recording.

I received my review copy from VizzTone. This review appeared in the May-June Jazz & Blues Report (Issue 372). Hdere she performs "Kingdom of Swing."

Roomful Of Blues Dance All Night

Roomful Of Blues
Dance All Night
Bullseye Blues

I remember first hearing about Roomful of Blues from Big Joe Turner and Lloyd Glenn who had raved about them after being been backed by them. When their first album came out, I was impressed by their faithfulness to the originals, although they were derivative. In the decade and a half since, there have been some personnel changes, but they have maintained their commitment to the jump blues.

Today, the band exhibits more personality and individuality in its music. This is evident in the new album. Fronted by vocalist and harp player Sugar Ray Norcia, the album shows their incorporation of modern urban blues into their repertoire with nice versions of Little Milton’s That Will Never Do and Little Walter’s Up the Line. The Buddy and Ella Johnson classic I’m Just Your Fool and Lillie Mae, derived from a Smiley Lewis recording, are given first-rate readings.

Sugar Ray contributes some strong originals, and his relaxed delivery, reminiscent of Junior Parker, evinces his development as a fine blues vocalist. Chris Vachon ably handles the guitar, Matt McMabe pounds the 88s, and the horns of Bob Enos, Carl Querfurth, Greg Piccolo and Doug James rip through the ensemble parts and solos. This simply is superb jump blues.

I likely received my review copy from the record label. This is still available as a CD or download. This review originally appeared in the July-August 1994 Jazz & Blues Report (Issue 193). Here is "Up The Line" from this album.

The Knickerbocker All-Stars Go Back Home To The Blues

A most pleasant surprise is a new release by The Knickerbocker All-Stars, "Go Back Home To The Blues" (JP Cadillac Records). The release is a follow-up to last year's "Open Mic At The Knick" and like the earlier album celebrates the Westerly, Rhode Island venue, the Knickerbocker Cafe. This is where, in the 1960s, musicians like Greg Piccolo, Johnny Nicholas, Fran Christina and others played in various groups which led to the emergence of Roomful of Blues by Duke Robillard and Al Basile and other bands. Producer Jack Gauthier and Musical Director Copley have put together a superb band of Mark Teixeira, drums; Brad Hallen, standup/electric bass; Al Copley, piano; Monster Mike Welch, guitar; Doug James, baritone/tenor sax; Sax Gordon Beadle, tenor sax; Rich Lataille,alto/tenor sax; Doc Chanonhouse,trumpet; and Carl Querfurth, trombone. Vocals are shared by Sugar Ray Norcia, Brian Templeton and Willie J Laws with Al Basile playing cornet and singing on one selection.

The musical focus is on the urban blues of the fifties and sixties with renditions of songs associated with Bobby Bland, Roy Brown, Guitar Slim, Chuck Willis and Larry Davis with Basile contributing several idiomatic originals as well. What can one say as the All-Stars are terrific, with Welch again showing that he has become one of today's top string benders. He channels Freddie King in backing Laws' soaring vocal on " You Know That You Love Me." Norcia opens the album with Bobby Bland's classic "36-22-36," with his terrific vocal perhaps more akin to Junior Parker than Bland. There is superb playing, including a booting tenor sax solo, backing Templeton on a jumping cover of Roy Brown's "Cadillac Boogie." Copley pounds on the piano on the Basile original "Brand New Fool," behind a fervent Norcia vocal, while Welch channels Guitar Slim as Laws' fervently sings Slim's  "Something to Remember You By." Norcia again evokes Junior Parker on a ripping cover of Chuck Willis' "Take It Like A Man."

The rest of this album is of an equally high level. There is a late night instrumental feature for the horns "Hokin'," while Basile plays cornet and delivers an appealing vocal of his witty original, "Don't You Ever Get Tired Of Being Right?" Templeton sounds vigorous on the Basile-penned title track that has strong tenor sax and guitar solos. Copley lays down some serious boogie woogie piano and Doug James get down in the alley on baritone sax on "Blockbuster Boogie." Laws preaches the blues on a driving rendition of Larry Davis' "I Tried," with more of Welch's blistering guitar. This entire recording is a joy for fans of jump and urban blues to listen to. It is another upper deck home run from the Knickerbocker All-Stars.

I received my review copy from a publicist. Here is a video of the Kickerbocker All Stars featuring Brian Templeton on the vocals.