40 Years of Stony Plain

Alligator Records is not the only independent label to issue an anthology celebrating its catalog. "40 Years of Stony Plain," is the latest installment in such compilations from the Canadian label, apparently the oldest independent Canadian record company still with the same ownership. Stony Plain is much more than a blues label, although love of blues and jazz is at the core of Holger Petersen who has also hosted blues radio programs for nearly fifty years, helped found the Edmonton Folk Festival and so much more. The Stony Plain catalog spans folks and roots to jazz and blues and has issued 15 albums from Canadian Country Icon Ian Tyson (formerly of Ian & Sylvia) as well as 20 Duke Robillard releases along with over a half dozen he produced with other artists, eight CDs and one DVD by Ronnie Earl and six releases from Eric Bibb. Richard Flohil provides an overview of Stony Plain including excerpts from his notes to earlier compilations as well as song notes in the enclosed booklet.

This celebration of the label has three discs. The first is entitled "Singers, Songwriters and much more" and includes performances, from amongst others, Colin Linden, Spirit of the West, Doug Sahm, Harry Manx and Kevin Breit, Emmylou Harris, New Guitar Summit, Rodney Crowell, Ian Tyson, Jennifer Warnes, Steve Earl and Eric Bib featuring Taj Mahal, The Blind Boys of Alabama and Ruthie Foster. Highlights on this disc include is the acerbic roots-rock of Linden's "No More Cheap Wine"; the Irish flavored "The Crawl" from Spirit of the West; an unusual folky Doug Sahm performance; the atmospheric reworked blues of Manx and Breit, "Do Not Stand at My Grave and Weep"; the revival of an Elvis Presley Arthur Crud-up cover by James Burton, Albert Lee, Amos Garrett, and David Wilcox; a hauntingly beautiful Emmylou Harris performance; Duke Robillard, Jay Geils and Gerry Beaudoin recorded a lightly swinging "Flying Home" as part of New Guitar Summit; the traditional country of Ian Tyson's "Cottonwood Canyon" and Tim Hus' "Wild Rose Waltz," and the Eric Bibb led gospel "Needed Time."

The second disc brings "Blues, R&B, Gospel, Swing, Jazz and even more," with performances by the likes of Kenny 'Blues Boss' Wayne, Joe Louis Walker, Rosco Gordon, Ronnie Earl & the Broadcasters, Maria Muldaur with Taj Mahal, MonkeyJunk, Jay McShann, Jeff Healey, Billy Boy Arnold, Ruthie Foster, Sonny Rhodes and King Biscuit Boy. There is a rollicking "Bankrupted Baby" by the Blues Boss from his most recent recording; Joe Louis Walker's revival of a swamp rockabilly number "Eyes Like a Cat"; late Rosco Gordon and Jay McShann (both from Duke Robillard produced sessions I believe); Ronnie Earl's revival of Otis Rush's "It Takes Time" with vocalist Michael Leadbitter from his latest album; Muldaur & Taj doing an impassioned take of Blind Willie Johnson's "Soul of the Man"; Jeff Healey's amusing swing era jive of "Hong Kong Blues"; a terrific Billy Boy Arnold Chicago blues; Ruthie Foster's excellent Memphis Minnie interpretation from Stony Plain's Memphis Minnie tribute album; and the late King Biscuit Boy's Louis Jordan cover. There are also acoustic blues interpretations from Rory Block and Big Dave McLean on this.

The third disc contains "Rarities and Previously Unreleased Material" starting with a couple of Duke Robillard numbers including a Smiley Lewis cover; two tracks from Eric Bibb including a hauntingly beautiful "Wayfaring Stranger"; live performances by Maria Muldaur of songs from Memphis Minnie and Reverend Gary Davis; a lively acoustic guitar instrumental blues by David Wilcox; Colin Linden and Doc MacLean backing the legendary Sam Chatmon on two songs from the long defunct Flying Fish catalog; two Bob Carpenter's two folk numbers and a closing instrumental by Shakey 'Walter' Horton backed by Hot Cottage. The inclusion of these rare selections enhance the already considerable value of compilations such as this one.

I received my review copy from a publicist. This review appeared in the July-August Jazz & Blues Report (Issue 367).

Colin Linden Rich in Love

Blues has always been a foundation for the music of Colin Linden, although his music has evolved to encompass rock, country and other roots music. Now based in Nashville(and he is even the musical director for the TV show Nashville), he had spun together a new roots recording, "Rich In Love" (Stony Plain)  full of original songs and given some marvelous performances. Linden wrote all 12 songs, although five songs were written with the collaboration with amongst others Janice Powers, Tom Hambridge and Gary Nicholson.

Linden and his various guitars, mandolins, and ukuleles are joined by his fellow members of The Rotting Matadors, bassist John Dymond and drummer Gary Craig. Charlie Musselwhite adds harp to several selections, Reese Wynans adds piano/organ to a number of song and Amy Helm contributes harmonies to several songs as well. This is a terrific country-roots group that play some really strong songs such as the opening "Knob & Tube," with his clever use of electrical terms to describe a relationship ("the current runs from me to you like knob & tube"). Mix in his grainy, genuine singing and adept musicianship and one has a fine performance. He also understands the value of restraint as on the next track "I Need Water," with Tim Lauer adding atmosphere on the organ as Linden sings he needs water to fill these tears as he deals with his heartbreak.

"Delia Come For Me," is a fine ballad which opens with just acoustic guitar as he sings of being framed because he was the first man they found and put someone away and bury in the ground (and he adds some electric guitar fills as Dymond and Craig provide sympathetic support. Musselwhite and Wynans are present on "The Hurt," a bluesy number with Musselwhite playing some very strong accompaniment followed by a lovely and gentle "Everybody Ought to Be Loved."

The title track opens in a somber, austere manner as Linden sings about his baby used to cry while he was sleeping," with Musselwhite's embellishments adding to the mood generated by the vocal and guitar. His way with words and the music mike be likened to The Band in his blending of various musical threads and his adroit way with words like on the plaintive "And Then You Begin," or the honky tonk flavor of "Luck of Fool," with nice use of tremolo.

Linden's songs are sung with wit, warmth and thoughtfulness, superbly played although he and his band eschew empty flash and mirrors, resulting is one terrific recording that will appeal to a very wide audience.

I received my review copy from Stony Plain. My review appeared in the November-December Jazz & Blues Report (Issue 363) downloadable at jazz-blues.com. Here is Colin Linden performing.

Jigsaw Heart Shows Off Eden Brent's Country Side

In 2008, I called Eden Brent’s album Mississippi Number One, “ is a stunning recording of blues, jazz and soul… .“ I also observed that “[a]s a singer she sings with the authority of the late Esther Phillips, if a bit less nasal, while displaying the sassiness of a Denise LaSalle and a bit of Bobby Gentry’s country soul.” I was similarly impressed by next album Ain’t Got No Troubles, noting it “mixes a marvelous pianist and vocalist with strong material, sympathetic backing and varied, imaginative programming resulting in a terrific recording that should appeal to blues and roots music fans.” Eden Brent’s latest album, Jigsaw Heart (Yellow Dog Records) is another recording that  displays perhaps more of her country side as a performer.

Like Ain’t Got No Troubles, this was produced by Colin Linden who also contributes guitar (and mandolin on one track). Some of the others playing behind Eden on this include John Dymond on bass, Gary Craig on drums, Dan Dugmore on pedal steel, Kenzie Wetz on fiddle. Brent’s originals are mixed with interpretations of songs from Joan Armatrading, Billy Taylor & Dick Dallas, and Jimmy Phillips amongst others.

The very first two numbers illustrate the range of music on Jigsaw Heart as well as the extent of Ms. Brent’s talent and artistry.Better This Way has her singing about leaving today but the relationship ended sometime before, so lets raise a glass to toast the past.. This is a classic country waltz that has a bit of a swamp pop feel as well. Everybody Already Knows in contrast is a romp about the whole town knowing Eden and her lover are messing round, with some wonderfully rollicking piano that evokes Jerry Lee Lewis (although perhaps not quite as wild). Both are superbly sung and played and display her considerable gift as a songwriter. The title tracks another wonderful lyric as she asks her cowboy angel whether he has what it takes to un-break her heart.

In addition to these wonderful originals she provides her own take on Joann Armatrading’s Opportunity, with a vocal that suggests Bobby Gentry. Another noted cover is the Billy Taylor- Dick Dallas penned I Wish I Knew How It Would Feel To Be Free, which was inspired by Nina Simone’s classic rendition of this. Its a good performance with backing singers, although I would love to hear Eden perform this just with her piano.

Jigsaw Heart is a superb recording. Eden Brent has a range as a pianist, singer and songwriter comparable to the late Charlie Rich. Like Rich she brings complete authority to renditions of blues, country and soul. I look forward to hearing more from Eden Brent and her continual musical growth.

I received my review copy from Yellow Dog Records. Here is a video of a interview and performance by Eden.

Colin Linden Very Much Still Live

Canadian Colin Linden latest recording Still Live (Yellow Dog Records) is a live recording at a neighborhood Nashville tavern, the Douglas Corner Café. He has been living in Nashville since the 90‘s. It is Linden’s 11th album under his own name although he has contributed to many recordings by a variety of artists of a variety of stripes. He was backed on this by John Dymond on bass and harmony vocals, Gary Craig on drums and the legendary Spooner Oldham on organ. One selection, a new version of his John Lennon in New Orleans, was recorded in a studio during a rehearsal for this performance.

Linden impresses with his songs, his playing and his singing over a program of mostly originals (the one cover is a nice restrained rendition of Howlin’ Wolf’s Who’s Been Talking). The opening Big Mouth is a blues rooted number displaying his considerable picking skills as well as his restraint and sense of dynamics. A country-folk flavor marks Between The Darkness and The Light of Day, while Smoke Them All, a collaboration with his wife Janice Powers, is a solo performance that displays Linden’s considerable finger picking guitar (with some jazzy accents) as Linden sings “barrelhouse at midnight the piano moans.” It is a moving tribute to his late friend, pianist Richard Bell. 

Other performances include Sugar Mine, a lovely rootsy ballad with Linden’s touch on the electric guitar complemented by the light backing he receives. Dark Night of the Soul, has a lovely lyric that Linden will be their for his friend and lead them from the dark night of the soul while Too Late To Holler is an exuberantly performed rocker with a very soulful vocal. Remedy was written with Jim Weider and recorded by the post Robbie Robertson The Band on their comeback album, and Linden’s bluesy-roots rendition with Oldham gritty on organ is a strong performance that has some of the same feel to it that The Band imparted to so much of their music. 

I called Linden’s From The Water a stunning recording, and Still LIve is a similar appealing mix of blues and roots songs.

I received a review copy from Yellow Dog Records. Here is a video of Colin Linden in performance.

Colin Linden From the Water

I am presently listening to Colin Linden's most recent recording, Still Live (Yellow Dog Records) and realized that I had reviewed one of his earlier albums a few years back. I will writing a review of the new release in a few days, but I thought I would also post this review from a few years back. I received a review copy from a publicist or the record label. The review appeared originally in the August 2009 Jazz & Blues Report (Issue 319).

Canadian Colin Linden has been playing blues and blues-related roots for some time and has a new CD, From the Water (True North) that certainly will enhance his reputation as a thoughtful and skilled player and singer. This disc is comprised mostly of his originals (some penned with others), the record benefits from his often restrained approach. 

The opening title track has a hypnotic groove akin to that of the North Mississippi Hills Country bands but benefits from a lighter accompaniment. His silences speak more effectively than some of the unrestrained heavy metal approach of some award-winning blues groups from Mississippi. This is followed up by a lovely ballad sung in French, again with spare backing which makes his strong slide solo stand out . An old Blind Teddy Darby recording is the source for a superb country blues performance of Built Right On the Ground, with Paul Reddick adding some nice harmonica support to Linden’s spellbinding guitar and vocal. Smoke 'Em Down, again sports a light accompaniment with Linden on acoustic guitar with Gary Craig using brushes on his drums as he sings about a barrelhouse pianist whose left hand would smoke ‘em all. 

A more rock and roll blues groove follows with Trouble Comes in 3’s, with a melody suggestive of Lieber & Stoller’s Riot in Cell Block 9, although his vocal sounds slightly mannered, and drummer Craig is not as supple. Between the Darkness and the Light of Day, is more of a blues-tinged contemporary folk original with an uplifting lyric of pushing on through life’s obstacles, followed by his spiritual vision on I Have Seen a Miracle, with perhaps more of a country flavor and a vocal that would have been home with The Band. Devilment takes us back with a hokum feel on a lyric of a woman seemingly innocent but having devilment on her mind with lovely piano by John Whynot. John Lennon in New Orleans, has a surreal lyric about being a wanted man no one can recognize with a soulfully sung vocal. 

The remaining tracks are as deftly performed and Linden and his collaborators have written some very strong originals that display plenty of heart without any bombast. Linden’s mix of blues and blues-based roots material here and his understated, but heartfelt performances, makes for a stunning recording.

Here is a video of Colin Linden performing the title track, From the Water.

Janiva Magness Does Move Me

Janiva Magness has certainly established herself in the past few years as among the finest singers of blues and classic rhythm & blues. She has a new Alligator release coming out soon which i hope to post a review of next week. The following review originally appeared in the May 2006, DC Blues Calendar, then the DC Blues Society’s newsletter. I was provided my review copy from either the record label or a publicist.

Since first listening to one of vocalist Janiva Magness’ recordings, this writer has become impressed by her singing. I hear echoes of the great women R&B divas of the forties through sixties in her without her sounding like she is imitating anyone,. She has developed her own distinctive, recognizable sound where she has avoided developing any detracting mannerisms and impresses with her clean, soulful delivery. With Canadian guitarist Colin Linden, she has co-produced her latest recording, Do I Move You? (Northern Music), and its another superlative effort from her.

Linden shares guitar duties with Rick Holmstrom and Jeff Turmes (Turmes also plays bass and saxophones on several selections)), Richard Bell on Piano and B-3, John Whynot on the Wurlitzer and Stephen Taylor Hodges on drums. Turmes and Linden have contributed several originals to complement the fine interpretations of songs from several different sources, including a wonderful rendition of the Delbert McClinton and Gary Nicholson penned soul-ballad, You Were Never Mine.

Magness brings to life a range of emotions and moods from the opening I’m Just a Prisoner, where she is a prisoner to her love for the man, the celebratory I Want You to Have Everything, where lets her man know there is nothing too good for him ever since he told her he loved her, to the closing A Man Size Job, where she finds the younger man able to do the man sized job her former lover could not fill. A Turmes’ original Don’t Let Your Memories, is a wistful acoustic performance with a reflective lyric and a melody that evokes Key to the Highway. The title track is a Nina Simone penned blues that Magness delivers so seductively. Linden adds some nice atmospheric guitar, judiciously employing reverb with the rhythm section just right without any overstatement.

The production here is exemplary, providing atmosphere and enhancing the wonderful vocals here. The performances keep sounding fresh after listening to this several times over a few weeks time on a truly splendid release.

Here is Janiva in performance.

Mary Flower Loves Company

The marvelous blues and roots fingerstyle guitarist-vocalist, Mary Flower, has a new release Misery Loves Company (Yellow Dog Records). The title refers to the fact that eleven of the twelve performances here are duets with other musicians (and a vocalist) adding support to her guitar and vocals. It is a wonderful addition to her discography.

Whether performing a blues or a rag, Mary Flower plays wonderfully with an easy flowing approach to her music. When performing a deep Chicago blues, such as Muddy Waters’ Hard Day Blues or Son House’s Death Letter Blues, she recasts the song into a Piedmont styled blues, while adding her honey-toned vocals. Her vocal strikes this listener as more successful on the former number (with Curtis Salgado adding some nice harp), although the slide guitar and guitar interplay between her and Alan Hager is marvelous. Recession Rag, is a delightful instrumental duet with mandolinist Brian Oberlin, while Jitters is a lovely duet with tuba player Mark Vehrencamp that with Mary channelling Blind Blake in her deft playing here.

Colin Linden adds electric dobro her atmospheric Way Down in the Bottom, (where darkness meets despair), while LaRonda Steele adds a harmony vocal to Mary’s exquisite rendition of Reverend Gary Davis’ Goin’ To Sit Down On The Banks Of River, with an accompaniment that displays how ably she has mastered the music of this legendary giant. Her son Jesse Withers plays bass while she displays her cleanly articulated slide playing on Tampa Red’s Boogie Woogie Dance, while pianist David Frishberg adds some bop-infused piano on the delightful I’m Dreaming Of Your Demise, about her beady-eyed, devious man who spouts nasty lies. Mary’s music possesses some of the same qualities that Elizabeth Cotten’s music had so its no surprise that she so ably interprets Shake Sugaree, where Johnny B Connolly embellishes her vocal and fingerstyle wizardry with his button accordion.

A solo rendition of Scrapper Blackwell’s Scrapper’s Blues is the last selection on her latest recording. Mary Flower continues to delight blues and roots fans with a recording that continues to demonstrate that she remains one of the finest fingerstyle guitarists. Also her vocals flow as natural as her finger picking.

My review copy was provided by Yellow Dog Records.

DownChild Still Playing the Blues With a Feeling After Four Decades

Downchild is a Canadian institution that has been laying down the blues for forty years and for their fortieth year they have a new release “I Need a Hat” (Linus). Donnie Walsh with his brother Richard formed Downchild back in 1969 and after the brothers had a parting of the ways, Donnie remained as the leader and focus of the band.

Over the year’s Downchild has had a variety of vocalists fronting the group, and that role is presently held by Chuck Jackson. The rest of Downchild is Pat Carey on saxophones,Michael Fontara on keyboards, Gary Kendall on bass and Mike Fitzpatrick on drums and this edition of the band has been together for a decade and a half which is evidenced by the crisp, swinging and rocking grooves the band puts together. They are augmented by the likes of Colin James and Colin Linden as well as famed trumpeter Wayne Jackson. Dan Ackroyd joins the party for one track on harmonica as Downchild was an inspiration for Ackroyd’s act with the late John Belushi, The Blues Brothers.

This lively disc is comprised of Walsh’s originals which are full of humor as well as some dark-sided twists on the breakdown in relationships that mark most blues songs. The title song is a delightful ditty about figuring out that to be a famous blues man one needs a hat and too bad he should have seen it sooner, as he would be a rich and famous man. Jackson delivers it with the appropriate tone while Walsh rips off a strong solo. Its followed by a strong slow blues, “Somebody Lied,” as Jackson sings about how his life is falling apart with Wayne Jackson taking a terrific trumpet solo before Colin James rips off an energetic solo.

“You Don’t Love Me” features Linden’s guitar and Ackroyd’s harp, on a nice Jimmy Reed inspired shuffle that benefits from the band’s relaxed groove. In contrast, “Rendezvous”, has Walsh with driving slide and a harder groove hints at some classic Elmore James. “Down to the Delta,” is a bouncy number with Jackson on harp as he sings about going down from Mississauga in the land of snow to the Delta with some swinging, jazzy guitar. The last of Jackson’s vocals, “What Was I Thinking,” has him wondering why he couldn’t see “there was no light at the end of the tunnel.” Pianist Fontara is excellent here as throughout while Walsh takes a harp solo. Walsh follows with two vocals, one of which “These Thoughts Keep Me Marching,” with a topical tinge, is built on an old country blues groove, and has more trumpet from Wayne Jackson. His other vocal, “Some More of That,” is a nicely delivered bit of homespun philosophy. If not having the range of Chuck Jackson as a singer, Walsh certainly puts plenty of feeling in his very likable singing.

The disc closes with the instrumental “El Stew,” which is an instrumental reworking of the title track, sporting a funky groove and some very nice organ. Walsh’ guitar solo that shows more concern with developing ideas than simply displaying technique, although Walsh has plenty of technique. It is a fitting end to this first-rate disc of Walsh and his fellow blues road warriors that should be of interest in blues enthusiasts everywhere.


For purposes of FTC regulations, the CD was provided by a publicity firm for this release.

Eden Brent's New Recording Is Marvelous

Eden Brent certainly has emerged as one of the most promising new artists in the blues world. Most recently she was the winner of the Pinetop Perkins Blues Piano award at the 2010 Blues Music Awards, and she certainly will be winning more acclaim for her latest disc, “Ain’t Got No Troubles” (Yellow Dog Records). Produced by guitarist Colin Linden, this disc was recoded in New Orleans with George Porter, Jr. on bass., and Bryan Owings on drums with appearances by Tracy Collins on trumpet, Emil Hall on alto saxophone, Jeff Albert on trombone and Jon Cleary on the Hammond B3. The musicians complement her flowing, boogie-laced piano and her husky, unforced vocals. She reminds this listener for some reason of the late Katie Webster (perhaps it is the groove of the opening “Someone to Love”) with a huskier voice. Besides her own fine lyrics, the bouncy backing the song also sports some nice Crescent flavor horn lines.


The title track is a spirited song about maybe lacking possessions but “ain’t got no troubles on my mind,” with Linden adding some nice slide guitar to the bouncy piano and rhythm and later some second line horns add to the musical stew. The band drops out on “Blues All Over,” where he smokey vocals is matched by her strong, deft piano.  Colin Linden contributed “Later Than You Think,” a nice wry lyric that she delivers with her typical sassy delivery, while her “Leave Me Alone,” has a wistful lyric that she delivers in a soul-styled manner. “Let’s Boogie-Woogie,” is an exuberant romp that is one of the better original boogie woogie numbers this writer has heard in several years with some strong boogie woogie playing. “My Man,” strides in a high-spirited manner (despite the very restrained playing from the band), as Eden celebrates her lover who makes every date be “like a jubilee.” “If I Can’t” has lovely acoustic picking from Linden as Brent sings that “If I can’t kiss you honey, Don’t want to keep my idle lips.”

The album closes with “Goodnight Moon,” displaying a more reflective side of her and it closes this disc on a very high note. “Ain’t Got No Troubles,” mixes a marvelous pianist and vocalist with strong material, sympathetic backing and varied, imaginative programming resulting in a terrific recording that should appeal to blues and roots music fans. This is one of the better new recordings I have heard this year.


The review copy of the disc was provided by Yellow Dog Records