Dave Keller Every Soul’s a Star

Dave Keller
Every Soul’s a Star
Catfood Records

This writer has been a fan of the multi-talented Dave Keller since seeing him perform as well as back Johnny Rawls several years ago. This soul-blues singer, songwriter, and guitarist impressed and impressed me enough to support one of his recording projects. His new album is his first for the Catfood Records label, the label of his good friend Rawls, with Jim Gaines handling the production. he is backed by the label's studio band, The Rays, consisting legendary Motown guitarist Johnny McGee, along with Bob Trenchard – bass; Dan Ferguson - Hammond B3, Wurlitzer, keyboards; Richy Puga – drums; Mike Middleton – trumpet; and Nick Flood - tenor and baritone sax; plus backing vocals from Janelle Thompson and Shakara Weston; and percussion from Christopher Serrano.

With a voice that might suggest Delbert McClinton, gets right into a soulful groove with the opening "Don't Let Them Take Your Joy," adding a stinging solo to his stirring vocal, as he urges the listener to remember what makes one happy and fly, fly fly … ." It is a small gem of a performance in part due to the strong support provided by The Rays. The title track is a celebration of folks being who they are and then followed by the one cover, Ronnie Shannon's "Baby, I Love You." McGee takes the guitar lead with Keller's adding his phrasing, including a brief spoken rap, to a fresh interpretation of the Aretha Franklin's hit. Then there is a lovely heartfelt ballad "You Bring the Sunshine" that is so soulfully performed with the Rays coming off like the Swampers or Hi Rhythm Section (and Dan Ferguson shines on this).

Other highlights on a consistently superior recording include "It's All In Your Eyes," and "Kiss Me Like You Miss Me," both with McGee's concise solos. With strong original songs (one can easily imagine some of these being done by other performers), solid and empathic backing from The Rays, and Dave Keller's fervent performances, Keller again has produced another soul-blues gem.

I received my review copy from a publicist. This review originally appeared in the November-December 2018 Jazz & Blues Report (Issue 381).  Here is Dave Keller performing.

For folks in the DMV area, Dave Keller will be performing Fri Aug 2, St. Georges Country Store, St. Georges, DE, band, Sat Aug 3, Route 66 Club, Edgewood, MD, band and on Sun Aug 4, JV's, Falls Church, VA, band w/ Gabe Stillman, tent.

Johnny Rawls Waiting For The Rain

Johnny Rawls
Waiting For The Rain
Catfood Records

Another new Catfood release for the veteran soul-blues singer-songwriter-guitarist Johnny Rawls again backed by bassist Bob Trenchard and the Rays. This one is produced by Jim Gaines and is a mix of originals and interesting interpretations of some familiar songs sung with plenty of heart by Rawls set against the Rays' idiomatic backing that is rooted in the classic Memphis sound of Stax and Hi Records.

Rawls has a controlled style that is akin to the smoldering heat of a pit barbecue than steak over an open flame, though he can let loose when needed.. The title track is a strong original co-written with Trenchard and keyboardist Dan Ferguson as he sings about rain washing away guilt, sin and pain with a crisp guitar solo from Dennis McGhee set against punchy horns. It is followed by the Trenchard-James Armstrong penned "Las Vegas," is a wonderful performance with a backing horn riff reminiscent of "Turn On Your Love Light,"although I am not enamored the lyrics mixing playing games and religion. "Waiting For a Train" from Rawls and Trenchard is a nice low-key number with a jazzy tinge and followed by a wonderful rendition of Bobby Womack's celebratory "I'm in Love."

"Blackjack Was a Gambler" is a terrific easy rocking bit of storytelling about a back alley gambler and rambler while Rawls also ably puts his own stamp on Bob Dylan's "I Shall Be Released," and then does a nice cover of the Tyrone Davis hit "The Turning Point," and a driving rendition of Syl Johnson's "We Did It." The soulful ballad, "Stay With Me," provides a close to Rawls' latest soul-blues gem. Rawls may not break new ground on his latest release, and those familiar with Johnny Rawls will know what to expect on a predictably strong recording, while this serves as representative of his music for those new to his music.

I received my review copy from a publicist.  This review originally appeared in the November-December 2017 Jazz & Blues Report (Issue 375). Here is Johnny Rawls from a 2017 Boise Blues Festival.

James Armstrong Guitar Angels

James Armstrong follows up his acclaimed Catfood Records recording Blues at the Border with a new release Guitar Angels. It was produced by his good friend and fellow guitarist Mike Ross (and co-produced by Jim Gaines) and recorded in NY at Kaleidoscope Sound with Ross, keyboardist Dan Ferguson, bassist Eric Tinsley and drummer Rick King on most selections.

Armstrong certainly seems to have overcome the nightmare of the home invasion in 1996 that affected his guitar playing. the title track is his thank you to those who helped him. He observes “I still am unable to bend the third finger on my left hand, or use my little finger, but I attribute some of the reason I’m actually able to play the guitar again to my ‘guitar angels:’ my father, James Armstrong Sr., Mike Ross, Coco Montoya and Joe Louis Walker.” Despite any physical limitations, his crisp and clean playing along with his soulful singing maintain considerable appeal.

Songs include the title track (heard in two versions with one for the radio); the reflective Healing Time, written after the recent passing of Mike Ross' brother; the humorous Grandma’s Got a New Friend that celebrates his Grandma and her new lover (and reportedly a favorite among his live shows); Moving to Nashville, a rocker about wanting to move south to get away from the cold New York winters with Armstrong playing  slide; and Saturday Night Woman, with a touch of funk as sings about these woman who look so sharp and second and don’t settle for seconds but take their pick (and he plays some some stinging guitar here on which some swampy organ from George Papageorge).

There are a couple of covers: an unusual blues shuffle reworking of The Eagles Take It To The Limit, with riffing horns: and Johnny Copeland’s Blues Ain’t Nothin’. The latter performance is nicely rendered if Armstrong’s performance does comes off  a bit cooler than Copeland’s original. Like the rest of Guitar Angels, this is cleanly and crisply recorded and performed. Armstrong perhaps breaks no new ground on this release, but that should not deter blues fans from the entertaining, soulful blues performances here.

I received my review copy from a publicist. Here is a chance to hear the title track.