Victor Wainwright and the Train Memphis Loud

Victor Wainwright and the Train
Memphis Loud
Ruf Records

Victor Wainwright has become one of the most prominent individuals on the blues and American roots music scene. He has been a regular Blues Music Award nominee and winner. This new release certainly will not disappoint his many fans. Joining Wainwright (vocals, piano, Hammond B3, electric piano) in the studio are The Train: Billy Dean (drums, percussion, vocals), Terrence Grayson (bass, vocals), Pat Harrington (guitar, vocals), Mark Earley (baritone sax, tenor sax & clarinet), Doug Woolverton (trumpet & flugelhorn) and Dave Gross (guitar, vocals, percussion). There are special guests present as well, including former train member Greg Gumpel (guitar/vocals), Reba Russell & Gracie Curran (vocals), Monster Mike Welch (guitar). Wainwright and Dave Gross produced this, and Wainwright wrote or co-wrote all 12 songs.

Musically, "Memphis Loud" is blues-based roots as opposed to straight blues. That is a simplistic description as the music here is terrific. Perhaps think of Leon Russell as opposed to Sunnyland Slim. Anyway, his two-fisted piano is wholly on display here while guitarist Pat Harrington and saxophonist Mark Earley wail on "Walk that Walk." Even more impressive than Wainwright's piano is his compelling singing, such as on the train blues that provides the album its title. There is some plenty of spellbinding, blistering boogie-woogie piano as he sings about a train heading to Memphis and coming through one's town. What also shines is the tempo shifts and the arrangement. "Sing" is another stunning track with its dreamy, circus parade tempo, and an arrangement employing the interweaving of Wooverton's muted was way trumpet and Earley's clarinet.

On "Disappear," that Wainwright sounds like he is performing an unrecorded George Harrison song with Dave Gross' guitar solo adding to this feel. Hints of Booker T and the MG's are present in the setting for "Golden Rule." Other selections are equally intriguing and gripping. With Wainwright's marvelous singing, along with a first-rate studio band and production, "Memphis Loud" is a superb recording with plenty of musical magic.

I received my review copy from a publicist. Here is a recent performance by Victor Wainwright and The Train.

 

Erin Harpe & the Delta Swingers' Love Whip Blues

The Delta Swing is a fine original as Harpe calls listeners out to go swinging from Cambridge to Memphis. It is played with a relaxed groove and features strong harmonica. The rendition of Willie Brown’s Future Blues exhibits the tight ensemble playing supporting Harpe’s vocal although some might find the tempo a bit fast here. Bob Margolin’s slide guitar enhances the fine reworking of Lucille Bogan's The M&O Blues. Good Luck Baby is an original with a bit of reggae flavor.

There is jaunty adaptation of an old William Moore recording, One Way Man, followed by a similarly buoyant rendition of Pick Poor Robin Clean. That was originally waxed by Virginia songster Luke Jordan. Gross adds a mandolin solo and Countryman taking a bass break here. After the call to the dance floor of Virtual Booty Blues, the Delta Swingers perform Charles River Delta Blues, a lovely rendition of William Brown’s Mississippi Blues. This William Brown (solely recorded by Alan Lomax) is a different individual than the Willie Brown of Future Blues who is best known for an association with Son House and Robert Johnson.

Erin Harpe & Jim Countryman performing at the Archie Edwards Blues Heritage Foundation

A solid rendition of John Prine’s Angel of Montgomery closes out this most enjoyable recording. Listening to Love Whip Blues, one appreciates why this group has been developing a large following around Boston. In fact, they won the Boston Blues Society’s Blues Battle and will be competing in Memphis at the 2015 International Blues Challenge. One certainly expects more will be heard from them.

I received my review copy from VizzTone. Here are they performing a lovely rendition of Charles River Delta Blues from that same performance. After that is a duet performance of that song by Erin and Jim Countryman at an Archie Edwards Blue Heritage Foundation concert.

Mikey Junior Traveling South

Having established himself over the past decade among blues enthusiasts in the Mid-Atlantic, Mikey Junior has a new recording (his 8th CD) Traveling South Swingnation/VizzTone), that displays a maturation in his artistry. A triple threat as a singer, songwriter and harmonica player, “Traveling South” has 12 fresh performances that is marvelously produced by Dave Gross (who plays guitar); the backing back also includes Dean Shot on guitar; Jeremy Baum on keyboards; Matt Raymond on bass; and Michael Bram on drums.

From the opening title track, Mikey Junior’s vocals and harmonica display a presence and authority that Gross’ production enhances. Listening to several of the selections, one hears echoes of a Billy Boy Arnold Vee-Jay recording with the grooves and tremolo in the backing of Morning On My Way, while elsewhere some of the guitar riffs and solos echo Ike Turner’s work on Federal. Gross did the recording and handled the mix on the twelve performances here and like Mikey Junior on harmonica, has a concern for detail and tone that is striking throughout.

Harp fans certainly will dig Mikey Junior’s fat tone (including some strong chromatic playing). Then there is his strong delivery of the lyrics of  excellent originals, mostly about cheating lovers and heart-break. All is captured in the marvelous engineering of these nuanced performances. While well-grounded in the blues tradition, Mikey Junior brings his own voice for a terrific Traveling South.

I received my review copy from VizzTone. It is scheduled to be released tomorrow. Here is a Fall 2013 video of Mikey Junior performing Traveling South.

Dennis Gruenling with Doug Deming Is Rockin' All Day

I first heard of harmonica wizard Dennis Gruenling through an excellent Little Walter tribute album he put together a few years ago as well as a remarkable performance he gave at a Baltimore Blues Society event. He reminded me of the late Paul DeLay with harmonica playing rooted in the modern blues masters like Little Walter and George ‘Harmonica’ Smith, but one whose ears would incorporate other progressive sounds (such as saxophonists like Lester Young and Illinois Jacquet). He is a progressive virtuoso whose playing still is rooted in Chicago and jump blues.

He has a new release on Backbender Records, part of the VizzTone Group, Rockin’ All Day, where he is supported by Doug Deming and the Jewel Tones. This band is comprised of guitarist-vocalist Deming; bassists Andrew Gohman or Scot Hornick; and drummers Devin Neel or Tom Papadatos with Dave Gross playing piano on one selection. Material includes some originals (notably instrumentals) and covers of blues and jump numbers originally associated with Jimmy McCracklin, Louis Jordan, Shakey Jake and Muddy Waters.

Deming is an affable vocalist who handles all but one of the vocals. While not a deep blues singer, his relaxed singing is easy to listen. Gruenling and he cover vintage numbers like the Jimmy McCracklin title track, Louis Jordan on Saturday Night Fish Fry, Amos Milburn on One Scotch, One Bourbon One Beer, and Wyonnie Harris’ Bloodshot Eyes. His vocal also does justice on the rocking cover of Muddy Waters’ She’s So Pretty. The Jewel Tones provide a swinging backing behind his vocals while Gruenling’s provides some spectacular and imaginative playing with his full-tone. Deming’s fiery guitar gets showcased as well as on She’s So Pretty.

Carl Perkins’ You Can Do No Wrong, is a rockabilly flavored performance where Gruenling lays down a saxophone sounding. Then there are several strong instrumentals like the groover, The Rev, that starts off like a harp-drum rendition of Tequila, before Gruenling takes off while Deming chords behind the dazzling harmonica. In contrast, 2:22 AM, is a slow instrumental in the vein of Little Walter’s Sad Hours. Gruenling’s fat tone and swooping lines convey a late night mood aided by Deming’s simple accompaniment. Gruenling takes the vocal on Melvin Smith’s It Went Down Easy, with harp overdubbed. Deming stands out with crisp, single note lines here. Listening to this one hopes that  Gruenling will showcase his vocals more.

Dennis Gruenling is among the most accomplished as well as interesting harmonica players around ably backed by Deming and the Jewel Tones. With the first-rate performances here, Rockin’ All Day makes for lively listening, and will be quite popular with dancers.

I was provided a review copy from VizzTone. Here is Dennis Gruenling with Doug Deming performing The Rev.

Debbie Davies Solid New Recording - After The Fall

Its been nearly two decades since Debbie Davies debuted on Blind Pig Records after leaving Albert Collins' Band. Over the ensuing period she has toured the world and established herself as a significant talent. She has her first new CD in several years on MC-Records, After The Fall and it displays the strengths her prior recordings and her performances exhibited.

After the Fall is produced by guitarist Dave Gross who guests on several tracks. The band includes drummer Don Castagno; bassists Mark Lindsey or Scott Hornick; and organist Bruce Katz. Catagno contributed to eight of the 11 songs (three by himself), while Davies wrote the other three and collaborated with him on three. This recording is dedicated to the late Robin Rogers who touched Debbie and countless others.

She is a singer in the Bonnie Raitt vein with a clean, relaxed vocal style that radiates her honesty and sincerity. Her guitar playing is deft, imaginative and able to display plenty of fire without being cluttered as she explores the relationships with lovers whether singing Don’t Put the Blame on Me, or singing that if one isn’t thinking one can’t fall, one ain’t thinking at all on The Fall, a more general about needing a helping hand to pick oneself off the ground.

“True Blue Fool is a lovely ballad wistfully sung, while the mood shifts with the hot shuffle groove of Done Sold Everything, about times being tough and having sold everything and got no more and has got no more. Other standouts tracks include All of My Forgiveness, where if her man doesn’t say he is sorry, all of her forgiveness will be gone, and Goin’ To A Gaggle, with a rollicking second-line groove about partying all night with friends. I’ll Feel Much Better When You Cry, is a nice blues about her pain felt when her man left and hoping he feels that pain when someone walks out on him. R.R. Boogie, dedicated to the late Robin Rogers, is an imaginative instrumental with a tight groove and some sizzling single note runs.

Certainly anyone who has been a fan of Debbie Davies will not be disappointed by this release. After the Fall will be welcome by blues lovers of a diverse range of tastes. Recommended.

I received my review copy from the record label. Here is Debbie in performance.

Dave Gross Took The Gamble

I had heard strong things about Dave Gross, a young guitarist-singer who is only in his twenties. Duke Robillard has taken him under his wing and produced Gross’ CD Take the Gamble, (SwingNation Records), and even plays on three tracks. Listening to this one can understand why as Gross is enamored in the swing and jump blues that Robillard has mined so well.

Opening with a nice take of Gatemouth Brown’s She Walks Right In, he also covers Hot Lips Page, T-Bone Walker and the old standard After You’ve Gone, as well writes songs that reflect his inspirations. I’m So Hungry Blues, is a tribute to T-Bone Walker with some fine playing and the instrumental Swingin’ on All Six with some strong harp from Dennis Gruenling is really nicely delivered.

Doug James adds some sax on a number of selections including Hot Lips Page’s Walkin’ in a Daze, which also sports a nice cornet solo by Al Basile. Gross is a very accomplished player and eschews the hard rock approach of many ‘contemporary’ blues artists. He also varies things with the rockabilly romp, Once Had a Girl. Unfortunately his vocals do not come across as well. His phrasing sounds awkward and forced at times (like on the T-Bone styled I’m So Hungry Blues as well as his Moving On Down the Line).

Hopefully he will become a more natural and convincing singer as he continues to perform. He writes interesting songs and is a wonderful player with this disc showing more than simply potential, but his vocals prevent this from receiving a high recommendation.

This review appeared originally in the March 2008 Jazz & Blues Report (Issue 302), although I have made minor edits. I likely received a review copy from the label or a publicist. I posted a review of Gross’ Crawlin The Walls on January 11 2012. Here is a video of Dave doing "She Walks Right In."

Dave Gross' Varied Crawling the Walls

Singer-guitarist Dave Gross’ new disc Crawling the Walls on the VizzTone group’s SwingNation Records, should solidify his reputation. Only 24 he shows he has listened and absorbed a lot in this disc that provides a wide palette of sounds ranging from gypsy jazz to storming Chicago blues. He certainly is worthy of some of the praise that Bob Margolin lays on him in the liner notes, especially his marvelous musicianship. His vocals perhaps come off at times as flat and other times a bit over-the-top, but sounds better than his last disc. This aspect of his music should mature along with him. one might expect him to grow as a singer.

The album opens with his remake of an early Bobby Bland recording, It’s My Life Baby, channeling the Clarence Holliman in his work. Its followed by Rock in My Shoe, a piece of rock’n’roll that echoes some mid-fifties’ Specialty rock recordings with a blistering solo. Ike Turner’s Cubano Jump, offers him more chance to showcase his driving guitar. The title track is an original in the vein of twenties and thirties era speakeasy blues with some nice growling trumpet from Jon-Erik Kellso and clarinet by Gerry Niewood, although Mike Bram’s drums are way too prominent.

Inspiration Blues, is a spirited take on T-Bone Walker's recording with Niewood blasting on tenor and Gross sounding strong playing in a Walker-inspired vein. It is followed by his own midnight blues-ballad, You’re Not the One, with Kellso growling before Gross starts off as Pee Wee Crayton reborn before taking the solo in his own direction. Margolin’s point in the liner notes that Gross “always adds a creative trick or twist to classic licks and tones,” is nowhere better illustrated than here. Back to the twenties with Clarence Williams’ Baby Won’t You Please Come Home, with drums replaced by banjo and Scott Robinson on bass sax with Kellso blasting playing with out mute but adding some bluesy smears, followed by Gross, on acoustic guitar, taking a nice solo with tinges of Eddie Lang, before pianist Canal Fowkes takes the lead with some stride before Robinson struts on the bass sax on a nice classic Chicago jazz performance.

Don’t Take Too Long, with Dennis Gruenling on harmonica conjures up the sound of the classic Willie Dixon produced Cobra recordings of Otis Rush, while Find Yourself Another Man, is a pastiche of classic Muddy Waters band, again with Gruenling wailing on harmonica. This performance reminds me of some of Bob Margolin’s recordings in the same vein. Gross, like Margolin is not as convincing vocally. It Was Born in the 20’s, is a stunning acoustic guitar feature with Gross paying tribute to Django Reinhardt (and Matt Munisteri providing crisp rhythm in this delightful small group jazz performance as well taking a nice solo as well) with Kellso’s trumpet and Niewood’s clarinet providing atmospheric support. Gross’ acoustic guitar solo, A Little Love, A Little Kiss, revives an Eddie Lang guitar solo from the twenties, and like he does throughout this recording, honors those who inspired him by not imitating and replicating his influences, but rather extending them and displaying his own musical personality.

While his vocals may not be Dave Gross’ strength, they do not detract from the overall high level of the music that makes Climbing the Walls, a welcome release.

I received my review copy from either a publicist or VizzTone. I wrote this review for Jazz & Blues Report but I do not believe this review ran. Here is Dave performing with Dennis Gruenling on harmonica.

Ginia Sicilia In Full Control

I was familiar with vocalist Gina Sicilia from a prior recording of hers, Allow Me To Confess. Her latest recording is Can't Control Myself (VizzTone). The disc is produced and engineered by Dave Gross, who played every instrumental track except for trumpet, sax and one lap-steel track. Despite the heavy use of overdubbing, the performances have a loose, lively feel and Gross displays considerable chops, marked by intensity as well as restraint.

Seven of the tracks are originals rooted in blues and R&B with some other touches along with covers of songs from Little Walter (Can't Hold Out Much Longer based on Ike and Turner's retitled cover, Crazy 'Bout You Baby), Bobby Bland (Members Only) and Stevie Wonder (a lively Place in the Sun). Her vocals have an edge (occasionally she can grate, but not on this disc). On the opening Addicted she projects strongly, as she sings about needing another drink. Before the Night is Through is a Sicilia original that might be mistaken as an old Drifters number done to a reggae groove (with nice acoustic guitar fills and gypsy jazz licks in Gross’ solo) with quite a lovely vocal.

There is variety in the material, but one constant is Sicilia's vocals that are full of feeling and personality. Listening to this had me return to her earlier recording where she did a nice cover of Big Maybelle's That's a Pretty Good Love. Nice production, songs and vocals that show that as a performer, Gina Sicilia definitely is in control of herself.

I purchased this as a download.