The Nick Moss Band Feat. Dennis Gruenling Lucky Guy!

The Nick Moss Band Feat. Dennis Gruenling
Lucky Guy!
Alligator Records

About the previous album by The Nick Moss Band, "The High Cost of Low Living," I observed that "there is strong and varied material (including choice songs to cover), very good singing, and excellent playing. This is also wonderfully recorded, resulting in a superb straight-no-chaser Chicago blues recording." Now, guitarist and vocalist Moss, along with harmonica wizard and vocalist Dennis Gruenling, return with this new disc. Others in the band include Taylor Streif on keyboards and background vocals; Rodrigo Mantovani on bass and background vocals; and Patrick Seals on drums and background vocals. Kid Andersen adds rhythm guitar to several tracks as well as baritone guitar and mandolin, and Mighty Mike Welch plays lead guitar on one track. The album was co-produced by Moss and Andersen and recorded and mixed by Andersen at Greaseland Studios. 13 of the 14 tracks are originals with Moss having written 11 and Gruenling two.

Moss plays and sings with considerable authority, although 'occasionally' his diction can come off as a little mush-mouthed (in the manner of Junior Well and Carey Bell) as on the rocking paean to his hometown "312 Blood" where Moss celebrates his hometown of Chicago. Streif takes a two-fisted solo, while Gruenling wails on his break before Moss adds to the instrumental fire. Johnny O'Neal Johnson's "Ugly Woman" shows the wit Moss's performance can bring. It is one of the tracks with uncredited horns with Gruenling riffing behind the vocal, and Streif takes a rollicking solo. The title track is an upbeat shuffle with scintillating guitar and a solid vocal before Gruenling's soaring sax-like harp solo. Moss' own solo shows how much of the Chicago blues guitar tradition he has absorbed in developing his superb attack.

Moss' "Sanctified, Holy And Hateful," set to the melodic theme of "Half Ain't Been Told," is a stellar slow blues about the hypocrisy of certain evangelicals with a terrific vocal, Gruenling's robust chromatic harp playing and Moss playing with so much passion here. Gruenling shows himself to be a capable vocalist on his hot shuffle, "Movin' On My Way," with Moss and Kid Andersen taking crisp solos and trading fours with Gruenling's swooping horn-like harp taking this performance out. Moss follows this up with the relaxed, mellow feel of "Tell Me There's Nothing Wrong," with Gruenling taking a tasty solo in a Sonny Boy Williamson vein followed by Moss' shattering solo. "Me and My Friends" is set to a groove that evokes Phillip Walker and Jimmy McCracklin ("Steppin' Up In Class") with horns adding to the atmosphere here. "Simple Minded" had Andersen on mandolin, and the performance brings back memories of the late Johnny Young with Gruenling playing in a Walter Horton manner and Streif hinting at Otis Spann.

"Hot Zucchini" is an instrumental in the vein of Booker T & the MGs with greasy Hammond B-3 from Streif, stinging guitar from Moss and riffing horns. Another instrumental, "Cutting the Monkey's Tail," provides space for Gruenling and Moss to shine. The concluding track, "The Comet," is an atmospheric Muddy Waters styled blues that is a tribute to the late Mike Ledbetter with whom both Moss and Monster Mike Welch had played. The two duet with Welch taking the lead (and soloing in accompanying Moss' vocal. While the contributions of Moss, Grueling and Streif have been spotlighted, one cannot ignore the first-rate backing provided by Mantovani and Seals. This is one terrific band, and given the authority and imagination that Moss, Gruenling, and Streif play with, blues fans are in luck with the fabulous "Lucky Guy!"

I received my review copy from Alligator. This review appeared in the September-October 2019 Jazz & Blues Report (Issue 386) although I made minor stylistic changes. Here is a recent performance by Nick Moss with Dennis Gruenling.

 

Lindsay Beaver Tough As Love

Lindsay Beaver
Tough As Love
Alligator Records

Bruce Iglauer writes, in the liner notes to "Tough As Love," "I never expected to choose a female singing drummer from Halifax, Nova Scotia in easternmost Canada to be the newest member of the Alligator Records family. … Lindsay delivers blues, R&B and old school rock ‘n’ roll in a voice brimming with attitude and soulfulness. She’s described her music as “punk blues,” but that’s too narrow a term. She comes at every song with urgent intensity, soul-baring emotion, a distinct swagger and a take-no-prisoners confidence."

Beaver currently lives in Austin, Texas, after spending time in Toronto where she went to music school to hone her skills on a drum kit and where she led a band, the 24th Street Wailers. With them, she recorded five albums and while performing caught the ear of Jimmy Vaughan who encouraged her to check out the Austin scene and after a few visits, settled there in 2018, making new musical friends including her touring band of guitarist Brad Stivers and bassist Josh Williams. Musical influences include Billie Holiday, Nick Curran, The Ramones, Amy Winehouse, Sam Cooke, and Earl Palmer (her only influence on drums). She has guests on this recording that include Marcia Ball, Laura Chavez, Matt Farrell, Sax Gordon, Dennis Gruenling, and Eve Monsees.

She produced this recording, her Alligator debut and first under her name, She wrote 7 of the twelve songs and handled the vocals and drums. One is impressed with the opening tough blues "You're Evil," with Dennis Gruenling's harmonica adding to the energy of this performance and she scores a knockout with her husky, robust singing. She certainly can belt it out while Stivers blasts off on his guitar solo, if a bit frenetic. Her singing might be likened to Etta James with a rockabilly spirit, while she keeps a crisp shuffle groove throughout.

One of the highlights of this album is "Too Cold To Cry," a Louisiana blues styled number evoking Earl King's "Those Lonely Lonely Nights," with Marcia Ball on piano evoking Huey 'Piano' Smith, while Stivers channels Johnny 'Guitar' Watson. With Sax Gordon taking a blistering baritone sax solo, "What a Fool You've Been" sounds like vintage 50's West Coast rock'n'roll, while the rendition of Little Willie John's "You Hurt Me," is a terrific slow blues with Stivers channeling Ike Turner crossed with Otis Rush. Stivers shares the vocal on a tight original rock and roll performance with rollicking piano and a crisp guitar solo.

She does tone down her strong vocals on her cover of Slim Harpo's "Got Love If You Want It," which is wonderfully played. Stivers is excellent here as is Gruenling, while Beaver's crisp drumming is right on. "Oh Yeah" is another solid piece of rock and roll as she tells everybody to get wild, followed by another superb slow blues, Angela Strelhi's "Lost Cause." Another choice cover is a lesser known Art Neville song, "Let's Rock," with a fine vocal and strong backing including Matt Farrell's piano.

"Mean To Me" is another bluesy piece of rock'n'roll, crisply played with Stivers and Laura Chavez both soloing and then trading fours. It is a spirited close to an excellent recording. Lindsay Beaver is an excellent singer who brings plenty of passion to her vocals. Her original songs possess the spirit of classic rock'n'roll and blues. She is also a solid drummer who, along with Josh Williams, anchors a superb rhythm section on these wonderfully played and paced performances. Putting all this together and one has an exceptional release.

I received my review copy from Alligator. This review appeared in the January-February 2019 Jazz & Blues Report (Issue 382), although I have made corrections and minor changes. Here is a video Lindsay playing "Mean To Me."

The Nick Moss Band Feat. Dennis Gruenling

The Nick Moss Band Feat. Dennis Gruenling
The High Cost Of Low Living
Alligator Records

As Tom Hyslop observes in his liner notes to this new Nick Moss recording, it marks Moss' return "to traditional Chicago and jump blues and old school rock'n'roll after his recent explorations into bluesy rock and jam blues stylings." Moss apprenticed with the likes of Jimmy Dawkins, The Legendary Blues Band and Jimmy Rogers. before his own solo career. He has recorded 12 albums on his own Blue Bella label before this Alligator Records debut. Moss' influences include B.B. King, Freddie King, Earl Hooker, Magic Slim and other groundbreaking players.

Moss' new band includes the vocals and harmonica of Dennis Gruenling, whose full throated harmonica reflects the inspiration of James Cotton, Little Walter and George “Harmonica” Smith and saxophonists, including Lester Young and Red Prysock. Like Moss, he has seven fine solo recordings to his credit. Others heard on this recording are Taylor Streiff on piano, Nick Fane on bass and Patrick Seals on drums. Also present on several selections are Kid Andersen (who engineered this and co-produced this with Moss) on guitar and shakers; Jim Pugh on organ; Eric Spaulding on tenor sax and Jack Sanford on baritone sax. Moss contributed eight songs, Gruenling two, and there are three covers.

This return to straight, real deal Chicago blues by Moss is superb. The original material is first-rate (full of wit and pathos), Moss and Gruenling are solid vocalists, and playing (leads and backing) is top-notch. With horns in the background, Moss kicks off this recording with some Johnny Guitar Watson sounding guitar on "Crazy Mixed Up Baby," with Gruenling coming in for the first solo break before Moss explodes on the second break on a crisp West Coast blues. It is followed by an amusing shuffle "Get Right Before You Get Left," with a groove updating Howlin' Wolf's Memphis boogie recordings. It has  more terrific harp and Moss sounds like he's channeling Willie Johnson. Some tough Elmore James flavored slide and rollicking piano help propel the driving title track with its ironic lyrics. Gruenling's "Count on Me," is a bit of classic rock and roll led by his full-toned harmonica and more strong piano.

There is a solid cover of Otis Spann's "Get Your Hands Out Of My Pockets," that has Gruenling evoking vintage James Cotton. "Tight Grip On Your Leash," is a rollicking shuffle about this 'cool little number." The title "He Walked With Giants (Ode To Barrelhouse Chuck)," says it all with an affectionate lyric delivered with plenty of heart by Moss with Streiff again standing out. These ears detect Jimmy Dawkins' influence on Moss' guitar here, while Gruenling just kills it on chromatic harmonica. "All Night Diner," is a hot instrumental feature for Gruenling, with organist Pugh and Moss playing in a jazzy vein.

A bouncy rendition of Boyd Gilmore's recording "Rambling On My Mind," strongly closes this recording. As stated, there is strong and varied material (including choice songs to cover), very good singing, and excellent playing. This is also wonderfully recorded resulting in a superb straight-no-chaser Chicago blues recording.

I received my review copy from Alligator Records. Here is a clip of the Nick Moss with Dennis Gruenling

 

Peter Karp The Arson's Match

Peter Karp
The Arson's Match

I know of Peter Karp through recordings he made with Sue Foley for Blind Pig. The singer, songwriter and instrumentalist has a new recording that was recorded live at New York City's The Bottom Line by Sirius XM. Most notable about this recording is the presence of Mick Taylor, best known for his tenure with the Rolling Stones (and before that with John Mayall). Also present is harmonica wizard Dennis Gruenling and Dave Keyes plays piano one one selection. Others on the session are Ken Ehinger on keyboards, Daniel Pagdon on bass, and Paul "Hernandez" Unsworth on drums.

These performances range from the title track, a fast tempoed blues about someone burning his home down set to the "Dust My Broom," with a searing blues-rock solo from Taylor. "Chee Chee Chee Chee Wawa," is a catchy number with a bouncy and breezy feel, as he sings about this woman he meets in the Sonoran desert. This performance has more choice Taylor playing that showcases his ability to play softly and employ silence between the notes. It is a captivating performance. "Y'all Be Lookin'," is a nice rock and roll shuffle with a lyric that folks may be looking for something, but they should be looking for love. A highlight here is a solid slide guitar solo.. "The Turning Point" is more in a folk vein with the keyboards adding proper seasoning backing the vocal.

"The Nietzsche Lounge" has another interesting lyric with word-play,  rollicking piano and solid harp in addition to Taylor's fiery fretwork. After this performance Karp introduces the band. "Your Prettyness" is built on a nice groove (hint of Howlin' Wolf's "Who's Been Talking") with a fine Dave Keyes piano solo and a terrific harp solo. The remainder of this recording shares the virtues of Karp's songs, his earnest, appealing, gritty vocals and a terrific band with  terrific playing from (especially) Gruenling and Taylor. Not strictly a blues recording, but the spirit of the blues infuses pretty much this entire recording. It must have been quite a night at the Bottom Line and the music was hotter than the Arson's match.

I received my review copy from a publicist. Here is the performance of the title track from The Bottom Line.

 

Dennis Gruenling Ready Or Not

Dennis Gruenling
Ready Or Not
VizzTone

Harmonica wizard Dennis Gruenling has a new release on VizzTone, "Ready Or Not." Like his previous recording, 2012's "Rockin’ All Day," he is backed by guitarist Doug Deming & the Jewel Tones (bassist Andrew Gohman and drummer Michael Bram). Also, Dave Keyes adds piano to 4 tracks and Doug Sasfai adds saxophone to 4 selections and producer Steve Conte adds acoustic guitar to one selection. The liner notes note that the album was focused on a rock and roll styled record, harking back to the 1950s with artists like Chuck Berry, Bo Diddley and Fats Domino. Gruenling wrote all the songs (some in collaboration) and for the first time takes all the vocals and he comes across credibly with his straight-forward delivery, although his vocals are not on the same level as his harmonica playing. The Jewel Tones and the others certainly do their bit to help create the feel and the lyrics have a school hop flavor.

There are many pleasures starting with the opening Little Richard flavored "Knockin' My Knees," that evokes some of the recordings of Kid Thomas (although Gruenling is somewhat straight-laced compared to Kid Thomas frenzied singing). "Simmer Down" is musically related (not lyrically related) to the Roy Montrell classic "(Everytime I Hear) That Mellow Saxophone" and featured some tasty interplay between Gruenling and Deming. The groove on "Little Sugar," suggests some Gary U.S. Bonds recordings with  very tasty guitar along with a nice harmonica solo, while on "Ready To Burn," it sounds like he sings through his harp mike, giving his vocal a distorted feel matched the hot harp on this. There are two instrumentals, the blistering, "Rockin' With The Rev," and the moody sounding "Count Chromatic," where his fat tone is marked by Deming's Luther Tucker sounding fills that closes the 13 song recording.

"Ready Or Not" is another highly enjoyable recording that fans of Gruenling and Deming will certainly love, and for those unfamiliar with the two, it is musically a solid introduction to the music.

I received my review copy from VizzTone. This review originally appeared in the September-October 2016 Jazz & Blues Report (Issue 368). I made a few minor revisions to the review. Here is a video of Dennis performing Count Chromatic."

Hank Mowery Has Excuses Plenty

About Hank Mowery's 2013 recording "Account To Me" (Old Pal) I observed that Mowery was a strong blues voice that is showcased on a most entertaining recording. It is a description equally applicable to his latest recording "Excuses Plenty" (Blue Bella Records). Backed by his band "The Hawktones" with Mowery on harp and vocals; Troy Amaro on guitar; Chris Corey on keyboards; Patrick Recob on bass and backing vocals and John Large on drums and percussion. Also are a number of guest appearances including guitarists Mike Morgan and Doug Deming; bassist Larry Taylor; and harmonica wizard Dennis Gruenling, providing extra musical depth to the solid playing here.

Mowery kicks off this album with an original "Anna Lee" that is a nice dose of bluesy rock and roll (think Chuck Berry meets Kid Thomas). His sharp-toned harp mixed with his straight-forward vocals delivered with conviction is backed by rollicking piano and some kick-ass guitar. It is followed by the sober "I Don't Want to Know" with a restrained, thoughtfully played guitar solo by Claude Nine. The title track has effective trebly guitar from Amaro and some soulful harp playing from the leader followed by "Walk With Me," a Blasters styled rocker with terrific harp. "One and Only" is a terrific Jimmy Rogers' styled shuffle with more Mowery harp as he trades licks with guitarist Mike Morgan. "Cry For Me" is not the soul classic but an original with a swampy rock accents and greasy fafisa sounding organ from Corey. "Would You Still Love Me on a Rainy Day" is played with considerable restraint including Mowery's softly delivered vocal with Dennis Gruenling taking the superb harp solo here with Deming soloing on guitar. A cover of William Clarke's "Telephone Is Ringing" opens with some explosive Deming guitar and has explosive harp playing by Gruenling and Mowery as well as a tough vocal (sounding like he is singing through his harp mike).

Its another strong set of performances by Mowery who sands out as a songwriter, singer and instrumentalist backed by a tight band and some superb guests. The marvelous music on "Excuses Plenty" certainly should appeal to fans of traditional post-war blues as well as roots rock enthusiasts.



I received my review copy from a publicist. Here is Hank Mowery and the Hawktones in performance.

Gina Sicilia Discovers It Wasn't Real

Gina Sicilia has developed into a striking vocalist and a very fine songwriter. This becomes clear listening to her new CD, It Wasn’t Real (Swingnation Records/VizzTone), is her first that was not produced by Dave Gross. Glenn Barratt produced this recording, that was recorded at Morningstar Studios in Philadelphia, and Gina explains it helped her move out of her comfort zone. Sicilia wrote nine of the ten songs here, the exception being a cover of a less-known Etta James recording, Don’t Cry Baby.

Opening with the terrific title track, Sicilia displays a powerful voice as she belts out this original evocative of classic 50s and 60s R&B. Jay Davidson’s baritone sax helps establish the mood before he takes a booting tenor sax solo while guitarists Kevin Hanson and Jef Lee Johnson add fills. Gina invests much feeling into the cover Don’t Cry Baby as Joel Bryant’s piano accompaniment stands out and Davidson rips off more tough tenor sax. Wake Up Next To You, has an infectious reggae groove, as Gina wants to take her baby home with her. Dennis Gruenling contributes marvelous chromatic harmonica on the jazzy Walkin’ Along the Avenue, that has her lyric on how love can happen when least expected. 

The country-laced Don’t Wanna Be No Mother is a moving song about a marriage where the romance has long gone and the husband Carl looks at pretty young girls and never makes love to her with the haunting line “The stale air of the airplane, smells like my life …” Jef Lee Johnson plays some acoustic slide as well as electric single note runs on this standout emotionally charged performance. It is the highlight of a consistently strong recording.

It Wasn’t Real is a superb album of blues, country and other roots music. It brings together exceptional original songs, strong session playing and marvelous, nuanced vocals that display the marvelous talent Gina Sicilia has become. Highly recommended.

I received my review copy from VizzTone.  Here is a video for Don’t Wanna Be No Mother.

Doug Deming Asks What's It Gonna Take

“What’s It Gonna Take” by Doug Deming & the Jewel Tones (VizzTone) is a companion release to the recent CD by harmonica wizard, Dennis Gruenling. Like Deming was prominent on Gruenling’s recording, Gruenling is featured with Deming along the Jewel Tones Andrew Gohman on bass and Devin Neel on drums. This release was recorded in Florida and is a strong set of blues and roots music that is as easy on the ears as it is certainly to get the dancers up and on the floor.

7 of the 11 songs on What’s It Gonna Take are Deming originals starting with the title track with its Deming giving his heartfelt plea as to whether his heart is gonna break or what is it gonna take. As on Gruenling’s album, there is spectacular and well crafted harmonica and guitar. I really like Deming's uncluttered, crisp playing. As a vocalist, Doug Deming is an appealing singer and his guitar playing will delight fans of Duke Robillard, Bill Kirchen and similar players.

Think Hard is built on a churning Chicago blues groove with some outstanding saxophone like harmonica behind Deming’s energetic vocal. One Good Reason is a number that evokes Bill Kirchen’s rendition of Hot Rod Lincoln, reflected by Deming’s guitar as well as by Gohman’s slapped upright bass. The group sound terrific on a fine cover of Willie Mabon’s Poison Ivy, with more dazzling harmonica. An Eye For An Eye is a Muddy Waters styled original benefiting from the spare backing as Gruenling again dazzles while Deming's simple driving playing is quite effective. 

No Big Thrill is a fine original suggestive of Sonny Boy Williamson II’s Bring It On Back Home, with Anthony Smith playing the harp here. On a charming rendition of Buddy Johnson’s A Pretty Girl (A Cadillac and Some Money), Gruenling employs the bottom range of his chromatic harmonica while accompanying Deming’s vocal. Gruenling’s spirited, Bella’s Boogie, closes this CD on a dynamic note with lively guitar, a short drum break and dynamic harmonica. It is a performance that again showcases the tight, swinging groves of Deming and the Jewel Tones. 

What’s It Gonna Take is a marvelously performed recording that will delight fans of Chicago and jump blues. 

I received my review copy from VizzTone. Here they are doing Buddy Johnson’s A Pretty Girl (A Cadillac and Some Money).

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.

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.

I Just Keep Lovin' Him - Dennis Gruenling's Excellent Tribute

Its been forty odd years since Little Walter passed away. Let after all the years, his musical legacy still burns bright. Shortly after his death, George 'Harmonica' Smith did a marvelous tribute CD with the Muddy Waters Band of the time that had Smith providing his own take on some of Walter's better known recordings. It was a fine effort that alas today is a collector's item. Now, East Coast harmonica wizard, Dennis Gruenling, has turned his attention to a marvelous tribute to Little Walter, I Just Keep Lovin' Him - A Tribute to Little Walter (Backbender Records).
I saw Gruenling with his excellent band, Jumptime, several years ago and was impressed by his progressive harmonica playing, incorporating a number of jazz influences, but like the late Paul DeLay, rooted so strongly in the blues tradition. On his latest CD, he has put together a stellar studio band that includes guitarists Dave Gross and Rusty Zinn; Mark Bram or Marty Dodson on drums; Gina Fox and the vocal group 'Choice' guesting on vocals; and Steve Guyger, Kim Wilson and Rick Estrin on harmonica and vocals.
Included are renditions of several of Walter's recordings, generally not overdone, as well as recordings Walter played on as a sideman, so we get Gina Fox singing a jumping Up the Line, and Choice reworking The Coronets' Corbella. Steve Guyger handles Muddy Waters' Lovin' Man and reworkings of Jimmy Rogers' My Little Machine and You're Sweet, singing ably and taking strong solos with Gruenling adding some real nice accompaniment to the vocals. Kim Wilson is marvelous on Walter's classic shuffle, I Got to Go, and the moody As Long As I Have You. Gruenling takes the second solo on I Got to Go. Rick Estrin takes charge on Too Young to Know and Temperature, and while his vocals come across less effectively as those of Guyger or Wilson, no complaints can be laid at his fine harp. Estrin, Wilson and Gruenling also each take a bow on one of Walter's lesser known instrumentals, Teenage Beat.
Gruenling himself cites George Smith as more of a direct influence on his harp style, but states "here I've tried to reach into my Walter bag a bit," as do Estrin, Guyger and Wilson. They all bring a fat tone and a swinging drive to their playing, and the backing is solid. They know Walter's music so well, but each brings their own spin to this disc. Little Walter's music lives and sounds contemporary as evidenced by this excellent disc with its focus on less expose material and superior musicianship and harp playing. Incidentally as I write this, it is being sold by bluebeatmusic.com with a CD single by Gruenling and Steve Guyger. Ot go to http://www.dennisgruenling.com.