The Lucky Losers Godless Land

The Lucky Losers
Godless Land
Vizztone

"Godless Land" is the latest recording from The Lucky Losers. Leading the band are by singer Cathy Lemons and singer-harmonica player Phil Berkowitz. The other members of the group are Ian Lamson on lead & rhythm guitars; Chris Burns on keyboards; Endre Tarczy on bass; and Derrick "D'Mar" Martin on drums. This album was recorded at Kid Andersen's Greaseland Studios and Kid Andersen guests on (lead & rhythm guitars, lap steel, organ, piano, Mellotron, sitar, and percussion. Michael Peloquin plays saxophones and adds the horn arrangements for one selection on which Mike Rose plays trumpet.

Like The Lucky Losers' previous two albums, this is a first-rate CD of blues, rhythm and blues, and roots rock. Nine of the twelve songs are originals by either Lemons or Berkowitz. Former Charles Brown bandleader Danny Caron co-wrote three of Berkowitz's songs. One wonders whether the fact the songs seem to linger in one's head after listening is because the songs are so well-crafted, or the performances are wonderful. The tight ensemble backing throughout is top-notch with subtle, intricate instrumental fills adding to one's enjoyment. I have been a Cathy Lemons fan since listening to her 2014 album "Black Crow," about which I commented about the "natural, relaxed and soulful quality" of her singing. She continues to impress me as an exceptional singer. If Phil Berkowitz is not quite as impressive a vocalist, he still is a real fine singer who complements her throughout.

Things start with Lemons' funky Memphis soul groover, "Half Of Nothing," with her forthright singing with Berkowitz displaying his harmonica talents. Kid Andersen and Lemons collaborated on the bouncy rhythms of the title track with lyrics set against trebly accompaniment. Berkowitz takes the appealing vocal lead on the crisply played "Mad Love Is Good Love" with Lemons adding a harmony vocal on a performance evoking late sixties and early seventies classic rock. Another choice pop-soul performance is Berkowitz's "Can't Keep Pretending" with a full-hearted singing.

The duet performances by the two are very much in the manner of Mickey and Sylvia as they trade playful banter between themselves. It is appropriate that they cover a lesser-known Mickey and Sylvia hot shuffle, "No Good Lover." They follow this song with an interpretation of Doc Pomus- Mac Rebennack's "Be Good" with Burns' piano evoking Rebennack and Andersen's use of sitar adding to the flavor of this performance. This performance most clearly displays the affection they have for each other. As good as these performances are, "Catch Desire By The Tail," maybe the standout track as the two exchange praises how they complement each other set against sterling backing. Then there is the delightful reworking of a 1930 Clara Smith and Lonnie Johnson duet, "What Makes You Act Like That," There is some neat acoustic guitar and Berkowitz's acoustic harmonica that enhance the duo's playful repartee.

A country-roots lament from Lemons closes this album. Like their previous recordings, there are first-rate songs, superb singing, and terrific playing. As I wrote reviewing their first album, there is not a bum note on this recording. They may call themselves the Lucky Losers, but listeners are big winners with their music.

I received my review copy from VizzTone. Here is a recent live performance by The Lucky Losers.

Rick Estrin & The Nightcats Contemporary

Rick Estrin & The Nightcats
Contemporary
Alligator Records

If one counts the nine albums when Little Charlie Baty led the Nightcats, this is the fourteenth album by the tight West Coast ensemble. It is the fifth since Rick Estrin took over leadership after Baty retired from touring. With Christoffer "Kid" Andersen on guitar (who also doubles on bass and others instruments), Lorenzo Farrell on keyboards and Derrick "D'Mar" Martin on drums, the Nightcats remain one of the tightest blues bands going. Others heard on this recording include Alex Pettersen on drums; Quantae Johnson on bass and background vocals; Lisa Leuschner Andersen on background Vocals; Jim Pugh on organ and The Sons Of The Soul Revivers on background vocals. This was recorded at Andersen's Greaseland Studios.

Rick Estrin wrote nine of the twelve tracks, Andersen and Farrell one each and there is one 'obscure' cover. Besides being one of today's t blues harmonica players, Estrin is among the blues finest songwriters. His songs are usually laced with ironic humor, and sometimes biting commentary, and one has a combination hard to beat. Estrin wrote nine of the twelve tracks, Andersen and Farrell one each and there is one 'obscure' cover. Nothing showcases the ironic humor and his commentary better than "Root of Evil." On this song, Estrin asks if money is the root of all evil, what does one call being broke. It is a typically well-played, well-paced performance with a thoughtful unamplified harp solo and a short Farrell solo. The title track starts as a brisk shuffle blues as Estrin sings about the blues not going out of style. It morphs into Estrin's humorous escape into making his music 'contemporary.' Andersen adds a chorus of blues-rock guitar, even having a rap from D'Mar Martin thrown in with a jam band freakout.

Estrin always seems to find himself in strange relationships as in "She's Nuts." On this performance, he has a superb harmonica solo in the vein of Rice "Sonny Boy Williamson' Miller.  Elsewhere, he sings about the older man with his young lover who has her hands in his pocket in "Nothing But Love," the one cover. He has a superb amplified harp solo with swooping saxophone-like lines as Andersen provides subtle backing. There is the soulful blues "New Shape (Remembering Junior Parker)" with a harp solo that evokes the legendary blues giant.

Estrin is also not afraid to showcase the band as on Andersen's instrumental "House of Grease" which sounds inspired by Freddie King performing "Big Legged Woman." Besides Andersen's excellent playing, Farrell has a tasty piano solo. Farrell wrote the jazzy instrumental "Cupcakin'," a jazzy instrumental with Andersen's fleet, jazz-inflected playing complementing Farrell's organ grooves. Estrin also adds his own wide-open harp. Estrin's "Bo Dee's Bounce," is a lively instrumental that showcases Estrin's driving harmonica with Andersen taking a short, imaginative guitar break. It closes another terrific recording by Rick Estrin & The Nightcats, full of excellent material and superb playing.

I received my review copy from Alligator. This will be available on September 20. Here is a video of a recent performance by Rick Estrin & the Nightcats.

Kevin Burt Heartland & Soul

Kevin Burt
Heartland & Soul
Little Village Foundation

Mike Kappus notes he first was exposed to Kevin Burt as a judge for The Blues Foundation's 2018 International Blues Challenge where the Iowan won not only in the single/duo category. Kappus also notes Burt was the first artist in the Competition's 34-year history to sweep the solo categories — also winning the Solo/Duo Cigar Box Guitar Award for the most promising acoustic player and the Lee Oskar Harmonica Award. Once having to work five jobs (two full-time, three part-time) as a young adult in Iowa City after a football injury in his senior year of college derailed his dreams of professional football, he has become a significant new acoustic blues voice.

It is not like he just started playing the music. In 1996, the sesquicentennial both of Iowa and of the Smithsonian, Burt was chosen by the state of Iowa to participate in a project of the American Folklife Center. “I got the opportunity to be a living exhibition at the Smithsonian representing the state of Iowa as a blues artist, and part of my responsibility was to have an educational component, so that’s when I started doing my research to be able to give accurate historical stories for the state of Iowa from the perspective of a musician.” He has also become quite involved in Blues in the School.

I suspect this is his debut recording and Kid Andersen and Jim Pugh produced this CD which was recorded and mixed at Greaseland. Burt, who wrote 11 of the 12 songs, sings and plays acoustic guitar and harmonica. Andersen adds guitar and melodica (on one track), and Pugh keyboards. Others on this include Jerry Jemmott on bass, Derrick 'D'Mar' Martin on drums, Jon Otis on percussion and Lisa Leuschner Andersen on backing vocals.

Listening to Kevin Burt, one is reminded of Ted Hawkins, a similar acoustic singer-songwriter who had deep rhythm and blues roots. Whereas Hawkins displayed a strong Sam Cooke influence, Burt evokes Bill Withers with perhaps a dash of Al Jarreau. Withers is one of Burt's cited vocal influences along Aaron Neville, Bobby Bland, Luther Vandross, and Marvin Gaye. The song that perhaps is most suggestive vocally and stylistically of Withers' is "I Don't Want To See You No More," where he sings about finding a note on the door and not understand why she left him.

It is a varied program starting with the lively groove on the opening "Day Day" singing about he makes her whole body grins but she will miss him if she leaves more than he will miss her. The performance has a nice harmonica break with the percolating backing behind the singing. Then there is an austere cover of The Beatles' "Eleanor Rigby," backed by his solo guitar, where his phrasing and other vocal dynamics stands out. Pugh's organ helps establish the mood for his expression of thanks for letting him be himself. The percolating groove of "Real Love" reminds me of the Doobie Brothers as he sings about a love they should hang on to and wants to share with nobody else with some rhythmic guitar and crying harmonica.

While the songs on this are more soul than blues, "Never" is a strong, evocative blues with Pugh's piano and Andersen's guitar standing out in the backing against Burt's passionate singing. Another blues has him playing slide and harp for the first verse of "Smack Dab in the Middle," an original and not the song associated with Count Basie and Joe Williams, where he sings about going to the Crossroads and not having done nobody wrong. While there is nothing wrong with the band backing and he has a nice harp break, this performance to these ears would have been stronger if it remained a solo performance. This is a small quibble on an impressive recording full of memorable performances. Kevin Burt shows himself to be an exceptional artist.

I received from my review copy from a publicist. This review originally appeared in the November-December 2018 Jazz & Blues Report (Issue 381). Here is a clip of Kevin Burt performing "Eleanor Rigby," at the 218 International Blues Challenge finals.

Paula Harris Speakeasy

Paula Harris
Speakeasy
Self-produced

Born in South Carolina but now based in the San Francisco Bay area, vocalist Paula Harris has impressed folks in the Blues Scene. Her band finished in the top 3 in the 2012 International Blues Challenge and recordings have furthered her stature with praises from Dan Ackroyd, the late Lou Rawls and Stax legend William Bell.

Her new recording takes her into more of jazz setting as she explores the nexus of blues and jazz backed by an acoustic piano trio. The backing musicians include pianist Nate Ginsburg, bassist Richard Girard, and drummer Derrick 'D'Mar' Martin, with guest appearances from trumpeter Bill Ortiz, a poetic rap from Big Llou Johnson, and Christoffer 'Kid' Andersen on bongos on one song and waterpipe on another. "Speakeasy" was recorded at Andersen's Greaseland Studios, and he mixed the recording.

10 of the 16 songs on my CD are originals with Harris' lyrics and music from her and Ginsburg, two are from Bay area friends, and the others are interpretations of standards. Scott Yanow has suggested in the liner notes that Paula Harris has created a jazz-blues fusion, bridging "the gap between blues and jazz, while not neglecting soul and R&B." I have other singers around Washington DC (where I live) do the same, although they are often viewed as jazz singers. This is not to diminish the talent or what Paula Harris has accomplished here. She is a terrific vocalist. She sings expressively with power, but subtle and nuanced and one can appreciate the what the late Lou Rawls meant when he said she was "A thin vanilla coating on a dark chocolate soul."

And she brings her vocal talents to some stunning originals like the cautionary "Nothing Good Happens After Midnight," and the evocative ballad "Haunted." The there is spice and exuberance of "Soul Sucking Man," well she sings about resisting the temptation and charms of this gentleman, and her sober, elegiac rendition of "Good Morning Heartache" a marvelous interpretation of a song associated with Billie Holiday. "A Mind of Her Own" is a superb straight blues while trumpeter Ortiz creates a haunting mood to the sensual "Something Wicked" with interplay with her interaction with Big Llou Johnson's poetic rap. Ortiz's muted trumpet adds to the late-night feel of the Thelonious Monk jazz standard "Round Midnight" to which she has provided original lyrics and delivers a superb, longing vocal. Her splendid rendition fo Al Kooper's "I Love You More Than You'll Ever Know" is based on Donny Hathaway's interpretation. After the minor-toned blues about a cheating lover, "Who Put Those Scratches On Your Back," the CD closes with a playful take on Louis Jordan's "Is You Or Is You Ain't My Baby."

The contributions of her backing piano trio should not be overlooked. Pianist Ginsburg especially impressed with his deft accompaniments and lively, imaginative solos while the rhythm duo of Girard and Martin provide a light, yet firm foundation for Paula Harris' expressive, subtle singing. With this backing and the excellent material, "Speakeasy" is a superb recording.

I received my review copy from a publicist. Here is a video of her performing "Nothing Good Happens After Midnight."

Wee Willie Walker & The Anthony Paule Soul Orchestra After A While

Wee Willie Walker & The Anthony Paule Soul Orchestra
After A While
Blue Dot Records

An encounter performing in Europe first brought together California guitarist and band leader Anthony Paule with deep soul-blues singer Wee Willie Walker. This has led to the present recording where the one-time Goldwax artist is backed by a full band led by Paule. I recently reviewed a live album from the Notodden Blues Festival with a band led by Kid Andersen, about which I concluded "Wee Willie Walker certainly has it still and this live recording suggests just how moving and powerful a performer he remains." Walker is also present on a recent recording by Austrian organist Raphael Wressnig & Brazilian guitarist Igor Prado singing several songs that were associated with the legendary Little Willie John.

The present recording opens with the Memphis soul-styled "Second Chance," with the rhythm of Paule, Tony Lufrano on keyboards, Paul Olguin on bass, and Derrick 'D'Mar' Martin on drums laying down a form base for Walker's church-rooted singing with brassy horns. It was written by Christine Vitale, who contributed to several other songs including the title song and a performance (including the horn arrangements and Charles McNeal's wonderful tenor sax solo that evokes Little Willie John and other legends). Walker recorded George Jackson's "I Don't Want To Take A Chance," as a demo 50 years ago, but gets to record it anew for this marvelous rendition that again conjures up the classic R&B era of the 50s and early 60s. His soulful phrasing is supported by the handsome playing and Paule adds some nice chords and fills. Then we get a little big band treatment of the Lil Green classic "In the Dark," strongly sung in a manner that Little Willie John might have done it, and Paule takes a strong guitar solo in a jazzy-blues vein on this superb performance.

The message song "Hate Take a Holiday," has its call for love to take out hate, and folks of all colors and creed walk together in peace. teh recording has organ grease and a somewhat spare rhythm backing. It is followed by the Tex-Mex tinged romantic ballad, "Thanks For the Dance," with Paule on acoustic guitar on a song with a feel of a Drifters recording. There is a bit of Muscle Shoals funk underlying "If Only," while the soul ballad "Cannot Be Denied," is a lovely blue ballad. Both of these were written by Walker with Vitale and Paule. There is a stunning cover of a Little Willie John recording, "Look What You've Done To Me (not the Boz Scaggs song)," with brilliant playing from trumpeter Tom Poole and trombonist Derek James. Vitale and Paule's original "I Don't Want To Know," is a superb original blues in this same vein with a choice jazzy Paule solo.

After a punchy instrumental, "The Willie Walk," there is a wonderful duet with Terry Odabi updating The Clovers' hit "Lovey Dovey" followed by a return to the Memphis sound on a terrific soulful cover of the Mable John classic "Your Good Thing (Is About To End)." This is an excellent close to an imaginatively programmed and arranged recording, that showcases one of the last original soul singers. We should be thankful he is with us and  still sings with all his vocal talent intact on a terrific recording.

I received my review copy from a publicist. This review originally appeared in the November-December 2017 Jazz & Blues Report (Issue 375), although I had edited my original review to clarify some points. Here is Wee Willie Walker & The Anthony Paule Soul Orchestra performing at the 2015 Porretta Soul Festival.