Mark Wenner’s Blues Warriors

Mark Wenner’s Blues Warriors
EllerSoul Records

Talking about the Blues Warriors, Mark Wenner observes, “This band is actually a blues band,” says Wenner, addressing comparisons to the ‘Hawks. “The Nighthawks are a blues and roots-rock band. This band, with upright bass, is more authentic, old school and swinging. It’s closer to the Cash Box Kings than J. Geils; a whole different animal.” Having seen some of the Blues Warriors early performances at JV's, the Falls Church, Virginia local roadhouse, I am pleased to see this eponymously titled recording document the band. Joining Wenner on harmonica and vocals are fellow Nighthawks mate Mark Stutso (drums, vocals), Clarence “The Bluesman” Turner (guitar, vocals), Zach Sweeney (guitar) and Steve Wolf (upright bass). Turner is a popular performer on the DC blues and music scene (He wonder the DC Blues Society's Battle of Bands several years ago), while Wolf has played with so many blues and roots performers including Danny Gatton, Tom Principato and most recently with Memphis Gold, and like Wenner, I remember Zach Sweeney when he was too young to play blues jams without his parents. He recently returned to the area after some serious road experience with Wayne Hancock.

Musically there will be little to surprise the listener with the 12 performances, only one of which is an original. These are solid performances starting off with Turner's revival of Muddy Waters' "Diamonds at Your Feet." This is one of several fine vocals by Turner which also include a lesser known Big Joe Turner recording "Rock a While"; Muddy Waters' "Just to Be with You" and Elmore James' "Dust My Broom." Wenner's harp and the piano-less quintet provide a different feel to these especially on the Joe Turner and Elmore James numbers (with Wenner's harmonica dominating the backing on the latter number)..

Wenner is strong in reviving Elvis' "(Let Me Be Your) Teddy Bear," as a blues as well as his rendition of "Checkin' On My Baby" which owes more to Junior Wells than Sonny Boy Williamson. Among Wenner's other vocals is a straight reading of Slim Harpo's "King Bee," a stomping swamp blues rendition of the Fats Domino "Hello Josephine," and an instrumental Jimmy Reed tribute, "Just For Jimmy." Mark Stutso, who is highly underrated as a singer does a superb take on B.B. King's "It's My Own Fault." There is a fine take of "The Hucklebuck" that showcases Sweeney's impressive, jazz-laced single note runs along with a fine Steve Wolf bass solo. Sweeney also impresses on his solo on "Rock A While."

While several of these performances are modeled after the source recordings, Wenner's harp and the lack of piano provide a fresh take on several numbers including "Teddy Bear," "Rock A While," and "Dust My Broom." As previously stated, these are solid performances, played with much conviction and result in a very entertaining recording.

I received my review copy from a publicist. This review has appeared in the July-August 2018 Jazz & Blues Report (Issue 379). Here they are seen performing "The Hucklebuck," at their regular performance at JV's in Falls Church, Virginia.

Little Charlie and Organ Grinder Swing Skronky Tonk

Little Charlie and Organ Grinder Swing
Skronky Tonk
EllerSoul Records

While best known for his blues guitar Little Charlie Baty has been including playing some jazz-like material with Little Charlie and the Nightcats. While with that band, he did a solo project in 2005 rooted in the swing era that Alligator passed on. A few years later he had an opportunity to do a blues and jazz CD which he was delighted with, but alas still as not been released. He since has left fronting the Nightcats and engaging in a variety of different musical activities including touring with Anson Funderburgh and James Harmon, playing gypsy jazz and other jazz settings. In any event as Baty says, the third time is the charm, as EllerSoul has issued his first jazz recording by Little Charlie and Organ Grinder Swing, "Skronky Tonk" with Lorenzo Farrell on the Hammond B-3 (and bass on one track) and J Hansen on drums and percussion.

The mood is set on the opening title track, a blues, that provides the trio's sound and feel, with Baty displaying the taste and technique and musical imagination one expects. Listening to this recording one can hear a variety of influences at different times, Charlie Christian, Django Reinhardt, Kenny Burrell, Barney Kessel and Les Paul. Paul's influence perhaps is most evident on passages of "How High The Moon," but even here Baty mixes in some bebop later. One can't underestimate Farrell's contributions whether comping or taking some greasy solos. Django Reinhardt's "Nuages" may be this listener's favorite track, with Baty outstanding with his nicely nuanced playing and warm tone and followed by his mix of single note runs and chords on "Pennies From Heaven," which also sports some deep fried grease from Farrell.

Baty's original bop tune, "Gerontology" is followed an evocative rendition of John Lewis' tribute to Reinhardt "Django," with Farrell evoking a church organ on this chamber jazz-type performance. Then there is the peppy Charlie Christian classic "Swing to Bop," and a nice rendition of the Brazilian choro classic from Pixinguinha, "Um a Zero." "Flying Home" closes this very solid guitar-organ trio album. I have not mentioned J. Hansen's contribution, but he is constantly in the pocket and pushing this swinging recording along. Farrell's Hammond B-3 playing is a revelation for a person who is known as a bass player, but displays his mastery of the organ here. Charlie Baty, with his consistently inventive, fluid jazz guitar, exhibits a side of his musical personality that many have not previously heard. One looks forward to more from him in this vein.

I received a review copy from a publicist. 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 Little Charlie and Organ Grinder Swing performing Kenny Burrell's "Chitlins Con Carne."

Joe Stanley - DC Saxophone Legend

 

The late saxophonist Joe Stanley was a major force on the rock and roll and blues scenes in Washington DC from the 1960s until his passing in 2007. Stanley played with a who's who of music luminaries including Link Wray, Charlie Daniels, Roy Clark, Bill Black's Combo, and his legendary band, The Saxons, helped such pivotal figures as Danny Gatton and Billy Hancock get their start. This writer saw Stanley numerous times with the DC area band, Big Joe and the Dynaflows, whose leader Joe Maher, has produced a new double CD of Stanley "Legend" on EllerSoul Records of previously unissued recordings.

The first of the two CDs has, in addition to Stanley and his sax and solos, Maher on drums, John Cocuzzi on organ; John Previti on bass and Rudy Turner on guitar where heard. Stanley's big tone will evoke Plas Johnson, Earl Bostic, Sil Austin and Red Prystock. With a heavy vibrato he launches into the mid-tempo latin-flavored "Blue Moon" that illustrates his driving, full-throated attack backed by the solid combo with Cocuzzi's greasy organ adding to the appeal. Stanley's rendition of "Flamingo" also certainly will appeal to fans of honking sax. Stanley was an affable crooner as heard on the standard, "The Nearness of You," and then picks up sax for the funky "Ode to Billy Joe." His vibrato on "September Song" might evoke Ben Webster, while he tears into Horace Silver's "The Preacher," with nice guitar in the backing.

The first disc was recorded in a studio, while the second disc comes from a variety of live recordings. Stanley, Previti, Cocuzzi (also on piano) and Maher are all present (although several tracks feature the late Jeff Sarli on bass); with Ivan Appelrouth on guitar, Frank Cocuzzi subbing on drums on one selection and Chris Watling adding baritone sax to one selection. With Cocuzzi on piano, Stanley digs into "Deep Purple," before the swinging "A Foggy Day in London Town," with a robust vocal and more brawny sax. There are a couple of lively renditions each of "Jambalaya" and "Just a Gigolo." Maher takes the vocal on "Let's Get High," with Stanley robustly soloing. After a marvelous "Walking With Mr. Lee," there are two versions of "You're Cheating Heart." The sound is uneven on these, but at worst is quite acceptable.

The closing track on each disc is Big Joe Maher interviewing Billy Hancock for his recollections of Stanley and for those simply wanting the music, can easily be bypassed. For those interested in the history of the Washington DC music scene, these interview selections will be of great interest. Marty Bauman designed the attractive CD package and wrote the liner notes. The only quibble would be with the personnel listings on the back cover that are incomplete and refer to tracks that do not exist. Otherwise this is a recording that fans of rock and roll saxophone and blues honkers will love. It is a wonderful tribute to a person, whose music, like him was always full of life.

Received my copy from EllerSoul.  Here Joe can be heard with Big Joe Maher and the Dynaflows doing a Wyonnie Harris classic. 

Andy Poxon Must Not Be Crazy

Must Be Crazy (EllerSoul Records) by Washington area guitarist-vocalist Andy Poxon is the latest by a young phenom that certainly has attracted the praises of many like Duke Robillard (who produced his previous CD) and Mark Wenner of The Nighthawks who is quoted on the back cover. For this, Poxon travelled to the Nashville area where he recorded at Kevin McKendree's Rock House Studio. McKendree (himself once a young DC area phenom) handles the keyboards and co-wrote 4 of the 13 Poxon originals (and his son Yates co-wrote the last track as well as plays organ).

Poxon's continual growth and maturity as a guitarist and a singer is established right away. here is someone who has listened to vintage B.B. King, Pee Wee Crayton, Tiny Grimes, T-Bone Walker and the like and brings a lot of heart and personality to his vocals as this recording starts off with a B.B. King styled bluesYou Must Be Crazy, with some explosive guitar. There's the appealing New Orleans groove of Living Alone, and the sizzling jump blues Next to You, with his fleet, clean, uncluttered guitar standing out. There is terrific slow blues, "Cold Weather" where Poxon evokes classic T-Bone Walker, and he is equally comfortable with the sophisticated jazzy feel of Too Late. The closing instrumental, Rebound, with Yates McKendree, has a nice relaxed groove that evokes classic Memphis soul instrumentals of the sixties.

The performances here are uniformly first-rate. Kudos to McKendree, bassist Steve Mackey, drummer Kenneth Blevins and saxophonist Jim Hoke for the terrific backing. The McCrary Sisters and Chloe Kohanski add backing vocals. But Andy Poxon is the star here and as a singer, as a songwriter and as a guitarist, he has hit a grand slam with the fabulous music on Must Be Crazy.

I received my review copy from a publicist. This review appeared in the September-October 2014 Jazz & Blues Report.  Here is Andy performing with Mark Wenner & His Blues Warriors. 

The Nighthawks 444

It has been a couple of years since The Nighthawks had a new recordings and EllerSoul has just issued 444. This is the second CD since drummer Mark Stutso joined original Nighthawk, Mark Wenner (harmonica), Paul Bell (guitar) and Johnny Castle (bass) and is a nice mix of blues and real rock and roll that continues the band’s four decades plus musical journey.

The music is a mix of originals and forgotten musical gems such as The Du Droppers Walk That Walk that kicks this disc off on a rocking groove followed by a solid rendition of the Tracy Nelson-Gary Nicholson Living the Blues that showcases Wenner’s formidable harmonica playing along with the crisp instrumental and vocal backing. Castle wrote 444 A.M. which provided the album with its title with Bell adding some rockabilly touches on his solo (reminiscent of Castle’s one-time employer, Bill Kirchen) on a bit of kick-ass rock and roll. Stutso takes the vocal on the impressive bluesy reworking of You’re Gone, a bluegrass original borrowed from Stutso’s brother-in-law.

Wenner’s Honky Tonk Queen comes off as a cross of early seventies Rolling Stones and honky tonk country followed by the hot rockabilly reworking of Got a Lot of Livin’ from Elvis’ movie Lovin’ You. In contrast the rendition of Crawfish, from the film, King Creole, has a swampy feel. Castle sings High Snakes, a moody lament of lost love, that he co-wrote with Bill Kirchen. Stutso provides a forceful vocal on a Gary Nicholson’s Nothin’ But The Blues. Wenner does a straight cover of the Muddy Waters classic, Louisiana Blues, before the album closes with Castle’s lovely country-folk number Roadside Cross that closes this recording on a different musical tenor.

444 is more of a roots recording with country and rock influences mixed with the band’s blues foundations. Solidly played and performed, the appeal of 444 will extend beyond the band’s existing fans to those who love American roots music.

I purchased this as well as subsequently received a review copy from a publicist.  Here is a video of them in performance doing a couple songs from the recording.

Andy Poxon Tomorrow

I first became aware of Andy Poxon as a mid-teen guitar prodigy with a distinctive red-haired afro. Recently I saw him with DC area saxophonist Scott Ramminger with whom he had shared a short tour and the two were playing songs from their respective recent releases. Listening critically I was struck by the maturity he displayed as a guitarist, singer and songwriter. These qualities led Duke Robillard to produce his new Ellersoul records recording Tomorrow. On the notes he observes that Andy “is a complete and mature musician at the ripe old age of 18.” Further Duke notes that how Andy arrived there was partially “derived from intense listening and research for the American traditions of of blues,early R&B, classic country hillbilly, rockabilly, swing and jazz.”

Tomorrow was recorded in Rhode Island under Duke’s supervision with his band of Bruce Bear on keyboards, Brad Hallen on bass and Mark Teixeira on drums with Duke adding guitar, and horns from Rich Lataille, Mark Earley and Doug Wolverton. With the exception of an instrumental Jammin’ At Lakewest, co-written with Duke, Poxon composed all of the performances.

The music on this is quite enjoyable as Andy has crafted songs that reflect his musical inspirations with a definite pop slant perhaps. His natural singing shares the appeal of the lyrics with elements of blues and classic R&B (a definite New Orleans flavor can be heard on several songs including the lively All By Myself). Other songs reflect his youthful experiences such as You Lied where he caught her with him and finds his baby has lied to him from the start and tore his world apart and College Boy, with its rollicking groove as his baby left him for some old mean college boy. The title track is a lovely ballad with a hopeful lyric and nice trumpet from Woolverton. 

Here is Andy Poxon with saxophonist Scott Ramminger at JVs in Falls Church.

In addition to his songs and vocals, his guitar playing stands out. With all these ear-splitting blues rock guitar prodigies being touted and promoted, it is refreshing to listen to Poxon’s guitar. One can hear elements of rockabilly mixed in with his straight blues attack. His attack, tone and the swing in his solos contrasts with the blues-rock of some of his contemporaries. A good case in point might be the closing Jammin’ at Lakewest. This is a jump blues instrumental feature for Poxon and Robillard, with swinging single note solos from both. Its certainly refreshing to hear a young guitarist who does take off from Stevie Ray Vaughan but rather channels such legends as Tiny Grimes, Al Casey, and Johnny Rogers.

It is tempting to talk about someone of Andy Poxon’s age as a performer that exhibits considerable promise and how interesting it will be to see how his music evolves. It must be stated that Tomorrow is a choice recording of blues and roots that stands on its own considerable merits.

I received my review copy from Andy. This review was written a couple months ago and I should have posted this earlier. Here is a short video clip of Andy and Scott Ramminger I took.