The Nighthawks Tryin' To Get To You

The Nighthawks
Tryin' To Get To You
EllerSoul Records

With their 50th Anniversary coming towards the end of 2021, The Nighthawks have a new line-up but still show that they are a seminal American roots music band with this latest release. Joining original Hawk, Mark Wenner (vocals and harmonica) and drummer Mark Stutso (who has been with the band 10 years are guitarist Dan Hovey and bassist Paul Pisciotta. Traveling the blues roots highway, There are two originals from Hovey and two from Stutso and his longtime collaborator Norman Nardini, and nine covers of songs that have not been overdone to death.

Pisciotta replaces Castle seamlessly as a rhythm duo, while Hovey certain displays his own flair as a guitarist. Mark Wenner remains a robust vocalist and his horn-like harmonica playing is still at the top of his game. They open up with a lesser-known Jimmy Reed number with Wenner taking the vocal lead on "Come Love," as the band hits a lazy shuffle groove. Wenner also handles the vocal on the title track that Elvis originally recovered. The Nighthawks version has a definite country feel. Wenner transforms The Manhattan's "Searchin' For My Baby," into a chugging blues performance.

I believe it is Hovey taking the vocal on a relaxed cover of T-Bone Walker's "I Know Your Wig Is Gone," with his jazzy jump guitar joined by Wenner's horn-like solo. Hovey sings strongly on the brooding rendition of Hank Ballard's "Rain Down Tears," and a fine interpretation of Los Lobos' "Don't Worry Baby." Then there is the unplugged groove of Hovey's "The Cheap Stuff," with Wenner channeling the second Sonny Boy Williamson.

With Hovey channeling Jimmy Nolen, Stutso potently handles James Brown's "Tell Me What I Did Wrong." There is an urgent quality in Stutso's of his original, "I Hate a Nickel," with its memorable tagline, "cause it ain't a dime." It is not his only impressive vocal. He sings a superb rendition of the "Chairman of the Board" (originally recorded by the group of the same name). Set against the "Mannish Boy" groove, Stutso tears into the lyric with the band solidly backing him.

The Nighthawks keep rocking and roiling down the blues highway. "Tryin' To Get To You" is another splendid addition toothier discography.

I received my review copy from a publicist. Here is a set of the Nighthawks performing in Takoma Park, Maryland, in 2019.

Jason Ricci & the Bad Kind My Chops Are Rolling!!

Jason Ricci & the Bad Kind
My Chops Are Rolling!!
EllerSoul Records

I am not sure if Jason Ricci is considered the Bad Boy of the Blues, but he brings a punk attitude along with his harmonica virtuosity to this new release. He is accompanied by his high energy band of John Lisi on guitar and dobro, Andy Kurz on bass, and John Perkins on drums. Kaitlin Dibble adds guest vocals. Most of the songs are originals from Ricci or Lisi.

While if some of the songs might not fit a traditional notion of blues, they are not heavily rocked out, and there is an understated quality in the performance of some songs such as "Break in the Rain," on which Ricci showcases not only his harp chops but his original, imaginative soloing. Lisi's dobro work is also quite evident here. "Don't Badger the Witness," a more traditional blues structure opens with Ricci's full-toned harmonica sports of gravelly vocal, and one wonders if the theme of not badgering the witness arose from his own experiences. Lisi's guitar, with his use of vibrato and tremolo, adds to the performance's atmosphere. The next track, "F_ck the Falcons (Who Dat Nation)," is a celebration of the New Orleans Saints and profanity-filled lambasting of NFL officiating and the NFL Commissioner set to a hot second-line groove with Slats Klug playing accordion and Lisi laying down a memorable solo. The final track "Who Dat Nation" is a radio-friendly version of this.

"Going to California" is a fascinating instrumental that shows how Ricci is not simply a technical virtuoso, but able to spin a jazz-inflected, soulful solo on the chromatic harmonica before Lisi enters with a contrasting high-energy electrified slide solo. It is followed by Kaitlin Dibble's endearing singing on the Barbara Lynn classic, "If You Should Lose Me," with Ricci's accompaniment and solo full of magic. The title track is a funky slice of music as, in what is almost a throwaway vocal, he celebrates his chops rolling and plays some astonishing harp licks against Lisi's funky guitar as the rhythm gets down with the groove.

"The Way I Hurt Myself" is a fabulous slow straight-forward blues performance with an intense vocal, some terrific blues guitar, and an excellent showcase of Ricci's use of tonal and volume dynamics in his pull-out-all-the-stops, three o'clock in the morning solo. It is followed by the energetic rockabilly-styled "Think It Over." Jason Ricci's chops are indeed rolling on a fascinating blend of blues and roots that showcases a broad and engaging musical personality with a tight, driving band.

I received my review copy from EllerSoul Records. Here is Jason Ricci performing this year with Joe Krown, John  Fohl and others at the Maple Leaf Bar in New Orleans.

 

Blue & Lonesome Duo Pacing the Floor

Blue & Lonesome Duo
Pacing the Floor
EllerSoul Records

The Blue & Lonesome Duo is comprised of Richmond's Ronnie Owens on vocals, harmonica and foot drum and Gordon Harrower on vocals and guitar for an unassuming set of informal, stripped down blues performances that perhaps break new ground, but provides some very enjoyable listening. There is a mix of covers and some originals starting with a nice rendition of John Estes "Drop Down Mama" (wrongly credited to Honeyboy Edwards) with a nice vocal by Harrower with Owens providing some dynamic harp. It is followed by a traditionally based original, "Wine Headed Woman," with Owens singing through his harp mike (like Papa Lightfoot) and Harrower providing a strong bass line to anchor the performance.

"Mean Red Spider" is a nice take on a Robert Lockwood song that Muddy Waters covered. Harrower's attractive vocal is more in the vein of Lockwood. It is followed by a rollicking rendition of Jimmy Rogers' "Act Like You Love Me," with Owens playing superbly in the manner of the legendary Big Walter Horton. Another notable track is "Careless Love," with a heartfelt vocal and more fine harp from Owens. The title track is an original, easy rocking blues boogie with Owens upfront and Harrower providing simple, effective backing. There is even a blues duo cover of James Brown's lament "Try Me," along with a nicely rendered covers of Jimmy Rogers' "Out on the Road," and Slim Harpo's recording of "Raining in My Heart." On the latter song the two capture the feeling of Harpo's swamp blues Excello original.

While one would be hard-pressed to call this an essential recording, there is plenty to enjoy on this highly diverting recording.

I received a review copy from Ellersoul.

Markey Blue - Ric Latina Project Raised in Muddy Water

Markey Blue - Ric Latina Project
Raised in Muddy Water
Ellersoul Records

It has been several years that singer Jeannette Markey (Markey Blue) and guitarist Latina impressed on her recording "Hey Hey." About that recording I concluded "There is so much to enjoy about this release from the strong backing, good original songs and Ms. Markey’s heartfelt, persuasive vocals. Markey Blue certain makes fans of blues and soul take note with this." Certainly much can be said about this recording of blues-tinged rock, swampy soul and blues. Listening to the impressive opening title track and "Corinne Shine," I think more of southern rock and Little Feat than Jimmy Reed and Jody Williams, but that is simply categorizing these finely performed songs. Markey is a really good singer with plenty of heart and Latino is a noteworthy guitarist as he shows behind her very fervent singing on "A Little More I Die (An Ode to John Payne)."

Credit must be given to her backing band of John Marcus on bass, Marcus Finnie on drums, Shannon Winnie on keyboards, Jim Williamson on trumpet and Doug Moffet on saxophone. But the songs are excellent as the afore-mentioned "A Little More I Die," or the driving shuffle "Red Room," on which Ronnie Owens is overdubbed on harmonica, "Mississippi Soul," with Latino's atmospheric Duane Allman styled slide or the rocking boogaloo rocker with Eddie Clearwater and horns added, "I Like It Like This." There there is a terrific, moody blues "Walking Over This Line," where Markey sings about a love gone wrong and taking too long to leave.

There is the swampy blues rock of the Delbert McClinton tribute "Come and Go," and the closing bonus track that was recorded live, a lively blue shuffle, "Drowning in His Ocean," as she joyously celebrates a lover. Markey Blue continues to deliver as a singer and songwriter with some strong guitar and excellent backing making for another notable recording.

I received from my review copy from Ellersoul. This review appears in the September-October 2018 Jazz & Blues Report (Issue 380). Here is a live 2017 performance clip of the Markey Blue - Ric Latina Project