Frank Bey All My Dues Are Paid

Frank Bey
All My Dues Are Paid
Nola Blue

Take a veteran soul singer, pair him with a terrific backing band, and have them record a choice collection of under-recorded covers and new songs, and one has Frank Bey's new soul-blues recording. " All My Dues Are Paid" is produced by Kid Andersen (Rick Estrin is co-producer) and recorded at Andersen's Greaseland studio. Andersen adds his guitar to this session, and other backing musicians include Jim Pugh on keyboards, Jerry Jemmott on bass, Alex Pettersen on drums, Eric Spaulding, and Nancy Wright on saxophones. Lisa Leuschner Andersen and D'Mar are among the backing vocalists here.

Reviewing Bey's album with the Anthony Paule Band, "Soul of the Blues," I noted how he evoked the late Solomon Burke and Mighty Sam McClain. Listening to this recording, one also hears tinges of Brook Benton, Percy Sledge, Jimmy McCracklin, and Percy Mayfield. Things start on a high note with "Idle Hands," which was originally recorded by Eddie Palmieri and Harlem River Drive. Against the churning groove and brassy backing with a blistering Eric Spaulding tenor sax solo, Bey delivers this topical song. It is followed by the Billy T Band's break-up song, "One of These Days," where is gritty baritone is supported by a lazy, swampy backing. Another notable performance is the soulful rendition of Mike Schermer's "It's a Pleasure." Rick Estrin contributed an old Nightcats classic "Calling All Fools," an excellent swinging, uptown blues with Nancy Wright blasting off on tenor sax after Jim Pugh's piano solo. There is plenty of grit in Bey's singing here.

The title track is an autobiographical bit of funk penned by Bey, Kathy Murray, Estrin, and Andersen, as Bey authoritatively sings about always pushing against whatever obstacles he faced, and now is his time to shine. Jack Sanford takes a vibrato-laden tenor sax solo on this track. He pours plenty of heart into his interpretation of a George Jones hit, "He Stopped Loving Her Today," which has strings added in the backing. A choice rendition of another Estrin penned Nightcats number, "I'll Bet I Never Crossed Your Mind," follows. With booting sax from Nancy Wright, Bey evokes the legendary Jimmy McCracklin on this performance. A couple of Percy Mayfield numbers follow. There is a horn-driven treatment of "Never No More" with Lorenzo Farrell's chicken shack organ and some sizzling guitar from Andersen to support Bey's shouting. In contrast, "Ha Ha in the Daytime," is performed in a more intimate, laconic setting with Jim Pugh on piano and Eric Spaulding on tenor sax backing Bey's more reflective vocal.

Among the other selections is a cover of Arthur Alexander's southern soul tune "If It's Really Got To Be This Way," a reflective interpretation of Lou Reed's "Perfect Day," and an intense rendition of John Lennon's "Imagine," that builds with a gospel-rooted intensity. The latter number closes this superb showcase of Frank Bey's passionate, nuanced singing.

I received my review copy from a publicist. This review originally appeared in the January-February  Jazz & Blues Report (Issue 388). Here is Frank Bey singing "Imagine."

 

Nancy Wright Playdate!

Nancy Wright
Playdate!
Direct Hit Records/ VizzTone

It was Bob Porter who alerted me to saxophonist Nancy Wright, whose playing on a Blues Cruise deeply impressed him. She has just issued a recording "Playdate!" that was produced by Christoffer 'Kid' Andersen and recorded at his Greaseland Studios. Andersen also contributes guitar with the backing band including Chris Burns on keyboards, Joe Kyle Jr. on bass; J Hansen on drums, Tom Poole on trumpet, and Faris Jarrah on trombone, behind Wright's sax. There are a number of guests here that I will highlight as well, and I take it that Wright takes the uncredited vocals on this.

Listening to Wright's raspy sax (played with plenty of vibrato) I am reminded of Junior Walker and Eddie Shaw, which certainly has an appeal. Certainly, her playing stands out on the rocking reworking of a New Orleans recording 'Why You Wanna Do It," with the fabulous soulful Wee Willie Walker taking the soulful vocal. As a singer, she has a bit of country in her sound but does a solid job of covering Koko Taylor on "I Got What it Takes," which features Tommy Castro on guitar and her own blistering solo. Victor Wainwright adds boogie laced piano to her original rocker "Yes He Do," which she rides out on sax. There is a pretty straight cover Eddie Shaw's "Blues For the Westside" with Joe Louis Walker on guitar while Wright evokes Shaw's heavy vibrato on sax. Lonnie Mack (to who this album is dedicated) was the source of "Been Waiting That Long" that Frank Bey sings, while "Trampled" is a driving Junior Walker-styled instrumental with Jim Pugh on the organ with Andersen taking a terrific Motown inspired guitar solo.

Wright's vocal on the gospel number "Satisfied" has her backed by a gospel choir, while Terry Odabi sings "Warranty," with a choice Wright lyric, followed by a capable vocal on Henry Glover's "Cherry Wine" originally recorded by Esther Phillips for Federal. Elvin Bishop is on guitar for a raspy instrumental take on "There Is Something On Your Mind," that I believe Big Jay would enjoy. Mike Schermer adds guitar to "Back Room Rock," a medium tempo rocker that sports solos from him and Wright and some call and response between them towards the close. "Good Rocking Daddy" is a Wright original, not the Etta James number, and is evocative of some sixties Chicago soul recordings.

Another instrumental, the moody "Soul Blue" with Chris Cain on guitar, closes this album on a strong note. Her sax on this is a bit more nuanced (less vibrato), and the underrated Cain shines as does all the players on this. The musicianship throughout is first-rate, and in addition to the solos, the arrangements are solid and avoid being hackneyed, and the production is up to the high standards expected from Kid Andersen and the Greaseland Studios. There is so much music to enjoy on Wright's "Playdate!"

I received my review copy from VizzTone. This review originally appeared in the September-October 2016 Jazz & Blues Report (issue 368), although I have made a few minor corrections to this review. Nancy Wright has a new recording out and I will be reviewing that shortly. Here is a video of Nancy Wright in performance.

Bey Paule Band Not Goin' Away

 

The Bey Paule Band, a terrific soul-blues band featuring the vocals of Frank Bey and the guitar of Anthony Paule, return with "Not Goin' Away" (Blue Dot Records). The disc follows-up the terrific "Soul of the Blues." Like its predecessor, it mixes  choice originals with a few strong covers of lesser known material. In addition to Bey and Paule, the Band includes Tony Lufrano on keyboards; Paul Olguin on bass; Paul Revelli on drums; Mike Rinta on trombone; Tom Poole on trumpet and Nancy Wright on saxophone with guest appearances from Christoffer 'Kid' Andersen on guitar (and he co-produced, recorded and mixed this); and Jack Sanford on baritone sax with back-up singers added to half of the selections here.

Bey stands out as a singer (in my review of "Soul of the Blues" I compared him to Solomon Burke and Mighty Sam McClain) and he puts his stamp on everything here (except the instrumental "Noel's Haze") starting with the autobiographical opening "Black Bottom" where he sings about growing up in the Georgia sticks and now fronting a eight-piece band. Its slightly swampy feel is followed by the deep funk of "Kiss Me Like You Mean It," with some nifty guitar runs from Paule and greasy organ from Lufrano with punchy horns. Mike Rinta and Paule are responsible for the popping horn arrangements throughout. One track with punchy horns is the driving original from Bey, Paule and Christine Vitale, "Right In Front Of You," about a guy who understands the woman's problems but can't win her heart. It has strong playing from Lufrano on piano and Paule on guitar.

Vitale and Paule contribute "Next To My Heart" that comes off like a vintage seventies deep southern soul recorded at Muscle Shoals with an outstanding Bey vocal. "Nobody's Angel," another Vitale original, evokes some of Clarence Carter's recordings, with its storytelling and message and is wonderfully delivered by Bey and the band. The title track is a terrific rocker with a wonderful groove and Rinta delivering a superb trombone solo wonderfully framed by the other horns and the chicken fried organ. "Don't Ask Me How I Feel" is a blues performance that to these ears comes off as a cross of Al Kooper mixed with Donny Hathaway with perhaps the best horn arrangement here.

On "Not Goin' Away," the Bey Paule Band again provide listeners with a superb soul and blues recording. The album has a strong and varied program that is consistently well sung and performed. Certainly anyone who enjoyed "Soul of the Blues" will enjoy this, while fans of soul and blues who may not have heard them previously will find much to savor on this stunning recording.

A publicist sent me my review copy. While written for Jazz & Blues Report, I do not believe this review has been published. Here is a video of the Bey-Paule Band performing.

Frank Bey & Anthony Paule Band Have Soul For Your Blues

Frank Bey shared gospel bills with the Soul Stirrers with Sam Cooke, the Blind Boys of Alabama and others when singing gospel with his mother. As a teen he opened shows for Otis Redding and after committing himself to the blues, his career progress was undercut by a failing kidney. After several years of dialysis, he had a successful kidney transplant. A couple of years later he started making appearances with the Anthony Paule Band at Biscuits & Blues in San Francisco. In February 2013 they issued a solid live recording and now a year later Frank Bey & Anthony Paule Band have a new recording, Soul For Your Blues on Blue Dot Records. 

What is striking is just how strong the musical pairing of Philadelphia singer Frank Bey with San Francisco’s Anthony Paule Band is. Presented is a nice mix of lesser know blues and soul classics with choice originals and interpretations of lesser know numbers. The opening number is Willie Mitchell’s I Don’t Know Why with Bey’s strong singing suggesting the late Solomon Burke and Mighty Sam McClain. Tony Lufrano plays deep soul organ here and on most of this disc. Paule and guest Kid Anderson are featured on Paule’s driving blues I’m Leaving You, followed by the Muscle Shoals groove of Christine Vitale’s deep soul original I Just Can’t Go On. Paule evokes Steve Cropper with his fills and brief solo on this. Rick Estrin adds harp to a humorous Vitale-Paule blues, Don’t Mess With The Monkey. 

There is a jump blues feel to Wyonnie Harris’ Buzzard Luck with riffing horns behind Bey’s strong vocal and a T-Bone Walker styled guitar solo. Vitale, Paule and Karen Falkner wrote You're Somebody Else's Baby Too, that has the feel of mid-sixties B.B. King flavor. There is a nifty arrangement of Percy Mayfield’s Nothing Stays the Same Forever, with Mike Rinta on tuba (he is on trombone most of the recording. In addition to Rinta, kudos go to Nancy Wright’s tenor sax and Steffen Kuehn’s trumpet for their playing throughout. Bey is superb here with a vocal that suggests what Solomon Burke might have done with this song. There is also a wonderful interpretation of John Prine’s Hello In There, which again displays how Bey brings some of the same interpretative magic to a lyric that Burke did and MacLean still does, while marvelous restrained backing by the Paule Band. 

The funky Smokehouse and an instrumental rendition of “I Left My Heart In San Francisco showcase the band. Rinta takes an outstanding trombone solo on the former as does organist Lufrano, while Paule displays a crisp delivery and imaginative playing on San Francisco which closes this disc out. It should be noted that I have attempted to select highlights, but the performances by Frank Bey & Anthony Paule Band on Soul For Your Blues are first-rate throughout. This is a terrific recording.

I received my copy from a publicist. Here are the two in performance doing Ray Charles' Hard Times.