Tommy Ridgely Since The Blues Began

Tommy Ridgely 
Since The Blues Began 
Black Top

While attending the New Orleans Jazz & Heritage Festival for the first time at the end of April, I caught plenty of great blues, zydeco and R&B. While he did not play the festival during the first weekend, Tommy Ridgely was at Howlin’ Wolf, a New Orleans Club, as part of a New Orleans Rhythm & Blues revue that also included Oliver Morgan, pianist Eddie Bo and Earl King. 

Ridgely, who first recorded with Dave Bartholomew’s band in 1949, made such memorable sides as Shrewsbury Blues, Looped, Jam Up and Gonna Meet My Girl. At the Howlin’ Wolf he stuck to the songs from his new album, Since the Blues Began and his vocals were exquisite. I also saw him the next afternoon at Jimmy Buffett’s Margaritaville where he played piano, and sang a wide range of blues, backed by acoustic guitar and harp. 

Since the Blues Began is a superb album, and shows Ridgely to be as vital today as his first recordings with Dave Bartholomew’s band. He is heard with a crack band that includes Sammy Berfect and Edward Frank on keyboards, the incredible Snooks Eaglin on guitar, George Porter on bass and Kaz Kazanoff and Tony Dagradi on saxophones. Ridgely may be close to 70, but he still sings with great vigor and flexibility in his delivery. He doesn’t sound his age. 

He is obviously happy with the album and there is no filler among the songs. There are some new recordings of songs he waxed years ago, including I Heard That Story Before, and Let’s Try to Talk It Over. The latter number may suggest why he was once known as the “New King of the Stroll”. He contributed a number of new songs, like the opening Pretty Lady ( many guys will be able to identify with the sentiment of its lyrics), Running After You, and The World Is Our Stage. Jody Siegel contributed the title song. 

Ridgely’s lyrics explore the varying aspects of male-female relationships from a sophisticated, adult perspective. And, for someone whose early recordings are classic jump blues in a Roy Brown vein, Tommy Ridgely seems completely at home with the nineties Crescent City R&B groove. To reiterate, Tommy Ridgely’s Since the Blues Began is a terrific disc. 

I likely received my review copy from Black Top Records. This review appeared originally in the July-August 1995 Jazz and Blues Report (Issue 203). This is available used or as a download.  Here is the original recording of I Heard That Story Before, that he remade for this album.

Scott Ramminger Do What Your Heart Says To

Scott Ramminger
Do What Your Heart Says To
Arbor Lane Music

What a pleasure it is to have a new CD from Mid-Atlantic saxophonist-singer-songwriter Scott Ramminger that is full of the bluesy, roots-rock gumbo with a heavy dash of New Orleans flavor. Backing Ramminger is a Crescent City studio band of David Torkanowsky on keyboards; Shane Theriot on guitar; George Porter on bass; and Doug Belote on drums, with Roland Guerin replacing Porter and Johnny Vidacovich replacing Belote on two tracks. Trombones and trumpet with Ramminger provide a full horn section and there are guest vocalists supporting Scott that include Tommy Malone, Bekka Bramlett, Francine Reed, The McCrary Sisters, Janiva Magness and Roddie Romero (who plays accordion on one track).

Scott writes good songs, full of humor and a perspective on the affairs of the heart and sings in an appealing, natural, rustic style. He also adds fluent, idiomatic big-toned sax to these selections backed by the stellar rhythm section. The album gets off with a New Orleans funk groove of "Living Too Fast" as he tells his tale about this woman with brains, looks and the like who poured his bottle into the ocean, cigarettes in the trash, coming to the conclusion Scott was living too fast (with Malone adding harmony), and while on May 1 he thought she was the one, by Labor Day she had extinguished all his fun with a booting sax solo and some New Orleans piano from Torkanowsky. With Bekka Bramlett adding support, "Someone New To Disappoint," is a nice hard rock number with Scott as someone who won't be changed so he is looking for someone else to disappoint. On the title track Scott deals with being battered by a lover, and sometimes instead of using one's brain, one should "Do What Your Heart Says To," with him taking another booting sax solo followed by Torkanowsky with some idiomatic Crescent City piano and Francine Reed on backing vocal.

Scott's has taken a beating and has not slept since she left and he's "Hoping That The Sun Won't Shine," with Bekka Bramlett supporting his vocal and Scott playing baritone as well as tenor sax on this blue ballad. "Winter Is Always Worse" is a strong slow performance that opens with some sizzling guitar from Theriot while "Get Back Up," with Guerin and Vidacovich, gets into a funk groove as he sings about getting back up when dealing with life throws at you while The McCrary Sisters add vocal backing and a short trombone break is followed by some deep in the gut baritone sax, guitar and chicken fried organ. Janiva Magness guests backing Scott on the easy rocking shuffle "It's Hard To Be Me," as Scott sings about his trouble and coming up with these lies and make up stories to hold on to a love.

"Off My Mind" is another solid slow blues while "My Girl For Life," is a swamp pop styled ballad. Roddie Romero's accordion lends a Tex-Mex accent to the rock and roll groove of "Stubborn Man," with honking sax, brief blistering guitar, and hot piano to take this  and the album to a rollicking close. Like he has done on his excellent prior recordings, Scott has produced some seriously entertaining music with plenty of substance. He writes real good songs, is a most engaging singer and a strong saxophonist who backs himself with some stellar players. The result is another helping of real fine musical gumbo.

A publicist provided me with the review copy. Here is a video of Scott performing at a CD release party.

Irma Thomas' Rounder Heritage Retrospective

Irma Thomas' career was elevated from being a regional New Orleans treasure to an artist that received national and international recognition when she signed to Rounder Records. In 2000, Rounder celebrated its 30th Anniversary with the Rounder Heritage Series. One of the releases was devoted to her recordings for the label. This review originally appeared in the July/August 2001 Jazz & Blues Report (Issue 252), although i have made minor changes. There are more recent compilations of Irma's work, including one that spans her half century career. This release is available as a download.

The Soul Queen of New Orleans, Irma Thomas has had a substantial and rewarding career since she signed with Rounder in the mid-1980s. A recent addition to the Rounder Heritage series celebrating the label’s 30th anniversary is If You Want It Come and Get It, a collection of 16 performances collected from six of the eight albums she has recorded for Rounder, including the collaboration with Marcia Ball and Tracey Nelson, Sing It! No tracks are included from her live album and also there are no tracks from her gospel album. 

What stands out is the consistency and high level of her vocals. She is a warm singer who can belt it, but raises the roof mostly to accent the lyrics. Producer Scott Billington has constantly sought out choice new material along with finding lesser known gems, and she can tear into a soul ballad like Love of My Man as well as a rocking The New Rules, dealing with the new male-female relationships. 

A wonderful singer she adds her own voice to songs associated with others, even with her straight reading of the Bobby Bland classic, Yield Not to Temptation, from the Sing It! album. Love Don’t Change is a previously unissued track from the sessions for that album. The rendition of the title track is an extended performance of the track from her Handy-Award winning album My Heart’s in Memphis. The later tune was co-written by Dan Penn, one of several songwriters who have brought material to producer Scott Billington over the years. The late Doc Pomus and Mac Rebennack (Dr. John) contributed I Never Fool Nobody But Me, with a nice New Orleans R&B piano backing from David Torkanowsky. 

Add some of the finest Crescent City and Memphis musicians such as drummer Herman Ernest, organist Sammy Berfect, bassist George Porter, guitarists Michael Toles, and Renard Poché and saxophonists Foots Samuel and Red Tyler, and it is not surprising that Ms Thomas has produced some extremely fine recordings for Rounder which are well sampled here.

Ruthie Foster Let it Burn

Ruthie Foster is one of the signature voices today. I really enjoyed her performance at the Pennsylvania Blues Festival and her latest album Let it Burn (Blue Corn Music) is a gem. 

Recorded in New Orleans with George Porter, Jr., and Russell Batiste amongst others it has some terrific material as well as performances. There are several wonderful collaborations with the Blind Boys of Alabama including Lord Remember Me that are chilling. They back her on her rendition of Steven Stills' A Long Time Coming that make these four decades old lyrics come across as contemporary. The riff from Miles Davis' All Blues (laid down by organist Ike Stubblefield) is incorporated into the arrangement of  William Bell You Don't Miss Your Water that is a soulful duet by Foster and Bell. James Rivers is outstanding on tenor sax here. I enjoyed her interpretation of the Johnny Cash hit Ring of Fire, as a ballad (I also recommend folks check out the classic rendition by deep soul legend, James Carr). One last track to mention is the classic from The Band, It Makes No Difference, that Ruthie places her stamp on. 

Simply a marvelous recording.

Ruthie Foster at the 2013 Pennsylvania Blues Festival

This was a purchase.

Scott Ramminger's Wise Fatherly Advice

Washington DC area saxophonist and vocalist Scott Ramminger impressed with his debut CD Crawstickers. It was full of good songs, strong bands and Ramminger’s strong saxophone playing and vocals. He has followed this up with a new recording Advice From a Father to a Son (Arbor Lane) that builds on the strengths of the earlier recording to produce a collection of performances that will satisfy both dancers and listeners. The album was recorded both in New Orleans (the first seven tracks) and the Washington DC area (last three). The New Orleans tracks have Ramminger’s tenor and baritone saxophones joined by David Torkanowsky on keyboards, Shane Theriot on guitar,   George Porter Jr. on bass, and Johnny Vidacovich on drums, The Washington, DC tracks include Tommy Lepson on organ, Dave Chappell on guitar, Jay Turner on bass and Barry Hart on drums. Nashville’s McCrary Sisters as well as DC’s Patty Reese are amongst those adding background vocals making for a strong cast of those supporting Scott on this.

Scott is a triple threat. He is a vocalist who brings warmth, depth of feeling, and humor, an able saxophonist who plays solidly in the vein of a Lee Allen or Red Tyler and a songwriter whose ability to craft songs together is quite notable. Without going through a detailed analysis of every track, a few highlights of the varied songs heard here include the opening I Love Your Smile, a song dealing with his wife’s many qualities (the clothes she wears, her derriere, fine sense of style, and he really loves her smile) with rollicking New Orleans piano from David Torkanowsky; a duet with Regina McCrary, The Other Man’s Shoes, with a message that folks should look beyond their own narrow views and try to see things from the view of the other man’s views with some striking guitar as well as a nicely shaped and clean-toned solo from Ramminger.

The title song which provides advice include that one be careful of a man in white shoes when buying a car; be generous to people who have less; eat more salad than you need; check your oil when buying gas; if go to an old girlfriend’s wedding try not to act like an ass; and don’t forget to call your mother, her love is second to none; enjoy everyday like it might be your last; advice from a father to a son, set to a lively second-line groove with a nice trumpet solo from Vince McCool; and the closing Sometimes You Race With The Devil, with a nice reggae groove and solid playing by the DC area studio group. This song recently took the Gold Award (the top honor) in the vocal blues/jazz category of the 2012 Mid-Atlantic Songwriting Contest.

The remaining performances stand out in a similar fashion. About Scott’s earlier album, Crawstickers, I observed that it was seriously entertaining with plenty of substance in the performances. With Advice From a Father To a Son, Scott has produced an another excellent  rich musical gumbo that is certain to delight a wide audience.

I received this from a publicist.  Here is Scott performing Crawsticker at the Surf Club, the late, fondly remembered DC area venue.

Irma Thomas' The Story of My Life

In addition to posting current reviews of recordings, you know I also post reviews I have written for publications for five and more years ago. Today’s review is from 15 years ago and appeared in the April 1997 Jazz & Blues Report (issue 220 and likely was also published in the DC Blues Calendar which I edited for the DC Blues Society for nearly 20 years. I noted that I have not posted any of my Irma Thomas reviews, so this is in part to rectify that. Irma’s recording career has slowed down in recent years but the Soul Queen of New Orleans remains a national treasure.  For her seventh album for the Rounder label, The Story of My Life, Irma Thomas is backed by a stunning band of Crescent City stalwarts - bassist George Porter, drummer Raymond Weber, and pianist David Torkanowsky, along with guitarist Michael Toles plus horns and backing vocal choruses on several selections. Scott Billington who produced this one with Thomas, arranged for the songwriting team of Dan Penn, Jonnie Barnett and Carson Whitsett to contribute some songs, and there is new (or at least unfamiliar) material from Dawn Thomas, Sarah Brown and Lisa Mednick, and Allen Toussaint before Thomas closes with a very strong reading of Aretha’s recording of Dr. Feelgood. The album has its share of Crescent City grooves on the opening funked up blues, No Use Talking, and the second line rhythm underlying her boost of independence, I Won’t Cry For You (from the afore-mentioned trio of Penn, Barnett and Whitsett). Dawn Thomas’ song, which gives the album its title, is a more straight-forward modern R&B ballad, while Love Don’t Get No Better Than This is an uptempo celebration of romance that Thomas delivers with an assurance that her decades of performing have given her. This is also evident on her soulful delivery of the mournful Hold Me While I Cry, which has a tasty tenor sax break from Charles Elam III, who also duets her on the ballad Get Here. The liner notes speak about Thomas’ frustration with being treated as a oldies act due to her classic songs from the early sixties, but this is simply the latest Rounder recording that illustrates just how wonderful a vocalist she is, and the mix of blues, New Orleans, soul and some pop elements make for a most delicious musical stew. I likely received a review copy from Rounder back in 1997. This should still be relatively easy to find. While not from this album, here is Irma singing one of the songs she is known for, even if many more know the Rolling Stones version.

Some Choices For JazzFest's Second Weekend

Esperanza Spalding

I am not attending JazzFest this year, having opted for the French Quarter Festival. However looking at the schedule on nojazzfest.com, I have made some suggestions of acts that I recommend for the second weekend. I generally stay away from major label, national touring acts in this list.

Little Freddie King

On Thursday May 3, some blues worth catching in the Blues Tent include Kipori ‘Baby Wolf’ Wood; J’Monique’d and Little Freddie King. James Cotton closes the Blues Tent that day. I saw Mia Borders for the first time at the French Quarter Fest and was quite impressed that I bought a CD by her. She is on the Gentilly Stage where she will be followed by legendary bassist George Porter, Jr. & the Runnin’ Pardners. The Congo Square Stage has The Stooges Brass Band followed by Henry Butler. Grammy® Award winner Esperanza Spalding:Radio Music Society closes that stage. On the Fais Do Do Stage one can here the Savoy Family Cajun Band, and Rosie Ledet are featured along with Ani DeFranco. The WWOZ Jazz tent features the marvelous Dutch pianist-composer Amina Figarova Septet along with Regina Carter while the Economy Hall Tent has the vivacious Banu Gibson and trumpeter Kid Chocolate. The iconic and influential Dirty Dozen Brass Band perform on the Acura Stage.

Germaine Bazzle

Some suggestions for Friday May 4 in the Blues Tent include a couple of Bourbon Street favorites, Bryan Lee and Big Al Carson. Others in the tent this day include Reggie Hall, Wanda Rouzan and Deacon John. I saw the latter two at the French Quarter Festival and loved Wanda’s survey of New Orleans music while Deacon John did not get into his blues thing till his set was nearly over. Be curious if he displays more of a blues focus in the tent. On the Gentilly Stage one can see local favoriteTheresa Andersson as well as the Mexican duo Rodrigo y Gabriela et C.U.B.A.. New Orleans vocalists Phillip Manuel and Germaine Bazzle along with Terri Carrington Lynne’s Mosaic are in the WWOZ Jazz Tent, while in Economy Hall Tent the reliable Connie Jones opens things up. Closing this stage will be Wycliffe Gordon Quintet’s "Hello Pops: A Tribute to Louis Armstrong." A younger, traditionally oriented cajun band, Feufollet, Bruce Daigrepont Cajun Band and Lil Nathan & the Zydeco BigTimers will have the folks at the Fais Do Do Stage dancing. The legendary Mavis Staples is in the Gospel Tent.

John Boutté

Saturday May 5 suggestions start with Guitar Slim, Jr; Mac Arnold; and the Joe Krown, Wolfman Washington & Russell Batiste Trio in the Blues Tent. Incidentally Dr. John will guest with the Warren Haynes Band to close this stage this day. Allen Toussaint and Irma Thomas are on the Acura Stage while Big Sam’s Funky Nation is on the Congo Square Stage. One of my favorite singers anywhere is John Boutté, and this is the day of his appearance in the WWOZ Jazz tent which will close with the genius of Herbie Hancock. Young Tuxedo Jazz Band; the Preservation Hall Jazz Band and Louis Jones will be in the Economy Hall Tent while the great lineup at the Fais Do Do Stage includes cajun veteran Belton Richard; Jeffrey Broussard & the Creole Cowboys and Dwayne Dopsie and the Zydeco Hellraisers. On the Jazz and Heritage Stage on can see the Original Pin Stripe Brass Band along with the New Birth Brass Band. Aaron Neville does his annual gospel performance in Gospel Tent.

Keith Frank

On the closing day, Sunday May 6, Kermit Ruffins and the Funky Meters are on the Gentilly Stage on which the Preservation Hall Jazz Band (likely with special guests) replace the disbanded Radiators to close the festival on this stage. Mem Shannon and Rebirth Brass band are on the Congo Square Stage while Orange Kellin and George French are in Economy Hall Tent which closes with Ruby Wilson’s tribute to Bessie Smith and Ma Rainey. In the WWOZ Jazz tent, there will be a Living Tribute to Harold Battiste as Jazz ambassador (and legendary A&R man and teacher). Harold Battiste gets a heartfelt “thank you” from New Orleans jazz greats Jesse McBride, Ellis Marsalis and Germaine Bazzle. David Sanborn appears with organist Joey DeFrancesco. On the Fais Do Do Stage will be the Red Stick Ramblers, and Keith Frank. Asleep At The Wheel also is on this stage. On the Jazz and Heritage Stage will have Los Hombres Calientes feat. Bill Summers and Irvin Mayfield along with a performance by Bo Dollis and the Wild Magnolias. In the Gospel tent will be the Boutté Family Sunday Praise with John, Lillian, Tricia, Lorna, Tanya, and Arséne. Tom McDermott and Friends will be on the Lagniappe Stage followed by Ed Volker, formerly of The Radiators. The main Acura Stage closes out, as is traditional, with The Neville Brothers.

There are my suggestions of musical performances that will undoubtedly include some performers outside of what you might normally see. I should mention, there are also fascinating interview-oral histories taking place throughout on the Allison Miner Stage. For those lucky enough to be there, I hope hope the weather cooperates and that you have a culinary as well well as musical feast at JazzFest


All photos copyright by Ron Weinstock

Amina Figarova

Eden Brent's New Recording Is Marvelous

Eden Brent certainly has emerged as one of the most promising new artists in the blues world. Most recently she was the winner of the Pinetop Perkins Blues Piano award at the 2010 Blues Music Awards, and she certainly will be winning more acclaim for her latest disc, “Ain’t Got No Troubles” (Yellow Dog Records). Produced by guitarist Colin Linden, this disc was recoded in New Orleans with George Porter, Jr. on bass., and Bryan Owings on drums with appearances by Tracy Collins on trumpet, Emil Hall on alto saxophone, Jeff Albert on trombone and Jon Cleary on the Hammond B3. The musicians complement her flowing, boogie-laced piano and her husky, unforced vocals. She reminds this listener for some reason of the late Katie Webster (perhaps it is the groove of the opening “Someone to Love”) with a huskier voice. Besides her own fine lyrics, the bouncy backing the song also sports some nice Crescent flavor horn lines.


The title track is a spirited song about maybe lacking possessions but “ain’t got no troubles on my mind,” with Linden adding some nice slide guitar to the bouncy piano and rhythm and later some second line horns add to the musical stew. The band drops out on “Blues All Over,” where he smokey vocals is matched by her strong, deft piano.  Colin Linden contributed “Later Than You Think,” a nice wry lyric that she delivers with her typical sassy delivery, while her “Leave Me Alone,” has a wistful lyric that she delivers in a soul-styled manner. “Let’s Boogie-Woogie,” is an exuberant romp that is one of the better original boogie woogie numbers this writer has heard in several years with some strong boogie woogie playing. “My Man,” strides in a high-spirited manner (despite the very restrained playing from the band), as Eden celebrates her lover who makes every date be “like a jubilee.” “If I Can’t” has lovely acoustic picking from Linden as Brent sings that “If I can’t kiss you honey, Don’t want to keep my idle lips.”

The album closes with “Goodnight Moon,” displaying a more reflective side of her and it closes this disc on a very high note. “Ain’t Got No Troubles,” mixes a marvelous pianist and vocalist with strong material, sympathetic backing and varied, imaginative programming resulting in a terrific recording that should appeal to blues and roots music fans. This is one of the better new recordings I have heard this year.


The review copy of the disc was provided by Yellow Dog Records