King James & The Special Men Act Like You Know

King James & The Special Men
Act Like You Know
Special Man Industries

Having moved from Seattle to New Orleans in 1993, James Horn went from busking on the streets, playing in dozens of different bands and genres before forming King james & The Special Men who play their own raucous, second-line rooted music, rooted in the classic New Orleans R&B and rock of the fifties and sixties. The sound was honed playing residencies at various New Orleans music halls and drinking establishments, the most recent being the Saturn Bar in the Bywater. Horn's vocals and guitar is supported by: Ben Polcer on piano, bassist Robert Snow, guitarist John "Porkchop" Rodli, Chris "Showtime" Davis on drums, Scott Frock on trumpet and the sax section - Jason Mingledorff and Travis Blotzky on tenor with baritone man Dominick Grillo.

And he six tunes on this are originals that evoke the sound of some Crescent City classics such as the rollicking rump and roll, Professor Longhair styled groove of the opening "Special Man Baby," while the playing on the slow blues "Baby Girl," conjures up Guitar Slim's "The Things I Used To Do." "Eat That Chicken" was inspired by Jessie Hill, with the horns riffing a simplified "Fannie Mae" horn riff against a Fats Domino styled backing. "Tell Me (What You Want Me to Do)," is another classic blues performance with more than a slight hint of the early, bluesy Ray Charles (think of "A Fool For You").

"The End is Near" is a medium tempoed blues with some emphatic playing from the horns and rhythm with a Huey 'Piano' Smith flavor (Polcer is especially fine here) that leads into the disc's closing, and longest performance, "9th Ward Blues," a funky jam that recalls some of the Dr. John & the Night Tripper jams. It is a rowdy close to a joyous celebration and original take on classic postwar New Orleans rhythm and blues and rock and roll.

I received a review copy from a publicist. Here they cover a Lee Dorsey recording.

Benny Turner's "Journey"

Benny Turner has has a distinguished career playing bass and anchoring the bands of his brother, the legendary Freddie King; another Chicago blues legend Mighty Joe Young, and the late Queen of New Orleans, Marva Wright (with whom this writer best knows him). Additionally he pioneered playing bass behind gospel acts and played with the likes of Dee Clark. He has just issued his third recording (the first this writer has heard) as a leader, “Journey” on Nola Blue.

One often looks beyond a sideman who may sing a couple or two opening numbers before bringing on the main act. However, from the first notes of “Breakin’ News,” one quickly becomes aware of the authority Turner brings as a vocalist, not simply a strong bass player who anchors a band. With the handsome production, solid shuffle groove, brassy horn arrangements (from Turner and saxophonist Jason Mingledorff), Marc Stone’s guitar and effective use of backing vocals he convincingly delivers his lyrics about the relationship being over and “ain’t no more crying.” The mood turns down home on “Don’t You Ride My Mule” with Sunpie Barnes adding his harp and Charles Moore rhythm guitar, while Turner’s regular drummer Jeffrey ‘Jellybean’ Alexander lays down the groove and Josh Paxton adds the keyboards here in lieu of Turner’s regular collaborator Keiko Komaki who plays on most of the recording. On other selections, Derwin “Big D” Perkins is on rhythm guitar.

Other selections display Turner’s way with a word in addition to his singing including the reflective “How I Wish” as he sits in his rocking chair wishing his woman was here with him and the topical “What’s Wrong With the World Today” that touches on issues of homelessness, violence and other matters as Turner sings that “We need love” on this closing track. Another number that should resonate is the soulful ballad “Worn Out Woman” with its theme of a woman’s work never being done, getting the kids on the bus and then dust the house. Turner even takes up the guitar and kazoo for the relaxed, down-home instrumental “My Mother’s Blues.” with twin keyboards and Alexander playing lightly on bass drum and cymbal.

The variety and strength of material, the strong work by the band and Benny Turner’s heartfelt and persuasive vocals make “Journey” a gem of a recording.

I received my review copy from a publicist. Here is Benny Turner in performance at the 2013 French Quarter Festival in new Orleans.

Dayna Kurtz - Secret Canon Vol. 2

I was not familiar with Dayna Kurtz prior to receiving her new album, Secret Canon Vol. 2 (M.C. Records), but when she starts singing the opening I Look Good In Bad, she immediately grabbed my attention. Now resident in New Orleans, she is originally from New Jersey and I have discovered she has quite a resume. This is her second album of of lost and obscure blues and R&B gems from the 1940's-1960's with a couple of originals added including the powerful opening track where she belts out “I’ve been bad since you left me, but I look good in bad.”

Recorded in New York and New Orleans, she is supported by Joe Cowherd on keyboards for both sessions. Papa John Gros is on organ for the New Orleans sessions that also included Jason Mingledorff on saxophone who is outstanding on “ Look Good In Bad. Kurtz displays a presence and authority throughout. And she certainly has selected some nice songs to revive. I share her love of Johnny Adams, and she is brave enough to do a solid cover of Adams’ recording of Reconsider Me, although I think it would have been even stronger if she hadn’t tried to emulate Adams’ falsetto. Then there is the soulful lament where she asks to meet him Same Time, Same Place. There is terrific trumpet from Barney Floyd behind her nuanced vocal on this. If You Won't Dance With Me, with a New Orleans second-line groove, is a playful number where she proclaims to her lover that if you won’t dance, than that guy will and “I don’t care you paid for dinner, you ain’t going home a winner.” The mood changes back to the blues as she does not ask for sunshine or for the world to be hers, but wistfully says that All I Ask Is Your Love. 

She turns down the heat on the jazz-tinged I Had My Moments, with John Bailey contributing the nice trumpet, that closes this excellent collection of blues, ballads and laments. With wonderful backing and choice selection of material, Secret Canon Vol. 2, wonderfully displays Dayna Kurtz’s striking vocals.

I received my review copy from M.C. Records. Here is a video of Reconsider Me that was made to help promote this CD.