Tia Carroll - You Gotta Have It

 Tia Carroll - You Gotta Have It - Little Village Foundation

From the opening of "You Got To Have It," this listener became absorbed in this new album by veteran Bay Area vocalist Tia Carroll. Carroll has been singing for years with her own groups and the likes of Jimmy McCracklin and Sugar Pie DeSanto. While she has recorded albums before, this is her first USA release. Noel Hayes has been listening to her for over twenty years and made this recording happen and brought Carroll to Greaseland Studios for Kid Andersen and Jim Pugh to put together their magic. 

Besides Andersen's guitar and Pugh's keyboards, the studio band consists of Steve Ehrmann on bass, Vicky Randle on percussion, and Paul Revelli on drums. There is a horn section of Mike Rinta on trombone, Rob Sudduth on tenor sax, Aaron Lington on baritone sax, and Jeff Lewis on trumpet. Backing vocals are provided by The Sons of Soul Revivers, Lisa Leuschner Andersen, and Willy Jordan. Charlie Hunter guests on bass & guitar on one track, Igor Prado plays lead guitar on one track, Derrick D'Mar Martin plays drums on one selection, and Gordon Beadle adds sax to two songs.

The album opens with her cover of Anthony Hamilton's "Ain't Nobody Worrying." It's a stunning rendition of this stark depiction of urban street life with the shots fly high, kids die young, and the homeless have no place to turn. Hunter plays both bass and guitar, and The Sons of the Soul Revivers add backing vocals as the intensity of Carroll's stunning vocal slowly builds before she explodes. The rest of this album is of a similar level. For example, Jim Pugh co-wrote "The Last Time" while with Robert Cray. Kid Andersen adds a searing Magic Sam feel with his guitar. 

Rick Estrin wrote "Don't Put Your Hand on Me," and Carroll belts out her warning against a backing that evokes Albert King's "The Hunter." Andersen's guitar suggests Albert King's style with a dash of Albert Collins mixed in. The rendition of a Johnny Ace ballad, " Never Let Me Go," follows. It might bring back memories of some of Etta James' early Chess recordings. Gordon Beadle takes a booting solo here. Carroll's own "Leaving Again" with Andersen's swampy wah-wah guitar has a seventies soul feel. Then there is a stellar rendition of Johnny Copeland's "Mama Told Me," along with a soulful version of Z.Z. Hill's "I Need Someone." Kid and Lisa Andersen wrote "Ready To Love Again." This song comes across as a lost Hi Records recording. Igor Prado adds stinging guitar to Carroll's original, "Move On."

An impassioned interpretation of The Staples "Why Am I Treated So Bad" closes this recording. One wonders why it took so long for Tia Carroll to get an album issued in the States. Her soulfulness, phrasing, timing, and clarity of her diction result in some of the most compelling blues and soul vocals this listener has heard in some time. With a strong musical program and support from an exceptional studio band, Tia Carroll's "You Gotta Have It" is a simply sensational recording.

I received my review copy from a publicist. Here is Tia Carroll with Igor Prado from 2012.

Curtis Salgado - Damage Control

Curtis Salgado - Damage Control -Alligator Records

Listening to Curtis Salgado's new album (his fourth for Alligator), I found his soulful singing evoking Solomon Burke. I am not suggesting conscious copying, but rather similarity in their voices. This similarity is perhaps most evident in the opening "The Longer That I Live," a fresh original from Salgado, Mike Finnigan, and another that has him sing about growing older, the challenges he faced, and that the older he is, "the older I want to get." Finnigan adds some sterling organ, Jim Pugh is on piano, while Kid Andersen provides some scintillating guitar. Another original, the funky "What Did Me In Did Me Well," has a philosophical reflection about a relation he ruined. He adds some harmonica against the same sterling backing band.

Contrasting to these two numbers' southern style is the New Orleans to Memphis rock and roll of "You're Going To Miss My Sorry Ass," with Kevin McKendree's rollicking piano and George Marinelli's piano. While his singing is not evocative of Solomon Burke here, Salgado ably delivers these witty vocals. McKendree and Marinelli (on slide guitar) are also on the southern roots rock-flavored "Precious Time." Then there is the Tex-Mex accent of "Count of Three" with guitarist Johnny Lee Schell, organist Mike Finnigan, pianist Jim Pugh, and drummer Tony Braunagel. Then there is a terrific soul ballad, "Always Say I Love You (At The End Of Your Goodbyes)," with Jackie Miclau replacing Pugh on piano. It is a further demonstration of the variety to be heard on this recording. 

The 13 songs on this album were captured at sessions in Nashville (engineered by McKendree), Studio City, California (engineered by Schell), and Santa Clara, California (engineered by Andersen). Salgado has had difficult health issues in the past, but listening to his vibrant, robust singing, one would never guess that. Add first-rate backing and terrific originals to Salgado's top-flight vocals, and one has an outstanding recording.

I received a download to review from Alligator Records. Here is "The Longer That I Live."

Sonny Green Found! One Soul Singer

Sonny Green
Found! One Soul Singer
Little Village Foundation

"Found! One Soul Singer" is the latest release from the Little Village Foundation. The album is the first full album by Robert 'Sonny' Green, a Louisiana native who relocated to Los Angeles. Green was named Sonny by Big Jay McNeely to make folks think he was Little Sonny Warner, the vocalist on "There Is Something On Your Mind." Growing up, he was a classmate of Mighty Sam McClain. He did record some highly prized 45s.

This recording was done at Kid Andersen's Greaseland Studio, and Andersen plays guitar. Others on the session include Jim Pugh on Hammond B3, Chris Burns on clavinet and piano, Endre Tarczy on bass, and Ronnie Smith on drums. Others on the session include Mariachi Mestizo on violins, Jeff Lewis on trumpet, Mike Rinta on trombone, and Aaron Lington on tenor and baritone saxophone. D'mar plays drums on one track while Terry Hanck and Gordon Beadle are heard soloing on one track each.

Musically, this is a very appealing album of modern urban blues and soul-blues in the vein of Bobby Bland, Little Milton, Syl Johnson, Little Johnny Taylor, and others. He has the gospel-rooted screams and chocked cries down and puts everything into the performances here that are ably backed. There are times when his diction is a bit slurred, as on the cover of Bobby Bland's "I'm So Tired" and Little Milton's "If Walls Could Talk." His rendition of "Blind Man" owes a bit to Little Milton. It is a fine performance, as is Green's channeling of Syl Johnson on the churning groove of "Back For a Taste of Your Love." Trumpeter Lewis stands out with his brief horn blasts here.

Rick Estrin's "I Beg Your Pardon" is a superb slow blues with a vocal that would do Little Johnny Taylor proud. Pugh plays a greasy organ solo. There is a deep soul rendition of an early Willie Nelson song, "Are You Sure." Alabama Mike joins on an original, "Trouble." It is a first-rate duet in the style of the Jewel recordings by Ted Taylor and Little Johnny Taylor. Incidentally, the CD cover lists it as the ninth track. It is the eighth track, and "If You Want Me To Keep Loving You," another strong performance in the Little Johnny Taylor mode, is the ninth track.

This album closes with a well-sung cover of Ted Taylor's "Be Ever Wonderful." There is plenty to enjoy about this recording. Sonny Green ably evokes so many greats as he recreates their songs. He certainly displays his considerable vocal chops, and Kid Andersen and the backing musicians provide top-flight backing. For fans of soul-blues and deep soul, Little Village Foundation has indeed found a most soulful singer.

I received my review copy from a publicist. Here is Sonny Green performing recently.

 

Ron Thompson From The Patio - Live at Poor House Bistro Vol. 1

Ron Thompson
From The Patio - Live at Poor House Bistro Vol. 1
Little Village Foundation

I first became aware of Ron Thompson some blues 45s by Richard Riggins and Schoolboy Cleve in the 1970s that he played on, in addition to being part of the band an Arhoolie K.C. Douglas album. Thompson had associations with a variety of other blues performers, including John Lee Hooker. In the 1990s, Ron played Fleetwood's in Alexandria, Virginia, with Mick Fleetwood's Blue Whale, and I was impressed by his straight-ahead slide guitar blues and gritty singing. I was also delighted to see him on the 2006 Legendary Rhythm & Blues Cruise, where he was one of the performers. Those were the only times I had the pleasure to see him perform, but I believe I did acquire one of his CDs, which I enjoyed quite a bit.

For some 14 years, which ended because of the health issues that led to his passing earlier this year, Ron Thompson had a regular Wednesday night gig at the Poor House Bistro in San Jose, California. This CD captures eleven numbers from his performances on June 4 and August 6, 2014. On those evenings, Thompson was backed by Scotty Griffin on drums, either Dave Chavez or Gary Rosen on bass, Sid Morris on piano, and Jim Pugh on organ. Kid Andersen, who produced this release, adds guitar to a couple of tracks while harmonica wizard Gary Smith plays harmonica on one. Thompson attacks the songs here with a robust, raspy vocal style and a driving guitar attack. The performances exhibit a relaxed intensity. The music never sounds rushed, and Thompson sings with plenty of grit as well as spirit.

Things open with a dynamic, straight-forward rendition of Howlin' Wolf's "Meet Me in the Bottom," adding harmonica to his rhythmically nuanced guitar. This number, like Lightnin' Hopkins' "Bring Me My Shotgun," display how he was able to develop intensity over a simple one-chord motif. The latter song also demonstrates how much he internalized aspects of John Lee Hooker's approach on a moving, brooding performance. He also played idiomatic originals such as "Mardis Gras Boogie" that might evoke for some listeners some of Hooker's Vee-Jay recordings. Other songs include taut doomy renditions of "Tin Pan Alley" and "Sinner's Prayer" with stinging guitar complementing the fervent singing. On the former number, Morris adds first-rate piano while Pugh adds atmospheric organ on the latter song. There is a capable reworking of Little Walter's "One More Chance With You" with Gary Smith adding harmonica.

The musical temperature cools down with a heartfelt cover of Don Covey-Bobby Womack's soul ballad "That's How I Feel," before Thompson recasts Buster Brown's "Doctor Brown" into a hot "Dust My Broom" slide guitar shuffle. More slide guitar is heard on "When You Walk That Walk," which may be more Hound Dog Taylor than Elmore James. Kid Andersen adds his guitar to fill out the backing on these last two tracks that close this recording. Ron Thompson was a significant part of the California blues scene for several decades, and the marvelous music captured here shows how much he will be missed. This recording allows us to appreciate his legacy, and one can hope that more will be forthcoming.

I received my review copy from a publicist. Here is a video collage of partial performances of Ron Thompson at the Poor House Bistro.

Jose Ramirez Here I Come

Jose Ramirez
Here I Come
Self-Produced

Originally from Costa Rica, singer-guitarist-songwriter Jose Ramirez has been making a name for himself in the Blues World. Residing in the Washington, DC area recently, he won the 2019 DC Blues Society's Battle of the Bands. Representing the DC Blues Society, he competed in the Blues Foundation's International Blues Challenge, where he finished second overall, an impressive achievement. Ramirez was poised to start touring in support of his debut album "Here I Come," when the Covid-19 pandemic put a wrench in his plans. He has relocated to Florida to ride the pandemic out, and eventually resume his performing career.

The pandemic may have suspended his live performances, but thankfully not prevented the release of this new recording. Ramirez teamed up with Anson Funderburgh, who produced this disc that was recorded in Austin, Texas. Funderburgh guests on two of the 11 songs. Others playing on this recording are Jim Pugh on piano and organ, drummer Wes Starr, bassist Nate Rowe, and the legendary Texas Horns.

Ramirez wrote nine of the eleven songs, and he impresses immediately with the opening title track, a relaxed walking tempo shuffle as he sings about some of his influences and inspirations as he pushes on to reach his musical goals and keep the blues alive. It is refreshing to hear such a gifted singer and guitarist rooted in straight-ahead blues. Listening to his vocals, one would not guess that English is not his first language, but even more impressive is his phrasing and vocal dynamics. One might suggest a cross between Floyd Dixon and Fenton Robinson as a rough analogy. His guitar playing is also old-school, with touches of T-Bone Walker as well as B.B. King.

Ramirez can croon in his interpretation of a lesser-known T-Bone Walker recording, "I Miss You Baby," or get down and funky on "Gasoline and Matches," where he shares guitar duties with Funderburgh. There is a burly baritone sax solo on the last number that I presume is from Kaz Kazanoff. This latter number also displays his songwriting craftsmanship. "One Woman Man," where Ramirez sings that he is not looking for love and is not a one-woman man. It features a searing guitar solo and an inspired piano solo by Pugh to close this performance. From straight blue shuffles, Ramirez also delivers a bit of solid soul with "The Way You Make Me Feel," a track that evokes Tyrone Davis. Again Pugh stands out with his comping behind an excellent vocal. Often Robert Johnson covers are forgettable, but Ramirez places his stamp on this number by transforming "Traveling Riverside Blues" with a reggae groove. Pugh's organ and the crack rhythm section lay the foundation for his piercing guitar.

"Here I Come" is not merely an impressive debut of a promising artist. Anson Funderburgh's top-flight production and a fabulous studio band provide the foundation for Jose Ramirez to showcase his gifted songwriting along with his terrific vocals and guitar playing. It is a superb recording.

I received my review copy from a publicist. Here is Jose Ramirez performing "Here I Come."

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."

 

Terry Hanck I Still Get Excited

Terry Hanck
I Still Get Excited
TVR/VizzTone

It has been three years since The Terry Hanck Band's last album, "From Roadhouse To Your House Live," which I summarized captured "the engaging and strong blues, R&B and rock of the Terry Hanck Band… ." Hanck returns on this new release with his saxophone and vocals with his band of guitarist Johnny' Cat' Soubrand, bassist Tim Wager and drummer Butch Cousins along with the keyboards of Jim Pugh and guitar, bass and more from Kid Andersen. Anderson co-produced this recording with Hanck, which has several special guests including June Core on drums, Rick Estrin on harmonica, Chris Cain on guitar, and Tracy Nelson on vocals.

Reviewing that live recording, I observed that "Hanck is quite a congenial vocalist with a bit of grizzle whose robust saxophone with a mix of King Curtis yackety-yak with Junior Walker honking." There is no reason to change that observation based on the performances here that range from blues, rock and roll, and swamp pop. It also does not hurt to have such an excellent band, including the guest musicians. This is heard throughout the 11 performances here, starting with the opening title track. It is a gem of rock and roll with a tagline "I might be old as sin, but in my mind, I am just a kid, lawd I still get excited." Pugh channels Johnnie Johnson or Lafayette Leake, Soubrand takes a rocking solo with Hanck riding the song out with some honking and high note screeching.

Louis Jordan is among Hanck's influences, as shown by a cover of "Early in the Morning," but also on his original "Smooth Tyrone." This song sounds like the Jesse Mae Robinson-Louis Jordan penned "Blue Light Boogie." In this song, Hanck has provided original lyrics replacing those of the original. Pugh, Soubrand, and Hanck all shine musically here while Kid Andersen on bass and June Core on drums keep a relaxed shuffle groove. "Here It Comes" has a relaxed early 60s' R&B groove while it incorporates a bass riff from the Solomon Burke classic "Cry to Me." In addition to a heartfelt vocal, Kid Andersen contributes some neat Spanish-tinged acoustic guitar. On the Chuck Willis-styled shuffle, Rick Estrin adds his sax-like harmonica on "Come On Back," soloing as well as having interplay with Hanck. It is followed by the appealing instrumental, "Rosita (No Wall Call Hold Our Love)."

Several remakes are not far removed from the originals recordings. These include Bobby Charles "Why People Like That?" with some 'yackety-yak" sax and "Howlin' For My Darlin'" with Soubrand channeling Hubert Sumlin. Also heard are energetic renditions of Eddie' Cleanhead' Vinson's "Hold It Right There," and "Feel So Bad," based on Little Milton's Checker recording, with more exceptional Soubrand guitar. One exception is an older Little Milton recording, "Spring," that Hanck and Tracy Nelson, in marvelous performance, transform into swamp pop. It stands out in another splendid collection of blues and roots performances by Terry Hanck.

I received my review copy from VizzTone.  Here is a video of Terry Hanck performing "Sweet Tyrone."

 

Junior Watson Nothing To It But To Do It

Junior Watson
Nothing To It But To Do It
Little Village Foundation

Junior Watson is among the most respected blues guitarists on the West Coast who has played with and recording with such acts as Big Mama Thornton, George Harmonica Smith, Jimmy Rogers, Shakey Jake, Kim Wilson, Charlie Musselwhite, William Clarke and more. He was the original guitarist in The Mighty Flyers with whom he stayed ten years. He has not recorded often as a leader which is rectified on this new CD from the Little Village Foundation. This recording was co-produced by Kid Andersen with Watson and recorded at Andersen's Greaseland Studios. Andersen himself says, "There is no guitarist on earth I value higher than Junior Watson." Making this record with him is one of the greatest honors in my life."

There is a mix of instrumentals and vocals. Watson sings on several tunes, and there are vocals by guests Alabama Mike and Lisa Leuschner Andersen. Others in the studio band are Sax Gordon on saxophone; Jim Pugh on keyboards, Kedar Roy on bass, and Andrew Guterman on drums with Gary Smith on harmonica on one song.

The mood is set with the opening instrumental, "Up and Out," displaying Watson's crisp, twisting attack that evokes to this listener the shattering Memphis attack of Willie Johnson mixed with a touch of Albert Collins and Jimmy Nolen. Gordon is outstanding while Pugh's skating rink organ adds to the atmosphere. Other instrumentals include "Ska-Ra-Van" a ska version of Juan Tizol-Duke Ellington's Caravan." Gordon takes an imaginative tenor sax solo while Pugh' organ adds to the flavor of the performance. There is a Mexican flavored instrumental "Summer of Love" with scintillating guitar, and a raucous shuffle "Space Flight, with Pugh's organ, followed by some blistering guitar." "Pee Wee Classic," a tribute to Pee Wee Crayton, is an exciting spinoff of "Texas Hop."

The five vocals by Lisa Andersen, Kid's wife, are a revelation as she sings with a forcefulness and nuance that suggests such sixties female singers as Carol Fran, Carla Thomas, and Barbara Lewis. Certainly the hard-rocking "Don't Freeze Me Out" is a gripping performance, while "One Way Street" is a further showcase of how good a singer she is while Gordon is excellent on the baritone sax. Another vocal is the James Brown penned "I Found You," a variant of "I Got You." Alabama Mike co-wrote with Watson, an intense slow blues "A Shot in the Dark," on a performance in the vein of Buddy Guy's Chess recordings. Watson himself is an understated, appealing vocal on a shuffle "Louella," as well as a revival of Chicago blues harpist Dusty Brown's "Well, You Know," with Gary Smith adding his harmonica.

Junior Watson, a brilliant guitarist and with the terrific backing band, is showcased on a marvelous recording that displays his considerable talents.

I received my review copy from a publicist. Here is a clip of Junior Watson performing in 2017.

Billy Price Dog Eat Dog

Billy Price
Dog Eat Dog
Gulf Coast Records

It has been at least four decades since Billy Price and the Keystone Band issued their first album. After relocating to Baltimore from Pittsburgh, Price remains quite active with his deep blue-eyed soul. He traveled to Kid Andersen's Greaseland Studios to record this latest recording. He has quite a studio band including Andersen on guitar and assorted instruments, Alex Petterson on drums, Jerry Jemmott on bass, Jim Pugh on keyboards, Eric Spaulding on tenor sax, Jack Sanford on baritone sax, and John Halblieb on trumpet. Congas are present on most selections and played by Jon Otis (one of the late Johnny Otis' sons and Vicky Randle. Randle was also one of the background vocalists along with Lisa Leuschner Andersen, Charlie Owens and the Sons of the Soul Revivers. There are also guest appearance from Rick Estrin, Alabama Mike, and Mike Zito, who is Gulf Coast Records co-founder.

Standout tracks on this include the original "Lose My Number" as he tells his former lover that she can forget about him, as he is still hooked. Then there is a brassy, strutting interpretation of Bobby Byrd's "We're on Love." The title track was written by Rick Estrin who adds chromatic harp and solos superbly. Alabama Mike adds his powerful singing to that of Price on a topical blues about trying to make it in a world where they sing describing various social ills. Price's cover of Otis Rush's "My Love Will Never Die" gets to showcase Andersen's incisive guitar as well as the horn section. "All Night Long Café" is a funky original with Mike Zito adding some searing guitar. French guitarist Fred Chapéllier, t, a frequent collaborator with Price, co-wrote the cheating blues "Remnants," and the soulful ballad "More Than I Needed." The latter number evokes the classic Philadelphia soul sound.

"Dog Eat Dog" is another well-produced and solidly recorded new release adding to Price's fine body of recordings.

I received as a download from a publicist. Here he is from a recent performance with his Charm City Rhythm Band.

Mighty Mike Schermer Bad Tattoo

Mighty Mike Schermer
Bad Tattoo
Firedog Records/VizzTone Label Group

This is Mighty Mike's latest release featuring a dozen songs finding the singer-guitarist-songwriter at the Greaseland Studios with guest stars including Chris Cain, Rick Estrin, Aki Kumar, Jim Pugh, Nancy Wright, Billy Price, and others! He has been a guitarist with Marcia Ball since 2009 and before that worked with Elvin Bishop, Maria Muldaur, Angela Strehli, Bonnie Raitt, Howard Tate, Charlie Musselwhite, and Sista Monica amongst others. The core band on this CD is Schermer, guitar, and vocals; Steve Ehrmann, bass; Paul Revelli, drums; and Austin Delone, organ. Two tracks have a horn section of Eric Bernhardt, baritone and tenor saxophones; and Nancy Wright, tenor saxophone. Jim Pugh sits in on organ on three tracks while one song, “Ain’t That The Way Love Goes?” includes a different band with Jim Pugh, Chris Cain on electric piano, and a rhythm section of Kid Andersen, bass; and Alex Pettersen, drums. Cain also contributes guitar on one selection while Billy Price contributes a backing vocal. Schermer wrote or co-wrote all of the songs.

This is a solidly recorded and played CD. Schmerer is more striking as a guitarist than a singer but his somewhat light, plain singing I find quite listenable and honestly delivered. And his songs are solid idiomatic ones starting with the opening "She Won't Be Coming Back," with a groove, melody, and horns evocative of Little Walters "Up the Line." Then there is the amusing "Lover's Hall of Fame" about a relationship gone sour as he tells his ex that she's not on the ballot for the Lover's Hall of Fame. The Farfisa organ on "How Much Longer" gives it a feel of a beach club dance song in the sixties, while the title track is a relaxed jump blues as he sings about a tattoo about some other dude that she tries to hide. Besides his appealing singer, there is some sharp guitar akin to sixties Johnny 'Guitar' Watson as well as nice supportive horns including a booting tenor sax solo. There is a soulful "Ain't That the Way Love Goes," with a backing vocal chorus, and a "Baby Down the Well," with pounding piano, Rick Estrin's harmonica and a jackhammer groove.

"Hey Francine," a country-rockabilly tinged song is perhaps the weakest vocal here. It is well played like the rest of this recording. Schmerer has put together a strong backing ensemble with solid contributions from his friends. Add well-crafted originals, and one has a very engaging recording.

I received my reviewe copy from VizzTone. This review originally appeared in the May-June 2019 Jazz & Blues Report (Issue 384), although I have made minor stylistic changes. Here is a video of him covering Latimore's "Let's Straighten It Out."

 

Kevin Burt Heartland & Soul

Kevin Burt
Heartland & Soul
Little Village Foundation

Mike Kappus notes he first was exposed to Kevin Burt as a judge for The Blues Foundation's 2018 International Blues Challenge where the Iowan won not only in the single/duo category. Kappus also notes Burt was the first artist in the Competition's 34-year history to sweep the solo categories — also winning the Solo/Duo Cigar Box Guitar Award for the most promising acoustic player and the Lee Oskar Harmonica Award. Once having to work five jobs (two full-time, three part-time) as a young adult in Iowa City after a football injury in his senior year of college derailed his dreams of professional football, he has become a significant new acoustic blues voice.

It is not like he just started playing the music. In 1996, the sesquicentennial both of Iowa and of the Smithsonian, Burt was chosen by the state of Iowa to participate in a project of the American Folklife Center. “I got the opportunity to be a living exhibition at the Smithsonian representing the state of Iowa as a blues artist, and part of my responsibility was to have an educational component, so that’s when I started doing my research to be able to give accurate historical stories for the state of Iowa from the perspective of a musician.” He has also become quite involved in Blues in the School.

I suspect this is his debut recording and Kid Andersen and Jim Pugh produced this CD which was recorded and mixed at Greaseland. Burt, who wrote 11 of the 12 songs, sings and plays acoustic guitar and harmonica. Andersen adds guitar and melodica (on one track), and Pugh keyboards. Others on this include Jerry Jemmott on bass, Derrick 'D'Mar' Martin on drums, Jon Otis on percussion and Lisa Leuschner Andersen on backing vocals.

Listening to Kevin Burt, one is reminded of Ted Hawkins, a similar acoustic singer-songwriter who had deep rhythm and blues roots. Whereas Hawkins displayed a strong Sam Cooke influence, Burt evokes Bill Withers with perhaps a dash of Al Jarreau. Withers is one of Burt's cited vocal influences along Aaron Neville, Bobby Bland, Luther Vandross, and Marvin Gaye. The song that perhaps is most suggestive vocally and stylistically of Withers' is "I Don't Want To See You No More," where he sings about finding a note on the door and not understand why she left him.

It is a varied program starting with the lively groove on the opening "Day Day" singing about he makes her whole body grins but she will miss him if she leaves more than he will miss her. The performance has a nice harmonica break with the percolating backing behind the singing. Then there is an austere cover of The Beatles' "Eleanor Rigby," backed by his solo guitar, where his phrasing and other vocal dynamics stands out. Pugh's organ helps establish the mood for his expression of thanks for letting him be himself. The percolating groove of "Real Love" reminds me of the Doobie Brothers as he sings about a love they should hang on to and wants to share with nobody else with some rhythmic guitar and crying harmonica.

While the songs on this are more soul than blues, "Never" is a strong, evocative blues with Pugh's piano and Andersen's guitar standing out in the backing against Burt's passionate singing. Another blues has him playing slide and harp for the first verse of "Smack Dab in the Middle," an original and not the song associated with Count Basie and Joe Williams, where he sings about going to the Crossroads and not having done nobody wrong. While there is nothing wrong with the band backing and he has a nice harp break, this performance to these ears would have been stronger if it remained a solo performance. This is a small quibble on an impressive recording full of memorable performances. Kevin Burt shows himself to be an exceptional artist.

I received from my review copy from a publicist. This review originally appeared in the November-December 2018 Jazz & Blues Report (Issue 381). Here is a clip of Kevin Burt performing "Eleanor Rigby," at the 218 International Blues Challenge finals.

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.

Whitney Shay A Woman Rules The World

Whitney Shay
A Woman Rules The World
Little Village Foundation

There is something about a recording that makes one take notice, especially when it is by an artist that one was previously unaware of. San Diego vocalist Whitney Shay made that impression when I first started listening to her assertive "Ain't No Weak Woman," that opens up this new release of modern urban blues and classically oriented soul. Supporting her expressive singing is the excellent support that producer and guitarist Christoffer 'Kid' Andersen has provided. On this she is supported by a studio band that includes Jim Pugh on keyboards, Kedar Roy on bass, Alex Pettersen on drums and 'Sax" Gordon Beadle on saxophones with Igor Prado and Aki Kumar among those guesting on selected tracks.

"Ain't No Weak Woman" is one of four songs Shay co-wrote with Adam Eros, and she vigorously delivers her lyric that having a weak moment does not make her a weak woman. It is a moving vocal set against a driving groove with a superb Sax Beadle tenor sax solo. More raspy sax opens a lesser known Dinah Washington number "Blues Down Home." The terrific horn arrangement and her superb vocal suggests she could handle a straight jazz recording as well as she handles the blues and soul here. This track also has Jim Pugh's greasy organ accompaniment, a nice harp break from Aki Kumar and booting sax that evokes Eddie Chamblee and the like. After a hint of New Orleans on another original, "Don't You Fool Me No More," Igor Prado adds his slashing guitar and a  vocal on another original, the funky "Love's Creeping Up On You."

The title track was Denise LaSalle's answer to James Brown's "It's a Man's World." Sdt against the firm accompaniment, moaning and shouting, she delivers another knockout vocal. Andersen's sitar helps open her fervent blues shouting on a reworking of Little Richard's "Freedom Blues," followed by a strong deep soul interpretation of Candi Staton's "Get It When I Want It," with Sax Beadle's baritone sax a significant part of the backing. Among the other selections is the low-key original lament, "Empty Hand," where her phrasing and vocal dynamics stands out.

Another driving Little Richard number "Get Down With It," closes this recording. The terrific studio band and Andersen's production along with Shay's powerful, nuanced singing result in a superb recording.

I received my review copy from a publicist. I have made some stylistic edits to the review that originally appeared in the July-August Jazz & Blues Report (Issue 379). Here is a video of Whitney Shay performing.

Laurie Morvan Gravity

Laurie Morvan
Gravity
Screaming Lizard Records

This is the sixth album from singer, guitarist and songwriter Laurie Morvan for which she enlisted Tony Braunagel to produce. He also plays drums here along with keyboards from Mike Finnigan, Jim Pugh, and Barry Goldberg, and bass from Bob Glaub. They back Morvan on varied blues and blues-rock songs, with the keyboardists adding texture and contrast to Morvan's vocals and fretwork.

The album opens with a high stepping Texas styled blues-rock shuffle, "My Moderation," displaying her singing (comparisons might be made to Stevie Nicks but Morvan sings more openly) and her strong guitar playing that is noteworthy for the clarity of her playing and the logical manner she develops her solos. Finnigan adds some saucy B-3 grease here. Searing guitar opens "Stay With Me," with a tinge of Magic Sam's song in the song's structure with a fervent vocal. Barry Goldberg adds piano on a crisply played shuffle, "Money Talks," while "The Extra Mile" showcases her use of the wah-wah pedal on a volatile blues-rock solo.

The title track has a memorable lyric of "Gravity was nothing, until you gave it a piece of your mind," with a reflective vocal and a nuanced, solo, while "Dance In The Rain," is built on a bass line that suggests classic Jr. Walker as she sings about life feeling like a hurricane with troubles thundering down and one must weather the storm and dance in the rain. Again her fiery guitar is supported by the tight backing. Then she addresses overcoming adversity on "Gotta Dig Deep," and then transcending heartbreak on "The Man Who Left Me." "Too Dumb To Quit" has atmospheric slide guitar (also using the wah-wah pedal) as she questions why she stays with someone who is bad for her and she should be running away to save her mind.

Laurie Morvan makes her mark throughout "Gravity" with her heartfelt singing and strong, driving guitar playing supported by a fine studio band.

I received my review copy from a publicist. Here she performs "Dance In The Rain."

Billy Price Reckoning

Billy Price
Reckoning
VizzTone

This latest recording by the blue-eyed soul blues singer had him team with guitarist and producer, Kid Andersen. It was recorded at Andersen's Greaseland Studio with Anderson on guitar (and organ on two tracks), Alex Pettersen on drums, Jerry Jemmott on bass, Jim Pugh on keyboards, Johnny Bones on sax, and Konstantins Jemeljanovs on trumpet with Nancy Wright taking a tenor sax solo on one selection among others guesting here. There are originals from Price, Jim Britton, and French guitarist Fred Chapellier, along with songs previously recorded by the likes of Bobby Bland, Otis Redding, Swamp Dogg, and Johnny Rawls.

Price has been singing this music for decades. This writer remembers hearing his strong renditions of songs associated with of O.V. Wight on the Bama Hour over WPFW hosted by the late Jerry Washington. One can't have a stronger endorsement than this of how strong a singer Price was, and is, in this musical vein. This latest recording shows he still brings everything into the fervent, soulful music here.

There are so many gems here starting with the bluesy and driving "39 Steps," that opens the program, followed by his straight reworking of "Dreamer," the title track of a 1974 Bobby Bland album. It has a nice arrangement, strings and vocal chorus. The title track is composed by William Troiani and Hakon Hoye and opens with a brief excerpt of old-time preaching. It is a funky soul performance with punchy horns to which Andersen adds some punchy guitar. There is a driving take on J.J. Cale's "No Time" followed by a nice rendition of an Otis Redding soul ballad, "I Love You More Than Words Can Say," with one of his finest vocals here. It is followed by an uptempo rendition of Johnny Rawls' "I Keep Holding On." Other strong performances include his insistent vocal on Denise Lasalle's "Get Your Lie Straight," the original "Expert Witness," with a riff evocative of the Five Royales' classic "Think," and Swamp Dogg's topical "Synthetic World," with its call for a more natural world.

With Kid Andersen's crisp production and strong studio support for the stalwart blue-eyed soul-blues singer, "Reckoning" is another welcome addition to Billy Price's body of recordings.

I received  my review copy from VizzTone. This review has appeared in the July-August 2018 Jazz & Blues Report (Issue 379), although I have made a few minor stylistic changes to the published review for clarity's sake. Billy Price's website is http://billyprice.com. Here is a video on the making of "Reckoning."

The Nick Moss Band Feat. Dennis Gruenling

The Nick Moss Band Feat. Dennis Gruenling
The High Cost Of Low Living
Alligator Records

As Tom Hyslop observes in his liner notes to this new Nick Moss recording, it marks Moss' return "to traditional Chicago and jump blues and old school rock'n'roll after his recent explorations into bluesy rock and jam blues stylings." Moss apprenticed with the likes of Jimmy Dawkins, The Legendary Blues Band and Jimmy Rogers. before his own solo career. He has recorded 12 albums on his own Blue Bella label before this Alligator Records debut. Moss' influences include B.B. King, Freddie King, Earl Hooker, Magic Slim and other groundbreaking players.

Moss' new band includes the vocals and harmonica of Dennis Gruenling, whose full throated harmonica reflects the inspiration of James Cotton, Little Walter and George “Harmonica” Smith and saxophonists, including Lester Young and Red Prysock. Like Moss, he has seven fine solo recordings to his credit. Others heard on this recording are Taylor Streiff on piano, Nick Fane on bass and Patrick Seals on drums. Also present on several selections are Kid Andersen (who engineered this and co-produced this with Moss) on guitar and shakers; Jim Pugh on organ; Eric Spaulding on tenor sax and Jack Sanford on baritone sax. Moss contributed eight songs, Gruenling two, and there are three covers.

This return to straight, real deal Chicago blues by Moss is superb. The original material is first-rate (full of wit and pathos), Moss and Gruenling are solid vocalists, and playing (leads and backing) is top-notch. With horns in the background, Moss kicks off this recording with some Johnny Guitar Watson sounding guitar on "Crazy Mixed Up Baby," with Gruenling coming in for the first solo break before Moss explodes on the second break on a crisp West Coast blues. It is followed by an amusing shuffle "Get Right Before You Get Left," with a groove updating Howlin' Wolf's Memphis boogie recordings. It has  more terrific harp and Moss sounds like he's channeling Willie Johnson. Some tough Elmore James flavored slide and rollicking piano help propel the driving title track with its ironic lyrics. Gruenling's "Count on Me," is a bit of classic rock and roll led by his full-toned harmonica and more strong piano.

There is a solid cover of Otis Spann's "Get Your Hands Out Of My Pockets," that has Gruenling evoking vintage James Cotton. "Tight Grip On Your Leash," is a rollicking shuffle about this 'cool little number." The title "He Walked With Giants (Ode To Barrelhouse Chuck)," says it all with an affectionate lyric delivered with plenty of heart by Moss with Streiff again standing out. These ears detect Jimmy Dawkins' influence on Moss' guitar here, while Gruenling just kills it on chromatic harmonica. "All Night Diner," is a hot instrumental feature for Gruenling, with organist Pugh and Moss playing in a jazzy vein.

A bouncy rendition of Boyd Gilmore's recording "Rambling On My Mind," strongly closes this recording. As stated, there is strong and varied material (including choice songs to cover), very good singing, and excellent playing. This is also wonderfully recorded resulting in a superb straight-no-chaser Chicago blues recording.

I received my review copy from Alligator Records. Here is a clip of the Nick Moss with Dennis Gruenling

 

Rick Estrin & The Nightcats Groovin' In Greaseland

Rick Estrin & The Nightcats
Groovin' In Greaseland
Alligator Records

Its been 30 years since Alligator signed Little Charlie and the Nitecats. Guitarist Charle Baty was the bandleader, by Rick Estrin fronted the band with his somewhat gruff, heartfelt wise-guy vocals (a phrase Bruce Iglauer employs describing Estrin's singing), authoritative harmonica and songwriting, full of wit and wisdom. In 2009, when Baty retired from touring, Estrin took over the band and this is the fourth CD under his leadership. Greaseland in the title refers to the studio that Nitecats guitarist Kid Andersen operates where this disc was recorded. His productions have been among the finest recent straight-ahead blues and roots recordings from any source and this disc has much of the same qualities with clean crisp sound. Lorenzo Farrell is on keyboards while Alex Pettersen occupies the drum chair. There are a number of guests on various tracks including saxophonist Nancy Wright, bassist Jerome Jemmott and electric pianist Jim Pugh. Estrin contributed 11 of the tunes here (one a collaboration with Andersen), while Andersen added one as did keyboardist Farrell.

As suggested above, this is a wonderfully played recording by a super band, starting with the kicking opening shuffle, "The Blues Ain't Going Nowhere," with a litany of reasons why the blues ain't dying with some fat chromatic playing. Then there is the humor of "Dissed Again," with Farrell's rollicking piano. It is followed "Tender Hearted" with Estrin's talking about the experiences with back biting rats so he is tender hearted no more. It has  scintillating tremolo-laced guitar from Andersen along with more strong chromatic harp. Joe Kyle on bass and Pettersen lay down a nicely restrained groove here. Andersen's terrific tribute to Lonnie Mack, ""MWAH!" is a reworking of Mack's classic instrumental "WHAM!," and he captures Mack's Magnetone amp sound.

"Another Lonesome Day," is a slow blues with Andersen evoking Otis Rush and Ike Turner, while Estrin is in a Sonny Boy Williamson II vein with his crying harp playing here. It is followed by the Estrin-Andersen collaboration "Hands of Time," with a groove evocative of "High Heel Sneakers," and some strong amplified hard. Farrell is featured with his greasy organ on the jazzy "Cole Slaw," with a short harp break and some very nice fretwork from Andersen. After a heated shuffle celebrating partying going on at Greaseland, "Hot in Here," there is a strong topical blues "Living Hand To Mouth."

The album closes with a harmonica feature "So Long (for Jay P.)" that showcases not simply Estrin's virtuosity, but his taste and how he shapes his solo. With the excellent backing here, and the throughout this recording, it is fitting coda to another marvelous recording from Rick Estrin & the Nitecats.

I received my review copy from Alligator Records. Here Rick Estrin & The Nightcats are seen performing "The Blues Ain't Going Nowhere."

 

Charlie Owen Worth the Wait

Charlie Owen
Worth the Wait

Like the prodigal son, DC native Chartlie Owen has returned to the DMV (Distict-Maryland-Virginia) after decades on the West coast where he fronted the Dynatones as well as part of the house band at various venues. Now he has this release produced by Jim Pugh, who was the keyboardist for the Dynatones, as well as others including Etta James. In addition to Pugh (and Owen's own trumpet on 4 tracks), among those heard in the backing including saxophonist Nancy Wright, drummer Paul Revelli, Jon Cleary (piano on one track) and Curtis Salgado (a duet on one track).

This is mostly an album of southern soul and blues ably played and capably sung. Owen shows clear affection for this material and his renditions of the O.V. Wright classic "I Don't Know Why," James Carr's "Pouring Water on a Drowning Man," Little Milton's deep blues "So Mean To Me" and classic urban soul "We're Gonna Make It," Johnny Adams' "It Ain't the Same Thing," and Johnny Taylor classic "Cheaper to Keep Her," show him an able singer although his renditions do not reach the level of Carr, Milton, Adams and Taylor, as capably sung and played as they are. His affection for New Orleans R&B  is reflected in the Adams cover along with a nice treatment of Allen Toussaint's "On the Way Down," along with surprising, and well-sung recreations of Tommy Ridgely's "Let's Try and Talk It Over," along with Lloyd Price's "Just Because."

A couple of ballads stand out including his rendition of Jesse Winchester's "No Pride At All," and Allison Moorer's "Soft Place To Fall," that closes this recording. These have a warmth and do not suffer from unavoidable comparisons with some soul legends. Owen is a very good singer, and fans of classic soul with a dose of blues should find "Worth the Wait" quite entertaining.

I received my review copy from a publicist. He is performing Sunday evening, July 23 at JV's in Falls Church, Virginia and I hope to enjoy his music live. Here is Charlie Owen performing "Can I Change My Mind."

Lauren Mitchell Desire

Lauren Mitchell
Desire
Self-Produced

Florida based singer Lauren Mitchell went out to the West Coast to record this new release of hers where she got Tony Braunagel to produce this and drum on it. Some of Tony's associates with the Phantom Blues Band are here as well including Johnny Lee Schell on guitar, Joe Sublett on saxophone, and Darrell Leonard on their trumpet along with Reggie McBride on bass, Jim Pugh on keyboards and Lennie Castro on percussion.

The recording has a mix of choice covers and idiomatic originals that showcase her very strong singing, starting with a tough rendition of an Etta James deep soul recording, "(I Don't Need Nobody To Tell Me) How To Treat My Man." She has a husky voice like James which she employs in a nuanced fashion. She can belt out a song with authority and without screaming or sounding shrill. It is followed by the sweet soul groove of her original "Soul Music" with its beach music groove as she sings about no other man can satisfy her and hear that soul music like her daddy used to play. The joy in her vocal is supported by the excellent backing and punching horns. The title track has a swampy soul feel followed by her strong, sultry take of another song associated with Etta James, "Jump Into My Fire."

With Schell's bluesy guitar and Pugh's piano, she ably tackles an Aretha soul-blues, "Good To Me As I Am To You," as well as an early Bettye Lavette recording "Stand Up Like a Man." Contrasting her tough vocals on those tunes, she displays a tender side on the ballad "Today." There is plenty of sass in her revival of Diana Ross' "I Ain't Been (Licked Yet)," followed by the sensuous reworking Betty Davis' "Anti-Love Song," with backing adapted from Davis' original. A jaunty gospel performance, "Bridge of Dreams," is followed by an original lament, "Lead Me On," that sounds like it might have come out of Muscle Shoals decades ago.

The album closes with "Brown Liquor," with a funky groove and a tough lyric about waking up in Vegas with a hangover and a man in her bed as she does not remember anything after that Maker's Mark. Her forceful, vocal is backed by the terrific studio band closing this very impressive CD of soul with a blues touch.

I received my review copy from a publicist. This review originally appeared in the March-April Jazz & Blues Report (Issue 371), although a few typos in the published review have been corrected. Here she is seen performing "Soul Music" from this CD.

Wee Willie Walker & The Greaseland All Stars Live! Notodden Blues Festival

Wee Willie Walker & The Greaseland All Stars
Live! Notodden Blues Festival
Little Village Foundation

Kim Wilson refers to Willie Walker as "one of the last, if not THE last, real soul singer on this planet." A career that goes back to recording for Goldwax Records decades ago, he perhaps is finally getting some recognition. With a fine band assembled by guitarist Kid Andersen (Jim Pugh on the B3 organ, Lorenzo Farrell on bass, and J Hansen on drums with horns), Walker performed in August 2016 at the Notodden Blues Festival in Norway and Andersen has made the performance available.

After band introductions, Walker opens with Clarence Reid's "(Can You) Read Between The Lines," where with his raspy, gospel-inflected vocals he establishes his authority as a singer with The Greaseland All Stars providing solid, idiomatic support. It is followed by a terrific original by Rick Estrin (who helped Walker get larger exposure, "Is That It!" with greasy organ and punchy horns. It is followed by a recasting of a Goldwax recording (that was also issued on Checker), "You Name It, I Had It," a terrific deep southern soul performance. It is one of several Goldwax recordings revived here that include the Beatles' "Ticket To Ride," that he covered four decades ago. The loping groove of "There Goes My Used to Be," "I Ain't Gonna Cheat On You No More" (co-written by Sam Cooke) and "A Lucky Loser ( a favorite of mine)" are other early recordings he performed at this Festival.

In addition there are strong renditions of Tyrone Davis' hit, "Can I Change My Mind," and Cooke's "A Change Is Gonna Come." Rick Estrin adds harmonica to "Funky Way," and Walker does a solid take on "Little Red Rooster," that has a jazzy feel that owes as much to Sam Cooke's rendition as that of the Howlin' Wolf. Another extended reworking of another Beatles' classic, "Help," closes this recording as Walker slows this rocker down. Andersen's playing here evokes the late Robert Ward and Lonnie Mack on this track, but he is outstanding whether playing soul guitar riffs or playing in a jazzier vein on other tracks. The backing, as indicated, is solid throughout. In any event, Wee Willie Walker certainly has it still and this live recording suggests just how moving and powerful a performer he remains.

I purchased this. Here is the performance of "Help" from the Festival.