Tony Holiday Porch Sessions

Tony Holiday
Porch Sessions
VizzTone

I am not familiar with harmonica player Holiday and guitarist Landon Stone, but the two have been traveling around the country, playing with and recording with a variety of blues folks. With Kid Andersen adding his bass, they ended up with this enjoyable recording with 13 tracks. They hook up on this recording with such artists as Charlie Musselwhite, James Harmon, John Nemeth, John Primer, Bob Corritore, Kid Andersen, Aki Kumar, Rockin’ Johnny Burgin, Kid Ramos, and Mitch Kashmar for a collection of enjoyable, informal blues performances.

Holiday is on harmonica on these tracks but is glad to have others take the spotlight starting with James Harman's whose amusing shuffle "Pickpocket Fingers," has a fine vocal and Kid Ramos adds his guitar. Holiday takes the harmonica chair on Harman's excellent vocal on "Special Friend," while he and Holiday both are heard on a nice country blues styled shuffle, "Goin' To Court." Bob Corritore adds harp behind John Primer's superb Muddy Waters' styled blues "They Call Me John Primer," with a terrific vocal and slide guitar in the vein of Waters with whom Primer played with. Primer also sounds terrific on Howlin' Wolf's "Tell Me Baby" with Corritore wailing on harmonica. Jake Friel sings gruffly on "A Woman Named Trouble" with John Nemeth adding harmonica along with Holiday. Nemeth takes a strong vocal on "Blues Hit Big Town," with Holiday's harmonica taking the tune out.

Aki Kumar sings on "That's All Right" with Charlie Musselwhite and Holiday also on harmonica. Rockin' Johnny adds his guitar on this entertaining, informal jam of a blues classic. It's like the other performances, fun and very entertaining if not classic. Holiday is an able singer as displayed on "Three Way Party" where the third person at the party is a bottle of Jim Beam with Mitch Kashmar and Ronnie Shellist both adding harmonica accompaniment and solos. Rockin' Johnny adds atmospheric guitar behind Holiday on "Coin Operated Woman," a nicely sung humorous lyric. "Hip To It" is a harmonica trio with some intriguing interplay between Kashmar, Shellist and Holiday.

While most of the recording is of Chicago styled blues, the closing track is a small group rendition of an old Bobby Bland number, "This Time I’m Gone For Good," that the late Johnny Adams recorded on his final album. William G. Kidd, a blue-eyed soul-blues singer, who is originally from Virginia, is excellent on this with Ronnie Shellist on harmonica. It is the highpoint of this CD along with the Primer tracks, but the level of these informal recordings is high. One does wish that the packaging provided more detailed information on who was doing what on each selection, and also that Holiday showcased himself up front a bit more, but few will listen to this and not be highly entertained.

I received my review copy from VizzTone. Here is one of several videos from Tony Holiday's Front Porch Sessions, Ali Kumar singing "That's All Right" with Charlie Musselwhite and others on Musselwhite's Front Porch.

 

The Texas Horns Get Here Quick

The Texas Horns
Get Here Quick
Severn Records

The Texas Horns, comprised of Mark "Kaz" Kazanoff (tenor sax), John Mills (baritone sax), and Al Gomez (trumpet), are one of the most in-demand horn sections for both recording sessions and on tour with some of the biggest names in the roots music world. "Get Here Quick" is their own album of blues, soul and roots music, backed by an all-star group of supporting musicians. Special guests include singers Curtis Salgado, John Nemeth, Gary Nicholson, Guy Forsyth, and Carolyn Wonderland; as well as guitarists Ronnie Earl, Anson Funderburgh, Johnny Moeller, Denny Freeman, Derek O'Brien, and Jonn Del Toro Richardson. Also, Red Young and Nick Connolly play keyboards.

"It took us a year to make 'Get Here Quick,'" recalls Mark Kazanoff, who with his horn-mates arranged all the songs and horns on the sessions. "I don't usually like to do record production projects like that. But this time, we had so many wonderful guest musicians in mind that we knew we would never be able to get everyone together in one place for a week or two; so we did the CD bit-by-bit. That also allowed us to use a couple of different rhythm sections."

There is a mix of vocals along with rhythm and blues instrumentals in the vein of King Curtis and Junior Walker. One of the top tracks, "Guitar Town," opens this recording. Guy Forsyth sings John Mills clever lyrics about knowing about every dive in the city, but it is hard being to be saxophonist in a guitar town. Anson Funderburgh is the lead guitarist and trades fours with Kazanoff, Mills, and Gomez respectively. Carolyn Wonderland sings vigorously and plays lead guitar on the driving performance of Kazanoff's "I'm Doin' Alright, at Least for Tonight," supported by a blistering Gomez trumpet solo. Mills composed the instrumental "Feel No Pain," with Johnny Moeller's stinging guitar set against the riffing horn before Mills wails on the baritone sax followed by Moeller's terrific guitar solo.

Gary Nicholson wrote and sings "Fix Your Face," on which he also plays guitar. After Kazanoff takes a honking tenor sax solo that the late Big Jay McNeely would have been proud of, Ronnie Earl displays his distinctive style. Nicholson also contributed the bouncy "Soulshine," with Anson Funderburgh on lead guitar and a terrific tenor sax chorus from Kazanoff. Gomez' instrumental "2018" has a New Orleans meets Bo Diddley groove. Moeller and Nick Connolly play short guitar breaks before a section of the interplay between the three horns.

Riffing horns provide a setting for Johnny Moeller's guitar leads on one of Kazanoff's instrumentals "Better Get Here Quick." There is fiery Gomez trumpet and an electric piano break from Young. Kazanoff also wrote the soul-ballad, "Love Is Gone" with a terrific John Nemeth vocal and, a booting Kazanoff tenor sax solo. Mills' "Sundown Talkin'" showcases more blue-eyed soul with a passionate Curtis Salgado vocal. Kazanoff sings in an almost talking blues manner "You Can't Be Serious," a protest blues about this 'rich man's paradise." It has a concise Jon Del Toro Richardson guitar solo while Derek O'Brien adds slide guitar fills.

If there is one fault, the horn section unison leads generally are not as memorable as the vocals or various solos are. Still, there are some exceptional performances throughout, even on those that are merely entertaining.

I received my review copy from a publicist. Here are The Texas Horns performing in 2018.

Watermelon Slim Church of the Blues

Watermelon Slim
Church of the Blues
NorthernBlues Music

This is the 13th album by William P. Homans, better known as Watermelon Slim, dating back to 1973 when his "Merry Airbrakes" recording was celebrated as one of the first anti-Vietnam War albums done by a military veteran. It took him 29 years for his second album, "Big Shoes To Fill," which established his acclaimed career. Mississippi Fred McDowell is perhaps his biggest influence, and he developed his slide style as well as his gritty, raspy vocals. He co-produced this album with Chris Hardwick as well as plays harmonica and electric slide guitar. He is backed by his band of John Allouise on bass and Brian Wells on drums. He has guests including guitarists Bob Margolin, Nick Schnebelen, and Joe Louis Walker; vocalists Sherman Holmes and John Nemeth; and keyboardist Red Young. While the guests may add interest to this recording, it is Slim with his strong playing, vocals, and personality that makes this album so enjoyable.

The recording opens with "St. Peter's Ledger,' as he authoritatively delivers Ron Meadow's lyrics about where he might end up in the after-life and displays his strong slide guitar style. He follows up with one of several topical songs, Tom McFarland's 'Tax Man Blues," a strongly performed working man's complaint of having too much taken out of his pay stub. The strong backing enhances his strong singing and slide guitar solo. Muddy Waters' "Gypsy Woman" (with Slim on harp and Bob Margolin adding playing slide) is one of several covers of classic Chicago blues that he avoids copying the original while placing his stamp on the performance. Other similarly strong performances include Howlin' Wolf's "Smokestack Lightning" and J. B. Hutto's "Too Much Alcohol.' He makes minor changes in the arrangement (no trace of broom dusting on the Hutto number) so that these songs receive a fresh feel along with his powerful singing and playing.

Slim's "Post-Modern Blues," with the strutting horns, has him singing about trying to deal with the rapid changes of the 21st Century, while "Hollar #4" is a moving vocal moan about blues and his own life. His rendition of Allen Toussaint's "Get Out of My Life Woman" with his slide driven accompaniment evokes the early Paul Butterfield cover while a similar funky feel is present on a cover of Gene Barge's "Me and My Woman," the latter tune sporting more fine harmonica. Among other high points include the high-stepping topical blues about protests and the increasing visibility of overt racism "Charlottesville (Blues for My Nation)," with his hope for better days for all. An amusing bonus song, 'Halloween Mama" closes another excellent Watermelon Slim recording.

A received my review copy from a publicist. This review originally appeared in the March-April 2019 Jazz & Blues Report (Issue 383).  I have previously reviewed some Watermelon Slim albums including "Escape From the Chicken Coop," the eponymously titled "Watermelon Slim and the Workers," and "No Paid Holidays." Here is Watermelon Slim performing.

John Nemeth Feelin' Freaky

John Nemeth
Feelin' Freaky
Memphis Grease Records

The veteran blue-eyed blues and rhythm singer and harmonica player has a new release featuring his band, The Blue Dreamers, along with some crack Memphis musicians on eleven Nemeth originals. The Blue Dreamers are Danny Banks on drums, Matthew Wilson on bass and guitar, and Johnny Rhodes on guitar and they are joined by the organ of the legendary Charles Hodges, horns and strings for a recording that often evokes the classic Hi Records sound behind Nemeth who sings soulfully as those already familiar with him would expect.

The high-points often are those selections that are in the Hi Records style including the opening "Under the Gun," with its lyric directed against gun violence and the pressure living where there is gun violence; "Rainy Day," as Nemeth sings about the rainy day and he has nothing saved including not having saved his love; and the closing "Long Black Cadillac" about a young love and how he lost his love and the long black Cadillac took his baby away with some pithy harmonica adding to the performance. There are a couple of solid tracks not in mould such as "S.T.O.N.E.D." The title track is a dance number with Nemeth playing upper register harmonica along with his high pitched vocal. It is an entertaining performance perhaps, if not a memorable one, as is the similar "Get Offa Dat Butt," which evokes people to get up and boogie.

As indicated there are some exceptional performances here, along with solid ones and a a few that are entertaining, if less compelling. As a result, John Nemeth's latest recording one that should appeal to soul as well as blues enthusiasts.

I received my review copy from a publicist. Here he performs "Long Black Cadillac."

 

Earl Thomas Helping Raise Blues Hall Of Fame Roof

2012-0729 PA Blues Fest Sunday-1250827, a photo by NoVARon on Flickr.

The highpoint of the 2012 Pennsylvania Blues Festival was the riveting performance by the veteran San Francisco Bay singer Earl Thomas and his Blues Ambassadors. Thomas brought not only a deep soul voice to his program of blues and classic R&B (A killer rendition of the Etta James smash I'd Rather Go Blind) , but his showmanship was dazzling. Definitely a performer of the old school, of which there is too little today. 

Tis image taken from the Blues Foundation's website

Sunday, March 24 Earl Thomas headlines a terrific Raise the Roof Concert for the Blues Hall of Fame to raise money for the Blues Hall of Fame that The Blues Foundation. This takes place starting at 1PM PDT, 4PM EDT and 8PM in Europe. Here is some information from the Foundation's website:

"Blues legend Earl Thomas and his friends will play at Club Fox in Redwood City on Sunday, March 24, 2013. This once in a lifetime event, which will not be replicated anywhere, will be live streamed by VenMundi, making it possible for Blues aficionados all over the world to enjoy these extraordinary artists who are coming together in support of The Blues Foundation's Raise the Roof! Campaign for the Blues Hall of Fame.

Sista Monica (seen at 2012 DC Blues Festival)
among those assisting Earl Thomas
Raise the Roof for the Blues Hall Of fame

Earl Thomas started out wanting to support The Blues Foundation by giving back his time and talents as a Blues artist. As his fellow Blues musicians heard about what Thomas was doing, they wanted to join him. As a result, the show will feature Sista Monica, Syreeta Neal, Lady Bianca, Kenny Neal, Tia Carroll, King Tuffnstuff, Shane Dwight, Daniel Castro, John Nemeth, Kyle Rowland, Greg Nagy, Aki Kumar, the Blues Ambassadors and the list is growing.

Thomas explains, “I’m excited to be part of this event, and even more excited to have my friends join me in supporting The Blues Foundation. I think it is important for all of us to give back to the music that we love and to ensure that the history of Blues is preserved. I’m also grateful to VenMundi for helping us contribute 50 percent of the proceeds in support of the Blues Hall of Fame.”"

Here is the link to the specific VenMundi.com page for this PPV event.

As a full disclosure, I am a member of The Blues Foundation and am currently making a monthly pledge towards the Blues Hall of Fame. I will be watching this PPV tomorrow.

Elvin Bishop Raises Hell With Blues Revue

As part of participating on the Legendary Rhythm and Blues Cruise, Elvin Bishop, led the Raisin’ Hell Revue. This writer suspects this was modeled on the Legendary Rhythm and Blues Revue that Tommy Castro fronted and featured several artists in addition to Castro and enabled greater exposure for some of what were perhaps lesser known acts to the Blues Cruisers. Delta Groove has just issued Elvin Bishop’s Raisin’ Hell Revue, from performances on the Cruise.

In addition to Bishop, the performances on this showcase vocalist Finis Tasby: vocalist and harp player, John Nemeth; saxophonist and vocalist Terry Hanck; guitarist Kid Andersen, and Bishop’s fine band that included Ruth Davies (some may remember from Charles Brown’s Band) on bass, drummer Bobby Cochran and the varied keyboards of Steve Willis.

Thirteen tunes with almost an hour of music opens with a good-natured Bishop take on Lazy Bill Lucas’ Callin’ All Cows with hot guitar from Andersen and accordion from Willis. It is followed by the gravelly vocals of Tasby on B.B. King’s Whole Lotta Lovin’ as Anderson and Bishop blaze away. Nemeth takes the vocal mike as Bishop reprises his big hit, Fooled Around And Fell In Love. What the Hell Is Goin’ On, has Bishop spin a topical lyric to a Funky Chicago Blues groove as Kid Andersen taking the first guitar solo, while Nemeth revives Nappy Brown’s Night Time Is the Right Time, based on Ray Charles recording, with Nemeth playing harp as well as singing. It is followed by Tasby, who reworks Jimmy Reed’s Down in Virginia.

Saxophonist Hanck handles the fine vocal on Cryin’ Fool, a terrific New Orleans -Swamp Pop styled number with nice guitar that evokes Robert Ward and Lonnie Mack. There is choice tenor sax solo from Hanck on Tasby’s rendition of River’s Invitation. Bishop does a nice rendition of Albert Collins’ Dyin’ Flu, while recalling the late Master of Telecaster. Hank Ballard’s rocking Tore Up Over You, is revived with a terrific Nemeth vocal while Tasby gets to us with It Hurts Me Too, with Bishop on slide.

Nemeth leads everybody on the closing Bye Bye Baby, concluding a most entertaining revue of blues and rhythm songs. The material does include some familiar songs but mostly some rarely performed songs, the level of the performances is high, and the recording quality is fine. Recommended.

A review copy was provided by a publicist.

John Németh's Magic Touch

In light of John Németh's new Blind Pig release, Love Me Tonight, I thought it would be appropriate to post a review of his earlier Blind Pig disc, Magic Touch, which has been posted on Amazon.com. I wrote this in early 2007.

One of the real pleasures I have is hearing a new voice that just blows me away being rooted deep in the blues tradition, yet singing and playing with an authority that would have been at home on a blues recording 40 years ago. Born in Idaho, John Németh has been growing a body of followers including guitarist Junior Watson and Steady Rollin’ Bob Margolin and after a couple of CDs has signed with Blind Pig and has a new CD, Magic Touch, that is a stunning release. He is simply a wonderful singer that to this listener suggests Junior Parker mixed with Bobby Radcliffe and an equally superb harp player. This CD is produced by Anson Funderburgh (who plays on 1 track) with Németh backed by a terrific band that includes great Junior Watson on guitar and Kaz Kazanoff and the Texas Horns. Németh blasts off with a strong reworking of Junior Wells’ Blues Hit Big Town (great harp along with the vocal) before followed by the funky originals Blue Broadway and the title track, both sporting strong crying vocals and terrific playing from Watson (who gets into a rock and roll vein on the title track). Willie Dixon’s Sit and Cry the Blues, was one of Buddy Guy’s earliest recordings and the version here with Watson’s evocation of Ike Turner’s trebly playing on Guy’s original as Németh’s convincingly the lyrics in his natural soulful style. She Did Not Show sports some harp in a Rice Miller vein on a blues set to the Sittin’ on Top of the World/ Some Cold Rainy Day melody, while Up to No Good evokes Sam Cooke’s Bring It On Home, with more exquisite harp playing. Come On, a polka-blues (yes you read that correctly) closes this album on a fresh, delightful note. Blind Pig in their publicity for this suggests that Magic Touch “is destined to be one of the most remarked upon releases of 2007.” Well it is January as I write this, but they are likely right, as this is simply terrific and hopefully Németh will do so touring in support of this.