Johnny Iguana's Chicago Spectacular

Johnny Iguana
Johnny Iguana's Chicago Spectacular
Delmark

This album is subtitled "A Grand and Upright Celebration of Chicago Blues Piano." Pianist Iguana is a Philadelphia native who moved to Chicago after joining the late Junior Wells' Band. This is his first album under his name, although I am familiar with him from the group The Claudettes. Producer Larry Skoller helped provide the organizing theme for this recording as Iguana pays tribute to seven Chicago blues piano legends. Helping him on these sessions are some of today's finest players, including Michael Casey or Kenny Smith on drums; Bill Dickens on bass; Billy Flynn, Bob Margolin, John Primer, Lil' Ed Williams, or Philip-Michael Scales on guitar; and Mathew Skoller or Billy Boy Arnold on harmonica. Singing on this album are Matthew Skoller, Billy Boy Arnold, Lil' Ed Williams, John Primer, and Philip-Michael Scales.

There is plenty to enjoy such as when Iguana evokes Joshua Altheimer's style while Billy Boy Arnold revives Big Bill Broonzy's "Hot Dog Mama" that closes this album. Iguana also suggests Big Maceo on Arnold's revival of John Lee Williamson's "You're an Old Lady." These selections' swinging feel may be due in part to Kenny Smith's drumming and Billy Flynn's fleet guitar.

The album kicks off with Iguana saluting Memphis Slim behind John Primer's vocal on "44 Blues." The rendition is based on Slim's 1959 recording with Willie Dixon, and while Iguana ably pounds on the ivories, one wishes that Caskey was a tad less prominent on the drums here. Primer also handles the vocal on Howlin' Wolf's "Meet Me in the Bottom," with Iguana hinting at Little Johnny Jones' style.

Guitarist and songwriter Philip-Michael Scales contributes an intriguing role rendition of Gil Scott-Heron's "Lady Day and John Coltrane," which allows Iguana to show off a jazzier side. Lil' Ed Williams sings and plays slide guitar on Otis Spann's "Burning Fire" and Elmore James' "Shake You Moneymaker." On these selections, Iguana recalls Otis Spann and Big Moose John Walker, respectively. Lil' Ed sings and plays strongly, and Caskey's drums are not as prominent. Matthew Skoller handles the vocal and plays choice harmonica on "Stop Breakin' Down." This performance is based on Junior Wells' "South Side Blues Jam" recording and again Iguana channels Otis Spann.

I again note that there were no bass players on these selections as Iguana wanted the bass lines to emanate from the studio piano and his left hand rather than a bass player. These selections come off as solid, traditionally rooted Chicago blues. There are four instrumentals with bass player Dickens added to Iguana and Caskey. While displaying Iguana's technique and skillful playing, these selections are enjoyable but a bit too much flash and show for this listener's taste.

If imperfect, overall "Johnny Iguana's Chicago Spectacular," is a showcase of Iguana's considerable talent, and a very notable salute to Chicago blues piano legends.

I erected my review copy from Delmark Records. Here is a video of Johnny Iguana playing Big Maceo's "Chicago Breakdown."

Matthew Skoller Blues Immigrant

Matthew Skoller
Blues Immigrant
Tongue 'N Groove Records

Harmonica player Matthew Skoller has been playing blues in Chicago for decades working with the likes of Jimmy Rodgers Blues Band, Big Daddy Kinsey and the Kinsey Report, Big Time Sarah and the BTS Express, and Deitra Farr Blues Band. Skoller played an important part on the Blues Music Award winning "Chicago Blues: A Living History," produced two albums by Lurrie Bell and plays on Lurrie's new recording, "Can't Shake This Feeling." He has his new release featuring his singing and songwriting in addition to his harp work. On this he is backed by a fine band including Johnny Iguana - Keyboards; Felton Crews - Bass;, Giles Corey - Guitar; Eddie Taylor Jr. - Guitar; Marc Wilson -  Drums; with Mike Avery and Stevie Robinson - Background Vocals and Carlos Johnson - guest Lead Guitarist.

Skoller lays down a varied program of Chicago harmonica blues with some interesting twists and displays flair in harp playing and appeals as a singer. Songs range from the opening topical blues lamenting how the Walmarts and similar stores have shut down the mom and pop stores, "Big Box Store Blues," a modernization of Sonny Boy Williamson I's "Welfare Store Blues," as well as "The Devil Ain't Got No Music", which is why his home is hell. The title song mixes his life with topical themes as well as considers cultural appropriation as he asks does he need a green card to play the blues while observing how Reagan shrunk the government while the war machine expanded. This is followed by his "Only in the Blues" with his ironic lyrics about the latest young sensation outselling B.B. and Buddy, and while Foundations and Clubs claim to be keeping the blues alive, bands make 250 for four or five while playing three 60's singing to drinks.

In between a rant about the greedy with their contempt for the poor ("Story of Greed"), and celebrating "My Get It Done Woman," Skoller covers Cool Papa Sadler's "747" about his woman who left him and caught a 747 because a Greyhound runs to slow and there ain't no tracks in the sky. It is an enjoyable rendition although not as satisfying as the Joe Louis Walker recording of a couple decades back. There is an original instrumental, the appealing, funky "Organ Mouth," a solid rendition of Luther 'Georgia Snake Boy' Johnson's shuffle, "Get Down to the Nitty Gritty" (with some fine piano from Iguana), and a closing slow harmonica feature, Papa Lightfoot's "Blue Lights."

Skoller has provided us with a wonderful recording of varied performances that are splendidly played. The pace of these performances also stand out, as they never come across as hurried or rushed. Matthew Skoller finally has his own fine recording to join those excellent ones he has contributed to.

I received my review copy from a publicist. Here is Matthew performing "Get Down to the Nitty Gritty" from Blues Immigrant.