Deb Ryder Memphis Moonlight

Deb Ryder
Memphis Moonlight
VizzTone

"Memphis Moonlight" is a new release from the husky-voiced blues singer and songwriter Deb Ryder. Like her earlier recordings, it is produced by Tony Braunagel and Ryder's husband Rick while Johnny Lee Schell engineered the session. A core backing group of musicians includes Braunagel on drums, Schell on guitar, bass, and keyboards, Travis Carlton on bass, Mike Finnigan on the Hammond B-3, Peter Van Der Pluijim on harmonica, Joe Sublett on saxophone, and Mark Pender on trumpet. There are guest appearances by guitarists Ronnie Earl, Joey Delgado and Alistair Greene, saxophonist Steve Berlin, and accordionist David Hidalgo. Ryder wrote all 13 songs (two with her husband, Rick).

Deb Ryder's previous releases impressed me with her strong songwriting and her convincing, powerful vocals. Like her prior albums, this new release contains some hard-hitting blues and blues-rock. She sings powerfully but with nuance and an excellent display of vocal dynamics. Ryder never comes off as sounding shrill and emoting. The production and the support are top-notch as well.

Things kick off with the brassy, horn-driven, soulful funk of "I'm Coming Home, where she proclaims she is coming home where she belongs, singing over Sublett's sax. Plujiom's harmonica adds down-home flavor to "Hold On," with Braunagel leading an insistent groove. Alistair Greene adds his slide guitar along with that from Schell on her soulful vocal on a vibrant down-home gospel blues, "These Hands." Then there is "Get Ready," with an echo added to her voice as she urges us to start a revolution of love and speak out against injustice.

The mood shifts on a slow, straight-forward blues, "Love Is Gone," with Finnigan's organ adding atmosphere. This song is one of the two tracks that showcase Ronnie Earl, whose playing is impressive as always. This is a standout track here. Another high point is the title track has her singing supported only by Schell on guitar, bass, and tambourine and backing vocals by her and Finnigan. She sings about feeling good about being in Memphis and regrets letting her lover go in the past. "Just Be Careful" takes us musically to the Mississippi hill country with its infectious groove and memorable lyric with the tagline, "if you can't be good, just be careful," with Schell adding some rollicking slide guitar.

Schell shines on "Jump On In," where Ryder tells her man to let himself go and spend time with her. A jazzy shuffle, "Standing at the Edge," follows with swagger and swing in Ryder's vocal. Finnigan lays down a tough foundation for her vocal as well as taking a greasy solo. The Delgado brothers, Hidalgo and Steve Berlin lend a zydeco flavor to the lively "Second Chances." At times Ryder's tune "Most of All" hints at Etta James' "I'd Rather Go Blind." Ryder sings magnificently here while Ronnie Earl adds a solo played with such depth of feeling that matches Ryder's superb singing. It closes another excellent recording with outstanding originals, terrific backing, and Deb Ryder's authoritative singing.

I received my review copy from VizzTone. Here is a relatively recent performance from Deb Ryder.

Deb Ryder - Memphis Moonlight

Deb Ryder

Memphis Moonlight

VizzTone

"Memphis Moonlight" is a new release from the husky-voiced blues singer and songwriter Deb Ryder. Like her earlier recordings, it is produced by Tony Braunagel and Ryder's husband Rick while Johnny Lee Schell engineered the session. A core backing group of musicians includes Braunagel on drums, Schell on guitar, bass, and keyboards, Travis Carlton on bass, Mike Finnigan on the Hammond B-3, Peter Van Der Pluijim on harmonica, Joe Sublett on saxophone, and Mark Pender on trumpet. There are guest appearances by guitarists Ronnie Earl, Joey Delgado and Alistair Greene, saxophonist Steve Berlin, and accordionist David Hidalgo. Ryder wrote all 13 songs (two with her husband, Rick).

Deb Ryder's previous releases impressed me with her strong songwriting and her convincing, powerful vocals. Like her prior albums, this new release contains some hard-hitting blues and blues-rock. She sings powerfully but with nuance and an excellent display of vocal dynamics. Ryder never comes off as sounding shrill and emoting. The production and the support are top-notch as well.

Things kick off with the brassy, horn-driven, soulful funk of "I'm Coming Home, where she proclaims she is coming home where she belongs, singing over Sublett's sax. Plujiom's harmonica adds down-home flavor to "Hold On," with Braunagel leading an insistent groove. Alistair Greene adds his slide guitar along with that from Schell on her soulful vocal on a vibrant down-home gospel blues, "These Hands." Then there is "Get Ready," with an echo added to her voice as she urges us to start a revolution of love and speak out against injustice.

The mood shifts on a slow, straight-forward blues, "Love Is Gone," with Finnigan's organ adding atmosphere. This song is one of the two tracks that showcase Ronnie Earl, whose playing is impressive as always. This is a standout track here. Another high point is the title track has her singing supported only by Schell on guitar, bass, and tambourine and backing vocals by her and Finnigan. She sings about feeling good about being in Memphis and regrets letting her lover go in the past. "Just Be Careful" takes us musically to the Mississippi hill country with its infectious groove and memorable lyric with the tagline, "if you can't be good, just be careful," with Schell adding some rollicking slide guitar.

Schell shines on "Jump On In," where Ryder tells her man to let himself go and spend time with her. A jazzy shuffle, "Standing at the Edge," follows with swagger and swing in Ryder's vocal. Finnigan lays down a tough foundation for her vocal as well as taking a greasy solo. The Delgado brothers, Hidalgo and Steve Berlin lend a zydeco flavor to the lively "Second Chances." At times Ryder's tune "Most of All" hints at Etta James' "I'd Rather Go Blind." Ryder sings magnificently here while Ronnie Earl adds a solo played with such depth of feeling that matches Ryder's superb singing. It closes another excellent recording with outstanding originals, terrific backing, and Deb Ryder's authoritative singing.

I received my review copy from VizzTone.

The Phantom Blues Band Is Still Cookin'

The Phantom Blues Band
Still Cookin'
VizzTone

Coming to prominence with their collaboration with Taj Mahal, the Phantom Blues Band can still be depended on for some strong blues, rock and soul performances. The band has remained pretty stable in personnel for the past decade or so. Members include Tony Braunagel on drums, Mike Finnigan on keyboards and vocals, Larry Fulcher on bass and vocals, Johnny Lee Schell on guitar and vocals, Joe Sublett on tenor saxophone and Les Lovitt on trombone. I believe Lovitt is a recent addition to the band replacing Darrell Leonard who adds his trumpet to two tracks. Lenny Castro adds percussion.

Those familiar with their music from their performances or recordings certainly will not be disappointed by their latest CD which is a mix of covers of lesser-known tunes and choice originals with Finnigan, Fulcher, and Schell sharing the vocals. Things start off on a funky number with a cover of a Wilson Pickett grinder "Don't Fight It," with Sublett taking a rousing sax solo. Jeff Paris contributed "Stop Runnin'" on which he adds Wurlitzer piano behind Fulcher's fervent vocal. Schell handles the vocal on the swampy funk groove of "Wingin' My Way," where he plays some crying slide guitar. Finnigan takes the groove down into the alley on the heartfelt rendition of David Egan's "Blues How They Linger." "Shine On" is a refreshing change of pace with Fulcher and Finnigan trading verses against a reggae groove.

The horns are featured in the Spanish-tinged instrumental "Tequila Con Yerba," with the band interjecting shouts of the song title. Sublett, Lovitt, and Finnigan each add grease and spice. Other tracks of note include Finnigan's "Bad Blood," with a terrific vocal and Schell's stinging guitar, followed by Schell's soulful "Fess On Up," with its lyrics that one better fess up to one's baby to make things right. Schell sings the solid shuffle "I'm Just Your Fool." This is a fine shuffle performance that sounds based on Little Walter's recording and features a booting sax solo.

Given how long The Phantom Blues Band has been together, one should not be surprised how tight a group they are as well as how excellent the music here is. With first-rate material, they have produced another outstanding recording. Indeed after all these years, The Phantom Blues Band is still cooking.

I received my review copy from Vizztone. Here is The Phantom Blues Festival from a 2019 Festival appearance in Panama.

Coco Montoya Coming in Hot

Coco Montoya
Coming in Hot
Alligator Records

"Coming In Hot" is the latest Alligator release from blues-rocker and powerhouse guitarist Coco Montoya. Like his prior recording, "Hard Truth," this is produced by drummer Tony Braunagel and recorded by Johnny Lee Schell, who plays rhythm guitar on wight of the 11 tracks. Others on this recording include Mike Finnigan on keyboards, Billy Watts on rhythm guitar on three songs, and Bob Glaub or Mile Menell on bass. Jon Cleary plays piano on one selection.

Montoya's searing guitar and forceful vocals continue to impress those who like a solid blues-rock mix. He certainly puts so much into his singing as on "Good Man Gone." The title track has a catchy, rhythmic groove as he tells his woman to get her fire burning as he is coming in hot tonight with a stunning guitar solo. He channels Albert Collins on Collins' classic slow blues, "Lights Are On But Nobody's Home," with terrific guitar and one of his most compelling vocals here. Warren Haynes' ballad, "What Am I?" is a nice change of pace with his relaxed vocal and the somewhat restrained backing, although he takes a fiery solo. There is a cover of a less-known Bobby Bland recording, "Ain't it a Good Thing." Shaun Murphy shares the vocal on this splendid performance with some terrific blues guitar from Montoya.

A rocking shuffle "Water to Wine" closes this album with Montoya celebrating this woman who can do almost anything such as change 'water to wine.'" It closes another CD of varied, nicely paced, and played performances. Coco Montoya continues to deliver the goods for those who like their blues with a rock-edge.

I received my review copy from Alligator. This review appeared in the September-October 2019 Jazz & Blues Report (Issue 386), although I made minor stylistic changes. Here is a relatively recent performance by Coco Montoya.

Coco Montoya Hard Truth

Coco Montoya
Hard Truth
Alligator Records

Blues-rocker and powerhouse guitarist Coco Montoya returns to Alligator Records with this new release. Produced by drummer Tony Braunagel and recorded by Johnny Lee Schell (who plays rhythm guitar on several tracks and slide on one) with Mike Finnigan on keyboards and Bob Glaub on bass with Lee Roy Parnell adding slide guitar on one track, this is a nice mix of songs from the likes of Warren Haynes, John Hiatt, Gwen Collins, and Homer Banks & Allen Jones, Jr.

Montoya played with Albert Collins for five years and Collins' influence can be felt and heard throughout starting from the opening "Before the Bullets Fly," from Haynes and others, as well as Collins' "The Moon Is Full," where his shouted vocals is matched by his fiery fretwork. Then there is the gospel feel of the Steve Gomes-Ronnie Earl Horvarth penned "I Want to Shout About It," where his celebration of his woman is matched by his blistering playing with Finnigan's organ helping this rocking performance. Parnell's slide adds to the juggernaut feel of "Lost in the Bottle," as whiskey is talking as his eyes are burning red, while his judicious use of sustain and tone embellishes his more low-key vocal on "Old Habits to Break."

The underlying groove of "I'll Find Someone Who Will" is suggestive the Al Green-Syl Johnson classic "Take Me To The River," while the insistent blues-rock "Hard As Hell" evokes some of the Leon Russell produced Freddie King recordings. The Banks-Jones penned "Where Can a Man Go From Here?" is perhaps the outstanding straight blues performance here with a strong vocal as well as his forceful guitar. Even when he rocks things hard, these performances are nicely paced and do not sound rushed or frenzied. With the terrific backing Coca Montoya receives, the varied, fresh-sounding material and Montoya's powerful guitar and heartfelt vocals, the "Hard Truth" is another release to delight those who like blues with a bit of a rock edge.

I received my review copy from Alligator. This review originally appeared in the March-April 2017  Jazz & Blues Report  (Issue 371). Here Coco Montoya performing "Truth Be Told."

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.

Lisa Biales The Beauty of My Heart

Lisa Biales
The Beauty of My Heart
Big Song Music

A new album from the singer, Lisa Biales, brings together some terrific covers and backing from members of The Phantom Blues Band, drummer Tony Braunagel (who produced this); guitarist Johnny Lee Schell (who engineered this); bassist Larry Fulcher; trumpeter Darrell Leonard and saxophonist Joe Sublett; along with keyboardist Jim Pugh; bassist Larry Taylor; bassist Chuck Berghofer (member of The Wrecking Crew); trumpeter Lee Thornberg; and others. The result is a very appealing recording.

The performances here include the jump blues revival of Mabel Scott's "Disgusted" with a terrific Joe Sublett tenor sax solo; a solid New Orleans funk reworking of Allen Toussaint's "I Don't Wanna Hear It" originally waxed by Betty Harris; a smoldering cover of Nina Simone's "Be My Husband"; a jazzy rendition of Lil Green's "Romance in the Dark" with the legendary Chuck Berghofer on acoustic bass; a moving rendition of Eric Bibb's "Don't Let Nobody Drag Your Spirit Down" with brief solos by Jim Pugh and Johnny Lee Schell adding to its smokey atmosphere; and a spirited gospel performance of Alex Bradford's "Said I Wasn't Gonna Tell Nobody." She may have quite the voice of an Aretha but she puts everything in her delivery of this latter song's simple message affirming one's faith.

This is just an overview of some of the very enjoyable performances on this. One song of special note is "Crying Over You." This song has special significance for Biales, as it recorded in 1947 by her mother Alberta Rogers who also wrote it. The performance opens with the first verse of her mother's recording before Biales completes the performance as she sings yearning for her phone to ring as she is crying for her love. Chuck Berghofer is on double bass and Lee Thornberg plays a delightful trumpet solo behind Biales' charming vocal.

Lisa Biales has proven to be a real fine interpreter of blues and roots with her honeyed voice and natural, unforced delivery. She enchants here and, with superb backing, has produced another gem.

I received my review copy from a publicist. This review originally appeared in the March-April 2017 Jazz & Blues Report (Issue 371). Here is Lisa performing "Romance in the Dark."

D.A. Foster The Real Thing

D.A. Foster
The Real Thing
VizzTone

The Shaboo Inn was a fabled Connecticut club of the 70s and D.A. Foster was among those running it. He also has been singing music even prior to the Shaboo Inn and in recent years has been leading the Shaboo All Stars. Foster has a new CD out on Vizztone, “The Real Thing” that was produced by drummer Tony Braunagel and keyboardist Mike Finnigan of the Phamton Blues Band and has Foster backed The Phantom Blues Band (Larry Fulcher on bass; Johnny Lee Schell on guitar; Lenny Castro on percussion; Darrell Leonard on trumpet and Joe Sublett on saxophone) with backing vocalists.

Foster’s deep-throated vocals covers a fairly diverse group of jump blues and urban blues starting with a strong soulful take Dave Steen’s “Good Man Bad Thing.” The Phantom Blues Band’s backing provides a very different tenor to Foster’s rendition from the more guitar centered version by the late Michael Burks. It also quickly displays Foster’s virtues as a singer with his phrasing and dynamics. The title track is a roadhouse blues rocker that suggest the bluesier side of Delbert McLinton with rollicking piano and an energetic guitar solo.

Foster does justice with his renditions of a couple of songs associated with the late Bobby Bland, “Ain’t Doing Too Bad,” and “This Time I'm Gone For Good.” The former number sports a nice funky groove with Foster’s raspy vocal very appealing. On the latter number, Schell employs a jazzier tone that along with the backing lends a 3:00AM in the morning feel behind Foster’s marvelous singing. Foster updates Eddie Hinton’s “Super Lover” as a funky dance number, while doing justice to a rocking and swinging treatment of the classic penned by Jesse Stone (as Charles Calhoun) “Smack Dab in the Middle” with a booting tenor sax solo,” along with a nice version the classic Andy Razaf-Don Redman ballad, “Gee Baby Ain’t I Good To You.”

There is a wistful rendition of Bill Withers’ “You Just Can’t Smile It Away.” The album closes with “Down Home Blues,” that is solidly performed but not very distinctive. But even an ordinary closing performance does not lessen the fact that “The Real Thing” is full of choice musical performances. Wonderfully backed by The Phantom Blues band, D.A. Foster brings a fresh approach to some well known material and sings with a soulful authority that the years of performing bring.

I received my review copy from VizzTone. This review appeared in the March-April 2015  Jazz & Blues Report (Issue 359). Foster has a new album out that I have not heard. Here is a clip of D.A. Foster in performance.

 

Curtis Salgado The Beautiful Lowdown

Curtis Salgado
The Beautiful Lowdown
Alligator Records

The latest recording from veteran singer-songwriter and harmonica player Curtis Salgado, "The Beautiful Lowdown" is a solid collection of soul and blues numbers. It was co-produced with Marlon McClain and Tony Braunagel who helps him weave together a range of moods and settings from the driving Memphis Soul feel of the opening "Hard To Feel The Same About Love,"  the North Mississippi Hill Country one-chord groove (and brash slide guitar backing) of "I Know A Good Thing," to the reggae groove of "Simple Enough." Braunagel and some of his fellow Phantom Blues Band members, Johnny Lee Schell, Mike Finnigan and Larry Fulcher are among the players supporting Salgado along with Jim Pugh, and others.

I must confess often being less enamored with lyrics like "Walk A Mile In My Blues," but his tale of losing a brother to the needle and his girl to his best friend makes it powerful with punching horns and simple hard-edged guitar riffs and runs is a very strong musical statement which contrasts with the folk-soul feel of "Healing Love," with acoustic guitar and understated organ backing. "I'm Not Made That Way" is a solid blues performance with biting guitar and an insistent quality in his vocal followed by the a powerful, and very soulful, duet with Danielle Schnebelen, "Is There Something I Should Know." "Ring Telephone Ring" is a bouncy West Coast styled shuffle with Igor Prado's guitar and riffing horns. The album closes with Johnny Guitar Watson's love song "Hook Me Up," with some nice harp on a Watson number that is not often covered by blues acts. Salgado pulls it off.

Salgado explains how the album title came about. , "During a recent show, I turned to my guitarist and said, 'Play something lowdown. But make it beautiful.' Then I thought, 'Keep that.'" he not only kept that but certainly made a recording that lives up to its title "The Beautiful Lowdown."

I received my review copy from Alligator. This review originally appeared in the May-June 2016 Jazz & Blues Report (Issue 366). Here is Curtis Salgado performing "Walk A Mile In My Blues."

Deb Callahan Sweet Soul

This writer had the pleasure to see the Philadelphia based singer Deb Callahan several years back and its been way too long since I have seen her perform. In any event, this very talented vocalist has a new recording "Sweet Soul" on Blue Pearl Records. Producer by drummer Tony Braunagel, Callahan and her guitarist Allen James are joined by Braunagel, bassist Reggie McBride, keyboard wizard Mike Finnigan, and harmonica player Jimmy Powers. Johnny Lee Schell engineered this as well as added slide guitar to one selection. Callahan with either Chris Arms or Allen James wrote 8 of the 13 tunes on this with covers from Candi Staton and Clarence Carter; Tom Waits; David Egan & Buddy Flett; Rice Miller and Dr. John.

While I have sen her compared to Bonnie Raitt, only one selection "Shackin' Up," with Schell's slide guitar and a funky-rock groove suggests Ms. Raitt. Her natural and soulful delivery is more in line with say, Tracy Nelson, and she is able to fill a room, yet never sounds harsh or mannered. The Staton-Carter "Sweet Feeling" is a terrific southern soul vocal that sounds like it could have been recorded in Muscle Shoals, and "Born to Love You," an original by Callahan and Arms is a similar strong deep soul performance. "Seven States Away," is a rocking shuffle by her and James as she sings about having to drive home to Philadelphia for sweet baby and being so many states away. James lead jazzy guitar and Finnigan's greasy organ supports her honey-drenched heart-felt vocals.

Certainly having this terrific band helps make her cover of Waits' "Way Down in the Hole," with Powers on harmonica. The band's dynamics in backing her, Braunagel's touch and groove and Callahan's nuanced singing contributes to the delivery of the gospel lyric. Then there is her handling the Egan-Flett "You Don't Know Your Mind," with James contributing nifty guitar (he is such a refreshing change from so many guitar bangers out there). "Crazy About You Baby," credited to Sonny Boy Williamson is probably best known from Little Walter's recording. Ike and Tina did a marvelous rendition on the "Outta Season" album, and that is the source for her first-rate rendition here, some spicy guitar from James.

"Sweet Soul" is a marvelous recording with excellent material (both new and covers of lesser known numbers), terrific production and playing, and Deb Callahan's superb singing. Let folks compare her to Bonnie and Tracy. After listening to her, folks will be comparing other singers to her.

I received my review copy from a publicist. This review appeared in the November-December Jazz & Blues Report (Issue 363) (downloadable at jazz-blues.com) although I have made a few stylistic edits from the review that appeared there. Here is a video about the making of this recording.

Phantom Blues Band's Deep Footprints

The Phantom Blues Band has returned with a new disc full of bluesy old school sounds, Footprints (Delta Groove). First attracting notice for their work with Taj Mahal, there Delta Groove debut, Out of the Shadows, drew further attention, while the band’s members are in demand for various touring acts and recordings, so that guitarist Denny Freeman, now part of Bob Dylan’s touring band) only appears on several of tracks here. The rest, Mike Finnigan, vocals and keyboards; Johnny Lee Schell, vocals and guitar; Larry Fulcher, vocals and bass; Joe Sublett, saxophone; Darrell Leonard, trumpet; and Tony Braunagel, drums, are such a strong unit even without Freeman’s fine playing.

The rhythm section lay down the groove, the horns mix taut riffs and the soloists keep things fresh and concise. Despite the name, this band mixes in southern soul along with straight blues. It opens with Finnigan covering Howard Tate’s Look at Granny Run, while displaying his versatility on the classic ballad, Cottage For Sale. His rendition of Ray Charles’ classic blues, A Fool For You, is nicely done although not far removed from Charles’ original. He shows himself to be quite a good interpreter of Charles here.

Schell reworks Freddy King’s See See Baby as well as a nice bit of Rufus Thomas funk, Fried Chicken, although he is not as strong a singer here. Exceptional is his vocal on Darrell Leonard’s A Very Blue Day, with a nice trumpet solo and an evocative melody that evokes Horace Silver and Herbie Hancock. Fulcher treats us to Earl Randle’s deep soul ballad, Leave Home Girl and his reggae-flavored When the Music Changes is a stunning closer.

Not a poor truck and some exceptional ones by a band that sounds incapable of putting out anything but solid recordings.

This review was written for Jazz & Blues Report although I do not believe it ran. I believe I received a review copy from a publicist. I posted my review of Out of the Shadows on December 31, 2011. Here is a video of them.

Phantom Blues Band Comes Out of the Shadows

Best known as the band that backed Taj Mahal on several award-winning recordings, The Phantom Blues Band finally has a handsome disc of its own, Out of the Shadows (Delta Groove) that will certainly will make even more aware of this superb group.

The seven members of the band have a wealth of experience playing with a who’s who of pop and rock music ranging from keyboard whiz-vocalist Mike Finnigan who was on Hendrix's Electric Ladyland album and toured with Dave Mason to guitarist Denny Freeman who was share guitar duties with Stevie Ray Vaughan before being part of the Antone’s House band and currently is in Bob Dylan’s touring group. Saxophonist Joe Sublett and trumpeter Darrell Leonard are known as the Texacali Horns, guitarist-vocalist Johnny Lee Schell had a lengthy tenure with Bonnie Raitt starting in the late seventies, bassist-vocalist Larry Fulcher had stints with Smokey Robinson and the Crusaders as well as reggae groups Third World and Andrew Tosh while drummer Tony Braunagel has too many credits as a producer to list.

Producer John Porter has let them wax a number of classic R&B numbers with a dash of reggae added that should go down easy. From the opening funk groove of The Meters’ Do the Dirt, the Memphis Hi Records groove of I Only Have Love, the rocking reworking of Don & Dewey’s Big Boy Pete, a fresh reworking of Chuck Berry’s Havana Moon, Fulcher’s handling of a reggae classic, Book of Rules, and solid takes of blues from Jimmy McCracklin, Bobby bland and Ray Charles. Finnigan especially is a terrific vocalist and Schell and Fulcher are very good with some terrific playing (listen to Freeman solo on Part Time Love).

Perhaps the only shortcoming is that this album is the prevalence of covers, although few acts can perform the range of material they do sand at the same time inject the band’s personality into the material. Few will be disappointed in this recording of solid blues and rhythm numbers masterfully played.

This review originally appeared in the May-June 2007 Jazz & Blues Report (Issue 293) and I have made some corrections to the published review. I received my review copy from either Delta Groove Records or a publicist for the label.

Here is the Phantom Blues Band doing "Part Time Love" from the 2008 Legendary Rhythm and Blues Cruise.

And here they are with Taj Mahal