John McLean and Charles Barkatz - Shadow Man

John McLean and Charles Barkatz - Shadow Man - Leaky Shoes Records

Author and composer John McLean has developed into an eclectic, multi-talented artist who has followed his theater, cinema, and musical passions. The Manhattan, NY native, brought up on a ranch near Dallas, Texas, and studied writing and theater in Boston. As a jazzman, John has been a leader of several groups in Paris, where he became associated with his duo partner, partner Charles Barkatz. He also appeared at the Cornelia Street Cafe in Greenwich Village, NY. 

Barkatz, a Paris native, first started playing classical guitar. After he became influenced by Muddy Waters, B.B. King, John Lee Hooker, and especially Jimi Hendrix, he started playing in a blues vein. Later after seeing West Montgomery and Kenny Burrell in Paris, concentrate on learning jazz technique. He records and regularly plays in the U.S at the Blue Rooster and the Five O'clock Club in Sarasota with guitarist/singer Al Fuller and Tampa with the singer Peter D'Straw. He and McLean collaborated on his 2019 CD, "So Nice to Come Home To."

The two handle the vocals on this Kaz Kazanoff produced CD. Kaz and the Texas Horns are part of the musicians backing McLean's vocals and Barkatz's vocals and guitars. Other players include Derek O'Brien on guitar, Nick Connolly on keyboards, Chris Maresh on bass, and John Chipman on drums and percussion. Alex Cole on reeds and Elaine Barber on harp both contribute to two tracks each.

The music on "Shadow Man" reminds me of a jazzy John Mayall recording. McLean's vocals mainly remind me of Mayall, while Barkatz adds some tasty blues guitar. Add riffing horns and unusual horn solos such as Al Gomez's amplified muted trumpet on the opening "Leaking Shoe Blues." The songs don't knock me out. I find that sometimes the lyrics sound as if words strung together to rhyme, such as on "Brooklyn Blues Cafe." This song is about a Paris, France bar and provides Barkatz an opportunity to display a different guitar attack. Kaz Kazanoff also takes a booting tenor sax solo on this tune. 

There is the evocative blues ballad, "Lucia," where Alex Coke's soprano sax solo stands out. Another slow atmospheric blues is "Silver Lake," sung in French and with a haunting guitar solo. The title song is a bouncy shuffle with a refrain of "Dance Dance Dance for the Shadow Man" and more scintillating guitar. Kazanoof's horn arrangement for "She Cry Blues" lends that performance a Boz Scaggs flavor. "Black Train" is yet another solid moody performance with Kazanoff contributing mournful harmonica.

"Shadow Man" is a well-played and produced album. With Charles Barkatz's first-rate guitar, solid ensemble backing, Kaz Kazanoff's production, and McLean's singing, this is an appealing, bluesy album.

I received my review copy from a publicist. Here is a video of "Leaking Shoe Blues."

JW-Jones Sonic Departures

JW-Jones
Sonic Departures
Solid Blues Records

I have been a fan of JW Jones since his 2004 recording "My Kind of Evil." I have watched his career progress and enjoyed other recordings by him. He was honored as the Best Guitarist at the 2020 International Blues Challenge, where the trio he was part of, Horojo Trio, was the 1st Place Band. Unfortunately, he won this right before the Covid-19 pandemic prevented him from touring to develop his career further. "Sonic Departures" is his latest and is a strong enough recording to be of interest despite his inability, due to the pandemic, to perform and tour to promote it.

Playing on this recording is his touring band of Will Laurin (drums/vocals) and Jacob Clarke (bass/vocals), along with longtime band-mate Jesse Whiteley on keyboards and horn charts. Kaz Kazanoff also contributed a couple of big band arrangements for the 13 piece horn section on this recording. In part, the album gets its title from Jones's additional tracking of vocals, guitars, and studio effects. He contributed three originals and six covers.

Jones has a very appealing voice in a pop sort of manner. He sings with a straight, attractive, and melodic approach. If he had been performing some 60 years ago, he might have well been a teen star in the vein of Dion. I don't say this as criticism as his tuneful, on-pitch singing and delivery of his originals like the opening "Blue Jean Jacket" and "Ain't Going To Beg" are substantial efforts that have the bonus of his stunning guitar. His craftsmanship, skill, and imagination lead to some very solos that build with fiery intensity.

The covers here include a spirited rendition of a very funky take of a lesser know Albert King recording, "Drying on Dry Land," with the horns adding color to his impassioned vocal. There is wonderfully played cover of Guitar Slim's "Things I Used To Do," along with Clarence Carter's southern soul classic "Snatching' It Back" with some judicious use of studio effects. One standout track is a swinging big band reworking of the Everly Brothers' "Bye Bye Love" that suggests Jones could cut it as a crooner. Whitely has a choice chorus on the piano here. There also is a swinging rendition of Buddy Johnson's "It's Obdacious," with a booting tenor sax solo.

There might be some studio tricks that are departures from JW-Jones prior recordings, but there is no departure from the high level of Jones' music on this outstanding recording.

I received my review copy from a publicist. Here is a promo video for this recording.

Tommy Ridgely Since The Blues Began

Tommy Ridgely 
Since The Blues Began 
Black Top

While attending the New Orleans Jazz & Heritage Festival for the first time at the end of April, I caught plenty of great blues, zydeco and R&B. While he did not play the festival during the first weekend, Tommy Ridgely was at Howlin’ Wolf, a New Orleans Club, as part of a New Orleans Rhythm & Blues revue that also included Oliver Morgan, pianist Eddie Bo and Earl King. 

Ridgely, who first recorded with Dave Bartholomew’s band in 1949, made such memorable sides as Shrewsbury Blues, Looped, Jam Up and Gonna Meet My Girl. At the Howlin’ Wolf he stuck to the songs from his new album, Since the Blues Began and his vocals were exquisite. I also saw him the next afternoon at Jimmy Buffett’s Margaritaville where he played piano, and sang a wide range of blues, backed by acoustic guitar and harp. 

Since the Blues Began is a superb album, and shows Ridgely to be as vital today as his first recordings with Dave Bartholomew’s band. He is heard with a crack band that includes Sammy Berfect and Edward Frank on keyboards, the incredible Snooks Eaglin on guitar, George Porter on bass and Kaz Kazanoff and Tony Dagradi on saxophones. Ridgely may be close to 70, but he still sings with great vigor and flexibility in his delivery. He doesn’t sound his age. 

He is obviously happy with the album and there is no filler among the songs. There are some new recordings of songs he waxed years ago, including I Heard That Story Before, and Let’s Try to Talk It Over. The latter number may suggest why he was once known as the “New King of the Stroll”. He contributed a number of new songs, like the opening Pretty Lady ( many guys will be able to identify with the sentiment of its lyrics), Running After You, and The World Is Our Stage. Jody Siegel contributed the title song. 

Ridgely’s lyrics explore the varying aspects of male-female relationships from a sophisticated, adult perspective. And, for someone whose early recordings are classic jump blues in a Roy Brown vein, Tommy Ridgely seems completely at home with the nineties Crescent City R&B groove. To reiterate, Tommy Ridgely’s Since the Blues Began is a terrific disc. 

I likely received my review copy from Black Top Records. This review appeared originally in the July-August 1995 Jazz and Blues Report (Issue 203). This is available used or as a download.  Here is the original recording of I Heard That Story Before, that he remade for this album.

Candye Kane White Trash Woman

Candye Kane
White Trash Woman
Ruf Records 

If blues is, as some describe it, “grown-up music, then Candye Kane’s emergence as a blues diva is not far removed from her earlier career in the adult entertainment business. But while her background may make her seem like a novelty, when you hear him pounding the ivories, belting out a remake of Bullmoose Jackson’s Big Fat Mamas Are Back in Style or listen to her caress the country-ish ballad What Happened to That Girl, one realizes her talent leads one to quickly forget the novelty of her background. 

Her latest album, White Trash Woman was recorded in Austin, Texas and is on the German Ruf label. Produced by Mark 'Kaz' Kazanoff, who also leads the horn section, he is joined by a stellar studio band that includes drummer Damien Llanes, bassist Preston Hubbard, guitarist Jeff Ross (with appearances by Johnny Moeller and David Grissom), harp wiz Gary Primich, keyboards by Riley Osbourn. Together they bring together a smorgasbord of blues moods and settings and Candye Kane comes across equally compelling belting out the title track (“It is an honor to be called a trashy broad in the traditions of legends such as Divine and Dixie Rose Lee), and Estrogen Bomb which she is the strong woman who offers no apologies and takes no prisoners when she gets crossed. 

She reworks the Loving Spoonful’s What a Day For a Daydream into a blues while lending a country feel to What Happened to the Girl, and sings about being Misunderstood with the band providing a traditional jazz backing including some nice clarinet. Leiber and Stoller’s I Wanna Do More evokes Little Walter’s hit, My Babe, with its groove and some fine harp by Mr. Primich. The following track, the original It Must Be Love, is a rocking shuffle with a fine fifties T-Bone mixed with B.B. guitar solo and strong jumping horns and a clean, soulful vocal. In contrast Queen of the Wrecking Ball, has her singing woman who breaks hearts with some nice guitar evoking the gulf coast swamp blues sound. 

Other songs include a boogie woogie about sexual self-gratification, and, Mistress Carmen, about a Grand Domme who is proud of her sensuality set to a New Orleans groove (Please Mistress Carmen, we just want to watch you dance), and a lovely love ballad, I Could Fall For You. With truly memorable songs and strong backing, Candye Kane convincingly delivers this varied programme with humor and passion. Candye Kane may be a White Trash Woman but this recording is most certainly high class.

I likely received a review copy from Ruf Records or a publicist. This review original appeared in the September 2005 DC Blues Calendar and the March/April 2006 Jazz & Blues Report (Issue 280). Here is a video of Candye (who passed away in 2016 with Little Willie Littlefield (who passed away in 2013).

Andy T Band Double Strike

Andy T Band
Double Strike
American Showplace Music

One of the real pleasures of the past few years were releases by the Andy T - Nick Nixon Band. Health issues has forced Nixon to have to retire from performing and his vocals on this album are his last. Guitarist Andy Talamantez has since recruited Michael A. Benjamin, aka Alabama Mike, to become the lead vocalist with his group. On this new release, Nixon and Alabama Mike each take 6 vocals and their is one instrumental.This is co-produced by Andy T and Anson Funderburgh, who adds his guitar to four tracks. Others on this session include Larry van Loon on keyboards (Mike Flanigan is one one track); Johnny Bradley on bass; Jim Klinger on drums and Greg Izor on harmonica for one track. Kaz Kazanoff leads the Texas Horns as part of the backing.

Fans of Gulf Coast to West Coast blues will find much to enjoy here starting with a shuffle "I Want You Bad," with Alabama Mike's gospel rooted vocals along with backing from Andy T's Johnny 'Guitar' Watson meets Ike Turner fretwork along with Funderburgh's own Texas meets B.B. King approach. Alabama Mike is very strong on the Nixon-penned, crying blues, "Sad Times," and the strong original he wrote with Andy T and Anson, "Doin ' Hard Time." With Izor on harmonica adding a country flavor, Nixon ably delivers the lyrics on a Jimmy Reed-influenced shuffle, "Deep Inside," a Nixon's original. Nixon also delivers solid vocals on a couple of Chuck Willis' numbers "I Feel So Bad" (patterned after Little Milton's recording) and "Juanita." Both also have strong guitar, but the latter number stands out perhaps because it is less familiar. Nixon's solid cover of Goree Carter's "Drunk or Sober," has a understated mambo groove blistering guitar and gutbucket tenor sax from Kazanoff, while on "I Was Gonna Leave You," Nixon evokes the deep soul Goldwax recordings of James Carr, with another solid sax solo and Funderburgh's biting lead guitar.

Funderburgh's "Mudslide," is a relaxed instrumental shuffle showcasing both guitarists and van Loon. "Where Did Our Love Go Wrong," is a swamp pop ballad written by Kazanoff, with a strong Alabama Mike vocal, another terrific slashing guitar solo in the vein of Johnny 'Guitar' Watson, and a booting baritone sax solo from John Mills. It closes this excellent collection of blues performances and shows that with Alabama Mike, Andy T will be continuing the fine modern blues that he had been making with Nick Nixon.

I received my review copy from a publicist. Here is a short video of Andy T Band with Alabama Mike in performance.

Jonn Del Toro Richardson Tengo Blues

Jonn Del Toro Richardson is likely best known as guitarist with the terrific singer, Diunna Greenleaf. He also collaborated with Rich DelGrosso for a warmly received recording. "Tengo Blues" is a solid new self-produced recording by him that is distributed by VizzTone. This was recorded in Austin and produced by Jonn and Anson Funderburgh, who also plays on three selections. The band backing Jonn includes Nick Connolly on keyboards, Nathan Rowe on bass, Wes Starr on drums and the Texas Horns with Kaz Kazanoff. The leader wrote all 13 songs, with Gary Vincent and Anson Funderburgh each contributing to two songs.

Ax expected from both Del Toro Richardson's playing and the band assembled here, one has some nicely played songs that cover a variety of musical textures and flavors. He comes across as quite an appealing vocalist. A good singer, Del Toro Richardson sings honestly and with heart while laying down plenty of strong guitar. There is an almost Koko Taylor groove for "I'm Her Man," which is a celebration of his guitar as he sings he can make her laugh, cry, moan and sigh. "Love If You Want It," is not the Slim Harpo number but an original that is built on a lazy Jimmy Reed shuffle groove. "Triple Lindig" is a jazzy instrumental (very nice guitar) with Connolly on organ and horns adding to the flavor of this performance and followed by the Tex-Mex flavor of "The Moment" with the Texas Horns adding a mariachi feel along with some superb trumpet.

A Memphis funk groove is present on "Can't Run From Love," with a catchy lyric that "you don't find love, love finds you." "Get Me Back To Texas," one of the songs which Anson Funderburgh is present has a groove that evokes Hound Dog Taylor. "This I Know" is a swamp pop ballad the performance of which sounds like a Gulf Coast adaptation of a Charles Brown number and has a nicely played and paced guitar solo, while "Tell Me Pretty Baby" is updated T-Bone Walker styled jump blues with terrific guitars from both and "Wild Ride" is bluesy rock and roll with Connolly's rollicking piano coming off like Johnnie Johnson.

The title track, "Tengo Blues" is a splendid organ-guitar instrumental with a latin groove that displays Del Toro Richardson's inventive, fiery playing as Rowe and Starr provide a crisp groove with a touch of a latin accent. With solid production and marvelous Performances, "Tengo Blues" is a fine showcase for Jonn Del Toro Richardson's considerable talent.

I received my copy from the record company. This review originally appeared in the March-April 2016  Jazz & Blues Report (Issue 365) on page 16 (you can download the issue at jazz-blues.com), although I have made a few stylistic changes from that review. Here is Jonn Jonn Del Toro Richardson in performance, and if this doesn't knock you out, I do not know what will.

Marcia Ball The Tattooed Lady and the Alligator Man

 

Marcia Ball has a new Alligator Records recording, “The Tattooed Lady and the Alligator Man,” that will certainly delight listeners with her gulf coast musical gumbo. Ms. Ball and her vocals and piano are supported here by her band of Don Bennett on bass, Damien Llanes on drums, Michael Schermer on guitar and Thad Scott on tenor sax with Kaz Kazanoff, Delbert McClinton, and Terrence Semien among those heard on this Tom Hambridge production for her 6th album for Alligator.

Marcia Ball’s Crescent City-rooted rollicking piano and her honey-laced soulful singing will certainly be familiar on this program on mostly Ball originals (the only cover being Hank Ballard’s “He’s The One”). The title track about two characters of a traveling carnival show gets things started with its buoyant romp. Ball’s sense of humor is exhibited on “Clean My House” set up by a second line groove, while “Just Keep Holding On” is a lovely swamp pop-styled ballad followed by the infectious party groove of “Like There’s No Tomorrow.”

There is plenty of soul heard in Ball’s delivery of “He’s the One,” while Terrence Semien’s accordion and harmony vocal adds a zydeco accent to Ball’s message of folks trying to pay bills and simply scrape by on “The Squeeze Is On.” “Human Kindness” is another message song urging us to show some empathy and open up hearts to our fellow man. McClinton adds harmonica behind Balls’ easy rocking shuffle where she says don’t cry about her shuffles because Marcia “Can't Blame Nobody But Myself.”

The closing “The Last To Know” is a blues about looking back and people seeing what they want to see which a hint of “Nobody Knows You When You Are Down Out” in its melody. Its a wonderfully, played and sung recording. “The Tattooed Lady and the Alligator Man” delights with Ball’s strong talents as a singer and pianist who also displays her gift as a songwriter. With her excellent band and guests, she has produced another fabulous recording of party grooves mixed with messages of love and hope.

I received my copy from Alligator Records. This review appeared in the November-December 2014 Jazz & Blues Report (Issue 357). Here is Marcia Ball in performance doing the title track.

The Texas Horns Blues Gotta Holda Me

 

Mark ‘Kaz’ Kazanoff may be the best known of The Texas Horns, a trio of horn players who have contributed to numerous fine recordings. Kaz brings his tenor sax and harmonica along with John Mills who plays baritone and tenor saxophones and Adalberto Gomez on trumpet to “Blues Gotta Holda Me” (VizzTone). Recorded in Austin in 2014 the three are joined by guitarist Derek O’Brien, and drummer Barry Frosty Smith along with a variety of guests who include Nick Connolly, Marcia Ball, Ronnie James, Johnny Nicholas, W.C. Clark, and Anson Funderburgh.

There is a mix of instrumentals and vocals (most of which are taken by Kazanoff) on a recording that breaks no new grounds perhaps, but makes for enjoyable listening and likely to be a favorite for dancers. The music is well played and there are plenty of strong horns solos. The standout vocal is a soulful one from W.C. Clark on Kazanoff’s original “Cold Blooded Lover,” while Marcia Ball does a credible cover of the Smiley Lewis classic recording “Go On Fool,” with the horns providing an unusual Mariachi tint to the performance.

Musically, the rendition of “You’re Driving Me Crazy” is better than Kazanoff’s bland vocal. The performance sounds like it was based on the Big Joe Turner rendition from classic “The Boss of the Blues” album on Atlantic. He takes a terrific tenor sax solo on this. Also his vocal on the Percy Mayfield classic “Lost Mind” lacks the grit of Mayfield’s original as well as the brilliance of the late Johnny Adams’ rendition. Finally, as much as he tries, he can’t bring the ebullience needed on a rendition of Louis Jordan’s “Caldonia.” Here he is company with others like Muddy Waters and Gatemouth Brown who have faltered on this.

The instrumentals are fun, finger popping tunes with the exception of a terrific rendition of “People Get Ready.” The opening “Soul Stroll” kicks this off with a nice shuffle groove while Mills’ “Kick Me Again” has a march like feel with some robust playing from Mills on the baritone and O’Brien on guitar. “Rippin’ and Trippin‘“ is a hot number for the jitterbuggers while the funking rendition of Hilton Ruiz’s ”Home Cookin’” has soulful grease from Connolly on the B–3 along with some tough playing from each of horns.

“Blues Gotta Holda Me” may not be a compelling recording, but it certainly is a fun and entertaining recording that is a welcome change of pace for blues listeners.

I received my review copy from Vizz-Tone. Here is a video of them performing.

Omar Dykes Runnin’ With The Wolf

Omar Dykes has been pretty busy with new releases lately and with his band, The Howlers, he has another new release Runnin’ With The Wolf (Provogue Records). As the title suggests, this is a tribute to Howlin’ Wolf. Given Omar’s gravelly, gruff vocals, an album of Wolf songs would seem a natural and Dykes approaches the material not to copy Wolf’s recordings, “but to stay close to the spirit. … I tried to modernize the songs … Why copy something not for note … when it’s already available in the original form. … I wanted to have fun with songs that I’ve loved ever since I was a kid.” 

Those backing Omar on his journey through the Wolf’s music include Derek O’Brien, Casper Rawls, or Eve Monsees on guitar, Ronnie James or Bruce Jones on bass, Wes Starr or Mike Buck on drums, Ted Roddy on harmonica, Nick Connolly on keyboards and Kaz Kazanoff and Lex Ismore on saxophones. Settings range from a trio (as on the tough renditions of Killing Floor, and Little Red Rooster, as well as the rollicking interpretation of Riding in the Moonlight) to a larger band with horns (as on the latin groove of Who’s Been Talkin’, the uptown urban funk groove of Do The Do (admittedly a pretty trite Willie Dixon lyric) and the all night party vibe of Wang Dang Doodle). Even on these sides with a larger band, the backing is supple, never heavy handed.

There are plenty of delights to be savored here including the title track that Omar penned with his imaginative incorporation of titles and phrases from Wolf’s recordings in his lyrics. A particular highlight for these ears is the rendition of Worried All The Time, which comes across as if Hank Williams had recorded a Wolf number. Its hard to find fault with the take on Spoonful, which is structured similarly to Wolf’s original recording and includes some short Sumlin-like guitar accents. In contrast, there is a country boogie guitar line used in the backing for Back Door Man, which is imaginatively reinvented here.

Marvelously played and sung, Runnin’ With the Wolf is a tribute to one of the greatest of all blues artists and another fine release from Omar Dykes.

I received my copy from a publicist for the record label.

Milton Hopkins and Jewel Brown Have The Houston Blues

A new release on the Texas Dialtone label is the eponymously titled released by guitarist Milton Hopkins and vocalist Jewel Brown. Hopkins, a cousin of Lightnin’ Hopkins, is a fleet guitarist with a clean tone and jazzy attack that is in the same vein as fellow Houstonians Texas Johnny Brown and the late Clarence Hollimon. He was in fact second guitarist for B.B. King from around 1971 to 1980. Brown made one recording for Don Robey’s Duke label, later moving out to the West Coast and spent a number of years in the 1960s performing with Louis Armstrong. after retiring from music for a number of years, she has returned to performing a few years back.

Producer Eddie Stout put together a solid band to back the two including Mike Keller on rhythm guitar; Corey Keller or Jason Moeller on drums; Nick Connolly on piano, Johnny Bradley on bass and Kaz Kazanoff on saxophones. They provide solid, swinging backing behind Brown’s vocals and Hopkins’ imaginative single note fretwork. Material is pretty straight-forward with the least familiar material perhaps having the biggest impact.

The opening Jerry is a nice uptempo number, while Can’t Get Enough Of You is a slow blues which she delivers with much feeling. While the years may have taken a toll on her range and vocal tone, on such material she shines while Hopkins lays in some stinging guitar fills behind her vocal. She also capably covers Ruth Brown’s hit, Daddy Daddy, and the band sparkles in accompanying her with Hopkins shining on his solo. It is followed by a surprising cover of J.B. Lenoir’s retelling of the Jonah story, The Whale Has Swallowed Me, with Hopkins on acoustic guitar. It is followed by jazzy instrumental showcase for Hopkins, Evening Breeze, that mixes flair and restraint.

There’s a Light is a nice gospel performance but followed by a decent, but hardly remarkable cover of Esther Phillips’ Cry Me A River, with the arrangement based on the one King Curtis engrafted behind Esther Phillips’s live performance (on Esther’s terrific “Burnin’ album) but Brown’s vocal certainly does not approach that of Phillips, nor is the band on the level of Phillips’ trio that was augmented by Curtis in the studio. Hopkins does take a couple nice guitar breaks, but overall a weak performance. Brown does better with her a cover of Little Willie John’s I’m Shakin’.

Another Hopkins’ instrumental, Back To The Shimmy, has a New Orleans flavor and has Hopkins’ playing off Kazanoff’s tenor sax. Another acoustic performance is the rendition of Lightnin’ Hopkins’ “I’m Leaving You Now,” as Milton channels his cousin’s guitar style, although Brown’s vocal sounds harsh at spots. After the rollicking gospel of How Can I Lose, the album closes with a jaunty instrumental Texas shuffle, Tater Tots.

The collaboration between Milton Hopkins and Jewel Brown is a mixed affair. Hopkins is among the last of the blues guitarists still playing in this sophisticated, jazz-tinged approach and he is terrific throughout. One wonders how much the years have affected Brown’s voice and she is uneven here. Several performances are very good, but others are relatively lackluster. While there are some faults here, overall the merits outweigh them.

I purchased this CD. Here is a short video clip of the two.

Barbara Lynn Has A Blues and Soul Situation

Barbara Lynn is one of the great unheralded blues and soul performers. This was a review I wrote back in 2004 that appeared in the September/October 2004 Jazz & Blues Report (Issue 270). I have made some minor stylistic changes.

One of the pleasures of attending the Ponderosa Stomp in New Orleans was the chance to see the legendary Barbara Lynn perform. Its been four decades when the left-handed guitarist singer and songwriter had a hit with You'll Lose a Good Thing, and while she had some other hits, none reached that level. Yet she is still well remembered by many from this recording.

Most recently she had albums on Bullseye Blues and Antone’s. The Texas Dialtone label is building a strong catalog of authentic Texas blues and Lynn is the artist on the label's latest release, Blues and Soul Situation. This is perhaps her best album of recent years with very strong material and a strong studio band.

She opens with a nice funky groove on the sultry You Make Me So Hot, where her man is making her burn enough and Barbara can't get enough. Against a hot New Orleans rhumba groove, Lynn tells her man what it mans to treat a women so mean on You Don't Sleep at Night, with Kaz Kazanoff taking a nice tenor solo as Nick Connolly lays down a Professor Longhair tinged piano solo.

Barbara Lynn at 2004 Ponderosa Stomp
Photo © Ron Weinstock

She warns the man on You Better Quit It before he pushes her too far. Moving on a Groove is a dance number with a groovy sixties feel to it (reminds me of Archie Bell & the Drells) while the following He Ain't Gonna Do Right (by the great songwriting team of Dan Penn and Spooner Oldham) may be the top song here as Lynn sings about how the man is using her for his toy, as he ain't gonna do Barbara right but rather do her dirty. She enlivens Slim Harpo's I Got Love If You Want It and Sugar Coated Love (associated with Lazy Lester) with Hash Brown adding the harp on the latter number.

She adds her very considered guitar throughout, but the focus throughout this recording is her singing and the soul she brings to these blues, blues ballads and soul serenades. This is a stunning release and its great to have Barbara Lynn in such great form.

Here is Barbara Lynn in performance at the 2010 Ponderosa Stomp.

DelGrosso and Richardson Pair For Solid Blues CD

I have known of Rich DelGrosso as one of the more significant acoustic blues performers and teachers. With his late wife Maureen, I remember he performed at a DC Blues Society fund-raiser some two decades ago, later ending their performance with Howard Armstrong and Cephas and Wiggins jamming. Since then he has established himself as one of the contemporary masters of the blues mandolin. I have known Jonn Del Toro Richardson more recently through his wonder playing with the terrific Houston singer, Diunna Greenleaf. The two have paired on a new recording, “Time Slips On By” (Grove House).

With a solid rhythm section and the Texas Horns, this is a disc that showcases the two in a diverse program. DelGrosso opens with a gruff, gravelly vocal on the opening “ Baby Do Right, with his mandolin matched by Richardson’s strong guitar. The title track showcases Richardson, whose singing can suggest a member of Los Lobos. With the Texas Horns adding to the mood, Richardson takes a crackling solo. “Mandolin Man” is an ebullient Chicago blues shuffle with Sonny Boy Terry’s harmonica added. DelGrosso’s lyric celebrates here early blues mandolin players Charlie McCoy, Yank Rachell and Johnny Young. Nick Connolly pushes things along with driving piano. Richardson’s “Katalin,” with Joel Guzman adding accordion, slows things down on appealing celebration of the sweetest girl he knows.

On “Shotgun Blues,” inspired by the music of Yank Rachell, DelGrosso evokes Elvin Bishop. Here, Richardson’s sharp electric guitar is followed by some of DelGrosso’s nifty mandolin. “Hard To Live For” is the lengthiest performance here, opening with mandolin setting the atmosphere on a slow blues with a real strong vocal on a fine lyric. Richardson’s “Where’s Laura,” is an instrumental opening with Richardson’s use of an echoey treble and DelGrosso and trumpeter Al Gomez take concise solos.

“Summertime Is Here,” celebrating barbecue and seeing old friends, has Lopez again on accordion, and is another number conjuring up Los Lobos, with DelGrosso’s mandolin adding the right touch. “I Wish I Heard,” has the tenor sax of Kaz Kazanoff in the spotlight with a strong solo as well as his responses to DelGrosso’s vocal. DelGrosso’s “She Is Sweet,” is a rollicking shuffle that suggests “Dust My Broom” with Sonny Boy Terry back on harp and Richardson strong, while “Good Rocking Johnny” is an easy rocking instrumental with nicely picked mandolin before Richardson displays a touch of chicken scratch tone is his choruses.

As one would expect from these two, the musicianship is exemplary. They are thoughtful yet passionate players and display a certain flair for crafting songs and delivering them and I was surprised by the singing was on most of this. Time Slips On By is a solid result of the partnership of DelGrosso and Del Toro Richardson, which one might hope would include some touring.

A review copy of this was provided by a publicist for the recording.

Steady Rollin' Bob Margolin Gets "Down In The Alley"

Bob Margolin came to the notice of folk during his lengthy tenure in Muddy Waters Band, with which he played a significant role in helping maintain the classic Muddy Waters sound. After his time with Muddy he has been one of those trying to keep alive the classic “old school’ Chicago blues sound alive and vibrant. “Down in The Alley” was the first of three albums he would record for Alligator Records and the following review appeared in the January/February 1994 Jazz & Blues Report (Issue 188). I likely received my review copy from Alligator Records at the time. Bob Margolin certainly has become one of the foremost interpreters of older blues styles since his time in Muddy Waters’ band. Since leaving Muddy’s band and setting out on his own, he has devoted himself to playing blues in the manner of Muddy and of others of what Bob terms the old school. He has become a fine interpreter of the classic Chicago Blues tradition. His new album shows his continual maturation as a blues performer, and although he will never win an award as a blues vocalist, his singing is more forceful with a phrasing that almost overcomes his natural limitations. Of special interest are guest appearances by John Brim (who reprises his Tough Times in a duet with Margolin, and Nappy Brown, who shows a different side as he sings the Clovers’ Down in the Alley and Big Maceo’s classic, Worried Life Blues, backed only by Margolin’s guitar. Margolin covers considerable musical territory raging from a rocking Boogie at Midnight, Elmore James’ Twelve Year Old Boy, and his own Big Tree Blues, with some very nice slide. Dave Maxwell on keyboards, Ronnie Earl on guitar, and Kaz Kazanoff on saxophone (who co-produced this with Bob) help out on what is Margolin’s best recording. His strong idiomatic playing continues to impress and he is ably supported throughout. While he may not have the voice of Muddy Waters or Nappy Brown, his phrasing shows their influence and helps, with the strong band playing, make for a very entertaining set of blues.

Fiona Boyes Shines On "Blues Woman"

Australian blues woman Fiona Boyes is as nice a person as she is talented and her talent shines on her new Yellow Dog album, “Blues Woman.” Recorded in Austin, Texas, and produced by saxophonist Mark ‘Kaz’ Kazanoff who has put together a solid band including guitarist, Derek O’Brien; drummer, Jimi Bott; bassist, Ronnie James; B-3 organ and piano, Nick Connolly; and the Texas horns (Kazanoff on saxophones and Al Gomez on trumpet) with guest appearances from Watermelon Slim, Marcia Ball and Pinetop Perkins for a varied collection of performances of mostly original material that includes one cover and some heartfelt songs.

The opening “Woman Ain’t a Mule,” shows her feisty side as she tells her man that he make think of his woman as a mule or slave to his whims, but she has other ideas, or the similarly toned medium temp shuffle “Precious Time,” with her complaint that she has worked to hard to let that man waste her precious time. Her solo is noteworthy in her restraint and her focus on rocking some chords.

She renders J.B. Lenoir’s “I Want to Go,” with just bass and Jimi Bott’s congas for a down the country flavor which also characterizes here “Fishin’ Hole,” with Connolly adding some rollicking piano. Marcia Ball adds her piano and Watermelon Slim his harmonica and a spoken part as a hellfire priest to “The Barrelhouse Funeral,” with Fiona celebrating with driving resonator guitar and vocal a barrel housing, hell raising man’s funeral.

“Do You Feel Better,” is a lovely fifties style pop ballad with a lovely bit of sax and nice biting tremolo guitar from Boyes. “Train to Hopeville,” sports a lively Crescent City rumba groove, while “Got My Eye On You,” a song about her attraction to this gentleman has a ripping baritone solo from Kazanoff. She plays some nice slide on “City Born Country Gal” while her one solo piece, “Juke Joint on Moses Lane,” celebrates the Florida club, Bradfordville Blues Club of which she sings that she can’t wait to get there to have herself a ball.

This is a terrifically entertaining recording full of strong, spirited songs and playing that will have toes tapping and fingers snapping.

Fiona is once again a nominee for Traditional Female Blues Artist of the Year in the 2009 Blues Music Awards. I peeviously blogged about her in June 2006. This review originally appeared in the September-October 15 issue (issue 219) of Jazz & Blues Report in substantially the same form. It can be downloaded at www.jazz-blues.com. The review CD was supplied by Fiona Boyes' publicity firm.

Marcia Ball CD review

Here is a review from nearly a decade ago of Marcia Ball's Rounder album, Let Me Play With your Poodle that appeared in the Cleveland based Jazz & Blues Report in 1997 and the DC Blues calendar around the same time. This is the album where she first sang Randy Newman's Louisiana, 1927, a song unfortunately made timely in light of Hurricane Katrina. This was before the excellent guitarist Pat Boyack started his tenure with Ms. Ball with what became an excellent touring band.

Marcia Ball
Let Me Play With Your Poodle
Rounder

Marcia Ball’s first new album in several years contains the same lively mix of New Orleans R&B, zydeco and gulf coast blues that have made her such a popular performer, mixing her smooth, yet so soulful vocals with her vigorous piano on a savory menu of musical treats - some vintage blues and some she newly penned. The title cut is a classic Tampa Red number that was also a staple of Lightning Hopkins’ repertoire that Ball dresses up in a hot zydeco arrangement and plays at a very hot tempo with Paul Klemper’s sax and Steve Williams guitar adding solo voices in addition to Ball’s Crescent City based piano groove. Others on this session include Derek O’Brien, Clarence Holliman, and Kaz Kazanoff. Also included is a rocking version of Clarence Garlow’s R&B classic, "Crawfishin’," and her own originals, like "Why Woman Cry" and "The Story of My Life," are sung in an unmannered, soulful fashion that is a real delight to listen to. Those who might quibble and suggest that Marcia Ball’s music lacks the grit and grime of some other artists would be ignoring her soulfulness, which can be heard in all of the performances here. And when she finishes Randy Newman’s ballad about the Mississippi River floods of 1927,"Louisiana, 1927," you’ll be ready to give this disc another spin.