Duke Robillard And His Dames Of Rhythm

Duke Robillard
And His Dames Of Rhythm
M.C. Records

This new release from Duke Robillard is a bucket item dream come true with him on acoustic arch-top guitar and occasional vocals along with his rhythm section of Bruce Bears on keyboards (with Kelley Hunt subbing on three tracks); Brad Hallen on bass; and Mark Teixeira on drums. There is also a horn section including regular collaborators Billy Novick on clarinet and alto saxophone; Rich Lataille on alto and tenor saxophone and clarinet; Carl Querfurth on trombone; and from Vince Giordano's Nighthawks, Jon Erik Kellso on trumpet and Andy Stein on violin, with arrangements mostly from Novick or Kellso. With these players, Duke has a program of songs form the twenties and the early thirties with the dames of Rhythm, Sunny Crownover, Kelley Hunt, Elizabeth McGovern, Maria Muldaur, Madeleine Peyroux and Catherine Russell handling the bulk of the vocals with Duke adding a couple.

The general tenor of the music here is early and pre-bop swing jazz as opposed to the jump blues of much of Duke's recordings. The music is handsomely played and the ambience is not far from that of Giordano's Nighthawks starting off with Crownover's bright, cheerful vocal, joined by Duke here, on the opening "From Monday On," with some terrific violin from Stein, and followed by Muldaur's wistful handling of "Got the South in My Soul," with Querfurth's growling trombone adding flavor, a lovely clarinet solo from Novick and a brief guitar break. Crownover has a naughty innocence on "My Heart Belongs To Daddy," with its light Latin groove and marvelous Novick arrangement.

Peyroux's is flirty on "Squeeze Me," however she lacks the emotional depth of Billie Holiday on "Easy Living," although she is nicely supported. Similarly, Elizabeth McGovern comes off lightweight on her interpretation of another number associated with Holiday, "Me, Myself and I." Catherine Russell is superb as always on a sublime rendition of Benny Carter's "Blues In My Heart," with John Kellso's superb arrangement and growling trumpet (along with Querfurth's similarly toned trombone) lending this sublime performance an Ellingtonian flavor.

"Please Don't Talk About Me When I'm Gone" features singing from Kelley Hunt with sparse backing primarily from Bears and Duke for the first couple verses, before the rhythm kicks in to back Mark Earley's tenor sax solo followed by Kellso's trumpet and then she leads the band on a rousing close. She also has a marvelous take on "Lotus Blossom," a number I am familiar with from Jimmy Witherspoon, and kudos to Rich Lataille for his arrangement. With the combination of Duke's guitar, her piano, Novick's clarinet, and Stein's violin, she does a marvelous rendition of the torch song, "If I Could Be With You (One Hour Tonight)."

Duke's own vocal features include the bouncy "Walking Stick," with Kellso's arrangement showcasing Stein along with Kellso's fiery trumpet, along with the gently swinging lament "What's The Reason (I'm Not Pleasin' You)." The instrumental "Call of the Freaks" closes this out with Duke playing Lonnie Johnson to Kellso's Henry 'Red' Allen on a nice rendition of a tune recorded by Catherine Russell's father, Luis in the early 1930s. If the vocals by Hunt and Russell stand out over the others here, it should be noted that there is appeal to all of the vocals, and does nothing to lessen the delights heard in Duke's revival of some musical gems from the distant past.

I received my review copy from M.C. Records. Here is "Squeeze Me," from the album.

Duke Robillard and His All-Star Combo - Blues Full Circle

Duke Robillard and His All-Star Combo
Blues Full Circle
Stony Plain Records

"Blues Full Circle," the title of Duke Robillard's new Stony Plain recording, in part refers to his back to the basics approach of this mostly small band, old school blues. Duke is joined here by his long-time associates Bruce Bears on keyboards, Brad Hallen on bass and Mark Teixeira on drums with Gordon Beadle and Doug James each adding sax to one track There are guest vocals from Sugar Ray Norcia and Kelley Hunt and Jimmy Vaughan adding his guitar on one selection. Duke contributed eleven songs, eight recent ones (one a collaboration with Vaughn) and three from 30 to 45 years ago. Kelley Hunt contributed one and one was a Jimmy 'Baby Face' Lewis song.

Recording of this album was interrupted after recording of seven songs by rotator cuff surgery and after a year off the remainder was cut. I have noticed that in recent recordings Duke's phrasing of his vocals sound self-consciously deliberate. This can be heard on several tracks here including the opening "Lay a Little Lovin' on Me," although as one listens to the excellent performances here it is a minor issue. The spirit of Eddie 'Guitar Slim' Jones is evident on several selections here including the tribute "Blues For Eddie Jones" as well as "Rain keeps Falling," with the slashing guitar work and the slow "Morning Dove" that also suggests Johnny 'Guitar' Watson, one of numerous guitarists influenced by Slim (also Albert Collins, Buddy Guy, and Earl King).

A nicely paced shuffle "No More Tears," finds Duke more in a B.B. King guitar vein while "Last Night" is influenced by some of the Duke recordings of Bobby Bland and Junior Parker with a superb Sugar Ray Norcia vocal and Sax Beadle adding tenor and baritone. After the New Orleans groove of "Fool About My Money" with terrific piano from Bears, Kelley Hunt takes the vocal and boogie piano (Bears is on organ here) on her rollicking celebration of Duke's home studio "The Mood Room." Doug James adds baritone sax behind Duke and Jimmy Vaughan on their easy rocking instrumental duet "Shufflin' and Scufflin'," with some organ grease from Bears in addition to the expected superb solos from both guitarists.

As usual, Duke's band is in top form, and whatever quibbles I might have about Duke's singing (and it is a minor point), the music on "Blues Full Circle" is exceptional.

I received my review copy from a publicist. This review originally appeared in the November-December 2016 Jazz & Blues Report (Issue 369) although there are corrections and minor revisions from that published review. Here is Duke and Monster Mike Welch along with Duke's band.

 

Sista Monica Is Living In the Danger Zone

Guitarist Vasti Jackson gave Sista Monica Parker the label of “Lioness of the Blues,” which fairly describes the power and impact of her vocals and performances. Having seen her live a few weeks prior to writing this review, I can attest to the presence of her vocals and performances that she delivers in a natural fashion. She is able to caress a lyric with a whisper before belting out her shouts without it ever sounding mannered or forced. Sista Monica will suggest to some the late Etta James, who along with Koko Taylor, Katie Webster and Ruth Brown, among the Sista’s major inspirations. However, she is her her woman and imitates no one. With a tight band that includes her long-time collaborator Danny B. (Daniel Beconcini), plenty of strong original material and select covers, she commands attention with the soul, warmth and passion she exhibits.

Her most recent recording on her Mo Muscle Records label is Living In The Danger Zone. It has her backed by Danny B.; Artis Joyce on bass; Leon Joyce, Jr. on drums; Don Caruth on guitar; and Danny Sandoval on tenor saxophone with appearances on guitar from Mighty Mike Schermer, Vasti Jackson; Terry Hiatt, Danny Caron and others; as well as appearances by Kelley Hunt on vocals and keyboards; Andy Just on harmonica, and Ruth Davies on acoustic bass.

Sista Monica at the 2012 DC Blues Festival

Monica may well be Fierce Force of Nature, as one of her songs is titled. Her fierceness may be directed against the the man who can’t take the truth when she says goodbye in No Shame In My Game, when he doesn’t meet her needs;  he spends no money on her; or is dancing too close with some other woman as on Worn Out Your Welcome. In contrast on the opening track (that was inspired by a back stage visit with B.B. King), Hug Me Like You Love Me, she sings that when you hug me like you love me I’ll feel it and let you know.” In a similar vein on Fierce Force of Nature, she declares that if her man treats her right she’ll make him scream and dance.

The title track casts a different mood as Monica sings about having to be strong and holding one’s own while Mighty Mike Schermer adds nice guitar fills. Tears is a strong slow blues where Monica sings that she can’t stop crying. It has outstanding guitar from Schermer and piano by Danny B. Andy Just's harp adds to atmosphere of the understated Let Me Moan, where she sings that “if you aren’t coming home, leave me alone and let me moan.” There is a soulful reflectiveness displayed on You Can’t Go Back, with Ruth Davies on bass and Danny Caron on guitar. 

There are more soulful originals including Sista Monica’s positive message on Just Keep Living. There is a solid cover of Robert Cray’s The Forecast Calls For Pain, and a heartfelt rendition of the gospel classic, Glory Hallelujah, where Kelley Hunt adds her piano and shares the vocal (sounding more than a little like Bonnie Raitt). It is a spectacular vocal duet that concludes this recording. Living In The Danger Zone s another excellent addition to Sista Monica Parker’s body of recordings.. As good as she is on record, she is even more enthralling live, and hopefully she is finally getting the recognition she deserves as among the finest blues and rhythm vocalists today.


I received this directly from Sista Monica.  Here she is performing the B.B. King inspired Hug Me Like You Love Me.