Clint Morgan - Troublemaker

Clint Morgan
Troublemaker
Lost Cause Records

"Troublemaker" is an intriguing recording of roots music as pianist-singer Clint Morgan who mixes country, blues, folk, and gospel. Besides singing, he plays piano on this album. Others on this album include Kevin McKendree (who co-produced this with Morgan) on keyboards, David Santos on bass, Kevin Blevins on drums, Jim Hoke on saxophone, and Bob Corritore on harmonica. Additionally, there are appearances by Bob Margolin, John Del Toro Richardson, Kinky Friedman, Watermelon Slim, and the McCrary Sisters.

This is a well-produced recording with excellent backing. Morgan's singing might suggest Johnny Cash and even does a pretty solid rendition of Cash's "Big River." His vocal style is often more talking than singing with a narrow range and occasionally stilted approach. There are several tracks of note, including "Hungry Man Blues," a fascinating reworking of Robert Johnson's "Kind Hearted Woman," although Morgan's woman just can't cook a decent meal. Then there is the rock and roll of "She Take My Money," about a woman who thinks Clint is a cash machine. The backing evokes classic Chuck Berry with a seriously booting sax solo from Hoke and rollicking Johnny Johnson-styled piano.

Whatever vocal limitations Morgan has, he has a knack for crafting and delivering lyrics such as "Too Rich To Sing the Blues," singing that he can sing like Robert and Elmore but is too busy picking stocks for his retirement plan. Jonn Del Toro Richardson joins him on slide guitar and vocal for "Hurricane Harvey," about the devastation caused by the hurricane that took homes away but still, the sun will come out tomorrow, which is a whole new day. Kinky Friedman joins Morgan for the honky-tonk "Someone Put a Walmart on the Farm." Watermelon Slim and Bob Margolin add their talents to Morgan's "The Cover of the Living Blues," a reworking of the hit "The Cover of Rolling Stone."

There are a couple of gospel numbers included. One is a rendition of the old spiritual "Go Down Moses" with the McCrary Sisters, with Morgan's softly sung baritone quite effective. With just his piano accompaniment, he sings about Jesus as a troublemaker. The simplicity of his performance adds to its effectiveness. Despite his limitations as a singer, Clint Morgan's songs are intriguing, and his performances have a definite appeal.

I received my review copy from a publicist. Here is a a track from the album with Bob Corritore on harmonica.

Curtis Salgado - Damage Control

Curtis Salgado - Damage Control -Alligator Records

Listening to Curtis Salgado's new album (his fourth for Alligator), I found his soulful singing evoking Solomon Burke. I am not suggesting conscious copying, but rather similarity in their voices. This similarity is perhaps most evident in the opening "The Longer That I Live," a fresh original from Salgado, Mike Finnigan, and another that has him sing about growing older, the challenges he faced, and that the older he is, "the older I want to get." Finnigan adds some sterling organ, Jim Pugh is on piano, while Kid Andersen provides some scintillating guitar. Another original, the funky "What Did Me In Did Me Well," has a philosophical reflection about a relation he ruined. He adds some harmonica against the same sterling backing band.

Contrasting to these two numbers' southern style is the New Orleans to Memphis rock and roll of "You're Going To Miss My Sorry Ass," with Kevin McKendree's rollicking piano and George Marinelli's piano. While his singing is not evocative of Solomon Burke here, Salgado ably delivers these witty vocals. McKendree and Marinelli (on slide guitar) are also on the southern roots rock-flavored "Precious Time." Then there is the Tex-Mex accent of "Count of Three" with guitarist Johnny Lee Schell, organist Mike Finnigan, pianist Jim Pugh, and drummer Tony Braunagel. Then there is a terrific soul ballad, "Always Say I Love You (At The End Of Your Goodbyes)," with Jackie Miclau replacing Pugh on piano. It is a further demonstration of the variety to be heard on this recording. 

The 13 songs on this album were captured at sessions in Nashville (engineered by McKendree), Studio City, California (engineered by Schell), and Santa Clara, California (engineered by Andersen). Salgado has had difficult health issues in the past, but listening to his vibrant, robust singing, one would never guess that. Add first-rate backing and terrific originals to Salgado's top-flight vocals, and one has an outstanding recording.

I received a download to review from Alligator Records. Here is "The Longer That I Live."

Lloyd Jones Tennessee Run

Lloyd Jones
Tennessee Run
VizzTone

I have been a fan of Lloyd Jones since listening to his Trouble Monkey CD nearly 25 years ago. I found appealing his mix of blues and funk with a voice suggestive of Delbert McClinton (they have similar voices) and a guitar style that could evoke Guitar Slim, amongst others. Jones recently participated as part of McClinton's Sandy Beaches Cruise. He was then invited by McClinton's longtime keyboard player, Kevin McKendree, to record at McKendree's Rock House studio in Franklin, Tennessee. With McKendree on keyboards, Steve MacKay on bass, Kevin Blevins on drums, Jim Hoke on saxophone, Quentin Ware on trumpet, Roy Agee on trombone, and others, he put forth 14 songs, all composed in whole or in part by Jones. McClinton guests on one selection, as does Teresa James.

There is a classic R & B feel to many of these performances that open with "You Got Me Good." This song begins with a driving bass line evocative of "I Can't Turn You Loose," as Jones celebrates his lady who he asks how she got so sweet," Did you have to steal it from the bees/ Did you scratch up your knees/Climbing up all those trees." It is set against a tough horn backing and sung with total conviction. This whole album is well sung with pretty of enthusiasm and grit. Another noteworthy track is the rock and roll of "I Wish I Could Remember Loving You." It has the feel of a Chuck Berry song with McKendree channeling Johnnie Johnson with his rollicking piano. Teresa James adds a harmony vocal here while McClinton is heard with Jones on "Everybody's Somebody's Fool," with the songs down-home philosophy.

Other songs include a novelty number about misplacing one's phone, "Where's My Phone?" "A True Love Never Dies" is a terrific southern soul-styled ballad with one of Jones' most heartfelt singing and a superb, focused guitar solo. A New Orleans second-line groove enlivens "Bayou Blues" and "That's All I Want." The latter number also places the spotlight on Jim Hoke's raspy baritone sax. "Turn Me Loose" is a jump blues with a nifty guitar solo as Jones pleads to his woman that she doesn't love him anymore, so turn him loose.

Those familiar with Lloyd Jones will find much too enjoy here as I suspect Delbert McClinton fans will also. Jones sings and plays with energy and fervor supported by some top-notch playing. The accompanying booklet provides the lyrics, and one should not be surprised if other artists cover some of the songs. Kevin McKendree's production, in addition to his keyboards, is another factor resulting in a first-class recording.

I received my review copy from a publicist. Here is Lloyd Jones in performance.

Tinsley Ellis Ice Cream in Hell

Tinsley Ellis
Ice Cream in Hell
Alligator Records

"Ice Cream in Hell" is Tinsley Ellis' 11th album for Alligator Records. There will be no surprises for fans of Ellis' mix of blues and blues-rock filled with his searing guitar and robust blues shouting. Co-produced by Ellis with Kevin McKendree (who plays keyboards (and guitar on one track). Others on this include Steve Mackey on bass and Lynn Williams on drums and percussion. Jim Hoke and Quentin Ware play sax and trumpet respectively on two songs.

In addition to his rocking blues playing and vocals, Ellis is an excellent songwriter who coins intriguing phases in his lyrics. He opens "Don't Know Beans," with "If dogs could talk, about what they see… they would really tell it all, so you don't know beans," as he tells his lover who is she going to believe, Tinsley or her loving eyes. Set against an emphatic groove, Ellis delivers a dynamic performance about a relationship blowing up. Relationships breaking up is a common theme as he sings that they will serve ice cream in hell before he takes his lover back. Besides his robust vocals, there is plenty of crisp, torrid guitar.

Then there is the brashly played shuffle, "Foolin' Yourself," a passionately sung slow, minor-key blues, "Hole in My Heart," and a slide guitar feature "Sit Down Mama" on which McKendree plays rhythm guitar. This latter number sounds like a tribute to Hound Dog Taylor with its house-rocking groove and high energy slide guitar that evokes Taylor. It also sports one of Ellis' best vocals here. Other sterling performances include "Everything and Everyone" with its Latin groove and Ellis evoking Santana's guitar playing, and "Unlock My Heart" where Ellis' guitar channels Johnny 'Guitar' Watson. There is outstanding guitar playing, solid and tight backing, and first-rate originals resulting in another excellent Tinsley Ellis CD.

I received my review copy from Alligator Records.  Here is "Last One To Know" from this CD.

Rick Vito Soulshaker

Rick Vito
Soulshaker
VizzTone

Rick Vito has had quite a career stretching back to the 1970s. He has played or recorded with Bob Seger, Bonnie Raitt, John Mayall, Roger McGuinn, Boz Scaggs, Dolly Parton, John Prine, Delbert McClinton, Roy Orbison, Jackson Browne, and others. Vito also was a member of Fleetwood Mac and fronted Mick Fleetwood's Blues Band for several years. On "Soulshaker," he plays guitar, bass, and keyboards besides singing. He also produced this recording. Charles 'Mojo' Johnson plays drums on nine of the 12 tracks while Rick Reed plays on the other three. Kevin McKendree plays on organ on one track, Mark Horwitz guests on organ and Charles Harrison plays organ on two tracks.

While I understand Vito is well known for his slide work, I did not know what to expect when I started listening to "She's Just Too Fine." It is one of the ten songs Vito wrote or co-wrote. This performance was quite striking with its Jimmy Reed styled boogie groove, Vito's distinctive, focused driving slide guitar and a relaxed, natural vocal delivery. It set the tone for this entire recording no matter whether it was more in a blues-rock vein. His restraint as a singer and a musician adds to the impact of his performances. His ability to create an atmosphere during a performance is heard on "I've Got a Secret." It is followed by the high stepping boogie groove of "I Do Believe," with more dazzling slide guitar.

With Kevin McKendree on organ, he revives the classic Jackie Wilson recording "Doggin' Around," while evoking Santo and Johnny with his playing. Another fascinating instrumental is his original "Soul Shadows" with supportive drumming from 'Mojo' Johnson. "Dancin' Little Sister" is an excellent rock and roll blues taken at a brisk tempo, but not too fast. Vito sings the catchy lyric and dazzles with his slide guitar. The pace gets even hotter on his exuberant gospel, blues-rocker, "I'm Going to Heaven." On "Promise Land," he again returns to a Jimmy Reed groove with some engaging resonator guitar playing against his relaxed singing.

"Soulshaker" closes with a stunning instrumental rendition of Sam Cooke's "A Change Is Gonna Come." Vito's slide guitar tone, his musical ideas, and the restraint he plays with are all exhibited here. Rick Vito impressed this listener with his songs, his singing and sterling musicianship. The result is this fabulous CD.

I received my review copy from Vizztone. This review appeared in the September-October 2019 Jazz & Blues Report (Issue 386), although I made minor stylistic changes. Here is Rick performing
"A Change Is Gonna Come."

Delbert McClinton Tall Dark & Handsome

Delbert McClinton and Self-Made Men + Dana
Tall Dark & Handsome
Hot Shot Records

"Tall Dark & Handsome" is the 26th album from Delbert McClinton and is another collection of his roadhouse roots stew mixing blues, jazz, Americana, honky-tonk country, rhythm and blues, and more. Delbert, his long-time keyboard player Kevin McKendree and his guitarist Bob Britt co-produced this recording. It was recorded at the Rock House in Franklin, Tennessee that is owned and operated by Kevin McKendree. Kevin, Britt, and Kevin's son, Yates, were the engineers. Kevin and Britt did the mixing.

Delbert was involved in the writing of all 14 selections, many with Britt, McKendree or bassist Michael Joyce of Delbert's band. Delbert's current band of Dana Robbins (saxophone), Jack Bruno (drums), Mike Joyce (bass), Bob Britt (guitar), James Pennebaker (guitar), Quentin Ware (trumpet), Dennis Wage (keyboards) plays on this. However, on most of this McKendree and Britt are joined by Joe Maher on drums and Glenn Worf on bass with Jim Hoke on reeds and leading a horn section.

Now 78 one should not be surprised that Delbert is not quite as robust a singer as he was some years ago. If he doesn't project as powerfully and reach certain notes, he more than compensates by his timing, phrasing, and sometimes employing a  more conversational style. There is little that detracts from the pleasures to heard here. There are strong originals like the opening jump blues "Mr. Smith" where McClinton shouts about a hot band in a performance that the late Big Joe Turner might applaud. Then there is the honky-tonk flavored "If I Hock My Guitar" with Britt's stinging guitar. Stuart Duncan's fiddle adds a western swing accent to the bouncy "No Chicken on the Bone," while there is a Tex-Max accent on "Gone to Mexico." Hoke adds norteno flavored accordion along with with his sax, and Dana Robbins' sax.

Both "Lulu," and "Ruby & Jules," exhibit a sophisticated flavor with jazz-accented backing. In contrast, "Loud Mouth"  a rocking blues shuffle on which Britt's guitar channels B.B. King. "Any Other Way" is a late-night sounding saloon blues with a thoughtful, vocal. It is followed by "A Fool Like Me" a rocker with a New Orleans second-line groove. One lyric that stands up is "Can't Get Up," where he remembers his younger days but now realizes he can't get up to get down as he did before. McKendree, who is outstanding on the B-3 here, is superb throughout, as are the rest of the backing musicians here. With excellent original material, excellent production and McClinton's heartfelt vocals, "Tall Dark & Handsome" will have the roadhouse jukeboxes rocking tonight.

Received from my review copy from a publicist. Here Delbert performs "No Chicken on the Bone."

Big Joe and the Dynaflows Rockhouse Party

Big Joe and the Dynaflows
Rockhouse Party
Severn Records

"Rockhouse Party" is a surprise recording by Big Joe Maher. It has been several years since the DMV drummer, jump blues singer and bandleader has had a new recording. His last album "You Can’t Keep a Big Man Down," was issued in 2011. Recorded in Franklin Tennessee, Maher is reunited with Kevin McKendree, the original Dynaflow keyboard player. He and McKendree co-produced this, and others heard here are young prodigy Yates McKendree on guitar, Robert Frahm on guitar, and Tom "Mookie" Brill on bass and vocals. On one track another guitar prodigy, Erin Coburn guests. Engineering the music is Evan Sarli, son of the late Jeff Sarli, who was the original bassist with the Dynaflows.

There is a nice mix of material that might be labeled urban blues as much as jump blues starting with a rendition of "Driving Wheel." While patterned after the Junior Parker recording, this is no copy and Maher delivers a relaxed heartfelt vocal strongly backed with the organ helping lay down a musical foundation, and there are terrific guitar solos displaying the contrasting attacks of Yates and Frahm. Brill has not previously been featured as a vocalist. I recall him doing a solid Howlin' Wolf styled vocal, but was not prepared for his soulful singing on Little Milton's "So Mean To Me," and O.V. Wight's "8 Men 4 Women," again with some strong backing.

Maher has always had an affinity for Smiley Lewis recordings and does a credible rendition of "Go On Fool" while laying down a solid second-line groove while Kevin McKendree plays driving boogie-woogie inflected piano. It is followed by an excellent Maher original "World Gone Wrong," with atmospheric accompaniment, and well-considered solos, to go with the topical lyrics. Brill sings a rollicking shuffle interpretation of an old Nappy Brown recording, "If You Need Some Lovin,'" on which Maher and Erin Coburn provide backing vocals. There is a cover by Brill of Fenton Robinson's "Tennessee Woman," that has a rockabilly flavor but comes off as a bit frantic. His other vocal is a solid rendition of Mack Self's 1958 Sun rockabilly recording, "Vibrate."

Maher's "Go With The Flow" is a strong original jump blues celebrating his new Dynaflow automobile, followed by another original "I'm a Country Boy," that sounds like it came from a Snooks Eaglin session for Imperial with Erin Coburn adding her solid fretwork. Two instrumentals, "Overdrive" and "Sleepy Joe" showcase the two guitarists. The two wrote the latter number with its ingratiating lazy groove. Percy Mayfield's "Two Years of Torture" closes this album with a superb 'three o'clock in the morning' flavored performance.

There are no surprises here for those familiar with Joe Maher on an excellent recording full of fine vocals, marvelous playing and a nice variety of blues songs.

I received my review copy from a publicist. This review originally appeared in the January-February 2019 Jazz & Blues Report (Issue 382). Here is a video from a few years back of Big Joe Maher with Anson Funderburgh on guitar.

Tim Gartland Satisfied

Tim Gartland
Satisfied
Taste Good Music.

This is the 4th album by the Nashville based singer-harmonica player-songwriter. I found his prior album "If You Want A Good Woman," to be a "rollicking set of blues and rockers." Like that recording, this was recorded by Kevin McKendree (and his son Yates) at McKendree's The Rock House studio. While Tom West plays keyboards on most of this, McKendree also adds keyboards to several selections. Robert Frahm handles most of the guitar here with Tom Britt playing slide on a couple of selections. Steve Mackey on bass and Tom Bruno round out this fine studio band with Wendy Moten on backup vocals.

"Drinking For Two" is the first song with a driving, second-line groove and Gartland's world-weary vocals and full-bodied harmonica, McKendree's piano and Britt's slide guitar. Gartland is a limited, straight-forward singer although with a modest vocal range. His harmonica playing has a fat-tone and he plays with plenty of drive and swing. His backing is first-rate with a solid rhythm section. Robert Frahm, who I saw when he lived in the Washington DC area, displays his chops with a crisp solo on "Don't Make No Trouble." This song also displays his ability to craft songs with memorable hooks. There is also plenty of variety in the songs including the country-soul flavor of "Blues For Free," the rollicking of "Can't Paint a Prettier Picture," with its Chuck Berry feel, with Tom West channeling Johnnie Johnson and Frahm channeling Berry while trading fours with the leader's harmonica.

The title track is a lovely lament with a slight Tex-Mex accent and atmospheric chromatic harmonica. Frahm's tremolo-laced guitar and West's organ lend a swampy tone to "Walk On" with co-writer Ray Desilvis contributing an effective backing vocal. The variety here is also displayed by the reggae groove employed for "Why Does The Room Begin to Sway?" One can suggest that the use of a reggae groove certainly would be welcome in more blues performances and recordings, but it remains rare.

While Gartland may have limitations as a singer, he remains a capable vocalist. He writes intriguing songs, is a distinct harmonica player and is accompanied by a splendid studio band on a most enjoyable release.

I received my review copy a publicist. This review originally appeared in the May-June 2019 Jazz & Blues Report (Issue 384) although I have made minor changes. Here is a brief clip of Tim Gartland performing.

Buddy Guy says The Blues Is Alive and Well

Buddy Guy
The Blues Is Alive and Well
Silvertone/ RCA Records

According to the press materials, this is Buddy Guy's 18th solo album. It is produced by Tom Hambridge who has been a recent producer and collaborator with Guy, who also had a hand of nearly every song here and plays drums. The rest of the core backing band here is Kevin McKendree on keyboards, Willie Weeks on bass and Rob McNelly on rhythm or slide guitar m(although he sits out some tracks). Also heard here are guest appearances from Jeff Beck (who called Guy his favorite guitarist decades ago), Keith Richards, James Bay and Mick Jagger.

It is a solid, straight-forward recording pretty much in the vein of Guy's recent recordings. There is plenty of punch in the backing and the tone of Guy's guitar and his vocals belie his age of 81 years. There is an in-your-face quality to his fretwork on the opening "A Few Good Years," supporting his strong vocal on one of a number of strong originals here. It is followed by a rollicking shuffle "Guilty as Charged," with McKendree outstanding in his accompaniment while Guy plays more blistering guitar. Jeff Beck and Keith Richards add their guitar to "Cognac," with Beck especially pulling out all the stops as Guy sings about the merits of "Cognac," which has "liquid gold in every sip." The Muscle Shoals Horns add punch to the backing on the title track, with Guy singing soulfully about her woman having another man. I do not who James Bay but he adds his guitar and vocals to "Blue No More," with its low-key manner and is it may be Bay who contributes the B.B. King styled playing here.

Hambridge contributes a sledge hammer groove with a drum loop along with Guy's hammering out his guitar as he shouts about "Whiskey For Sale," with the McCrary Sisters adding vocal harmony on this minor entry here. Mick Jagger adds some nice harmonica adding to the late night feel of a slow blues, "You Did the Crime." The Muscle Shoals Horns return for "Old Fashioned" which is perhaps a bit over-the-top for these ears as Hambridge anchors the driving backing here. Rice Miler's "Nine Below Zero" is transformed into a hard hitting Muddy Waters' styled number followed by a Memphis styled rocker, "Ooh Daddy."

"End of the Line" is a Jimmy Reed-styled shuffle with Guy's easy going vocal, shattering guitar along with punchy horns before the album closes with a brief "Milking Muther For Ya," where Guy sings a verse of the Dirty Red song accompanied only by his guitar. 15 very different performances on this album which certainly will satisfy those wanting Guy's sizzling guitar playing, but also displays his fine singing as well.

I received my review copy from a publicist. This review originally appeared in the July-August 2018 Jazz & Blues Report (Issue 379). Here is the audio of Buddy Guy's performance of "Cognac" with guests Jeff Beck and Keith Richards from this CD.

Tinsley Ellis Winning Hand

Tinsley Ellis
Winning Hand
Alligator Records

Near thirty years since he first recorded for Alligator Records (and twenty since his last Alligator album, Tinsley Ellis returns with an album of house rocking blues and rock, showcasing his brawny, volcanic guitar and husky singing. He is joined by Kevin McKendree on keyboards (who co-produced this with Ellis), Steve Mackey on bass and Lynn Williams on drums that was engineered and mixed by McKendree at The Rock House.

Nine of the ten songs are Ellis originals and display the range of his music starting with the searing, hold no prisoners opening blues-rock of "Sound of a Broken Man." In contrast, the easy rocking shuffle blues, "Nothing But Fine," illustrates the clarity and precision, along with fire of his playing along with a more relaxed vocal, while "Gamblin' Man," is a nice original blues performance (the melody slightly evocative of Box Scaggs recording of "Someone Loan Me a Dime"), with a well-shaped, fiery guitar solo and a heartfelt, expressive vocal. Another fine blues performance is "Don't Turn Off The Light." There is also high energy blues-rock of "Kiss This World" with its swelling groove and the rock and roll of "Satisfied," with McKendree's rollicking road house piano in addition to Ellis' guitar. The one cover, Leon Russell's "Dixie Lullaby," sports more rollicking piano (and organ grease) along with some fiery Freddie King inspired guitar.

This is another impressive collection of music from Ellis whose playing shows him still to be a tone master and a fiery guitar slinger. His high energy playing is firmly backed by the terrific studio band. Ellis is also a most congenial, expressive singer and contributed some solid original blues on this memorable blues-rock release.

I received my review copy from Alligator Records. For those in the Washington DC area, he will be at Blues Alley on Wednesday January 17 and playing the Creative Alliance in Baltimore on Thursday January 18. Here is Tinsley from an October, 2017 performance. A fuller listing of upcoming shows is at http://www.tinsleyellis.com/toughloveshows.html.

Tim Gartland If You Want A Good Woman

Tim Gartland
If You Want A Good Woman
VizzTone

Resident in Nashville, Tim Gartland first honed his blues skills in Chicago, then in Boston before moving to Nashville. "If You Want A Good Woman" is apparently his third recording and his slightly grizzled singing and sure sounding harp playing is featured here along with his songwriting on this recording of originals (some penned by his keyboard player Tom West). Others on this include Wendy Moten on supporting vocals; Tom Britt on guitar; Lynn Williams drums; and Steve Mackey on bass. Former Delbert McClinton band member Kevin McKendree recorded this, co-produced this with Gartland, and added organ and piano to a few selections.

Gartland certainly is ingratiating as a singer and harmonica player with his band providing able support, although much of this I would classify as blues-based roadhouse rock in the vein of Delbert McClinton. This is a descriptive observation, and does not relate to the quality of the music. Gartland has written some exceptional original songs (he has a way with words), and he and the band deliver very strong performances. His vocal on the opening "What The Blues Look Like," reminded me of Paul Butterfield, with some tasty harp and slide guitar. This is a terrific song that one can see many folks covering. "Hours Worth" is a rocker where he sings about having a hours worth of whiskey, and of rent that is a month past due. Wendy Moten provides backing vocals and there is a rollicky piano break.

His vocal on "I Had It" has some of the qualities of the recent world weary sounding singing from Charlie Musselwhite as Gartland expresses regrets about having had it all wrong. The title track is built around a reggae riff as he sings about a good woman that stay home if the man is doing her wrong, and after all a good woman simply wants a good man. Gartland does not overwhelm with his harmonica playing, but rather it ably complements his singing. The instrumental "Eight Ball" allows him to display his thoughtful, vocalized sound on harmonica

There is also a fair amount of humor to be heard here. On "Too Many Groceries," where tells this lady that she is as subtle as a train wreck, and she has too many groceries for her bag. Another wonderful song is a homage to Willie Dixon, "Willie That's Who." The lyric here laced with subtle references to some of the late blues giant's songs and lyrics. A driving instrumental "Go West," provides a lively coda to Gartland's rollicking set of blues and rockers that is wonderfully recorded.

I received my review copy from VizzTone. Here is Tim Gartland in performance.

Andy Poxon Must Not Be Crazy

Must Be Crazy (EllerSoul Records) by Washington area guitarist-vocalist Andy Poxon is the latest by a young phenom that certainly has attracted the praises of many like Duke Robillard (who produced his previous CD) and Mark Wenner of The Nighthawks who is quoted on the back cover. For this, Poxon travelled to the Nashville area where he recorded at Kevin McKendree's Rock House Studio. McKendree (himself once a young DC area phenom) handles the keyboards and co-wrote 4 of the 13 Poxon originals (and his son Yates co-wrote the last track as well as plays organ).

Poxon's continual growth and maturity as a guitarist and a singer is established right away. here is someone who has listened to vintage B.B. King, Pee Wee Crayton, Tiny Grimes, T-Bone Walker and the like and brings a lot of heart and personality to his vocals as this recording starts off with a B.B. King styled bluesYou Must Be Crazy, with some explosive guitar. There's the appealing New Orleans groove of Living Alone, and the sizzling jump blues Next to You, with his fleet, clean, uncluttered guitar standing out. There is terrific slow blues, "Cold Weather" where Poxon evokes classic T-Bone Walker, and he is equally comfortable with the sophisticated jazzy feel of Too Late. The closing instrumental, Rebound, with Yates McKendree, has a nice relaxed groove that evokes classic Memphis soul instrumentals of the sixties.

The performances here are uniformly first-rate. Kudos to McKendree, bassist Steve Mackey, drummer Kenneth Blevins and saxophonist Jim Hoke for the terrific backing. The McCrary Sisters and Chloe Kohanski add backing vocals. But Andy Poxon is the star here and as a singer, as a songwriter and as a guitarist, he has hit a grand slam with the fabulous music on Must Be Crazy.

I received my review copy from a publicist. This review appeared in the September-October 2014 Jazz & Blues Report.  Here is Andy performing with Mark Wenner & His Blues Warriors. 

Tinsley Ellis Gets It!

Its been a bit since the last Tinsley Ellis, and the blues rocker has returned with an all instrumental album, Get It! (Heartfixer Music). Recorded in Nashville and Atlanta, Ellis is backed by Kevin McKendree on keyboards, Lynn Williams on drums and percussion; and Ted Pecchio on bass (on 5 of the ten selections). The selections include eight originals and two covers and allow Ellis to display not simply his impressive guitar chops and tone, but his ability to craft thoughtful, yet electrifying solos.

There is a nice range of material ranging from his tribute to (and evocation of the style of) Albert Collins on the opening Front Street Freeze, along with his tribute to Roy Buchanan on Anthem For A Fallen Hero. Berry Tossin’ is a lively take-off of Chuck Berry’s distinctive guitar style through Ellis’ own approach (with some Freddie King riffs tossed in). The title track is a driving bulldozer of a guitar shuffle while Fuzzbuster has Ellis exploring a range of tonal effects. Detour is a cover of a lesser known Bo Diddley track with Ellis playing through a Leslie speaker, suggesting classic Lonnie Mack. 

The focus here is strictly on Ellis as the backing musicians play solely in a supportive role. Get It! impressively displays Ellis imagination, power and taste as a guitarist.

A publicist sent my review copy to me. Here is some vintage Tinsley Ellis doing a classic Joe Zawinul tune that was written for the great Cannonball Adderley.

Soul Enriching Journey of McCrary Sisters

Singing comes naturally to the McCrary Sisters, daughters of the late Rev. Samuel McCrary --  one of the original members of the legendary gospel quartet The Fairfield Four. The harmonies siblings Ann, Deborah, Regina and Alfreda produce reflect the singing they grew up with in the home and at their father’s church and they have produced a recording Our Journey (McC Records) which is a result of their years of singing music of praise on a program of songs that might draw some comparisons to the Staples (except the material is more straight gospel and less some of the message songs of that legendary group).

While the sisters are the executive producers, they had assistance from Kevin McKendree, Gary Nicholson, Buddy Miller and others. McKendree is among the musicians on this album that also include Buddy Miller, the late saxophonist Dennis Taylor and guitarists Todd Sharp and Bob Britt. Guest vocals are added by Delbert McClinton, Mike Farris and Patty Griffin. Included are some covers as well as six originals penned by the sisters.

The opening interpretation of Bob Dylan’s Blowin’ In The Wind is simply stunning with its gospel-inflected arrangement and guitarist Ron McNelley’s stinging fills. This is a performance likely would have crossover appeal. There is a country-soul tinge to the Follow Me Up and original by co-producer of this track, Tommy Sims, that would have been at home on a Staples recording with its message of reassurance and comfort. Kevin McKendree and Regina McCrary collaborated on Bible Study, a hot jump blues melody with its gospel lyric about talking about Jesus and a groove that dancers may find irresistible as they sing mama get your daughter and daddy get your song and get right with the bible.

Julie Miller’s Broken Pieces is given a lovely performance that Alfreda takes the lead on as she sings about one can have her heart if one doesn’t mind the broken pieces. Ann McCrary’s Know My Name is a powerful gospel performance with sparse, percussive backing and followed by the fervent Memphis soul-gospel flavor of Give Him My All, a song collaboration between Regina and Bob Dylan that evokes the Staples at their best. He Cares has a softer R&B flavor as Alfreda leads the sisters in telling us he cares for us with what wounds her heart and soul, followed by the a cappella rendition of traditional Dig a Little Deeper in God’s eternal love where Deborah takes lead. On Other Side of the Blues (Since I Met You), Regina is joined by Delbert on a gospel-uptown blues as they sing about meeting their savior they are on the other side of the blues.

The album closes with more down home gospel a cappella singing on the title track about through song, the sisters journey keeps moving along. One of the sisters comments “That’s the way daddy would have done it” and indeed he would be overjoyed by the performances as they sing “through our song our journey keeps moving on.” And moving listeners and audiences is certainly what the performances do. Highly recommended.

I received a review copy from a publicist for this release. Here are McCrary Sisters on you tube performing Blowin' In the Wind.

Can't Keep Big Joe Maher Down

I remember when the DC Blues Society was putting on our third DC Blues Festival (I was on the Society’s Board at the time) that we needed to put together a band to back the legendary blues shouter, Nappy Brown, the late Nap Turner was enthusiastic that Big Joe Maher anchor the backing band. In the booklet accompanying the new recording on Severn by Big Joe & the Dynaflows, “You Can’t Keep A Good Man Down,” it mentions some of the folk that Joe has shared the stage including Earl King and James ‘Thunderbird’ Davis. Lots of acts make similar claims, but few can match Joe in not simply sharing the stage but playing drums and organizing the backing band for these performers. For several decades, Joe Maher has been an in demand drummer, vocalist and bandleader whose musical forte is swing and jump blues. When he rocks, the music rolls and when he sings, he love for the great blues shouters like Big Joe Turner and Smiley Lewis is obvious.

You Can’t Keep A Good Man Down has big Joe backed by a version of the Dynaflows that is comprised by members of Delbert McClinton’s backing band led by keyboardist Kevin McKendree. Others include Bill Campbell on bass, Rob McNelly on guitar and the late Dennis Taylor on saxophones. If memory serves me correctly, McKendree and Maher go back to Powerhouse, Tom Principato’s DC area jump blues band he reformed in the early 1990’s and after Principato returned again to showcase his sizzling guitar playing, Maher formed the Dynaflows whose original line-up included the then still prodigic talent of McKendree. McKendree subsequently left to play with Leroy Parnell and now Delbert McClinton while in the past several years establishing himself as a producer of blues and roots recordings. The two are re-united here for this disc which they co-produced in Tennessee, and the band just cooks behind Joe’s strong vocals.

The title track opens with the rollicking title song with some strong piano with Maher declaring you can try what you want, but can’t keep him down as McNelly rips off a terrific guitar solo. A nice cover of B.B. King’s “Bad Case of Love,” is followed by Maher’s solid “Evangeline,” a reworked rendition of King Karl’s swamp pop classic “Irene,” with McNelly evoking Earl King-Guitar Slim in his solo as Taylor’s saxophones add to the performance’s mood. Atlanta shouter Billy Wright penned “Whatcha Gonna Do,” that is a jumping shuffle with Maher in fine form and McNelly standing out some more against Taylor’s riffing saxophones in the background. The bittersweet blue-ballad “Someday,” takes the temperature down with McKendree’s accompaniment standing out here.

Jay McShann’s classic “Confessin’ the Blues” benefits from its spirited tempo as Maher belts out the lyrics as McKendree pounds on the ivories while McNelly plays another tough solo. “Supercharger” is a rocking shuffle instrumental where Maher sets just the right tempo (as he does throughout) that provides more space for McNelly fluid and imaginative playing. “Nothing But Trouble,” is a fine late night, slow blues by Maher with McNelly evoking T-Bone Walker as Maher convinces us about the heartache and trouble he sees. After a cover of Jimmy McCracklin’s “I’m To Blame,” the disc closes with McKendree playing some strong boogie woogie piano to kick off “What the Hell Were You Thinkin’?” which he composed with Delbert McClinton and Tom Hambridge,” and he adds a solid boogie woogie piano for this lively conclusion to this strong release.

Maher sounds very strong throughout here, even a bit more youthful sounding as a singer than this writer recalls. McKendree has placed in the context of a terrific band that sounds like they all have been playing for years. The tempos are right, the groove is consistently in the pocket, and the material is strong leading to a fabulous recording of blues that may be the best that Maher has produced.


The review copy of this release was provided by a publicist.

Dennis Taylor "Steppin' Up" (Kizybosh Records)

Saxophonist Dennis Taylor had established himself as a saxophonist on the roots music scene with tenures in the bands of Gatemouth Brown, Buckwheat Zydeco, Duke Robillard and most recently Delbert McClinton among others. His sudden passing this past October was a shock to many friends he had made while performing. Shortly after joining McClinton’s Band in the summer of 2008, Taylor approached Delbert’s keyboard player, Kevin McKendree, about doing a project that resulted in the posthumously issued “Steppin’ Up” (Kizybosh Records). This a album of organ trio performances with Taylor’s saxophone, McKendree on the Hammond B-3 and and one of three drummers (Chester Thompson (Weather Report, Frank Zappa, Genesis), Kenneth Blevins (John Hiatt) and Lynn Williams (Delbert McClinton)), with McClinton himself making a cameo appearance, singing on “Since I Feel For You.”

This is album of blowing tenor, funky B-3 and finger-popping groves kicked off with the New Orleans groove of “Lee’s Lick,” which one might guess was dedicated to the legendary Crescent city tenor man Lee Allen. Issac Hayes’ “Cafe Reggio,” has a mellow groove before Taylor takes a robust solo displaying his full tone. Dr. John’s “I Walk On Guilded Splinters” is an interesting choice and Taylor really gets gutbucket here although the accompaniment is rather simple. McClinton takes a low-key approach to the vocal on the Buddy Johnson penned standard, “Since I Feel For You” with Taylor’s tenor complementary to the vocal before his very lyrical solo as McKendree comps.

Taylor’s rendition of Ray Charles’ “Hallelujah I Love Her So,” will get the fingers snapping and after McKendree’s solo, Taylor takes us out in rousing form. Leroy Johnson’s “Lady Day,” is a moody ballad performance followed Taylor’s lively original “Stepping Up,” with McKendree adding the right amount of grease on his solo. There is more second-line groove on Taylor’s “The Gospel Truth” which is followed by Taylor’s marvelous ballad playing on the Lennon-McCartney chestnut, “And I Love Her.” Nice renderings of Percy Mayfield’s “The River’s Invitation,” and the Fats Domino classic “Josephine and three other Taylor originals complete this recording of which “Here’s The Deal,” a hard bop burner and the closing late night blues, “Back at the Teddy Bear Lounge,” are especially worth pointing out.

There is about 70 or so minutes for the 14 performances collected here, the recording of which was completed two weeks before his passing. Taylor's widow, Karen Leipziger and Kevin McKendree completed this as a labor of love and a chance to leave us with this solid musical statement of a marvelous musician and person. This should be available from cdbaby.com.