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.

Selected DC Area Blues For the Month of April

Otis Taylor will be at Blues Alley

Back when I edited the DC Blues Society’s newsletter, I highlighted what I thought were especially interesting shows. In that spirit, here are a few blues highlights for April.

April 3 - Otis Taylor at Blues Alley. Otis is touring in support of his latest Telarc album “My World Is Gone,” where he has a special guest, Native American guitarist Mato Nanji. This is of Taylor’s most moving recordings with deceptively simple, stark and understated performances of his songs that convey the tragic times Native Americans have endured better and the presence of Mato Nanji on this tour is especially welcome. 

April 3 Carolina Chocolate Drops at the Birchmere. The Carolina Chocolate Drops have led the revival of tradition African-American String Band music with an eclectic and delightful repertoire and are making a welcome return to the area.

April 6 Grant Dermody & Rich DelGrosso, perform at a House Concert at the Glassie/Littell House in Bethesda. Grant Dermody is one of the really fine harmonica players out there. Rich DelGrosso is among the few blues players who focus on the blues mandolin, but his talents go way beyond that. Rich and his late wife Maureen played a fantastic concert for the DC Blues Society back in 1990 with the legendary Howard Armstrong where they were joined by Cephas and Wiggins at the end. Email Jeff Glassie at jeffglassie@ gmail.com if interested in attending.

Deanna Bogart will be wailing as part of the
Legendary Rhythm and Blues Revue at
the State Theatre. Photo © Ron Weinstock

April 17 Lloyd Jones at the Archie Edwards Blues Barbershop. Portland, Oregon based singer-guitarist has earned a reputation for his funk-drenched urban blues style but is a very gifted songwriter will be making an appearance performing solo at this mid-week show at the Archie Edwards Blues Foundation’s Barbershop. For those who want a preview, check out his excellent 2011 album, “Highway Bound” on Underworld Records.

April 19 The Legendary Rhythm and Blues Revue at The State Theatre. The popular 

The Legendary Rhythm and Blues Revue featuring Tommy Castro and the Painkillers, Deanna Bogart, Magic Dick, and Ronnie Baker Brooks makes another appearance at The State Theatre. This popular revue led by Tommy Castro, is an offshoot of the revue which has become a popular feature of the Legendary Rhythm and Blues cruises.

April 20 - Janiva Magness at Bethesda Blues & Jazz Club. Janiva is a marvelous vocalist who brings a clarity as well as plenty of heart to his blues, most currently displayed by her Alligator recordings. On this tour she is supported by a band that includes a superb keyboard player Jim Alfredson.

April 21 - Gary Nicholson at JV’s. Nicholson is amongst the best roots songwriters in Nashville. he is probably best known for his work for Delbert McClinton, but his name is increasingly found in songwriting credits on many new blues and roots releases. He will be on a tour with a band Scott Ramminger is putting together when he performs at the Falls Church venue. 

April 27- Hadden Sayers at Hill Country Barbecue. Hadden Sayers has a knack with words, his vocals ring true and his wonderful guitar playing is complemented by his fine band. He is touring in support of his exceptional new album Rolling Soul. 

Lloyd Jones is Highway Bound

I was familiar with Northwest bluesman Lloyd Jones from his recordings that mixed funky R&B and modern urban blues such as his excellent Audioquest CD Trouble Monkey. His latest album, Highway Bound (Underworld Records), is a definite change of pace as he is playing solo acoustic with the exception of one selection when he is joined by the harmonica of Charlie Musselwhite. He states this on this recording he is playing some of his favorite folk songs and that listeners will enjoy it as much as he did performing them.

Vocally Jones might suggest Delbert McClinton but here he brings a driving acoustic guitar style, sometimes just a driving groove on his original with some nifty finger picking in his short solo breaks. There is an interesting mix of material covered ranging from a briskly tempoed Careless Love, to the wistful When I’m Gone, which I believe was written by Elisabeth Cotton. On John Brim’s Ice Cream Man, Musselwhite joins in for a lively unplugged Chicago blues duo while on Blind Willie McTell’s Broke Down Engine Jones renders a performance in a manner that Taj Mahal might have done if he performed it as a Piedmont rag for a very original performance.

Jones picks up electric guitar for a percussively oriented rendition of Robert Johnson’s Last Fair Deal Gone Down, followed by a reflective take of Big Bill Broonzy’s Southbound Train. Mixed in with originals is an amiable take on John Hurt’s Don’t Want Me Baby, and Make Me a Pallet on the Floor. A take of Cry For Me Baby, that Elmore James originally recorded, comes off like a John Lee Hooker boogie, while Good Night Irene comes off as a gentle lullaby. Curtis Salgado adds harp to the closing tune, a treatment of the Hoagy Carmichael and Johnny Mercer Lazy Bones, given a nice low-key spin.

Jones does indeed play some favorite songs here. His skilled playing and vocals makes for  delightful listening.


My review copy was provided by a publicist for the release.

Lloyd Jones "Trouble Monkey" Worth Searching Out.

A major presence on the Portland, Oregon blues scene, guitarist and vocalist Lloyd Jones brings a compelling mix of blues and funk to this new release Trouble Monkey (Audioquest). Jones has a husky voice suggestive of Delbert McClinton, and as a guitarist occasionally suggests Guitar Slim with his slashing string popping, particularly on the New Orleans R&B flavored When I Get Back Home. Jones handles a variety of grooves and textures and his songs and the arrangements evince a variety of influences, from the high stepping funk of the opening Can’t Get You Off My Mind, to the latin funk of I’ll Be Laughing When They Break Your Heart, with punchy horns. Then there’s the rumba high stepping of Fats Domino’s Rosemary, which finds his guitar string-popping leading into some exciting slide work. I Broke My Baby’s Heart sounds like a vintage piece of deep southern soul, with the horns coming off like the Memphis Horns on an Otis Redding album. Most of his driving band (with a terrific horn section are new to me, although I believe alto saxophonist Warren Rand is a veteran of Robert Cray’s band, and the rhythm section of keyboard wizard Glenn Holstrom, bassist Victor Little and drummer Reinhardt Metz deserve specific praise. Jones wrote most of songs on this album which continue to resonate in one’s head. Even Jones’ cover of a Sleepy John Estes classic, Drop Down Mama, is a fresh and totally original performance. As typical with Audioquest, this is beautifully recorded and packaged. Kudos to Jones, the band and producer Joe Harley for a superb recording. This review appeared in the December 1995-January 1996 Jazz & Blues Report (Issue 207) although this CD may be hard to find as a CD, one can find it as a download. Jones also recorded for Blind Pig a few years later and has a new CD which is mostly solo acoustic, Highway Bound, that I will be reviewing shortly.