Lindsay Beaver Tough As Love

Lindsay Beaver
Tough As Love
Alligator Records

Bruce Iglauer writes, in the liner notes to "Tough As Love," "I never expected to choose a female singing drummer from Halifax, Nova Scotia in easternmost Canada to be the newest member of the Alligator Records family. … Lindsay delivers blues, R&B and old school rock ‘n’ roll in a voice brimming with attitude and soulfulness. She’s described her music as “punk blues,” but that’s too narrow a term. She comes at every song with urgent intensity, soul-baring emotion, a distinct swagger and a take-no-prisoners confidence."

Beaver currently lives in Austin, Texas, after spending time in Toronto where she went to music school to hone her skills on a drum kit and where she led a band, the 24th Street Wailers. With them, she recorded five albums and while performing caught the ear of Jimmy Vaughan who encouraged her to check out the Austin scene and after a few visits, settled there in 2018, making new musical friends including her touring band of guitarist Brad Stivers and bassist Josh Williams. Musical influences include Billie Holiday, Nick Curran, The Ramones, Amy Winehouse, Sam Cooke, and Earl Palmer (her only influence on drums). She has guests on this recording that include Marcia Ball, Laura Chavez, Matt Farrell, Sax Gordon, Dennis Gruenling, and Eve Monsees.

She produced this recording, her Alligator debut and first under her name, She wrote 7 of the twelve songs and handled the vocals and drums. One is impressed with the opening tough blues "You're Evil," with Dennis Gruenling's harmonica adding to the energy of this performance and she scores a knockout with her husky, robust singing. She certainly can belt it out while Stivers blasts off on his guitar solo, if a bit frenetic. Her singing might be likened to Etta James with a rockabilly spirit, while she keeps a crisp shuffle groove throughout.

One of the highlights of this album is "Too Cold To Cry," a Louisiana blues styled number evoking Earl King's "Those Lonely Lonely Nights," with Marcia Ball on piano evoking Huey 'Piano' Smith, while Stivers channels Johnny 'Guitar' Watson. With Sax Gordon taking a blistering baritone sax solo, "What a Fool You've Been" sounds like vintage 50's West Coast rock'n'roll, while the rendition of Little Willie John's "You Hurt Me," is a terrific slow blues with Stivers channeling Ike Turner crossed with Otis Rush. Stivers shares the vocal on a tight original rock and roll performance with rollicking piano and a crisp guitar solo.

She does tone down her strong vocals on her cover of Slim Harpo's "Got Love If You Want It," which is wonderfully played. Stivers is excellent here as is Gruenling, while Beaver's crisp drumming is right on. "Oh Yeah" is another solid piece of rock and roll as she tells everybody to get wild, followed by another superb slow blues, Angela Strelhi's "Lost Cause." Another choice cover is a lesser known Art Neville song, "Let's Rock," with a fine vocal and strong backing including Matt Farrell's piano.

"Mean To Me" is another bluesy piece of rock'n'roll, crisply played with Stivers and Laura Chavez both soloing and then trading fours. It is a spirited close to an excellent recording. Lindsay Beaver is an excellent singer who brings plenty of passion to her vocals. Her original songs possess the spirit of classic rock'n'roll and blues. She is also a solid drummer who, along with Josh Williams, anchors a superb rhythm section on these wonderfully played and paced performances. Putting all this together and one has an exceptional release.

I received my review copy from Alligator. This review appeared in the January-February 2019 Jazz & Blues Report (Issue 382), although I have made corrections and minor changes. Here is a video Lindsay playing "Mean To Me."

Marcia Ball Shine Bright

Marcia Ball

Shine Bright
Alligator Records

It's been a 50 year run for Marcia Ball performing her mix of Gulf Coast blues and rhythm music and this is her seventh album for Alligator to go along 8 similar albums for Capitol, Antone's and Rounder. With her mix of a rollicking piano in the vein of Professor Longhair and Fats Domino and soulful singing influenced by the great Irma Thomas, she has been thrilling blues and roots audiences as a touring performer for nearly forty years. This latest recording was produced by Steve Berlin who adds baritone sax to many tracks with others heard here including guitarist Mike Schermer, organist Red Young, bassist Lee Allen Zeno and guitarist and accordionist Roddie Romero. Of course, Ball herself is at the center with her soul-laced singing and New Orleans-rooted boogie piano, as well as contributed nine originals to go with three interpretations of songs from other sources.

As to be expected there are plenty of hot grooves, rocking piano and searing guitar starting off with the title track and her fervent message of hope in these times and then followed by the second line funk of Ernie K-Doe's "I Got to Find Somebody" to love her right. Her piano captures on this the spirit of Allen Toussaint (who this album is dedicated to along with Fats Domino and Buckwheat Zydeco) and Eric Bernhardt's tenor sax solo is firming in the classic New Orleans tradition. There is more Crescent City fun on an original she wrote with Shelly King and Tim Cook, "When the Mardi Gras Is Over."

Gary Nicholson co-wrote, "They Don't Make 'Em Like That," with its complaint that the music of today doesn't hold up or is as lasting as the blues and country of yesteryear. Bernhardt shining. Mike Schermer co-wrote "Life of the Party," with its calypso groove along with Enrique Chi's fiery trumpet, followed by her heartfelt blues singing on Ray Charles' "What Would I Do." "Once in a Lifetime" is a soulful original where she advises the guys if it is really true love, make sure you treat her fine. Schermer takes a tightly constructed short solo. Then there is her heartfelt hope that we all come together on "World Full of Love," with just her piano, Young's organ and Schermer's acoustic guitar providing the effective, austere backing.

A boisterous zydeco-inspired rendition of Jesse Winchester's "Take a Little Louisiana," with Romero channeling Buckwheat Zydeco on accordion, is the finale of this Ball recording. This superb recording is full of first-rate material and splendidly sung and played music, that one has come to expect from Marcia Ball.

I received my review copy from Alligator Records. Here is a live studio session to promote "Shine Bright."

Mighty Mike Schermer Blues In Good Hands

Marcia Ball's guitarist since 2009, Mighty Mike Schermer has played with a who's who of blues and roots acts including most notably Angela Strehli and Elvin Bishop, and recorded with Ball, Bishop, Maria Muldaur, Howard Tate, Sista Monica and many more. He has a new release under his own name, "Blues In Good Hands" (Finedog Records/Vizztone), mostly recorded at Kid Andersen’s Greaseland Recording Studios in San Jose, CA, with an A-List of musicians from the Bay Area, CA and Austin, TX music scenes including Paul Revilli, Tony Stead, Steve Ehrmann, Austin Delone, Nancy Wright, Terry Hanck, along with guest appearances by Marcia Ball, Tommy Castro, John Németh, and Carolyn Wonderland. Schermer penned the 13 songs (three in collaboration with others).

Mostly recorded at Kid Andersen's Greaseland Studio, and mixed by Andersen, this varied recording benefits from the uncluttered and clean production of these crisply delivered performances. Schermer displays his many talents on the opening "Baby Don't Stop," with his appealing gritty vocals and keen guitar (there is a nice Hanck solo here) with the rhythm section very tight behind him. While he may have a narrow vocal range, Schermer's understated, unforced singing has considerable appeal appealing. "Heaven's on the Other Side," has a nice lyric about struggling in his everyday with bill collectors and car not running with a catchy hook about not minding to go through hell if heaven is on the other side. Set against a funky vamp, he has a fiery, concise guitar solo. "It's a Pleasure" is a lovely ballad while a reggae groove anchors the peppy "One Tear At a Time," and then there "Wait-On-Me Woman," with Greg Izor's harmonica along with the relaxed shuffle groove.

The title track with Schermer's mix of his own experiences (how seeing Albert Collins perform and  conduct himself, changed Schermer's life, as well as how he and Terry Hanck were affected by Junior Walker's passing),  inspired him to write and perform songs that everyone could understand, that were real which everyone could feel. I usually dislike 'keep the blues alive' songs, but Schermer's lyric and  solid playing make this an exception. "Most People," with twangy guitar and a swampy feel is suggestive of some of Bobby Charles' songs. Marcia Ball adds piano to the rollicking "Barkin' Up The Wrong Tree," while Tommy Castro adds some fiery guitar to the slow blues "Stop Crying," while John Nemeth adds harmonica to the lazy Jimmy Reed groove of "Baby Be Kind."

There is so much to like about this recording. Schermer is a marvelous songwriter, guitarists and a singer with wit and heart. With the strong backing throughout, this is a gem of a recording.

I received my review copy from VizzTone.Here is a video of him in performance.

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.

Pinetop Perkins Was A Ladies Man

This was a review I wrote back in 2004 that likely appeared in the DC Blues Society’s newsletter.

While Pinetop Perkins has recorded a number of albums, one limitation has been the fact that he has a small core of songs that he repeatedly records. While his performances are solid, one does wish to get some fresh material. M.C. Records has just issued a new Pinetop Perkins, Ladies Man which avoids some of these problems by having Pinetop record accompanying some blues women including Deborah Coleman, Susan Tedeschi, Madiline Peyroux, Ruth Brown, Marcia Ball, Angela Strehli, Ann Rabson and Odetta. I believe this was recorded around the time of the 2003 Handy Award shows which enabled these recordings to take place. Pinetop's renditions of Leroy Carr's How Long Blues and Wilbert Harrison's hit Kansas City, don't break new ground but are typically pleasant performances amiably sung. It certainly nice to hear Susan Tedeschi sing Ivory Joe Hunter's ballad Since I Met You Baby with nice accompaniment, while Odetta gives us a strong rendition of Trouble in Mind with Ruth Brown's revival of her old friend, Big Joe Turner's Chains of Love, to which she embellishes with her own sassy self.

Pinetop Perkins at
2005 North Atlantic Blues Festival
Photo © Ron Weinstock

I was not familiar with Madeleine Peyroux who sings the delightful vaudeville-styled He's Got Me Goin'. Deborah Coleman sings Meanest Woman, credited to Muddy Waters but really Tommy Johnson's classic Maggie Campbell Blues. Marcia Ball duets on piano with Pinetop on Pinetop's New Boogie Woogie while I believe Ann Rabson shares the piano on a lovely Careless Love. Angela Strehli salutes the pianist with Hey Mr. Pinetop Perkins, a song that takes at its premise Pinetop's tall story of having written Pinetop's Boogie Woogie, which was recorded by the legendary Clarence 'Pinetop' Smith in the twenties when Joe Willie Perkins was a wee boy. It may have been a signature number for him, leading him to be identified for the song, but it was not his song. However, the nonsensical lyrics did prevent me from enjoying her performance.

This was a varied and enjoyable release that is distinguished from much of Pinetop’s recordings.

Here is Pinetop performing Miss Ida B.

Tracy Nelson Superb Retrospective On Some Favorite Blues

The latest release, Victim of the Blues (Delta Groove) by Tracy Nelson serves to illustrate Etta James' appreciative description of Nelson as "… a bad white girl … ." Since her recordings with Mother Earth 40 years ago, Nelson has brought a deep soulful style to whatever she sings, whether blues, country or roots. More recently she has suffered a significant loss when the 100+ year old farmhouse she lived in near Nashville was destroyed by a fire. The firemen told her they could save one room of the house and her personal belongings, and she choose the studio where she recorded this new release.

The release is built around a number of vintage blues and soul performances that represented what she was listening to growing up in Wisconsin and being turned on this great music listening to WLAC out of Nashville. It is a return to her musical roots and what inspired her decades ago. And she realizes the contrast between this music and what is viewed as blues today. As part of a Chicago blues tour that played a variety of festivals she was struck that “The music I heard back in the day in Chicago and what I was hearing from the current crop of blues acts bore little relation to each other.” This led to the recording of the present album.

She is supported by a fine band on this including Jim Pugh on keyboards, guitarist Mike Henderson, bassist Byron House, and drummer John Gardner, with Marcia Ball gusting on piano on one track and Angela Strelhi adding supporting vocals to another. The result is a wonderful collection of performances opening with a marvelous rendition of one of Howlin’ Wolf’s lesser known recordings You’ll Be Mine, with Henderson’s guitar dazzling in its own way as Hubert Sumlin’s was on the original. The one relatively recent songs is Earl Thomas’ Lead a Horse to Water, with some wonderful Pops Staples’ flavored guitar by Henderson with Pugh’s electric piano part of the foundation. Marcia Ball adds some rollicking piano and a second vocal to a lazy Jimmy Reed shuffle Shoot My Baby, while Henderson adds some blistering slide, while another Reed number Its a Sin, slows down the groove for a soulfully sung lament.

There is one actual nod to a classic soul recording, Marcia’s revival of Joe Tex’s The Love You Save, while on the title track, originally recoded in the 1920s by Ma Rainey, Nelson heartfully revives this blues from the “Mother of the Blues” against Henderson’s banjo and Pugh’s spare piano accompaniment. She delivers the vocal as naturally and soulfully with this backing as she does with a hard rocking Chicago blues styled accompaniment. There are also solid renditions of Wolf’s Howlin’ For My Darling, James Cotton’s One More MIle, and Joe Tex’s lesser known soul classic The Love You Save.

The performances of “ Victims of the Blues are inspired by the original recordings, but never come across as copies or imitations. It also is noteworthy that with the exception perhaps of Howlin’ For My Baby and Percy Mayfield’s “Stranger in My Own Hometown, the songs themselves will be new to most listeners. Not only Nelson, but also her band invests plenty of personality that allows her to salute some of the performers and songs that provided inspiration and a musical foundation for her. The result is this stunning recording.

A publicity firm handling this release provided me a download of this release that is being issued on April 19.

Marcia Ball's Superb New "Roadside Attractions"

A new album by Marcia Ball, Roadside Attractions (Alligator) will be welcome by her many fans who certainly will enjoy this release with its gulf coast grooves. This CD is produced by Gary Nicholson who has produced Delbert McClinton amongst others. One point of special interest is that Marcia wrote or co-wrote all the songs on this, and they are excellent songs. The performances are first rate, with consistently strong backing, whether provided by a small combo or a slightly larger group with a horn section.

The rollicking title track finds Marcia singing about all the sights and wonders of the world she has seen in her years on the road. There might be 7 billion people on this world but she is still her man’s girl and she is coming home. The country-flavored wistful Between Here And Kingdom Come” celebrates life in a two lane highway and one red light small town while, We Fell Hard is a rocker sporting a hot New Orleans groove. Look Before You Leap, has a driving groove with a philosophical lyric about her mom warning her to look before you leap or she might find yourself in too deep in trouble.

I Heard It All is lyrically akin to Robert Cray’s Right Next Door (Because of Me). This song is about Marcia going to a regular Friday hotel rendezvous and hearing an argument in the next room. She soon realizes that the man she has been seeing is now begging his wife to take him back. Whereas in Cray’s recording, he is full of guilt for breaking up a marriage, Marcia cannot believe he is treating herself like that. She confronts the cheating husband in front of the wife, saying she heard it all and warning her that he cheated once and he will do it again. It is a marvelously nuanced vocal and performance. The mood shifts radically on the next track, funky Believe in Love, where she celebrates how her man keeps her believing in love. There is a terrific saxophone solo on this song.

This Used To Be Paradise, has a topical bent about how life in the gulf coast changed after the oil man changed things. The performance benefits from the understated lyrics and vocal along nice accordion in the accompaniment. Mule Headed Woman, is a wry, slow blues about Marcia’s man who will keep drinking “his whiskey, even if it is killing him.” Closing the album is the hot rocker, The Party’s Is Still Going On, and with Marcia, the party never ends. While that is true, the performances and lyrics here show increased thoughtfulness and sophistication. Marcia Ball is not only a hot tamale baby that can boogie the woogie, but is also a superb singer who brings to life the exceptional songs here. This explains in part why Roadside Attractions is so exceptional.


My review copy was provided by Alligator Records

Congratulations For Alligator's 40 Years of HouseRockin' Music

Alligator Records is celebrating its 40th Anniversary this year and as it has in past years, compiled, 40th Anniversary Collection, a two-CD compilation of 38 recordings from the label since it released Genuine Houserockin’ Music by Hound Dog Taylor, which label founder Bruce Iglauer says is the mantra that still governs the label, although he notes the label no longer just records blues, even if the artists are deeply rooted in the blues tradition.

Given the diversity of contents and the purpose of the CD it is not my intent to review the contents here. I suspect folks will find selections they don’t like and others they think are timeless. Besides celebrating Alligator Records, this compilation will hopefully introduce some of the artists and recordings that some may be unfamiliar with whether it is some vintage Koko Taylor and Albert Collins, or more contemporary acts like Michael Burks, Tommy Castro and Anders Osborne. There is a selection from the Grammy Award winning collaboration between Albert Collins, Johnny Copeland and Robert Cray as well as William Clarke’s reworking of Jimmy Witherspoon’s Daddy Pinnochio along with selections from current recordings by Roomful of Blues and Marcia Ball.

For each selection, Bruce includes comments on the artist and the particular recording, and at the booklet’s end he notes some of those performers he could not include which is a mini Blues Who Who in itself. I remember Bruce driving out to Buffalo in the mid-seventies in the middle of a snow storm trying to promote this young guitarist and singer by the name of Son Seals, and while he now has employees, he still is heavily involved at Alligator. The 40th Anniversary Collection is a vibrant celebration of the impressive (and still growing) body of Alligator Records and Bruce Iglauer

Alligator Records sent me my review copy.

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.

20080625-2008_Smithsonian_Folklife_Festival-1085

20080625-2008_Smithsonian_Folklife_Festival-1085
Originally uploaded by NoVARon

Texas, along with Bhutan and NASA (yes NASA) are featured at the annual Smithsonian Folklife Festival, which is held on the National Mall between Congress and the Washington Monument. A wide range of Texas music is featured including country and swing from the likes of Guy Clark and Jody Nix and The Texas Cowboys, Conjuncto from accordionist Mingo Saldivar, gospel from the Jones Family singers, zydeco from C.J. Chenier and older creole style music from Les Amis Creole, Augie Myers, Joe Ely, blues from Texas Johnny Brown (this week thru June 29) and Tutu Jones (next week July 2 through July 6). Also appearing will be Marcia Ball and Tutu Jones. There are two main stages for music at the Texas Exhibit, the Texas Opry House and the Texas Music Hall. It is this latter stage at which I caught Texas Johnny Brown performing today. Brown, who turned 80 in February, remains vigorous and was terrific with his urbane modern blues. He first recorded nearly 60 years ago, toured with Amos Milburn, Junior Parker, wrote Bobby Bland's "Two Steps From the Blues." Roger Wood, author of the essential books on Houston blues and Texas Zydeco was a presenter.

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.