Introducing Juanita Williams Big Mo

This one is a totally unexpected release that is likely to be one of my favorite records of 1994. A  singer who this reviewer had never heard of prior to this recording, Juanita Williams has been the lead vocalist for the Airmen of Note (U.S. Air Force) for the past 20 years and traveled around the world, as well as regularly singing with her church choir.  She grew up listening to Aretha Franklin, Etta James, Sarah Vaughn, Ella Fitzgerald, and Ruth Brown and sees herself as partly carrying their torch.  

The wide-ranging repertoire on her initial release gives an idea of her breadth and power as a singer.  She handles tough Stax soul, like Mabel John’s Another Man’s Place with as much authority as T-Bone Walker’s blues-ballad I‘m Still in Love With You.  Producers Pete Ragusa,  Ed Eastridge, and Mitch Collins took their time recording this over a year and a half, mixing in some of the best Washington, D.C. talents, including Nighthawks’ Mark Wenner and Danny Morris, Jimmy Thackery, and Chuck Underwood in addition to the three producers.  Jazz guitar legend Joe Pass is present on the superb reading given to I’m Still in Love With You, which along with the Bobby Bland classic, Two Steps From the Blues, receive warm readings. 

There are solid renditions of Little Walter’s Crazy ‘Bout You Baby, which is patterned after the Ike and Tina Turner reworking of this classic, and One More Heartache, which touches up on the Paul Butterfield arrangement (from The Resurrection of Pigboy Crabshaw album).  The arrangements on Ms. Williams' renditions of Little Milton’s That Will Never Do, and Chuck Willis’ It’s Too Late (S)he’s Gone, have touches of the King Curtis arrangements for Freddie King.  

There’s great playing, and generally great singing. She is a powerful singer, and while there are a few moments when she sounds a bit strident, that is a minor point.  And on Two Steps From the Blues and I’m Still in Love With You, she is compelling. Having been introduced to Juanita Williams, this reviewer is awaiting her next recording.

This was a terrific recording, and unfortunately, Juanita Williams has not enjoyed a more prominent musical career although still a riveting performer. I have been a bit slack in posting to the blog, and hope to remedy this. The review I posted today originally appeared in the June 1994 Jazz & Blues Report. I likely ran this review in the DC Blues Society newsletter. I have made minor stylistic and grammatical changes and corrections. I likely received a review copy from Big Mo. Here is a relatively recent performance from Juanita Williams.

The Nighthawks Tryin' To Get To You

The Nighthawks
Tryin' To Get To You
EllerSoul Records

With their 50th Anniversary coming towards the end of 2021, The Nighthawks have a new line-up but still show that they are a seminal American roots music band with this latest release. Joining original Hawk, Mark Wenner (vocals and harmonica) and drummer Mark Stutso (who has been with the band 10 years are guitarist Dan Hovey and bassist Paul Pisciotta. Traveling the blues roots highway, There are two originals from Hovey and two from Stutso and his longtime collaborator Norman Nardini, and nine covers of songs that have not been overdone to death.

Pisciotta replaces Castle seamlessly as a rhythm duo, while Hovey certain displays his own flair as a guitarist. Mark Wenner remains a robust vocalist and his horn-like harmonica playing is still at the top of his game. They open up with a lesser-known Jimmy Reed number with Wenner taking the vocal lead on "Come Love," as the band hits a lazy shuffle groove. Wenner also handles the vocal on the title track that Elvis originally recovered. The Nighthawks version has a definite country feel. Wenner transforms The Manhattan's "Searchin' For My Baby," into a chugging blues performance.

I believe it is Hovey taking the vocal on a relaxed cover of T-Bone Walker's "I Know Your Wig Is Gone," with his jazzy jump guitar joined by Wenner's horn-like solo. Hovey sings strongly on the brooding rendition of Hank Ballard's "Rain Down Tears," and a fine interpretation of Los Lobos' "Don't Worry Baby." Then there is the unplugged groove of Hovey's "The Cheap Stuff," with Wenner channeling the second Sonny Boy Williamson.

With Hovey channeling Jimmy Nolen, Stutso potently handles James Brown's "Tell Me What I Did Wrong." There is an urgent quality in Stutso's of his original, "I Hate a Nickel," with its memorable tagline, "cause it ain't a dime." It is not his only impressive vocal. He sings a superb rendition of the "Chairman of the Board" (originally recorded by the group of the same name). Set against the "Mannish Boy" groove, Stutso tears into the lyric with the band solidly backing him.

The Nighthawks keep rocking and roiling down the blues highway. "Tryin' To Get To You" is another splendid addition toothier discography.

I received my review copy from a publicist. Here is a set of the Nighthawks performing in Takoma Park, Maryland, in 2019.

Mark Wenner’s Blues Warriors

Mark Wenner’s Blues Warriors
EllerSoul Records

Talking about the Blues Warriors, Mark Wenner observes, “This band is actually a blues band,” says Wenner, addressing comparisons to the ‘Hawks. “The Nighthawks are a blues and roots-rock band. This band, with upright bass, is more authentic, old school and swinging. It’s closer to the Cash Box Kings than J. Geils; a whole different animal.” Having seen some of the Blues Warriors early performances at JV's, the Falls Church, Virginia local roadhouse, I am pleased to see this eponymously titled recording document the band. Joining Wenner on harmonica and vocals are fellow Nighthawks mate Mark Stutso (drums, vocals), Clarence “The Bluesman” Turner (guitar, vocals), Zach Sweeney (guitar) and Steve Wolf (upright bass). Turner is a popular performer on the DC blues and music scene (He wonder the DC Blues Society's Battle of Bands several years ago), while Wolf has played with so many blues and roots performers including Danny Gatton, Tom Principato and most recently with Memphis Gold, and like Wenner, I remember Zach Sweeney when he was too young to play blues jams without his parents. He recently returned to the area after some serious road experience with Wayne Hancock.

Musically there will be little to surprise the listener with the 12 performances, only one of which is an original. These are solid performances starting off with Turner's revival of Muddy Waters' "Diamonds at Your Feet." This is one of several fine vocals by Turner which also include a lesser known Big Joe Turner recording "Rock a While"; Muddy Waters' "Just to Be with You" and Elmore James' "Dust My Broom." Wenner's harp and the piano-less quintet provide a different feel to these especially on the Joe Turner and Elmore James numbers (with Wenner's harmonica dominating the backing on the latter number)..

Wenner is strong in reviving Elvis' "(Let Me Be Your) Teddy Bear," as a blues as well as his rendition of "Checkin' On My Baby" which owes more to Junior Wells than Sonny Boy Williamson. Among Wenner's other vocals is a straight reading of Slim Harpo's "King Bee," a stomping swamp blues rendition of the Fats Domino "Hello Josephine," and an instrumental Jimmy Reed tribute, "Just For Jimmy." Mark Stutso, who is highly underrated as a singer does a superb take on B.B. King's "It's My Own Fault." There is a fine take of "The Hucklebuck" that showcases Sweeney's impressive, jazz-laced single note runs along with a fine Steve Wolf bass solo. Sweeney also impresses on his solo on "Rock A While."

While several of these performances are modeled after the source recordings, Wenner's harp and the lack of piano provide a fresh take on several numbers including "Teddy Bear," "Rock A While," and "Dust My Broom." As previously stated, these are solid performances, played with much conviction and result in a very entertaining recording.

I received my review copy from a publicist. This review has appeared in the July-August 2018 Jazz & Blues Report (Issue 379). Here they are seen performing "The Hucklebuck," at their regular performance at JV's in Falls Church, Virginia.

The Nighthawks All You Gotta Do

The Nighthawks
All You Gotta Do
EllerSoul Records

I believe this is the fourth album by the current lineup of The Nighthawks when Mark Stutso replaced Pete Ragusa on drums, joining Mark Wenner on harmonica, Paul Bell on guitar and Johnny Castle on bass. It is another generous helping of blues and roots rock by one of the hardest working bands around with as eclectic a group as songs as they have ever recorded ranging from the opening updating of a Brenda Lee recording "That's All You Gotta Do" sung by Mark;  Willie Dixon's "Baby, I Want To Be Loved"; to Jesse Winchester's "Isn't That So"; to a rowdy rendition of Randy Newman's "Let Burn Down the Cornfield."

Highpoints include Stutso's singing on Larry Campbell's country gospel song "When I Go Away," that served as Levon Helm's personal farewell, his original hoodoo blues, "VooDoo Doll," and a wonderful swamp pop ballad "Three Times Your Fool"; Bell's stunning slide guitar backing on "Let Burn Down the Cornfield"; Wenner's harp and vocal on a rollicking cover of the second Sonny Boy Williamson's "Ninety Nine," his swamp blues reworking of Winchester's "Isn't that So" with marvelous tremolo laced guitar from Bell, and the instrumental recasting of "Frere Jacques" as "Blues For Brother John," with some jazzy playing from Bell; the band's reworking of R.L. Burnside's "Snake Drive" with terrific harp and slide; and Castle's grungy garage rock rendition of the Standell's "Dirty Water," with references to Boston changed to DC and Bell's guitar solo evoking the group, Them.

Other than the range of material, there will be no surprises for fans of The Nighthawks on another solid addition to their large body of recordings.

I received my review copy from a publicist. Here is an August 2017 performance by The Nighthawks.

Blue Rider Trio Harp, Steel and Guts

Blue Rider Trio

Harp, Steel and Guts

Mapleshade 06932

Salty Dog-1/ Easy Rider-1/ Last Fair Deal Going Down-1/ Death Have No Mercy In This Land/-1 Ride ‘Till I Die-1/ Make Me A Pallet -2/ Black Betty-1/ Stagolee/ Sweet Home Kokomo-1/ Silver City Bound/ Long Tall Mama-2/ See See Rider-1/ Diddy Wa Diddy-1. 47:43.

Ben Andrews, g, vcl; Mark Wenner hca-1; Jeff Sarli -b-1; Larry Willis-2. 12/99-01/00. Upper Marlboro, MD

The Blue Rider Trio is a Washington, D.C. area-based acoustic blues trio centered around Ben Andrews’ guitar and vocals. The Trio also includes Mark Wenner (of the well-known band, the Nighthawks) on harmonica, and Jeff Sarli (currently with John Mooney, and formerly with Big Joe & the Dynaflows and Bill Kirchen & Too Much Fun) on acoustic bass. "Harp, Steel and Guts" is the second Blue Rider Trio Mapleshade release, although the disc includes a couple solo tracks by Andrews and two duets by Andrews with pianist Larry Willis. 

While often described as a delta blues stylist, Andrews’ blues is as indebted to the East Coast blues tradition (particularly Blind Willie McTell), the music of Leadbelly, and the early city blues of Big Bill Broonzy and the like. Andrews is a very skilled guitarist, whether playing a slide solo or tear off a fingerstyle run. Throughout he maintains a steady, unhurried, rhythm. Andrews also injects plenty of personality to well worn songs. His version of Robert Johnson’s “Last Fair Deal Gone Down” transforms the Johnson lament in an lively East Coast blues with very nice slide guitar picking. “Sweet Home Kokomo” is less distinctive, and owes much more to Johnson’s “Sweet Home Chicago” than it does to Kokomo Arnold’s “Kokomo Blues.” Sarli consistently provides a steady rhythmic anchor and Wenner adds a most sympathetic accompanying voice. His atmospheric playing adds to Andrews’ solemn treatment of Reverend Gary Davis’ stark “Death Have No Mercy In This Land.” 

Andrews’ rendition of “Stagolee” is derived from Mississippi John Hurt’s recording, while “Silver City Bound” was originally a Leadbelly tribute to Blind Lemon Jefferson. The two duets with pianist Larry Willis are disappointing as Willis sounds a bit tentative accompanying Andrews. Occasionally the performances comes off a bit too self-conscious as on “Easy Rider”, but overall, this is music that has captured Andrews’ passion for many years and it sounds as if he is far from being bored with the songs here. One gaffe in the packaging has “See See Rider” called “C.C. Rider on the back tray card.

I received my review copy either from Mapleshade or from Cadence, in which this review originally appeared in 2001. This is available and also as part of "Early Morning Blues: The Complete Blue Trio Sessions." Ben Andrews passed away in 2011 and was only 51. I had the pleasure of knowing him and see him play numerous times and miss him. Here is a 1990 performance of "Gallows Pole."

The Nighthawks Hold a Back Porch Party

 

As R. Keith Owens observes in his brief notes for The Nighthawks new album "Back Porch Party" (Eller Soul Records), it is sort of a follow-up to the group's "Last Train To Bluesville," being an acoustic, unplugged session recorded before a studio audience. This edition of the The Nighthawks has been pretty stable personnel wise since Mark Stutso replaced Pete Raguso on drums, joining original member Mark Wenner (harmonica), guitarist Paul Bell (guitar) and Johnny Castle (bass). There is choice selection of material including songs from Jimmy Rogers, Muddy Waters, Willie Dixon, Lightnin' Slim and Ike Turner mixed in with originals from band members.

There really isn't much new to say about the music here. The Nighthawks are a terrific working band which can be heard in these unplugged performance whether Wenner's lead off on a brisk-paced take on Jimmy Roger's "Rock This House," followed by some back porch twang on the old patsy Cline classic "Walkin' After Midnight." Bell's chording and single note fills are marvelous embellishments as Castle and Stutso keep a relaxed groove. It is fascinating to listen to Bell play acoustically on the Ike Turner and Rhythm Kings' "Matchbox," which features some nice singing from Stutso who also delivers a nice original with a swamp pop tinge, "Down To My Last Million Tears."

Bell's guitar supplies a rockabilly touch to the rendition of a Willie Dixon song recorded by Muddy Waters' "Tiger In Your Tank," while a similar feel is heard on Castle's "Jana Lee" whose melody evokes the cajun-rock hit "Sugar Bee." Muddy Waters' classic take on the "Catfish Blues" theme, "Rollin' Stone" receives a straight interpretation while Wenner also plays homage to Lightnin' Slim on an easy rocking cover of "Rooster Blues." There is more fine guitar and harmonica throughout along with the clean, crisp rhythm. "Back Porch Party" is another welcome addition to The Nighthawks body of recordings and a worthy successor to their previous unplugged recording.

I received my review copy from a publicist. This review originally appeared in the May-June 2015 Jazz & Blues Report (Issue 360). Here is a video of The Nighthawks. It is not unplugged but is of a song associated with Muddy Waters.

The Nighthawks 444

It has been a couple of years since The Nighthawks had a new recordings and EllerSoul has just issued 444. This is the second CD since drummer Mark Stutso joined original Nighthawk, Mark Wenner (harmonica), Paul Bell (guitar) and Johnny Castle (bass) and is a nice mix of blues and real rock and roll that continues the band’s four decades plus musical journey.

The music is a mix of originals and forgotten musical gems such as The Du Droppers Walk That Walk that kicks this disc off on a rocking groove followed by a solid rendition of the Tracy Nelson-Gary Nicholson Living the Blues that showcases Wenner’s formidable harmonica playing along with the crisp instrumental and vocal backing. Castle wrote 444 A.M. which provided the album with its title with Bell adding some rockabilly touches on his solo (reminiscent of Castle’s one-time employer, Bill Kirchen) on a bit of kick-ass rock and roll. Stutso takes the vocal on the impressive bluesy reworking of You’re Gone, a bluegrass original borrowed from Stutso’s brother-in-law.

Wenner’s Honky Tonk Queen comes off as a cross of early seventies Rolling Stones and honky tonk country followed by the hot rockabilly reworking of Got a Lot of Livin’ from Elvis’ movie Lovin’ You. In contrast the rendition of Crawfish, from the film, King Creole, has a swampy feel. Castle sings High Snakes, a moody lament of lost love, that he co-wrote with Bill Kirchen. Stutso provides a forceful vocal on a Gary Nicholson’s Nothin’ But The Blues. Wenner does a straight cover of the Muddy Waters classic, Louisiana Blues, before the album closes with Castle’s lovely country-folk number Roadside Cross that closes this recording on a different musical tenor.

444 is more of a roots recording with country and rock influences mixed with the band’s blues foundations. Solidly played and performed, the appeal of 444 will extend beyond the band’s existing fans to those who love American roots music.

I purchased this as well as subsequently received a review copy from a publicist.  Here is a video of them in performance doing a couple songs from the recording.

The Nighthawks Provide Another Damn Good Time!

The new album by The Nighthawks, Damn Good Time! is the first release by the venerable blues and roots band for the Severn label. It is also the first album since Mark Stutso replaced original Nighthawk Pete Ragusa on drums and vocals. Still with the Nighthawks is original member Mark Wenner on vocals and harmonica; Paul Bell on guitar and Johnny Castle on bass and vocals. As Mark Wenner observes, Stutso has now been with the band for years and 500 shows so the rhythm duo of Castle and Stutso provide a strong foundation as well as provide distinctive singing voices.

The feel of the playing here is a bit more of a country-tinge to these ears which shouldn’t be surprising given that Castle and Stutso have a bit of garage rock, rockabilly and country in the background. The country flavor is perhaps displayed most on Bring Your Sister, a pop-ish number that Castle handles the vocal on. An old Elvis recording, Too Much, is transformed with a lazy blues shuffle groove with Wenner taking the lead vocal and adding some nice harmonica. The title track originally a country number that is given a bluesy transformation which suggests Taj Mahal’s She Caught the Katy, with a strong lead vocal from Stutso and Wenner’s harmonica embellishments and solo is right on the money.

Other material includes Wenner’s interpretation of Nat King Cole’s stab at rock’n’roll, the bluesy ballad, Send For Me, while Castle energetically sings the lively revival of Jimmy McCracklin’s Georgia Slop, with Wenner’s harmonica coming off as a one-man horn section. Nightwork is a nice shuffle that the Nighthawks picked up from Billy Price and features Wenner on vocal and nice guitar from Paul Bell. Wilbert Harrison did the original Let’s Work Together as a one-man band. The able rendition here, with Stutso taking the lead, owes a bit to Canned Heat‘s cover version. Wenner handles the vocal on the jump-blues Smack Dab in the Middle, while Down to My Last Million Tears, is a swamp pop styled song with a bluesy edge and a fervent Stutso vocal.

Damn Good Time! is another fine effort in The Nighthawks extensive body of recordings that certainly will appeal to the many who flock to their shows every year. It exhibits that soulful singing and strong, rocking ensemble playing that they continue to lay down decades after they first started down the blues highway.

I received my review copy from a publicist. Here are The Nighthawks in performance.

Bid Daddy Stallings Throws A Blues Party

“I’m Charles’ Big Daddy’ Stallings and I approve these blues,” the gentleman from Baltimore proclaims on the introductory track of his third CD, Blues Party (Tai Jeria Record Company). Stallings, who became prominent in the Baltimore-Washington scene about five years ago, brings a down home blues style with a band that mixes traditionally oriented Chicago blues with classic sixties and seventies rhythm and blues. There is a variety of folk handling the backing here including Gail Parrish or Ronald Bland on bass; Russell Hayward II or Bill Pratt on drums; Joe “E Flat” Thomas on saxophone, and Clarence Ward III on trumpet, and Steve Levine on harmonica. Mark Wenner of the Nighthawks adds the down home harp for the Intro, and Down on the Farm. There is plenty of music here, with 16 original songs bookended by his intro and thank you tracks

The title track is a nice good times track, followed by the somewhat salacious “Horny Bee, with a Jimmy Reed groove and some biting lead guitar from Leroy Flowers, Jr, has Stallings grittily delivery the vocal. Riffing horns embellish the simple groove of Fine Lady, that displays Stallings’ simple lyrics and rustic vocal with him taking a stinging solo. Down on the Farm, a lazy, rustic piece of blues story-telling is perhaps the most memorable track here, as he recalls growing up on the farm and the hard life down there with Mark Wenner contributing the harmonica here. Swing 2010, is an instrumental (perfect for dancing) with Washington keyboard legend Jackie Hairston on organ, a hot trumpet solo from Ward and sax solo by Carlos Johnson. 

She’s Gone is a lament about Big Daddy’s baby having gone and left him all alone because he did her wrong, while Knocked Up, has his wondering about why so much teenage pregnancy. In Love With Yourself, is a nice soul ballad about one’s marriage ending and no fun to be in love by yourself. After a brief spoken introduction, organist Hairston and saxophonist Johnson are featured on the jazzy The Lucy Number, while Clarence Ward’s trumpet blasts off James, a funk tribute to the Godfather of Soul,” with tough horns and a strong groove, followed by a couple nods to disco-life, I Wanna Dance, followed by his salute to Latin Girls, another number with a dance groove and a percussion break down. Big Daddy closes  asking us to put some Blues in Your Funk, with nice harmonica (I presume Steve Levine since it is not credited in the booklet) and brassy horns.

On Old Folks, a slow blues with nice guitar, Stallings sings,”Keep those bloomers on Granny, Grandpa ain’t giving up no love tonight.” While it has some catching lines like most of the record, the lyrics sometimes come off as simply strung together by some common theme. In sense, its perhaps best to enjoy the music and songs and not analyze the words too much. Big Daddy brings plenty of heart to his music and the band is tight behind him. There is plenty of music hear (nearly 80 minutes), if one just gets into the spirit, then one will have a Blues Party. This is available from cdbaby or on itunes. Big Daddy Stallings website is http://www.bigdaddystallings.com.

My review copy was provided by Charles ‘Big Daddy’ Stallings and this review appeared in the June 2010 Jazz & Blues Report (Issue 326).

Big Daddy's Stallings Blues Evolution

There is plenty of blues talent in many cities of any size. Often responsibilities of raising a family and earning a living derail or suspend musical careers. One of the delightful surprises of the past few years in the Washington DC area has been the emergence of Charles ‘Big Daddy’ Stallings and this review appeared several years back in the DC Blues Society newsletter. A review of his most recent CD will be posted in a few days.

B-Town (Baltimore) bluesman, Charles ‘Big Daddy’ Stallings, has just issued, Blues Evolution (Tai Jeria Music), a follow-up to his praised debut One Night Lover. Stallings is a highly likable performer who brings a bit of down-home flavor to his performances. The strength of the performances are the vocals and the solid accompaniments behind him. The mix of horns and fine down home harp (mostly contributed by Nighthawk Mark Wenner, but Steve Levine is also present on a track or two) is nicely done and saxophonist Joe ‘EFlat’ Thomas, responsible for the arrangements, merits mention.

Stallings is at his best on a nice Jimmy Reed groove like on Going Down South, Hard Times - Good Times and the fantastical 2999. Hobbsville #2 is a slow down-home talking blues that is a follow-up of the talking blues on the first track as he talks about growing up, family and Friday Night Fish Fries with some telling harp from Mark Wenner, although the tempo slowly accelerates during this performance tossing in a bit of Jimmy Reed’s Upside Your Head. Elsewhere there are plenty of good-time grooves and songs like Blues Line Dance and Blues Cowboy certainly will get the dance floor full.

The only significant weakness are the lyrics which don’t cohere and some (like 2999) are fantastical. There are plenty of overlooked songs that do merit revival which Stallings performs during his live performances and he should consider addling some in to the mix on his next recording project. Still his band provides very danceable grooves (swing dancers will love this) and Big Daddy Stallings delivers the songs with feeling and humor that the music’s good-time sensibility wins listeners over. This is available from cdbaby.com and downloadable on itunes.

I received a review copy from the artist. Here is a video of Charles 'Big Daddy' Stallings in performance.

Nighthawks Spin Blues Unplugged But True.

It has been a long ride for drummer Pete Ragusa with the Nighthawks. “Live at Bluesville” (Rip Bang Records) recorded for Bill Wax’s XM-Sirius program, is Ragusa’s swan song for the Hawks as Ragusa ends a 35 year stint as drummer for this deservedly popular blues and roots band. He will be replaced by Mark Stutso, leaving harmonica player and singer Mark Wenner the sole remaining member of the band from its early days. Bassist Johnny Castle and guitarist Paul Bell are now well established in the band.

On this visit to Bill Wax at XM’s Washington DC studios, they Nighthawks unplugged which provided a more intimate, but no less fervent, context for a number of songs that are well established in the band’s repertoire. Opening tunes with Wenner handling the vocals include a swinging rendition of “The Chicken & the Hawk,” followed by Muddy Waters’s “Nineteen Years Old,” with some very solid slide from Bell. Ragusa sings the James Brown raver “I’ll Go Crazy,” with Wenner wailing on harmonica. Johnny Castle takes the gravelly vocal on Bo Diddley’s “You Don’t Love Me,” with Wenner taking the lead on Slim Harpo’s “Rainin’ in My Heart,” (I know Peppermint Harris wrote it), a performance in which the unplugged format really enhances the performance. It is followed by a lovely rendition of Muddy Waters’ “I Can’t be Satisfied,” with more nice slide from Bell who with Wenner takes the harmony vocal behind Castle on Chuck Berry’s “Thirty Days.” The vocal mike returns to Wenner for solid renditions of Rice Miller’s “Mighty Long Time,” with some very evocative harp; Little Walter’s Temperature,” retitled here “High Temperature”; and “Rollin’ & Tumblin’ modeled after the Baby Leroy Foster Trio recording with Muddy and Little Walter, although not nearly as raucous as Foster’s original two-sided 78.

This is a fun disc with a change of pace as the band handles songs that will be very familiar to the Nighthawk’s many fans world-wide. Ragusa has always been an exceptional drummer of considerable range and taste, and on this recording plays a snare drum, ably propelling these very ingratiating performances on a delightful album. He will be fortunately engaging in a variety of projects in the Washington DC area, so those fortunate enough to live around will still have opportunities to enjoy his playing.

For purposes of FTC regulations, my review CD was provided by a publicity firm promoting this release.