The Nick Moss Band Feat. Dennis Gruenling Lucky Guy!

The Nick Moss Band Feat. Dennis Gruenling
Lucky Guy!
Alligator Records

About the previous album by The Nick Moss Band, "The High Cost of Low Living," I observed that "there is strong and varied material (including choice songs to cover), very good singing, and excellent playing. This is also wonderfully recorded, resulting in a superb straight-no-chaser Chicago blues recording." Now, guitarist and vocalist Moss, along with harmonica wizard and vocalist Dennis Gruenling, return with this new disc. Others in the band include Taylor Streif on keyboards and background vocals; Rodrigo Mantovani on bass and background vocals; and Patrick Seals on drums and background vocals. Kid Andersen adds rhythm guitar to several tracks as well as baritone guitar and mandolin, and Mighty Mike Welch plays lead guitar on one track. The album was co-produced by Moss and Andersen and recorded and mixed by Andersen at Greaseland Studios. 13 of the 14 tracks are originals with Moss having written 11 and Gruenling two.

Moss plays and sings with considerable authority, although 'occasionally' his diction can come off as a little mush-mouthed (in the manner of Junior Well and Carey Bell) as on the rocking paean to his hometown "312 Blood" where Moss celebrates his hometown of Chicago. Streif takes a two-fisted solo, while Gruenling wails on his break before Moss adds to the instrumental fire. Johnny O'Neal Johnson's "Ugly Woman" shows the wit Moss's performance can bring. It is one of the tracks with uncredited horns with Gruenling riffing behind the vocal, and Streif takes a rollicking solo. The title track is an upbeat shuffle with scintillating guitar and a solid vocal before Gruenling's soaring sax-like harp solo. Moss' own solo shows how much of the Chicago blues guitar tradition he has absorbed in developing his superb attack.

Moss' "Sanctified, Holy And Hateful," set to the melodic theme of "Half Ain't Been Told," is a stellar slow blues about the hypocrisy of certain evangelicals with a terrific vocal, Gruenling's robust chromatic harp playing and Moss playing with so much passion here. Gruenling shows himself to be a capable vocalist on his hot shuffle, "Movin' On My Way," with Moss and Kid Andersen taking crisp solos and trading fours with Gruenling's swooping horn-like harp taking this performance out. Moss follows this up with the relaxed, mellow feel of "Tell Me There's Nothing Wrong," with Gruenling taking a tasty solo in a Sonny Boy Williamson vein followed by Moss' shattering solo. "Me and My Friends" is set to a groove that evokes Phillip Walker and Jimmy McCracklin ("Steppin' Up In Class") with horns adding to the atmosphere here. "Simple Minded" had Andersen on mandolin, and the performance brings back memories of the late Johnny Young with Gruenling playing in a Walter Horton manner and Streif hinting at Otis Spann.

"Hot Zucchini" is an instrumental in the vein of Booker T & the MGs with greasy Hammond B-3 from Streif, stinging guitar from Moss and riffing horns. Another instrumental, "Cutting the Monkey's Tail," provides space for Gruenling and Moss to shine. The concluding track, "The Comet," is an atmospheric Muddy Waters styled blues that is a tribute to the late Mike Ledbetter with whom both Moss and Monster Mike Welch had played. The two duet with Welch taking the lead (and soloing in accompanying Moss' vocal. While the contributions of Moss, Grueling and Streif have been spotlighted, one cannot ignore the first-rate backing provided by Mantovani and Seals. This is one terrific band, and given the authority and imagination that Moss, Gruenling, and Streif play with, blues fans are in luck with the fabulous "Lucky Guy!"

I received my review copy from Alligator. This review appeared in the September-October 2019 Jazz & Blues Report (Issue 386) although I made minor stylistic changes. Here is a recent performance by Nick Moss with Dennis Gruenling.

 

The Nick Moss Band Feat. Dennis Gruenling

The Nick Moss Band Feat. Dennis Gruenling
The High Cost Of Low Living
Alligator Records

As Tom Hyslop observes in his liner notes to this new Nick Moss recording, it marks Moss' return "to traditional Chicago and jump blues and old school rock'n'roll after his recent explorations into bluesy rock and jam blues stylings." Moss apprenticed with the likes of Jimmy Dawkins, The Legendary Blues Band and Jimmy Rogers. before his own solo career. He has recorded 12 albums on his own Blue Bella label before this Alligator Records debut. Moss' influences include B.B. King, Freddie King, Earl Hooker, Magic Slim and other groundbreaking players.

Moss' new band includes the vocals and harmonica of Dennis Gruenling, whose full throated harmonica reflects the inspiration of James Cotton, Little Walter and George “Harmonica” Smith and saxophonists, including Lester Young and Red Prysock. Like Moss, he has seven fine solo recordings to his credit. Others heard on this recording are Taylor Streiff on piano, Nick Fane on bass and Patrick Seals on drums. Also present on several selections are Kid Andersen (who engineered this and co-produced this with Moss) on guitar and shakers; Jim Pugh on organ; Eric Spaulding on tenor sax and Jack Sanford on baritone sax. Moss contributed eight songs, Gruenling two, and there are three covers.

This return to straight, real deal Chicago blues by Moss is superb. The original material is first-rate (full of wit and pathos), Moss and Gruenling are solid vocalists, and playing (leads and backing) is top-notch. With horns in the background, Moss kicks off this recording with some Johnny Guitar Watson sounding guitar on "Crazy Mixed Up Baby," with Gruenling coming in for the first solo break before Moss explodes on the second break on a crisp West Coast blues. It is followed by an amusing shuffle "Get Right Before You Get Left," with a groove updating Howlin' Wolf's Memphis boogie recordings. It has  more terrific harp and Moss sounds like he's channeling Willie Johnson. Some tough Elmore James flavored slide and rollicking piano help propel the driving title track with its ironic lyrics. Gruenling's "Count on Me," is a bit of classic rock and roll led by his full-toned harmonica and more strong piano.

There is a solid cover of Otis Spann's "Get Your Hands Out Of My Pockets," that has Gruenling evoking vintage James Cotton. "Tight Grip On Your Leash," is a rollicking shuffle about this 'cool little number." The title "He Walked With Giants (Ode To Barrelhouse Chuck)," says it all with an affectionate lyric delivered with plenty of heart by Moss with Streiff again standing out. These ears detect Jimmy Dawkins' influence on Moss' guitar here, while Gruenling just kills it on chromatic harmonica. "All Night Diner," is a hot instrumental feature for Gruenling, with organist Pugh and Moss playing in a jazzy vein.

A bouncy rendition of Boyd Gilmore's recording "Rambling On My Mind," strongly closes this recording. As stated, there is strong and varied material (including choice songs to cover), very good singing, and excellent playing. This is also wonderfully recorded resulting in a superb straight-no-chaser Chicago blues recording.

I received my review copy from Alligator Records. Here is a clip of the Nick Moss with Dennis Gruenling

 

Kilburn Alley Blues Fresh Yet With Strong Roots

Blues Music Award nominees, The Kilburn Alley Blues Band, want to Tear Chicago Down, the title of their new Blue Bella release. Produced by Nick Moss, the focus on this band is on the ensemble, and as James Walker's notes emphasize the songs here are not guitar-hero, guitar solo driven. The band is comprised of singer-guitarist Andrew Duncanson; guitarist Josh Stimmel; harp player Joe Asselin; bassist Chris Breen and drummer Ed O’Hara. Producer Moss and Gary Hundt enhance several tracks as well. The playing is terrific throughout and Duncanson is a strong vocalist. All the songs are originals with plenty of variety in tone and style. The title track is a funky burner with Abraham Johnson joining Duncanson on the vocal; Fire With Fire is a torrid shuffle with some terrific harp throughout by Asselin; while Crazier Things is a strong performance that evokes the classic Muddy Waters ensemble with Hundt’s mandolin effectively supporting and Stimmel’s slide work is styled in the fashion of Muddy’s classic sound. The longest track is the slow blues, It’s a Pity, evokes Junior Wells’ treatment of Early in the Morning as Duncanson playing brilliantly in the vein of the Buddy Guy back in the sixties and harpist Asselin adds fills behind the vocal as well as takes a tough solo. Lay It Down places new lyrics to the melody of Little Walter’s recording, Mellow Down Easy. Asselin wails on his solo and the rhythm section of Breen and O’Hara gets a tight groove rocking and never lets it go. Come Home Soon and The Weight of You are more in the soul vein with Duncanson singing capably in a Sam Cooke vein on the latter. Like producer Nick Moss’s own recordings, this album captures the sound of the classic Chicago blues of the fifties and sixties with the members own take. They play inspired and are far removed from those that slavishly copy the old masters as well as the one-dimensional guitar-rockers. Highly recommended.

Outstanding New Blues Recordings of 2007

The first of three posts to include CDs that I consider outstanding releases of 2007. This focuses on the blues and soul releases. I have links to reviews posted on this blog.

Carey Bell & Lurrie Bell - Gettin’ Up Live (Delmark) Last recordings of harp icon with son who played DC many times. Also available on DVD.
Lurrie Bell - Let’s Talk About Love (Aria B.G. Records) Excellent disc by Carey's son
Nappy Brown - Long Time Coming (Blind Pig) Excellent disc by veteran singer with DC area's Big Joe Maher on drums
Franklin & Baytop - Searchin’ For Frank - (Patuxent) DC area artists doing terrific acoustic blues
Billy Gibson - Southern Livin’ (Inside Memphis)
ZZ Jill Jr - Goin' To Mississippi (Delta Roots) Great soul blues recording by Chicago based singer
The Holmes Brothers - State of Grace (Alligator) Marvelous album that defis categorization
Marie Knight - Let Us Get Together: A Tribute to Reverend Gary Davis (MC) (Inspired tribute to the legendary fingerpinker)
Frankie Lee - Standing at the Crossroads (Blues Express) One of my favorites singers.
Lady Bianca - Through A Woman's Eyes (Magic-O) Amazing good singer and pianist. Marcia Ball has nothing on her.
Little Milton - The Last Concert - (Juke Joint Media). The last performance a few weeks before he suffered stroke and passed. I have DVD but I believe there is CD of this. I was there.
New Orleans Rhythm Conspiracy -Dancin' Ground (self-produced). Post-Katrina band formed by members of Walter Woilfman Washington's RoadMasters, bassist Jack Cruz and drummer Wilbert 'Junkyard Dog' Arnold along with guitarist George Sartin with Uganda Roberts, Jimmy Carpenter and the Wolfman present on a set of blues, soul-funk and Mardi Gras Indian chants. Marilyn Barbarin and Tyrone Pollard handle the vocals with Brother Tyrone covering Blue Moon Risin', one of my favorite Wolfman Washington recordings (Wolfman and Cruz wrote it) updated for post-Katrina comments.
Nick Moss & the Flip Tops - Play It ‘Til Tomorrow (Blue Bella) Great double album of Chicago blues, one electric in style of Magic Slim and the Teardrops and the other acoustic
John Németh - Magic Touch (Blind Pig)
Darrell Nulisch - Goin’ Back to Dallas (Severn)
Papa Grows Funk - Mr. Patterson's Hat (self-produced) Latest recording by New Orleans and his jamming funk band that includes guitarist June Yamagishi, and drummer Jeffrey 'Jellybean' Alexander
Big Pete Pearson - I’m Here Baby (Blue Witch)
Tad Robinson - A New Point of View (Severn)
Ryan Shaw - This is Ryan Shaw (Columbia) Amazing twenties singer brings Wilson Pickett and others to life
Roscoe Shelton - Save Me (SRV Blue Late veteran Nashville R&B blues shouter
Various - House Rockin’ and Blues Shoutin’!, (Blue Witch)

Nick Moss's Invigorating Chicago Blues

Writing about Nick Moss & the Flip Tops, Bill Dahl notes that they simultaneously preserve and advance the Chicago blues tradition. “Yet youthful vitality and imagination thunders from their sound, boding well for their future and that of the idiom itself.” Listening to the double CD by this group, Play It ‘Til Tomorrow (Blue Bella) one quickly realizes that this isn’t faint praise. There are two discs. One is an electric recording while the other disc is an acoustically oriented unplugged one. What is most striking is how strong the ensemble playing is throughout. The Flip Tops are a band whose whole is much more than the sum of the individual parts. At work listening to this, this writer first thought this was a Magic Slim disc I had purchased. Then I looked and realized it was Moss & the Flip Tops. Like Magic Slim & the Teardrops, Nick Moss & the Flip Tops have a tight sound and get a similar chugging rhythmic groove going. Also Moss’ stinging guitar evokes the playing of Jimmy Dawkins. Eddie Taylor Jr. guests on several tracks, while Moss handles the vocals. He also plays some harp in addition to guitar, with the Flip Tops backing him throughout. The Flip Tops are: Willie Oshany (ex-Legendary Blues Band) on keyboards (bass for a few tracks), Gary Hundt on bass (guitar for several tracks) and Bob Carter on drums. Moss is heard mostly on originals that sound like they are covers of unissued Chess or Vee-Jay recordings as well as interpretations of Luther ‘Georgia Snake Boy’ Johnson’s Woman Don’t Lie, Lefty Dizz’s Bad Avenue (sounding like Magic Slim on an uptempo reworking of this) and Floyd Jones’ Rising Wind. Its refreshing to hear a band handle this material so well and so-idiomatically and without any showboat guitar gymnastics. The acoustic disc is equally good as Hundt adds harp and mandolin and the original material suggests Muddy, Jimmy Rogers and Tampa Red. Barrelhouse Chuck guests on one of these tracks as well. This is among the best new releases I have heard in 2007 and most highly recommended.