Benny Turner & Cash McCall - Going Back Home

Benny Turner & Cash McCall - Going Back Home - Nola Blue Records

After the death of Clay 'Clady C' Graham of the gospel group The Pilgrim Jubilees, Benny Turner texted Sallie Bengtson, Nola Blue Records President to find Cash Mccall. McCall was found in Memphis but not doing well and needing support. The contact led the two veterans of Chicago's blues scene to the recording session producing "Going Back Home." Turner and his bass and vocals, along with McCall on rhythm guitar and vocals, are joined by a variety of studio players including Raishene Webb, and Joe Krown on keyboards, Butch Mudbone on guitar, Billy Branch and Johnny Sansome on harmonica, and Rodd Bland on drums. 

These are solidly performed songs (9 covers and one original) as one might expect from the personnel and Benny Turner's production skills. The vocals are pleasant, if not compelling, with McCall overshadowed by his performances from decades past when he had some hit recordings, did session work as a guitarist for Chess and other labels and spent a year and a half touring with Minnie Riperton. His blues recordings in the intervening years also had a vocal range reflecting his gospel roots.

One should not get an idea that these are poor performances. Turner does a solid job in reviving Harold Burrage's "Got to Find a Way" on which McCall played on as well as a wry treatment of Willie Mabon's hit "Poison Ivy," a driving rendition of Elmore James' "Shake Your Money Maker," as well as a rollicking interpretation of G.L. Crockett's "There's a Man Down There." 

McCall had a close connection with Willie Dixon, but adds little to the cover of "Spoonful." Much better is his humorous, talking blues original, "Money." Billy Branch's harmonica and Mudbone's slide guitar contributes to an enjoyable "It Hurts Me Too," with Turner on backing vocal. This Tampa Red song is wrongly credited to Elmore James. There is an entertaining, bawdy "The Dirty Dozens" taken from his days playing with pianist Little Johnnie Jones.

Billy Branch handles the vocal (and harmonica) on a Sonny Boy Williamson cover, "Bring It On Home," that takes this recording home with Turner and McCall in supporting roles. This track closes an enjoyable, although not compelling, Chicago blues recording.

I received my review copy from a publicist. This review appeared originally in the May/June 2019 Jazz & Blues Report (Issue 384). Here is a video of the two talking about this recording

John Németh Stronger Than Strong

John Németh
Stronger Than Strong
Nola Blue Records

With his latest recording, John Németh moves away from the soul-blues singing that has marked much of his career towards a grungy, swamp roots style. Németh's vocals and harmonica are backed by The Blue Dreamers, whose members are Danny Banks on drums, Matthew Wilson on bass, and John Hay on guitar. Adam Hill, who was the recording engineer, plays the tambourine. Németh wrote ten of the twelve songs on this album.

Németh has a reputation as a soul-blues singer, but while one can get here some of this in his vocals on this recording, this CD is more in a blues and roots vein. Some of his vocals have a distorted quality as heard on as on the opening "Open and Take It," where he sounds like he is singing through his harmonica microphone. On a passionate cover of a lesser-known Junior Parker recording, "Sometimes," it sounds like a little reverb was applied to his singing. His harp playing is as vital as ever while the backing trio provides efficient, effective backing. Guitarist Hay provides some biting fills and driving blues-rock solos such as he plays on "Throw Me in the Water."

The band puts together a chugging groove on "Chain Breaker," a blues where Németh pleads about trying to get through to his lover. "I Can See Your Love Light Shine" has a bouncy ska-like groove. "Bars" perhaps has his most straightforward soul singing with Wilson laying down a memorable bass line and Hay playing some sparkling accompaniment. "Deprivin' A Love" is a driving slab of blues-rock with Banks repetitious, insistent drumming pushing this performance along with Hay adding an acidic riff. There is a first-rate cover of Jesse Belvin's "Guess Who." It is striking how slow Németh and the Blue Dreamers play, something not many bands can pull off.

Some may be surprised by the rawness and approach that Németh takes on this album, but no one should be surprised how much of his personality he invests in this most intriguing recording.

I received my review copy from a publicist. Here is a video for "I Can See Your Love Light Shine."