Duke Robillard & Friends Blues Bash!

Duke Robillard & Friends
Blues Bash!
Stony Plain

Duke Robillard had built up such a distinguished body of recordings as an artist and producer over five decades. This latest release is another chapter in his well-regarded career about which he states is "packed with plenty of bright sounding Fender guitar a la Ike Turner, Lefty Bates, etc. Just a good listening or dancing record like the blues records I bought when I was a kid." His intent was "to make a straight vintage-style blues album with rhythmic grooves and no hook-laden songs." "Blues Bash!" Certainly accomplishes his objective.

Playing on this recording is his band of Bruce Bears on keyboards, Mark Texiera on drums, and either Jesse Williams or Marty Ballou on bass. Then there is the horn section of Greg Piccolo on tenor sax, Rich Lataille on alto and tenor sax, and Doug James on baritone sax. Mark Hummel adds harmonica, and Robert Welch adds piano on one track. On a cover of Smiley Lewis' "Ain't Gonna Do It," the band consists of Mark Braun on piano, Marty Ballou on bass, Marty Richards on drums, Al Basile on cornet, and Sax Gordon on sax. Besides Duke, Chris Cote and Michelle Willson are heard on vocals.

Duke is focused playing his Fender guitar on these recordings, whether evoking Ike Turner behind Cote's vocal on the cover of the Kings of Rhythm recording "Do You Mean It," or channeling Lefty Bates on a rendition of Bates' instrumental "Rock Alley." He plays in the manner of Johnny Rogers in the cover of Roy Milton's shuffle "What Can I Do," as well as suggesting early Johnny Guitar Watson on "Give Me All the Love You Got."

The music is impeccably played with some top-flight singing, especially from Cote on "Do You Mean It" and Wilson, as she interprets a lesser-known Helen Humes recording, "You Played on My Piano." Her vocal exhibits plenty of humor the lyrics lend themselves to. Duke himself sings quite well with the Chicago styled blues "No Time," with Mark Hummel adding harmonica on perhaps Duke's finest vocal on the album. The other players are sterling, including Piccolo with a booting tenor sax solo on "Rock Alley" and Doug James rousing baritone on "You Played on My Piano."

The rest of the ten tracks are as entertaining and well-played with a special salute to the jazzy atmospheric instrumental "Just Chillin'" that closes this latest outstanding recording from Duke Robillard.

I received my review copy from a publicist. Here is "Do You Mean It!" from Blues Bash!"

In a Roomful of Blues

Roomful of Blues
In a Roomful of Blues
Alligator Records

Roomful of Blues has been delivering its brand of rocking, horn-driven blues for over a half-century. It has been led by the likes of Duke Robillard, Ronnie Earl, and Sugar Ray Norcia. Currently, it is co-led by guitarist Chris Vachon (been with the band for 22 years) and saxophonist Rich Lataille (who has been in the group since 1970). The other members of Roomful on this cd are vocalist Phil Pemberton, drummer Chris Anzalone, bassist John Turner, keyboardist Rusty Scott, saxophonist Alek Razdan, and trumpeter Carl Gerhard.

Roomful of Blues has received so many accolades and awards over the years. This latest recording is sure to add to those. Vachon and others contributed the original songs that dominate this release, although there are two covers of some obscure blues songs. It has been fascinating to see Roomful evolve from a jump blues and boogie-woogie band based in the sounds of T-Bone Walker and Big Joe Turner into a modern urban blues band rooted in the sounds of the Duke recordings of Bobby Bland and Junior Parker, and the Memphis sounds from Stax and Hi Records. They still can dig into the jump blues vein as shown by the arresting cover of an early Doc Pomus recording, "Too Much Boogie." There is also a driving rendition of Buddy Ace's "What Can I Do" with the horns displaying the influence of the great Joe Scott, who arranged so many Duke Records classics.

The album sports fabulous original material including the humorous "Phone Zombies" about folk glued to their smartphones; the rollicking rock and roll of "We'd Have a Love Sublime"; a touch of zydeco for "Have You Heard"; and "Carcinoma Blues," about the real blues dealing with treatment for cancer. Phil Pemberton sings as well as he ever has, and the band is consistently superb in support of the vocals. The horn arrangements are first-rate, and Vachon and the horns have plenty of space to shine. Roomful has produced some excellent music over the years, and this recording may be one of their best.

I received my review copy from Alligator. This will be out on March 13. Here is a promo video for the CD.

 

The Knickerbocker All-Stars Go Back Home To The Blues

A most pleasant surprise is a new release by The Knickerbocker All-Stars, "Go Back Home To The Blues" (JP Cadillac Records). The release is a follow-up to last year's "Open Mic At The Knick" and like the earlier album celebrates the Westerly, Rhode Island venue, the Knickerbocker Cafe. This is where, in the 1960s, musicians like Greg Piccolo, Johnny Nicholas, Fran Christina and others played in various groups which led to the emergence of Roomful of Blues by Duke Robillard and Al Basile and other bands. Producer Jack Gauthier and Musical Director Copley have put together a superb band of Mark Teixeira, drums; Brad Hallen, standup/electric bass; Al Copley, piano; Monster Mike Welch, guitar; Doug James, baritone/tenor sax; Sax Gordon Beadle, tenor sax; Rich Lataille,alto/tenor sax; Doc Chanonhouse,trumpet; and Carl Querfurth, trombone. Vocals are shared by Sugar Ray Norcia, Brian Templeton and Willie J Laws with Al Basile playing cornet and singing on one selection.

The musical focus is on the urban blues of the fifties and sixties with renditions of songs associated with Bobby Bland, Roy Brown, Guitar Slim, Chuck Willis and Larry Davis with Basile contributing several idiomatic originals as well. What can one say as the All-Stars are terrific, with Welch again showing that he has become one of today's top string benders. He channels Freddie King in backing Laws' soaring vocal on " You Know That You Love Me." Norcia opens the album with Bobby Bland's classic "36-22-36," with his terrific vocal perhaps more akin to Junior Parker than Bland. There is superb playing, including a booting tenor sax solo, backing Templeton on a jumping cover of Roy Brown's "Cadillac Boogie." Copley pounds on the piano on the Basile original "Brand New Fool," behind a fervent Norcia vocal, while Welch channels Guitar Slim as Laws' fervently sings Slim's  "Something to Remember You By." Norcia again evokes Junior Parker on a ripping cover of Chuck Willis' "Take It Like A Man."

The rest of this album is of an equally high level. There is a late night instrumental feature for the horns "Hokin'," while Basile plays cornet and delivers an appealing vocal of his witty original, "Don't You Ever Get Tired Of Being Right?" Templeton sounds vigorous on the Basile-penned title track that has strong tenor sax and guitar solos. Copley lays down some serious boogie woogie piano and Doug James get down in the alley on baritone sax on "Blockbuster Boogie." Laws preaches the blues on a driving rendition of Larry Davis' "I Tried," with more of Welch's blistering guitar. This entire recording is a joy for fans of jump and urban blues to listen to. It is another upper deck home run from the Knickerbocker All-Stars.

I received my review copy from a publicist. Here is a video of the Kickerbocker All Stars featuring Brian Templeton on the vocals.

The Blues Soul of Billy Boy Arnold

Produced by Duke Robillard, Billy Boy Arnold’s new Stony Plain recording “The Blues Soul of Billy Boy Arnold” has him performing songs he has long loved along with originals, early R&B songs, blues/jazz standards and some rare soul gems. Arnold’s vocals and harmonica are backed by Robillard’s guitar and band with Bruce Bears on keyboards, Brad Hallen on bass and Mark Teixeira’s drums with a horn section of regular Robillard associates Rich Lataille, Mark Earley and Doug Wooverton.

Arnold can be an effective vocalist but with some exceptions, including a compelling West Side Chicago blues-styled remake of B.B. King’s “Worried Dream” (with some great Robillard guilt), and the classic Chicago blues shuffle groove of Arnold’s original “What’s on the Menu Mama,” most of this is simply pleasant. Arnold’s use of harp on an old Mack Rice soul classic “Coal Man” gives it a different flavor, but his limited range and simple vocal style doesn't render a strong impression on the old Eddie Miller classic “I’d Rather Drink Muddy Water” or “Nat Adderly’s “Work Song” (with Oscar brown’s lyrics). These are not bad performances, but there are many better recordings of “Muddy Water” (thinking Lou Rawls and Carmen Bradford) and Gregory Porter has placed his stamp on “Work Song.”

There is a nice variety of material and Duke has provided solid settings for Arnold’s singing with solid playing by all including nice slide guitar from Duke on “99 LBs.”  Bears plays some rollicking piano on ”Muddy Water,” and displays a jazzy touch on “St. James Infirmary.” Arnold adds nice harp throughout in his distinctive style and the ensemble give a touch of Southern Soul in the backing for the remakes of “Coal Man” and Joe Tex’s still relevant topical song “A Mother’s Prayer.” They also do a solid job in backing Arnold on a nicely done Ray Charles cover, “Don’t Set Me Free” 

“The Blues Soul of Billy Boy Arnold" is an enjoyable recording with a couple of stand-out selections.

I received my review copy from a publicist.  Here is Billy Boy from several decades ago strongly singing a Jimmy McCracklin classic.

Roomful Of Blues Celebrates 45 Live

45 Live, the new Alligator CD by Roomful of Blues is a live performance that celebrates the band’s 45 years. The band started as a jump blues oriented group inspired by the music of T-Bone Walker, Roy Milton, Johnny Otis, Big Joe Turner, Eddie ‘Cleanhead’ Vinson and the like, and even recorded behind Turner and Vinson for a couple of quite well regarded recordings. Over the years evolved into more of an modern urban blues band (think Bobby Bland’s Duke recordings). Originally Duke Robillard fronted the band on guitar and vocals and when he left, Ronnie Earl spent a stint on guitar with Chris Vachon eventually taking over that spot which he has held for a couple decades. Philip Pemberton has been handling the vocals for some time now. Roomful has become an institution, and I say that in a positive manner in having their having an immediately recognizable sound and approach to the music.

Recorded at The Ocean Mist in Rhode Island over three nights, the disc kicks off with the driving Just Keep On Rockin’, followed by the insistent modern urban blues It All Went Down the Drain, although on this latter number and the following Jambalaya, Vachon sounds like he is trying to copy Lonnie Mack’s tone. A cover of Magic Sam’s Easy Baby gives a chance for Vachon to stretch out with the horns riffing in support. That’s Right is a superb hot jump blues performance, and is that Rich Lataille who is wailing on tenor sax (Lataille has been with Roomful for 43 years). Lataille’s homage to Illinois Jacquet, Straight Jacquet, allows Lataille, fellow saxophonist Mark Earley and trumpeter Doug Wolverton (growling with his mute) to display their chops on a number that evokes Flying Home. There are also first rate renditions of Crawdad Hole, and Somebody’s Got To Go, that Big Joe Turner and Eddie ‘Cleanhead’ Vinson respectively recorded with Roomful thirty-five odd years ago. As good as these are, the interpretation of Jimmy Rushing’s I Left My Baby, is really special with Pemberton terrific and I suspect Buck Clayton would be smiling listening to Wolverton’s playing here.

Providing the foundation is the excellent rhythm section of keyboardist Rusty Scott (nice solos on Crawdad Hole and I Left My Baby); bassist John Turner, and drummer Chris Rivelli. They lay down the solid groove and cover a lot of blues genres as Rich Lataille notes, “Though we cover all the bases, our mainstay is horn-driven, hard honking R&B.” And there is plenty of that hard driving R&B here.

I received my review copy from Alligator Records. This is scheduled for release on July 30.

Paul Gabriel's What’s the Chance …

Paul Gabriel has been a regional treasure in New England, who in a career that spans over 40 years, has appeared on three albums by legendary singer/songwriter Harry Chapin, played slide guitar on Rory Block’s Grammy-nominated album, Mama’s Blues, toured with Michael Bolton and recorded and toured with his several of his own bands. His friend (and mentor), Duke Robillard has produced Gabriel’s new release, What’s the Chance … on Shining Stone Records. On this he steps into the spotlight on an album of 13 tracks that showcases him as a distinctive, bluesy guitarist, a talented songwriter and a master of diverse musical styles.

On What's the Chance…, Gabriel is backed by a core band of Billy Bileca on bass, Nick Longo on drums and Larry “Buzzy” Fallstrom on keyboards. Special guests on the new album include Duke Robillard on guitars and background vocals; former Butterfield Blues Band alumnus Mark Naftalin on piano; Bruce Bears on keyboards; Steve Pastir on guitar; and the Roomful of Blues Horns consisting of Rich Lataille on alto/tenor sax, Mark Earley on tenor/baritone sax, and Doug Woolverton on trumpet. With the exception of Chris Kenner’s R&B classic Something You Got, and bassist Bileca’s C.M.C., Gabriel penned the songs on this.

As Gabriel observes, he first saw Duke Robillard perform with a new band, Roomful of Blues, around 1968 and Duke became an influence and a mentor. Gabriel’s music certainly will not provide any surprises for those familiar with early Roomful or Duke and The Pleasure Kings. Gabriel’s Old Time Ball, is a jump blues clearly derived from T-Bone Walker’s T-Bone Shuffle, and is sung and played with a nice graceful swing. Ride, Ride, Ride is an appealing bluesy rocker while the title track is a reflective rootsy R&B tinged ballad. 328 Chauncy Street is a punchy, jazzy instrumental with Robillard and Bears (on organ) taking solos before Gabriel comes in swinging with a bit of buzz-saw in his tone. Baby I Wish is a nice uptown blues original with a touch of Percy Mayfield’s Tangerine and Brunswick recordings in the arrangement with Bears and Gabriel taking tough solo breaks. 

Devil’s Daughter is an original lyric about a gold digger, set to a melody derived from Nobody Knows You When Your Down and Out, with Mark Naftalin on piano, followed by a fine original jump blues “All That Time Gone.” Bileca’s C.M.C. provides Gabriel to display a jazzier side of his guitar playing he as navigates the changes of this interesting original. While the title of Roomful of Blues, may be inspired by the band, the song is not a homage to the band. The song has a base line that evokes Bill Withers’ Ain’t No Sunshine When She’s Gone. Gabriel, having been lied to once again, pleads to be taken from that room full of blues. Rich Lataille takes a marvelous tenor sax solo on what may be the standout track on this album. Fine At’Tire, is a change of pace as Gabriel only backed by Naftalin’s piano, recalls a visit to Memphis.

A relaxed shuffle Spoda Be, closes out What's the Chance … , ending a varied and most appealing blues recording with some roots extensions. Strong material, solid playing mixed with the leader’s warm, heartfelt vocals makes for an impressive release.

A publicist supplied me with a review copy. Here is Paul Gabriel in performance.

Andy Poxon Tomorrow

I first became aware of Andy Poxon as a mid-teen guitar prodigy with a distinctive red-haired afro. Recently I saw him with DC area saxophonist Scott Ramminger with whom he had shared a short tour and the two were playing songs from their respective recent releases. Listening critically I was struck by the maturity he displayed as a guitarist, singer and songwriter. These qualities led Duke Robillard to produce his new Ellersoul records recording Tomorrow. On the notes he observes that Andy “is a complete and mature musician at the ripe old age of 18.” Further Duke notes that how Andy arrived there was partially “derived from intense listening and research for the American traditions of of blues,early R&B, classic country hillbilly, rockabilly, swing and jazz.”

Tomorrow was recorded in Rhode Island under Duke’s supervision with his band of Bruce Bear on keyboards, Brad Hallen on bass and Mark Teixeira on drums with Duke adding guitar, and horns from Rich Lataille, Mark Earley and Doug Wolverton. With the exception of an instrumental Jammin’ At Lakewest, co-written with Duke, Poxon composed all of the performances.

The music on this is quite enjoyable as Andy has crafted songs that reflect his musical inspirations with a definite pop slant perhaps. His natural singing shares the appeal of the lyrics with elements of blues and classic R&B (a definite New Orleans flavor can be heard on several songs including the lively All By Myself). Other songs reflect his youthful experiences such as You Lied where he caught her with him and finds his baby has lied to him from the start and tore his world apart and College Boy, with its rollicking groove as his baby left him for some old mean college boy. The title track is a lovely ballad with a hopeful lyric and nice trumpet from Woolverton. 

Here is Andy Poxon with saxophonist Scott Ramminger at JVs in Falls Church.

In addition to his songs and vocals, his guitar playing stands out. With all these ear-splitting blues rock guitar prodigies being touted and promoted, it is refreshing to listen to Poxon’s guitar. One can hear elements of rockabilly mixed in with his straight blues attack. His attack, tone and the swing in his solos contrasts with the blues-rock of some of his contemporaries. A good case in point might be the closing Jammin’ at Lakewest. This is a jump blues instrumental feature for Poxon and Robillard, with swinging single note solos from both. Its certainly refreshing to hear a young guitarist who does take off from Stevie Ray Vaughan but rather channels such legends as Tiny Grimes, Al Casey, and Johnny Rogers.

It is tempting to talk about someone of Andy Poxon’s age as a performer that exhibits considerable promise and how interesting it will be to see how his music evolves. It must be stated that Tomorrow is a choice recording of blues and roots that stands on its own considerable merits.

I received my review copy from Andy. This review was written a couple months ago and I should have posted this earlier. Here is a short video clip of Andy and Scott Ramminger I took.

Roomful of Blues Has It "Hook, Line & Slinker"

After 43 years, Roomful of Blues shows no sign of slowing down. From its early days with Duke Robillard leading it in its reworking of classic jump blues with pianist Al Copley, saxophonists Greg Piccolo and Rich Lataille, the band has expanded from an initial focus on the R&B of the late forties and fifties to span more recent blues and rhythm grooves. Guitarist Chris Vachon has been a main driving force of the band for at least the past two decades and saxophonist Lataille still rips off his solos while they have a new vocalist in Phil Pemberton. They have a new album on Alligator, their fourth for the label, “Hook, Line and Slinker,” that shows the band not slowing down in the least.

The present release opens with a hot rendition of the Big Maybelle classic, That's A Pretty Good Love  that opens some slashing guitar by Vachon, a bit of Johnny ‘Guitar’ Watson crossed with Lafayette ‘Thing’ Thomas. Its interesting to hear a male sing this, and while Pemberton has a strong voice he almost is over the top here while the horns riff in support and rhythm cooks. Gatemouth Brown’s “She Walks Right In,” is a hot jumping number with some nice sax obligatto behind the vocal, before Vachon treats us to some fifties-styled Gatemouth Brown guitar followed by some booting baritone sax from Mark Earley as the other horns riff like a mini Count Basie Band. Then we go to New Orleans for a cover of the Smiley Lewis recording from which the album gets its title, although Pemberton’s vocal can’t cut Deacon John’s Jump Blues cover much less the original.

Pemberton’s frenzied rock and roll vocal along with Vachon’s slashing fretwork are front and center on the “Kill Me,” from the Don & Dewey songbook followed by a lively reworking of a Gatemouth Brown instrumental from the early fifties, “Gate Walks the Board where Vachon, Lataille, Earley, trumpeter Doug Woolverton, and pianist Travis Colby get solo spots . Pemberton can be quite an evocative singer we he cools down a bit as on the remake of Amos Milburn’s “Juice, Juice, Juice,” while “Ain’t Nothing Happening,” cracks the tempo up on a hot Crescent City boogie (earlier waxed by Paul Gayten and Little Richard) on which Pemberton sounds at home. “Win With Me Baby” is another Peacock Gatemouth Brown recording that for some reason Robey is given here sole composer credit. Solid vocal and guitar on this with the horns providing the right atmosphere. Lieber and Stoller’s “It” is a relatively obscure Jimmy Witherspoon recording with nice vocal and good playing while the rendition of “Come On Home” is a bit less frantic that Louis Jones’ original of this early sixties R&B rave-up, followed by a reflective Pemberton on “Time Brings About a Change,” from Floyd Dixon’s songbook, with Vachon almost in a Johnny Moore vein, Woolverton adding lovely muted trumpet and a terrific tenor sax solo. A remake of a Nappy Brown recording “Just a Little Love,” closes this out with Pemberton sounding very nice and the performance sports a booting tenor sax solo.

While some of my comments with specific to specific songs may have sounded critical, the simple fact that taking this album as a whole, this may be the best Roomful of Blues recording in a very long time. Roomful of Blues has shaken up the house and that is a very good thing.

My review copy was provided by Alligator Records.