Frank Bey All My Dues Are Paid

Frank Bey
All My Dues Are Paid
Nola Blue

Take a veteran soul singer, pair him with a terrific backing band, and have them record a choice collection of under-recorded covers and new songs, and one has Frank Bey's new soul-blues recording. " All My Dues Are Paid" is produced by Kid Andersen (Rick Estrin is co-producer) and recorded at Andersen's Greaseland studio. Andersen adds his guitar to this session, and other backing musicians include Jim Pugh on keyboards, Jerry Jemmott on bass, Alex Pettersen on drums, Eric Spaulding, and Nancy Wright on saxophones. Lisa Leuschner Andersen and D'Mar are among the backing vocalists here.

Reviewing Bey's album with the Anthony Paule Band, "Soul of the Blues," I noted how he evoked the late Solomon Burke and Mighty Sam McClain. Listening to this recording, one also hears tinges of Brook Benton, Percy Sledge, Jimmy McCracklin, and Percy Mayfield. Things start on a high note with "Idle Hands," which was originally recorded by Eddie Palmieri and Harlem River Drive. Against the churning groove and brassy backing with a blistering Eric Spaulding tenor sax solo, Bey delivers this topical song. It is followed by the Billy T Band's break-up song, "One of These Days," where is gritty baritone is supported by a lazy, swampy backing. Another notable performance is the soulful rendition of Mike Schermer's "It's a Pleasure." Rick Estrin contributed an old Nightcats classic "Calling All Fools," an excellent swinging, uptown blues with Nancy Wright blasting off on tenor sax after Jim Pugh's piano solo. There is plenty of grit in Bey's singing here.

The title track is an autobiographical bit of funk penned by Bey, Kathy Murray, Estrin, and Andersen, as Bey authoritatively sings about always pushing against whatever obstacles he faced, and now is his time to shine. Jack Sanford takes a vibrato-laden tenor sax solo on this track. He pours plenty of heart into his interpretation of a George Jones hit, "He Stopped Loving Her Today," which has strings added in the backing. A choice rendition of another Estrin penned Nightcats number, "I'll Bet I Never Crossed Your Mind," follows. With booting sax from Nancy Wright, Bey evokes the legendary Jimmy McCracklin on this performance. A couple of Percy Mayfield numbers follow. There is a horn-driven treatment of "Never No More" with Lorenzo Farrell's chicken shack organ and some sizzling guitar from Andersen to support Bey's shouting. In contrast, "Ha Ha in the Daytime," is performed in a more intimate, laconic setting with Jim Pugh on piano and Eric Spaulding on tenor sax backing Bey's more reflective vocal.

Among the other selections is a cover of Arthur Alexander's southern soul tune "If It's Really Got To Be This Way," a reflective interpretation of Lou Reed's "Perfect Day," and an intense rendition of John Lennon's "Imagine," that builds with a gospel-rooted intensity. The latter number closes this superb showcase of Frank Bey's passionate, nuanced singing.

I received my review copy from a publicist. This review originally appeared in the January-February  Jazz & Blues Report (Issue 388). Here is Frank Bey singing "Imagine."

 

Terry Hanck I Still Get Excited

Terry Hanck
I Still Get Excited
TVR/VizzTone

It has been three years since The Terry Hanck Band's last album, "From Roadhouse To Your House Live," which I summarized captured "the engaging and strong blues, R&B and rock of the Terry Hanck Band… ." Hanck returns on this new release with his saxophone and vocals with his band of guitarist Johnny' Cat' Soubrand, bassist Tim Wager and drummer Butch Cousins along with the keyboards of Jim Pugh and guitar, bass and more from Kid Andersen. Anderson co-produced this recording with Hanck, which has several special guests including June Core on drums, Rick Estrin on harmonica, Chris Cain on guitar, and Tracy Nelson on vocals.

Reviewing that live recording, I observed that "Hanck is quite a congenial vocalist with a bit of grizzle whose robust saxophone with a mix of King Curtis yackety-yak with Junior Walker honking." There is no reason to change that observation based on the performances here that range from blues, rock and roll, and swamp pop. It also does not hurt to have such an excellent band, including the guest musicians. This is heard throughout the 11 performances here, starting with the opening title track. It is a gem of rock and roll with a tagline "I might be old as sin, but in my mind, I am just a kid, lawd I still get excited." Pugh channels Johnnie Johnson or Lafayette Leake, Soubrand takes a rocking solo with Hanck riding the song out with some honking and high note screeching.

Louis Jordan is among Hanck's influences, as shown by a cover of "Early in the Morning," but also on his original "Smooth Tyrone." This song sounds like the Jesse Mae Robinson-Louis Jordan penned "Blue Light Boogie." In this song, Hanck has provided original lyrics replacing those of the original. Pugh, Soubrand, and Hanck all shine musically here while Kid Andersen on bass and June Core on drums keep a relaxed shuffle groove. "Here It Comes" has a relaxed early 60s' R&B groove while it incorporates a bass riff from the Solomon Burke classic "Cry to Me." In addition to a heartfelt vocal, Kid Andersen contributes some neat Spanish-tinged acoustic guitar. On the Chuck Willis-styled shuffle, Rick Estrin adds his sax-like harmonica on "Come On Back," soloing as well as having interplay with Hanck. It is followed by the appealing instrumental, "Rosita (No Wall Call Hold Our Love)."

Several remakes are not far removed from the originals recordings. These include Bobby Charles "Why People Like That?" with some 'yackety-yak" sax and "Howlin' For My Darlin'" with Soubrand channeling Hubert Sumlin. Also heard are energetic renditions of Eddie' Cleanhead' Vinson's "Hold It Right There," and "Feel So Bad," based on Little Milton's Checker recording, with more exceptional Soubrand guitar. One exception is an older Little Milton recording, "Spring," that Hanck and Tracy Nelson, in marvelous performance, transform into swamp pop. It stands out in another splendid collection of blues and roots performances by Terry Hanck.

I received my review copy from VizzTone.  Here is a video of Terry Hanck performing "Sweet Tyrone."

 

Rick Estrin & The Nightcats Contemporary

Rick Estrin & The Nightcats
Contemporary
Alligator Records

If one counts the nine albums when Little Charlie Baty led the Nightcats, this is the fourteenth album by the tight West Coast ensemble. It is the fifth since Rick Estrin took over leadership after Baty retired from touring. With Christoffer "Kid" Andersen on guitar (who also doubles on bass and others instruments), Lorenzo Farrell on keyboards and Derrick "D'Mar" Martin on drums, the Nightcats remain one of the tightest blues bands going. Others heard on this recording include Alex Pettersen on drums; Quantae Johnson on bass and background vocals; Lisa Leuschner Andersen on background Vocals; Jim Pugh on organ and The Sons Of The Soul Revivers on background vocals. This was recorded at Andersen's Greaseland Studios.

Rick Estrin wrote nine of the twelve tracks, Andersen and Farrell one each and there is one 'obscure' cover. Besides being one of today's t blues harmonica players, Estrin is among the blues finest songwriters. His songs are usually laced with ironic humor, and sometimes biting commentary, and one has a combination hard to beat. Estrin wrote nine of the twelve tracks, Andersen and Farrell one each and there is one 'obscure' cover. Nothing showcases the ironic humor and his commentary better than "Root of Evil." On this song, Estrin asks if money is the root of all evil, what does one call being broke. It is a typically well-played, well-paced performance with a thoughtful unamplified harp solo and a short Farrell solo. The title track starts as a brisk shuffle blues as Estrin sings about the blues not going out of style. It morphs into Estrin's humorous escape into making his music 'contemporary.' Andersen adds a chorus of blues-rock guitar, even having a rap from D'Mar Martin thrown in with a jam band freakout.

Estrin always seems to find himself in strange relationships as in "She's Nuts." On this performance, he has a superb harmonica solo in the vein of Rice "Sonny Boy Williamson' Miller.  Elsewhere, he sings about the older man with his young lover who has her hands in his pocket in "Nothing But Love," the one cover. He has a superb amplified harp solo with swooping saxophone-like lines as Andersen provides subtle backing. There is the soulful blues "New Shape (Remembering Junior Parker)" with a harp solo that evokes the legendary blues giant.

Estrin is also not afraid to showcase the band as on Andersen's instrumental "House of Grease" which sounds inspired by Freddie King performing "Big Legged Woman." Besides Andersen's excellent playing, Farrell has a tasty piano solo. Farrell wrote the jazzy instrumental "Cupcakin'," a jazzy instrumental with Andersen's fleet, jazz-inflected playing complementing Farrell's organ grooves. Estrin also adds his own wide-open harp. Estrin's "Bo Dee's Bounce," is a lively instrumental that showcases Estrin's driving harmonica with Andersen taking a short, imaginative guitar break. It closes another terrific recording by Rick Estrin & The Nightcats, full of excellent material and superb playing.

I received my review copy from Alligator. This will be available on September 20. Here is a video of a recent performance by Rick Estrin & the Nightcats.

Mighty Mike Schermer Bad Tattoo

Mighty Mike Schermer
Bad Tattoo
Firedog Records/VizzTone Label Group

This is Mighty Mike's latest release featuring a dozen songs finding the singer-guitarist-songwriter at the Greaseland Studios with guest stars including Chris Cain, Rick Estrin, Aki Kumar, Jim Pugh, Nancy Wright, Billy Price, and others! He has been a guitarist with Marcia Ball since 2009 and before that worked with Elvin Bishop, Maria Muldaur, Angela Strehli, Bonnie Raitt, Howard Tate, Charlie Musselwhite, and Sista Monica amongst others. The core band on this CD is Schermer, guitar, and vocals; Steve Ehrmann, bass; Paul Revelli, drums; and Austin Delone, organ. Two tracks have a horn section of Eric Bernhardt, baritone and tenor saxophones; and Nancy Wright, tenor saxophone. Jim Pugh sits in on organ on three tracks while one song, “Ain’t That The Way Love Goes?” includes a different band with Jim Pugh, Chris Cain on electric piano, and a rhythm section of Kid Andersen, bass; and Alex Pettersen, drums. Cain also contributes guitar on one selection while Billy Price contributes a backing vocal. Schermer wrote or co-wrote all of the songs.

This is a solidly recorded and played CD. Schmerer is more striking as a guitarist than a singer but his somewhat light, plain singing I find quite listenable and honestly delivered. And his songs are solid idiomatic ones starting with the opening "She Won't Be Coming Back," with a groove, melody, and horns evocative of Little Walters "Up the Line." Then there is the amusing "Lover's Hall of Fame" about a relationship gone sour as he tells his ex that she's not on the ballot for the Lover's Hall of Fame. The Farfisa organ on "How Much Longer" gives it a feel of a beach club dance song in the sixties, while the title track is a relaxed jump blues as he sings about a tattoo about some other dude that she tries to hide. Besides his appealing singer, there is some sharp guitar akin to sixties Johnny 'Guitar' Watson as well as nice supportive horns including a booting tenor sax solo. There is a soulful "Ain't That the Way Love Goes," with a backing vocal chorus, and a "Baby Down the Well," with pounding piano, Rick Estrin's harmonica and a jackhammer groove.

"Hey Francine," a country-rockabilly tinged song is perhaps the weakest vocal here. It is well played like the rest of this recording. Schmerer has put together a strong backing ensemble with solid contributions from his friends. Add well-crafted originals, and one has a very engaging recording.

I received my reviewe copy from VizzTone. This review originally appeared in the May-June 2019 Jazz & Blues Report (Issue 384), although I have made minor stylistic changes. Here is a video of him covering Latimore's "Let's Straighten It Out."

 

Rick Estrin & The Nightcats Groovin' In Greaseland

Rick Estrin & The Nightcats
Groovin' In Greaseland
Alligator Records

Its been 30 years since Alligator signed Little Charlie and the Nitecats. Guitarist Charle Baty was the bandleader, by Rick Estrin fronted the band with his somewhat gruff, heartfelt wise-guy vocals (a phrase Bruce Iglauer employs describing Estrin's singing), authoritative harmonica and songwriting, full of wit and wisdom. In 2009, when Baty retired from touring, Estrin took over the band and this is the fourth CD under his leadership. Greaseland in the title refers to the studio that Nitecats guitarist Kid Andersen operates where this disc was recorded. His productions have been among the finest recent straight-ahead blues and roots recordings from any source and this disc has much of the same qualities with clean crisp sound. Lorenzo Farrell is on keyboards while Alex Pettersen occupies the drum chair. There are a number of guests on various tracks including saxophonist Nancy Wright, bassist Jerome Jemmott and electric pianist Jim Pugh. Estrin contributed 11 of the tunes here (one a collaboration with Andersen), while Andersen added one as did keyboardist Farrell.

As suggested above, this is a wonderfully played recording by a super band, starting with the kicking opening shuffle, "The Blues Ain't Going Nowhere," with a litany of reasons why the blues ain't dying with some fat chromatic playing. Then there is the humor of "Dissed Again," with Farrell's rollicking piano. It is followed "Tender Hearted" with Estrin's talking about the experiences with back biting rats so he is tender hearted no more. It has  scintillating tremolo-laced guitar from Andersen along with more strong chromatic harp. Joe Kyle on bass and Pettersen lay down a nicely restrained groove here. Andersen's terrific tribute to Lonnie Mack, ""MWAH!" is a reworking of Mack's classic instrumental "WHAM!," and he captures Mack's Magnetone amp sound.

"Another Lonesome Day," is a slow blues with Andersen evoking Otis Rush and Ike Turner, while Estrin is in a Sonny Boy Williamson II vein with his crying harp playing here. It is followed by the Estrin-Andersen collaboration "Hands of Time," with a groove evocative of "High Heel Sneakers," and some strong amplified hard. Farrell is featured with his greasy organ on the jazzy "Cole Slaw," with a short harp break and some very nice fretwork from Andersen. After a heated shuffle celebrating partying going on at Greaseland, "Hot in Here," there is a strong topical blues "Living Hand To Mouth."

The album closes with a harmonica feature "So Long (for Jay P.)" that showcases not simply Estrin's virtuosity, but his taste and how he shapes his solo. With the excellent backing here, and the throughout this recording, it is fitting coda to another marvelous recording from Rick Estrin & the Nitecats.

I received my review copy from Alligator Records. Here Rick Estrin & The Nightcats are seen performing "The Blues Ain't Going Nowhere."

 

Howlin' At Greaseland

Various
Howlin' At Greaseland
West Tone Records

Some veterans and new names join together for a tribute to Howlin' Wolf that was recorded at Kid Andersen's' Greaseland studio and has a cover inspired by Wolf's Rockin' Chair album. Assembled for this besides Andersen on guitar, bass and piano, are Rick Estrin and Aki Kumar on harp, Lorenzo Farrell, Jim Pugh and Henry Gray on piano, Rockin' Johnny Burgin, Johnny Cat, and Chris James on guitar; Joe Kyle Jr, Patrick Rynn, Robby Yamilov and Vance Ehlers on bass; Derrick Dmar Martin, and Junior Core on drums; and Terry Hanck on sax, with vocals from Gray, Hanck, Alabama Mike John Blues Boyd, Lee Donald and Tail Dragger on vocals.

There are solidly played and sung performances in the manner of the originals, if not quite of the level of the originals. After all, there was only one Howlin' Wolf. Alabama Mike sings with urgency on "Meet Me In The Bottom," with Estrin's harmonica and Farrell's piano featured while "Smokestack Lightning," has the first of Boyd's vocals with Estrin doing a nice evocation of Wolf's harp over the solid vocal. Boyd also recalled seeing Wolf in 1956 visiting a school friend of his before launching into a rollicking "Riding in the Moonlight," with the spirit of Willie Johnson suggested in the guitar backing. After recalling, his father booking Howlin' Wolf in the sixties in suburban Chicago, Terry Hanck handles "Howlin' For My Darling," with a fine vocal and strong sax, while Johnny Cat emulates Hubert Sumlin.

Tail Dragger has a couple of recollections of Wolf here along with performances of "I'm Leaving You," and "Don't Trust No Woman," with his slightly muffled vocals with strong accompaniment from Rockin' Johnny Burgin on guitar, and Aki Kumar on harp. Henry Gray, who spent 14 years in Wolf's band, is backed by Chris James, Patrick Rynn, Ali Kumar (who shares the vocal) and Junior Core, doing a solid "Worried Life Blues." I believe this is the only song here not identified with Wolf. Also, Gray sings and plays "Little Red Rooster, with Kid Andersen's acoustic guitar the only other backing.

I am not familiar with Lee Donald, who is the strong vocalist on "Forty Four," and Boyd sings robustly on "Spoonful" that closes "Howlin' At Greaseland." While there is nothing earthshaking here, this is a fine, straightforward homage to one of the icons of the blues.

I received my review copy from a publicist. Here is John 'Blues' Boyd singing a Wolf classic not on this album, "Back Door Man."

Wee Willie Walker & The Greaseland All Stars Live! Notodden Blues Festival

Wee Willie Walker & The Greaseland All Stars
Live! Notodden Blues Festival
Little Village Foundation

Kim Wilson refers to Willie Walker as "one of the last, if not THE last, real soul singer on this planet." A career that goes back to recording for Goldwax Records decades ago, he perhaps is finally getting some recognition. With a fine band assembled by guitarist Kid Andersen (Jim Pugh on the B3 organ, Lorenzo Farrell on bass, and J Hansen on drums with horns), Walker performed in August 2016 at the Notodden Blues Festival in Norway and Andersen has made the performance available.

After band introductions, Walker opens with Clarence Reid's "(Can You) Read Between The Lines," where with his raspy, gospel-inflected vocals he establishes his authority as a singer with The Greaseland All Stars providing solid, idiomatic support. It is followed by a terrific original by Rick Estrin (who helped Walker get larger exposure, "Is That It!" with greasy organ and punchy horns. It is followed by a recasting of a Goldwax recording (that was also issued on Checker), "You Name It, I Had It," a terrific deep southern soul performance. It is one of several Goldwax recordings revived here that include the Beatles' "Ticket To Ride," that he covered four decades ago. The loping groove of "There Goes My Used to Be," "I Ain't Gonna Cheat On You No More" (co-written by Sam Cooke) and "A Lucky Loser ( a favorite of mine)" are other early recordings he performed at this Festival.

In addition there are strong renditions of Tyrone Davis' hit, "Can I Change My Mind," and Cooke's "A Change Is Gonna Come." Rick Estrin adds harmonica to "Funky Way," and Walker does a solid take on "Little Red Rooster," that has a jazzy feel that owes as much to Sam Cooke's rendition as that of the Howlin' Wolf. Another extended reworking of another Beatles' classic, "Help," closes this recording as Walker slows this rocker down. Andersen's playing here evokes the late Robert Ward and Lonnie Mack on this track, but he is outstanding whether playing soul guitar riffs or playing in a jazzier vein on other tracks. The backing, as indicated, is solid throughout. In any event, Wee Willie Walker certainly has it still and this live recording suggests just how moving and powerful a performer he remains.

I purchased this. Here is the performance of "Help" from the Festival.

John Boyd The Real Deal

John Boyd
The Real Deal
Little Village Foundation

In his brief notes to this debut by John Boyd, Rick Estrin speaks of his stylistic range at times reminiscent of shouters like Big Joe Turner and Wyonnie Harris and other times like blues crooners like Junior Parker and early B.B. King. I am not sure I agree, although listening to this I agree with the Rick Estrin penned opening track where Boyd proclaims "I Am The Real Deal," that he certainly is. I assume Estrin is the harp player on this selection while Aki Kumar is also heard on this album. Others here include Kid Andersen, Big Jon Atkinson and Robert Welsh on guitar; Jim Pugh, Welsh and Andersen on keyboards; Dave Chavez, Danny Michel and Andersen on bass; June Core, Atkinson and D'Mar Martin are among those on drums; while horns include the saxophones of Eric Spaulding and Terry Hanck. Andersen produced and recorded this at his Greaseland Studios. Boyd wrote ten of these songs

After emphatically letting us know he is the real deal, Boyd takes on a hot rocking shuffle "I Will Discover" that suggests classic Junior Parker with some blistering guitar in the vein of Roy Gaines backing Bobby Bland on Duke whereas the following "I'm Like A Stranger To You," has the feel of a Percy Mayfield Tangerine recording. Whoever did the arrangement here is to be commended, while Boyd again shows just how fine a singer he is. There is plenty of humor in Rick Estrin's ode to big-legged woman "That's Big!" with a bass line that evokes Jimmy McCracklin's "The Walk." Another hot shuffle, "That Certain Day" features some outstanding guitar in the vein of classic Freddie King.

An Estrin-Andersen collaboration "Dona Mae" takes us to Chicago in a performance in the manner of vintage Muddy Waters, while the musical setting of "I'm So Weak Right Now" evokes B.B. King's "The Thrill Is Gone," as Boyd sings about not being able to get himself together as his lady has gone. Then there is a terrific slow blues with some haunting sax at the opening "Screaming in the Night" with a great vocal and backing evocative of an unissued Otis Rush Cobra side, whereas musically "(Have You Ever Been To) Marvin Gardens" is reminiscent of the Willie Dixon Argo album by Walter Horton. Unlike the limited vocal of the late harmonica wizard, Boyd handles the vocal with plenty of personality and there is some fine harp here.

The album closes with Boyd's marvelous "John, The Blues Is Calling You," as he sings he knows what must do, because he was born a blues disciple with some greasy organ and more terrific guitar. With the excellent players Kid Andersen assembled, it would be pretty hard to produce something other than a very entertaining recording. When one adds a terrific singer like John Boyd, then one has a stellar recording that is as impressive a contemporary real blues debut as one might have heard in some time.

I purchased this. This review originally appeared in the March-April 2017 Jazz & Blues Report (Issue 371). Here is a video that introduces John Boyd.

Elvin Bishop's Big Fun Trio

Elvin Bishop's Big Fun Trio
Alligator Records

The aptly titled Elvin Bishop's Big Gun Trio brings together guitarist and vocalist Bishop with pianist and guitarist Bob Welsh and percussionist and vocalist Willy Jordan who brought a cajón, a South American percussion instrument. The three started jamming in Elvin's studio one day and the combination of the three clicked big time leading to the present recording which has four Bishop originals, three co-writes and four covers. Kim Wilson, Charlie Musselwhite and Rick Estrin each lend their harmonica talents to a song each.

Big Fun is so true and the sparse instrumentation matched with the good-time feel from the interplay by the three make for some marvelous listening. Not being familiar with Willy Jordan, to these ears he was a revelation as a singer. Bishop has his appeal in his almost goofy, back porch style, but Jordan can mix humor and a deep blues soulfulness while Welsh's piano helps push things along. Things open up with Welsh's rollicking piano and a steady groove on "Let It Roll" with its message of don't let the politician bastards get you down. "Honey Babe" matches Bishop's stinging guitar with Welsh playing bass lines on his guitar on a number with a back porch feel. Wilson joins in on a raucous and terrific cover of Sunnyland Slim's "It's You, Baby," with a standout vocal by Jordan, and terrific piano, and fat-toned harmonica.

"Delta Lowdown," an instrumental that sounds based on the Jimmy Rogers' 1950 Chess recording "Goin' Away Blues," with Estrin channeling Little Walters' country inflected harp. Jordan then takes the vocal on a solid cover of The Valentinos' "Its All Over Now," as Elvin channels Bobby Womack in his guitar playing. "100 Years of Blues" is a talking blues duet between Bishop and Charlie Musselwhite as they recall their old times that evokes Louisiana swamp blues of Lightnin' Slim and others with the restrained backing. Elvin plays slide guitar with some New Orleans piano heard behind Jordan's solid vocal on a lively cover of "Let the Four Winds Blow." "That's What I'm Talkin' About," is a culinary travelogue as Elvin talks about going to a place on Polydas in New Orleans as Jordan sings some of the items on the menu. Then making it Seattle, and Elvin suggests a drive through and get burgers and instead there is a soul food menu with Jordan again singing about some of the menu items. "Can't Take No More," has a gospel-inflected Jordan vocal on this slow blues with Bishop laying down a super West Side Chicago styled guitar solo.

A nice, lazy instrumental "Southside Slide," that sounds inspired by "Blue Monk" and "Honky Tonk," closes this marvelously entertaining recording of blues big fun.

I received my review copy from Alligator Records. This review appeared in the March-April Jazz & Blues Report (Issue 371). Here Elvin Bishop's Big Fun Trio is in performance.

Frank Bey & Anthony Paule Band Have Soul For Your Blues

Frank Bey shared gospel bills with the Soul Stirrers with Sam Cooke, the Blind Boys of Alabama and others when singing gospel with his mother. As a teen he opened shows for Otis Redding and after committing himself to the blues, his career progress was undercut by a failing kidney. After several years of dialysis, he had a successful kidney transplant. A couple of years later he started making appearances with the Anthony Paule Band at Biscuits & Blues in San Francisco. In February 2013 they issued a solid live recording and now a year later Frank Bey & Anthony Paule Band have a new recording, Soul For Your Blues on Blue Dot Records. 

What is striking is just how strong the musical pairing of Philadelphia singer Frank Bey with San Francisco’s Anthony Paule Band is. Presented is a nice mix of lesser know blues and soul classics with choice originals and interpretations of lesser know numbers. The opening number is Willie Mitchell’s I Don’t Know Why with Bey’s strong singing suggesting the late Solomon Burke and Mighty Sam McClain. Tony Lufrano plays deep soul organ here and on most of this disc. Paule and guest Kid Anderson are featured on Paule’s driving blues I’m Leaving You, followed by the Muscle Shoals groove of Christine Vitale’s deep soul original I Just Can’t Go On. Paule evokes Steve Cropper with his fills and brief solo on this. Rick Estrin adds harp to a humorous Vitale-Paule blues, Don’t Mess With The Monkey. 

There is a jump blues feel to Wyonnie Harris’ Buzzard Luck with riffing horns behind Bey’s strong vocal and a T-Bone Walker styled guitar solo. Vitale, Paule and Karen Falkner wrote You're Somebody Else's Baby Too, that has the feel of mid-sixties B.B. King flavor. There is a nifty arrangement of Percy Mayfield’s Nothing Stays the Same Forever, with Mike Rinta on tuba (he is on trombone most of the recording. In addition to Rinta, kudos go to Nancy Wright’s tenor sax and Steffen Kuehn’s trumpet for their playing throughout. Bey is superb here with a vocal that suggests what Solomon Burke might have done with this song. There is also a wonderful interpretation of John Prine’s Hello In There, which again displays how Bey brings some of the same interpretative magic to a lyric that Burke did and MacLean still does, while marvelous restrained backing by the Paule Band. 

The funky Smokehouse and an instrumental rendition of “I Left My Heart In San Francisco showcase the band. Rinta takes an outstanding trombone solo on the former as does organist Lufrano, while Paule displays a crisp delivery and imaginative playing on San Francisco which closes this disc out. It should be noted that I have attempted to select highlights, but the performances by Frank Bey & Anthony Paule Band on Soul For Your Blues are first-rate throughout. This is a terrific recording.

I received my copy from a publicist. Here are the two in performance doing Ray Charles' Hard Times.

Phillip Walker Live at Biscuits & Blues

It has been a little over two years since Phillip Walker passed away. The Texas-born, West Coast based blues singer and guitarist came a long way from his days playing with Clifton Chenier, and then later Bruce Bromberg produced an album for Playboy Records. The following review appeared in the September 2002 DC Blues Calendar to which I have made a few minor stylistic edits.

Its been several years since Phillip Walker had an album under his name (even the Lone Star Shootout album he made with Long John Hunter and Lonnie Brooks is at least three years old). Walker has a new disc with his big band on MC Records, Live at Biscuits & Blues. This recording features his longtime working band augmented by a full horn section along with guest appearances by Charlie Musselwhite, Angela Strehli and Rick Estrin. 

Its a solid set, if not quite as good as Walker’s best studio recordings, Walker performs his own Hello My Darling, as well as Jimmy McCracklin’s Think, Harold Burrage’s Crying For My Baby, the classic Breaking up Somebody’s Home and Dennis Walkers Don’t Be Afraid of the Dark on which Walker performs a bit more grittier version than Cray’s original. 

Its nice to have a new album by Walker whose grainy voice and raspy guitar playing is a distinctive blues voice. Some of his best stuff is out of print or hard to find so even if this is not quite his best stuff, it will make due for his fans or others not familiar with this grossly underrated blues veteran. 

Here is Phillip in performance.

Tommy Castro's Commanding Blues Revue

One make suggest that it is presumptuous for a varying traveling blues show to call itself “The Legendary Blues Revue” given that few if any of the performers on it deserve the stature of being a legendary performer. The revue grew out of shows that Castro organized as part of the Legendary Rhythm & Blues Cruises which also included Castro and a varying cast of performers doing some tours as the Revue. While the Legendary is more marketing and reflects the tie-in with the popular Cruise, there are some of the more popular ‘blues artists’ such as Tommy Castro, whose band is the anchor of this revue. This tour has been documented previously on Delta Groove with Command Performance which featured Castro, Deanna Bogart, Magic Dick and Ronnie Baker Brooks. Alligator now brings us Tommy Castro Presents The Legendary Rhythm & Blues Revue -- Live!

On this disc Castro is represented on this the most as a featured performer, while more other performers are featured than the earlier CD, although only for a track by each. Castro opens with some hard rocking numbers from the Cruise, his own Wake Up Call, and Bob Dylan’s Gotta Serve Somebody, with plenty of almost over the top guitar, sax from Keith Crosnan and a tight band. Michael Burks is heard on an extended performance from the Kansas City club, Knuckeheads, of his Voodoo Spell. It sports a solid vocal reflecting Albert King’s influence, a lengthy guitar solo from Burks and a nice piano solo from Tony Stead. Up next is a solid performance by Joe Louis Walker of a song by the late J.J.Malone, It’s a Shame, backed by Castro’s band minus the leader.

Castro is on guitar for Sista Monica’s strong performance of her Never Say Never, perhaps my favorite selection in this CD. More strong piano and organ backing here from Tony Stead. With Kid Andersen on guitar, Rick Estrin provides his own take on a relation gone bad on My Next Ex-Wife. I was pleasantly surprised by the brothers and sister band, Trampled Under Foot with their Fog, that shows they are more than a novelty act. Bassist Danielle Schnebelen is an impressive  vocalist. The old Five Royales classic Think is interpreted by Janiva Magness, perhaps in a rendition more influenced by James Brown’s recording, but the performance doesn’t quite fully jell to these ears. Theodis Ealey takes us down a bit on chitlin circuit with his soulful blues, This Time I Know, followed by strong Debbie Davis performance, All I Found.

There are a couple more performances by Castro to round this album out, with the closing Serves Me Right to Suffer, paying his respects to John Lee Hooker, starting as a slow dirge-like blues before picking up an ‘endless boogie’ groove. Its a fun performance if not a compelling one. It ends over an hour of performances that should appeal to the Blues Cruisers, fans of Castro and of the other artists especially. Alligator also provides web-links of the artists on the cd booklet of the artists that hopefully listeners will explore of artists they get introduced here to.


My review copy was provided by Alligator Records

I Just Keep Lovin' Him - Dennis Gruenling's Excellent Tribute

Its been forty odd years since Little Walter passed away. Let after all the years, his musical legacy still burns bright. Shortly after his death, George 'Harmonica' Smith did a marvelous tribute CD with the Muddy Waters Band of the time that had Smith providing his own take on some of Walter's better known recordings. It was a fine effort that alas today is a collector's item. Now, East Coast harmonica wizard, Dennis Gruenling, has turned his attention to a marvelous tribute to Little Walter, I Just Keep Lovin' Him - A Tribute to Little Walter (Backbender Records).
I saw Gruenling with his excellent band, Jumptime, several years ago and was impressed by his progressive harmonica playing, incorporating a number of jazz influences, but like the late Paul DeLay, rooted so strongly in the blues tradition. On his latest CD, he has put together a stellar studio band that includes guitarists Dave Gross and Rusty Zinn; Mark Bram or Marty Dodson on drums; Gina Fox and the vocal group 'Choice' guesting on vocals; and Steve Guyger, Kim Wilson and Rick Estrin on harmonica and vocals.
Included are renditions of several of Walter's recordings, generally not overdone, as well as recordings Walter played on as a sideman, so we get Gina Fox singing a jumping Up the Line, and Choice reworking The Coronets' Corbella. Steve Guyger handles Muddy Waters' Lovin' Man and reworkings of Jimmy Rogers' My Little Machine and You're Sweet, singing ably and taking strong solos with Gruenling adding some real nice accompaniment to the vocals. Kim Wilson is marvelous on Walter's classic shuffle, I Got to Go, and the moody As Long As I Have You. Gruenling takes the second solo on I Got to Go. Rick Estrin takes charge on Too Young to Know and Temperature, and while his vocals come across less effectively as those of Guyger or Wilson, no complaints can be laid at his fine harp. Estrin, Wilson and Gruenling also each take a bow on one of Walter's lesser known instrumentals, Teenage Beat.
Gruenling himself cites George Smith as more of a direct influence on his harp style, but states "here I've tried to reach into my Walter bag a bit," as do Estrin, Guyger and Wilson. They all bring a fat tone and a swinging drive to their playing, and the backing is solid. They know Walter's music so well, but each brings their own spin to this disc. Little Walter's music lives and sounds contemporary as evidenced by this excellent disc with its focus on less expose material and superior musicianship and harp playing. Incidentally as I write this, it is being sold by bluebeatmusic.com with a CD single by Gruenling and Steve Guyger. Ot go to http://www.dennisgruenling.com.