Nora Jean Wallace BluesWoman

Nora Jean Wallace
BluesWoman
Severn Records

Music lovers have reason to celebrate the return of Nora Jean Wallace with a new CD, "BluesWoman." It has been 16 years since Severn issued her acclaimed "Going Back to Mississippi." She left the music scene to take care of her ailing mother, but now she returns with this release. About that earlier album, I wrote that she "has shown herself as among those who will carry on and follow Koko Taylor and keep 'this great music alive and vital.'" Taylor was a major influence on her, and like Taylor, she has a deep, husky voice with an authoritative, no-nonsense attack.

Severn's David Earl produced this recording and picked up the guitar for four numbers. He also assembled an excellent band of Johnny Moeller on guitar, Steve Gomes on bass, Kevin Anker on organ, Steve Guyger on harmonica, Stanley Banks on keyboards, and Robb Stupka on drums. Kim Wilson guests on harmonica on one selection. There are two covers. Wallace or Stanley Banks wrote eight of the ten tracks.

Banks wrote the opening song "Martell." Against a relaxed shuffle groove, Wallace sings about trying to forget her man, and that she is going to drink some Martell until her eyes turn bloodshot red. Steve Guyger quickly shows why he is among the most underrated harmonica players playing today. It is followed by a deep Memphis soul groove for Syl Johnson's "I Can't Stop." Moeller contributes a neat guitar riff in the backing of her robust singing before a sharp, focused guitar solo. Then follows Banks' "I'm a Blues Woman," where Wallace proclaims she is a Blues Woman from her wig down to her shoes. The performance does evoke classic Koko Taylor with Guyger and Moeller, both adding spice to the musical blend.

The George Jackson penned "Evidence" is a soul-blues gem, with Wallace singing about the lipstick traces and a hotel receipt being evidence of her man's infidelity. It is a compelling performance where she displays her mastery of vocals dynamics. This song is followed by Wallace's "Victim," where she sings about being a victim of love to a man who has a woman on the side. Moeller's rapier-like guitar stands out here. Other standout tracks include the marvelous played Chicago blues shuffle "Look Over Yonder," and the evocative "I've Been Watching You."

"Dance With Me" is a solidly performed and enjoyable, if lightweight, track. The album closes with the strong, moody "I Don't Have to Beg You to Love Me," with another assured, passionate vocal. It is the finale on Nora Jean Wallace's most welcome return. On the outstanding "BluesWoman," Nora Jean Wallace shows that she is still a vibrant, superb singer and backed by an excellent studio band.

I received my review copy from a publicist. Here is Nora Jean Wallace singing right before the pandemic closed things down.

The Fabulous Thunderbirds Strong Like That

The Fabulous Thunderbirds
Strong Like That
Severn Records

Severn has just issued the latest by The Fabulous Thunderbirds, "Strong Like That." While in its earliest incarnation it was as much associated with both pop tunes and classic blues, this new release is rhythm and blues associated with a distinct Memphis-Muscle Shoals flavor starting with the opening rendition of the Temptations classic "(I Know) I'm Losing You" on which Roosevelt Collier adds steel guitar behind Wilson and this edition of the Thunderbirds of Johnny Moeller on guitar, Kevin Anker on keyboards, Steve Gomes on bass and Robb Stupka on bass. Wilson immediately establishes how authoritative a singer he is and while playing harp, Collier's steel guitar dominates the performance as it takes it out while Wilson adds harp.

Paul Kelly's southern soul classic "Don't Burn Me" follows with a guest appearance from Anson Funderburgh with Wilson's very soulful singing caressed by the solid accompaniment and backing vocals along with Funderburgh's guitar break. It is followed by some swampy blues soul with Moeller's effective use of tremolo and Wilson's harp on "You're Gonna Miss Me." Wilson and band provides a fresh arrangement of an Albert King recording, "Drowning On Dry Land," with some harp that evokes Junior Parker on a terrific, and original performance of this number. Wilson's original "Smooth," has a danceable loping groove and nice harp and the title might aptly describe the character of the performances here, smoothly and cleanly executed by also soulful and far from sterile. Nice punchy horns here led and arranged by trumpeter Kenny Rittenhouse.

After a solid cheating soul number, "Somebody's Getting It," Wilson opens his original "Meet Me On the Corner," with some tough amplified harp, as he tells his lady to meet him when no one can see. Also among the songs here is a nice rendition of the Eddie Floyd classic "I've Never Found A Girl (To Love Me Like You Do)." Gomes contributed the closing title track, another strong slice of soul-laced blues with some harp, solid horns behind a fine vocal that closes this fine new recording by the Thunderbirds.

I received my review copy from a publicist. This review originally appeared in the November-December 2016 Jazz & Blues Report (Issue 369). Here is a video of this edition of The Fabulous Thunderbirds from 2016.

Tad Robinson Day Into Night

Blue-eyed singer Tad Robinson returns for another helping of soul and blues on Severn Records "Day Into Night." Robinson has matured as a singer and his vocals (and occasional harmonica) are backed by the Severn house band of Johnny Moeller, guitar; Robb Stupka, drums; Steve Gomes, bass and Kevin Anker, keyboards. DC area organ wizard Benjie Porecki is on one track and Anson Funderburgh and Alex Schultz also add guitar while trumpeter Kenny Rittenhouse provides the handsome horn arrangements.

With the exception of a cover of "Lead Me On," Robinson, Gomes and Anker contributed these solid originals that evoke the classic Memphis sound, especially Hi Records, with the understated, smoldering feel of many of these performances. One highpoint is "Lonely Talking," with Robinson's soul vocals on this modern urban blues enlivened by Funderburgh's guitar bursts. Rittenhouse's arrangement for "He's Moved On"  has a touch of the Philadelphia Sound with backing vocals added as Robinson tells his lady she will realize that he has moved on. "Lead Me On" has a fresh arrangement allowing Robinson to place his own spin on this Bobby Bland classic with a heartfelt moaning vocal. "While You Were Gone," has a bass pattern that evokes "Take Me To the River" and on which Robinson adds a dose of harmonica.

The overall tenor of the performances (including the backing and arrangements) of "Day Into Night" are very much in the manner of the late Severn soul-blues legend Lou Pride. Severn has produced another modern urban and soul-blues recording that showcases how striking a singer Tad Robinson is.

I received my review copy from a publicist.  This review originally appeared in the May-June 2015 Jazz & Blues Report (Issue 360). Here Tad performs "That's How Strong My Love Is."
 

Lou Pride Finds Ain’t No More Love In This House.

There is a bittersweet feeling Severn Records’ David Earl expresses in his brief liner notes to his label’s release of the final recording by the late soul-singer Lou Pride, Ain’t No More Love In This House. While he has great joy in releasing this final recording by Pride for his fans a year after he passed away, Earl notes “Maybe as the years go by I will be able to listen as [his loyal fans] will.”

Like recent Severn releases, this is handsomely produced with an excellent studio band of guitarist Johnny Moeller, keyboard whiz Benjie Porecki, bassist Steve Gomes and drummer Robb Stupka. Trumpeter Kenny Rittenhouse arranged and conducted the punchy horn section and the backing vocals are well integrated into the recordings. What a marvelous recording this is with memorable originals and choice covers, excellent musicianship and Pride being in top form.

One of the themes of the songs are marriages and relationships breaking apart such as the title song that Pride penned where he comes home to discover that his wife has moved out and left a note that Pride hadn't done anything wrong, just that she found another. Daddy Don’t You Walk So Fast has a similar theme with his marriage is over and as he is leaving his child cries for him not to leave. I Didn’t Take Your Woman is a wonderful recasting of an Ann Peebles recording as Pride tells a man that he didn’t take the man’s woman, rather it was the man's his failure to take care of her. It is set against a smoldering backing in the manner of classic Willie Mitchell productions for Hi Records.

Take It Slow is a marvelous slow jam, soul ballad, while She Boom Boom Me is a blues with Moeller playing sizzling guitar with riffing horns in support. Here Pride sings about his Mississippi woman and whom he has a special package for delivery (maybe a mojo or black cat bone or maybe her ya ya that Lou just can’t leave alone). I’m Gotta Move On Up is an strong uptown reworking of a 45 odd year old Luther Allison recording that Pride nails with his controlled, yet fervent, vocal. Pride’s lovely We Can Do What We Want, is listed as a duet with Caleb Green. Knowing Caleb Green from his singing the National Anthem at Washington, DC sporting events, I would never have guessed that was Green's falsetto providing harmony here.

The closing interpretation of the Simply Red pop hit Holding Back The Tears sounds like it was from a classic R&B album from the seventies. It fits in seamlessly with the other songs on this recording. Fans of Bobby Bland, Artie 'Blues Boy' White and the like will love this. Lou Pride may be gone but his music more than lingers on and Ain’t No More Love In This House, stands up as amongst the finest soul recordings of the past couple decades.

I received my review copy from a publicist. Here is a clip of Lou in performance from the Severn Records 10th Anniversary Show.

Ursula Ricks My Street

A presence on the Baltimore and Washington blues scenes for a couple decades, Ursula Ricks certainly sounds poised to break out on the National music scene with her new recording My Street (Severn Records) with blues, soul and more. Ricks brings her powerful, nuanced singing and her strong original songs here backed by Severn’s house rhythm section of Johnny Moeller (from The Fabulous Thunderbirds) on guitar; Kevin Anker on keyboards; Steve Gomes on bass and Robb Stupka on drums. A number of selections feature horns and/or strings arranged and conducted by the legendary Willie Henderson with DC jazz stalwarts Kenny Rittenhouse, Reginald Cyntje and Leigh Pilzer among those heard. There are also guest appearances from Kim Wilson and Mike Welch. Someone commented to me, with the Severn house band even he or I would sound good. Well I don't think anything would make me sound good, but his point about the quality of the backing is well spoken.

As for Ursula Ricks, her smoky and husky vocals are outstanding. Her controlled, unforced delivery stands out in a manner akin to Nina Simone. She never bellows, screams or sounds constipated. Rather she evokes classic sixties soul recordings by the like of Carol Fran or Betty Everett. Not only does she she deliver the goods vocally, but she wrote some wonderful new blues and soul songs starting with Tobacco Road. This is not the John D. Loudermilk song, but an original about traveling from West Virginia to New Orleans with the chitlin' circuit working her heart. It is set against a swampy, smoldering backing and also Kim Wilson takes a tough harmonica solo. This same, tough yet understated backing also provides a foundation for her funky rendition of a lesser known Bobby Rush number Mary Jane, with its anti-drug message. Sweet Tenderness, with its strings in the backing evokes Barry White's recordings while another number with strings, her Due, is an excellent soul-blues in the manner of classic Hi Records. 

The title track, My Street provides a gritty description of contemporary urban life as Ms. Ricks moans that all she knows is she has to move away. The level of the rest of My Street is of a similar level. The songs and her vocals ring with conviction and the backing is excellent on a superb recording that will hopefully enable Ms. Ricks to receive the recognition and rewards her talent and music deserves. 

I received my review copy from a publicist. Here is Ursula in performance. 

Bryan Lee Play One For Me

I remember discovering Bryan Lee in the late 1980s at the Old Absinthe Bar during my first visit to New Orleans. With the sideshow that marked (and still marks) Bourbon Street, discovering Lee's straight, no chaser blues was a real joy. I picked up his self-produced vinyl lp at the time and it was a solid souvenir of the music I heard that evening.Since discovering Lee, I have been pleased to see him again on several later visits to New Orleans and at some music festivals as well as his body of recordings, mostly for a Canadian label. 

David Earl's Severn label has just issued a new CD by the Blind Giant of the Blues, Play One For Me. On it Lee is supported by, amongst others, Fabulous Thunderbirds guitarist Johnny Moeller on rhythm guitar; Kevin Anker on keyboards; Steve Gomes on bass; Robb Stupka on drums with Kim Wilson adding harmonica to a few tracks. Also the great Willie Henderson has arranged and conducted strings and horns on several tracks with some of the Washington, DC area's finest players including trumpeter Kenny Rittenhouse, baritone saxophonist Leigh Pilzer and trombonist Reginald Cyntje. 

As expected with Severn, the production and recording are first-rate, and the result is a fresh take on Bryan lee and his music. There is plenty of his guitar to be heard here, but it is with his vocals that he really shines as he sings so soulfully. The album opens with his take on Aretha (Sing One For Me), a hit for George Jackson and includes wonderful renditions of Freddie King's It's Too Bad (Things Are Going So Tough), Little Sonny's When Love Begins (Friendship Ends), that was a hot for Bobby Womack, and Lee's soulful original Let Me Love You Tonight.

Lee's take on the Womack recording undoubtedly will be a surprise for some of Lee's family with his fine soulful singing and Albert King-laced guitar backed by Henderon's uptown strings and horns that musically is on par with some of today's best soul-blues recordings. Lee's "Let Me Love You Tonight is a terrific soul-blues performance that has an infectious groove that should get dancers up and on the floor. For a bit of more of a down-home feel there is a nice rendition of Howling Wolf's recording, Evil Is Going On, and the down home flavored original Poison. Kim Wilson adds his harmonica to both selections.

In its mix of straight blues with southern soul-blues, this recording provides a change from Lee's prior recordings that perhaps focused more him as a solid singer and guitar slinger. While there is plenty of fine guitar here, this particular recording displays just how exceptional a singer Bryan Lee is. He is that good here and Play One For Me is that good a recording.

I received my review copy from Severn Records. Here is a clip of Bryan Lee performing.

Darrell Nulisch is Goin' Back To Dallas

Darrell Nulisch, as some may know, was featured vocalist with Anson Funderburgh and the Rockets prior to Sam Myers, and many will be aware of his own recent recordings for Severn that were quite well received as Nulisch showed himself comfortable and convincing in a more urban blues vein. On his latest Severn disc, Goin’ Back to Dallas, he has returned with ‘a straight-out blues CD.’ On this, he is backed by a solid quartet of guitarist Jon Moeller, keyboardist Kevin Anker, bassist Steve Gomes and drummer Robb Stupka on a set of interpretations of classic blues and idiomatic originals in the vein of the originals. This might be likened to some of the early Fabulous Thunderbirds in terms of the feel and making a strong personal statement in this vein. 

There are a couple of solid covers of Sonny Boy ‘Rice Miller’ Williamson’s She’s My Baby and Too Young to Die, both sporting some nice harp in Miller’s style; along with Oscar Boyd’s Too Much, which is suggestive of Jerry McCain’s She’s Tuff Enuff; James ‘Thunderbird’ Davis’ Blue Monday, a nice modern minor key blues that was a hit for Z.Z. Hill; Jimmy Reed’s Shame, Shame, Shame; Freddie King’s Play It Cool; as well as Muddy Waters-styled original like That’s a Problem, or the title track which is an original in the vein of Rice Miller. 

Nulisch delivers his vocals cleanly and soulfully, and plays some terrific harp in various styles, showing a bit of Little Walter on the last named number, while the band is really tight. Guitarist Moeller is especially noteworthy here with his crisp and responsive playing throughout, but the band is terrific as well. Certainly a release that should appeal to blues fans everywhere as Nulisch certainly has produced a marvelous release that perhaps breaks new ground but delivers plenty of solid, entertaining blues. 

This review originally appeared in the July-August 2007 Jazz & Blues Report (Issue 295). I received a review copy from wither the label or a publicist. Here is a video of Darrell from 2007 performing a Sonny boy Williamson number.

 

Steve Guyger's Radio Blues

Steve Guyger’s career playing the blues, including a lengthy stint with the legendary Jimmy Rogers, is reflected in the pictures of him that accompany his new Severn album, Radio Days. As Rick Estrin notes, “Steve Guyger is a true master of Blues Harmonica.” But more important than his virtuosity on the ‘Mississippi saxophone,’ is how deep he is in the blues tradition. As stunning and original a player as he is, he remains embedded in that tradition. 

He is backed by an impressive band that includes Johnny Moeller on guitar, Steve Gomes on bass, Robb Stupka on drums and Bill Heid on piano that provide spare, direct accompaniment that suits Guyger’s no-frills vocals and strong harp. Originals like You’re So Fine and Cool in the Evening, evoke classic Little Walter recordings, while he employs a zydeco groove on the peppy Little Rita, which sports a fine chromatic harmonica solo. He stays on chromatic for a strong deep Blues Won’t Let Me Be, a song that suggests some of the late Carey Bell’s originals. 

Guyger is particularly effective here as a vocalist and blasts a terrific solo, while he also does a credible rendition of Rudolph Toombs, I’m Shakin’, originally done by Little Willie John although Guyger perhaps lacks the vocal authority of The Blasters’ Phil Alvin who placed their mark on this a quarter century ago. Oh Red benefits from the understated accompaniment on this Kansas Joe Mccoy tune that has been covered numerous times. Echoes of Guitar Slim’s Things I Used to Do, can be heard in the melody of I Can See By Your Eyes, although Guyger’s harp and the backing lend a swamp blues flavor suggesting Lazy Lester on a splendid performance, while he sings more forcefully on Muddy Waters’ Let Me Hang Around. 

Overall Radio Days is a release that anyone liking classic Chicago blues will savor. Guyger is a very good singer and a terrific harp player. He is backed here by an excellent band that enhance his performances. 

I received a review copy from Severn Records. I do not believe this review that was written in 2008 was ever published. Here is a video of Steve Guyger performing a Jimmy Rogers number.

Lou Pride Keeps On Believing

Lou Pride is a class gentleman. I first became acquainted with him from an album issued on Ichiban. I was quite pleased when in 2002 David Earl issued Words of Caution on his Severn label, a strong soul-blues effort. After following up with a reissue of Pride’s earliest recordings, The Memphis/El Paso Sessions, in 2005 Severn issued the outstanding Keep On Believing. It has been over five years and we are perhaps due a new Lou Pride recording. The man’s talent merits it. My review below originally appeared in the December 2005-January 2006 DC Blues Calendar (then the DC Blues Society’s newsletter) and the March-April 2006 Jazz & Blues Report (Issue 280). Severn Records sent me my review copy.


Severn Records latest new disc is by the terrific soul-blues belter, Lou Pride, Keep on Believing. Mostly comprised of Pride’s originals, Pride’s performances benefit from a strong studio band that includes the fabulous Texas guitarist Jon Moeller, Benjie Porecki on keyboards, Steve Gomes on bass and Robb Stupka on drums, Backing vocalists on the disc include Lady Mary and Margie Clarke, two of the D.C. area’s finest female singers along with Eddie Jones, the leader of the old school group, The Young Bucks. Also on this session is a full horn section punching out their riffs using Willie Henderson’s arrangements.


After the strong groove of Midnight Call, Pride handles his one cover on this disc, Bob Marley’s Waiting in Vain, with his vocal complemented by his vocal that does not overuse his falsetto towards the end. A quote notes a touch of Bobby Bland in his approach, but to these ears Al Green and Otis Clay are more apt touchstones for his singing. The relentless groove on I Can’t Hold It, suggests the classic Hi Rhythm section with a strong, concise guitar solo from Moeller. The topical plea of Love Will Make It Alright, with its hope to change this world of hate and strife is followed by a terrific soul ballad with a great vocal and lyric, I Want to Hold Your Hand, and the medium tempo-ed lament Another Broken Heart.

The remainder of this disc keeps up this high level with some exquisite playing and Pride’s strong singing for a terrific, soulful session. Another really fine release from David Earl’s label.