Jose Ramirez - Major League Blues

Jose Ramirez - Major League Blues - Delmark

Originally from Costa Rica, singer-guitarist-songwriter Jose Ramirez has been making a name for himself in the Blues World. While residing in the Washington, DC area, he won the 2019 DC Blues Society's Battle of the Bands. He then competed in the Blues Foundation's International Blues Challenge, where he finished second overall. Ramirez was poised to start touring in support of his debut album "Here I Come" when the Covid-19 pandemic put a wrench in his plans. He now lives in Florida and makes his Delmark debut with "Major League Blues," which he will be touring in support of. 

Of "Here I Come," I wrote that it was "not merely an impressive debut of a promising artist. Anson Funderburgh's top-flight production and a fabulous studio band provide the foundation for Jose Ramirez to showcase his gifted songwriting along with his terrific vocals and guitar playing. It is a superb recording." Much can be said about the present recording, full of solid idiomatic originals and a couple of choice covers. Six songs were recorded in September 2020 with Antonio Reyes on drums, Kenny Watson Jr. on bass, and Andre Reyes Jr on keyboards. Evan Hoffman is on Latin percussion on one track, and Shelly Bonet provides backing vocals on one track. The other four selections were recorded in Chicago in August 2021 with The Delmark All-Star Band of Bob Stroger on bass, Willie 'The Touch' Hayes on drums, Roosevelt Purifoy on Hammond B3, and Billy Flynn on guitar. Jimmy Johnson appears on one track for what was his final studio recording.

The present album is of a similar quality to "Here I Come," opening with the title track on which Ramirez trades licks with Jimmy Johnson. The title song alludes to him reaching the major league of blues by signing with Delmark. The lyric also notes some of his influences, including Johnson and Lurrie Bell. It is followed by the blue lament "I Saw It Coming" with Purifoy taking a chicken fried steak organ solo along with Ramirez's heartfelt singing. The other two tracks with the Delmark All-Star Band are fresh renditions of Eddie Taylor's "Bad Boy" and Magic Sam's "My Love Is Your Love." There is plenty of solid fretwork to go with the tight, complementary backing.

The others songs are similarly entertaining. Ramirez is a skilled songwriter who handles traditional themes of relationships quite well. There is a neat melodic hook to "Whatever She Wants," where his heart, soul, and pride belong to her. In addition to a pleading vocal, Ramirez's solo is striking with his phrasing and development. Also outstanding is the Latin-flavored "Are We Really Different" that might evoke early Santana with a bilingual vocal from his Ramirez. The other selections similarly display why Jose Ramirez has become a Major League Blues artist.

I received a review copy from Delmark Records. It has been a while since I posted new reviews, so happy to get this one up. Jose is currently touring in support of this album which you can check out on his Facebook page. Here is Jose Ramirez in performance.

Eddie Burns - Snake Eyes

Eddie Burns - Snake Eyes - Delmark

Delmark has also issued Snake Eyes, the latest album by another under-recorded blues veteran, Eddie Burns. Burns is a veteran of the Detroit blues scene, including playing with John Lee Hooker on a number of Hooker's finest band recordings. He shares some influences with Hooker including Tommy McLennan but in addition to being a fine rhythmic guitarist, he is a capable harmonica player indebted to John Lee 'Sonny Boy' Williamson.

Delmark, who has issued a couple of albums by his younger brother Jimmy, has just issued Eddie's Snake Eyes. On it, Burns is joined by brother Jimmy on guitar along with pianist Roosevelt Purifoy, bassist Nick Charles (brother of Magic Slim), and drummer Larry Taylor (one of the legendary Eddie Taylor's sons), in an album of postwar ensemble blues. 

Playing both acoustic as well as electric guitar and harmonica, Burns' simple, effective playing and his straightforward plaintive singing result in some delightful traditionally oriented blues. There are echoes of classic Muddy Waters' stop-time grooves on Night Shift, while the rollicking Papa Likes to Boogie evidences the influence of Williamson. A spirited remake of the Drifters' Your Cash Ain't Nothin' But Trash is joined by a tasteful cover of Memphis Slim's Lend Me Your Love, while Going to New Orleans, is similar to recordings by Otis Spann and Lonnie Johnson. The two Burns play acoustic guitars on the shuffle Treat Me Like I Treat You. 

The backing band is wonderful and with Burns' honest and heartfelt performances, Snake Eyes is a gem.

I received my review copy from Delmark. This review originally appeared in the June 2002 DC Blues Calendar although I have made some minor edits to the original review. Here is "Your Cash Ain't Nothin' But Trash" from this recording.

Linsey Alexander Live at Rosa's

Linsey Alexander
Live at Rosa's
Delmark Records

Reviewing Linsey Alexander's debut album "Been There Done That" in 2012, I wrote that it was "a most impressive blues recording which is one of the finer blues albums I have heard this year. His is a voice I want to hear more from." I further noted his fervent singing and stinging guitar in his 2015 follow-up recording, "Come Back Baby." It has been way too long since his last album, so this new live recording is welcome. His vocals and guitar were supported at Rosa's by Sergei Androshin, guitar; Roosevelt Purifoy, keyboards; Ron Simmons, bass; and "Big Ray" Stewart, drums.

"Live at Rosa's" is a pretty straight-forward recording as Alexander performs five of his originals and four covers. It opens with a fresh rendition of B.B. King's "Please Love Me," that avoids the "Dust My Broom" feel of most versions. Alexander's searing guitar is supported by Purifoy's organ. Purifoy takes a greasy solo here. Alexander also musically provides a fresh feel to Freddie King's "If You've Ever Loved A Woman." The insistent groove of Alexander's "I Got a Woman," may evoke "Mustang Sally." Alexander adds a fiery guitar solo. There is appealing guitar picking on the relaxed shuffle "Goin' Out Walkin'" followed by a soulful rendition of Latimore's "Somethin' 'Bout' Cha," with more strong support from Purifoy. "Snowing in Chicago" provides a driving funk-blues. The final cover is of a Muddy Waters recording, "Just to Be With You," although it is titled on the album "Ships on the Ocean" and credited to Junior Wells. Wells' recording is the inspiration for Alexander's interpretation, and Linsey sings robustly and plays perhaps his finest solo here.

Alexander sings convincingly with fervor, although there are a couple spots where his diction suffers. With solid backing and strong performances, Alexander's "Live at Rosa's" is a most engaging album of live modern Chicago blues."

I received a download to review from Delmark Records. Here is an older performance of Linsey Alexnader performing "Snowing In Chicago."

Gerald McClendon Can't Nobody Stop Me Now

Gerald McClendon
Can't Nobody Stop Me Now
Delta Roots Records

This writer first became aware of Chicago-born singer/songwriter/performer Gerald McClendon from a memorable performance on the anthology "Battle Of The Blues: Chicago vs. Oakland." Drummer-songwriter-producer Twist Turner produced that recording. Turner has returned with this full album of deep soul by McClendon, a performer who has become known as "The Soul Keeper." McClendon's vocals are backed by Turner on drums and some stellar studio players. These include Art Love on bass, three great guitar players, Herb Walker, Joe Burba, and Mike Wydra, and three keyboardists, Roosevelt Purifoy, Sumito Ariyoshi, and Brian James, along with Skinny Williams on saxophone and John "Boom" Brumbach on trumpet. Turner wrote all twelve songs here.

A strong, expressive singer, McClendon will evoke some of the classic soul singers of the past such as Sam Cooke, Tyrone Davis, Otis Redding, and others as he sings about being caught in the act by his woman who tells him she does not want to stay on the break-up song, "Where Do We Go From Here." His phrasing and clean delivery of the lyrics underlying a compelling vocal. The breaking up of relationships is also a theme of several other selections, including "She Don't Love Me No More," which features Skinny Williams' burly tenor sax. Then there is the blue ballad, 'i," with some bluesy guitar fills. Of course, other themes include the title song opens this set with a surging groove as he sings about nothing can stop him as he takes control. Another standout song is the slow groover "Groove on Tonight' where he sings about going out and party all night as he needs to find someone to love him right.

Whatever the song or mood, McClendon's command and conviction stands out, along with the first-rate backing provided. Still, the highlight of this recording might be the soul-ballad, "You Can't Take My Love." On this track, Williams again plays a choice sax break in the middle of McClendon's soulful vocal where he tells his woman she can scandalize his name, but she can't take away his love for her. This performance notably displays why Gerald McClendon is "The Soul Keeper." "Can't Nobody Stop Me Now" is an extraordinary deep soul recording that hopefully will bring him the recognition his talent deserves. Also, kudos to Twist Turner for the terrific songs and production.

I received my review copy from a publicist. This will be released on June 12. Here is a promotional video for this recording.

Jimmy Johnson Every Day Of Your Life

Jimmy Johnson
Every Day Of Your Life
Delmark Records

Going to the 2019 Chicago Blues Festival, one of the acts I was most anxious to see was Jimmy Johnson, who was celebrating his 90th birthday. I had not seen him since he played the Pocono Blues Festival in 2007, and his performance that night did not disappoint. Johnson's new CD does not disappoint, and it is striking how strong his vocals are as well as his guitar playing.

On this recording of five originals and four interpretations, Johnson is supported by two different groups. Those playing behind him include guitarist Rico McFarland on guitar, Roosevelt Purify or Brother John Kattke on keyboards, J.R. Fuller or Curt Bley on bass, and Pooky Styx or Ernie Adams on drums. On one selection, Johnson accompanies himself on piano.

There is an appealing mix of material opening with the title song that Johnson wrote about living one's life as if it is one's last. A marvelously paced performance, his soulful tenor is complemented by a thoughtful, well-constructed guitar solo demonstrating his lean tone and twisting rapier-like playing. Purifoy also songs strongly here.  A  relaxed, first-rate cover of "I Need Your Love So Bad," is followed by "My Ring." Set against a reggae groove, it has poignant lyrics as he remembers getting married, and that was the last time he saw his woman smiled. Among the other auditory delights here is a marvelous rendition of Fenton Robinson's "Somebody Loan Me a Dime," and Percy Mayfield's "Strange Things Happening." Then there are fascinating, well-crafted originals like "Rattlesnake" and "Down in the Valley."

Accompanied solely by his piano, Johnson caps off this recording with a moving, thoughtful rendition of a Bobby Bland classic "Lead Me On." Johnson still performs at a high level and is provided with excellent support here. Add in the terrific originals and covers, and the result is one of the best new blues albums of 2019.

I received my review copy from Delmark Records. Here he is seen performing a Curtis Mayfield number at the 2019 Chicago Blues Festival.

Toronzo Cannon
The Preacher, The Politician and The Pimp
Alligator Records

This is the Toronzo Cannon's fifth album, second for Alligator, and brings more of searing guitar, intense vocals and intriguing original songs. His lyrics arise from today's headlines, his experiences as a veteran bus driver in Chicago as well as the wisdom of his grandparents, who raised him and often have stories that make for compelling listening. On this release he is supported by Roosevelt Purifoy on keyboards, Marvin Little on bass and Melvin 'Pooky Styx" Carlisle on drums. There are also appearances by Norma Jean on vocals, Billy Branch on harmonica, Joanna Connor on slide guitar, Lynne Jordan, Cedric Chaney and Maria Luz Carball on vocals, and horns arranged by trumpeter Joe Clark.

He writes lyrics that lay bare the similarities between "The Preacher, The Politician and The Pimp," or the humor-filled stories of male braggadocio on "Stop Me When I'm Lying." The former number is taken at a nice relaxed pace while the latter is an exuberant performance with a New Orleans groove and punchy horns. "The Chicago Way," mixes a ZZ Top rocking boogie groove with stop-time and hot single note runs as Cannon sings about breaking the rules, paying his dues and that he will play his blues without an apology, the Chicago Way. He blasts off on this song with a closing guitar solo. There is also a rollicking duet with Nora Jean "That's What I Love About 'Cha." After each noting the other's shortcomings, they also know that the other is "mine all mine."

Then there is the black humor of "Insurance" with lyrics about dealing with doctors and insurance that many will be able to relate to. Alligator's chief honcho, Bruce Iglauer, makes a brief cameo as a doctor while Billy Branch adds his harmonica on this performance. "She Loved Me (Again)" is an original about domestic abuse. In it, Toronzo couldn't take a man beating his woman anymore, and he shot the man. When the cops burst in, she had Toronzo's gun in her hand and said she was the one that shot that man. Cannon's intense singing, and blistering, scorching guitar playing result in perhaps the CD's most compelling performance.

"She Loved Me (Again)" is followed by "The Silence of Friends." This is another message song in which Toronzo observes that too often when wrong things are said or done, 'friends' are silent and not supportive. The closing number, "I'm Not Scared," is sung by Lynne Jordan, Cedric Chaney, and Maria Luz Carball, who sing about no longer being victims, whether from taking abuse from a lover or taking abuse for being gay. Joanna Connor adds slide guitar while Cannon's uses wah-wah and other her effects. After a searing guitar solo, this song, and album ends with Purifoy's reflective piano solo.

Toronzo Cannon follows his inspiration and does things his own way, the Chicago Way. He continues to mature as a songwriter as well as a performer. The result is a compelling, superlative blues recording.

I received my review copy from Alligator. This will be available on September 20.  This review appeared in the September-October 2019 Jazz & Blues Report (Issue 386).  Here is Toronzo performing at the 2019 Chicago Blues Festival.

Shirley Johnson Blues Attack

Shirley Johnson

Blues Attack

Delmark Records

Vocalist Shirley Johnson has been a mainstay of Chicago’s North Loop bistro Blue Chicago for the past seventeen years, and that’s where you will likely find her unless she’s touring overseas. A Virginia native, she had roots in the church so many blues & R&B performers. A fellow Norfolk alumna, Ruth Brown was a role model, but she was influenced by such acts as Etta James, Johnnie Taylor, Bobby ‘Blue’ Bland, and B.B. King. 

Johsnon worked pop as well as gospel gigs until a friend told her to go to Chicago where she relocated to in April 1983. Working first with Buster Benton and then with singer Johnny Christian, she got herself part of the Chicago scene. Then keyboard wizard Professor Eddie Lusk heard her, hired her to a Canadian tour and later brought her Blue Chicago as his regular vocalist, and after he died in 1992, she continued on at the club. In 1994 she recorded “Looking For Love” for Appaloosa which was followed by a 2002 Delmark album “Killer Diller.” She returns to Delmark for her new release, “Blues Attack.”

For “Blues Attack,” she has brought on board a band of guitarist Luke Pytel, keyboardist Roosevelt Purifoy, bassist Lovely “JR” Fuller, Jr. and drummer Cordell Teague with a horn section of Lawrence Fields, Kenny Anderson, Hank Ford, and Willie Henderson added to several tracks. The fourteen selections on “Blues Attack” include several written by Maurice John Vaughan, several by her band members and several that she contributed to, along with covers of R&B classics. 

This is just a solid set of Chicago blues sung and played strongly. Purifoy is first-rate on keyboards, while Pytel plays a solid blues guitar with just the right tone and bite as Johnson delivers the goods with her straight attack that eschews histrionics for a simple, soulful delivery. The songs range from her cautionary warning to her lover, “You’re Reckless,” and need to change his ways to keep whatever glimmer of a flame is in their love. The title track has a funky groove enhanced by a full dose of brass, as she sings about having a blues fever which moved through her body and mesmerized her, left her tired and soaking wet but nothing wrong with that, and Pytel shines more here). 

There is a nice rendition of the great Wilson Pickett classic “634-5789,” followed by an easy tempoed shuffle “Just Like That,” as she explains her relationship is over and moving on. “You Shouldn’t Have Been There,” is a fine atmospheric slow blues where she tells an ex to move on. “I’m Going To Find Me a Lover,” turns the tempo hotter as were she declares if it takes a long time its all right as she isn’t gonna take less than she deserves. It continues the lyrical center of many of the songs here emphasizing relationships that cool down or break down due to abuse or cheating. The performances have a variety of tempos and accompaniments that add to their enjoyability. 

Delmark should be thanked for bringing a healthy slice of blues from a marvelous singer who merits the attention “Blues Attack” should bring.

I received my review copy from Delmark Records. This review originally appeared in the April 2009  Jazz & Blues Report (Issue 315) although I have made some minor changes.  Here is Shirley Johnson performing "Blues Attack."

Tribute: Delmark's 65th Anniversary

Various artists
Tribute: Delmark's 65th Anniversary
Delmark Records

As Delmark celebrates 65 years since founded in St. Louis by Bob Koester, new has come out that the label has been sold which hopefully will keep this historic and visionary blues and jazz label healthy for years to come. This "Tribute" recording has eleven newly recorded blues to help in the celebration. It should be noted that these are new recordings of prior recordings by various blues artists on Delmark. There is a house band with either Mike Wheeler and/or Billy Flynn on guitar on several tracks, Roosevelt Purify on keyboards, Melvin Smith on bass and Willie Hayes on drums.

Omar Coleman sings strongly and plays nice harp on his tribute to Junior Wells, "Train I Ride," with guitar from Wheeler and booting sax by Hank Ford. Lurrie Bell & the Bell Dynasty with Eddie Taylor Jr do Carey Bell's "One Day You're Gonna Get Lucky," likely recorded at the same session that produced their Tribute to Carey Bell album. Steve Bell's harmonica shines on this. Billy Flynn emulates the late Jimmy Dawkins' distinctive guitar style behind Linsey Alexander's fervent vocal on Dawkins' "All For Business." Demetria Taylor effectively growls performing Big Time Sarah's "Riverboat." Jimmy Burns performs his amiable take on Big Joe Williams' "She Left Me A Mule To Ride," without band accompaniment. His performance is not as percussive as that of Williams but he sings quite ably.

Lil Ed Williams and Dave Weld cover "Speak My Mind," by his uncle J.B. Hutto and it is a solid rendition if Ed does not quite match J.B.'s vocal here. Jimmy Johnson with Dave Spector do a strong Magic Sam's "Out of Bad Luck," with Sumito 'Ariyo' Ariyoshi adding some fine piano behind Johnson's marvelous vocal and fine guitar from him and Spector. Corey Dennison and Gerry Hundt provide a lively acoustic duet on Sleepy John Estes' "Broke and Hungry" with tight mandolin runs against the rhythmic guitar, with a strong crying vocal. Mike Wheeler evokes Jimmy Johnson on a fine cover of an Otis Rush classic, "So Many Roads," which is followed by Shirley Johnson's fine singing on the Little Willie John classic "Need Your Love So Bad," that Bonnie Lee previously waxed for Delmark.

Ken Saydak's solo piano and vocal barrelhouses Roosevelt Sykes' rollicking "Boot That Thang," closing this most entertaining collection of fresh blues cover recordings.

I received my review copy from Delmark Records. This review appeared in the July-August Jazz & Blues Report (Issue 379).  Here is Bob Koester interviewed about Delmark about 5 years ago.

Billy Flynn Takes the Lonesome Highway

Billy Flynn
Lonesome Highway
Delmark Records

As Tom Hyslop observes, for all the recordings Billy Flynn has played on for Delmark over several decades “it is hard to believe” that this release is first his for the label as a leader which places him in the spotlight, not simply as the fluid, straight no chaser, blues guitarist (and harmonica player and percussionist), but as a songwriter and an able vocalist. With a core backing band of Roosevelt Purifoy on keyboards, E.G. McDaniel on bass and Andrew ‘Blaze ’ Thomas on drums, Flynn contributes sixteen idiomatic originals along with a cover of “The In Crowd.” Several tracks employ horns and Deitra Farr duets with him on two selections.

Flynn has provided a nice variety of songs which provides him a chance to display his versatility as a guitarist with a dash of harmonica as well. There is a rock and roll flavor to his guitar (evocative of Chuck Berry who just passed away as I write this) on the opening “Good Navigator,” which is a delightful duet with Farr. “Small Town” is a nice, low-key performance with a sober vocal and guitar suggestive of Earl Hooker with a dash of harmonica for good measure. The title track is a strong Otis Rush styled West Side Chicago blues with a strong vocal and some superb Rush-like guitar soloing, while the instrumental take of The ‘In’ Crowd" is a driving instrumental (shades of Jimmy Dawkins) with some strong organ under Flynn’s funky mix of chords and single note runs. Another solid West Side Styled blues is ”The Lucky Kind."

“Hold On,” with more harmonica, is another duet with Farr set to a Jimmy Reed groove with crisply played guitar (echoes of Eddie Taylor) and harmonica breaks. “Jackson Street” sounds inspired by Robert Nighthawk’s “Jackson Town Gal” and Flynn adds some solid Nighthawk influenced slide guitar, while the rollicking “Long Long Time” is akin to J. B. Lenoir’s “How Much More.” The funky “I Feel ‘Um“ opens with Christopher Neal’s booting tenor sax with some jazz-inflected playing akin to Fenton Robinson. The instrumental ”Blues Express“ finds Flynn’s string-bending suggesting Freddie King, while his guitar playing and deliberate vocal on ”Sufferin’ With the Blues” is modeled after Albert King, and his playing emulates B.B. King on the closing “Christmas Blues.”

In addition to his chameleon like ability to suggest a number of legendary blues guitarists, Flynn’s idiomatic originals,  choice harmonica playing and  natural, heartfelt singing, make this a gem of a recording. It does not hurt to have such crisp backing throughout on this gem of a new blues album.

I received my review copy from Delmark. Here is Billy Flynn in performance.

Lurrie Bell Can't Shake This Feeling

Lurrie Bell
Can't Shake This Feeling
Delmark

The Mercurial Son, Lurrie Bell has a new recording on Delmark "Cant Shake This Feeling" finding this singular guitarist and singer backed by a first-rate band of Roosevelt Purifoy on keyboards, Matthew Skoller on harmonica, Melvin Smith on bass and Willie Hayes on drums. Produced by Dick Shurman, Lurrie wrote or co-wrote 4 of the 13 songs, and the other songs here are not ones that have been over-recorded with perhaps "Sinner's Prayer" being the best known.

Lurrie's unpredictability makes him such a fascinating guitarist to listen to and this is evident starting with the opening "Blues Is Trying to Keep up with Me," which he penned as well as his solo on Eddie Boyd's shuffle "Drifting," with Skoller and Purifoy also soloing. Lurrie's natural, slightly gritty vocals add to the appeal. There is some nice string popping on a lesser know T-Bone Walker number "I Get So Weary," while he unplugs for "One-Eyed Woman" backed only by Skoller. Another strong original, the slow, moody "This Worrisome Feeling in My Heart," is followed by a cover of one of Willie Dixon's lesser songs, "Sit Down Baby." Lurrie can not do much on this cover of Otis Rush's Cobra recording of this song.

A brisk Little Milton cover "Hold Me Tight," is followed by a nice interpretation of "Sinner's Prayer," that sounds adapted from Ray Charles. There is a nice walking groove of Lurrie's "I Can't Shake This Feeling," a gem that sounds like it came from Willie Dixon's pen with Skoller's backing harp sounding strong along with a typically distinctive Bell solo. Lurrie sings and plays his heart out on Buster Benton's "Born With The Blues," followed by Carey Bell's shuffle "Do You Hear." Bell also does a rendition of Willie Dixon's "Hidden Charms." If Lurrie is among the few guitarists who can conjure up Hubert Sumlin, he lacks Howlin' Wolf's vocal authority, which exposes this song as a lesser Willie Dixon lyric.

"Can't Shake This Feeling" closes with the reflective original (co-penned with Shurman) "Faith and Music" with just Lurrie on electric guitar. The music here is generally exceptional although there are a couple of lesser performances. Still, Lurrie Bell is one of most singular talents today in the blues.

I received my review copy from Delmark. I have revised for this blog the review that originally appeared in the November-December 2016 Jazz & Blues Report (Issue 369) (downloadable at jazz-blues.com). Here is Lurrie in performance.

Sharon Lewis & Texas Fire - Grown Ass Woman

Sharon Lewis & Texas Fire
Grown Ass Woman
Delmark Records

When some artists seem to be releasing new recordings at least annually, it has been 5 years since Sharon Lewis last recorded her impressive "The Real Deal." She returns here with her band Texas Fire for her latest release "Grown Ass Woman," with her fine band of guitarist Stephen Bramer, keyboardist Roosevelt Purifoy, bassist Andre Howard and drummer Tony Dale. Guests on various tracks include guitarist Joanna Connor, harmonica wizards Sugar Blue and Steve Bell, and the horns of Kenny Anderson, Hank Ford and Jerry DiMuzio. Both Lewis and Bramer each contribute 6 originals and there are two covers on the performances here.

The late Washington, D.C. street singer Flora Molton referred to her gospel-rooted music as "Truth Music." Similarly, Sharon Lewis is quoted in David Whiteis' liner notes, "The blues tells stories about life. This was part of our oral history. The blues is about struggle - about surviving and overcoming." It is also celebrating good times as well as well. In any case, Lewis' powerful, nuanced vocals, the strong backing and excellent material make for  solid listening starting with the opening "Can't Do It Like We Do," a celebration of blues as Black expression where she notes of the imitators she sees touring the world "can't shuffle like Billy Branch, slow blues like Magic Sam," and if you think she's being a snob well she proudly says she is and notes you can't fully learn it because it is more than learning books. Sugar Blue adds magic with his backing and soaring harmonica solo. It is notable that one of the covers here is a fervent rendition of the B.B. King- Dave Clark classic "Why I Sing The Blues."

Lewis certainly knows how to party with the blues ("we ain't gonna play no rock and roll") on the horn driven "Hell Yeah," while she then tells a story about a woman born and raised on mean streets and a big city girl, "Chicago Woman" who won't be denied as she is an independent bitch. This is set against a somewhat heavy backing with blues-rock flavored slide. While this listener was not enamored with the backing here, Lewis still sings powerfully. "They're Lying" is a marvelous original with a southern soul styled vocal. Bramer's "Don't Try To Judge Me" is melodically reminiscent of Johnny Winter's "Don't Take Advantage of Me," as Lewis sings that she don't intend to play the game of those who want to judge her. There is a terrific organ solo from Purifoy here.

Steve Bell's harmonica enlivens the Earl Hooker styled 'galloping horses" groove on a marvelous take on a vintage blues theme "Old Man's Baby." She rather be wined and dined than be a young man's fool. The title track is a celebration of Black Women, delivered with plenty of sass as well as panache. "Walk With Me" (if you're going my way) again shows her soulful manner and followed by Bramer's topical number "Freedom" with its references to violence directed against Blacks with a refrain freedom can't be freedom unless its freedom for everyone" Joanna Connor's slide guitar adds to the atmosphere here.

The album closes with a moving interpretation of Warren Hayne's modern classic number, "Soul Shine" which she opens saying she wants to reach out and touch the listener's hearts. That she does here and throughout. Lewis is a powerful, expressive singer, and her vocals are full of conviction, warmth and humor. She certainly is a "Grown Ass Woman," and with the mostly excellent backing has produced another fabulous recording.
 
I received my review copy from Delmark Records. Here is Sharon Lewis performing.

 

Jimmy Burns It Ain't Right

 

The new Jimmy Burns recording, "It Ain't Right" (Delmark Records),  is his fifth album for the label dating back to 1997. He has not exactly been over-recorded, so a new release by him  should be welcome. The younger brother of Detroit blues legend, Eddie Burns, Jimmy has an extensive vocal group and soul background, although he also has deep Mississippi rooted blues roots as was displayed on his album "Leaving Here Walking" Jimmy is backed by his working band Anthony Palmer, guitar; Greg McDaniel, bass: Bryant "T" Parker, drums; with support from Sumito "Ariyo" Ariyoshi, piano; Roosevelt Purifoy, organ; and a full horn section. With the exception of two originals from Billy Flynn, the album is comprised mostly of covers including a couple of Percy Mayfield songs and one by his late brother, Eddie. Dick Shurman produced this recording in February of 2015.

The opening track by Flynn, "Big Money Problem" is a track that evokes some of the best Mississippi rooted performances from Burns' prior recordings and is followed by Flynn's lovely R&B ballad "Will I Ever Find Somebody?" showing off his soulful singing with a notable piano solos and effective horns. The backing to "Snaggletooth Mule," a nice hoodoo blues, may sound familiar to Johnny Copeland fans.  On a rendition of Percy Mayfield's "Long As You're Mine," the horn riffs lend an unwelcome frenzied sense to the performance. The treatment of Mayfield's "My Heart Is Hangin' Heavy," is more straightforward and, to these ears, more satisfactory. There is a solid rendition of The 5 Royales "Crazy, Crazy, Crazy," a performance that harkens back to his vocal group days.

Eddie Burns' "Hard Hearted Woman" is a crisp, easy rocking shuffle, and Jimmy plays nice down-home harmonica on a fresh reworking of Jimmy Reed's "A String To Your Heart," with a nice loping groove. Also heard is surprising, enjoyable cover of Goree Carter's "Rock Awhile," if a bit laid back compared to Carter's jump blues original. A cover "Stand By Me" has a nice vocal and some nifty guitar, but otherwise did not leave much of an impression. "Surrounded" is a nicely paced shuffle with a terrific baritone sax solo from Aaron Getsug and nice guitar break. Burns places his own stamp on Little Walter's "It Ain't Right," with rollicking piano and a clever guitar line in the accompaniment, while a fresh funk arrangement enlivens his interpretation of the Junior Wells classic, "Messin' With the Kid."

The album closes with a Burns leading a gospel quartet styled rendition of "Wade in the Water," with a nice lead vocal. Jimmy Burns "It Ain't Right," displays his considerable talents over a variety of blues, R&B and gospel. Perhaps it has a couple of musical miscues, but overall this is a welcome addition to his very distinctive body of recordings.

I received my review copy from Delmark. Here is Jimmy performing "Leaving Here Walking."

Linsey Alexander - Come Back Baby

I found Linsey Alexander’s first Delmark album, “Been There Done That” to be “the most impressive blues recording which is one of the finer blues albums I have heard this year (2012).” Now Delmark has issued his follow-up “Come Back Baby!” which has the singer and guitarist joined by a band that includes guitarist Breezy Rodio; keyboards from Roosevelt Purifoy, bassist Greg McDaniel and drummer Pooky Styx with Bill McFarland leading a horn section and Billy Branch contributing harmonica to three selections.

The album opens with “Little Bit of Soap,” one of two songs Alexander did not write. This is a terrific performance as he sings about washing this women out of his life with a great vocal and guitar that brings to mind seventies B.B. King. The album is at its best with his soulful vocals and clever lyrics. The playing behind him is strong and the one criticism I have on several selections would be the buzzsaw guitar tone on several selections including that heard on the intense original “I Got A Woman.” Perhaps the tone is supposed to match the intensity of his vocal her as he tears into the lyric of his woman being more woman than he will every need. The tone detracts from fully enjoying the fiery solo here. This tone is also employed on the reworking of “I Can’t Quit You Baby,” that provides a new arrangement for the Otis Rush classic recording. An excellent slow blues “Too Old To Be A New Fool” showcases some searing guitar with a cleaner tone along with superb chromatic harmonica from Branch.

Alexander’s wit is displayed on the shuffle “Call My Wife,” on which he wants his wife to open the door for poor Linsey, who is so drunk he lost he car and car keys. Billy Branch channels Rice Miller mixed with Walter Horton with some exquisite harmonica on this. Alexander is also known as “The Hootchie Man” as reflected in his funky dance number “Booty Call.” “Things Done Changed” has a serious lyric as Alexander as recalls Jim Crow days, segregated bus stations and buses and the like, set against horn riffs and a solid electric piano solo by the remarkable Purifoy (he also played a strong solo on “Booze and Blues’), followed by strong, stinging guitar.

Despite this writer's reservations on the guitar tone on several tracks (and others will disagree), “Come Back Baby" is a strongly performed recording that exhibits plenty of fire from Alexander with his fervent singing and searing guitar.

I received my review copy copy from Delmark Records. Here is the opening “Little Bit of Soap.”

Toronzo Cannon's John the Conquer Root

On his Facebook page Toronzo Cannon describes himself as the “Keeper of the Flame at Electric Ladyland” and that he “Studied Jim Hendrix studies at Electric Ladyland.” His admiration of the genre transcending genius can also be found in interviews with him including the liner notes to his new Delmark album, John the Conquer Root. Hendrix’s influence is more to be felt than heard in Cannon’s music, especially to the title track which opens this recording and the short revisiting of the theme to close it. But unlike the countless Hendrix wannabes, Cannon doesn’t emulate Hendrix’s guitar style in his own ferocious playing. It is more the attitude he projects and the hard rock feel of this number.

However, Hendrix is only one of the influences or inspirations that can be heard here as the next track, I’ve Been Doing Fine, a hard Chicago shuffle with searing guitar as he shouts to his woman to reconsider baby. Its a type of performance that Son Seals used to deliver and Cannon sings and plays with a similar authority, although Cannon has more of a soul-laced vocal attack. This soulfulness also is heard on the next track, Cold World, a funky soul-blues with a bit of Tyrone Davis and Otis Clay. It sports a terrific tenor sax solo from Dudley Owens. 

In Gentle Reminder, Cannon reminds us he is a bluesman through and through, but don’t expect him to play the blues as the blues has to move on, this ain’t 1952 as he sings and plays fervently. If Your Woman Enough To Leave Me has a funky groove that also suggests some of the late Son Seals recordings. It is followed by Shame, with a nice Latin groove and a terrific lyric about ministers stealing from the poor, an employer who hires a nephew over more qualified, and dirty politicians who get caught in their lies. There are solos from Omar Coleman on harmonica, Roosevelt Purifoy on piano and Cannon himself that standout on this as well.

Cannon does a wonderful folk duet with Joanna Connor on Let It Shine Always, that further illustrates the range of the material on John the Conquer Root. Few other blues performers today can handle such a variety of material and play it so authoritatively. Of course one needs to acknowledge his band that includes the afore-mentioned Purifoy, rhythm guitarist Larry Gladney, Larry Williams on bass and Brian ‘BJ’ Jones on drums with appearances from Omar Coleman, Joanna Connor and a horn section led by Kenny Anderson. 

A few selections find Cannon rocking out perhaps a bit too much for ‘my taste,’ including the title track and Sweet, Sweet, Sweet, a slide-guitar feature that is played at a frenzied warp-speed tempo. That does not change my appreciation of Toronzo Cannon and John The Conquer Root. Toronzo Cannon still drives a bus in Chicago and gets to observe many things. From this and his own life experiences, he writes wonderful, thoughtful songs; and plays and sings from the heart which result in performances are full of personality. A listener cannot expect more from a musician than one hears on this striking recording.

I received my review copy from Delmark. Here is a clip of Toronzo Cannon in performance at the famous Chicago club, Rosa's.

Lurrie Bell Has The Blues In His Soul

Lurrie Bell’s latest album Blues In My Soul marks his return to Delmark with whom he made some of his finest recordings. His last two recordings on Aria displayed a bit of his musical range while the present set is a set devoted to traditional Chicago blues. On this he is joined by Roosevelt Purifoy on keyboards; Melvin Smith on bass; Willie Hayes on drums and Matt Skoller on harmonica with a couple selections featuring horns. The 14 songs include three originals and eleven interpretations of classic blues recordings associated with T-Bone Walker, Jimmy Rogers, Junior Wells, Otis Rush and others, produced by Dick Shurman for some straight Chicago blues.

Bell is an appealing, if not compelling singer with his unforced, heartfelt grainy vocals, with his imaginative, quirky guitar playing adding unexpected twists and delights to his music. My use of the word interpretation as opposed to cover is deliberate, because Bell’s renditions of T-Bone Walker’s Hey Hey Baby, or Jimmy Rogers’ Going Away Baby are fresh re-workings of the source recordings. Bell’s originals include the title song where he sings about liking what he is doing cause he feels the blues deep in soul with a backing that might suggest As the Years Go Passing By, or Somebody Loan Me a Dime. Purifoy’s organ is wonderful here while he is equally fine with the rollicking piano on Lurrie’s rendition of Big Bill Broonzy’s I Feel So Good, with nice harp from Skoller to go with Bell’s snap crackle and pop guitar here. 

‘Bout the Break of Day, Junior Wells rendition of Early in the Morning, is done in a gut-bucket fashion with Bell’s restrained fire adding to this marvelous version. One of Bell’s other originals, 24 Hour Blues, is a relaxed shuffle done as a tribute to his friend Magic Slim, who had passed earlier that day. There is a briskly tempoed shuffle rendition of I Just Keep Loving Her, one of Little Walter’s early recordings with crisp, rocking breaks from Skoller and Purifoy in addition to Bell. 

Bell closes this disc out with a fine rendition of Otis Spann’s The Blues Never Die, again showcasing not simply Bell (with a superb solo), but the band as well. The result is another one of the very solid blues performances on Blues In My Soul.

I received my review copy from Delmark. Here is a youtube clip with the audio of the title track. Now go purchase or download this CD. :)

Eddie Taylor Jr's So Called Friends

One of several blues playing and singing children of the late Chicago blues guitarist legend Eddie Taylor, Eddie Taylor Jr. has followed in his father’s footsteps in playing the Delta rooted Chicago blues style that his father was known for. Taylor senior was best known as Jimmy Reed’s guitarist and worked/recorded with others including John Lee Hooker (on Bluesway), Harmonica Hinds and Carey Bell along with a number of fine recordings for Vee-Jay, Advent and other labels. Eddie Junior picked up much from his father and has been prominent amongst those old school Chicago blues musicians of today. He has recorded five albums for the Austrian Wolf label which has issued So Called Friends: His Best 15 Songs, compiled from those earlier releases along with five newly issued recordings. The selections derive from 5 different record dates with Eddie Jr. backed by brother Tim Taylor on drums along with Harmonica Hinds, Roosevelt Purifoy, Detroit Jr., Ken Barker, Johnny B Moore, and others. 

The first five selections are from a recent session with Purifoy and guitarist Anthony Palmer opening with Hound Dog Taylor’s Wild About You Baby, and includes the topical Welfare Blues, as well as a cover of Jimmy Rogers’ You Sweet. This latter number best suits Taylor Jr.’s introverted vocal approach as opposed to the rocking slide guitar Wild About You Baby, which misses the fervor of an Elmore James or the exuberance of Hound Dog Taylor. They are not bad performances, just that Taylor is strongest on certain material. If his vocals are on occasion bland, the music is wonderfully played classic Chicago blues. The title track is an original that borrows the music of Willie Mabon’s Poison Ivy, with Taylor singing that nobody can hurt one but one’s so-called friends with a nice guitar break.

From his prior sessions comes a number of nice performances including his reworking of a Sugar Pie DeSanto recording Use What You Got, as he sings how he keeps his woman satisfied. His father played on Jimmy Reed’s original of Upside Your Your Head, and Eddie Jr. does his father proud on a relaxed cover, as well as a rendition of Magic Sam’s Easy Baby. There is a relaxed shuffle version of Stop Breakin’ Down, on which his playing and singing evokes his father. His brother Larry contributed a nice philosophical slow blues Blues In Your Life, that suits his introverted vocal. Also nice is his rendition of Sonny Boy Williamson I’s My Little Machine, modeled after Jimmy Rogers’ recording. It sports nice slide guitar and strong playing from Harmonica Hinds. More slide is heard on a Shake Your Money Maker variant, Gotta Make This Money, as he tells us about playing his Gibson all around town.

If not always a compelling vocalist, Eddie Taylor Jr. is always engaging and his playing is terrific. So Called Friends is a welcome introduction to a Chicago blues singer and guitarist that does deserve to be better known amongst the general community of blues enthusiasts.

I purchased this CD. Here is Eddie Taylor Jr. in performance.

Eddie Burns Remembered With Snake Eyes

Word arrived by vocalist and harmonica player, Eddie Burns one of the centerpieces of the downhome post-war Detroit Blues Scene, passed away Wednesday, December 12, 2002. Burns was perhaps best known for being part of John Lee Hooker's Band for part of the fifties. The Mississippi native was influenced by John Lee 'Sonny Boy' Williamson and also Big Bill Broonzy. He was an adept harmonica player who was heard on Hooker's brilliant early recording of Burnin' Hell, on Sensation, along with the Chess album, The Real Folk Blues. He recorded a number of singles and some albums over the years for labels that included Harvey, Von, Checker, Blue Suit and Delmark. In 2002 I reviewed his Delmark album, Snake Eyes in the September/October Jazz & Blues Report (Issue 259) which follows.

Delmark has recently issued this latest album, Snake Eyes, by another under recorded blues veteran, Eddie Burns. Burns is a veteran of the Detroit blues scene, including playing with John Lee Hooker on a number of Hooker’s finest band recordings. He shares some influences with Hooker including Tommy McLennan, but in addition to being a fine rhythmic guitarist he is a capable harmonica player indebted to John Lee ‘Sonny Boy' Williamson. 

Delmark, which has issued a couple of albums by his younger brother Jimmy. On Snake Eyes, Eddie Burns is joined by brother Jimmy on guitar along with pianist Roosevelt Purifoy, bassist Nick Charles (brother of Magic Slim) and drummer Larry Taylor in an album of postwar ensemble blues. Playing both acoustic guitar as well as electric guitar and harmonica, Burns’ simple, effective playing and his straightforward plaintive singing result in delightful traditionally oriented blues. 

There are echoes of classic Muddy Waters’ stop-time grooves on Night Shift, while the rollicking Papa Likes to Boogie evidences the influence of Williamson. A spirited remake of the Drifters’ Your Cash Ain’t Nothin’ But Trash, is joined by a tasteful cover of Memphis Slim’s Lend Me Your Love. wile Going to New Orleans is similar to recordings by Otis Spann and Lonnie Johnson. The two Burns play acoustic guitars on the shuffle Treat Me Like I Treat You. 

The backing band is wonderful, and with Burns’ honest and heartfelt performances, Snake Eyes is a gem.

I probably received a review copy from Delmark and I have made some minor stylistic edits. Nick Charles is not Nick Holt, who was Magic Slim's brother, but a different person. Thanks to the members of the Facebook group, The Real Blues Forum, for pointing this error. Also on that forum was a suggestion that Burns harmonica with John Lee Hooker in 1949 (the Burnin' Hell session) may have been the first recording of amplified harmonica on record.

Michael Burks' Final Album - Show Of Strength

If the celebration of the new Alligator release by Michael ‘Iron Man’ Burks, Show of Strength, is subdued, it is not because of any fault of the music but rather that this is his final studio album as he died suddenly of a heart attack on May 6, 2012, as he was returning from performances in Europe. This album had been finished before his passing and Alligator’s Bruce Iglauer has said the only thing that had not been finished when Burks had passed was the sequencing of the songs. He is backed by his band with Wayne Sharp on keyboards, Terrence Grayson on bass and Chuck ‘Popcorn Loudon on drums, with appearances by Roosevelt Purifoy on keyboards and Scott Dirks on harmonica.

Michael Burks at the 2008 Pocono Blues Festival
Photo © Ron Weinstock

There is plenty of fire in his muscular guitar through that contrasts with the more deliberate and mellow vocals. Burks’ approach might be viewed an extension of the legendary Albert King in his recognition that what one does not play can be expressive just like hot bursts of single note runs. The material is quite strong opening with the irony of the opening Count On You, where he tells his lady that he can always count on her to let him down. Take a Chance On Me, Baby has a melody recalling Johnny “Guitar” Watson’s I Wanna Ta-Ta You. There is a hook on Can You Read Between The Lines, as Burks lists the warning signs one’s woman has been running around, such as "when you kiss her she acts like you tried to bite her," or "when she comes home, her clothes all out of place."

On an appealing shuffle, Little Juke Joint, Burks celebrates the small jukes he honed his performing skills. The slow blues, Since I Been Loving You, has Burks singing another lament about his woman’s lies and how he is about to lose his mind. His guitar nicely accents his heartfelt singing here. A change of pace is provided on What Does It Takes To Please You. This performance evokes classic fifties and sixties B.B. King as the rhythm section swings hard. Sharp's piano is particularly outstanding on this.

Michael Burks from August 21, 2009 at the State Theatre in Falls Church VA. Photo © Ron Weinstock

There is some southern soul feeling (with a bit of church in Sharp’s piano) on the terrific rendition of Charlie Rich’s Feel Like Going Home that concludes this album. The warmth and expressiveness of Burks singing sets him apart from most guitar slingers. This track perhaps best displays how strong a singer he is, but Burks' vocals throughout are first-rate.  Show of Strength is a superb recording that unfortunately is Michael Burks final musical statement.

My review copy was provided by Alligator Records. Show of Strength is scheduled for release on August 21, a week from when this is blog entry is posted.. You can pre-order from various outlets including Alligator Records itself, www.alligator.com. I conclude this post with a video of Michael Burks performing in Denmark.

Linsey Alexander Has Been There Done That

There are several songs on Linsey Alexander's Delmark debut Been There Done That that if were recorded thirty years ago would be viewed as blues classics. Mississippi born and growing up in Memphis, he has been part of the Chicago blues scene and even produced some independent CDs and finally has this CD for an established label.

He and his guitar is backed by a terrific band of Roosevelt Purifoy on keyboards, Breezy Rodio and Mike Wheeler on guitar, Greg McDaniel on bass and James Wilson on drums. Several tracks have Ryan Nyther on trumpet and Bryan Fritz on tenor saxophone, while Billy Branch adds his harmonica to three tracks. Alexander wrote (or co-wrote) all but one of the twelve songs, the exception being a Willie Kent number. Listening to this recording I was reminded of some of the Willie Kent Delmark albums as well as some other from Lefty Dizz, Big Moose Walker and Willie James Lyons from the seventies. 


Raffle Ticket, opens with some strong harp in the backing as Alexander asks his baby, "what is the name of that game you playing on me" as she came back on a Wednesday night with a diamond ring which she claimed she won with a lottery. This is a classic Chicago blues performance with Branch wailing on the harmonica and the band hitting that groove as Alexander tells his woman when she goes out Saturday night to get her raffle ticket wet. His singing is so natural and full of feeling, although his buzz-tone guitar solo is a bit generic. The next track Bad Man has a crisp, funky groove and riffing horns as he sings about smoking his "pipe till I go to hell," with nice guitar from Rodio and him here. I Had a Dream is a straight, slow blues that he delivers in a very intense manner.

The title track is more in a soulful vein (suggestive of Tyrone Davis) and sung as naturally in this vein as he sings straight blues. If he is looking down from Heaven, Willie Kent has to be smiling at Alexander's cover of Look's Like It's Going To Rain, while he continues with the traditional Chicago blues sound on My Mama Gave Me The Blues. It opens singing about his elders telling him when you sing the blues when you die you will go straight to hell, but Linsey is still on earth and has his story to tell. Billy Branch channels Little Walter on chromatic harmonica with terrific playing on this song. Branch also is present on the excellent The Same Time I Could Tell Myself, with lyrics about Linsey not wanting a woman to tell him things he already knows or will go wrong cheating and lying.

On the closing Saving Robert Johnson, he sings about going to Highway 61 where it runs into 49 where Robert Johnson sold his soul and Linsey said email the devil or poke him on Facebook so Linsey can meet the Devil at the Crossroads to free Robert Johnson's soul. It has perhaps a silly lyric although the performance is solid. It may be the weakest track on Been There Done That, but that does not diminish the fact that this is a most impressive blues recording which is one of the finer blues albums I have heard this year. His is a voice I want to here more from.

I received this from the record company. Here is a performance by Linsey.

Sharon Lewis Is The Real Deal

In David Whiteis’s liner notes to The Real Deal, the new Delmark CD by Sharon Lewis & Texas Fire, there is a perplexing comment about her being annoyed with ‘blues purists.’ I suspect so-called ‘blues purists’ are those most likely to enamored by the powerful performances she performs on this release. She was inspired by seeing Pat Scott and her strong, take no-nonsense approach. Already influenced by the church and Motown and R&B, Scott’s modern soul-blues led her to develop her style and repertoire.

On this, she is supported by a band that includes Roosevelt Purifoy on keyboards; Bruce James on guitar, Melvin Smith on bass and Tony Dale on drums with Billy Branch adding harmonica and Dave Specter guitar on several selections and two tracks have a horn section. She brings originals that strike the listener with the same assertiveness as her vocals opening with the topical What’s Really Going On? and then followed by the title track when she tells like it is that we don’t know what is in her mind so how can anyone say her blues ain’t the real deal. Bruce James takes the nice solo on this as elsewhere, such as on her closing Angel on which Purifoy takes a short solo break as well. On Do Something For Me, Dave Spector takes the guitar solo on a number whose melody will evoke B.B. King’s rendition of The Thrill Is Gone, while her vocal displays her use of dynamics. The late Sam Taylor’s Mother Blues is a “lump-de-lump” styled blues, as fervently delivers Taylor’s lyrics of only the blues can talk to me and tell me how I feel with Purifoy and James outstanding in the backing they provide. I do not mean to slight Smith and Dale who are rock solid throughout this session.

Billy Branch adds his imaginative harmonica to Lewis’ original Blues Train where she invites us to party with her at the party that won’t stop with a melodic and lyrical strain that conjures up “Dancing in the Streets,” as she takes us to Rosa’s and other blues venues, while on Mojo Kings, she has her working in her celebration of her band and how they have that magic king. It is nice to hear new lyrics to Got My Mojo Workin’, a song that has been perhaps covered too bit much, so she makes it sound fresh. Purifoy and James provide a jazzy sophistication behind a low-key vocal on Silver Fox. Indeed, Sharon Lewis may be old school but her love is all we need and she will make it all right. Covers on “The Real Deal” include a soulful rendition of Van Morrison’s Crazy Love, and Wyonna Carr’s fine blues Please Mr. Jailer. Bill Withers’ Ain’t No Sunshine benefits from a reggae rhythmic accent while she ably does Don’t Play That Song, but is overshadowed by Aretha’s recording.

Sharon Lewis has been performing world wide and recording over the past two decades including a 2004 album for Sleepy Dog Records and appeared on Dave Spector’s Delmark album Live in Chicago. The Real Deal is a recording that hopefully will lead to her receiving the recognition that her talents merit. This is an impressive talent and recording.

I received my review copy from Delmark Records. Here is a you tube clip of Sharon Lewis performing with organist Jan Korinek and Groove that should give you an idea of how good a singer she is.