Chris Smither More From the Levee

Chris Smither
More From the Levee
Signature Sounds

This new recording from the noted singer-songwriter Chris Smither brings forth ten new tracks that produced the 2014 release "Still on the Levee." As I wrote reviewing that earlier recording," Smither is a singer-songwriter whose performances and songs have a Dylanesque flavor as well as deep blues roots in his direct finger style guitar playing. As Charlie Hunter, his former co-manager observes, Smither's guitar style is 1/3 Mississippi John Hurt, 1/3 Lightnin' Hopkins and 1/3 himself." His swirling guitar playing and feet stomping is combined with Billy Conway's drums and percussion on this album. Guests, including Dana Colley on baritone sax and the late Allen Toussaint on piano, are heard on selected tracks.

Smither's gravelly vocals have a restrained world-weary quality that adds to the appeal as he sings his colorful lyrics that have such haunting lines such as "Help me get these pieces together, Make it so the seams don't seem to show, …" from "Confirmation." Another example is "Turn off that radio, It's like I am talking to myself." from "Drive You Home Again." Colley's low volume baritone lends to the sober background on this track. Jimmy Fitting on harmonica, Goody on piano, and Anita Subanin on background vocals join the melancholy feel of "I Am the Ride." With its street busker tempo, "What I Do" comes off as somewhat cheerful with its invocation of second lines and beads and rice. Allen Toussaint's piano adds a light, sophisticated feel to the part talking blues, "Let It Go."

With Smither's way with words, his enervated sounding vocals, and the deft, but restrained, accompaniment, the ten new Smither tracks on this album further showcase this remarkable singer-songwriter.

I received my review copy from a publicist. For an example of his music (but not on this recording) here is Chris Smither's rendition of "Sitting on Top of the World."

Blue Moon Marquee Bare Knuckles and Brawn

Blue Moon Marquee
Bare Knuckles and Brawn
Blue Moon Marquee Music

This disc from the Vancouver, British Columbia duo fell through the cracks last summer. Blue Moon Marquee is comprised of A.W. Cardinal (vocals and guitar) and Jasmine Colette (bass/vocals). They are joined on this recording by Darcy Phillips (piano/organ), Gerry Cook (sax/clarinet), Jimmy "Hollywood" Badger (drums), Jack Garton (trumpet), and Paul Pigat (guitar). Cardinal describes the music on this recording, "It is a fine example of what we sound like with a larger ensemble. The sound is a mixture of swing styles of music like blues and jazz, western swing and New Orleans. Think Django Reinhardt/Charlie Christian meets Tom Waits."

Cardinal's 'whiskey-drenched' vocals with his raspy, steel-wool voice might suggest Tom Waits, while the music evokes smoke-filled lounges of decades past. Some (not this listener) may find his singing an acquired taste. Cardinal wrote the eleven songs starting with "Big Black Mamba" about a shadowy, fantasy girl, with Cook's barrelhouse baritone sax solo to punctuate Cardinal's complaint about her being the meanest girl he ever saw. The tango feel adds to the song's evocative mood. Then there is the jaunty "Smoke Rings For My Baby," with a rousing tenor sax solo and driving swing guitar under the heated vocal. "Fever Flickering Flame" has the feel of a French back street cabaret. Phillips takes a brief solo, followed by a couple of animated joint tenor sax-guitar choruses.

Collette sings in an appealing, understated manner on the haunting "Hard Times Hit Parade," with Garton's muted trumpet adding musical shading. "As I Lay Dying" presents an intriguing take on feminism and the fall of the patriarchy. "High Noon" is a perky performance with a Django Reinhardt meets Rex Stewart vibe. There is plenty of delightful interplay between Cardinal and Pigat on the effervescent "The Red Devil Himself," with a delightful swinging single-note solo. "Big Smoke" is a topical blues addressing climate change about "Big smoke baby, whole town burning down." Collette's restrained, yet vibrant singing, Garton's growling trumpet, and Cook's tenor sax enliven a song inspired by Billie Holiday, "52nd Street Strut."

Better a year late than never, this listener is glad that he came upon to "Bare Knuckles and Brawn." One appreciates the cross-genre character of the music and the restraint of the performances, resulting in a most engaging album.

I received my review copy from a publicist. Here is a performance of "As I Lay Dying."

 

Tom Gilberts Old School

Tom Gilberts
Old School
Polymerase Records

Apparently, this is the second album on Polymerase Records by singer-songwriter-guitarist Tom Gilberts. Gilberts, joined by Dave Captein on bass and Brian Foxworth on drums, wrote the twelve tunes on this recording. Produced by Terry Robb, the music is rooted in the blues, with some roots and rock elements to it.

The opening notes of "'Lady' Luck" suggest a blues-rock power trio. However, Gilberts quickly establishes himself as a player who can lay down acidic phrases and runs but displays a thoughtful and deliberate attack with solos that are well constructed. He may not be a great singer, but his vocals have appeal with a low-key delivery where he sings about lady luck being no lady and no friend of his when he is playing blackjack and other games. Whatever his vocal limitations, his sincerity is conveyed throughout.

There is a mix of vocal tracks and instrumentals, including "Zoot Suit Shuffle." that sounds like a perky break song. "Sun Vibe," another instrumental, displays his use of tone and his phrasing set against an understated backing. The instrumental, "Brown's Camp," also demonstrates his taste and lack of deceptive flash. His slide guitar is featured on several tracks, including the title track, where he sings about being kinda old school as he grills with charcoal, not propane. Set at a medium walking tempo, "You Missed Me" has a thoughtful vocal and nice shuffle groove laid down by Captein and Foxworth. "Nightime" is an evocative number about being a time to hold hands under the stars while gently talking to one other.

"The Fuzz," displays his restraint in phrasing. Gilberts employs fuzz-tone and other electric effects on an atypical instrumental in closing this album. While this CD may not be compelling, it most definitely charms with the skill and tastefulness of Tom Gilberts' performances.

I received my review copy from a publicist.
 

Tim Gartland If You Want A Good Woman

Tim Gartland
If You Want A Good Woman
VizzTone

Resident in Nashville, Tim Gartland first honed his blues skills in Chicago, then in Boston before moving to Nashville. "If You Want A Good Woman" is apparently his third recording and his slightly grizzled singing and sure sounding harp playing is featured here along with his songwriting on this recording of originals (some penned by his keyboard player Tom West). Others on this include Wendy Moten on supporting vocals; Tom Britt on guitar; Lynn Williams drums; and Steve Mackey on bass. Former Delbert McClinton band member Kevin McKendree recorded this, co-produced this with Gartland, and added organ and piano to a few selections.

Gartland certainly is ingratiating as a singer and harmonica player with his band providing able support, although much of this I would classify as blues-based roadhouse rock in the vein of Delbert McClinton. This is a descriptive observation, and does not relate to the quality of the music. Gartland has written some exceptional original songs (he has a way with words), and he and the band deliver very strong performances. His vocal on the opening "What The Blues Look Like," reminded me of Paul Butterfield, with some tasty harp and slide guitar. This is a terrific song that one can see many folks covering. "Hours Worth" is a rocker where he sings about having a hours worth of whiskey, and of rent that is a month past due. Wendy Moten provides backing vocals and there is a rollicky piano break.

His vocal on "I Had It" has some of the qualities of the recent world weary sounding singing from Charlie Musselwhite as Gartland expresses regrets about having had it all wrong. The title track is built around a reggae riff as he sings about a good woman that stay home if the man is doing her wrong, and after all a good woman simply wants a good man. Gartland does not overwhelm with his harmonica playing, but rather it ably complements his singing. The instrumental "Eight Ball" allows him to display his thoughtful, vocalized sound on harmonica

There is also a fair amount of humor to be heard here. On "Too Many Groceries," where tells this lady that she is as subtle as a train wreck, and she has too many groceries for her bag. Another wonderful song is a homage to Willie Dixon, "Willie That's Who." The lyric here laced with subtle references to some of the late blues giant's songs and lyrics. A driving instrumental "Go West," provides a lively coda to Gartland's rollicking set of blues and rockers that is wonderfully recorded.

I received my review copy from VizzTone. Here is Tim Gartland in performance.

40 Years of Stony Plain

Alligator Records is not the only independent label to issue an anthology celebrating its catalog. "40 Years of Stony Plain," is the latest installment in such compilations from the Canadian label, apparently the oldest independent Canadian record company still with the same ownership. Stony Plain is much more than a blues label, although love of blues and jazz is at the core of Holger Petersen who has also hosted blues radio programs for nearly fifty years, helped found the Edmonton Folk Festival and so much more. The Stony Plain catalog spans folks and roots to jazz and blues and has issued 15 albums from Canadian Country Icon Ian Tyson (formerly of Ian & Sylvia) as well as 20 Duke Robillard releases along with over a half dozen he produced with other artists, eight CDs and one DVD by Ronnie Earl and six releases from Eric Bibb. Richard Flohil provides an overview of Stony Plain including excerpts from his notes to earlier compilations as well as song notes in the enclosed booklet.

This celebration of the label has three discs. The first is entitled "Singers, Songwriters and much more" and includes performances, from amongst others, Colin Linden, Spirit of the West, Doug Sahm, Harry Manx and Kevin Breit, Emmylou Harris, New Guitar Summit, Rodney Crowell, Ian Tyson, Jennifer Warnes, Steve Earl and Eric Bib featuring Taj Mahal, The Blind Boys of Alabama and Ruthie Foster. Highlights on this disc include is the acerbic roots-rock of Linden's "No More Cheap Wine"; the Irish flavored "The Crawl" from Spirit of the West; an unusual folky Doug Sahm performance; the atmospheric reworked blues of Manx and Breit, "Do Not Stand at My Grave and Weep"; the revival of an Elvis Presley Arthur Crud-up cover by James Burton, Albert Lee, Amos Garrett, and David Wilcox; a hauntingly beautiful Emmylou Harris performance; Duke Robillard, Jay Geils and Gerry Beaudoin recorded a lightly swinging "Flying Home" as part of New Guitar Summit; the traditional country of Ian Tyson's "Cottonwood Canyon" and Tim Hus' "Wild Rose Waltz," and the Eric Bibb led gospel "Needed Time."

The second disc brings "Blues, R&B, Gospel, Swing, Jazz and even more," with performances by the likes of Kenny 'Blues Boss' Wayne, Joe Louis Walker, Rosco Gordon, Ronnie Earl & the Broadcasters, Maria Muldaur with Taj Mahal, MonkeyJunk, Jay McShann, Jeff Healey, Billy Boy Arnold, Ruthie Foster, Sonny Rhodes and King Biscuit Boy. There is a rollicking "Bankrupted Baby" by the Blues Boss from his most recent recording; Joe Louis Walker's revival of a swamp rockabilly number "Eyes Like a Cat"; late Rosco Gordon and Jay McShann (both from Duke Robillard produced sessions I believe); Ronnie Earl's revival of Otis Rush's "It Takes Time" with vocalist Michael Leadbitter from his latest album; Muldaur & Taj doing an impassioned take of Blind Willie Johnson's "Soul of the Man"; Jeff Healey's amusing swing era jive of "Hong Kong Blues"; a terrific Billy Boy Arnold Chicago blues; Ruthie Foster's excellent Memphis Minnie interpretation from Stony Plain's Memphis Minnie tribute album; and the late King Biscuit Boy's Louis Jordan cover. There are also acoustic blues interpretations from Rory Block and Big Dave McLean on this.

The third disc contains "Rarities and Previously Unreleased Material" starting with a couple of Duke Robillard numbers including a Smiley Lewis cover; two tracks from Eric Bibb including a hauntingly beautiful "Wayfaring Stranger"; live performances by Maria Muldaur of songs from Memphis Minnie and Reverend Gary Davis; a lively acoustic guitar instrumental blues by David Wilcox; Colin Linden and Doc MacLean backing the legendary Sam Chatmon on two songs from the long defunct Flying Fish catalog; two Bob Carpenter's two folk numbers and a closing instrumental by Shakey 'Walter' Horton backed by Hot Cottage. The inclusion of these rare selections enhance the already considerable value of compilations such as this one.

I received my review copy from a publicist. This review appeared in the July-August Jazz & Blues Report (Issue 367).

Andy Poxon Must Not Be Crazy

Must Be Crazy (EllerSoul Records) by Washington area guitarist-vocalist Andy Poxon is the latest by a young phenom that certainly has attracted the praises of many like Duke Robillard (who produced his previous CD) and Mark Wenner of The Nighthawks who is quoted on the back cover. For this, Poxon travelled to the Nashville area where he recorded at Kevin McKendree's Rock House Studio. McKendree (himself once a young DC area phenom) handles the keyboards and co-wrote 4 of the 13 Poxon originals (and his son Yates co-wrote the last track as well as plays organ).

Poxon's continual growth and maturity as a guitarist and a singer is established right away. here is someone who has listened to vintage B.B. King, Pee Wee Crayton, Tiny Grimes, T-Bone Walker and the like and brings a lot of heart and personality to his vocals as this recording starts off with a B.B. King styled bluesYou Must Be Crazy, with some explosive guitar. There's the appealing New Orleans groove of Living Alone, and the sizzling jump blues Next to You, with his fleet, clean, uncluttered guitar standing out. There is terrific slow blues, "Cold Weather" where Poxon evokes classic T-Bone Walker, and he is equally comfortable with the sophisticated jazzy feel of Too Late. The closing instrumental, Rebound, with Yates McKendree, has a nice relaxed groove that evokes classic Memphis soul instrumentals of the sixties.

The performances here are uniformly first-rate. Kudos to McKendree, bassist Steve Mackey, drummer Kenneth Blevins and saxophonist Jim Hoke for the terrific backing. The McCrary Sisters and Chloe Kohanski add backing vocals. But Andy Poxon is the star here and as a singer, as a songwriter and as a guitarist, he has hit a grand slam with the fabulous music on Must Be Crazy.

I received my review copy from a publicist. This review appeared in the September-October 2014 Jazz & Blues Report.  Here is Andy performing with Mark Wenner & His Blues Warriors. 

Scott Ramminger's Wise Fatherly Advice

Washington DC area saxophonist and vocalist Scott Ramminger impressed with his debut CD Crawstickers. It was full of good songs, strong bands and Ramminger’s strong saxophone playing and vocals. He has followed this up with a new recording Advice From a Father to a Son (Arbor Lane) that builds on the strengths of the earlier recording to produce a collection of performances that will satisfy both dancers and listeners. The album was recorded both in New Orleans (the first seven tracks) and the Washington DC area (last three). The New Orleans tracks have Ramminger’s tenor and baritone saxophones joined by David Torkanowsky on keyboards, Shane Theriot on guitar,   George Porter Jr. on bass, and Johnny Vidacovich on drums, The Washington, DC tracks include Tommy Lepson on organ, Dave Chappell on guitar, Jay Turner on bass and Barry Hart on drums. Nashville’s McCrary Sisters as well as DC’s Patty Reese are amongst those adding background vocals making for a strong cast of those supporting Scott on this.

Scott is a triple threat. He is a vocalist who brings warmth, depth of feeling, and humor, an able saxophonist who plays solidly in the vein of a Lee Allen or Red Tyler and a songwriter whose ability to craft songs together is quite notable. Without going through a detailed analysis of every track, a few highlights of the varied songs heard here include the opening I Love Your Smile, a song dealing with his wife’s many qualities (the clothes she wears, her derriere, fine sense of style, and he really loves her smile) with rollicking New Orleans piano from David Torkanowsky; a duet with Regina McCrary, The Other Man’s Shoes, with a message that folks should look beyond their own narrow views and try to see things from the view of the other man’s views with some striking guitar as well as a nicely shaped and clean-toned solo from Ramminger.

The title song which provides advice include that one be careful of a man in white shoes when buying a car; be generous to people who have less; eat more salad than you need; check your oil when buying gas; if go to an old girlfriend’s wedding try not to act like an ass; and don’t forget to call your mother, her love is second to none; enjoy everyday like it might be your last; advice from a father to a son, set to a lively second-line groove with a nice trumpet solo from Vince McCool; and the closing Sometimes You Race With The Devil, with a nice reggae groove and solid playing by the DC area studio group. This song recently took the Gold Award (the top honor) in the vocal blues/jazz category of the 2012 Mid-Atlantic Songwriting Contest.

The remaining performances stand out in a similar fashion. About Scott’s earlier album, Crawstickers, I observed that it was seriously entertaining with plenty of substance in the performances. With Advice From a Father To a Son, Scott has produced an another excellent  rich musical gumbo that is certain to delight a wide audience.

I received this from a publicist.  Here is Scott performing Crawsticker at the Surf Club, the late, fondly remembered DC area venue.

Lightnin' Malcolm Hills Country Blues Roots

This writer was not enthusiastic with the collaboration of Lightnin’ Malcolm and Cedric Burnside on the 2Man Wrecking Crew CD. It struck me as perhaps taking the North Mississippi Hills groove associated with Fred McDowell and R.L. Burnside in a very limited manner. Malcolm, a Missouri native, who immersed himself in the music of this style is back with a release Renegade on Ruf Records where Cameron Kimbrough, the grandson of Junior Kimbrough, is on drums and several selections have a horn section added.

While its been awhile since I listened to the earlier disc, the performances here strike me as a bit more focused in performance. Kimbrough does a fine job in complementing Malcolm’s vocals and guitar which more than on one occasion evoke Mississippi Fred McDowell. The Hill Country blues style that is the foundation makes use of repetitive, hypnotic grooves that can bore but Malcolm avoids here with his guitar that displays an economy of expression (and aided by Kimborugh’s often lighter percussive touch) as well as his haunting vocals. This is clear on the opening Ain’t Even Worried, as well as the following Stop Fightin’ Over Me with a chugging groove in the vein of some of R.L.Burnside’s numbers with judicious use of tremolo in his fuzzy tone. The rocking groove of So Many Women recalls several of Fred McDowell’s songs such as Write Me a Few Lines, in a most compelling fashion.

The title track is more in the vein of roots rock with some heavily distorted guitar, while the horns embellish Guilty Man providing a different flavor and adding to the variety here. Last Nite I Held An Angel is taken at a dirge-like tempo as his angel has to fly, followed by Precious Jewel with its rock steady reggae groove and horns along with Nadirah Shakoor joining on the vocal. Perhaps because of what might be described as some awkwardness in the lyrics, this is a very appealing track. Come Go With Me is a lesser performance although with a sample dance groove. North Mississippi is a celebration of his home area with brassy punch added by the horns before J Grubbz adds a rap. Foxfire Ranch is a chugging instrumental that builds on a simple musical riff.

There may some songs on this that may strike some as less than inspired, but Lightnin’ Malcolm certainly performs with plenty of heart and conviction here. Overall Lightnin’ Malcolm may be a Renegade but he has produced a solid album rooted in the Hills Country Blues.


The review copy was received from a publicist for the record label.