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.

Tad Robinson Real Street

Tad Robinson

Real Street

Severn Records

Tad Robinson's new album of blue-eyed soul, "Real Street" was recorded at Memphis' Electraphonic Recording and recorded by Scott Bomar, leader of the acclaimed Memphis soul band, The Bo-Keys. Robinson's vocals and harmonica are vocals and harmonica are backed by the legendary Hi Rhythm section of Charles Hodges – Hammond organ; Leroy Hodges – bass; and Howard Grimes – drums. They are augmented by Joe Restivo – guitar; Kevin Anker – Wurlitzer electric piano; Marc Franklin – trumpet; Kirk Smothers – sax; and Devin B. Thompson – background vocals.

Robinson and his band do an excellent job of recreating the classic Hi Records sound. Robinson and friends have contributed several choice originals, and they interpret songs from George Jackson, Roy Orbison, David Gate, and others. Certainly, an original like "Changes" with chugging rhythms comes off like a cover of a classic Syl Johnson number. Its memorable lyrics are about friends one has trusted have let you down, and then only love can help you negotiate the changes. There is a marvelous heartfelt rendition of a George Jackson soul ballad, "Search Your Heart," where Robinson pleads for his woman not to put him in misery. Robinson adds down-home harp on "Love in the Neighborhood." "Wishing Well Blues" is a soulful blues about his woman leaving set against this terrific rhythm section with biting guitar, punchy horns, orchestral organ, and a touch of harmonica.

Robinson takes the old Roy Orbison ballad, "You Got It," and transforms it into deep southern soul in a fashion that Otis Clay or Syl Johnson may have done it. Then there is a similar transformation of Bread's hit."Make It With You," by David Gates, into a classic Hi Records styled performance. Superbly backed by this terrific studio band and sung so fervently by Robinson, "Real Street" is a gem of contemporary Memphis-styled soul.

I received my review copy from a publicist. Here is Tad Robinson performing "Love in the Neighborhood" from this CD.

The Texas Horns Get Here Quick

The Texas Horns
Get Here Quick
Severn Records

The Texas Horns, comprised of Mark "Kaz" Kazanoff (tenor sax), John Mills (baritone sax), and Al Gomez (trumpet), are one of the most in-demand horn sections for both recording sessions and on tour with some of the biggest names in the roots music world. "Get Here Quick" is their own album of blues, soul and roots music, backed by an all-star group of supporting musicians. Special guests include singers Curtis Salgado, John Nemeth, Gary Nicholson, Guy Forsyth, and Carolyn Wonderland; as well as guitarists Ronnie Earl, Anson Funderburgh, Johnny Moeller, Denny Freeman, Derek O'Brien, and Jonn Del Toro Richardson. Also, Red Young and Nick Connolly play keyboards.

"It took us a year to make 'Get Here Quick,'" recalls Mark Kazanoff, who with his horn-mates arranged all the songs and horns on the sessions. "I don't usually like to do record production projects like that. But this time, we had so many wonderful guest musicians in mind that we knew we would never be able to get everyone together in one place for a week or two; so we did the CD bit-by-bit. That also allowed us to use a couple of different rhythm sections."

There is a mix of vocals along with rhythm and blues instrumentals in the vein of King Curtis and Junior Walker. One of the top tracks, "Guitar Town," opens this recording. Guy Forsyth sings John Mills clever lyrics about knowing about every dive in the city, but it is hard being to be saxophonist in a guitar town. Anson Funderburgh is the lead guitarist and trades fours with Kazanoff, Mills, and Gomez respectively. Carolyn Wonderland sings vigorously and plays lead guitar on the driving performance of Kazanoff's "I'm Doin' Alright, at Least for Tonight," supported by a blistering Gomez trumpet solo. Mills composed the instrumental "Feel No Pain," with Johnny Moeller's stinging guitar set against the riffing horn before Mills wails on the baritone sax followed by Moeller's terrific guitar solo.

Gary Nicholson wrote and sings "Fix Your Face," on which he also plays guitar. After Kazanoff takes a honking tenor sax solo that the late Big Jay McNeely would have been proud of, Ronnie Earl displays his distinctive style. Nicholson also contributed the bouncy "Soulshine," with Anson Funderburgh on lead guitar and a terrific tenor sax chorus from Kazanoff. Gomez' instrumental "2018" has a New Orleans meets Bo Diddley groove. Moeller and Nick Connolly play short guitar breaks before a section of the interplay between the three horns.

Riffing horns provide a setting for Johnny Moeller's guitar leads on one of Kazanoff's instrumentals "Better Get Here Quick." There is fiery Gomez trumpet and an electric piano break from Young. Kazanoff also wrote the soul-ballad, "Love Is Gone" with a terrific John Nemeth vocal and, a booting Kazanoff tenor sax solo. Mills' "Sundown Talkin'" showcases more blue-eyed soul with a passionate Curtis Salgado vocal. Kazanoff sings in an almost talking blues manner "You Can't Be Serious," a protest blues about this 'rich man's paradise." It has a concise Jon Del Toro Richardson guitar solo while Derek O'Brien adds slide guitar fills.

If there is one fault, the horn section unison leads generally are not as memorable as the vocals or various solos are. Still, there are some exceptional performances throughout, even on those that are merely entertaining.

I received my review copy from a publicist. Here are The Texas Horns performing in 2018.

Big Joe and the Dynaflows Rockhouse Party

Big Joe and the Dynaflows
Rockhouse Party
Severn Records

"Rockhouse Party" is a surprise recording by Big Joe Maher. It has been several years since the DMV drummer, jump blues singer and bandleader has had a new recording. His last album "You Can’t Keep a Big Man Down," was issued in 2011. Recorded in Franklin Tennessee, Maher is reunited with Kevin McKendree, the original Dynaflow keyboard player. He and McKendree co-produced this, and others heard here are young prodigy Yates McKendree on guitar, Robert Frahm on guitar, and Tom "Mookie" Brill on bass and vocals. On one track another guitar prodigy, Erin Coburn guests. Engineering the music is Evan Sarli, son of the late Jeff Sarli, who was the original bassist with the Dynaflows.

There is a nice mix of material that might be labeled urban blues as much as jump blues starting with a rendition of "Driving Wheel." While patterned after the Junior Parker recording, this is no copy and Maher delivers a relaxed heartfelt vocal strongly backed with the organ helping lay down a musical foundation, and there are terrific guitar solos displaying the contrasting attacks of Yates and Frahm. Brill has not previously been featured as a vocalist. I recall him doing a solid Howlin' Wolf styled vocal, but was not prepared for his soulful singing on Little Milton's "So Mean To Me," and O.V. Wight's "8 Men 4 Women," again with some strong backing.

Maher has always had an affinity for Smiley Lewis recordings and does a credible rendition of "Go On Fool" while laying down a solid second-line groove while Kevin McKendree plays driving boogie-woogie inflected piano. It is followed by an excellent Maher original "World Gone Wrong," with atmospheric accompaniment, and well-considered solos, to go with the topical lyrics. Brill sings a rollicking shuffle interpretation of an old Nappy Brown recording, "If You Need Some Lovin,'" on which Maher and Erin Coburn provide backing vocals. There is a cover by Brill of Fenton Robinson's "Tennessee Woman," that has a rockabilly flavor but comes off as a bit frantic. His other vocal is a solid rendition of Mack Self's 1958 Sun rockabilly recording, "Vibrate."

Maher's "Go With The Flow" is a strong original jump blues celebrating his new Dynaflow automobile, followed by another original "I'm a Country Boy," that sounds like it came from a Snooks Eaglin session for Imperial with Erin Coburn adding her solid fretwork. Two instrumentals, "Overdrive" and "Sleepy Joe" showcase the two guitarists. The two wrote the latter number with its ingratiating lazy groove. Percy Mayfield's "Two Years of Torture" closes this album with a superb 'three o'clock in the morning' flavored performance.

There are no surprises here for those familiar with Joe Maher on an excellent recording full of fine vocals, marvelous playing and a nice variety of blues songs.

I received my review copy from a publicist. This review originally appeared in the January-February 2019 Jazz & Blues Report (Issue 382). Here is a video from a few years back of Big Joe Maher with Anson Funderburgh on guitar.

Mud Morganfield They Call Me Mud

Mud Morganfield
They Call Me Mud
Severn Records

This is the third Severn release for the late Muddy Waters' son Larry 'Mud ' Morganfield. He is joined by some of Chicago's blues musicians to provide authentic, down-home blues touches. Those heard in addition to guitarist Rich Kreher, Mud's co-producer are: Billy Flynn on guitar, Studebaker John on harmonica and backing vocals, Sumito Ariyo Ariyoshi on piano, E.G. McDaniel on bass and Melvin “Pookie Stix” Carlisle on drums. Guests include Billy Branch on harmonica, Mike Wheeler on guitar and Mud’s daughter Lashunda Williams, who joins her dad on a loving duet, ‘Who Loves You." Several tracks have horns adding a vintage R& B feel.

While there are a couple of new versions of recordings his father made, most of the songs on this are his originals, so this release allows Mud to shine as more than someone recreating his father's music. Certainly the use of horns and original material enables Mud to establish his own personality, despite the similarities of his voice to his father as on the opening title track. This song has some B.B. King styled guitar to the fore while Studebaker John's harp blends in with the horns as Mud boasts about his prowess (likening himself to an earthquake and hurricane). It is followed by a strong modern blues "48 Days," (since his woman has left as he pleads for her to return), and then then a nice soul-blues lament "Cheatin' Is Cheatin'," followed by the churning soulful funk of "Who's Fooling Who?" with biting guitar and harmonica breaks.

Vocally he comes off as honest and convincing as he does on solid cover of Muddy's "Howling Wolf," and "Can't Get No Grindin'." There is some fabulous slide guitar, as well as standout piano and harmonica, on the former number, while Ariyoshi and Studebaker John add to the rollicking flavor of the latter performance. Mike Wheeler contributes strong guitar to the funky "24 Hours," His duet with his daughter is a superb classic soul ballad performance, while "Oh Yeah," is a terrific blues at times suggestive of John Lee Hooker's "Boom Boom."

The album closes with a captivating, jazz-tinged instrumental "Mud's Groove," that features Billy Branch on harmonica and is one of three selections with Mud on bass. It closes an engaging album that certainly should appeal to anyone wanting to listen to some real straight-ahead blues with a soul touch.

I received my review copy from a publicist. This review originally appeared in the March-April 2018 Jazz & Blues Report (Issue 377) and I have made a few minor stylistic changes. Here is a video of Mud performing his bfather's "The Same Thing."

Kim Wilson Blues and Boogie Vol. 1

Kim Wilson
Blues and Boogie Vol. 1
Severn Records

This latest album from Kim Wilson finds him in somewhat of what some might describe as a retro-blues vein. Recorded at a number of sessions, it was mostly recorded and mixed by guitarist Nathan James at Sacred Cat Studios, Oceanside, California; except fora couple tracks recorded and mixed by Big Jon Atkinson at Big Tone Recording Studios, Hayward, California. Among those playing the late pianist Barrelhouse Chuck and drummer Ricard Innes. Others heard backing Wilson include Billy Flynn, Atkinson, Marty Dodson, James, Larry Taylor, and Malachi Johnson.

This consists mostly of songs that Kim states he "always wanted to do. However, I have to put my own twist on everything.” The focus on the his is Chicago blues and the harmonica masters such as Little Walter, Sonny Boy Williamson and 'especially' James Cotton to whom this recording is dedicated to. Even Wilson penned originals like the opening harmonica romp "Bonus Boogie," are styled in the manner of Little Walter instrumentals. Then there are solid interpretations of songs previously recorded by Elmore James ("No Love in My Heart", "Sho Nuff I Do"), Little Walter ("Teenage Beat", "Blue and Lonesome" and "Mean Old Frisco"), Sonny Boy Williamson ("Ninety Nine"), Little Milton (Same Old Blues"), and Jimmy Rogers "(You're the One") with solid backing in the style of the fifties and sixties originals. The recording of the songs adds to this retro-blues flavor.

Wilson has always been a terrific harmonica player as well as a natural, assured vocalist and the performances here certainly showcase his considerable talents along with the tight, idiomatic backing. Kim has recorded several similar albums previously and this is certainly one that fans will appreciate, although it would hard to call this very entertaining set, primarily of covers, essential.

I received from my review copy from a publicist. This review originally appeared in the November-December 2017 Jazz & Blues Report (Issue 375), although I made a few edits to correct typos and clarify some points. Here is Kim Wilson performing with Kirk Fletcher and the late Barrelhouse Chuck.

 

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.

Sugar Ray and the BlueTones Seeing Is Believing

Sugar Ray and the BlueTones
Seeing Is Believing
Severn Records

"Seeing Is Believing" is the latest from One of today's top blues groups, Sugar Ray and the BlueTones. Once again the quintet has produced a dozen blues grooves including eleven originals from the band members. Ray Norcia has certainly become a most expressive singer while Monster Mike Welch a superlative guitarist such as when he evokes Otis Rush on the title track behind Norcia's Junior Parker-like soulful crooning. Add Anthony Geraci's two-fisted piano, Michael Mudcat Ward's rock solid bass and Neil Gouvin's crisp drumming, and one has one superb band.

One should not be surprised by the variety mix of sounds here including Geraci's rock steady "Noontime Bell," where Norcia sings about leaving his ex-before that noontime bell before taking a charged harmonica solo while Geraci takes a piano break that would have made Otis Spann smile. On "Keep On Sailing," Norcia opens in the manner of one of Rice 'Sonny Boy Williamson' Miller's unaccompanied solo performances with the band joining halfway in, and then followed by a hot shuffle, "Blind Date" that provides another showcase for Norcia's harp as well as Welch coming across like a cross of country swing version of Willie Johnson. Welch is showcased on an instrumental rendition of B.B. King's "You Know That I Love You," suggesting, but not imitating, King's guitar sound. What a nice tribute to the late legend.

The rest of the album is similarly first-rate with strong songs (including the blues ballad "Not Me" and the Muddy Waters' styled "Too Hundred Dollars Long" with terrific slide guitar), fine vocals and a superb band, which should not be surprising since since they have had the same line-up since Welch joined them 16 years ago (and the other four have been together 40 years). Hearing is believing Sugar Ray and the BlueTones with "Seeing Is Believing" being another terrific recording of tough Chicago-styled blues.

I received my review copy from a publicist. This review originally appeared in the September-Octobetr 2016 Jazz & Blues Report (Issue 368). Here is Sugar Ray and the BlueTones in a 2016 performance.

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."
 

Mud Morganfield's Tribute to His Father - Muddy Waters

If one closes one eyes while listening to For Pops | A Tribute to Muddy Waters the new Severn Records release by Mud Morganfield & Kim Wilson, one might think one is listening to Muddy Waters himself. The idea for the album came from folks suggesting to Severn that after they released albums by Mud Morganfield and The Fabulous Thunderbirds, Severn had to get Mud and Kim together. So they were asked and agreed.

In putting an album together, they put together a band of Billy Flynn and Rusty Zinn on guitars, Barrelhouse Chuck on piano, Steve Gomes on bass and Robb Stupka on drums to support Mud’s vocals and Kim’s harmonica. Then it was decided to do an album of Muddy’s songs and selected a mix of both well known and lesser known songs associated with Muddy Waters. The recording was done live with everyone in the same room.

Included are 14 renditions of such Muddy Waters recordings as Gone To Main Street; Just To Be With You; Still a Fool; She's Got It; I Love the Life I Live, I Live The Life I Love; Blow Wind Blow; Nineteen Years Old; and Trouble No More. This is a marvelous backing band with Kim Wilson at the top of his game and Mud (Muddy’s oldest son) sounding so much like his father throughout these solid re-creations of the originals.

As noted, listening to this is almost like listening to a Muddy Waters recording, and folks have been copying Muddy’s music from over six decades from Junior Brooks and Louisiana Red to this present album. At the same time, no matter how enjoyable it is to listen to this album, it doesn’t replace the original recordings. No one has more right to perpetuate his father’s legacy than Mud Morganfield.  As good as the recreations here are, this listener wishes interpretative liberties had been taken with Muddy Waters’ music.

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

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.

Nora Jean Is Going Back to Mississippi

The following review originally appeared in the October 2004 DC Blues Calendar as well as the November-December 2004 Jazz & Blues Report (Issue 271). I have made a few stylistic changes since the original review. I likely received a review copy from Severn Records and it is available. She has a new recording Good Blues from 2011 which I have not heard but will have to check out. Nora Jean is now Nora Jean Wallace and her website is website is http://norajeanblues.com/music.html.

I recently reviewed a cd from Nora Jean Bruso, a Chicago based blues singer, who really impressed many at this year’s Pocono Blues Festival. That cd was comprised of interpretations of some well known and lesser known blues. Severn has just issued a new album by her, Going Back to Mississippi (Severn Records), which is comprised solely of originals, so she is presenting her own “musical vision of the blues, rather than interpreting the vision of others.” 

Nora Jean Bruso at 2004 Pocono Blues Festival
Photo © Ron Weinstock

She has a strong backing band that include Carl Weathersby or Dave Spector on lead guitar, Rob Waters on keyboards, Ron Graham on saxophone, Harlan Terson on bass and Marty Binder on drums. Bruso’s powerful vocals will suggest Koko Taylor to many (Koko is her idol). She does have a similar background, as she, like Taylor, moved to Chicago after having deep southern roots (Bruso grew up in Mississippi).  Her roots are lyrically expressed in the title track, a shuffle where she talks about going back because that’s where her baby is as well as Miss Mae’s Juke Joint, that celebrates the juke her grandmother operated. 

She gets down in the alley on a superb slow blues, All My Life, with some nice sax in the accompaniment, while sings in a more relaxed manner on Broken Heart, with its caribbean-flavored groove. She takes us to New Orleans on the rhumba, I’ve Got Two Men, (one of whom has to go) with a nice solo break from Dave Spector. Don’t You Remember is a slow blues that evokes Someone Loan Me a Dime, with Bruso telling her baby how sweet their love used to be and how their relationship changed. Carl Weathersby is particularly impressive here in his instrumental responses to Bruso’s vocal and his solo. 

With this new release she has gone beyond the promise shown on her earlier disc and has shown herself as among those who will carry on and follow Koko Taylor and keep “this great music alive and vital.” 

Here she is singing Going Back to Mississippi. 

Sugar Ray Norcia's My Life, My Friends, My Music

Severn has just released a new CD by Sugar Ray and the Blue Tones, My Life, My Friends, My Music. It has Sugar Ray Norcia backed by his long-time associates, Michael ‘Mudcat’ Ward, Neil Gouvin and Anthony Geraci with guests Duke Robillard, Monster Mike Welch, Greg Piccolo, Doug James, Carl Querfurth, and Bob Enos. It gives him a chance to be heard in both a jump blues vein (after all he was Roomful of Blues’ vocalist for several years), a fifties Chicago blues vein and in some more intimate settings as well. 

Norcia has established himself as a solid, strong vocalist and this recording is no exception although his covers of Oh, Babe, and I Like My Baby’s Pudding pale compared to Wyonnie Harris’ definitive renditions. An amusing original, Little Green Talking Frog, is in a similar musical vein and Norcia is not afraid to handle a New Orleans ballad, I Want To be With Her, as well as the Andy Kirk (Pha Terrell on vocal) classic, Until the Real Thing Comes Along, although overshadowed by fifties renditions by Big Joe Turner and Jimmy Witherspoon (Spoon’s rendition recently made available on a superb Mosaic Selects reissue).

 A certain imagination in backing is present on Money Taking Mama, with spare accompaniment led by Geraci’s strong piano which evokes Tampa Red and Big Maceo. It is followed by a nice reading of Rice Miller’s stop-time I Don’t Know. An original gospel tune, No Sorrow No More, has a Piedmont, Sonny Terry and Brownie McGhee flavor, while Do You Remember has him nicely handling a Big Maceo song, styling his vocal after the piano blues giant with Monster Mike Welch adding some nice acoustic guitar fills. 

Its another engaging release from Sugar Ray and his friends, imaginatively programmed and with his originals mixed in with songs that have not been recorded to death. Not an essential release, but one that certainly will entertain many.

This review originally appeared in the July-August 2007 Jazz & Blues Report (Issue 295). I likely received my review copy from a publicist. He is a performance by Sugar Ray & the Blue Tones from around the time this album was released.

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.

The Nighthawks Provide Another Damn Good Time!

The new album by The Nighthawks, Damn Good Time! is the first release by the venerable blues and roots band for the Severn label. It is also the first album since Mark Stutso replaced original Nighthawk Pete Ragusa on drums and vocals. Still with the Nighthawks is original member Mark Wenner on vocals and harmonica; Paul Bell on guitar and Johnny Castle on bass and vocals. As Mark Wenner observes, Stutso has now been with the band for years and 500 shows so the rhythm duo of Castle and Stutso provide a strong foundation as well as provide distinctive singing voices.

The feel of the playing here is a bit more of a country-tinge to these ears which shouldn’t be surprising given that Castle and Stutso have a bit of garage rock, rockabilly and country in the background. The country flavor is perhaps displayed most on Bring Your Sister, a pop-ish number that Castle handles the vocal on. An old Elvis recording, Too Much, is transformed with a lazy blues shuffle groove with Wenner taking the lead vocal and adding some nice harmonica. The title track originally a country number that is given a bluesy transformation which suggests Taj Mahal’s She Caught the Katy, with a strong lead vocal from Stutso and Wenner’s harmonica embellishments and solo is right on the money.

Other material includes Wenner’s interpretation of Nat King Cole’s stab at rock’n’roll, the bluesy ballad, Send For Me, while Castle energetically sings the lively revival of Jimmy McCracklin’s Georgia Slop, with Wenner’s harmonica coming off as a one-man horn section. Nightwork is a nice shuffle that the Nighthawks picked up from Billy Price and features Wenner on vocal and nice guitar from Paul Bell. Wilbert Harrison did the original Let’s Work Together as a one-man band. The able rendition here, with Stutso taking the lead, owes a bit to Canned Heat‘s cover version. Wenner handles the vocal on the jump-blues Smack Dab in the Middle, while Down to My Last Million Tears, is a swamp pop styled song with a bluesy edge and a fervent Stutso vocal.

Damn Good Time! is another fine effort in The Nighthawks extensive body of recordings that certainly will appeal to the many who flock to their shows every year. It exhibits that soulful singing and strong, rocking ensemble playing that they continue to lay down decades after they first started down the blues highway.

I received my review copy from a publicist. Here are The Nighthawks in performance.

Mud Morganfield Is The Son of the Seventh Son

The eldest son of the legendary Muddy Waters, Mud Morganfield was originally given a drum set by his father when he was 7, and began singing in the early 1980s, but it was not until 2005 when Mary lane coaxed him on stage that he started treated music as his profession in a serious fashion. Appearing at the 2007 Chicago Blues Festival led to interest in him similar top that of his younger brother Big Bill Morganfield. He has had some earlier recordings, but now he has a new recording, Son of the Seventh Son, produced by Bob Corritore on Severn Records that should help take his recognition and career to the next level.

Backing Morganfield’s vocals are guitarists Rick Kreher and Billy Flynn, pianist Barrelhouse Chuck (Goering); bassist E.G. McDaniel with Kenny ‘Beedy Eyes’ Smith on drums. Producer Corritore and Harmonica Hinds share the harmonica duties for these February 2011 recordings. With the exception of a couple covers of Muddy Waters recordings and originals by Studebaker John Grimaldi and Billy Flynn, Mud Morganfield contributed originals and the performances are pretty much in his father’s style.

From the opening notes of the reworking of J.T. Brown’s Short Dress Woman, to his own Blues In My Shoes, celebrating his father’s legacy, Mud Morganfield evokes his legendary father. The performances are solid blues in the style of his father and the backing band does a solid job or evoking the Muddy Waters Band sound of the mid-sixties through the end of Waters’ celebrated career. This is a solid band that sounds so at home playing in the style of Waters.

Mud may not quite match his father’s style, but he comes close. The level of the performances are solid throughout although several stand out including the opening reworking of his father’s recording of Short Dress Woman, Studebaker John’s Son of the Seventh Son, the amusing Catfishing, (where he goes all the way to the bottom because that’s where all the fat cats go) on which Barrelhouse Chuck is on organ and Harmonica Hinds is on harp, and Health on which Corritore shines in his harp accompaniment as Mud strongly sings about having money and fame don’t mean anything if one does not have good health. The playing is strong throughout and certainly captures the flavor of Muddy Waters recordings from the seventies. I am not sure who takes the guitar solo on Loco Motor, but the guitarist does a good job of evoking Jimmy ‘Fast Finger’ Dawkins in his guitar solo.

As suggested, Mud does a strong job of conjuring up his late father’s blues and the backing band certainly contributes to the overall feel of this band. Certainly if there can be “Blues Brothers” tribute bands, the eldest son of one of the greatest blues artists can do his part in keeping his father’s sound alive, especially when he contributes a number of strong originals that he ably performs. While he may not be an original performer, Mud Morganfield certainly is keeping his legendary father’s sound alive, supported by an excellent band. The result is a release sure to interest fans of his father’s classic Chicago blues.

I received my review copy from Severn Records. Here Mud plays his father's Mannish Boy.

Mike Morgan & The Crawl Get Stronger Every Day

Mike Morgan & the Crawl have been around for a number of years, first recording for Black Top with Darrell Nulisch's vocals fronting the band, later replaced with Lee McBee. For the past two decades he has been putting forth what he describes as ‘Classic Blues With a Modern Attitude.’ Initially inspired by Stevie Ray Vaughan, he soon developed into anything but a SRV clone, and his band is named after a gritty Goldband single by Guitar Jr. (Lonnie Brooks).

Morgan’s latest CD is on Severn, Stronger Every Day and finds him backed by a trio on most of this with organ added on 5 of the 14 tracks. Morgan handles four vocals while McBee adds three and McAllister sings on five tracks. He takes things off in a Stevie Ray groove on the opening shuffle, All Night Long, as he forcefully delivers his about crying for his woman and walking the floor all night long, before laying out his solo with a cluster of fast repeated single notes before taking off for a bars as bassist Drew Allain provides the repeated bass shuffle groove to anchor this performance. McAllister provides a soul-tinged vocal on a R&B flavored message number about stop the killing, Where’s the Love, with Morgan’s guitar taking on a different tenor.

A bit of swamp blues and Guitar Slim is evoked by Lee McBee’s raspy vocal and Morgan’s guitar on Sweet Angel. McBee also delivers a superb vocal on the down and out blues, I Cried For My Baby. Morgan takes a nice vocal on a Chicago-styled shuffle for You're The One (I'll Miss The Most), on which McBee adds some nice harp in the vein of Rice Miller. McAllister handles the vocal on the title track which is a lovely swamp pop soul ballad, while When I Get Back Home, is more of a classic southern soul ballad. The Birthday Song, is a jaunty song from the point of view of the Birthday Boy that Morgan delivers in a crisp, lively fashion. Morgan shines on a couple instrumentals including an appropriately bouncy Okie Dokie Stomp. As McBee takes the vocal on the closing rocker, Time, Morgan’s takes it out to a very satisfying conclusion to a well-balanced program of blues with roots touches that adds to his body of music that merits more attention than he has generally received. Recommended.

This review originally appeared in the April 2008 Jazz & Blues Report (Issue 303) and to my knowledge is Mike Morgan's latest recording for Severn. On February 14, I posted a review of a couple of older Mike Morgan albums. I received my review copy from Severn Records.