Tia Carroll - You Gotta Have It

 Tia Carroll - You Gotta Have It - Little Village Foundation

From the opening of "You Got To Have It," this listener became absorbed in this new album by veteran Bay Area vocalist Tia Carroll. Carroll has been singing for years with her own groups and the likes of Jimmy McCracklin and Sugar Pie DeSanto. While she has recorded albums before, this is her first USA release. Noel Hayes has been listening to her for over twenty years and made this recording happen and brought Carroll to Greaseland Studios for Kid Andersen and Jim Pugh to put together their magic. 

Besides Andersen's guitar and Pugh's keyboards, the studio band consists of Steve Ehrmann on bass, Vicky Randle on percussion, and Paul Revelli on drums. There is a horn section of Mike Rinta on trombone, Rob Sudduth on tenor sax, Aaron Lington on baritone sax, and Jeff Lewis on trumpet. Backing vocals are provided by The Sons of Soul Revivers, Lisa Leuschner Andersen, and Willy Jordan. Charlie Hunter guests on bass & guitar on one track, Igor Prado plays lead guitar on one track, Derrick D'Mar Martin plays drums on one selection, and Gordon Beadle adds sax to two songs.

The album opens with her cover of Anthony Hamilton's "Ain't Nobody Worrying." It's a stunning rendition of this stark depiction of urban street life with the shots fly high, kids die young, and the homeless have no place to turn. Hunter plays both bass and guitar, and The Sons of the Soul Revivers add backing vocals as the intensity of Carroll's stunning vocal slowly builds before she explodes. The rest of this album is of a similar level. For example, Jim Pugh co-wrote "The Last Time" while with Robert Cray. Kid Andersen adds a searing Magic Sam feel with his guitar. 

Rick Estrin wrote "Don't Put Your Hand on Me," and Carroll belts out her warning against a backing that evokes Albert King's "The Hunter." Andersen's guitar suggests Albert King's style with a dash of Albert Collins mixed in. The rendition of a Johnny Ace ballad, " Never Let Me Go," follows. It might bring back memories of some of Etta James' early Chess recordings. Gordon Beadle takes a booting solo here. Carroll's own "Leaving Again" with Andersen's swampy wah-wah guitar has a seventies soul feel. Then there is a stellar rendition of Johnny Copeland's "Mama Told Me," along with a soulful version of Z.Z. Hill's "I Need Someone." Kid and Lisa Andersen wrote "Ready To Love Again." This song comes across as a lost Hi Records recording. Igor Prado adds stinging guitar to Carroll's original, "Move On."

An impassioned interpretation of The Staples "Why Am I Treated So Bad" closes this recording. One wonders why it took so long for Tia Carroll to get an album issued in the States. Her soulfulness, phrasing, timing, and clarity of her diction result in some of the most compelling blues and soul vocals this listener has heard in some time. With a strong musical program and support from an exceptional studio band, Tia Carroll's "You Gotta Have It" is a simply sensational recording.

I received my review copy from a publicist. Here is Tia Carroll with Igor Prado from 2012.

Mighty Mike Schermer Bad Tattoo

Mighty Mike Schermer
Bad Tattoo
Firedog Records/VizzTone Label Group

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

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

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

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

 

Mighty Mike Schermer Blues In Good Hands

Marcia Ball's guitarist since 2009, Mighty Mike Schermer has played with a who's who of blues and roots acts including most notably Angela Strehli and Elvin Bishop, and recorded with Ball, Bishop, Maria Muldaur, Howard Tate, Sista Monica and many more. He has a new release under his own name, "Blues In Good Hands" (Finedog Records/Vizztone), mostly recorded at Kid Andersen’s Greaseland Recording Studios in San Jose, CA, with an A-List of musicians from the Bay Area, CA and Austin, TX music scenes including Paul Revilli, Tony Stead, Steve Ehrmann, Austin Delone, Nancy Wright, Terry Hanck, along with guest appearances by Marcia Ball, Tommy Castro, John Németh, and Carolyn Wonderland. Schermer penned the 13 songs (three in collaboration with others).

Mostly recorded at Kid Andersen's Greaseland Studio, and mixed by Andersen, this varied recording benefits from the uncluttered and clean production of these crisply delivered performances. Schermer displays his many talents on the opening "Baby Don't Stop," with his appealing gritty vocals and keen guitar (there is a nice Hanck solo here) with the rhythm section very tight behind him. While he may have a narrow vocal range, Schermer's understated, unforced singing has considerable appeal appealing. "Heaven's on the Other Side," has a nice lyric about struggling in his everyday with bill collectors and car not running with a catchy hook about not minding to go through hell if heaven is on the other side. Set against a funky vamp, he has a fiery, concise guitar solo. "It's a Pleasure" is a lovely ballad while a reggae groove anchors the peppy "One Tear At a Time," and then there "Wait-On-Me Woman," with Greg Izor's harmonica along with the relaxed shuffle groove.

The title track with Schermer's mix of his own experiences (how seeing Albert Collins perform and  conduct himself, changed Schermer's life, as well as how he and Terry Hanck were affected by Junior Walker's passing),  inspired him to write and perform songs that everyone could understand, that were real which everyone could feel. I usually dislike 'keep the blues alive' songs, but Schermer's lyric and  solid playing make this an exception. "Most People," with twangy guitar and a swampy feel is suggestive of some of Bobby Charles' songs. Marcia Ball adds piano to the rollicking "Barkin' Up The Wrong Tree," while Tommy Castro adds some fiery guitar to the slow blues "Stop Crying," while John Nemeth adds harmonica to the lazy Jimmy Reed groove of "Baby Be Kind."

There is so much to like about this recording. Schermer is a marvelous songwriter, guitarists and a singer with wit and heart. With the strong backing throughout, this is a gem of a recording.

I received my review copy from VizzTone.Here is a video of him in performance.