Rockwell Avenue Blues Band Heads Back to Chicago

Rockwell Avenue Blues Band
Back to Chicago
Delmark Records

As keyboardist and vocalist Ken Saydak observes that the title of this album is fitting  for veterans of the Windy City's blues scene who came together for this project. The title of the band is also a nod to Delmark Records North Rockwell address.

Saydak was joined by guitarist and vocalist Steve Freund, harmonica player and vocalist Tad Robinson, bassist Harlan Terson and drummer Marty Binder. Collectively they have played with and recorded with Chicago legends like Big Walter Horton, Sunnyland Slim, Otis Rush, Lonnie Brooks, Albert Collins, Junior Wells, Koko Taylor, and Buddy Guy. Saydak, Freund and Robinson also have established well regarded solo careers with heard on five vocals. Along with bassist Terson, they contribute to the originals here, with one song a collaboration between Mary-Ann Brandon, Fred James and Saydak. There is one Elmore James cover.

One should be not surprised by the strong music heard here. This is one terrific band with the three frontmen all having plenty of solo space. Robinson is particularly impressive with his harmonica playing here such as his sax-like backing behind Saydak's vocal on "That Face," a performance that featured Saydak's strong singing that has tonal qualities (but not the country drawl) reminiscent of Elvin Bishop. At the same time, Robinson plays more in a Junior Parker vein on the soulful "Free To Love Again," Freund channels Robert Nighthawk on his terrific slow blues "Lonesome Flight." In addition to his strong singing and guitar, the band is superb with Saydak pounding the ivories. One cannot praise Terson and Binder enough as they anchor this and the entire recording.

Saydak's "Chariot Gate" evokes early James Cotton, while Freund's rendition of "Stranger Blues" has a fresh arrangement, and is not a copy of Elmore James' original recording. Binder superb on this. It is  followed by a rootsy rocker by Saydak, "For a Reason." Other notable tracks include Robinson's "Hey Big Bill," with a spirited guitar solo and Robinson's fine harp as he calls on Big Bill to help lift him up from his blues. Terson, Saydak and Robinson collaborated on the title track, a nice West Side Chicago styled blues that like the entire album is wonderfully played displaying marvelous interplay between the band members.

The Rockwell Avenue Blues Band may have been assembled for this recording, but they come off as one terrific band. With solid vocals, strong solos, and choice material, "Back to Chicago," is a most welcome musical delight for Chicago blues lovers.

I received my review copy from Delmark. This review appeared originally in the May-June 2018 Jazz & Blues Report (Issue 378), but I have made some stylistic and clarifying changes to the published review.

Bonnie Lee Sweetheart Of The Blues

Bonnie Lee
Sweetheart Of The Blues
Delmark

Among new Delmark blues releases is Bonnie Lee’s Sweetheart of the Blues. Probably best known for her performances with Willie Kent and the Gents, this album will surprise many as it shows her to be far more a singer than a blues belter.

While those familiar with her will not be surprised by her take on Jimmy Reed’s Baby, What You Want Me To Do, her low-key interpretation of Buddy Johnson’s classic ballad Since I Fell For You is a model of taste and phrasing that showcases another side of her. There is considerable variety in the musical settings, from the straight Chicago blues flavor of Got the Blues ‘Bout My Baby with Billy Branch’s harp, the dance-oriented I Love My Baby, and Ocean of Tears which is suggestive to these ears of a Big Maybelle tune.

In addition to Billy Branch, others appearing on this album include bassist, Willie Kent, guitarist Willie Davis, guitarist Steve Freund (who contributes several choice solos, and even takes one vocal, If You Be My Baby), pianist Ken Saydak, and saxophonist Hank Ford, whose solo on Since I Fell For You is especially tasty. Johnny B. Moore contributes the stinging, snapping guitar behind Bonnie’s unforced vocal on Junior Parker’s Next Time You See Me.

With its variety and Bonnie Lee’s natural soulful singing, Sweetheart of the Blues makes for an impressive American LP debut. 

I likely received a review copy from Delmark Records. This review originally appeared in the October 1995 Jazz & Blues Report (Issue 205). Here she is performing at the 1999 Chicgao Blues Festival.

Maria Muldaur's Loving Memphis Minnie Tribute

Memphis Minnie was a pioneer in what we now call “country blues,” who recorded over 200 sides from the late twenties until the early fifties. One of the greatest blues performers of her time, her popularity was reflected by the fact she recorded as often as she was. A marvelous guitarist as she was a singer, she often recorded duets with then husband Kansas Joe McCoy in what some would call the “Memphis style.” After the break-up of their marriage, she started playing in small combos that would foreshadow the post-war Chicago blues ensemble style. In her career she made numerous classic recordings including Bumble Bee, Frisco Town, What Fault You Find Of Me?, What’s The Matter With the Mill, Tricks Ain’t Workin’ No More, Joe Louis Strut, Me and My Chauffeur, and Black Rat Swing. She recorded over 200 blues over her career. 

Maria Muldaur has long been a fan of Memphis Minnie and performing Minnie’s songs for decades. She has produced … First Came Memphis Minnie (Stony Plain), which is subtitled “a loving tribute.” Included are performances by Maria along with Rory Block, Ruthie Foster, Bonnie Raitt, Phoebe Snow and Koko Taylor with support from Del Rey, David Bromberg, Steve Freund, Alvin ‘Youngblood’ Hart, Steve James and Roy Rogers. 11 of the 13 performances are newly recorded. The performances of Phoebe Snow and Koko Taylor were previously issued.

There's plenty of music to enjoy here, much of it performed by Ms. Muldaur herself on a program that includes a few of Memphis Minnie’s most famous songs and a number of lesser known ones. If her voice is not quite a supple as in her own girlish days, Maria Muldaur is perhaps even more expressive a singer and this is evident on the opening Me and My Chauffeur Blues, with Roy Rogers providing nice easy swinging backing. Ain’t Nothin’ in Ramblin’, has a wonderful vocal from Bonnie Raitt with Steve Freund adding his guitar to hers. I’m Goin’ Back Home is one of two vocal duets by Maria with Alvin ‘Youngblood’ Hart (who provides guitar backing) that revive Minnie’s duets with Kansas Joe McCoy.

There is a bit larger group including Del Ray and Steve James backing Maria’s vocal on I’m Sailin’ with its wistful lyric. Rory Block’s sings When You Love Me backed by her guitars followed by Maria’s hopeful vocal on Long As I Can See You Smile, with Steve James adding mandolin in addition to Del Ray’s guitar, followed by Lookin’ the World Over, with just some lovely accompaniment from Del Ray. Phoebe Snow’s rendition of In My Girlish Days dates from a 1976 recording that included David Bromberg in the backing who adds mandolin along with guitar in the backing of Snow’s vocal. Ruthie Foster backed by a small group with Steve Freund’s guitar delivers a wonderful vocal on Keep Your Big Mouth Closed, which adapts the Sitting on Top of the World melody. Maria’s vocal on Tricks Ain’t Walkin’ is one of her finest here with Del Ray on guitars and Dave Earl adding mandolin here. 

The album closes with Koko Taylor’s rendition of Black Rat Swing that was licensed from Alligator from what I believe was her last album. Bob Margolin was among those on the session. It is an interesting choice insofar as it was written and sung by her husband, Ernest ‘Little Son Joe’ Lawler, under whose name it was originally released. In any event, it is a nice finale to this loving tribute to one of the greatest blues artists who ever lived.

I received a review copy from a publicist and it is scheduled for release on Tuesday October 9.

Excellent If Not The Essential Magic Slim

Morris Holt, best known as Magic Slim, has had a celebrated recording career over 40 years, and rarely produced a blues record that was merely good. It is misleading for Blind Pig to call the compilation of some of the best tracks from his half dozen or so Blind Pig albums, The Essential Magic Slim since any compilation of Slim’s recordings that do not span his entire career including the superb records that have been issued on Rooster Blues, Alligator and the Austrian Wolf label can hardly be called Essential. Best of Magic Slim on Blind Pig would be more accurate.

This is not to say that the music here is substandard. In fact the music here is typical of the hard-driving rocking Chicago blues that Slim has been producing since his 1966 45 of Scufflin’. Opening with a rocking rendition of Bo Diddley’s Before You Accuse Me, rocketing through the terrific shuffle, Mind Your Own Business and continuing with a driving updating of Jimmy McCracklin’s Think, Magic Slim forcefully delivers his lyrics while laying down some stringing guitar. He is one of the few who can produce a listenable Mustang Sally while going down in the alley on the slow groove of Crazy Woman. Those backing him here include guitarists John Primer, Steve Freund, Michael Dotson and Jon McDonald, with brother Nick Holt handling the bass on most of the 15 tracks.

This may not be “The Essential” Magic Slim, but it is an excellent introduction to his music if you are not familiar with his distinctive and recognizable style.

I wrote this review in 2007 for the DC Blues Calendar and Jazz & Blues Report but I am not sure if either publication ran it. I likely received a review copy from Blind Pig.

Hummel's Blues Harp Meltdowns Are Harp Fans Delight!

There are a number of today’s top practitioners of blues harmonica on the second volume of Blues Hap Meltdown: East Meets West Live at Moe’s Alley on Mountain Top. Recorded at the annual blues harp tour that Mark Hummel puts together, this recording features RJ Mischo, Gary Smith, Frank Goldwasser (aka Paris Slim), Mark Hummel, Paul Rishell & Annie Raines, Johnny Dyer and Gary Primich.


The two discs present over two hours of music that is often exceptional. Most of the performances might be described as in the West Coast jump vein, a mix of post war Chicago blues with jump blues rhythms and guitar seasoning that is associated with such artists as Rod Piazza and the late Hollywood Fats. The backing is provided by Hummel’s band, The Blues Survivors with Paris Slim and Paul Rishell each guesting on guitar on several tracks.


There’s plenty of muscular harp from the participants. RJ Mischo starts things off with Telephone Blues before Gary Smith, veteran of the San Francisco Bay blues scene, contributes the moody You Can’t Hurt Me No More and a rocking reworking of Little Walter’s It Ain’t Right, with Frank Goldwasser adding nice guitar. Goldwasser plays harp and sings Junior Parker’s All These Blues followed by Hummel on the Moon Mullican rocker, Seven Nights to Rock and I’m Gone. Paul Rishell laying down strong Elmore James flavored slide on this latter tune. With Annie Raines on harp, Paul revives a nice swamp blues, Nothing But the Devil to close out the first disc. Annie handles a couple vocals with the lyrics of Little Dog being amusing, and has a outstanding instrumental Annie’s Rocker. Johnny Dyer handles classic blues from Muddy Waters, J.B. Lenoir and Little Walter with a bit more down home vocal style before Gary Primich closes this two-disc set with a mix of originals and Smiley Lewis songs.


Overall some consistently very good blues to be heard on this. I understand Cephas and Wiggins were among those who performed at this year’s blues harp meltdown earlier this year which hopefully will be documented by a Volume 3.


In fact Cephas and Wiggins were among those on the third volume in this series by Hummel for which I did a short review as follows:

Cephas & Wiggins also heard on Blues Harp Meltdown Vol.3 Legends (Mountain Top), the third cd documenting Mark Hummel’s annual tour of harp masters. Recorded in January 2004, Hummel brought to the tour guitarist Steve Freund, drummer-harmonica player Willie ‘Big Eyes’ Smith, Carey bell & Lazy Lester for a smorgasbord of blues stylings.

Hummel himself is a formidable harp player and revives a Lloyd Price Crescent City rocker Where Y’at along with Little Walter’s Roller Coaster followed by Freund who sings two numbers followed by Smith ably handling Hoodoo Man Blues. Cephas & Wiggins come off typically fine on five numbers including an instrumental, Fats Domino’s Going to the River and Robert Johnson’s Walkin’ Blues.

The second disc has some strong performances by Bell including It Ain’t Right and I’m Ready while Lazy Lester handles his own Blues Stop Knocking, Slim Harpo’s Raining in My Heart and his Sugar Coated Love. Freund plays on Bell’s selections and Hummel’s band able supports all the performances except those by Cephas & Wiggins. Blues harp fans will find plenty of music to entertain them here.

Both of the above reviews appeared in the DC Blues Calendar, newsletter of the Dc Blues Society that I edited. The review of Blues Harp Meltdown Volume 2 appeared in the April 2004 issue while the review of Blues Harp Meltdown Volume 3 appeared in July-August 2006. The review of Volume 3 appeared in the July-August 2006 Jazz & Blues Report (Issue 284). I believe that this was a purchase.

Zora Young's Moving Tribute To Sunnyland Slim

Zora Young, one of Chicago’s leading blues ladies, first emerged in the blues scene in the early 1980s, and was mentored by the legendary blues pianist Sunnyland Slim. She was not the only one befriended by the late Albert Luandrew, who helped bring Muddy Waters to the attention of Leonard Chess. In any event, Zora has a new album, with special gust Hubert Sumlin, Sunnyland on Airway, the label started by Sunnyland decades ago.


The album was produced by Sam Burckhardt, the saxophonist who played in Sunnyland’s band for many years as did guitarist Steve Freund while pianist Barrelhouse Chuck Goring was mentored by Sunnyland and Little Brother Montgomery. Hubert Sumlin, one of the Chicago blues’ most compelling guitarist spent time with Sunnyland during Sunnyland’s stints in Howlin’ Wolf’s band. Add to this mix the terrific bass player Bob Stroger and drummer Kenny Smith and one has quite a band with several tracks having added brass. Quite a band for a session recorded at Delmark’s Riverside Studio in July 2007 with some horns added last year.


And it opens with a bang as Zora tears into her original Bad Track Record, belting out the vocal with an authority that grabs the listener as the horns blast in support. Both Freund and Barrelhouse Chuck shine on a rocking rendition of Sunnyland’s Goin’ Back to Memphis, a variation on Rolling & Tumbling, with more forceful singing by Young. The mood gets a bit low-key on Young’s Travelin’ Light, singing about traveling light and not carrying any load being a bluebird that loves to sing, with Sumlin taking an somewhat straightforward solo as Burckhardt riffs on tenor.


Hubert’s Groove is an instrumental that evokes Tramp, with its funky groove as Barrelhouse Chuck gets greasy on organ, with Sumlin, Freund and Burckhardt also taking solos. Young’s Football Widow, is an amusing number with a melody evoking Just a Little Bit, as she wants to get her couch potato man off the coach and out on the town, with Burckhardt ripping off a terrific tenor sax solo followed by a guitar break from Sumlin. You Said You Were Leaving, is one of two Sumlin vocals here and is one of his better one with him singing quite passionately as well as playing his quirky twisting guitar.


The title track, written by Burckhardt is a feature for Barrelhouse Chuck as he suggests Sunnyland’s unique style while Freund takes a particularly choice solo that evokes Sumlin’s playing as well before Burckhardt gets nasty on the tenor, resulting in a terrific instrumental. Sunnyland recorded Johnson Machine Gun, for Aristocrat, and Young belts a vocal that certainly does honor Slim’s memory. While the song is credited to Sunnyland here, it was a reworking of Willie ‘61’ Blackwell’s 1941 Bluebird recording, Machine Gun Blues. Stumbling Blocks and Stepping Stones is another shuffle built upon some traditional blues imagery of a big city country girl far from home dealing with her false friends. Till the Fat Lady Sings, is a topical blues with telling lyrics about the mess in her community and around the world set to a groove evocative of Bobby Rush’s Chicken Heads.


Blues For Hubert is a jazzy sounding instrumental in honor of Sumlin who sits this out. Burckhardt sets the tone with his tenor with both Chuck and Freund getting nice solo space. Zora certainly sounds like no one to mess with on Daughter of a Son-of-a-Gun, a hard rocking number with rollicking piano and a sharp solo from Freund. Sumlin joins Young for a closing down home blues, Looka Here Baby, with Sumlin and Freund providing the accompaniment. It is a change of pace for a welcome surprise release.


Young really shines as a strong singer and the entire recording is first-rate. I would assume better stores will have this, but you could contact www.airwayrecords.com for information on how to order.

This review originally appeared in the May 2009 Jazz & Blues Report (Issue 316) although i have made minor changes in paragraphing and some stylistic changes as well. I likely received my review copy from Jazz & Blues Report.

Bob Stroger Is Back in Town

Veteran bass player Bob Stroger is one of the steadiest and most solid players on the blues circuit having graced countless sessions with his rock-solid approach. Saxophonist Sam Burckhardt’s association with Stroger dates back to the 13 years they spent together in Sunnyland Slim’s Band and later the two with guitarist Steve Freund and the late drummer/vocalist Robert Covington as The Big Four. Burckhardt has brought in Freund, keyboard whiz Kenny Barker, drummer Kenny Smith and legendary Willie ‘Big Eyes’ Smith on harp for one track for a nicely produced session of blues, Bob is Back in Town (Airway Records).

Stroger obviously has a fondness for Junior Parker as he handles Parker’s What Goes On in the Dark, and Stranded in St. Louis along with Tampa Red’s Don’t You Lie To Me (for some reason credited to Albert King), and Eddie Taylor’s Bad Boy. While Stroger is credited with a number of songs, the title track sounds like Lieber & Stoller’s Ruby, Ruby (even with a backing vocal chanting softly “Ruby, Ruby,” while I’m a Busy Man employs a swamp blues rhythm in the manner of Slim Harpo, although not with the macho lyrics. Blind Man Blues has a melody similar to Albert King’s Pretty Woman, and opens with a searing guitar solo from Freund before Stroger starts his soft-spoken vocal. I Got to Move is a slowed down rendition of the traditional blues associated with Fred McDowell, but probably Stroger picked it up from Elmore James, and Burckhardt adds some nice tenor behind the vocal. Freund adds guitar fills along with a jazzy solo which anticipates the easy going swing of Jazz Man Blues with its line “Jazz ain’t nothing but a bluesman blowing his home.” Indigo Bunting is a tasty instrumental from Burckhardt.


This is a wonderfully played album, with Burckhardt contributing atmospheric arrangements. Stroger is a lowkey, amiable singer although somewhat anonymous( and not commanding) singer. This is not surprising given his long tenure as a sideman as part of many first-rate bands, which include the marvelous aggregation here, which makes this an engaging and easy to listen to disc, though not an essential one.

I want to add that yesterday (December 27, 2010) was Bob's 80th Birthday.  If I had known that earlier, I would have posted yesterday.

This review appeared in the June 2007 Jazz & Blues Report (issue 294) and the publication was likely the source of my review copy.

Steve Freund's Guitar and Vocals Hits Right Notes.

Guitarist Steve Freund established himself as part of the Chicago scene several decades ago working with blues legends like Sunnyland Slim. Relocated to the San Francisco area, he has matured into a terrific blues guitarist, rooted in the classic Chicago blues (one hears tinges in his playing that evokes Muddy Waters, big Broonzy, Luther Tucker and others, but he has mixed in with a jazzy style that also shows his listening has extended to Grant Green, Wes Montgomery and others. He has just issued his first album in six years, “Lonesome Flight” (9 Below Records), with some originals and several choice covers.


The disc opens with a tribute to Big Bill Broonzy, “Hey Mr. Bill,” with some deft guitar evoking Broonzy’s masterful swinging style with a lyric asking Big Bill to play the blues as Steve feels so lowdown. and his music helps Steve more than Bill can realize. The title track has tinges of Muddy and Luther Tucker in Freund’s playing backing about hearing his father died and Steve Freund packed his suitcase, went out into the night and caught that Lonesome Flight. The backing band includes some pretty fine harp from Scot Brenton. “Boogie in the Rain,” has an easy shuffle groove with the backing including droning guitar and harp one that lends this a sound like it was a tribute to the original version of Canned Heat with Henry Vestine and Alan Wilson. What’s nice about this performance is how relaxed the groove is. “LaMorr is Blue,” is a jazzy instrumental with Freund using an box to get an organ-like tone, while “Still Pickin’” is based on Elmore James’ “Pickin’ the Blues.” which allows Freund to pay homage to James as well as Earl Hooker with his playing here. John Brim’s “Tough Times,” receives a lyrical updating with references to lacking health insurance and bills being long overdue and Brenton contributes more fine harp here. “On Highway 101” is a rocking number (musically a reworking of the “Rollin’ & Tumblin’ & “Meet Me in the Bottom”) with a lyric about riding to the West Coast with Sunnyland Slim. He does a more than credible version of King Curtis’ “Let Me Down Easy” (Freddie King did the original), followed by a nice shuffle rendition of mandolinist, Johnny Young’s “Keep On Drinking,” further illustrating Freund’s ability to take a tune and make it his own.


Freund may not be a great singer, but he is ably delivers the songs in a genuine sounding manner. His fine playing and the understated backing by his find band anchored around bassist Burton Winn and drummer Robi Bean, is responsible for much of the success of the performances. Five selections, including “Still Pickin’,” “Tough Times,” “Let Me Down Easy,” and “Keep On Drinking,” have Randy Bermudes on bass, and former Robert Lockwood drummer, June Core. All these elements make Freund’s “Lonesome Flight” a noteworthy new release for blues enthusiasts.


The review copy was provided by the record label. It is available from cdbaby, amazon and other sources.