Christone "Kingfish" Ingram - 662

Christone "Kingfish" Ingram - 662 - Alligator Records

Only 22, Christone "Kingfish" Ingram already made a mark with his debut album "Kingfish." He has been playing before people most of his life. "About that prior album, I observed that Kingfish was a terrific guitarist with a heavy blues-rock pull out all the stops on most of the electric tracks on this. I really don't enjoy his guitar fireworks as much as I do his singing. He is an outstanding vocalist with plenty of warmth and expressiveness with an unforced delivery." 

Like the prior album, Tom Hambridge produced this and plays drums on the album. Others in the studio on various selections include guitarists Kenny Greenberg and Bob Britt: bassists Glenn Worf and Tommy MacDonald, and keyboardist Marty Sammon. Max Abrams on sax and Julio Diaz on trumpet are heard on one song. One selection has "Kingfish" backed by Nick Goldston on Drums, Bass, Piano, Keyboard, and Acoustic Guitar with backing vocals from Brooke Stephenson. Most of the songs are by Kingfish with Hambridge and Richard Fleming.

There is a celebration of his North Mississippi roots on the title track that opens this recording with a searing guitar rockin' blues solo as celebrates the Mississippi Delta 'the birthplace of this he blues. Another song, "Not Gotta Lie," is a biographical snippet of his brief musical life as against a heavy funk groove with a blazing blues-rock solo before testifying blues is where he comes from and is his history. Then he celebrates Mississippi juke joints, "Too Young To Remember," where he sings about having heard about juke joints where whiskey used to flow. Kingfish may be too young to remember but old enough to know. There is more funk and searing blues-rock guitar on this track. Another bit of musical autobiography is "Something in the Dirt," where there is magic in the music, but must be something in the dirt as he sings about playing his first gig at Red's when he was 11.

Against a rock groove, he sings about life on the road as on "Long Distance Woman," the one who wakes him on the phone and accuses him of doing wrong. This listener prefers the Memphis soul-blues "That's All It Takes," with riffing horns and a more laid-back backing behind his outstanding singing and straight blues picking. Another song about a relationship breaking is "You've Already Gone," with an almost jazzy guitar attack. "I Got to See" sounds like a Robert Cray song with sterling rock and roll guitar and superb singing. He pulls all the stops on guitar on a terrific slow blues, "Your Time Is Gonna Come."

Also stunning are his observations on "Another Life Goes Back," where he wonders where hate comes from and how can we stop the madness. Kingfish's guitar playing evokes Albert King on this track. A bonus track, "Rock and Roll," is a tender song devoted to his late mother, backed by Nick Goldston, who provides the evocative backing. 

Even if some of the blues-rock trappings may not be to my taste, Christone' Kingfish' Ingram plays superbly throughout, whether rocking out or channeling Albert King. And he is one of the best young singers in the blues world today. If he did not play guitar, he still would have great appeal. With the outstanding "662," Christone 'Kingfish' Ingram further establishes himself as an impressive new blues voice.

I received a download to review from Alligator Records. The song, "662," is currently available as a single. The full album will be available on July 23. Here is "662.

Casey James - If You Don't Know By Now

Casey James - If You Don't Know By Now - Self-produced

Singer-guitarist Casey James may be best known as a finalist on the "American Idol" TV show. While blues was the heart of his musical soul, after "American Idol," he was signed to a major-label country deal. However, the limitations of commercial country overlapped only with his passions. More recently, with drummer-producer Tom Hambridge at the helm, he has turned to his love of the blues while also allowing him to display his instrumental skills. His latest album is a set of fiery blues-rock and soulful blues with a healthy dose of soul. A tough studio band supports James' guitar and vocals. The band includes Hambridge on drums, Tommy McDonald on bass, Mike Rojas on keyboards, Rob McNelley on rhythm guitar, Emmanuel Echem on trumpet, Bryan Meggison on saxophone, and Desmond Ng on trombone. Hambridge and Wendy Moten provide backing vocals.

Fans of Delbert McLinton or John Nemeth's bluesier side will likely find Casey James to their taste. His passionate singing and searing blues-rock guitar certainly capture the listener's attention. A couple of songs may be a bit too rock-flavored for the likes of some, the high-stepping groove of "Girl's Got Something" certainly should appeal to most listeners. Then there is a superb ballad, "Here To Please," and the equally soulful, finger-snapping title track with a marvelously crafted guitar solo. Another outstanding performance is the soul-blues of "Wish Me Luck," which again illustrates how convincing a singer James can be as the Rojas' organ and the horns riff in support. Also, there is another well-crafted guitar solo on this song. 

James gets a party groove going on the exhilarating of the funky "Come On Saturday Night." If you aren't at least tapping your feet, have someone check your pulse. There is also some rowdy kazoo playing on this track. Also of note is "Nothing But Time," which sounds like a classic 50's Gulf-Coast swamp pop number. The album closes with the atmospheric, swampy, slide guitar blues-rock two-part "Faith," with James singing and playing his heart out. With the broad mix performances on "If You Don't Know By Now," listeners will be quite aware of whom Casey Jones is. He indeed handles a soulful ballad with as much authority as a stomping blues rocker. 

I believed I received my review copy from Casey James. Here is a recent Casey Jones performance.

Christone "Kingfish" Ingram

Christone "Kingfish" Ingram
Kingfish
Alligator Records

This CD is Christone "Kingfish" Ingram's long-awaited debut. Called a rising prodigy by NPR music and endorsed by Buddy Guy, Kingfish has been playing to blues audiences for most of his young life. Videos and youtube and performances have led to hype about him. Tom Hambridge produced this debut and plays drums on most selections, with Bob McNelly adding guitar and Tommy McDonald on bass. Others playing on this include Marty Sammon on keyboards, Buddy Guy on guitar and vocals, Keb 'Mo on guitar and vocals and Billy Branch on harmonica. Tom Hambridge was involved in writing most of the 12 songs, many in collaboration with Ingram and others with Richard Fleming. One song is a collaboration between Ingram and Jontavious Willis.

At the outset, Ingram is a terrific guitarist with a heavy blues-rock pull out all the stops on most of the electric tracks on this. I really don't enjoy his guitar fireworks as much as I do his singing. He is an outstanding vocalist with plenty of warmth and expressiveness with an unforced delivery. So even if the opening "Outside of This Town," is a bit heavy musically, his singing knocks out. It is followed by a terrific duet with Buddy Guy with another excellent vocal and some of his best electric blues guitar here who is not overshadowed by Guy who is in fine form here.

Billy Branch adds harmonica while Ken 'Mo also is on guitar on the driving "If You Love Me," with an energetic guitar break followed by Branch's solo. "Listen" is a duet with Keb 'Mo and a pop-blues in the vein of Keb 'Mo's music with the backing more restrained. "Believe These Blues" has some of his more interesting guitar solos with exciting twists and turns urns along with his effective use of tonal dynamics. "Trouble" is a rocking number set against a New Orleans second-line groove.

"Been Here Before" is one of the acoustic blues here, with remembrances of his grandma singing and Ingram not sure how he became the way he is. Again he sings the lyrics with clarity and feeling. "Hard Times" is a traditional sounding acoustic blues with Ingram's vocal backed by Keb 'Mo's adept Resonator slide guitar. The closing "That's Fine By Me" is a heartfelt blues ballad that is evocative of some classic Chuck Willis with an excellent piano solo in addition to effective blistering guitar.

I do not deny he is an excellent guitarist, just not to my taste. Christone 'Kingfish' Ingram is a superb blue singer and with strong songs (and one reason I may view the songs so highly is because of how good a singer he is) and the firm support and production, "Kingfish" is a terrific recording, not merely an excellent debut.

I received my review copy from Alligator Records. This review appeared in the July-August 2019 Jazz & Blues Report (Issue 385). Here is a video for "Outside of This Town."

Arlen Roth Tele Masters

Arlen Roth
 Tele Masters
 Aquinnah Records

 Arlen Roth has collected a bunch of fellow masters of the Fender Telecaster guitar for this new album. With a rhythm section of Tom Hambridge on drums, Tommy McDonald on bass, and usually Billy Panda on acoustic guitar (or Bryan Sutton), he has joined with Steve Warriner, Cindy Cashdollar (steel guitar), Jack Pearson, Steve Cropper, Brad Paisley, Will Ray, Albert Lee, Vince Gill, Brett Mason, Joe Bonamassa, Johnny Hiland, Bill Kirchen, Jerry Donahue, and Redd Volkaert. Most of these guests come from the country music world with Cropper and Bonamassa being exceptions.

Mostly instrumental, there are vocals from Steve Cropper, Sweet Mikey C. and Arlen’s daughter, Lexie Roth. There are some terrific country romps including the opening "Remington Ride" with Warriner and the lively adaptation of Paul Simon's "Mrs. Robinson" with Albert Lee." Similar selections include perhaps the over-the-top interpretation of "Ghost Riders in the Sky" with Cindy Cashdollar's steel guitar adding atmosphere and the cover of Chuck Berry's "Promised Land" with Jerry Donahue and a vocal from Sweet Mikey C.

There are many other pleasures, including Roth's marvelous duet with Bill Kirchen, "Tuff Tele," along with Jack Pearson's blues-rock rendition of "Key To The Highway." Pearson is a pretty fair singer as shown on his own "I Can Fix It." Steve Cropper and Hambridge wrote, "White Lightning" with a fair, at best, Cropper vocal but with plenty of solid guitar. "Satisfied Mind" is a lovely guitar duet by Roth with Vince Gill while Roth's rendition of "Tennessee Waltz" has a precious vocal from his daughter Lexie. There is a highly charged revival of Link Wray's "Rumble" by Arlen and Will Ray while the trio of Bonamassa, Roth, and Pearson get down for "Joe's Blues," a number in the spirit of Albert Collins. Roth's "Funky Mama" with Jack Hiland is dedicated to Danny Gatton and provide the appropriate guitar fireworks here.

With 16 tracks and an hour and a quarter of hot guitar, Arlen Roth has put together a memorable release for country music and roots music guitar lovers.

I received my review copy from a publicist. This review appeared in the May-June 2019 Jazz & Blues Report (Issue 384). Here is Arlen with Duke Robillard (who is not on this CD) and Cindy Cashdollar performing.

Hurricane Ruth Ain't Ready For The Grave

Hurricane Ruth
Ain't Ready For The Grave
Hurricane Ruth Records

Ruth LeMaster earned her name because of her huge voice in a small package and her publicity characterizes her as rooted in traditional blues but someone who can rock the house. This is her fourth album and was produced by Tom Hambridge who plays drums on this who with LeMaster contributed most of the 12 songs here. Others playing on this include Reese Wynans on keyboards, Michael Rhodes on bass and guitarists Pat Buchanan and Rob McNelly.

The album opens with a bluesy salute to a Friday Night at a juke, "Barrelhouse Joe's," followed by the hard rock-blues of "Hard Rockin' Woman," with a bit of shouting set against a southern rock setting. "Far From the Cradle," features atmospheric slide guitar at the opening backing her vocal before Wynans adds some piano as she notes "we are from the cradle but we ain't ready for the grave," as the rest of the band joins in for understated backing of her vocal and the Muddy Waters' influenced slide playing.

She is a good singer with solid phrasing, tone and pitch although occasionally takes things a bit to rock-ish for these ears. But on the driving "Estilene," about a woman who should leave that married man alone, or the amusing double-entendre of "Beekeeper," she delivers the lyrics with a sense of warning and humor. She stands out on the straight slow blues, "My Heart Aches For You," followed by the funky groove of "Cheating Blues," as she recalls making love and had a good thing going, rocking this man all night until she found out about him blinding her with lies.

There is a (forgettable to these ears) a hard rock cover of AC/DC's "Whole Lot of Rosie," the atmospheric "For a Change" with Ruth singing about his midnight mover and crawling king snake, but if he wants Ruth, she asks (in a most sultry manner) if he wants to be treated right for a change. A cover of Hambridge's "Let Me Be The One" (written for Susan Tedeschi)" is a fine shuffle performance with a heartfelt, relaxed vocal. The McCrary Sisters add backing vocal for the soul-rocker "Good Stuff," and the closing gospel song of praise, " Yes I Know." It ends a tightly produced, solidly performed collection of blues and rock that displays Hurricane Ruth as a powerful and expressive vocalist.

I received my review copy from a publicist. This review originally appeared in the May-June 2017 Jazz & Blues Report (Issue 372). Here is a video associated with the album

Buddy Guy Born To Play Guitar

 

With B.B. King's recent passing, Buddy Guy probably has assumed the role of elder statesman of the Blues. Regardless of this, Guy has a new recording to entertain folk with "Born To Play Guitar" (Silvertone/RCA Records), that has something for everybody in terms of material and performance style. In addition to Guy and his band, he also has guest appearances from Kim Wilson, Billy Gibbons, Van Morrison and Joss Stone and like his recent recordings is produced by Tom Hambridge.

The opening title track is a semi-autobiographical number as he sings he was born to play guitar and that he has a reputation that everybody knows his name, and has blues running through his veins, that opens with spare backing and which is generally played with restraint (compared to some of Guy's efforts). "Wear You Out," with Billy Gibbons adding his raspy singing, is more in a blues-rock vein and less satisfying to these ears. A rendition of the Little Walter recording "Too Late" has a nice vocal, rollicking shuffle piano and tough harmonica from Wilson, although I find the next track, " Whiskey Bear & Wine" less enjoyable because of the hard rock flavor of the rhythm (especially the bass).

Joss Stone joins for a duet on the Dinah Washington-Brook Benton hit, "(Baby) You Got What It Takes," and with Buddy adding chords and single note runs, Stone an him trade verses in an energetic manner. The interesting topical blues "Crazy World" makes use of vocal and instrumental effects as he sings about the selling water and someday they will sell the air we breathe while "Back Up Mama" is a variation on the back door man theme as he has a backup mama if mama number one is not around.

Van Morrison joins guy for "Flesh & Bone," a song occasioned by the passing of B.B. King as Morrison sings it ain't over when one dies, and when one goes, one's spirit lives on while Buddy remembers his parents and still with him even though long gone and this life is more than flesh and bones. "Come Back Muddy" finds Buddy unplugged and singing that he wishes Muddy would come back, that Buddy would love to hear his voice and let us make us some of that old nasty noise on a marvelous heartfelt performance to close this recording.

There is something for a whole spectrum of blues and rock fans here. Even those with more traditional blues tastes should enjoy a good portion of "Born To Play Guitar." In any event, Buddy Guy continues to follow his own muse with plenty of heat.

I downloaded a review copy thanks to a publicist. Here is the title track.

Joe Louis Rocks Out On Hornet's Nest

Somewhere I read that Joe Louis Walker’s new CD, Hornet’s Nest (Alligator), is his 25th. Whether that is the actual case, it gives a sense of the substantial body of work he has recorded since his first Hightone album some quarter-century ago. Walker, recently inducted into the Blues Hall of Fame has produced some of the finest blues recordings of this time span displaying both passion and substance as a songwriter and performer.

The CD was produced by Tom Hambridge who has produced Buddy Guy’’s recent recordings and Hambridge also is on drums and contributes backing vocals. The other member of the studio band that will be familiar is Reese Wynans on keyboards. The Muscle Shoals Horn Section is present on one of the 11 selections. Hambridge contributed to 8 of the 11 selections on this (4 of which Walker contributed to).

Hambridge’s production brings a rock-tinged edge to the music here, some of which is pretty much ‘in your face.’ And this CD is not strictly blues as there is a fair amount of hard blues-rock present along with some blues. Folks with a preference for a more traditional blues sound might want to pass on this while folks that like their blues mixed with hard rock will be quite happy with it.

The title track is a but of blues-tinged rock with Hambridge pushing the groove with the subtlety of a sledgehammer operator while Walker lays down a fiery blues-rock solo against the dense backing providing. All I Want To Do has more of a laid back feel as the Muscle Shoals Horns add punch as Walker singing soulfully (although his voice sounds a bit strained here). A shuffle, Stick a Fork in Me, has a clever lyric along with a lively performance and followed by an imaginative rendition of the old Roy Hamilton hit, Don’t Let Go.

Walker plays slide on the terrific, I’m Gonna Walk Outside. Walker channels Muddy Waters as he sings “A married woman, a back door man, a loaded pistol in you husband’s hand.” Ramblin’ Soul is more heavy blues-rock as he bellows about hellhounds can’t find him as he lays lays down slide as the backing pounds things along. It is followed by a Jagger & Richards cover, Ride On, Baby, that sounds to these ears like a Bruce Springsteen cover.

Soul City is a rocker lyrically akin to James Brown’s recording of Night Train, and musically evoked the classic Stax instrumental “Soulfinger,” with screaming guitar. I would love to hear someone interpret this as a horn based funk number. “Not in Kansas Anymore,” with an opening that evokes The Who’s We Won’t Get Fooled Again, and a lyric about Dorothy, Toto, wicked witches and the Wizard of Oz, is straight hard rock.

Joe Louis Walker establishes on Hornet’s Nest that he can rock as hard a anyone out there and more than capable of playing something other than blues. Hopefully it is a recording that will enable him to enlarge his audience and  enable him to play not simply to blues audiences and venues but to  venues and events that rarely feature blues performers. Hornet’s Nest shows he continues to invest his performances with considerable power and passion although it will not be an album this listener will be listening to regularly, but that is a matter of musical taste.

I received this from Alligator. Here is the title track.

James Cotton Is A Cotton Mouth Man

In 1953, James Cotton entered the Sun Studios in Memphis to make his first recordings. 60 years later, Alligator has just issued Cotton’s latest, Cotton Mouth Man. The title song was a number that Tom Hambridge and Richard Fleming wrote that Cotton liked and he got together with them and they wrote a number of new songs many based around Cotton’s life. These comprise almost all of this album that Hambridge produced in Nashville. In addition to Cotton’s regular band of Darrell Nulisch on vocals, Tom Holland on guitar, Noel Neal on bass and Jerry Porter, Hambridge brought in as guests Joe Bonamassa, Gregg Allman, Keb Mo, Warren Haynes, Ruthie Foster, Delbert McClinton and Colin Linden with Chuck Leavell playing keyboards on much of this. Its been about two decades since Cotton lost his singing voice, so he is relegated to the harp here.

The title track is a warp-speed boogie with Cotton wailing on harmonica with Joe Bonamassa ripping off a solo as Nulisch sings about Cotton’s harp does all of his talking while Hambridge hammers away mechanically on drums (he plays better elsewhere). Midnight Train, opens with Cotton hoarsely speaking “Midnight Train to Mississippi,” and then comes off as an amplified Sonny Terry, while Chuck Leavell’s keyboards fit in with Cotton’s band. Gregg Allman takes the vocal on what is a straight train blues about the whistle blowing and his baby going away. Keb Mo has a strong vocal on Mississippi Mud, slow blues where Cotton’s harp and Leavell’s piano stand out.. 

The lyric of He Was There, traces Cotton’s career from recording to Sun and moving to Chicago with Cotton’s band augmented by Leavell wailing behind a fine vocal from Nulisch. Warren Haynes sings and adds driving blues-rock slide guitar for the rocking Something For Me which is followed by Ruthie Foster singing the lyric on the excellent Wrapped Around My Heart. Nulisch is terrific as Cotton and band revive Muddy Waters’ Bird Nest On The Ground. 

Keb Mo returns to sing over the low-key backing on Wasn’t My Time To Go. This is a song about Cotton outliving his parents and siblings, as well as surviving a crazed gun man at a Chicago bus stop, with a refrain that so as long as Cotton can still blow, it ain’t his time to go. After the driving Blues Is Good For You, Cotton backed solely by Colin Linden’s resonator guitar, delivers the whiskey soaked vocal (not far removed from talking) on the closing Bonnie Blue. 

As displayed on Cotton Mouth Man, James Cotton, and his harmonica, remains a formidable performer and is well-served by this varied and exciting recording.

I received by review copy from Alligator. Here is a clip of Mr. Superharp in performance.

Joe Louis Walker Deals With The Hellfire

Joe Louis Walker recently joined Alligator’s roster of artists and his first album for that label, Hellfire, has just been released. It is produced by Tom Hambridge, who produced Buddy Guy’s recent recordings. Hambridge also plays drums and contributes songs to this release. Of the supporting personnel, the only names I recognize are pianist and organist Reese Wynans as well The Jordanaires who contribute backing vocals on a couple tracks. Hambridge had a hand in the first five tracks here, while Walker himself added five new songs as well. Having been listening to Walker since his first release in 1986 Cold Is The Night, he has produced a number of the best blues albums of the last quarter century. He certainly is passionate here, a term Bruce Iglauer uses in his liner notes, and there is much to enjoy, although not everything is perfect.

The album starts with the title track, a gospel-laced song with an impassioned, gritty vocal about avoiding the Devil’s lure. He plays a blues-rock guitar solo with a nasty distorted tone that is unpleasant to listen to. and undermines the appeal of the impassioned performance. The second track, I Won’t Do That, is a nice original with Walker singing about being faithful and that he won’t cheat or let his woman down. Walker adds a searing solo here. Ride All Night sounds like a Rolling Stones’ inspired rocker on which Walker convincingly sings and plays. Walker picks up the harmonica for a rocking shuffle, I’m On To You. The lyric is about knowing about the bad things his woman is doing. In addition to doubling on the harmonica here, he plays a crisp guitar solo. What’s It Worth has a nice lyric although it would have benefited from toning down the hard rock edges heard during the song’s choruses.

Soldier For Jesus, the first of Walker’s originals, and has a fervent vocal with the Jordanaires providing support. Walker brings a soulful edge to I Know Why, a lovely blues-ballad. Too Drunk to Drive is an amusing and delightful excursion into “rock and roll,” with rollicking piano and driving guitar. The lively Don’t Cry, is another performance with a spiritual message on which he sings that instead of saving his money he is now saving his soul. The disc closes with a cover of Hank Snow’s country classic, I’m Movin’ On, played with a boogie groove that Walker places his personal stamp on.

Walker has more of a presence on this recording than on some of his other recent ones. Hambridge’s production must be credited, although as noted at a few places the playing gets a little over-the-top. If uneven, Hellfire is still a significant addition to Walker’s body of recordings.


My review copy was provided by Alligator Records. Here is some vintage Joe Louis Walker from 1993.