Mary Jo Curry Band Front Porch

Mary Jo Curry Band
Front Porch
Self-Produced

Out of Illinois, the Mary Curry Band makes a strong musical statement with its new album. A classically trained singer, pianist, and actor was struck by this band she heard in a small club. It was there she met the guitarist, and her future husband, Michael Rapier. Five years after playing together, they met Chris Rogers on bass and Rick Snow on drums to form the core of the band. Not only did they become a tight band, but they also became gifted songwriters and produced this new recording. Brett Donovan or Ezra Casey on keyboards, and Brian Moore on saxophone round out the touring and recording band. On this recording, they are joined by special guests Albert Castiglia, Tom Holland, and Andrew Duncanson. Nine of the eleven songs are band-written originals.

With a funky bass riff, the album kicks off with "Nothin' Is Easy," as Curry sings about bad times being here and she standing at the crossroads but life ain't unfair. Castiglia takes a short solo while Brett Donovan on the Hammond and saxophonist Moore stand out. It is followed by a party song where Curry says she wants to turn up, get down and "Turn It Loose." She quickly displays an authority in her singing with nuanced vocal dynamics, clear diction, and the relaxed feel of her phrasing. All this while the band helps build the excitement in her vocals with their backing. Tom Holland adds scintillating guitar on as she lambastes her lover on "All Your Lies." The band is superb with Rogers and Snow putting together a tight shuffle groove.

She impressively handles the complexity of a relationship in "The Man," as well as duets with Duncanson on "Lookin'," which set against an insistent driving groove. The urgency of her vocals on these two songs contrast with the wistful quality on the ballad "House Is Lonely." It says so much about how good a singer she is that she is equally convincing in both settings. Andrew Terrell Thomas wrote "Explaining the Blues," where she pulls out all the emotional and vocal stops singing about while she left one man for another. Casey's organ solo adds to the drama of her outstanding performance.

"Shake and Bake" is an instrumental feature that showcases Tom Holland's fleet Chicago blues fretwork and saxophonist Moore, set against the crisp rhythm section. Castiglia is back for a spirited cover of Edgar Winter's "We Had a Real Good Time," and the brooding title track about waiting and making her plans for her man who has been keeping strange company and doing Mary Jo wrong. There is a second line-gospel-funk feel to "Joyful," that closes this impressive, outstanding recording.

I received my review copy from a publicist. Here is Mary Jo Curry in performance.

 

Tom Holland & the Shuffle Kings - No Fluff, Just the Stuff

Guitarist Tom Holland will be best known for his lengthy tenure playing behind James Cotton, adding his fretwork behind Mr. Superharp’s harmonica explorations as well as supporting whatever vocalist is fronting the group. Back in Chicago, he can be heard backing Harmonica Hinds and other real deal Chicago blues acts as well as his own group, The Shuffle Kings. The Shuffle Kings are Holland on guitar and vocals, Big D on harmonica, Mike Scharf on bass and Tino Cortes on drums.

Holland recently issued a new CD, No Fluff, Just the Stuff (E Natchel Records) that was crowd-funded on Kickstarter (and I was one of his many Kickstarter supporters). As given his band’s name, and the album title, this is a release of straight blues with no hard rock fluff or filler. On No Fluff, Just the Stuff, Holland & the Shuffle Kings are joined on a few tracks by the great John Primer on guitar and pianist Marty Sammons.

Tom Halland at 2008 New Olreans Jazz & Heritage Festival. Photo © Ron Weinstock

No filler aptly describes this release with a share of wonderfully played shuffles and slow blues. Holland is an able singer and a fine guitarist, whether playing straight single note runs or employing a slide. He contributed all the songs here often employing a clever use of words as on Waiting For the Other Shoe to Drop, and More Things Change.

Outstanding tracks include the Muddy Waters styled Hurry Up & Wait, with fine slide guitar; the peppy Shuffle King Boogie, with Primer and him each taking taut solos (and nice interplay between the two); and a nice long slow blues, Hardest Part of Loving You, with Sammons terrific here supporting Holland. The title track is a crisply played instrumental that ends this entertaining recording on an upbeat note.

As mentioned, I was kickstarter supporter of this recording. Tom Holland’s website is http://tomhollandshufflekings.com/ and it is available from cdbaby, http://www.cdbaby.com/cd/tomhollandtheshuffleking.

Here is a video of Tom Holland & the Shuffle Kings in performance.

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.

Grana Louise's Sweet Rough Blues

I have heard Grana Louise as part of a collection of Chicago blues women, but her new Delmark CD, Gettin' Kinda Rough!,"is one to certainly bring her to the attention of more folk. The Columbus, Ohio native has been building up her reputation in the Windy City for more than a decade and was the Windy City Blues Society's representative at the International Blues Challenge June 2009.

Not living in Chicago, I have not had the opportunity to see her perform at Blues Chicago or Buddy Guy's Legends, but a really good guitarist, Tom Holland keeps his Facebook friends informed when and where he is playing with her. Holland, who regularly tours with James Cotton, is guitarist on the entire disc which includes seven studio performances and 5 live performances. Bill Hargrave plays the bass on this while Clarence 'Curfew' Scott is on drums. Bill Syniar plays all the instruments on one track, "Gonna Get 'Cha", while Carlos Showers joins Holland on guitar on the five live tracks that were recorded at Blue Chicago.

The disc opens up with studio tracks including a unusual choice to interpret Staggerlee. Ms. Louise delivers a solid performance based on Lloyd Price’s hit and Holland shines on guitar here taking a nice solo. She observes that she is a Lead Foot Mama, but doesn’t mean to be but just is how she is. She has a strong, but relaxed delivery and once again Holland shows why he is so highly regarded. Her rendition of Denise LaSalle’s Learning How To Cheat On You” is a standout on a lyric using the Someone is Stepping Out/Down Home Blues melody.

Big Dick M’isipi is a number about being out in the country where she knows where to get some of what she wants, with her amusing double entendre of deep rooted southern trees that grow tall and unlike pretty northern trees don’t break easily. This performance is definitely not radio friendly. Bang Bang Ba-Bang Bang Bang Bang has a nice funk groove and a spirited Holland solo as she knows her man may be out with Grana’s best friend, but when he holds her tight and they start making love, the fireworks begin. Bill Syniar’s multi-tracked keys, guitar and drum track works well on the shuffle,Gonna Get ‘Cha.

Her personality is even more evident on the live performances here. Wet Match is a Denise LaSalle styled song directed against men able to deliver the goods when needed and have as much love-making skills as a wet match can light a fire. Queen Bee” from the late Koko Taylor’s repertoire is delivered in a fiery performance as she is looking for her young and able king. Back Door Blues is a lengthy slow blues performance that she warns at the beginning, “We got some folks in here who embarrass easily. You better leave now,” before launching into a traditionally rooted lyric of taking the front door in but taking the back door out. She really tears into the song and its a first rate vocal performance that she really belts out with the guitarists shining here as well. The disc closes with an unusual choice for a cover, Hey Joe, and is an interesting performance.

Grana Louise is a singer that many will take note of from her impressive performances here. She certainly has a powerful voice but she has a delivery and a way of relating to her audience that is evident listening to this.

My review copy was sent by Delmark records.

James Cotton Remains a Blues Giant

James Cotton’s career as a musician extends some 66 years and while he no longer handles the vocals, he still wails on the harmonica. His latest CD is “Giant” on Alligator features his band of the past several years: Slam Allen on guitar and vocals; Tom Holland on guitar; Noel Neal on bass and Kenny Neal, Jr., on drums in addition to Mr. Superharp himself. Its refreshing that for this latest Cotton recording, they did have Cotton with his band and eschewed the superstar guests. Slam Allen certainly has developed into a solid singer with plenty of personality, and Tom Holland has become one of the most highly regraded traditionally-oriented guitarists around today and little need be added about Noel Neal and Kenny Neal, Jr. This is a great band as the many who have seen them will readily testify.

There are a few originals here in addition to interpretations of classic blues of which “How Blue Can You Get?” “Since I Met You Baby,” and “That’s All Right” are the best known that to these. I know the opening “Buried Alive in the Blues,” by Nick Gravenites has been recorded a lot, but it is relatively new to these ears and it receives rollicking shuffle treatment here with plenty of Cotton’s harp. “Heard You’re Getting Married,” is a slow blues penned by Allen and Cotton with more crying harp. A pair of Muddy Waters tunes follows, with the slow rendition of of “Sad Sad Day” standing out with terrific slide guitar from Tom Holland who evokes Waters’ classic style. Another Allen-Cotton original “Change,” follows with a churning rhythm and a rocking solo from Allen. Allen does a pretty solid job singing “How Blue You Can Get.” The song is handled pretty straight and Noel Neal takes a bass solo with Cotton’s harp adding commentary to the bass solo. A hot instrumental, “In the Quickness,” has a short guitar break from Allen and is followed by the Ivory Joe Hunter ballad “Since I Met You Baby,” which again serves to showcase Cotton’s harp with a serviceable vocal from Allen. Holland plays some lovely guitar behind the vocal on this in addition to Cotton’s strong playing responding to Allen’s vocal. The band rocks on Muddy Waters’ “Going Down Main Street,” which includes some strong guitar before Cotton quotes his classic instrumental “The Creeper,” as he takes the song to its end. Allen follows with a first-rate vocal on “That’s All Right,” that also sports first-rate harp. “Blues For Koko,” a moody instrumental by Cotton is dedicated to the late Koko Taylor, concludes this disc on a high note. Mention should be accorded to Tom Holland’s accompaniment of Cotton’s dazzling, virtuosic harp on this.

Bruce Iglauer notes that Cotton has cut nearly 30 albums in his career. That does not include the many recordings he played on as a sideman. “Giant” simply is a strong addition to Cotton’s rich musical legacy and is also valuable to document the terrific music that Cotton has been playing with his working band.


For purposes of FTC regulations, the review copy for this was sent to the writer by Alligator Records.

Alabama Mike's Strong Sophomore CD Has Deep Roots

Several months ago, This writer purchased a CD by a West Coast based singer, Alabama Mike, that I had been unfamiliar with. The disc, “Day To Day,” showed a forceful singer working in a mix of post-war blues styles. The backing wasn’t as consistently up to his level as a vocalist, but the promise certainly was there. Recently, I had the pleasure of seeing him perform at the Pocono Blues Festival, and while there his drummer Scott Silveira gave me a copy of his new CD, “Tailor Made Blues” (JukeHouse Records/ 9 Below Productions).


Born in Alabama, Mike Benjamin has developed into a terrific vocalist as the 11 performances testify to. His fervent vocals at different times evoke Little Johnny Taylor or Luther Allison. While there is a varying personnel on these tracks, Scott Silveira on drums and Scot Brenton on guitar or harp are constants on most selections with Jon Lawton contributing songs and guitar while bass duties are shared between Kedar Ray, Willie Riser and Randy Bermudes. Tom Holland of James Cotton’s Band also contributes two songs and plays guitar on three selections. Benjamin himself contributed three songs and co-wrote another. The disc mixes uptown brassy blues shouters with more down-home Chicago-flavored blues.


Opening with the uptown “Tailor Made,” the album gets into a more down-home vein with the topical “Ghetto Life,” followed by “Eddie Lee,” an original number that suggests “Little Red Rooster. The driving “Go Ahead” by Jon Lawton has his inspired slide and Brenton’s complimentary harp as he tells his ex-woman he will be long gone. “I’m Gone,” is a wistful acoustic blues with Lawton’s acoustic harp, Ray’s bass and Brenton’s harp as Mike weaves his song about ‘baby I am going and hit road.” Jon and Sally Tiven’s uptown flavored “Enough to Keep Me Holding On,” is followed by one of the stand-out tracks on this disc, “Moon Dog Howl,” a Wolf-styled number with great harp and the twin guitars of Tom Holland and Scot Brenton weaving their mesmerizing guitar lines as Mike moans about howling around the back door and her man being gone now with Bermudes and Silveira laying down a crisp groove. “Stop Putting Me On,” is a nice blues-ballad with a hint of swamp pop seasoning with Sid Morris’ piano and Doug Rowan’s saxophones and a booting tenor solo. Its really hard to take a number that has become so associated with another artist, but Mike takes “Hoo Doo Man,” associated with the late Junior Wells, and places his own stamp as the performance comes off as if John Lee Hooker had reworked it with again some fine piano from Sid Morris and harp by Brenton. It is perhaps the other stand-out track here, which is not to take the rest of this recording lightly as everything here is first-rate. It is just that “Moon Dog Howl,” and “Hoo Doo Man” stand out in this elevated company. This is available from 9 Below Zero productions (http://www.9belowproductions.com/store), and I presume it will be available on cdbaby and better mail order retailers.


As stated, I was given this CD to review by Scott Silveira of 9 Below Zero Productions.