Deb Ryder Memphis Moonlight

Deb Ryder
Memphis Moonlight
VizzTone

"Memphis Moonlight" is a new release from the husky-voiced blues singer and songwriter Deb Ryder. Like her earlier recordings, it is produced by Tony Braunagel and Ryder's husband Rick while Johnny Lee Schell engineered the session. A core backing group of musicians includes Braunagel on drums, Schell on guitar, bass, and keyboards, Travis Carlton on bass, Mike Finnigan on the Hammond B-3, Peter Van Der Pluijim on harmonica, Joe Sublett on saxophone, and Mark Pender on trumpet. There are guest appearances by guitarists Ronnie Earl, Joey Delgado and Alistair Greene, saxophonist Steve Berlin, and accordionist David Hidalgo. Ryder wrote all 13 songs (two with her husband, Rick).

Deb Ryder's previous releases impressed me with her strong songwriting and her convincing, powerful vocals. Like her prior albums, this new release contains some hard-hitting blues and blues-rock. She sings powerfully but with nuance and an excellent display of vocal dynamics. Ryder never comes off as sounding shrill and emoting. The production and the support are top-notch as well.

Things kick off with the brassy, horn-driven, soulful funk of "I'm Coming Home, where she proclaims she is coming home where she belongs, singing over Sublett's sax. Plujiom's harmonica adds down-home flavor to "Hold On," with Braunagel leading an insistent groove. Alistair Greene adds his slide guitar along with that from Schell on her soulful vocal on a vibrant down-home gospel blues, "These Hands." Then there is "Get Ready," with an echo added to her voice as she urges us to start a revolution of love and speak out against injustice.

The mood shifts on a slow, straight-forward blues, "Love Is Gone," with Finnigan's organ adding atmosphere. This song is one of the two tracks that showcase Ronnie Earl, whose playing is impressive as always. This is a standout track here. Another high point is the title track has her singing supported only by Schell on guitar, bass, and tambourine and backing vocals by her and Finnigan. She sings about feeling good about being in Memphis and regrets letting her lover go in the past. "Just Be Careful" takes us musically to the Mississippi hill country with its infectious groove and memorable lyric with the tagline, "if you can't be good, just be careful," with Schell adding some rollicking slide guitar.

Schell shines on "Jump On In," where Ryder tells her man to let himself go and spend time with her. A jazzy shuffle, "Standing at the Edge," follows with swagger and swing in Ryder's vocal. Finnigan lays down a tough foundation for her vocal as well as taking a greasy solo. The Delgado brothers, Hidalgo and Steve Berlin lend a zydeco flavor to the lively "Second Chances." At times Ryder's tune "Most of All" hints at Etta James' "I'd Rather Go Blind." Ryder sings magnificently here while Ronnie Earl adds a solo played with such depth of feeling that matches Ryder's superb singing. It closes another excellent recording with outstanding originals, terrific backing, and Deb Ryder's authoritative singing.

I received my review copy from VizzTone. Here is a relatively recent performance from Deb Ryder.

Deb Ryder - Memphis Moonlight

Deb Ryder

Memphis Moonlight

VizzTone

"Memphis Moonlight" is a new release from the husky-voiced blues singer and songwriter Deb Ryder. Like her earlier recordings, it is produced by Tony Braunagel and Ryder's husband Rick while Johnny Lee Schell engineered the session. A core backing group of musicians includes Braunagel on drums, Schell on guitar, bass, and keyboards, Travis Carlton on bass, Mike Finnigan on the Hammond B-3, Peter Van Der Pluijim on harmonica, Joe Sublett on saxophone, and Mark Pender on trumpet. There are guest appearances by guitarists Ronnie Earl, Joey Delgado and Alistair Greene, saxophonist Steve Berlin, and accordionist David Hidalgo. Ryder wrote all 13 songs (two with her husband, Rick).

Deb Ryder's previous releases impressed me with her strong songwriting and her convincing, powerful vocals. Like her prior albums, this new release contains some hard-hitting blues and blues-rock. She sings powerfully but with nuance and an excellent display of vocal dynamics. Ryder never comes off as sounding shrill and emoting. The production and the support are top-notch as well.

Things kick off with the brassy, horn-driven, soulful funk of "I'm Coming Home, where she proclaims she is coming home where she belongs, singing over Sublett's sax. Plujiom's harmonica adds down-home flavor to "Hold On," with Braunagel leading an insistent groove. Alistair Greene adds his slide guitar along with that from Schell on her soulful vocal on a vibrant down-home gospel blues, "These Hands." Then there is "Get Ready," with an echo added to her voice as she urges us to start a revolution of love and speak out against injustice.

The mood shifts on a slow, straight-forward blues, "Love Is Gone," with Finnigan's organ adding atmosphere. This song is one of the two tracks that showcase Ronnie Earl, whose playing is impressive as always. This is a standout track here. Another high point is the title track has her singing supported only by Schell on guitar, bass, and tambourine and backing vocals by her and Finnigan. She sings about feeling good about being in Memphis and regrets letting her lover go in the past. "Just Be Careful" takes us musically to the Mississippi hill country with its infectious groove and memorable lyric with the tagline, "if you can't be good, just be careful," with Schell adding some rollicking slide guitar.

Schell shines on "Jump On In," where Ryder tells her man to let himself go and spend time with her. A jazzy shuffle, "Standing at the Edge," follows with swagger and swing in Ryder's vocal. Finnigan lays down a tough foundation for her vocal as well as taking a greasy solo. The Delgado brothers, Hidalgo and Steve Berlin lend a zydeco flavor to the lively "Second Chances." At times Ryder's tune "Most of All" hints at Etta James' "I'd Rather Go Blind." Ryder sings magnificently here while Ronnie Earl adds a solo played with such depth of feeling that matches Ryder's superb singing. It closes another excellent recording with outstanding originals, terrific backing, and Deb Ryder's authoritative singing.

I received my review copy from VizzTone.

Curtis Salgado - Damage Control

Curtis Salgado - Damage Control -Alligator Records

Listening to Curtis Salgado's new album (his fourth for Alligator), I found his soulful singing evoking Solomon Burke. I am not suggesting conscious copying, but rather similarity in their voices. This similarity is perhaps most evident in the opening "The Longer That I Live," a fresh original from Salgado, Mike Finnigan, and another that has him sing about growing older, the challenges he faced, and that the older he is, "the older I want to get." Finnigan adds some sterling organ, Jim Pugh is on piano, while Kid Andersen provides some scintillating guitar. Another original, the funky "What Did Me In Did Me Well," has a philosophical reflection about a relation he ruined. He adds some harmonica against the same sterling backing band.

Contrasting to these two numbers' southern style is the New Orleans to Memphis rock and roll of "You're Going To Miss My Sorry Ass," with Kevin McKendree's rollicking piano and George Marinelli's piano. While his singing is not evocative of Solomon Burke here, Salgado ably delivers these witty vocals. McKendree and Marinelli (on slide guitar) are also on the southern roots rock-flavored "Precious Time." Then there is the Tex-Mex accent of "Count of Three" with guitarist Johnny Lee Schell, organist Mike Finnigan, pianist Jim Pugh, and drummer Tony Braunagel. Then there is a terrific soul ballad, "Always Say I Love You (At The End Of Your Goodbyes)," with Jackie Miclau replacing Pugh on piano. It is a further demonstration of the variety to be heard on this recording. 

The 13 songs on this album were captured at sessions in Nashville (engineered by McKendree), Studio City, California (engineered by Schell), and Santa Clara, California (engineered by Andersen). Salgado has had difficult health issues in the past, but listening to his vibrant, robust singing, one would never guess that. Add first-rate backing and terrific originals to Salgado's top-flight vocals, and one has an outstanding recording.

I received a download to review from Alligator Records. Here is "The Longer That I Live."

Laura Tate Live From El Paso

Laura Tate
Live From El Paso
811 Gold Records LLC

A career as an actor and singer, performing on stage and television, and directing music videos and documentaries, Laura Tate has this new album recorded in her present hometown of El Paso. Tate recruited a fine band for this live recording, that was a benefit concert. The band's foundation was pianist Jeff Paris on piano, Doug Hamblin on guitar, Terry Wilson on bass, and Tony Braunagel on drums. Also present is a horn section of Lee Thornburg on trombone, Darrell Leonard on trumpet, and Joe Sublett on saxophone. Teresa James adds backing vocals.

One shouldn't be surprised by Tate's singing. Her smooth, fluid phrasing, clean intonation, and ability to shade and build a performance's intensity are notable. There is a quality to these performances, including the striking backing she receives. Her songs transverse a range of material opening with Mel Harker's "No Place to Hide," that strikes these ears as a sophisticated performance that would have been at home on a 1960s pop recording of a Brill Building song. Then there is her updating of Thin Lizzy's "The Boys Are Back In Town."

Starting wistfully, the tempo kicks it up a notch into a swinging rocker that showcases her deft singing. Darrell Leonard's searing trumpet and Doug Hamblin's biting guitar complements her sultry Peggy Lee sounding vocal on "I Need a Man." Allen Toussaint's "Hittin' on Nothin" has a groove reminiscent of Don Covay's "See Saw." With Jeff Paris emulating Toussaint's Crescent City piano, Tate solidly interprets the Irma Thomas recording with strong solo breaks by Sublett and Hamblin. There is a touch of vinegar to her vocal on the reflective "Still Got the Blues," followed by the swamp-soul flavor of "Nobody Gets Hurt." Also standing out is her dreamy vocal on "Cowboy Jazz," and the buoyant jump blues, "Big Top Hat."

The sweet soul of "If That Ain't Love" is the final track on this splendid recording covering a range of musical modes. Tate, as indicated, is a top-flight singer who is splendidly supported on this excellent recording.

I received my review copy from a publicist. Here she sings "Still Got the Blues."

Hurricane Ruth Good Life

Hurricane Ruth
Good Life
American Showplace Music

Reviewing Hurricane Ruth LaMaster’s “Ain’t Ready For The Grave,” I wrote, “Ruth LeMaster earned her name because of her huge voice in a small package  … .” I found that album to be a “solidly performed collection of blues and rock that displays Hurricane Ruth as a powerful and expressive vocalist.” Much the same can be said about this new recording whose ten tracks include eight written or co-written by her. Backing her on this recording are Scott Holt on guitar, Bruce Katz on keyboards, Calvin Johnson on bass, and Tony Braunagel on drums.

The songs are a mix of bluesy rock and roll to soulful ballads that demonstrate her vocal and emotional range. She certainly comes off with cyclonic force on the rollicking rock of “Like Wildfire.” She might be shouting the blues here, but never gets histrionic or shrill. Katz is terrific here while Holt has a hot short guitar break.  “Dirty Blues” has another powerful vocal, although Holt’s nasty tone lends this a blues-rock flavor.  It is followed by one of the strongest songs here, “What You Never Had.” Written with Tom Hambridge, this is a relaxed shuffle with Katz smoking on the organ. The lyrics derive from a comment her late mother made about not worrying about one never had as life is about living. The vocal is as stunning as the song.  Even better is the title track, which was based on a conversation with her mother a year before she passed. Again, the lyrics stand out as does the atmospheric vocal and backing. Holt’s solo is striking set against Katz’s organ. One might easily recommend this album based on just these two tracks.

 Other tracks of note include the rendition of Gary Nicholson’s “Torn in Two,” with searing blues-rock guitar behind her vigorous singing. “Black Sheep” is a fun bluesy rock performance where Ruth celebrates being a bit of a badass. “Who I Am” is about leaving behind her previous life of partying and addiction and no longer who she was. There is a conviction in her singing that comes from her living what she is singing about.  It is another terrific track on an outstanding blues and rock recording.

I received my review copy from a publicist. Here is Hurricane Ruth in performance.

The Jimmys Gotta Have It

The Jimmys
Gotta Have It
Brown Cow Productions

I wrote, reviewing the last album by The Jimmy's "Live From Transylvania." "Led by keyboardist and vocalist (as well as one who helps on his family's 1500 acre Dairy farm), Jimmy Voegeli, The Jimmys, is one of the hottest blues bands out of Wisconsin with its mix of modern and jump blues." Mr. Voegeli and the group have returned with a new album. It is produced by Tony Braunagel, who also plays drums on it. Besides Voegeli, The Jimmys consists of Chris Sandoval, drums; John Wartenweiler, bass; Perry Weber, guitar and vocals; Pete Ross, saxophone; Mike Boman, trumpet; and Joe Goltz, trombone. Braunagel replaces Sandoval on this recording, and Kyle Samuelson and/or Kevan Feyzi are on trombone instead of Goltz. Al Falaschi on baritone sax and Kat Shipe fill out the horns on the recording. Marcia Ball does a duet with Voegeli and provides background vocals along with Melodye Perry and Mike Finnigan, while Wally Ingram adds percussion.

Voegeli and Weber contributed to most of the songs here, and both take lead vocals with Voegeli being the stronger singer, while Weber has a bit coarser delivery. Both are standout players as well.  Voegeli is a rollicking jump blues rooted pianist and a sterling organist. Weber is a terrific idiomatic guitarist, whether channeling gulf coast swamp-blues guitar or B.B. King single note playing. The rhythm section is superb, and the horns add a strong supporting presence.

Things kick off with the rock and roll of Ain't Seen Nothin' Yet," with Weber's enthusiastic singing and Voegeli's rollicking piano. "Write a Hit" is a terrific vocal duet by Voegeli and Marcia Ball. Set against a New Orleans to Gulf Coast groove, they trade lines about their relationship breaking up. Voegeli regrets losing his house, car, and especially the dog to which Ball responds he blew it, and the dog was her and comes back when she calls the dog's name. Then there is a relaxed rocking blues, Voegeli's "She's Gotta Have It," followed by Weber's "Starting Up Again." The latter number is a talking blues in the musical vein of Slim Harpo's "Scratch My Back," with some apt trebly guitar.

"Hotel Stebbins" is a rocking boogie-woogie party song with a superb piano break, while Weber's "Drinkin''" is a straight blues by Weber about getting into trouble when he starts drinking. The is a Little Feat feel to Voegeli's "When You Got Love," with Weber's crying slide guitar adding to the mood. Gary Nicholson and Kevin McKendree wrote "Always a Woman," whose melody evokes Billy Boy Arnold's "I Wish You Would." There is some greasy organ and Ross' honking sax on this track. Jim Liban's "Someday Baby" is reminiscent of Freddie King's "Someday After Awhile." with Weber adding some excellent guitar to go with his brawny singing.

An instrumental "Jose," that sounds like a contrafact to "Ode to Billie Joe," closes another sterling recording by this terrific band with excellent songs and first-rate performances.

I received a review copy from a publicist. here is a video of The Jimmys in performance from 2019.

 

The Phantom Blues Band Is Still Cookin'

The Phantom Blues Band
Still Cookin'
VizzTone

Coming to prominence with their collaboration with Taj Mahal, the Phantom Blues Band can still be depended on for some strong blues, rock and soul performances. The band has remained pretty stable in personnel for the past decade or so. Members include Tony Braunagel on drums, Mike Finnigan on keyboards and vocals, Larry Fulcher on bass and vocals, Johnny Lee Schell on guitar and vocals, Joe Sublett on tenor saxophone and Les Lovitt on trombone. I believe Lovitt is a recent addition to the band replacing Darrell Leonard who adds his trumpet to two tracks. Lenny Castro adds percussion.

Those familiar with their music from their performances or recordings certainly will not be disappointed by their latest CD which is a mix of covers of lesser-known tunes and choice originals with Finnigan, Fulcher, and Schell sharing the vocals. Things start off on a funky number with a cover of a Wilson Pickett grinder "Don't Fight It," with Sublett taking a rousing sax solo. Jeff Paris contributed "Stop Runnin'" on which he adds Wurlitzer piano behind Fulcher's fervent vocal. Schell handles the vocal on the swampy funk groove of "Wingin' My Way," where he plays some crying slide guitar. Finnigan takes the groove down into the alley on the heartfelt rendition of David Egan's "Blues How They Linger." "Shine On" is a refreshing change of pace with Fulcher and Finnigan trading verses against a reggae groove.

The horns are featured in the Spanish-tinged instrumental "Tequila Con Yerba," with the band interjecting shouts of the song title. Sublett, Lovitt, and Finnigan each add grease and spice. Other tracks of note include Finnigan's "Bad Blood," with a terrific vocal and Schell's stinging guitar, followed by Schell's soulful "Fess On Up," with its lyrics that one better fess up to one's baby to make things right. Schell sings the solid shuffle "I'm Just Your Fool." This is a fine shuffle performance that sounds based on Little Walter's recording and features a booting sax solo.

Given how long The Phantom Blues Band has been together, one should not be surprised how tight a group they are as well as how excellent the music here is. With first-rate material, they have produced another outstanding recording. Indeed after all these years, The Phantom Blues Band is still cooking.

I received my review copy from Vizztone. Here is The Phantom Blues Festival from a 2019 Festival appearance in Panama.

Teresa James & the Rhythm Tramps Live

Teresa James & the Rhythm Tramps
Live
Jesi-lu Records

Teresa James impressed this writer with her last two recordings, "Bonafide" and "Come On Home." The Texas-born, Los Angeles-based James & The Rhythm Tramps have a new "Live" CD from four-nights at Bogie's in Westwood Lake, California. As noted on the inside cover, there were four different versions of the Rhythm Tramps reflecting various tour schedules. The core band here includes her vocals and keyboards, husband Terry Wilson on bass, Billy Watts on guitar, Herman Matthews on drums, Lee Thornberg on trumpet, and Paulie Cerra or Ron Dziubla on saxophones. Others on some tracks include drummers Jay Bellarose and Tony Braunagel on drums, Joe Sublett on sax, and Darrell Leonard on trumpet.

"Live" is a lively mix of originals from Wilson and choice covers of blues and R&B sung passionately with strong, idiomatic backing. James opens with "In the Pink," naming some musical heroes, and singing that getting into the blues she now is in the pink. It is followed by a treatment of The Five Royales "I Like It Like That," with James' rollicking piano solo. There is a swamp-pop flavored "Put the Squeeze On Me," and the subtle, sultry soul of "Easier Said Than Done" with a terrific sax solo from Ron Dziubla.

Wilson's deep soul ballad "Forgetting You" takes us to Memphis with perhaps James' most intense singing with the horns coming off like The Memphis Horns, and Paulie Cerra short sax solo matching the fire of James' singing. More of a Motown groove is heard on "She's Got a Way With Men," who James sings won't have her way with her man. Cerra shines again here. Guitarist Watts plays Harvey Fuqua to James' Etta James on the fervent revival of the Fuqua-James 1960 Chess duet, "If I Can't Have You." It is followed by the New Orleans groove of Allen Toussaint's "Shoorah, Shoorah," with Tony Braunagel taking over the drum chair with James taking a piano break followed Joe Sublett's booting tenor sax solo.

Another standout track is a stunning slow blues performance, "The Day The Blues Came To Call," written by James and Wilson. It also has an incendiary guitar solo in addition to James' impassioned vocal. Other choice tracks include a strong cover of William Bell's "Everyday Will Be Like a Holiday," and the Tex-Mex feel of Glen Clark's "I Want It All," with James taking a crisp piano break. A hot, rocking salute to her home state, "Long Way From Texas," closes "Live" with James singing about making it home with fiery guitar and tenor sax solos. It concludes a terrific live blues and soul CD,

I received a review copy from a publicist. This review originally appeared in the November-December 2019 Jazz & Blues Report (Issue 387). Here Teresa James & the Rhythm Tramps perform "Forgetting You."

Annika Chambers Kiss My Sass

Annika Chambers
Kiss My Sass
VizzTone

About Annika Chambers' 2014 debut album "Making My Mark," I wrote about this excellent debut, "Annika Chambers may possess a powerful voice but she also is a marvelous singer whose timing, phrasing and her sense of dynamics is quite impressive, and one awaits more funky blues and soul from her in the future." In the interim, she won the 2019 Blues Music Award for Female Soul-Blues Artist. This is her third album and produced by Richard Cagle and Larry Fulcher who produced her debut album with drummer Tony Braunagel co-producing two selections he plays drums on. Fulcher is the bassist on this with a variety of other musicians including guitarists The Might Org, David Carter, and James Wilhite. One track is a duet with Canadian guitarist Paul DesLauriers.

There is a nice mix of songs from a variety of sources opening with the "Let the Sass Out," where after a workweek is over and she no longer has to take crap she can let her sass out. Her impressive vocal is set against an insistent groove, and there is some hot guitar. As strong as that vocal is, she is perhaps even more commanding on "That's What You Made Me," singing about what her cheating man has made her. She commands the listener's attention with her articulation, dynamics, phrasing, and passion in her singing.

Her singing is superb throughout, and the backing is first-rate. A few more of the stand-out tracks include Mack Rice's "What Your Thing," where Ruthie Foster adds background vocals and on which the Mighty Org lays down pedal steel guitar in the backing. Then there is a marvelous rendition of Angela Strehli's "Two-Bit Texas Town" celebrating listening to the blues over the radio and Muddy Waters, Lightnin' Hopkins, and others making them want to dance. Barry Sellen's Hammond B-3 adds grease to this spirited performance. Chambers and Fulcher wrote "A Brand New Day," a terrific blues where her heartfelt singing is backed just by the Mighty Org's nuanced guitar, Randy Wall's keyboards and Fulcher's bass. Perhaps no performance better displays the emotion and soulfulness she sings with than a Carolyn Wonderland blues-ballad, "Stay." Then there is a marvelous cover of the Sugar Pie DeSanto-Etta James classic "In The Basement."

The album closes with Chris Smither's "I Feel So Same," where Canadian blues wizard Paul DesLauriers whose provides the steel guitar slide accompaniment as well as adds vocal responses to Chambers vocal. It is another moving performance on an excellent album.

I received my review copy from VizzTone. I will be posting my review of "Making My Mark" shortly. This review appeared in the September-October 2019 Jazz & Blues Report (Issue 386), although I made minor stylistic changes. Here is a recent performance of "Kiss My Sass."

Coco Montoya Coming in Hot

Coco Montoya
Coming in Hot
Alligator Records

"Coming In Hot" is the latest Alligator release from blues-rocker and powerhouse guitarist Coco Montoya. Like his prior recording, "Hard Truth," this is produced by drummer Tony Braunagel and recorded by Johnny Lee Schell, who plays rhythm guitar on wight of the 11 tracks. Others on this recording include Mike Finnigan on keyboards, Billy Watts on rhythm guitar on three songs, and Bob Glaub or Mile Menell on bass. Jon Cleary plays piano on one selection.

Montoya's searing guitar and forceful vocals continue to impress those who like a solid blues-rock mix. He certainly puts so much into his singing as on "Good Man Gone." The title track has a catchy, rhythmic groove as he tells his woman to get her fire burning as he is coming in hot tonight with a stunning guitar solo. He channels Albert Collins on Collins' classic slow blues, "Lights Are On But Nobody's Home," with terrific guitar and one of his most compelling vocals here. Warren Haynes' ballad, "What Am I?" is a nice change of pace with his relaxed vocal and the somewhat restrained backing, although he takes a fiery solo. There is a cover of a less-known Bobby Bland recording, "Ain't it a Good Thing." Shaun Murphy shares the vocal on this splendid performance with some terrific blues guitar from Montoya.

A rocking shuffle "Water to Wine" closes this album with Montoya celebrating this woman who can do almost anything such as change 'water to wine.'" It closes another CD of varied, nicely paced, and played performances. Coco Montoya continues to deliver the goods for those who like their blues with a rock-edge.

I received my review copy from Alligator. This review appeared in the September-October 2019 Jazz & Blues Report (Issue 386), although I made minor stylistic changes. Here is a relatively recent performance by Coco Montoya.

Laura Tate Let's Just Be Real

Laura Tate
Let's Just Be Real
811 Gold Records

Texas born vocalist Laura Tate has a resume that goes way beyond the blues and soul rooted music on this recording. She is an actress who performed in musicals and other theatrical productions, as well as television shows like "Dallas: and HBO's "First and Ten," as well as engaging in film production and directing music videos, commercials and documentaries. As far as her vocal influences, she states "I grew up listening to everything from rock and roll and Motown to show tunes, and soulful ballads. I loved Tony Bennett, Billie Holiday, Ella Fitzgerald, and other greats from the past along with the Beatles, James Brown, Bonnie Raitt, Carole King, and Linda Ronstadt. I have been singing their songs ever since." Her vocals on this is supported by a terrific studio band including the producer, arranger and engineer, Terry Wilson on bass guitar; Billy Watts on guitars; Jeff Paris on keyboards and mandolin; Tony Braunagel on drums; Lee Thornberg on brass; and Paulie Cerra on saxophones. Leslie Smith adds percussion and Teresa James on backing vocals.

This is a wonderfully recorded album full of fresh songs, most in a classic rhythm & blues vein and even the covers are not your typical standards including a wonderful reworking of a Thin Lizzy favorite, "Boys Are Back In Town." Tate is a soulful singer with a relaxed, unforced delivery that gets one's attention with the opening "Nobody Gets Hurt," that has hints of classic Hi Records as well as the easy rocking groove of "If That Ain't Love." She is quite good, if not quite on the level of Irma Thomas, whose Allen Toussaint penned "Hitting on Nothing" she does a nice cover of. The studio band captures the feel of the 1963 original and includes a nice tenor sax solo.

After a jazz-tinged late night blue ballad "Can't Say No," Tate reworks "Boys Are Back In Town," into a reflective lament for an outstanding performance, "Still Got the Blues" is a superb urban blues with a relaxed vocal and Watts playing strongly on guitar. "I Need a Man" is another solid blues performance with a vocal that might be described as Peggy Lee crossed with Etta Jones. It has a fine piano solo from Paris. The title track is another lovely ballad marvelously played and followed by the swampy, southern-rock blues, "I Know You Live." Watts contributes both slide guitar backing and a tremolo laced background riff while Paris takes a brief solo on the his. The Stephen Bruton penned "Big Top Hat," evokes Louis Jordan while Tate sings the lyrics with plenty of sass.

"Wildest Dreams," is a solid country-rock performance in the vein of seventies Linda Ronstadt that is the final track on a first-rate recording by a fine singer that is wonderfully backed throughout.

I received a review copy from a publicist. Here is a video of her performing.

Coco Montoya Hard Truth

Coco Montoya
Hard Truth
Alligator Records

Blues-rocker and powerhouse guitarist Coco Montoya returns to Alligator Records with this new release. Produced by drummer Tony Braunagel and recorded by Johnny Lee Schell (who plays rhythm guitar on several tracks and slide on one) with Mike Finnigan on keyboards and Bob Glaub on bass with Lee Roy Parnell adding slide guitar on one track, this is a nice mix of songs from the likes of Warren Haynes, John Hiatt, Gwen Collins, and Homer Banks & Allen Jones, Jr.

Montoya played with Albert Collins for five years and Collins' influence can be felt and heard throughout starting from the opening "Before the Bullets Fly," from Haynes and others, as well as Collins' "The Moon Is Full," where his shouted vocals is matched by his fiery fretwork. Then there is the gospel feel of the Steve Gomes-Ronnie Earl Horvarth penned "I Want to Shout About It," where his celebration of his woman is matched by his blistering playing with Finnigan's organ helping this rocking performance. Parnell's slide adds to the juggernaut feel of "Lost in the Bottle," as whiskey is talking as his eyes are burning red, while his judicious use of sustain and tone embellishes his more low-key vocal on "Old Habits to Break."

The underlying groove of "I'll Find Someone Who Will" is suggestive the Al Green-Syl Johnson classic "Take Me To The River," while the insistent blues-rock "Hard As Hell" evokes some of the Leon Russell produced Freddie King recordings. The Banks-Jones penned "Where Can a Man Go From Here?" is perhaps the outstanding straight blues performance here with a strong vocal as well as his forceful guitar. Even when he rocks things hard, these performances are nicely paced and do not sound rushed or frenzied. With the terrific backing Coca Montoya receives, the varied, fresh-sounding material and Montoya's powerful guitar and heartfelt vocals, the "Hard Truth" is another release to delight those who like blues with a bit of a rock edge.

I received my review copy from Alligator. This review originally appeared in the March-April 2017  Jazz & Blues Report  (Issue 371). Here Coco Montoya performing "Truth Be Told."

Lauren Mitchell Desire

Lauren Mitchell
Desire
Self-Produced

Florida based singer Lauren Mitchell went out to the West Coast to record this new release of hers where she got Tony Braunagel to produce this and drum on it. Some of Tony's associates with the Phantom Blues Band are here as well including Johnny Lee Schell on guitar, Joe Sublett on saxophone, and Darrell Leonard on their trumpet along with Reggie McBride on bass, Jim Pugh on keyboards and Lennie Castro on percussion.

The recording has a mix of choice covers and idiomatic originals that showcase her very strong singing, starting with a tough rendition of an Etta James deep soul recording, "(I Don't Need Nobody To Tell Me) How To Treat My Man." She has a husky voice like James which she employs in a nuanced fashion. She can belt out a song with authority and without screaming or sounding shrill. It is followed by the sweet soul groove of her original "Soul Music" with its beach music groove as she sings about no other man can satisfy her and hear that soul music like her daddy used to play. The joy in her vocal is supported by the excellent backing and punching horns. The title track has a swampy soul feel followed by her strong, sultry take of another song associated with Etta James, "Jump Into My Fire."

With Schell's bluesy guitar and Pugh's piano, she ably tackles an Aretha soul-blues, "Good To Me As I Am To You," as well as an early Bettye Lavette recording "Stand Up Like a Man." Contrasting her tough vocals on those tunes, she displays a tender side on the ballad "Today." There is plenty of sass in her revival of Diana Ross' "I Ain't Been (Licked Yet)," followed by the sensuous reworking Betty Davis' "Anti-Love Song," with backing adapted from Davis' original. A jaunty gospel performance, "Bridge of Dreams," is followed by an original lament, "Lead Me On," that sounds like it might have come out of Muscle Shoals decades ago.

The album closes with "Brown Liquor," with a funky groove and a tough lyric about waking up in Vegas with a hangover and a man in her bed as she does not remember anything after that Maker's Mark. Her forceful, vocal is backed by the terrific studio band closing this very impressive CD of soul with a blues touch.

I received my review copy from a publicist. This review originally appeared in the March-April Jazz & Blues Report (Issue 371), although a few typos in the published review have been corrected. Here she is seen performing "Soul Music" from this CD.

Teresa James & the Rhythm Tramps Is Bonafide

Teresa James & the Rhythm Tramps
Bonafide
Jesi-Lu Productions

Roots-blues singer Teresa James will be familiar with many from her association with Delbert McClinton (she's a regular on his cruises), as well as from festival appearances and club dates. Born in Houston and now based in Los Angeles, her band the Rhythm Tramps includes bassist Terry Wilson (who wrote most of the songs here as well as plays guitar and produced and engineered this recording); guitarist Billy Watts, drummer Herman Matthews, trumpeter Lee Thornburg and saxophonist Ron Dziuba. While they all appear on this, only Wilson and Watts are featured on most of this with the likes of drummer Tony Braunagel and keyboardist Mike Finnigan of The Phantom Blues Band adding there talents to a number of selections, along with Teresa herself on piano and Wurlitzer Piano.

Starting with the cover of a Five Royales song, "I Like It Like That," one gets impressed by James with a slight bit of sandpaper in her voice that adds to its grit and character. She is a singer, not a shouter, as she ably demonstrates on this rocker with the somewhat skeletal backing of the title track as well as with fuller backing on the soulful "The Power of Need." This latter track is a standout track with nice horns in the backing and Watts taking a crisp guitar break as she sings of yearning of the power of wanting to love someone. "Hollywood Way," has a funky groove with Wilson playing an effective simple organ riff and wah wah guitar riff as she sings in an understated manner about games being played and all our heroes never fade away.

"My God Is Better Than Yours" is an gospel-tinged song about religious hypocrisy, followed by another soulful ballad celebrating her lover, "You Always Pick Me Up." "What Happens In Vegas" has a New Orleans groove (think Huey "Piano' Smith and the Clowns) and takes the advertising slogan as what stays in Vegas to include one's money and one's honey. "Funny Like That" is an attractive ballad with a island groove while "No Regrets" finds her reflecting about having "no regrets about you" although she doesn't make things easy for her man. She delivers a marvelous closing vocal on John Hiatt's "Have a Little Faith in Me," as she pleads for her man to give her loving arms a try and have a little faith in her. She plays piano here, while the spare, uncluttered, backing provides a cushion for her heartfelt singing. It is the close on this first-rate album of roots, blues and soul performances.

I received my review copy from a publicist. This review originally appeared in the March-April Jazz & Blues Report (Issue 371). Here is a video of Teresa James and the Rhythm Tramps performing John Hiatt's "Have a Little Faith in Me."

Lisa Biales The Beauty of My Heart

Lisa Biales
The Beauty of My Heart
Big Song Music

A new album from the singer, Lisa Biales, brings together some terrific covers and backing from members of The Phantom Blues Band, drummer Tony Braunagel (who produced this); guitarist Johnny Lee Schell (who engineered this); bassist Larry Fulcher; trumpeter Darrell Leonard and saxophonist Joe Sublett; along with keyboardist Jim Pugh; bassist Larry Taylor; bassist Chuck Berghofer (member of The Wrecking Crew); trumpeter Lee Thornberg; and others. The result is a very appealing recording.

The performances here include the jump blues revival of Mabel Scott's "Disgusted" with a terrific Joe Sublett tenor sax solo; a solid New Orleans funk reworking of Allen Toussaint's "I Don't Wanna Hear It" originally waxed by Betty Harris; a smoldering cover of Nina Simone's "Be My Husband"; a jazzy rendition of Lil Green's "Romance in the Dark" with the legendary Chuck Berghofer on acoustic bass; a moving rendition of Eric Bibb's "Don't Let Nobody Drag Your Spirit Down" with brief solos by Jim Pugh and Johnny Lee Schell adding to its smokey atmosphere; and a spirited gospel performance of Alex Bradford's "Said I Wasn't Gonna Tell Nobody." She may have quite the voice of an Aretha but she puts everything in her delivery of this latter song's simple message affirming one's faith.

This is just an overview of some of the very enjoyable performances on this. One song of special note is "Crying Over You." This song has special significance for Biales, as it recorded in 1947 by her mother Alberta Rogers who also wrote it. The performance opens with the first verse of her mother's recording before Biales completes the performance as she sings yearning for her phone to ring as she is crying for her love. Chuck Berghofer is on double bass and Lee Thornberg plays a delightful trumpet solo behind Biales' charming vocal.

Lisa Biales has proven to be a real fine interpreter of blues and roots with her honeyed voice and natural, unforced delivery. She enchants here and, with superb backing, has produced another gem.

I received my review copy from a publicist. This review originally appeared in the March-April 2017 Jazz & Blues Report (Issue 371). Here is Lisa performing "Romance in the Dark."

D.A. Foster The Real Thing

D.A. Foster
The Real Thing
VizzTone

The Shaboo Inn was a fabled Connecticut club of the 70s and D.A. Foster was among those running it. He also has been singing music even prior to the Shaboo Inn and in recent years has been leading the Shaboo All Stars. Foster has a new CD out on Vizztone, “The Real Thing” that was produced by drummer Tony Braunagel and keyboardist Mike Finnigan of the Phamton Blues Band and has Foster backed The Phantom Blues Band (Larry Fulcher on bass; Johnny Lee Schell on guitar; Lenny Castro on percussion; Darrell Leonard on trumpet and Joe Sublett on saxophone) with backing vocalists.

Foster’s deep-throated vocals covers a fairly diverse group of jump blues and urban blues starting with a strong soulful take Dave Steen’s “Good Man Bad Thing.” The Phantom Blues Band’s backing provides a very different tenor to Foster’s rendition from the more guitar centered version by the late Michael Burks. It also quickly displays Foster’s virtues as a singer with his phrasing and dynamics. The title track is a roadhouse blues rocker that suggest the bluesier side of Delbert McLinton with rollicking piano and an energetic guitar solo.

Foster does justice with his renditions of a couple of songs associated with the late Bobby Bland, “Ain’t Doing Too Bad,” and “This Time I'm Gone For Good.” The former number sports a nice funky groove with Foster’s raspy vocal very appealing. On the latter number, Schell employs a jazzier tone that along with the backing lends a 3:00AM in the morning feel behind Foster’s marvelous singing. Foster updates Eddie Hinton’s “Super Lover” as a funky dance number, while doing justice to a rocking and swinging treatment of the classic penned by Jesse Stone (as Charles Calhoun) “Smack Dab in the Middle” with a booting tenor sax solo,” along with a nice version the classic Andy Razaf-Don Redman ballad, “Gee Baby Ain’t I Good To You.”

There is a wistful rendition of Bill Withers’ “You Just Can’t Smile It Away.” The album closes with “Down Home Blues,” that is solidly performed but not very distinctive. But even an ordinary closing performance does not lessen the fact that “The Real Thing” is full of choice musical performances. Wonderfully backed by The Phantom Blues band, D.A. Foster brings a fresh approach to some well known material and sings with a soulful authority that the years of performing bring.

I received my review copy from VizzTone. This review appeared in the March-April 2015  Jazz & Blues Report (Issue 359). Foster has a new album out that I have not heard. Here is a clip of D.A. Foster in performance.

 

Jack Mack & The Heart Attack Horns Back to the Shack

Jack Mack & The Heart Attack Horns
Back to the Shack

Jack Mack & the Heart Attack Horns are veterans of the LA scene with a classic Memphis-Muscle Shoals soul sound. with New Orleans native Mark Campbell handling the vocals, on this new recording the backing includes Tony Braunagel on drums, Andrew Kastner on guitars, Bruce Atkinson on bass guitar, and Carlos Murguia on keyboards with an impressive horn section that includes Les Lovitt on trumpet, Bill Bergman on saxophones. Special guest Lee Thornburg arranges the horns and is on trumpet and trombone on 'Aint No Way" while Mike Finnigan adds his Hammond B-3 and vocal to “Somethin’ In The Water.” Nine of the ten tracks are originals with the exception being Carolyn Franklin's “Ain’t No Way,” that Aretha originally waxed for her "Lady Soul" album.

Andrew Kastner, an original Jack Mack member plays the hard-edged, screaming guitar on the opening track “Standin’ Before The King,” a tribute to the B.B. King with an impassioned vocal from Campbell with Melanie Taylor adding her voice. "Something in the Water" is a funky number with Finnigan adding his voice to enhance Campbell's lead. The medium tempo easy rocker "Don't Let Her Go," is some soulful advice with punchy horns and Bergman's strong booting sax solo. The driving groove of the bluesy "Never Too Late," is followed by a lovely bluesy ballad "Somebody To Trust," with Finnigan again guesting on Hammond B-3 while Campbell displays his range as his voice soars here.

"Serves Me Right" is a terrific number that evokes Muscles Shoals in the backing and horns, while the funky JB's feel of "Bad Habit," should get listeners up and dancing. The lilting ballad, "Change My Ways," which opens with Bergman's sax, like "Never Too Late," exhibits the warmth in which Campbell can put forth a lyric and then after this Memphis sounding gem, we get another gem with his heartfelt delivery of the Franklin song. The closing rocker, "Let Me In," is a bit frenzied perhaps, but the backing is tight and the breakneck tempo doesn't phase Campbell's singing.

Mark Campbell is a terrific singer that suggests Otis Redding, Joe Tex and Wilson Pickett but places his own stamp on the songs here. The backing is terrific and the recording is excellent. This is an impressive album full of soulful music.

I received my review copy from a publicist. Here is a video of Jack Mack & The Heart Attack Horns.
 

Deb Ryder Grit Grease & Tears

Deb Ryder
Grit Grease & Tears
Bejeb Music

Deb Ryder impresses right off the back with "It Ain't Gonna Be Easy," the opening track of her third album, "Grit Grease & Tears." As she shouts on this hot jumping blues, it ain't gonna be easy but its gonna be a helluva lot of fun, and that is what this album is, a helluva lot of fun. Ryder cites Etta James and Koko Taylor, and she has captured not only the powerful approaches they employed, but also their expressive abilities and nuanced aspects of their singing. Add to this her abilities as a songwriter (she contributed all the songs here) and the production of Tony Braunagel, Johnny Schell's engineering, and a fine studio band including her husband Rick on bass, Braunagel on drums, Schell on guitar, Mike Finnigan on keyboards with Kirk Fletcher adding guitar to half the twelve songs, Albert Lee to one and harp added by Pieter Van Der Pluijm or Bob Corritore, and one has some hard hitting blues and rocking R&B.

Deb Ryder has a presence that the musicians enhance throughout the variations in mood and songs. Sugaray Rayford duets with her on a funky blues "Get a Little Steam Up," while the guitars of Schell and Fletcher and Van Der Pluijm's harmonica create a swampy feel for the powerful title track where she prays for a miracle as "you can't try anymore and I can't cry anymore," as she sings about being "a moth to your flame," with the band adding an insistent backing. It is followed by "Sweet Mary Anne," a song recalling the summer of 1968, and sweet Mary Anne who everyone loved but who wanted to leave that town with crisp, punchy horns from Jim Sublett and Darrell Leonard adding to the flavor of this retro-soul rocker, while "Lord Knows I Do," is a terrific slow blues with some scintillating B.B. King styled guitar set against a stop-time accompaniment. The consistency of the performances here is noteworthy including the "River's Forgiveness," with Schell's guitar and Corritore's harp adding to the flavor of this moody performance contrasting with the frenzied boogie of "Prisoner of War," but even at this tempo, Ryder's vocal does not sound hurried or rushed.

The easy rocking shuffle "Right Side of the Grass" closes this recording. Special kudos to Finnigan's keyboards and Braunagel's solid drumming throughout this strong latest striking effort from Deb Ryder, who certainly has more than fulfilled the promise of her excellent earlier recordings.

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 promotional video for this recording.

Curtis Salgado The Beautiful Lowdown

Curtis Salgado
The Beautiful Lowdown
Alligator Records

The latest recording from veteran singer-songwriter and harmonica player Curtis Salgado, "The Beautiful Lowdown" is a solid collection of soul and blues numbers. It was co-produced with Marlon McClain and Tony Braunagel who helps him weave together a range of moods and settings from the driving Memphis Soul feel of the opening "Hard To Feel The Same About Love,"  the North Mississippi Hill Country one-chord groove (and brash slide guitar backing) of "I Know A Good Thing," to the reggae groove of "Simple Enough." Braunagel and some of his fellow Phantom Blues Band members, Johnny Lee Schell, Mike Finnigan and Larry Fulcher are among the players supporting Salgado along with Jim Pugh, and others.

I must confess often being less enamored with lyrics like "Walk A Mile In My Blues," but his tale of losing a brother to the needle and his girl to his best friend makes it powerful with punching horns and simple hard-edged guitar riffs and runs is a very strong musical statement which contrasts with the folk-soul feel of "Healing Love," with acoustic guitar and understated organ backing. "I'm Not Made That Way" is a solid blues performance with biting guitar and an insistent quality in his vocal followed by the a powerful, and very soulful, duet with Danielle Schnebelen, "Is There Something I Should Know." "Ring Telephone Ring" is a bouncy West Coast styled shuffle with Igor Prado's guitar and riffing horns. The album closes with Johnny Guitar Watson's love song "Hook Me Up," with some nice harp on a Watson number that is not often covered by blues acts. Salgado pulls it off.

Salgado explains how the album title came about. , "During a recent show, I turned to my guitarist and said, 'Play something lowdown. But make it beautiful.' Then I thought, 'Keep that.'" he not only kept that but certainly made a recording that lives up to its title "The Beautiful Lowdown."

I received my review copy from Alligator. This review originally appeared in the May-June 2016 Jazz & Blues Report (Issue 366). Here is Curtis Salgado performing "Walk A Mile In My Blues."

Deb Callahan Sweet Soul

This writer had the pleasure to see the Philadelphia based singer Deb Callahan several years back and its been way too long since I have seen her perform. In any event, this very talented vocalist has a new recording "Sweet Soul" on Blue Pearl Records. Producer by drummer Tony Braunagel, Callahan and her guitarist Allen James are joined by Braunagel, bassist Reggie McBride, keyboard wizard Mike Finnigan, and harmonica player Jimmy Powers. Johnny Lee Schell engineered this as well as added slide guitar to one selection. Callahan with either Chris Arms or Allen James wrote 8 of the 13 tunes on this with covers from Candi Staton and Clarence Carter; Tom Waits; David Egan & Buddy Flett; Rice Miller and Dr. John.

While I have sen her compared to Bonnie Raitt, only one selection "Shackin' Up," with Schell's slide guitar and a funky-rock groove suggests Ms. Raitt. Her natural and soulful delivery is more in line with say, Tracy Nelson, and she is able to fill a room, yet never sounds harsh or mannered. The Staton-Carter "Sweet Feeling" is a terrific southern soul vocal that sounds like it could have been recorded in Muscle Shoals, and "Born to Love You," an original by Callahan and Arms is a similar strong deep soul performance. "Seven States Away," is a rocking shuffle by her and James as she sings about having to drive home to Philadelphia for sweet baby and being so many states away. James lead jazzy guitar and Finnigan's greasy organ supports her honey-drenched heart-felt vocals.

Certainly having this terrific band helps make her cover of Waits' "Way Down in the Hole," with Powers on harmonica. The band's dynamics in backing her, Braunagel's touch and groove and Callahan's nuanced singing contributes to the delivery of the gospel lyric. Then there is her handling the Egan-Flett "You Don't Know Your Mind," with James contributing nifty guitar (he is such a refreshing change from so many guitar bangers out there). "Crazy About You Baby," credited to Sonny Boy Williamson is probably best known from Little Walter's recording. Ike and Tina did a marvelous rendition on the "Outta Season" album, and that is the source for her first-rate rendition here, some spicy guitar from James.

"Sweet Soul" is a marvelous recording with excellent material (both new and covers of lesser known numbers), terrific production and playing, and Deb Callahan's superb singing. Let folks compare her to Bonnie and Tracy. After listening to her, folks will be comparing other singers to her.

I received my review copy from a publicist. This review appeared in the November-December Jazz & Blues Report (Issue 363) (downloadable at jazz-blues.com) although I have made a few stylistic edits from the review that appeared there. Here is a video about the making of this recording.