Early Times & the High Rollers - The Corner

Early Times & the High Rollers
The Corner
Dealer's Choice Records/VizzTone

The publicity for Early Times describes him as a "Blues Rock street poet." This singer-guitarist-songwriter currently is deejay on Sirius-XM Bluesville. He grew up in Sacramento, California, and now lives in New York City. Besides his performances on the West Coast, he also toured and recorded with the highly underrated blues singer E.C. Scott. In New York, he currently operates a record label and recording studio and his radio activities. On this album, Early Times wrote all the songs and plays guitar, keyboards, and percussion. Others on the recording include Joshua Keith on drums, Dan Schnapp on keyboards, Hardan Long-Johnson on bass, and Jay Messina on percussion. Papa Chubby guests on guitar on one track.

What is striking are the lyrics' vivid descriptions of street life in the songs and the well-crafted backing. "Come On, Let's Ride" showcases the tough, tight ensemble sound, along with Early Times' well-crafted, stinging guitar and the presence of his vocals. He puts together fascinating, atmospheric grooves and solo for "On the Corner," where one can get whatever one wants. Then there is "Do What She Do," starting with acoustic guitar before he spins a lyric on "Do What She Do" that suggests early Bruce Springsteen singing about Ashbury Park. "She's About To Lose Her Mind," is a slow straight blues as he sings about happenings in the project park with electrifying guitar from Papa Chubby.

Other memorable performances include an instrumental, "Rosie Herbs 'N Ting," showcasing some very hot guitar from Early Times. His clever way with words is on display in "He's Got a Jones," where he adds that she has a Jody. Also of note is the reflective "Someone Help Mary," which opens with him on acoustic guitar. The organ helps generate the increasing intensity of the performance. The closing, frenzied "Return of the Queen" evokes the feel of early electric Dylan.

"The Corner" is a blues-rooted album with fascinating originals, vigorous singing and first-rate backing, making for some absorbing listening.

I received my review copy from VizzTone. Here is "Come On, Let's Ride."

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.

Danielle Miraglia Bright Shining Stars

Danielle Miraglia
Bright Shining Stars
VizzTone

Boston-based Danielle Miraglia has straddled musical genres from folk, Americana-roots, and blues as a solo artist and with her band the Glory Junkies. There have been comparisons made of her to Bonnie Raitt and Lucinda Williams. This new album highlights the folk-blues aspect of her music. It is an entertaining mix of her attractively sung renditions of classic blues with her original originals that range from blues-rooted to folk-country. She is aided on her performances by the viola of Laurence Scudder, the guitar of Peter Parcek, and the harmonica of Richard Rosenblatt.

With a gentle foot stomp, her mesmerizing guitar riff, and Scudder's melancholic viola, a brief instrumental "Sounds Like Home" leads into her rendition of "See See Rider." She is a striking singer who provides a slight folk tinge with a clean as spring water voice. Scudder's doleful viola accentuates this. Miraglia mixes in choice originals like the topical "Pick Up the Gun," a protest against gun violence as she sings that another should pick up a gun to give her a reason to shoot. Then there is "You're Gonna Make Me Lonesome When You `Go," with Parcek's stinging guitar has a feel of a Tracy Chapman styled blues. Her heartfelt singing matches her distinctive lyrics. Another similar original is "Meet Me In the Morning," with her strong guitar playing with Rosenblatt adding harmonica.

There is plenty of charm in her cover of Keb Mo's "You Can Love Yourself," with Parcek's use of sustain giving his backing a steel guitar flavor. Miraglia renders a reflective interpretation of Tampa Red's "When Things Go Wrong," although her version is based on Big Bill Broonzy's recording. She accompanies herself very effectively, displaying technique as well as restraint.

Other tracks include intriguing covers of songs by Janis Joplin and Robert Johnson. Danielle Miraglia has a melodious voice with considerable appeal, and with the backing provided, has produced a gem of roots music.

I received my review copy from VizzTone. Here Danieel performs "Sounds Like Home," and "See See Rider."

Ben Levin Carryout or Delivery

Ben Levin
Carryout or Delivery
VizzTone

About Ben Levin's previous album, "Before Me," I wrote that "he plays and sounds with a maturity far beyond his youth." I concluded, "After listening to this recording several times, I am struck by how fresh this music keeps sounding. "Before Me" is an exceptional recording." "Carryout or Delivery" is his follow-up recording recorded during the Covid-19 pandemic. Recorded in mid-June 2020, he is backed by his father Aron Levin on guitar, Oscar Bernal on drums, and Chris Douglass on bass.

Ben Levin wrote eight originals, and there are four covers. With this solid backing band, he is heard on piano, electric piano, and organ. He again impresses with his unforced, heartfelt vocals as well as his superb keyboard playing. He mixes flourishes of virtuosity with more nuanced playing. He evokes Otis Spann's piano on the opening "You Know" as he sings to his baby that if she keeps running around on him, she won't be around him much more. He displays an adroit touch on the electric piano is displayed on "Too Good For Me." "Carryout or Delivery" has a jazzy tinge with a vocal chorus, and Aron Levin adding tasty fills in addition to Ben Levin's sophisticated piano solo.

"Nola Night" is a delightful instrumental with a Latin tinge evocative of the Crescent City. Another salute to the Crescent City is a top-notch rendition of Professor Longhair's recording "Hadacol Bounce." Also of note is Levin's unrushed cover of Frank Frost's "My Back Scratcher" with him playing some restrained but greasy organ. Another selection is his introspective rendition of Floyd Dixon's "Time Brings About a Change." It is a standout rendition in the manner of Dixon and Charles Brown and closes another outstanding recording from Ben Levin.

I received a review copy from a publicist. Here is a selection from this album.

JD Taylor The Coldwater Sessions

JD Taylor
The Coldwater Sessions
VizzTone

JD Taylor is a triple threat as a singer, harmonica player, and songwriter. Formerly a member (for 25 years) of the band Little Boys Blue, "The Coldwater Sessions" is his first solo album. He brings a bunch of influences from Jimmy Reed, Junior wells to Memphis soul. Among the musicians backing him are guitarists John Hay and Landon Stone, bass guitarist Matthew Wilson, drummer Danny Banks, keyboardist Rev. Charles Hodges, brass player Mark Franklin, and saxophonist Art Edmaiston. Kevin Houston, who recorded this and co-produced it added percussion, Joe Restivo and Zack Lees each guest on guitar on a track, Mikey Junior plays harmonica on one song, and members of Southern Avenue add backing vocals.

Taylor establishes himself as a singer of nuance and passion quickly on the Jimmy Reed-styled lazy shuffle "Get Me Where You Want Me," and the funky "Ooh Wee." The latter number is built around the guitar riff of Junior Wells "Messing With the Kid," and there is a nod to Wells in Taylor's singing here. His harmonica skills are evident on both these tracks, whether the full-bodied amplified harmonica on "Get Me Where," and the warbling playing on the latter number, which also sports two crisp guitar solos with strong horn riffing in the background. Then Taylor follows up with the Memphis styled soul of "Nothing Left to Stay," sung with warmth and heartfelt emotion. Another convincing slice of deep soul is "At First Glance."

There is also a funky Chicago-styled blues, the easy rocking shuffle, "By All Means" which features Joe Restivo's solid, straight-forward guitar. Landon Stone sparkles on guitar on both the funky, "It Ain't Real Deal," and the quick-paced shuffle "Hanging On." There is another lazy Jimmy Reed styled shuffle, "Honey Honey Baby," where Taylor channels Reed as a singer and harmonica player. Mikey Junior wrote, added harmonica, and shared the vocal on the blues he penned, "Anastasia," an atmospheric performance.

Closing this release is "The Coldwater Swing" is a high stepping instrumental that may evoke the theme from The American Bandstand TV show. It features superb guitar from Zach Lees and Jon Hay and sterling harmonica. It is a splendid finale to a superlative album of first-rate blues and soul music.

I received my review copy from VizzTone. Here is a video of a 2019 performance involving JD Taylor.

Lloyd Jones Tennessee Run

Lloyd Jones
Tennessee Run
VizzTone

I have been a fan of Lloyd Jones since listening to his Trouble Monkey CD nearly 25 years ago. I found appealing his mix of blues and funk with a voice suggestive of Delbert McClinton (they have similar voices) and a guitar style that could evoke Guitar Slim, amongst others. Jones recently participated as part of McClinton's Sandy Beaches Cruise. He was then invited by McClinton's longtime keyboard player, Kevin McKendree, to record at McKendree's Rock House studio in Franklin, Tennessee. With McKendree on keyboards, Steve MacKay on bass, Kevin Blevins on drums, Jim Hoke on saxophone, Quentin Ware on trumpet, Roy Agee on trombone, and others, he put forth 14 songs, all composed in whole or in part by Jones. McClinton guests on one selection, as does Teresa James.

There is a classic R & B feel to many of these performances that open with "You Got Me Good." This song begins with a driving bass line evocative of "I Can't Turn You Loose," as Jones celebrates his lady who he asks how she got so sweet," Did you have to steal it from the bees/ Did you scratch up your knees/Climbing up all those trees." It is set against a tough horn backing and sung with total conviction. This whole album is well sung with pretty of enthusiasm and grit. Another noteworthy track is the rock and roll of "I Wish I Could Remember Loving You." It has the feel of a Chuck Berry song with McKendree channeling Johnnie Johnson with his rollicking piano. Teresa James adds a harmony vocal here while McClinton is heard with Jones on "Everybody's Somebody's Fool," with the songs down-home philosophy.

Other songs include a novelty number about misplacing one's phone, "Where's My Phone?" "A True Love Never Dies" is a terrific southern soul-styled ballad with one of Jones' most heartfelt singing and a superb, focused guitar solo. A New Orleans second-line groove enlivens "Bayou Blues" and "That's All I Want." The latter number also places the spotlight on Jim Hoke's raspy baritone sax. "Turn Me Loose" is a jump blues with a nifty guitar solo as Jones pleads to his woman that she doesn't love him anymore, so turn him loose.

Those familiar with Lloyd Jones will find much too enjoy here as I suspect Delbert McClinton fans will also. Jones sings and plays with energy and fervor supported by some top-notch playing. The accompanying booklet provides the lyrics, and one should not be surprised if other artists cover some of the songs. Kevin McKendree's production, in addition to his keyboards, is another factor resulting in a first-class recording.

I received my review copy from a publicist. Here is Lloyd Jones in performance.

Tony Holiday Soul Service

Tony Holiday
Soul Service
VizzTone

The Memphis-based Tony Holiday came to my attention with his "Porch Sessions," that featured his collaborations with several blues performers. It was a highly entertaining recording, although it showcased his guests as much, if not more, than Holiday himself. This is rectified in this new release. It places his songwriting and singing to the forefront along with his harmonica playing. Ori Naftaly, of the group Southern Avenue, produced this album that was recorded at Zebra Ranch, the Dickinson family studio in Independence, Mississippi. In addition to Holiday's vocals and harmonica, this recording features Landon Stone on guitar, Max Kaplan on bass and background vocals, Danny Banks on drums, and special guests Naftaly on guitar and Victor Wainwright on keyboards. Holiday wrote all eight songs (some with John Nemeth).

Holiday is a very good, straight-forward singer with a fat tone on the harmonica. He also is a songwriter with a way to craft memorable tunes starting with "Payin' Rent on a Broken Home," a song with a catchy bass figure that may evoke an Albert King number. There is plenty to enjoy in the songs on this album from the Chicago blues of the opening number to the rocking flavor of "She Knocks Me Out," with Stone's keen slide guitar and Wainwright's boogie piano. "It's Gonna Take Some Time" is a marvelous swamp pop flavored number with Stone adding twang while Holiday sounds like he is channeling Lazy Lester here. Perhaps the top track is "Good Advice," where he strings together of various homilies his grandma gave as good advice. It is played at such a nice tempo. Holiday lays down exceptional chromatic harmonica on "Checkers on the Chessboard," and The Hustle." on "Checkers," Wainwright adds a marvelous keyboard accompaniment. The closing "Ol' Number Nine" is a solid piece of Rolling Stones' flavored rock and roll.

One might complain about the short playing time (only 30 minutes), but there is little fat or gristle in these performances that provide a welcome showcase of Tony Holiday's music.

I received my review copy from VizzTone Records. Here are Tony Holiday and Max Kaplan performing ""It's Gonna Take Some Time."

Casey Hensley Good As Gone

Casey Hensley
Good As Gone
Vizztone

When Big Brother & the Holding Company opened for Love at the Fillmore in San Francisco, Love's Arthur Lee said, in effect, after watching Janis Joplin, that "screaming ain't soulful." To these ears, I would apply this to Casey Hensley's singing. There can be no question that she brings plenty of power and passion to her performances, just like Joplin. Hensley has a tendency to comes across as overwrought for my taste, although there are songs on which she displays restraint. Tastes will differ, and undoubtedly many of you will respond much more favorably to her singing than I do.

My reservations are a shame since she certainly has a certain charisma about her, and she has a terrific supporting band led by guitarist Laura Chavez, who also produced this recording. Chavez is a guitarist who commands attention as much as Hensley may as a singer. Chavez lays down some slashing guitar on the opening "Good As Gone," with some unexpected twists and turns in the solo. Then on "You Should Be So Lucky," Chavez evokes Magic Sam but expands on the West Side Chicago blues legend's approach with her own extension of it.

There are songs such as the easy swinging, "What Do You Say," with Hensley taking a tempered approach to her vocals. Another song that stands out is "Love Will Break Your Heart," where Chavez evokes Ike Turner with some shattering fretwork. Then there is the soulful ballad, "Don't Want It to Stop," that illustrates just how good a songwriter she is. Given the first-rate songs, the excellent backing she receives, and Laura Chavez's striking guitar, it is frustrating to not be able to praise without reservations about her singing. I realize that my reservations may be in the minority.

I received my review copy from VizzTone. Here is a live performance by Casey Hensley.

Backtrack Blues Band Your Baby Has Left

Backtrack Blues Band
Your Baby Has Left
VizzTone

Backtrack Blues Band has been performing blues around the Tampa Bay region since 1980, and "Your Baby Has Left" is their 7th album. The harmonica and vocals of Sonny Charles, as well as the lead guitar and vocals of Kid Royal, are upfront. The rhythm guitar of Little Johnny Walker, the bass of Stick Davis, and the drums of Joe Bencomo fill out this band. Bruce Katz contributes keyboards, and backing vocalists and horns are heard on several selections.

The music on "Your Baby Has Left" is straight-forward Chicago-styled blues that they perform in a solid, nicely paced manner. The opening "Best Friend's Grave (Joy, Joy, Joy)," has a strange lyric about burying his best friend but everyone dancing and singing 'Joy, Joy, Joy,' around his grave. It does have a robust vocal from Sonny Charles, who also lays out his fat harmonica sound. Kid Royal also impresses with bruce Katz helping with the foundation with greasy organ, and the rhythm is solid. The title track is a rocking boogie with a wailing vocal and harmonica. Then there is "Dixie Grill," a rocking shuffle about a place to get one's fill of some Carolina cooking. Kid Royal ably handles the vocal on Jimmy Reed's "Natural Born Lover," the one cover.

Kid Royal takes a searing solo behind Sonny Charles' vocal on "You'll Come Back Someday," and sings and plays fervently on the closing "Times is Hard." This track is a slow, down in the alley blues with more excellent fretwork (perhaps his best playing here) along with moaning backing horns and Sonny Charles' horn-like harmonica. It caps a very entertaining, straight-ahead album of Chicago-styled blues.

I received my review copy from VizzTone. Here they perform "Best Friend's Grave."

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.

11 Guys Quartet Small Blues and Grooves

11 Guys Quartet
Small Blues and Grooves
VizzTone

The 11th Hour Band was an early 1980s band comprised of Paul Lenart on guitar, Bill 'Coach' Mather on bass, Chuck Purro on drums and Richard Rosenblatt on harmonica. In 1985 they released an album on the fledging Tone-Cool label, and then went on various pursuits, although still playing off and on together. In 2008 they got in the studio to record some instrumentals which now are issued for the first time.

There is nothing fancy or overly flashy relating to these tight, straight-forward blues instrumentals recorded without any pretense. There are lively grooves and allusions to some famous blues numbers such as "Road Trippin,'" which evokes "Hideaway," and the country-tinged "Jackrabbit," that hints at "Steel Guitar Rag." Both Rosenblatt's atmospheric harmonica playing and Lenart's mix of chords and sizzling single-note runs are provided solid functional support by Mather and Purro. There is the moody "Sleepless" with Rosenblatt's harp taking the lead which contrasts with the hard-rocking "East Cambridge Cannonball" where Rosenblatt takes the first solo with Lenart's biting guitar prominent towards the end.

With plenty of trebly guitar, Lenart's guitar lead is supported by Rosenblatt's vocalized harp playing on the appropriately named "Down and Dirty." "Hey Daddyo" sounds like a tribute to Bo Diddley with Lenart evoking the late legend's sound. "Midnight Streetcar," is a moody instrumental that showcases Rosenblatt's fine harmonica playing. With echoes of Slim Harpo's "Tip On In," the swamp-blues flavored "Swamp Ride" closes a very entertaining recording. I won't make any claim that this is a timeless, classic blues recording. Still, the 11 Guys Quartet has produced an all-instrumental blues album that is well-played and thoroughly engaging.

I received my review copy from VizzTone.

Chris 'Bad News' Barnes Live

Chris 'Bad News' Barnes
Live
VizzTone

Introduced as from Hells Kitchen in New York City, Chris Barnes logged over 2000 performances as a member of Chicago's Second City comedy troupe. With that background, he brings a certain live dynamism to a blues concert stage. This CD was recorded on the Legendary Rhythm & Blues Cruise, produced by Tony Braunagel and engineered by Johnny Lee Schell, both of the Legendary Blues Band. His backing band includes the remarkable Steve Guyger on harmonica, Gary Huey on guitar, Sandy McDonald on piano, A.J. Pappas on bass, Matt Scurfield on drums, Mark Earley on sax, Doug Woolverton on trumpet and Gracie Curran on backing vocals.

This is party music played loud and sometimes lacking in subtlety as best illustrated by Barnes doing his original, "Hungry & Horny" set to the music of Earl King's "Come On (Let the Good Times Roll)." As he huskily shouts out his vocals, he receives tight, brassy backing. Sometimes the musicians rock out as guitarist Huey overplays on the cover of Muddy Waters' hit "Hootchie Cootchie Man." It is arguably Barnes' weakest vocal. Then Little Walter's "Boom Boom (Out Go The Lights" is taken as at too fast a tempo.

There is a credible rendition of Bo Diddley's "You Can't Judge a Book By Its Cover," and an imaginative rearranging arrangement of "It's Tight Like That," set to a "Bo Diddley' groove. Also, Big Bill's Broonzy "Keep Your Mind To It" is set to an understated New Orleans groove with exceptional solos from Sandy McDonald and Steve Guyger. There is also covers of Don Nix's "Going Down," and the Allman Brothers' "Whipping Post," with the latter number showcasing Huey's blues-rock slide guitar.

The CD closes with the Eddie Floyd classic, "Raise Your Hand." It has one of Barnes' better vocals. The performances here display his showmanship. and if he is not a consistently compelling blues performer, Chris Barnes is an entertaining one. This CD certainly will enliven many a party.

I received my review copy from Vizztone. Here he performs "Raise Your Hand."

Rick Vito Soulshaker

Rick Vito
Soulshaker
VizzTone

Rick Vito has had quite a career stretching back to the 1970s. He has played or recorded with Bob Seger, Bonnie Raitt, John Mayall, Roger McGuinn, Boz Scaggs, Dolly Parton, John Prine, Delbert McClinton, Roy Orbison, Jackson Browne, and others. Vito also was a member of Fleetwood Mac and fronted Mick Fleetwood's Blues Band for several years. On "Soulshaker," he plays guitar, bass, and keyboards besides singing. He also produced this recording. Charles 'Mojo' Johnson plays drums on nine of the 12 tracks while Rick Reed plays on the other three. Kevin McKendree plays on organ on one track, Mark Horwitz guests on organ and Charles Harrison plays organ on two tracks.

While I understand Vito is well known for his slide work, I did not know what to expect when I started listening to "She's Just Too Fine." It is one of the ten songs Vito wrote or co-wrote. This performance was quite striking with its Jimmy Reed styled boogie groove, Vito's distinctive, focused driving slide guitar and a relaxed, natural vocal delivery. It set the tone for this entire recording no matter whether it was more in a blues-rock vein. His restraint as a singer and a musician adds to the impact of his performances. His ability to create an atmosphere during a performance is heard on "I've Got a Secret." It is followed by the high stepping boogie groove of "I Do Believe," with more dazzling slide guitar.

With Kevin McKendree on organ, he revives the classic Jackie Wilson recording "Doggin' Around," while evoking Santo and Johnny with his playing. Another fascinating instrumental is his original "Soul Shadows" with supportive drumming from 'Mojo' Johnson. "Dancin' Little Sister" is an excellent rock and roll blues taken at a brisk tempo, but not too fast. Vito sings the catchy lyric and dazzles with his slide guitar. The pace gets even hotter on his exuberant gospel, blues-rocker, "I'm Going to Heaven." On "Promise Land," he again returns to a Jimmy Reed groove with some engaging resonator guitar playing against his relaxed singing.

"Soulshaker" closes with a stunning instrumental rendition of Sam Cooke's "A Change Is Gonna Come." Vito's slide guitar tone, his musical ideas, and the restraint he plays with are all exhibited here. Rick Vito impressed this listener with his songs, his singing and sterling musicianship. The result is this fabulous CD.

I received my review copy from Vizztone. This review appeared in the September-October 2019 Jazz & Blues Report (Issue 386), although I made minor stylistic changes. Here is Rick performing
"A Change Is Gonna Come."

Heather Newman Rise From the Flames

Heather Newman
Rise From the Flames
VizzTone

"Rise From the Flames" is the second album from bassist-vocalist Heather Newman. About her earlier album, "Burn Me Alive," I concluded, "With the strong, empathic support by her band throughout, Heather Newman impresses with her wholehearted, passionate vocals on a most noteworthy recording debut." Here she is with her Kansas City band of Ryan Matthew (vocals/keys/percussion), Keith Ladd (lead guitar), and Adam Watson (drums), with guest appearances by Michael Lefever (saxophone) and Teddy Krulewich (trumpet). She wrote all 13 songs inspired by the end of a relationship and her dealing with consequences of this.

Since I first heard Heather on a Nick Schnebelen Band recording. I found her singing was striking as I praised her phrasing and pitch as spot on. Also, I found her delivery and her vocal dynamics impressive, especially with the judicious use of a lioness growl. There is nothing on this recording that would cause me to change that. She handles the ups and downs of relationships on these well-crafted songs. She might question her former lover's choice of a new lover on "She Sure Looks a Lot Like Me," while on the title track where she talks about coping and that she will rise from the flames of a broken relationship. Ladd's guitar impresses on the title track, "Water and Wine," "Coming Home," and other selections. "Lonely on Beale" has a funky groove as she sings about being left lonely with the horns honking in the accompaniment, while she pours everything into "His Soul," against the insistent accompaniment and Matthew's deft electric piano solo. Understated accompaniment with acoustic guitar enhances Newman's wistful singing on "Take It Slow." In contrast, "Coming Home" has a funkier feel and punchy horns.

Her supporting band impresses throughout these well-paced performances that never come off as frenzied or rushed. The band provides supple backing, and the focused solos and the production allows the listeners to savor her soulful, nuanced vocals and the splendid support provided her." "Rise From the Flames" is another marvelous Heather Newman recording.

I received my review copy from VizzTone.  This review appeared in the September-October 2019 Jazz & Blues Report (Issue 386), although I made minor stylistic changes. Here is Heather Newman at a recent performance.

 

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."

Gracie Curran & Friends Come Undone

Gracie Curran & Friends
Come Undone
VizzTone

Originally from Boston but now living in Memphis, "Come Undone" is singer and songwriter Gracie Curran's second release. Her first album, 'Proof of Love," was nominated for a Blues Music Award as Best New Artist Debut. She co-produced this new release with Damon Fowler who plays guitar on it — also playing on this Matt Walker on guitar, bass and Wurlitzer; Pat Harrington on guitar on the first track; Victor Wainwright and Jeremy Powell each playing on keyboards for two of the eight tunes; Doug Woolverton on trumpet; Mark Earley on sax; and Reba Russell on backing vocals.

Some of the publicity material compare her vocals to that of Mavis Staples. I would not go quite that far, but she certainly impresses the listener on the title track, which is a very appealing serving of Memphis soul with a reggae accent. In contrast, "Ernestine" is a folk-roots styled performance with Reba Russell complementing her country-flavored singing. "Stay Up!" is a jump-style party blues with plenty of swagger in her vocal with a crisp guitar solo and the horns doing a call and response with each other. Trebly guitar adds to the atmosphere to her insistent vocal on "The Things We Like" as she sings about not wanting to but having to let one go.

"Sweet Sativa" is a blues about marijuana with stinging slide guitar (could be lap steel guitar) taken at loping tempo. "If Mama Ain't Happy" is a rocking blues with some outstanding piano from Wainwright and a brief, crisp guitar solo. Perhaps the most outstanding song is a soulful ballad, "Love Is The Cruelest Thing I Know," It shows how nuanced a singer she is and how convincing she is with the restraint exhibited here. The closing track "Chasing Sunset" shits gears to a delightful country roots rocker.

The strength of Gracie Curran's performances is that while she can belt out a lyric, she focuses more on timing, phrasing, and vocal dynamics. The songs were fascinating, and the backing excellent. The only fault might be the eight songs only last a little over a half-hour. There are no complaints about the actual music heard on a very notable album.

I received my review copy from VizzTone. Here is a performance of "Come Undone."

Ben Levin Before Me

Ben Levin
Before Me
VizzTone

Listening to Ben Levin, one might believe as annotator Mark Thompson observes, is a "product of decades of long nights in dark clubs and smoky juke joints." He has just finished his first year of college even though he plays and sounds with a maturity far beyond his youth. He is from Cincinnati and been playing since he was 11. This is his second recording, and he is backed by Chris Douglas on bass, Oscar Bernal on drums along with his father, Aron Levin on several tracks. Bob Margolin on guitar and Bob Corritore on harmonica are several selections, while legendary King Records drummer Phillip Paul plays on two of the 12 songs.

One is impressed not merely by his solid blues piano technique, but the maturity he displays. His maturity is shown by the fact he never sounds like he is trying to impress people, but simply plays what sounds right. The opening track is a rendition of Big Bill Broonzy's "I Feel So Good." It is based on Muddy Waters' version with Margolin and Corritore helping provide the Chicago blues feel. In addition to his piano, he sings with an appealing, straight-forward, understated delivery. His approach is at the root of a memorable interpretation of Jay McShann's "Confessin' the Blues," with Corritore providing some horn-like harmonica and Margolin in a jazzy vein.

"Before Me" is an original that evokes classic Fats Domino that illustrates his touch, restraint, and taste. Much the same can be said about his playing on the instrumental, "Creole Kitchen." This is a striking tribute to Professor Longhair and other New Orleans piano professors. Phillip Paul takes over the drum chair for the cover of a Freddie King recording, "Lonesome Whistle Blues." This cover features a convincing vocal delivery, strong string-bending from Bob Margolin and an understated piano solo. Then there is "So Soon," an atmospheric blues with some effective spare piano.

Otis Spann's influence is evident during the interpretation of a James Cotton instrumental, "Lightnin'," with Margolin and Corritore capturing the flavor on the solid Chicago blues. Levin, Margolin, and Corritore collaborated on the closing instrumental "Open Late," that sounds like an unreleased Otis Spann slow blues with Corritore on chromatic harmonica. I was not familiar with Ben Levin before this recording. I was impressed by his talent and his musical sense from the first time I heard "I Feel So Good." After listening to this recording several times, I am struck by how fresh this music keeps sounding. "Before Me" is an exceptional recording.

I received my review copy from VizzTone. This review appeared in the September-October 2019 Jazz & Blues Report (Issue 386). Here is a video of Ben with Bob Margolin on guitar and Phillip Paul on drums.

 

Gaye Adegbalola The Griot

Gaye Adegbalola
The Griot
VizzTone

On the back cover of Gaye Adegbalola's new album, "The Griot," she provides a definition of The Griot as "a member of a class of traveling poets, musicians, and storytellers who maintain a tradition of oral history on parts of West Africa … and on this CD." On the second selection of this Cd "Definition: The Griot," she does a recitation set against Jackie Merritt's bones accompaniment that among other things observes The Griot is also "a REPOSITORY, a LIVING ARCHIVE … of Oral History." Additionally, the griot is, in part, a singer, seeker, teacher, preacher, "the entertainer, the unchainer, the keeper of our history, the remover of whitewashed mystery." This should give a sense of the spirit that infuses this recording, much of which might be termed 'protest' songs, but I prefer the term truth songs that the late street gospel singer Flora Molton termed some of her recordings. On this latest musical journey of mostly original songs, she is backed by her co-producer Jeff Covert on electric and acoustics, drums, bass, banjo and keyboards; her own acoustic guitar and harmonica; Roddy Barnes on piano on several selections; Reesa Gibbs on chant and backing vocals on several tracks; Jackie Merritt on bones on three tracks and a horn section led by trumpeter Zack Smith.

There is a definite tinge of anger in her vocals on such tunes as "Nothing has Changed" where she recalls sit-ins and picket lines, dogs, water hoses, burning crosses and lynchings as well as James Byrd dragged by a truck, and brings us up to date singing about the KKK and Nazis marching in Charlottesville with a chorus of "How Can I Be Angry?" There's been some change it's true. Too slowly in my lifetime, much more we can do." Set against a smoldering blues-rock backing and a bit of acid in her vocal, it sets a tone for this remarkable recording. The mood is present in "Hypocrisy: Liearrhia," where she confronts the discourse of the day "You've got a bad case of liearrhia/ You keep running off at the mouth/ Your tongue comes from the devil/ And your truth is crapping out … ."

She addresses female genital mutilation in "Sexism: FGM," with a middle eastern tinge to the vocal as she sings how she will fight to prevent one from taking a woman's Joy. There are also lyrics addressing poverty in a blues track subtitled "Dirty Sheets" with biting guitar; pollution in "Flint Water" set against a rollicking shuffle groove with Covert's Allman Brothers' inspired slide guitar; and protest on "Kaepernicked" where she proclaims him her new Muhammad Ali.

There are several covers including Doc Pomus and Kenny Hirsch's "(There is Always) One More Time" to illustrate hope; the Bessie Smith classic (also done by Nina Simone) she has been singing since her days with Saffire-the Uppity Blues Women three and a half decades ago, "Need a Little Sugar in My Bowl"; and a modern arrangement of Ma Rainey's "Jelly Bean Blues" that closes this CD. "The Groit" has provocative songs along with Gaye Adegbalola's most passionate singing. It makes for compelling listening.

I received my review copy from Vizztone. This review appeared in the July-August 2019 Jazz & Blues Report (Issue 385). Here is a video of Gaye Adegbalola performing at a 2019 House Concert.

Tony Holiday Porch Sessions

Tony Holiday
Porch Sessions
VizzTone

I am not familiar with harmonica player Holiday and guitarist Landon Stone, but the two have been traveling around the country, playing with and recording with a variety of blues folks. With Kid Andersen adding his bass, they ended up with this enjoyable recording with 13 tracks. They hook up on this recording with such artists as Charlie Musselwhite, James Harmon, John Nemeth, John Primer, Bob Corritore, Kid Andersen, Aki Kumar, Rockin’ Johnny Burgin, Kid Ramos, and Mitch Kashmar for a collection of enjoyable, informal blues performances.

Holiday is on harmonica on these tracks but is glad to have others take the spotlight starting with James Harman's whose amusing shuffle "Pickpocket Fingers," has a fine vocal and Kid Ramos adds his guitar. Holiday takes the harmonica chair on Harman's excellent vocal on "Special Friend," while he and Holiday both are heard on a nice country blues styled shuffle, "Goin' To Court." Bob Corritore adds harp behind John Primer's superb Muddy Waters' styled blues "They Call Me John Primer," with a terrific vocal and slide guitar in the vein of Waters with whom Primer played with. Primer also sounds terrific on Howlin' Wolf's "Tell Me Baby" with Corritore wailing on harmonica. Jake Friel sings gruffly on "A Woman Named Trouble" with John Nemeth adding harmonica along with Holiday. Nemeth takes a strong vocal on "Blues Hit Big Town," with Holiday's harmonica taking the tune out.

Aki Kumar sings on "That's All Right" with Charlie Musselwhite and Holiday also on harmonica. Rockin' Johnny adds his guitar on this entertaining, informal jam of a blues classic. It's like the other performances, fun and very entertaining if not classic. Holiday is an able singer as displayed on "Three Way Party" where the third person at the party is a bottle of Jim Beam with Mitch Kashmar and Ronnie Shellist both adding harmonica accompaniment and solos. Rockin' Johnny adds atmospheric guitar behind Holiday on "Coin Operated Woman," a nicely sung humorous lyric. "Hip To It" is a harmonica trio with some intriguing interplay between Kashmar, Shellist and Holiday.

While most of the recording is of Chicago styled blues, the closing track is a small group rendition of an old Bobby Bland number, "This Time I’m Gone For Good," that the late Johnny Adams recorded on his final album. William G. Kidd, a blue-eyed soul-blues singer, who is originally from Virginia, is excellent on this with Ronnie Shellist on harmonica. It is the highpoint of this CD along with the Primer tracks, but the level of these informal recordings is high. One does wish that the packaging provided more detailed information on who was doing what on each selection, and also that Holiday showcased himself up front a bit more, but few will listen to this and not be highly entertained.

I received my review copy from VizzTone. Here is one of several videos from Tony Holiday's Front Porch Sessions, Ali Kumar singing "That's All Right" with Charlie Musselwhite and others on Musselwhite's Front Porch.