The Texas Horns Blues Gotta Holda Me

 

Mark ‘Kaz’ Kazanoff may be the best known of The Texas Horns, a trio of horn players who have contributed to numerous fine recordings. Kaz brings his tenor sax and harmonica along with John Mills who plays baritone and tenor saxophones and Adalberto Gomez on trumpet to “Blues Gotta Holda Me” (VizzTone). Recorded in Austin in 2014 the three are joined by guitarist Derek O’Brien, and drummer Barry Frosty Smith along with a variety of guests who include Nick Connolly, Marcia Ball, Ronnie James, Johnny Nicholas, W.C. Clark, and Anson Funderburgh.

There is a mix of instrumentals and vocals (most of which are taken by Kazanoff) on a recording that breaks no new grounds perhaps, but makes for enjoyable listening and likely to be a favorite for dancers. The music is well played and there are plenty of strong horns solos. The standout vocal is a soulful one from W.C. Clark on Kazanoff’s original “Cold Blooded Lover,” while Marcia Ball does a credible cover of the Smiley Lewis classic recording “Go On Fool,” with the horns providing an unusual Mariachi tint to the performance.

Musically, the rendition of “You’re Driving Me Crazy” is better than Kazanoff’s bland vocal. The performance sounds like it was based on the Big Joe Turner rendition from classic “The Boss of the Blues” album on Atlantic. He takes a terrific tenor sax solo on this. Also his vocal on the Percy Mayfield classic “Lost Mind” lacks the grit of Mayfield’s original as well as the brilliance of the late Johnny Adams’ rendition. Finally, as much as he tries, he can’t bring the ebullience needed on a rendition of Louis Jordan’s “Caldonia.” Here he is company with others like Muddy Waters and Gatemouth Brown who have faltered on this.

The instrumentals are fun, finger popping tunes with the exception of a terrific rendition of “People Get Ready.” The opening “Soul Stroll” kicks this off with a nice shuffle groove while Mills’ “Kick Me Again” has a march like feel with some robust playing from Mills on the baritone and O’Brien on guitar. “Rippin’ and Trippin‘“ is a hot number for the jitterbuggers while the funking rendition of Hilton Ruiz’s ”Home Cookin’” has soulful grease from Connolly on the B–3 along with some tough playing from each of horns.

“Blues Gotta Holda Me” may not be a compelling recording, but it certainly is a fun and entertaining recording that is a welcome change of pace for blues listeners.

I received my review copy from Vizz-Tone. Here is a video of them performing.

Big Pete's Big New Blues

Big Pete Pearson
While the back of the CD cover for I’m Here Baby (Blue Witch) calls Phoenix based Big Pete Pearson a shouter, he comes across more like James Cotton crossed with a bit of Lonnie Brooks to give a sense what he sounds like.. Produced by Bob Corritore and joined by the likes of Ike Turner, Johnny Dyer, Joey Francesco, Leon Blue, Kid Ramos and W.C.Clark. The opening Too Many Drivers is a rocking shuffle in the vein Cotton excelled at with Matt Bishop providing the rollicking piano as Chris James and Johnny Rapp on guitar help push the groove while producer Corritore wails on harp. Its a good indication of what’s to come on this set of straight, no chaser blues. Leon Blue handles the ivories and Corritore is on chromatic harp on a nice version of Tin Pan Alley with a nice gritty vocal. A good song writer, his original The Way I See It, has him reaching down on his vocal, while Worried About My Baby is an easy rocking number with Johnny Dyer contributing a nice harp break on a recording that would have been at home on a vintage Chicago blues collection. I’m Here Baby, is a slow-drag bump and grind number that Pearson just pours his heart into. Ike Turner and Joey DeFrancesco are present for Big Legged Woman, a number that brings Lonnie Brooks to mind while a more West Coast flavor is on the evocative rendition of Percy Mayfield’s The Highway Is Like a Woman. Cousin W.C. Clark join on a spirited blues medley, trading verses and songs as well as the closing Texas Blues Memories. Possum Up the Tree, with Kid Ramos on guitar evokes vintage Muddy Waters while there is a down home flavor added to Natural Ball. While Texas born, Big Pete’s music sounds like he was in Chicago, not Phoenix, the past fifty years. This is an exhilarating blues disc that certainly should make him a singer in demand on the hopefully reviving blues circuit. This is a good one. Check out www.bluewitchrecords.com or www.bigpetepearson.net for more information.