Scott Ramminger Rise Up

Scott Ramminger
Rise Up
Arbor Lane Music

I wrote about Scott Ramminger's last studio album that Scott "writes real good songs, is a most engaging singer and a strong saxophonist who backs himself with some stellar players. The result is another helping of real fine musical gumbo." Since then he issued a live album in the same vein. It included a couple of my photos, so I did not review it. This one is a bit different from his previous studio albums that had been heavy on horn sections and backing vocals. About this recording, Scott says, "I set out trying to make a record that had a slightly different sonic footprint, sort of a stripped down, more acoustic vibe. I hired a fine jazz drummer and upright bass player. And at one point, with my producer hat on, I asked them to play less like we were at Blues Alley (a famous DC jazz club) and more like we were playing in a Brooklyn strip club in about 1960,"

Rise Up features only five players -- Ramminger on vocals and tenor sax; Wes Lanich on piano and Hammond B3, Shane Theriot on guitar, Paul Langosch on upright bass, and Emre Kartari on drums. They tackle eight songs on this CD. Scott's laconic, grainy vocals deliver his sometimes self-deprecating vocals with the right sense of humor and irony, while his sax flows like a nice stiff drink. The band is terrific laying down the right grooves. Pianist Lanich is excellent with his mix of bop and New Orleans rumba, while Theriot (former Neville Brothers guitarist) wails whether playing straight or stinging slide (as on "88 Reasons" where Ramminger's woman gives him reasons to cry).

The material ranges from songs about failing relationships to the topicality of the title track with its funky groove (Lanich on organ) and his acerbic sax as he sings about corrupt politicians, children hungry and immigrants vilified and we have to stop this madness before its too late. He has a robust and passionate sax solo here. Elsewhere his sax is overdubbed to be part of the vocal accompaniment.

Ramminger's songs resonate with memorable lyrics and the rhythm duo of Langosch and Kartari provide a steady groove like in "Lemonade Blues," a slow blues that opens "Life gave me lemons, so I made some lemonade, … I got no sugar in my cupboard, so this stuff don't taste that great." The only complaint is the relatively short playing time, but there is no fat or gristle heard in the eight songs on another entertaining CD from Scott Ramminger.

I received my review copy from a publicist. This review appeared in the July-August 2019 Jazz & Blues Report (Issue 385). Here is Scott Ramminger performing.

 

Moonshine Society Sweet Thing

Moonshine Society
Sweet Thing
Mojo Music Group

"Sweet Thing" is the second album by the DC area band, Moonshine Society. The core of the band is guitarist Joe Poppen and vocalist Black Betty (Jenny Langer), along with bassist Chris Brown and drummer Rodney Dutton and they have developed their blues and roots music stew. Lending support on some of the tracks are keyboardists Wes Lanich and Benjie Porecki, bassist Tod Ellsworth, and the horns of the great Ron Holloway, Vince McCool and Ken Wenzel. Jason Ricci's harmonica was added onto two tracks. Black Betty and Poppen, when not fronting Moonshine Society, are members of The Ron Holloway Band.

There is a fascinating mix of blues, blues-rock, and soul starting with the opening title track that was penned by Langer. It might be viewed as an answer song to Muddy Water's "Mannish Boy," with Ricci providing some energetic harmonica behind Langer's insistent vocal as she tells her man not to play games with her. "Shake" has a nice groove with a riff that evokes Nick Gravenites "Born in Chicago." Langer sings about going out and dancing the night away with Poppen laying down some fiery single note runs while Holloway has a booting solo. A particular standout selection is the reworking of the Ruth Brown hit, "Mama, He Treats Your Daughter Mean." It is set to a New Orleans second-line groove with Porecki on piano laying down some Crescent City styled piano. Vince McCool takes a brief, fiery trumpet solo, and Holloway on tenor sax and Wenzel on baritone sax take robust solos with the three horns leading the second line until performance fade out. Langer's "Come On Home" is a stunning performance in a Memphis soul style with Porecki channeling Booker T and Poppen evoking Steve Cropper.

There is a tribute to Johnny Winter on "Southern Road," which is more in a blues-rock vein with Ricci adding to this wide-open performance. Another highlight is a mash-up of Bill Withers' "Use Me" and Dr. John's "On Gilded Splinters," with her striking vocal backed by Poppen's explosive blues-rock guitar. Langer ably covers Etta James' "I'd Rather Go Blind," with a nicely shaped guitar solo and backing Langer whose vocal builds with passion as the performance unfolds. "Deal the Devil Made" contrasts with a more restrained vocal and backing. Poppen takes a solo on acoustic guitar on this selection.

A bonus track, "The One Who Got Away," is included. It was recorded in cooperation with "Cancer Can Rock," with a different backing band but also serves as another example of Langer's powerful, focused singing. It adds to the pleasures of an impressive recording.

I received my review copy from a publicist. Here is a video of a recent live performance of "Sweet Thing."