Howlin' At Greaseland

Various
Howlin' At Greaseland
West Tone Records

Some veterans and new names join together for a tribute to Howlin' Wolf that was recorded at Kid Andersen's' Greaseland studio and has a cover inspired by Wolf's Rockin' Chair album. Assembled for this besides Andersen on guitar, bass and piano, are Rick Estrin and Aki Kumar on harp, Lorenzo Farrell, Jim Pugh and Henry Gray on piano, Rockin' Johnny Burgin, Johnny Cat, and Chris James on guitar; Joe Kyle Jr, Patrick Rynn, Robby Yamilov and Vance Ehlers on bass; Derrick Dmar Martin, and Junior Core on drums; and Terry Hanck on sax, with vocals from Gray, Hanck, Alabama Mike John Blues Boyd, Lee Donald and Tail Dragger on vocals.

There are solidly played and sung performances in the manner of the originals, if not quite of the level of the originals. After all, there was only one Howlin' Wolf. Alabama Mike sings with urgency on "Meet Me In The Bottom," with Estrin's harmonica and Farrell's piano featured while "Smokestack Lightning," has the first of Boyd's vocals with Estrin doing a nice evocation of Wolf's harp over the solid vocal. Boyd also recalled seeing Wolf in 1956 visiting a school friend of his before launching into a rollicking "Riding in the Moonlight," with the spirit of Willie Johnson suggested in the guitar backing. After recalling, his father booking Howlin' Wolf in the sixties in suburban Chicago, Terry Hanck handles "Howlin' For My Darling," with a fine vocal and strong sax, while Johnny Cat emulates Hubert Sumlin.

Tail Dragger has a couple of recollections of Wolf here along with performances of "I'm Leaving You," and "Don't Trust No Woman," with his slightly muffled vocals with strong accompaniment from Rockin' Johnny Burgin on guitar, and Aki Kumar on harp. Henry Gray, who spent 14 years in Wolf's band, is backed by Chris James, Patrick Rynn, Ali Kumar (who shares the vocal) and Junior Core, doing a solid "Worried Life Blues." I believe this is the only song here not identified with Wolf. Also, Gray sings and plays "Little Red Rooster, with Kid Andersen's acoustic guitar the only other backing.

I am not familiar with Lee Donald, who is the strong vocalist on "Forty Four," and Boyd sings robustly on "Spoonful" that closes "Howlin' At Greaseland." While there is nothing earthshaking here, this is a fine, straightforward homage to one of the icons of the blues.

I received my review copy from a publicist. Here is John 'Blues' Boyd singing a Wolf classic not on this album, "Back Door Man."

Rockin' Johnny Burgin Neoprene Fedora

Rockin' Johnny Burgin
Neoprene Fedora
West Tone Records

This new release is a follow-up to "Greetings From Greaseland," and further chronicles Burgin's move to California from Chicago. Like the early recording, this was recorded by Kid Andersen (who plays guitar, bass, baritone guitar and piano on various tracks) at his Greaseland Studio. Others backing Burgin include Ali Kumar on harmonica and a couple vocals; Bob Welsh on guitar and piano; bassist Vance Ehlers; drummer June Core; drummer Stephen Dougherty; saxophonist Nancy Wright and accordion player Steve Willis.

There is a mix of material from the opening title track, an instrumental that bridges blues, surf and Tex-Mex guitar on a tune that deconstructs the melody of Herbie Mann hit "Comin' Home Baby" with Wight's raspy sax adding atmosphere behind Burgin's tremolo laced runs then transitions into a "Night Train" inspired segment segueing into a "Bo Diddley" beat groove with some Chuck Berry styled guitar. This tour de force is followed by a West Side Chicago blues "Guitar King" which suggests Otis Rush crossed with Jimmy Dawkins. Burgin is an amiable singer, if not a great one. He is convincing on "Won't Get Married Again," in the manner of the legendary Eddie Taylor. "Let Me Be Your Teddy Bear," has Magic Sam styled guitar with uncluttered backing reminiscent of Eddie C. Campbell.

Alabama Mike wonderfully handles the lead vocal on "Smoke and Mirrors," with its syncopated Byther Smith meets Bobby Rush accompaniment. Mike's other vocal is a nice soul ballad, "I Did The Best I Could," with a bluesy solo from Burgin. Besides the nods to Chicago blues, "Kinda Wild Women" is a zydeco flavored dance number followed by an attractive swamp pop ballad, "Please Tell Me," and "Our Time Is Short" is a waltz that employs the "Jole Blonde" melody. On this musical trip to the bayou, there is solid accordion and rubboard. "Self-Made Man" with shattering Jimmy Dawkins' flavored guitar along with Aki Kumar's reedy singing and terrific full-bodied chromatic harmonica. "I Ain't Gonna Be Working Man No More" brings back memories of the greatly underrated Johnny Littlejohn's "Chips Flying Everywhere," both with the interesting syncopation of rhythm.

"Goodbye Chicago" musically evokes Howlin' Wolf as Burgin sings about why he is going to California and has to put the Windy City down. As the song progresses he recites a list of Blues artists he played with in Chicago, and quite an impressive list it is. Wright takes a terrific tenor sax solo in the manner of Eddie Shaw on this. It closes another fine recording by Rocking Johnny Burgin who displays his deep Chicago blues roots while incorporating other sounds into his fertile musical garden.

I received a download from the artist from which I was able to do this review. Here is a video of Johnny and Ali Kumar performing in Finland.

The Lucky Losers Play A Winning Hand

The Lucky Losers
A Winning Hand
West Tone Records

The Lucky Losers are singer Cathy Lemons and singer-harmonica player Phil Berkowitz backed by a strong band on a program of blues, rhythm and blues classics and blues-rooted rock, "A Winning Hand" (West Tone Records). The backing band includes Marvin Greene and Kid Andersen (with Steve Freund on one track); Steve Evans, Steve Hazelwood or Joe Kyle on bass; Robi Bean or Jay Hansen on drums; and Chris Burns or Kevin Zuffi on keyboards with horns added to a couple of selections. Lemons and Berkowitz each contribute three originals (Berkowitz's were co-written by Danny Caron and there are six covers.

About her 2014 VizzTone album "Black Crow" I observed that "Bay area singer Cathy Lemons brings a rich plate of musical gems including blues and blues-infused rock in a fashion that might suggest Bonnie Raitt." I was impressed by the the "natural, relaxed and soulful quality" of her vocals and am further impressed on that account here as well as how well she and Berkowitz complement each other. While the originals, including the opening Berkowitz-Caron number "Change in the Weather" display this with its soulful flavor, the renditions of the Sam and Dave classic "I Take What I Want" and the Brooks Benton-Dinah Washington golden oldie "Baby, You Got What It Takes," maybe best showcase this as they bring warmth and plenty of humor as well to the later number (which also benefits from Berkowitz's horn-like harp playing. It is interesting to hear a male and female handle the Sam and Dave number, providing a different tenor to the lyrics.

The duo also do a marvelous rendition of a lesser know Allen Toussaint number "What is Success," while Lemons rendition of her original "Suicide By Law" has a bit of whimsy in the jazz-tinged sophisticated vocal. In contrast, her "Detroit City Man," is a driving styled boogie rocker musically evocative of a seventies John Lee Hooker recording with some choice harp backing from Berkowitz while Andersen adds stinging guitar fills as Lemons sings about a wrong doing man. Lemons wrote title track, a number that has to these ears the feel of a Crosby, Nash and Young number.

While the spotlight is on Lemons and Berkowitz, the splendid backing is noteworthy with the light, unhurried feel that contributes to the pleasures in listening to this. There is not a bad moment on this recording. While Lemons and Berkowitz may call themselves The Lucky Losers, they have provided listeners a royal flush with "A Winning Hand."


I received my review copy from a publicist. This review was written in 2015 for Jazz & Blues Report but it did not run. Here The Lucky Losers perform an Allen Toussaint tribute.

Received from Frank Roszak

Rockin Johnny Burgin Greetings From Greaseland California

Rockin' Johnny Burgin has impressed as a vocalist, guitarist and harmonica player who has worked with Sam Lay, Pinetop Perkins and Tail Dragger among others along with his own recordings for Delmark. While in the West Coast he stopped by fellow guitarist Kid Andersen's Greaseland Studio for a session with Andersen, harmonica player Aki Kumar, bassist Vance Ehlers and drummer June Core. The result is "Greetings From Greaseland California" (West Tone Records),  a collection of strong blues covering a diversity of Chicago blues styles.

Burgin is an earnest and solid singer who delivers the songs here without histrionics or artifice. Backed by this strong studio band, he plays Chicago blues with a tasteful, yet strong idiomatic approach so his performances  come off as relaxed and not rushed. The album opens with a terrific shuffle "Love Me Like I Want It." One is struck by the tempo anchored by Core's relaxed groove and Burgin's prickly, stinging guitar. The album concludes with a wonderful rendition of a lesser known Jimmy Reed number "Tell the World I Do," with Kumar's Reed styled harp played in the manner of Reed himself backing Burgin's laconic vocal.

In between these two songs are the instrumental "Havana Rocks' with terrific harp at the opening and a tempo change midway leading to strong guitar playing; "She's a Hit" another classic Chicago blues; a cover of a lesser known Robert Lockwood number, "Western Horizon" with Burgin's guitar evoking the the late blues legend; a rendition of Junior Parker's "Telephone Angel" in the manner of Son Seals; a "Tribute to John Wrencher" that conjures up that one-armed harp player; and "Empty Bed Blues," the album's highpoint in which a Josh White song is rendered as if by Earl Hooker.

"Greetings From Greaseland California" is another strong recording by Rockin Johnny Burgin that fans of Chicago blues will savor.

I received my review copy (as a download) from Johnny Burgin himself. Here Johnny does Otis Rush's "Homework."