Will Porter - Tick Tock Tick

Will Porter - Tick Tock Tick - Gramofono Sound

Singer-songwriter Will Porter has been based in the San Francisco area building a following on the club and concert scene and serving as Mary Wells musical director for many years. This album is a rerelease of a 2015 album that saw very limited release in the United States. Produced and arranged by the legendary Wardell Quezergue in New Orleans, the recording has collaborations with Dr. John and Bettye Lavette. The studio band includes Thaddeus Richard on keyboards, Todd Duke on guitar, Brian Quezergue on bass, and Bernard 'Bunchy' Johnson in drums, with the Womack Brothers handling backup vocals. There are appearances by Doug Belt on drums, Leo Nocentelli on guitar, Jimmy Haslip on bass and baritone guitar, Don Pender on oboe, Mic Gillette on brass, and Johnnie Bamont on saxophones. 

While some of the press materials describe Porter as a cross of a young Bobby Bland and mature Lou Rawls, I might suggest that he is a cross between Junior Parker and Arthur Prysock with a touch of Mel Torme. Listening to him, he comes off as more of a crooner than a shouter. There is plenty to enjoy listening to him with the warmth of his vocals that are marked by his exquisite pitch, timing, and clarity of phrasing. The wonderful duet with Bettye Lavette of Bob Dylan's "Make You Feel My Love" impresses not simply with their interplay but also the contrast in styles between the two. Note must be made for Quezergue's terrific arrangement with strings and Pender's oboe.

The duets with Dr. John are gems, including the title track where the good doctor raps in response to Porter's vocal. Nocentelli adds his guitar to "When the Battle Is Over," which sounds like something Johnny Adams might have recorded in the early sixties. Quezergue's use of strings enhances several selections, such as Porter's blue ballad, "The California Sun," where Porter wishes his love was here to enjoy this California Sun. Nocentelli adds some sizzling guitar on Porter's blues "I Can Do Bad By Myself," with horns blasting in the background. A surprising selection is Porter's nuanced interpretation of "Don't Go To Strangers," a song associated with the late jazz singer Etta Jones. There are also interpretations of songs from Ike Turner and the Johnny Burnette Trio. "Tear It Up" is Quezergue's imaginative and funky reworking of the Burnette Trio's hot rave-up with a booty sax solo and greasy organ solo. 

The limited initial release of this music received considerable acclaim, which one expects this rerelease also to receive. Handsomely produced and performed, it is a first-rate album of soul, blues, and ballads.

I received my review copy from a publicist. Here is a selection from an earlier album Will Porter did with Wardell Quezergue.

James Holvay -Sweet Soul Song

James Holvay -Sweet Soul Song - Mob Town Records

This five-song EP represents the return to blues-eyed soul singer-songwriter-guitarist James Holvay. Holvay grew up during the peak era of Chicago soul with such stars as Curtis Mayfield, Major Lance, The Impressions, and Gene Chandler. While a teenager in a blue-eyed soul band, his songwriting talents benefited Brian Hyland and Dee Clark. One of his songs was passed on to the Buckinghams, who had the chart-topping recording, "Kind of a Drag." The Buckinghams would have three other national hits with Holvay's songs. He left music for some years, but after Sharon Jones, Amy Winehouse, and others, he started writing new songs in the Major Lance-Gene Chanler-Curtis Mayfield vein, and this eventually led to this disc. 

The five originals included are gems, as are Holvay's vocals. One can hear echoes of Mayfield and Chandler in his singing, whether the uptown groover "Working On It" or the deep soul ballad "Still The Fool" (that especially shows a deep Mayfield-Chandler influence. "Love Has Found A Way" is another uptempo number that adds a touch of Tyrone Davis to the mix. The title track is Holvay's salute to classic Chicago soul and the stars he idolized as a teenager that sounds like a lost Major Lance recording.

Holvay found some sterling musicians and backing singers for this outstanding evocation of a classic soul music era. It is a recording that has the listener aching for more.

I received my review copy from a publicist. Here is the title track.

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.

John Finley Soul Singer

John Finley
Soul Singer
Vesuvius Music

John Finley’s career has spanned more than five decades as a hit songwriter and a dynamic performer. He has had decades of experience performing live and touring, and his composition “Let Me Serenade You” by Three Dog Night brought Finley’s songwriting to the music charts around the world. Finley returned to his native Toronto after decades of living and working in L.A. In 2018, he was offered a record deal from Jaymz Bee and Lorenzo DiGianfelice of Vesuvius Music.

Finley’s first thought - to the labels delight - was to have Grammy and Juno winning producer and arranger Lou Pomanti at the helm. Pomanti also plays the keyboards on a set of performances ranging from strong blue-eyed soul to very fine jazzy cabaret singing. There is a touch of church music in the accompaniment of the opening “Let Me Serenade You,” that Finley wrote. Pomanti’s keyboards caress Finley’s high tenor testifying set against terrific backing. It sets the table for a varied program that follows with a romantic soul ballad, “I’m On Your Side,” and then “Go,” with its funky dance groove. Tony Carlucci’s muted trumpet helps create a late-night feel for the jazzy, atmospheric vocal on “What Time Can Do.”

Finley delights listeners throughout, including a heartfelt take on Leonard Cohen’s “Hallelujah,” while the original “Money Love” is an original that may evoke The O’Jays classic “For the Love of Money.” The latter number has a solid groove and excellent backing vocals behind Finley’s expressive singing. Finley delivers a superb jazzy vocal on the Buddy Johnson classic “Save Your Love For Me,” while his evocative vocal on the rendition of Charlie Rich’s “Who Will The Next Fool Be,” is equally top-flight. Allison Young’s tenor sax solo adds to the fervor of this marvelous performance that closes out an outstanding album of blues-eyes soul and jazz-tinged songs and vocals.

I received my review copy from a publicist. Here is John singing "Soul Singer."

 

The McNaMarr Project Holla & Moan

The McNaMarr Project
Holla & Moan
Bahool Records

The McNaMarr Project consists of guitarist-vocalist John McNamara and vocalist Andrea Marr. The two are amongst the leading performers on the soul and blues scene in their native Australia. "Holla & Moan" is their first release and recorded in Memphis at the famed Royal Studios. The studio band includes a rhythm section of guitarist Bobby Manuel, bassist Ray Griffin, drummer Willie Hall, keyboardist Lester Snell. There is a brassy horn section with Scott Thompson on trumpet, Lannie McMillan on tenor sax, and Jim Spake on baritone sax. Lester Snell provided all the arrangements of the nine originals the two have written.

From the title track's first notes to the final moments of "Blues Brought Me Home," This recording almost sounds like a lost Stax recording session. Think about duets by William Bell or Eddie Floyd, and Mavis Staples or Johnnie Taylor and Carla Thomas (and also the blue-eyed soul of Delaney and Bonnie). Marr and McNamara suggest those classic duets as well as the church preaching approach of Sam and Dave or Bobby & James Purify. There is the deep soul rocker title track or the deep southern soul ballad of "Missing You." The publicity compares Marr to Bettye Lavette and vintage Tina Turner, and her vocal on "Throwing Down a Little Love" suggests a comparison to Lavette is not far-fetched. McNamara sounds equally natural and persuasive and throughout throws in well-placed guitar licks. His guitar is well-featured on "Keep It Rollin'."

Perhaps the soul ballad "History" is the high point, but the entire recording is superb. With stellar backing and idiomatic originals the two brought to the recording session, The McNaMarr Project will surprise those who might not believe that a duo from down-under can get down so well. "Holla & Moan" is highly recommended.

I received a review copy from a publicist. Here The McNaMarr Project is seen performing "Missing You."

Lil' Shaky and the Tremors Aftershock

Lil' Shaky and the Tremors
Aftershock
EZV Records

Chris Vachon, Roomful of Blues' guitarist for the past 25+ years who also has co-produced their last 10 albums, alerted me to this group and project he is part of that he recorded, mixed and mastered. The rest of this group is Ed Wright, a solid blue-eyed soulful vocalist and bassist; Jeff Ceasrine on keyboards, and Larr Anderson on drums. Also heard are The Naked Horns on several tracks, Mike Rand on harmonica for a couple selections, Brenda Bennett who contributes a lead vocal on one selection, and sundry other musicians and backing vocals.

Much of this is in a soul-blues vein and showcases Wright's strong singing stands out especially on an surprising cover of Bill Withers' "Grandma Hands" that also has solid vocal backing from The Gospel Love Notes (and crisp Vachon guitar fills). If that is perhaps the standout track, his renditions of the O.V. Wright classic "I'd Rather Be Blind, Crippled and Crazy," the George Jackson penned Ann Pebbles;' gem "Slipped Tripped And Fell In Love," or Syl Johnson's soul stomper "I Only Have Love." Wright and the horn augmented band give a gritty rendition of Bobby Bland's "I Wouldn't Treat A Dog (The Way You Treated Me)."

Several other numbers have more of roots-rock flavor including a strong take on Bobby Charles' "Why Are People Like That," a rockabilly-flavored rendition of a Willie Dixon's "I Love the Life I Live," and the closing "It's All Over Now," that is based on Bobby Womack's 1997 recording, not The Valentinos' original from the sixties. They complement the deep soul performances with some very fine playing throughout, and excellent production, that make for a very appealing recording for blues and soul fans.

I received my review copy from Chris Vachon. This review appeared in the September-October 2017 Jazz & Blues Report (Issue 374). Here is a video of them performing "I Wouldn't Treat A Dog (The Way You Treated Me)."

Charlie Owen Worth the Wait

Charlie Owen
Worth the Wait

Like the prodigal son, DC native Chartlie Owen has returned to the DMV (Distict-Maryland-Virginia) after decades on the West coast where he fronted the Dynatones as well as part of the house band at various venues. Now he has this release produced by Jim Pugh, who was the keyboardist for the Dynatones, as well as others including Etta James. In addition to Pugh (and Owen's own trumpet on 4 tracks), among those heard in the backing including saxophonist Nancy Wright, drummer Paul Revelli, Jon Cleary (piano on one track) and Curtis Salgado (a duet on one track).

This is mostly an album of southern soul and blues ably played and capably sung. Owen shows clear affection for this material and his renditions of the O.V. Wright classic "I Don't Know Why," James Carr's "Pouring Water on a Drowning Man," Little Milton's deep blues "So Mean To Me" and classic urban soul "We're Gonna Make It," Johnny Adams' "It Ain't the Same Thing," and Johnny Taylor classic "Cheaper to Keep Her," show him an able singer although his renditions do not reach the level of Carr, Milton, Adams and Taylor, as capably sung and played as they are. His affection for New Orleans R&B  is reflected in the Adams cover along with a nice treatment of Allen Toussaint's "On the Way Down," along with surprising, and well-sung recreations of Tommy Ridgely's "Let's Try and Talk It Over," along with Lloyd Price's "Just Because."

A couple of ballads stand out including his rendition of Jesse Winchester's "No Pride At All," and Allison Moorer's "Soft Place To Fall," that closes this recording. These have a warmth and do not suffer from unavoidable comparisons with some soul legends. Owen is a very good singer, and fans of classic soul with a dose of blues should find "Worth the Wait" quite entertaining.

I received my review copy from a publicist. He is performing Sunday evening, July 23 at JV's in Falls Church, Virginia and I hope to enjoy his music live. Here is Charlie Owen performing "Can I Change My Mind."

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.

Amy Black - The Muscle Shoals Sessions

 

Boston-based singer Amy Black has a new recording "The Muscle Shoals Sessions" (Rueben Records). Muscle Shoals, Alabama holds a special place for her as her parents were born there and she fondly remembers visiting her grandparents there. Furthermore, she was inspired by Etta James, Mavis Staples, Wilson Pickett, Aretha Franklin and so many others who recorded some of modern music’s most iconic songs in this little Alabama hamlet.

Black’s project pays homage to the music made at both FAME and Muscle Shoals Sound Studio, one-time home of the Swampers, and also expands a 2013 EP she recorded that Spooner Oldham participated on for a full album. Recorded at FAME studios with producer/bass player Lex Price, it has contributions by keyboardist Spooner Oldham – one of Muscle Shoals’ original “Swampers” session players – along with guitarist Will Kimbrough, drummers Paul Griffith & Bryan Owings and singers Ann and Regina McCrary and a horn section led by Muscle Shoals Horns ringleader Charles Rose.

Amy Black does quite an able job of covering some southern soul classics as well as provide her own spin on Bob Dylan's "Gotta Serve Somebody" and the spiritual "You Got to Move" along with a few originals. Highpoints include her own "Woman on Fire" as well as her take on the Dan Penn-Spooner Oldham gem "Uptight, Good Man," another Dan Penn classic (penned with O. Franck and Rick Hall and made famous by Otis Redding and Barbara Lynn) "You Left the Water Running," and Arthur Alexander's country soul classic that helped establish the Muscle Shoals Sound, "You Better Move On." Amy Black's "The Muscle Shoals Sessions," is a nicely done recording with heartfelt singing and solid backing that captures some classic vibes.

I received my copy from a publicist.Here is a video of You Better Move On."

Josh Hoyer and the Shadowboxers EponymouslyTitled CD

Unfamiliar with Lincoln Nebraska’s Josh Hoyer and the Shadowboxers, their self-titled and self-produced recording left a definite impression from the first note. Led by vocalist, keyboardist and baritone saxophonist Hoyer, the band includes Benny Kushner on guitar and vocals, Justin G. Jones on drums, latin percussion and vocals, Brian Morrow on bass and vocals, Tommy Van Der Berg on trombone and Mike Dee on tenor sax with a trio of backing vocalists for a collection of soul and funk with some blues accents.

Hoyer himself is a big voiced soulful singer who might be compared to New Orleans blues-eyed soul blues boss, Luther Kent. He sings powerfully with a similar authority to Kent, although the program here are all his originals. Hoyer and the Shadowboxers are a terrific band evident from the opening Shadowboxer with the band hitting a deep groove and coming off like a contemporary New Orleans funk band. The horns (with trumpeter Russell Zimmer added on this track) come off as tight and full of punch while the rhythm section gets a deep soulful groove down.

Hoyer has cast a marvelous web with his use of overdubbing allow him to play some greasy organ and add bottom to the horns with his baritone sax while crafting the vocals (and backing vocals) into driving, stone solid soulful performances. The crisply played Close Your Eyes has a more mellow feel to it with its gritty lyrics about people scrambling to try to find what they are looking for. His horn arrangements frame the vocals and he even takes a gutty baritone break before some bluesy guitar runs from Kushner. Illusion gets back to the funk with its topical message about many everyday things being an illusion and things not being what they seem and living in strange times, before Van Der Berg’s strong trombone solo.

The remainder of the eight tracks are equally performed strongly. Its a varied set of performances that show influences from Memphis, Chicago (think Tyrone Davis) and New Orleans, but put together for this very impressive release. Josh Hoyer is a first-rate vocalist and the Shadowboxers are soulful and funky. Based on their terrific release, I can see them performing much more often outside of their Lincoln, Nebraska base.

I received my review copy from a publicist. You might check out their website, http://joshhoyerandtheshadowboxers.com, for more information. Here is a video of them in performance.