Charley Sayles Has Something to Say

Charlie Sayles liners by Ron Weinstock

Charlie Sayles has come away from playing blues on the Streets of New York and Washington, D.C. Today, he might be found headlining at various Washington DC area clubs like City Blues, or Afterwords, or open at Tornado Alley for Kim Wilson. One might find him at festivals including the Smithsonian Festival of American Folk Life, the D.C. Blues Festival or the Pocono Blues Festival, or he might be at Carnegie Hall for a folk music concert that was part of Carnegie Hall's centennial celebration, In addition to tours of England and Europe, Charlie also has been traveling more in the Northeast United States and recently completed a very successful Canadian tour. While still not a “blues superstar,” Charlie's increasing visibility in great part is due to his first JSP album, the highly acclaimed "Night Ain't Right" that made made many aware of Charlie's highly personal and distinctive blues. Charlie's new album, "I Got Something to Say" will certainly increase the number of Charlie's fans.

Charlie was born January 4, 1948, in Woburn, Massachusetts with his parents moving to West Medford, Massachusetts a couple of weeks later. His parents separated at the age of 2 and Charlie grew up in a succession of surrogate families with music being a main comfort for him. He served in the Army, seeing duty in Vietnam and then Germany. He first picked up the harmonica while in Army. After his discharge from the military in 1971, he found employment opportunities fairly limited, and started traveling around America, visiting cities like Nashville, Atlanta and St. Louis before landing in New York.

While playing on New York's streets, Charlie was filmed for a BBC television show and discovered by Dave Sax who was riding a Broadway bus when he saw Charlie playing on the streets. Sax produced “The Raw Harmonica Blues of Charlie Sayles" for Sax’s Dusty Road label and the 1000 copy pressing is now a rare collector's item. In 1975, the late Ralph Rinzler, organizer of the Smithsonian's Festival of American Folk Life, discovered Charlie and placed him on a New York bill with Pete Seeger and then on a variety of Festival appearances. Rinzler was one of those responsible for Charlie Sayles eventually ending up in Washington, D.C., and making the transformation from a free-wheeling street musician to leader of his own band. In the years since he has been breaking into D.C.’s club scene. It hasn't been easy as he worked small rooms, often for the door, and still played on the street, supplementing his income by teaching harmonica, first to inmates at D.C.’s Lorton Reformatory, and then  to a number of blues enthusiasts.

One of the first times this writer met Charlie was at a harmonica workshop the D.C. Blues Society had organized. He has had the pleasure of seeing Charlie at Washington area clubs like Fins (now Cowboy Cafe South), Afterwords, T.T. Reynolds or 15 Minutes and at a variety of events that the D.C. Blues Society produced, including the D.C. Blues Festival. Charlie launched the Blues Society's 'East of the River' concerts held among community groups in Anacostia part of Washington, and this writer remembers a resident of the housing complex near the park Charlie was playing at came on out and Charlie had him sit in on the melodica with the band. Charlie has never disappointed with his live performances, which includes a sprinkling in of harmonica blues classics from the second Sonny Boy Williamson and Little Walter in addition to his originals. He has garnered not only fans, but friends among the Washington blues community.

Which leads to the present album. Recorded at Solo Studios in Annandale, Virginia, near Washington, it was produced by D.C.’s most celebrated blues artist, Bobby Parker. Parker is another of Charlie's fans and friends and has played with Charlie now and then (for some of us not enough). With Bobby at the helm there is a bit more more body in the mix, and the backing is tighter. Bobby told me that this album takes Charlie Sayles up to another level. The recording may be tighter and cleaner, but Charlie's music maintains its raw edge.

Parker's hand is evident on the opening “I Got Something to Say.” Drummer, Daryl “Slam” Stewart from Deborah Coleman’s band, and bassist Anthony Gonzales, from the band of local R&B legend Phil Flowers, kick off a funky groove reminiscent of Parker's “Bobby-A-Go-Go,” before Sayles enters with some choice harp. Charlie sounds like he is trying to sing with his harp. It's a device frequently he uses beginning a song and contrasts with his solo playing. Another example of this is the intro to “Mississippi Saxophone,” where Charlie plays a riff that presages how he enunciates the phrase “Mississippi saxophone, saxophone.” Dig Deborah Coleman’s guitar on this track.

Charlie’s strongest songs often center around fractured relationships, usually involving someone betraying Charlie's trust like “Two-Timing Woman.” Even when Charlie sings how “I Love My Baby” he includes a plea for his girl to just treat him right. A different type of betrayal is dealt with in “Hey Joe,” which is not the song associated with Jimi Hendrix. Charlie has waiting for this Joe show up and repay the money Charlie lent him. Charlie’s patience is wearing thin and he’s packing some bill collecting gear.

In contrast, a good portion of this album is devoted to getting a funky groove down and getting people on the dance floor. “Mississippi Saxophone,” “Funky Sound,” and Well Now” are examples as the rhythm section get a groove cooking. “Mississippi Saxophone,” has been a favorite of Charlie's recent live performances as he sings about blowing his lonely little horn to make him feel good.

“Zydeco”, Charlie's celebration of the goods times associated with the Louisiana musical genre that has great popularity in Washington, is another high point here. It should be noted that the lyrics are Charlie's impression of zydeco as he does not actually play zydeco music. 22-year old Shawn Kellerman from Kitchener, Ontario, who counts Mel Brown among his influences, provides the hard-edged guitar here.

Also Charlie's harp is featured on two instrumentals, the moody “Little Walter Blues,” and the aptly-titled romp, "Screecher.” They provide additional samples of Sayle’s instantly recognizable harp playing. With only three albums over two decades, Charlie Sayles may not have recorded prolifically. However, he has not wasted his time in the studio. "I Got Something to Say will hopefully allow Charlie to make the next leap as a performer. He always puts out when he performs, just like he does here. He certainly has paid his dues and with his talent and originality, it is time he reaped some rewards.

This is from my draft for the liner notes for this album from 1995 or so. Here is Charlie performing "Zydeco." 

 

Kurt Crandall - Starts on the Stops - YesterYear Records

Kurt Crandall - Starts on the Stops - YesterYear Records

Kurt Crandall mailed his new CD (I believe his fourth album to me), and after giving it a couple of spins, I checked out his website and discovered he is well-traveled as well as a seasoned performer. Currently living in the Richmond, Virginia area, Crandall has had stops in Kansas City, Washington D.C., Macon Georgia, Chicago, and Seattle. While living in Washington, he played with Jesse James & the Raiders, a band led by the late Jesse James Johnson, who played with Bo Diddley when the music legend lived in Washington.

Crandall has penned five original songs, and three instrumental. He also performs two covers. Two different bands back Crandall's harp and vocals. Guitarist Karl Angerer is on nine of the ten selections. There is a rhythm section of Bill Heid on piano, Aaron Binder on drums, and Rusty Farmer on upright bass on the first five tracks. On the other selections, Reid Doughten plays guitar on four songs with a rhythm section of Johnny Hott on drums, John Sheppard on electric bass, Clark Stern on piano, and Carl Bender on saxophones.

Crandall is a very appealing, unforced vocalist and a gifted harp player who at different times evokes William Clarke, Toots Thielemans, Little Walter, Sonny Boy Williamson II, and Junior Wells. Crandall also crafts some very appealing songs filled with honesty and humor as he leads his musicians in a set that might be described as West Coast Swing, a fusion of classic Chicago blues, West Coast Jump Blues with a dash of Memphis blues blasters. Things kick off with the lively "Skedaddle," with some Williams Clarke-styled chromatic harp, swing band drumming from Binder, and a dazzling, jazz-inflected solo from Heid, who mixes the sophistication of a Teddy Wilson with Junior Mance's funky blues. Heid's piano also shines on "Early Bird Special," a humorous tune centered on food specials some restaurants direct at the elderly. Crandall's Toots Thielemans styled chromatic playing is exemplary. There is some splendid diatonic harp on "Razz My Berries," an easy swinging shuffle. Another instrumental, "Beignets and Coffee," sounds like a variation on "La Cucaracha." After Crandall's harp solo, Angerer quotes Ray Charle's "Mary Ann" in his sterling solo.

With his opening harp solo evoking the second Sonny Boy, Crandall does a solid cover of the Little Willie John hit, "Home at Last," on an arrangement based on Junior Wells version (titled "Country Girl"). This track is one of Doughten's guitar features, and he scintillates here. Musically "Go Without Saying" evokes classic Johnny Guitar Watson recordings with some slashing Angerer guitar and some relaxed singing in the manner of a Roy Milton. After evoking "Sloppy Drunk" while singing about his "Bull Headed Woman," Crandall musically reworks John Lee Williamson's "Blue Bird Blues" as well as modifies some of the lyrics changing references to Jackson, Tennessee to Macon, Georgia.

Another well-paced and played instrumental, "Sidecramp," caps an album that will appeal to anyone who has enjoyed the music of William Clarke, Rod Piazza, Mark Hummel, Little Charly Baty, James Harman, and others in the vein. Kurt Crandall certainly has hit a musical grand slam with this outstanding recording.

I received my review copy from Kurt. This review has appeared in the March-April 2022 Jazz & Blues Report (Issue 401). I made a correction of Jesse James Johnson's name that was wrongly listed in that review. Here is a very recent video of Kurt Crandall performing.

Rob Stone Featuring Elena Kato & Hiroshi Eguchi - Trio in Tokyo

Rob Stone Featuring Elena Kato & Hiroshi Eguchi - Trio in Tokyo - Blue Heart Records

About his 2010 album, "Back Around Here," I wrote that Rob "Stone treats the (Chicago Blues) idiom as not simply history, but as a living tradition to be celebrated." About his next album, I further found that "Stone's strong performances and the wonderful band on "Gotta Keep Rollin'" provide us with another terrific Chicago blues recording." It has been some six years since then, and he returned with an acoustic setting for his blues vocals and harmonica. On "Trio in Tokyo," Stone is joined by Japanese pianist Elena Kato and bassist Hiroshi Eguchi.

As Bill Dahl relates in the liner notes, The trio first recorded, among other songs, the Solomon Burke classic "Got To Get You Off My Mind" and an old Louis Jordan recording, "Jack You're Dead." Returning to the States, he played the songs for Big Jay McNeely, who at the time Stone was working with. McNeely convinced Stone to go back to Tokyo and record more songs in the same vein. Among the songs subsequently recorded was "There Is Something on Your Mind," a big mid-fifties hit for McNeely with Little Sonny Warner's vocal. It was meant to be a vocal duet with McNeely, but the tenor sax legend passed before this could happen.

There is a nice selection of material that Stone delivers in this stripped-down format opening with a rendition of Johnny Ace's "No Money," the melody of which might suggest "T-Bone Shuffle." Stone sings in an appealing, heartfelt, straightforward manner and is an outstanding, swinging harmonica player. Although unamplified, his playing may lack a little punch. Ms. Kato also showcases her very capable and deft piano while Mr. Eguchi anchors the performances with his steady bass. There is an affable rendition of the Solomon Burke hit referenced above, followed by a touch of urgency in the vocal on Walter Davis' "Come Back Baby," a performance modeled on Ray Charles recording. Ms. Kato shines on her accompaniment as well as solo. 

Other selections on this album include a wry cover of Willie Mabon's "Poison Ivy," a soulful rendition of "There Is Something on Your Mind," Amos Milburn's blues ballad "Money Hustlin' Woman," the jumping jive of "Jack You're Dead" and Chuck Willis' classic "What Am I Living For." After a lively instrumental original, "Blow Fish Blow!," the album closes with a nostalgic rendition of Leadbelly's "Goodnight Irene." This is not a recording that will electrify listeners, but one to relax listening to the honest, well-played performances that is a refreshing change of pace.

I received my review copy from a publicist. Here the trio performs "Got To Get You Off My Mind."

Tomislav Goluban - Express Connection

Tomislav Goluban - Express Connection - Blue Heart Records

A new album by the Croatian blues singer and harmonica player Tomislav Goluban has him playing outside the blues in a recording that is as much Americana as blues. Goluban wrote the nine originals, and there is a cover of a Lou Reed song. He is backed by guitarist Jeff Jensen (who co-produced this recording with Goluban, David Green on drums, Rick Staff on keyboards, and Bill Ruffino on bass. Also heard on this album are vocalist Kelly Zirbes, slide guitarist Mark Johnson, saxophonist Kirk Smothers, trumpeter Marc Franklin, and Joseph Franher, who contributes backing vocals to one selection. 

Goluban is an accomplished harmonica player with a swinging style, a big tone, and a marvelous sense of tonal dynamics. His gravelly vocals have a limited range, and his phrasing sometimes sounds stilted. Still, there is an honest quality about them. All ten songs are well played, starting with the title track, a high-energy instrumental taken at a blistering tempo that showcases his formidable harp technique. With horns added, "Used to Be Someone" might evoke Paul Butterfield's horn band, and Goluban does exhibit a bit more emotion in his singing. Kelly Zirbes' strong backing vocals boost this performance. Mark Johnson's slide guitar provides atmosphere on the Lou Reed cover, "Pale Blue Eyes."

Zirbes takes a strong vocal on the driving country-rocker, "Shoestring Blues," a song that sounds like a 21st take on the classic country truck driving songs. It is followed by a swinging instrumental, "Extra Boom." This shuffle is a tribute to Goluban's harmonica hero, Little Walter, with Staff taking a greasy organ solo. Jensen displays his considerable technique and taste here as well. Things head to New Orleans with Staff laying down some Professor Longhair-styled piano. It is an amusing duet between Goluban and Zirbes followed by a swampy blues-pop "Bite Me Like a Snake" with Johnson's keen slide guitar. 

With the horns riffing, the album closes with another harmonica instrumental, "Beast Walk." Taken at a relaxed pace, Steff's organ and Jensen's tasteful wah-wah guitar each get a chorus before Goluban displays a more acoustic side to his harmonica playing, and the horn players trade fours. Tomislav Goluban may be a limited vocalist, but his straightforward singing, exceptional harmonica playing, and top-notch backing provide a definite appeal for blues and roots listeners.

I received my review copy from a publicist. Here is the official video for this album.

JAMES HARMAN Mo’ Napkins Please: ...Strictly the Blues... Vol.2

Sad to hear about James Harman's passing. Here is a review from 2000 that I have not previously posted.

JAMES HARMAN

Mo’ Napkins Please: ...Strictly the Blues... Vol.2 

CANNONBALL (2000)

James Harman has built a well-deserved following with his strong blues vocals, harp playing, and songwriting. Cannonball has just issued this new album of recordings from the 80s, that come from the same 1984-1987 sessions that produced Strictly the Blues...Extra Napkins: Vol. 1. These sessions reunited him with some alumni of his band as well as other top-rated West Coast performers including guitarists Hollywood Fats, Junior Watson, and Kid Ramos; pianists Gene Taylor and Fred Kaplan; bassists Willie J. Campbell and Larry Taylor; and drummer Jimi Bott. 

The tunes are a collection of classics and originals that are modeled on classic blues recordings. The title track is a hot shuffle with some Little Walter-styled harp as Junior Watson rips off a Willie Johnson-inspired solo as the tune evokes Howlin’ Wolf’s Memphis recordings. "Annalee", dedicated to Tommy Johnson and Robert Nighthawk, is a Harman original lyric with Kid Ramos’ guitar adding some Texas flavor to the number. "Too Much Family," a rocking lament about his in-laws overcrowding the house features some terrific Hollywood Fats guitar, also in a Willie Johnson mode, who trades eights with drummer Stephen Taylor Hodges. "Icepick’s Pawnshop Blues," based on the "Forty Four Blues," has Harman lay down harp and his vocal is accompanied only by Fred Kaplan’s piano and Hodges on drums. Mix in these distinctive Harman originals with first-rate covers of The Five Royales’ "(Feel Like) Messin’ Up," Champion Jack Dupree’s "Shim Sham Shimmy," Gatemouth Brown’s "Dirty Work at the Crossroads," and Lightnin’ Hopkins’ "Jake-Head Boogie." The latter tune finds him backed only by Kid Ramos’ guitar evoking the King of Dowling Street’s memory quite effectively. Gene Taylor has a boogie-woogie feature, "The Falcon’s Nest," that showcases his ability to tickle the ivories.

By the time the album closes with an acoustic reprisal of the title track, one is satiated with the musical delights here.

This review is from the May-June 2000 Jazz & Blues Report. I likely received a review copy from Cannonball Records or a publicist. I have made minor grammatical edits to the original review. Here he performs "Extra Napkins."

Kim Wilson Take Me Back: The Bigtone Sessions

Kim Wilson
Take Me Back: The Bigtone Sessions
M.C. Records

"Take Me Back" is Kim Wilson's first new release in three years. The album presents mostly straight-ahead Chicago-styled blues that Wilson recorded at Big Jon Atkinson's Bigtone Studios at different times and locations. These tracks were recorded live without overdubs and in mono. There are a variety of musicians backing Kim's vocals and harmonica. Guitarists on this album include Jon Atkinson, Billy Flynn, Danny Michel, Kid Andersen, Robert Welsh, and Rusty Zinn. Robert Welsh and Barrelhouse Chuck are the pianists, while Kedar Roy, Greg Roberts, and Troy Sandow are on bass, and Johnny Viau adds horns. Drummers on these sessions include Marty Dodson, Ronnie Smith, June Core, Malachi Johnson, and Al West.

There are nine reworkings of tunes from Jimmy Nolen, Howlin' Wolf, Larry Williams, Little Walter, and Jimmy Rogers, along with seven Wilson originals. After a crisp take on Nolen's "You've Been Goofin'," we are treated to one of several Little Walter flavored instrumentals, the rollicking "Wingin' It." Wilson's "Fine Little Woman" sounds like a cover of a lesser-known Little Walter recording with Billy Flynn channeling Robert Lockwood Jr. Wilson remains an unforced singer who is equally authoritative handling Howlin' Wolf's "No Place To Go," Percy Mayfield's "Strange Things Happenin'," and Jimmy Rogers' "Money, Marbles & Chalk." Then there is Wilson's Louisiana swamp-blues "Play Me" and the relaxed late-night harmonica instrumental "Strollin'."

Closing with another marvelous Little Walter styled instrumental "Out of the Frying' Pan," "Take Me Back," is another consistently well-performed Kim Wilson recording that will please many.

I received my review copy from MC Records. Here is Kim Wilson from a 2019 performance.

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.

GRADY CHAMPION Payin’ For My Sins

GRADY CHAMPION
Payin’ For My Sins
SHANACHIE (1999)

Young Mississippi blues singer and harmonica player Grady Champion produced his own debut album and impressed enough folks that Shanachie signed him to the label and got Dennis Walker (one of Robert Cray’s producers) to produce his latest album. Richard Cousin’s, Cray’s former bassist is on most of this as well.

He certainly brings intensity to these performances, but his intensity on the opening "I’m Smiling Again" makes him sound still angry at a former love as opposed to be celebrating, while his harp maintains this mood. His somewhat limited vocal attack works more with the boastful "My Rooster is King." Somewhat better is "You’ve Got Some Explaining To Do" which, to these ears, benefits from a wider range of dynamics in his vocal. Particularly nice is a soulful new tune by Dennis Walker, "Good As New," which benefits from a relaxed vocal approach. A bit of country flavoring adds to the appeal of "Roberta."

Several covers are included of which Grady’s reworking of "Goin’ Down Slow," that incorporates a rap about AIDS is particularly moving. "Ain’t No Love in the Heart of the City" is a nice rendition of one of Bobby Bland’s Malaco recordings. He also provides a new twist into Sonny Boy Williamson’s "Don’t Start Me Talkin’."

While obviously influenced by Sonny Boy Williamson, his harp and the soul-blues settings on much of this remind me somewhat of Detroit’s Little Sonny. Like Little Sonny, he doesn’t blow you way with his harp playing which functions primarily as embellishments for his vocals. Grady has really impressed many with the fervor he brings his performances. He also writes some very good material. This recording is better than the tone of my comments might suggest, and I suspect he will be viewed as one of the major voices in blues within the next few years.

I believe I received a review copy from Shanachie. This review originally appeared in the January-February 2000 Jazz & Blues Report  (Issue 243). Here is a 2010 performance by Grady.

Little Walter and Clifton Chenier

These reviews originally appeared in the June 1978 Buffalo Jazz Report (Issue 52). I do not recall if I purchased these or received review copies.

There is a plethora of other new albums out. How can one miss with Little Walter, Blue and Lonesome (Le Roi du Blues 33.2007). This record contains unissued sides, alternate takes and sides only reissued overseas by the master of blues harmonica. Leonard Chess calls Walter, Little 'Motherfucker' Walter on the longer version of the title track than the released take. Sidemen include Muddy Waters, Jimmy Rogers, the Aces and Robert Lockwood and do I have to tell you the other titles. Great stuff, which might be the only Walter currently in print.

Clifton Chenier has not exactly been under recorded. His new Arhoolie album And His Red Hot Louisiana Band (1078) is typically fine even if it breaks no new ground. John Hart plays great tenor. Clifton wails on accordion and guitarist Paul Senegal gets more than usual solo space. This album is bluesier than Clifton's more recent recordings and especially nice is "Hungry Man Blues" with its Muddy Waters touches and the closing "Highway Blues". A typically solid album that may be overlooked if you are well-stocked with him, but if you don't have any of Clifton's Arhoolie albums, what are you waiting for.

Little Walter's recordings (including those that were on Blue and Lonesome) are available on a number of other reissues. This specific Clifton Chenier recording may be available used. There is plenty of Clifton Chenier on Arhoolie Records available from Smithsonian Folkways. You can visit folkways.si.edu and search for Clifton Chenier. Here Clifton performs "I'm a Hog For You."

 

Andrew Alli Hard Workin' Man

Andrew Alli
Hard Workin' Man
EllerSoul

Born in 1988 in Richmond, Virginia, Andrew Alli delivers a straight-ahead, no-frills collection of harmonica blues. Recorded at Jon Atkinson's Bigtone Studio, this is old-school blues in the vein of Little Walter and George "Harmonica" Smith. Backing Alli's vocals and harmonica are Atkinson on guitar and bass, Danny Michel on guitar, Carl Sonny Leyland on piano, and Devin Neel or Buddy Honeycutt on drums.

There is a no-nonsense quality to Alli's blues, starting with the title track where he proclaims with his robust tenor that he is a hard-working man and lays down some raw, amplified harmonica. This song is followed by a tight instrumental, "AA Boogie," and an excellent interpretation of George 'Harmonica' Smith's "Good Things, with biting guitar fills and cohesive rhythm. "Walter's Sun," is an instrumental performed in the manner of the recordings Walter Horton made for Sun Records and the Modern label before he moved to Chicago. Then there is Alli's original "30 Long Years," where he sings about being in this town for 30 years, but it feels like he has to break out. Alli lays down some chromatic harmonica on the rollicking instrumental "Chron-A-Thick," delivers a brisk tempo shuffle, "Easy Going Fellow," and solidly covers Little Walter's "One More Chance."

With strong originals and the complimentary backing provided for Andrew Alli's strong singing and robust harmonica, "Hard Workin' Man" is a splendid debut album.

I received my review copy from Ellersoul Records. Here is a brief preview of this recording.

Sugar Blue Colors

Sugar Blue
Colors
Beeble Music

Richard Whiting, better known as Sugar Blue, is amongst the most astonishing musicians in the blues genre. "Colors" is his latest album and an exciting, imaginative romp in the blues and related genres. With Rico McFarland on guitar and others including John B. Gayden or Ilaria Lantieri on bass, and Brady Williams or Yan Bodhoo on drums, and Damiano Della Torre on keyboards, Sugar Blue is heard on a smorgasbord of music.

Sugar Blue is a virtuoso on the harmonica s evident on the opening, "And the Devil Too," a high energy salute to Bo Diddley with a passionate vocal and astonishing harp playing that explores the full tonal range of the instrument. Not as obviously electrifying, but equally brilliant is his acoustic harp playing on his song about the original Lone Ranger "Bass Reeves," or "We'll Be Alright." The latter number is sung with Africa Riz, a Soweto, South Africa youth choir.

His vocals have a clarity, a clean diction, and warmth that perhaps contrasts with his instrumental virtuosity. Still, he pours everything into a startling cover of The Beatles' "Day Tripper." Max DeBernardi's superb fingerpicking guitar and Washboard Chaz's percolating percussion provide the backdrop to the delightful "Good Ole Days." Singing through his harp mike, he delivers a strong vocal on "Man Like Me," where he tells his lover of she didn't make him feels so good, Sugar Blue wouldn't feel bad. This song has another outstanding harmonica solo. With McFarland's terrific guitar, he delivers a straight-forward blues performance that also is a rebuttal on toxic masculinity. On this song, he sings about needing a blue pill, and if he gets down, he may need help getting up. Then there is a wistful ballad, "Shanghai Sunset," where he pays homage to this vibrant city. Guest Ling Bo solos on the sheng, an ancient Chinese reed instrument with an organ-like quality.

"Colors" is a superb recording that transcends merely being a blues recording. It has first-rate backing, fresh and memorable songs along with Sugar Blue's heartfelt vocals and imaginative, virtuoso musicianship. The result is an extraordinary recording.

I received my review copy from a publicist. This review originally appeared in the January-February 2020 Jazz & Blues Report (Issue 388). The published review has several errors including capitalization issues which have been corrected here. Here is a preview for this recording.

Mark Hummel Way Back Machine

Mark Hummel
Way Back Machine
Electro-Fi Records

This is the latest recording in Mark Hummel's quite distinguished 35-odd year career with over 33 recordings, including several documenting his Blues Harmonica Blowouts. A substantial portion of this new release documents his relationship with The Deep Basement Shakers, who specialize in primal, joint-rockin', barrelhouse blues n' boogie. This East Bay Duo is Aaron Hammerman on piano and guitar and Dave Eagle on percussion, washboard/spoons/train whistles/animal calls/etc. Other playing on this include Kid Andersen on bass, Billy Flynn and Rusty Zinn on guitar, and Alex Pettersen on drums. Joe Beard adds guitar and vocals to three selections.

This recording focuses on the blues that pre-dated the electrified Chicago blues of the post-World War II era, along with a few choice originals. On this recording, Hummel sings with his usual authority, although his harmonica playing on this album is more in the vein of John Lee 'Sonny Boy I' Williamson than Little Walter. The band captures an easy rocking swing while guitarist Flynn (heard on most of this) is typically excellent as he channels Willie Lacey and Big Bill Broonzy.

Standout tracks include the topical original from RW Grigsby "Flim Flam," about the scammers in the world; Baby Boy Warren's "Hello Stranger"; Tampa Red's "So Much Trouble"; "Play With Your Poodle"; and Sonny Boy Williamson 1's "Cut That Out," which some may know from Junior Wells' recording. "Road Dog", with just the Barrelhouse Shakers is an imaginative skiffle style blues et to the medley of "Sloppy Drunk." Percussionist Eagle I found goes a bit over the top here and a couple of places elsewhere (including a rendition of Blind Boy Fuller's "Rag Mama Rag" and the instrumental "Breathtaking Blues," which is rooted in "Saint James Infirmary"). Hammerman, however, is a reliable, straight-forward pianist. Still, with solid blues performances like Robert Nighthawk's "Pepper Mama," and Jazz Gillum's "Gillum's Windy Blues," there is much to delight listeners. The latter number displays Hummel's ability to capture the reedy harmonica style of Gillum, with Flynn's sparkling guitar, a feature of an overall skiffle blues styled performance.

The three selections with Joe Beard's delta-rooted vocals are highlights here. With Kid Anderson on bass and Alex Pettersen on drums, Beard turns a sterling cover of Eddie Boyd's "Five Long Years," with a simple groove and terrific harmonica. Hummel contributed an original, "Say You Will," that Beard turns into a droning blues in the manner of early John Lee Hooker. A lively rendition of "Mean Old Frisco," provides a close to this album of first-rate performances of older blues gems mixed with a few choice originals.

I received my review copy from a publicist. Here is Mark performing as part of a Little Walter tribute band at last year's Calgary Blues Festival.

Take 5 With Sonny Boy Williamson II

For this week's Take 5, we have a short playlist of Rice Miller, aka Sonny Boy Williamson II. A wizard in the harmonica, a seductive singer and a marvelous songwriter, he was a major figure in the Delta Blues, most notably with his King Biscuit Time broadcasts. He was associated with most major the Trumpet Records label, "Eyesight to the Blind."

Sonny Boy moved to the Chess family of labels and recorded many stunning recordings including "Don't Start Me To Talking."

One of my favorites is his recording of "Help Me" which is musically adapted from the Booker T and the MGs' hit "Green Onions."

Another gem is "All My Love In Vain."

Finally, here is a video of Sonny Boy recorded in Europe during one of his European tours doing "Bye Bye Bird."

Jason Ricci & the Bad Kind My Chops Are Rolling!!

Jason Ricci & the Bad Kind
My Chops Are Rolling!!
EllerSoul Records

I am not sure if Jason Ricci is considered the Bad Boy of the Blues, but he brings a punk attitude along with his harmonica virtuosity to this new release. He is accompanied by his high energy band of John Lisi on guitar and dobro, Andy Kurz on bass, and John Perkins on drums. Kaitlin Dibble adds guest vocals. Most of the songs are originals from Ricci or Lisi.

While if some of the songs might not fit a traditional notion of blues, they are not heavily rocked out, and there is an understated quality in the performance of some songs such as "Break in the Rain," on which Ricci showcases not only his harp chops but his original, imaginative soloing. Lisi's dobro work is also quite evident here. "Don't Badger the Witness," a more traditional blues structure opens with Ricci's full-toned harmonica sports of gravelly vocal, and one wonders if the theme of not badgering the witness arose from his own experiences. Lisi's guitar, with his use of vibrato and tremolo, adds to the performance's atmosphere. The next track, "F_ck the Falcons (Who Dat Nation)," is a celebration of the New Orleans Saints and profanity-filled lambasting of NFL officiating and the NFL Commissioner set to a hot second-line groove with Slats Klug playing accordion and Lisi laying down a memorable solo. The final track "Who Dat Nation" is a radio-friendly version of this.

"Going to California" is a fascinating instrumental that shows how Ricci is not simply a technical virtuoso, but able to spin a jazz-inflected, soulful solo on the chromatic harmonica before Lisi enters with a contrasting high-energy electrified slide solo. It is followed by Kaitlin Dibble's endearing singing on the Barbara Lynn classic, "If You Should Lose Me," with Ricci's accompaniment and solo full of magic. The title track is a funky slice of music as, in what is almost a throwaway vocal, he celebrates his chops rolling and plays some astonishing harp licks against Lisi's funky guitar as the rhythm gets down with the groove.

"The Way I Hurt Myself" is a fabulous slow straight-forward blues performance with an intense vocal, some terrific blues guitar, and an excellent showcase of Ricci's use of tonal and volume dynamics in his pull-out-all-the-stops, three o'clock in the morning solo. It is followed by the energetic rockabilly-styled "Think It Over." Jason Ricci's chops are indeed rolling on a fascinating blend of blues and roots that showcases a broad and engaging musical personality with a tight, driving band.

I received my review copy from EllerSoul Records. Here is Jason Ricci performing this year with Joe Krown, John  Fohl and others at the Maple Leaf Bar in New Orleans.

 

Vin Mott Rogue Hunter

Vin Mott
Rogue Hunter
Self-Produced

New Jersey blues stylist, Vin Mott is heard on his second recording with his vocals and harmonica backed by his tight band of Dean Shot on guitar, Steve "Pretty Boy" Kirsty on bass and drummer Matt Niedbalski. Mott wrote all twelve of the songs here and the performances come across like a good cold draft of one's favorite beer.

Certainly, one can identify with the sentiment of "Car Troubles Give Me the Blues" as well as the rocking shuffle "Give Me Cornbread." Both display his raw harmonica as well as powerful singing that is full of passion while his backing trio provides a full but not crowded sound. Shot is a reliable and versatile guitarist who can add fills or take a single-note solo. On the title track, he adds some Elmore James-Homesick James influenced slide guitar with Mott taking a nicely paced solo. There is some subtle interplay between Shot and Mott, while Kirsty and Niedbalski provide a tight bottom. The backing of "Ice Cold Beer" evokes some early 50s Memphis band blues from the Sun Studios, as Shot conjures up Willie Johnson backing Howlin' Wolf.

Then there is "Honey" where Mott's harp is in the vein of Rice Miller, the second Sonny Boy Williamson, with a relaxed vocal and lazy accompaniment. In contrast, "Whistling By the Graveyard," is a spirited original that makes use of the" John Henry" melody.  The backing has a skiffle band feel. It is followed by the superb topical blues of a Northern city's decay, "Patterson Is Crumblin'," with tough harp and guitar. The closing instrumental "Greaser," has an unusual structure that underlies the moody performance that serves as a coda to this wonderfully played album of traditionally grounded blues.

I received a review copy from a publicist. This review originally appeared in the March-April 2019 Jazz & Blues Report (Issue 383), although I have made some edits to that published review for clarity. Here is a video for "Honey."

Billy Branch's Wonderful Salute to Little Walter

Billy Branch & The Sons of Blues
Roots And Branches — The Songs Of Little Walter
Alligator Records

Now after performing for almost four and half decades, Billy Branch has established himself as among today's leading harmonica players, if not the heir to the Chicago harmonica throne. Here he turns his attention to the music of perhaps the greatest of blues harmonica players, Little Walter. He recalls as a youth "During my early, formative years, I would sit in every chance I got. I listened and absorbed every harmonica player that I would encounter, young, old, black or white. I just wanted to get as good as I could. Many times I would engage in "head-cutting" contests with Junior Wells, James Cotton, Carey Bell, and the great late Big Walter Horton." He may have had his head cut, but he grew and learned from these masters.

But he never had the chance to hear or meet Little Walter. "Once I began my quest to become a skilled blues harmonica player, it wasn’t long before I realized that there was one person that was an absolute must to listen to and emulate—Little Walter. It quickly became apparent that Little Walter was "The Man." All of the cats on the scene who were around my age said it, including seasoned players such as Rick Estrin and Jerry Portnoy. This was echoed by the guys who would eventually become my teachers and friends: Junior Wells, Carey Bell and James Cotton. … Good Rockin’ Charles, Charlie Musselwhite, Easy Baby, Eddie "Jewtown" Burks, Little Arthur Duncan, Lester Davenport, Golden Wheeler, and Louis Myers were other great harp men who all testified that the genius of Little Walter’s playing was unequaled."

His expressed his intent with respect to this recording" "We were determined not to make this a 'typical' Little Walter tribute recording. We are proud to present an album with elements of soul, funk and even a little bit of gospel. Our goal was to competently and respectfully produce a Little Walter-themed recording with a different twist, while preserving the integrity of Little Walter’s innovative style." The Sons of the Blues backing Billy Branch on this are Sumito "Ariyo" Ariyoshi on piano; Giles Corey on guitar; Marvin Little on bass; and Andrew "Blaze" Thomas on drums. On one track, Shoji Naito replaces Corey on guitar.

Branch is a superb singer and harmonica player and the Sons of the Blues do a stellar job accompanying him with the feel being more of the later Checker recordings with guitarists like Luther Tucker or Freddy Robinson as opposed to Louis Myers and Robert Lockwood. The authority with which Branch handles the opening "Nobody But You" is characteristic of this entire recording with his marvelous vocal and superb harmonica solo with Corey adding a sizzling solo to his comping and chords. "Mellow Down Easy" is one instance to demonstrate how original is the arrangement of the material. It opens with some full-bodied amplified harmonica along with a vocal where he emphasizes "easy," while his harmonica solo floats over the backing. Corey and pianist Ariyoshi also solo while the rhythm duo lay down a firm groove.

Corey hints at Bo Diddley's playing on the original of "Roller Coaster," although Corey's playing is less trebly. This is a tour de force for Branch's playing, full of swoops and leaps. It is followed by "Blue and Lonesome" with Corey's intense guitar matched by Branch's chromatic harmonica solo. Willie Dixon's "My Babe" was based on "This Train," but Branch and the Sons of the Blues transform the melody with a jazzy, Latin tinge. Again he plays brilliant harmonica on a performance that includes a shift of tempo and some hot guitar. Similarly, they rearrange "Juke," with a funky groove into the contours of which Branch lays down his solo. Then there is a funky medley of "Just Your Fool/ Key to the Highway," with Corey's stinging guitar accompanying the vocal on the 1st part, while Branch's harmonica (with echoes of some of Carey Bell's harmonica effects) segues into the latter number.

Among the other Little Walter classics reworked here is a superb, rollicking "You're So Fine," with the band playing with unfettered abandon, and a terrific"Blues With a Feeling," that is the last track of the music on this. The album closes with some remembrances of Little Walter by his daughter, Marion Diaz. She adds a bit of a human dimension to the blues giant that Billy Branch and the Sons of the Blues honor in this superlative recording.

I received my review copy from Alligator. This will be released on Friday, July 5. Here is an older performance of Little Walter's "Hate to See You Go," from Billy Branch.

Big Harp George Uptown Cool

Big Harp George
Uptown Cool
Blues Mountain Records

A follow-up to his outstanding debut, "Chromaticism," George Bisharat returns with a new dozen originals that reinforce the well-deserved praise the earlier release garnered. Here he is backed by an outstanding studio band that includes producer Chris Burns on keyboards, Kid Andersen on bass or guitars, and Little Charlie Baty on guitar, with well arranged horns throughout. He displays not only very strong harmonica playing horn like lines, but very appealing singing that is delivered honestly and in a straight-forward fashion.

There is plenty of wry humor, as well as perceptive social commentary such as the amusing "Internet Honey," which also has a choice trombone solo from Mike Rinta, sax solo from Michael Peloquin in addition to Kid Andersen's brief stinging guitar solo. Then there is more humor (and social commentary) in "Alternative Facts," where George notes, that while he thought truth matters, submits his alternative fact that he taught Little Walter everything he knew. "I Wanna Know" has a crisp latin rhythm groove, booting sax solo and Charlie Baty's Spanish-tinged acoustic solo prior to George's crisp, jazzy playing here. I could imagine Santana performing this song.

"In the First Place" is a crisp instrumental shuffle that displays his mastery without going all out as well as the wonderful backing throughout this track with their interplay with his harp lead and the nice relaxed tempo. "Cold Snap By The Bay," is a deep, slow you topical blues about living in this paradise but three died in San Jose due to a cold snap. Musically it evokes an Otis Spann recording "Look Like Twins," and Chris Burns plays wonderfully in a Spann-like fashion. It showcases how Big George updates classic Chicago blues settings while remaining true to his musical roots. The title track is a jazz-inflected instrumental, taking at a lazy, walking tempo with Burns on organ. Baty crafts a neat solo, before the leader's solo that I am sure the late Toots Thielemans would have enjoyed.

Simply stated this is another impressive recording that has a wonderful mix of grooves, wonderful playing, strong originals and heartfelt singing that should appeal to anyone with a love of real blues.

I received my review copy from a publicist. This review appeared originally in the July-August 2018 Jazz & Blues Report (Issue 379), although I made minor stylistic edits to that review. Here is a video for "Alternative Facts."

John Clifton Nightlife

John Clifton
Nightlife
Rip Cat Records

California based Harmonica player and singer (and sometimes guitarist) John Clifton brings together a solid blues-rockabilly mix with touches of rockabilly and soul on "Nightlife." He is backed by Scott Abeyta on guitar, Matt Moulton on bass, either John Shafer or Roman Rivera on drums and Bartek Szopinski on piano or B-3.

The program consists of choice covers and interesting originals. Clifton impresses as a vocalist in the straight-forward manner suggestive of Phil Alvin of The Blasters opening with a hot take of Charlie Musselwhite's "Strange Land," as well as the hot rock and roll of his original "Brand New Way To Walk," with guitarist Abeyta showcasing some slashing rockabilly-tinged, playing.

A cover of Little Walter's "Long As I Have You," is a solid performance full of some explosive harmonica with Szopinski's accompaniment outstanding. Muddy Waters' "Still a Fool" is treated to a solid rendition with a slight distortion of his vocal contributing to the moody version here. It should be noted that Clifton has played and toured with Muddy's son, Big Bill Morganfield, playing on Morganfield's recording "Blood Stains On The Wall." The title track is a brief rocker that is not the familiar Willie Nelson classic. There also is a solid interpretation of Leiber, Stoller and Otis' "Last Clean Shirt."

A moody instrumental, "Swamp Dump," has nice understated, well thought out guitar and harmonica solos. Some spicy chromatic harmonica opens another instrumental, "How About That," that finds Clifton in a Little Walter mode with a sizzling jazzy single note guitar solo and a brief drum solo. "Wild Ride" is a sprite duet between Clifton's acoustic harmonica playing and Szopinski's piano.

The album closes with its longest performance, a terrific slow blues, "Every Now and Then." It has a heartfelt vocal and strong playing from everybody. The rhythm section, whether Shafer or Rivera on drums, bassist Moulton, and pianist Szopinski, is splendid throughout this strong recording.

I received my review copy from a publicist. This review appeared in the May-June 2018 Jazz & Blues Report (Issue 378) although I have made some minor edits. Here John Clifton performs "How About That."

Russ Green City Soul

Russ Green
City Soul
Cleopatra Records

Russ Green is a name that I remember as one of the players on the Chicago Blues Harmonica Project albums. This Chicago native has an interesting career that has seen him becoming involved in film production as well as music. His harmonica playing shows the influence of Sugar Blue and Billy Branch and on this debut album he wrote all of the songs (one in collaboration with Eric Bibb). He is backed by a band that includes Giles Corey on guitar, Marvin Little on bass, Ricky Nelson on drums, Vince Agwada on slide guitar and Joe Munroe on the Hammond B3, with Eric Bibb singing an adding acoustic guitar on one selection.

There is some hot music to be heard here, starting with the hyper-kinetic boogie, "First Thing Smokin'" with Agwada's slide guitar adding to a near frantic pace. Green certainly has no problem with the tempo whether his blazing harp playing and his soulful singing and one is struck by the clarity of his phrasing. "Believe in Love" has a more relaxed, reggae-tinged groove as again he impresses with his singing as well as his horn-like harp playing, set against a crisp, low-key backing. The longest track here is "The Edge," a funky blues that opens with his wet, full-bodied harp before his sings about empty bottles on the table and floor with his mind shaking dealing with poverty and staying on the edge with a razor blade and no shoes on his feet.

Eric Bibb joins on "Goin' Down South," where the two share the vocal to see where their people come from, where they live the blues, and see the ghost of ole Jim Crow. Green's harp playing here is a bit more down-home, owing a more to Billy Branch here, while Bibb takes an acoustic guitar solo. Munroe is more prominent on the funky blues "Lover Man," with more fat-toned harp playing, while a stark bass figure underlies the topical "Train of Pain." There is a bluesy rock flavor to "Somethin' New," with some slide guitar adding to the mood here, while the closing "Love to Give," has more of a soul groover on

There is plenty to impress the listener on "City Soul" from Green's very modern blues harp, his relaxed baritone vocals and the solid studio band. Add to the fine playing here,  striking original material and one has a memorable debut album.

I received my review copy from a publicist. Here is Russ Green's recording of "Believe in Love."

Ilya Portnov Strong Brew

Ilya Portnov
Strong Brew
Self-Produced

Russian born harmonica player Portnov impresses on this most enjoyable collection of blues, gypsy jazz and other roots music. A background that included studying classical piano, he also absorbed rock and blues growing up. He studied at the New England Conservatory of Music wherever he received a Masters Degree. He was the first person accepted in NEC with the diatonic harmonica s his main instrument. Taught in Russia to play the harmonica, his teacher Alex Bratetsky showed him an overflow technique, and introduced him to harmonica innovators, Howard Levy, Jason Ricci and Carlos del Junco, making him realize he could play anything on the harmonica. Moving to the US enabled him to meet and study with them, and delve deeper into blues and other roots music including Brazilian choro.

On this nine song program Portnov is supported by Kid Andersen on guitar and bass, Chris Burns on piano and keyboards, June Core on drums with Ben Andrews (a member of Portnov's band Choro Bastardo) adding violin to two tracks, Rob Vye, adding guitar on one track and percussion on another, Robby Yamilov adding bass to one track. It was the recorded by Kid Andersen at his Greaseland Studios.

It opens with the very appealing, old time country tinged "Sunny Afternoon Blues," where his harmonica and Andrews' violin make for a very engaging performance with his playing evocative of jazz harmonica players such as Henrik Meurkens. Against an energetic gypsy flavor (Burns keyboards adds to the flavor with Andersen channeling the Ventures and other surf guitar instrumentals), Portnov dazzles with his sax-like lines.On "Dance Of A Lonely Doll," his wonderful playing is in a gypsy jazz vein with Burns deft piano accompaniment along with very light bass and drums. Rob Vye's guitar introduces Rev Gary Davis' "Cincinnati Flow Rag" with some wonderful fingerstyle picking before Portnov joins in and then the full ensemble on a lively acoustic band number.

The waltz "In a Town Garden" is another charming gypsy-flavored tune with some nicely played harmonica and organ from Burns. "Behind The Wall," is a solid instrumental in a Little Walter vein with some fat toned Mississippi saxophone while Burns and Anderson lay down some solid support and Core is superb on this easy rocking instrumental. The title track is a laid back, four o'clock in morning, blues instrumental played relatively softly with tasteful solos from Burns and Andersen in addition to the leader. "1928" is a lovely tango which also features Ben Andrews' violin.

Its back to the blues on the closing "Till Early Morning," with its infectious Bo Diddley groove and enticing tremolo employed in Andersen's guitar playing. Portnov is a marvelous harmonica player and is backed by the marvelous studio band on this marvelous recording.

I received my review copy from a publicist. Here is a performance by Robert Vye and Ilya Portnov.