JIMMY JOHNSON - Every Road Leads Somewhere

JIMMY JOHNSON - Every Road Leads Somewhere - RUF RECORDS

Jimmy Johnson's infrequent albums are always occasions of great interest for blues lovers. With his wiry guitar attack and high tenor vocals, the Chicago bluesman has produced some very distinctive and fine recordings. This new one is another strong addition to his discography. 

Johnson has contributed some fine originals like the opening “Roots of All Evil” (about money, and sporting a trumpet solo by Claude Egea), “End of the Road,” which contains an appearance by the late Luther Allison who rides the song out with a fiery short solo, and “The Street You Live On,” with its lilting reggae beat. In addition, Johnson's covers of “Black Night,” “Cut You Loose,” and James ‘Thunderbird’ Davis' “Blue Monday” are fresh, with crisp funky arrangements. 

Throughout this, Johnson plays in his recognizable style that perhaps show the influence of Otis Rush and Albert King more than others, as well as delivering his vocals without too much in the nature of hysterics. In addition to his fine band, Johnson is backed by a nice horn section that includes jazz trombonist Frank Lacy and saxophonist Paul Cerra in addition to trumpeter Egea. With Johnson being in strong form both vocally and instrumentally, he has produced a very fine release.

This review originally appeared in the November-December 1999 Jazz & Blues Report (Issue 242). I have made a few minor formatting and stylistic changes. I likely received a review copy from Ruf Records or a publicist. This may be hard to find, so you may have to find it from used record stores. Here is Jimmy in a performance from 1994.

Joe Louis Walker Viva Las Vegas Live

Joe Louis Walker
Viva Las Vegas Live
Cleopatra Blues

"Viva Las Vegas Live" is, I believe, the 26th album from Joe Louis Walker, and the 4th live album, in his Hall of Fame recording career that goes back to 1986. Of the blues artists who emerged from the 1970s on, I would be hard-pressed to find one who has produced such a substantial body of music as well as continues to play such a diverse repertoire. Besides his superb, imaginative guitar playing, he is one of today's blues most powerful, moving singers.

"Viva Las Vegas Live" is available as a CD/DVD package, with the same music on both. It was recorded and filmed at The Railhead at the Boulder Station Hotel and Casino on August 2, 2018. In addition to Walker's guitar and vocals, Bruce Bears is on keyboards, Lenny Bradford on bass, and Dorian Randolph on drums.

The songs here span over two decades of Walker's career opening with the hot rocking "I'm Not Messin' Around" and include the driving blues-rock of "Do You Love Me." One risk of live recordings is that some performances are better experienced live. On disc, the same performance sounds over-extended. "Sugar Mama" has strong vocals and guitar, Bears is first-rate, and Walker even plays some harmonica, but at 16 minutes it goes on a bit too long for these ears. While lengthy, it is not a poor performance.

One can appreciate that Walker maintains such a broad and deep repertoire. "In the Morning" was the title track of his 2002 Telarc album, while "Soldier For Jesus" harkens back to his gospel roots. A rollicking rendition of "Too Drunk To Drive Drunk" has some Chuck Berry styled guitar along with Bears' barrelhouse piano. A rocking "Like It That Way," with some intense guitar has him tell his women to give Walker all her love, that's all he needs. All the band members solo on this selection.

The DVD is pretty straight-forward in presenting these performances with crisp camera work that focuses on Walker and his band. There may be a few flaws here, but that does change the fact that this album is an accomplished live recording.

I purchased this. Here is the official trailer for this release.

Albert King Live in the 70s

Albert King
Live in the 70s
RockBeat

While there are several excellent live Albert King albums available, this 2014 release is one that should not be overlooked. This is a compilation of four several different shows and venues. There is a lack of detail on personnel and the sources of these recordings.

From the Fillmore East in 1971, we get strong performances of "Blues Power," 'Crosscut Saw," and "Personal Manager." King is certainly in good voice, and his pinched note guitar is in force as well. There are five selections for The Forum in Hollywood from 1972 with sterling performances of "Angel of Mercy," "Oh Pretty Woman," "Breaking Up Somebody's Home," and "Stormy Monday." From St. Charles, Illinois in 1974, King does "Born Under a Bad Sign" and his interpretation of Ray Charles' "I Believe To My Soul." Finally, we go to The Double Door in Chicago, where Albert digs deep in "I'll Play the Blues With You."

Sound is very good at the minimum, and with the riffing Horns and the strong support from his backing bands, King sang and played out some first-rate blues.

I purchased this. Here is Albert King in 1981.

 

Take 5 with Ruth Brown

Ruth Brown was an amazing, pioneering woman. 'Discovered' at Washington D.C.'s Crystal Caverns (alter the Bohemian Caverns) she was a major rhythm and blues star with Atlantic Records which became known in part as The House That Ruth Built. While she had many hots for Atlantic, after her hit-making days were over she revived her career on Broadway as well as a big band vocalist with the Thad Jones-Mel Louis Orchestra (now The Vanguard Orchestra. She was never strictly a blues singer as that was too narrow to describe her artistry, although the focus of her later day recordings was the blues.

We start this short playlist with one of Ruth's big hits for Atlantic, "Hey Mama, He Treats Your Daughter Mean," this was a live recording with the Paul Williams Band.

Next up is a performance from the musical "Black and Brown Revue," "If I Can't Sell It, I'll Sit On It."

Often overlooked is Ruth's recording with the great Thad Jones-Mel Lewis Orchestra. Here she sings with them in 1969, "I'm Gonna Move To The Outskirts of Town."

Here is Ruth with the title track of her album, "A Good Day For The Blues."

We close with a duet with B.B. King, "Ain't Nobody's Business."

Vanthology

Various Artists
Vanthology
Evidence

With an overabundance of blues artists recording tributes to rock icons, "Vanthology" stands out. One reason that this tribute to Van Morrison works is that producer Jon Tiven has collected a number of blues and soul legends to perform songs associated with the legendary Irishman, setting this apart from many similar concept discs which seem to have an overabundance of blues-rock guitar pounders.

The performers here include Little Milton, Freddie Scott, William Bell, Bettye Lavette, Eddie Floyd, Sir Mack Rice, Syl Johnson, Otis Clay, Son Seals, Ellis Hooks, Chuck Jackson, Henry Butler, and Bobby Patterson. The producer deliberately did not use horns on this to distinguish these interpretations from Morrison’s originals. The studio band is anchored by Butler with Tiven on guitar, wife Sally Tiven on bass and Simon Kirke on drums who provide funky, sympathetic backing for the awesome vocal talent here. Highpoints among the exceptional performances here include Little Milton’s rendering of "Tupelo Honey," William Bell’s rendition of "Have I Told You Lately," Freddie Scott’s "Brown-Eyed Girl," Bettye pleading vocal on "Real Real Gone." and Eddie Floyd’s Crazy Love. It is a special treat to her Sir Mack Rice, writer of that overplayed staple of blues bar bands "Mustang Sally," take up Morrison’s own bar band classic, "Gloria."

Morrison has been heavily influenced by blues and soul artists, a debt he has freely acknowledged in developing his own distinctive body of music, and some of these the artists pay tribute in this very fine release.

I likely received a review copy from Evidence Records. This review originally appeared in the May-June 2004 Jazz & Blues Report (Issue 268). Here is Sir Mack Rice doing "Gloria."

Gracie Curran & Friends Come Undone

Gracie Curran & Friends
Come Undone
VizzTone

Originally from Boston but now living in Memphis, "Come Undone" is singer and songwriter Gracie Curran's second release. Her first album, 'Proof of Love," was nominated for a Blues Music Award as Best New Artist Debut. She co-produced this new release with Damon Fowler who plays guitar on it — also playing on this Matt Walker on guitar, bass and Wurlitzer; Pat Harrington on guitar on the first track; Victor Wainwright and Jeremy Powell each playing on keyboards for two of the eight tunes; Doug Woolverton on trumpet; Mark Earley on sax; and Reba Russell on backing vocals.

Some of the publicity material compare her vocals to that of Mavis Staples. I would not go quite that far, but she certainly impresses the listener on the title track, which is a very appealing serving of Memphis soul with a reggae accent. In contrast, "Ernestine" is a folk-roots styled performance with Reba Russell complementing her country-flavored singing. "Stay Up!" is a jump-style party blues with plenty of swagger in her vocal with a crisp guitar solo and the horns doing a call and response with each other. Trebly guitar adds to the atmosphere to her insistent vocal on "The Things We Like" as she sings about not wanting to but having to let one go.

"Sweet Sativa" is a blues about marijuana with stinging slide guitar (could be lap steel guitar) taken at loping tempo. "If Mama Ain't Happy" is a rocking blues with some outstanding piano from Wainwright and a brief, crisp guitar solo. Perhaps the most outstanding song is a soulful ballad, "Love Is The Cruelest Thing I Know," It shows how nuanced a singer she is and how convincing she is with the restraint exhibited here. The closing track "Chasing Sunset" shits gears to a delightful country roots rocker.

The strength of Gracie Curran's performances is that while she can belt out a lyric, she focuses more on timing, phrasing, and vocal dynamics. The songs were fascinating, and the backing excellent. The only fault might be the eight songs only last a little over a half-hour. There are no complaints about the actual music heard on a very notable album.

I received my review copy from VizzTone. Here is a performance of "Come Undone."

Take 5 With B.B. King

What can one say about B.B. King? One of the most beloved performers of the late 20th and early 21st Century, He truly was the King of the Blues. Here are five choice performances by him.

First is "Sweet Sixteen," which is what one of his signature numbers was earlier in his career. This is from a performance in Africa.

His recording of a Lowel Fulson song, "Three O'Clock in the Morning," was his first major hit recording.

Another early hit was his recording of "Sweet Little Angel." The song goes back to Lucille Bogan's "Sweet Black Angel," but also was recorded by Tampa Red, and Robert Nighthawk as "Sweet Black Angel." Tampa updated his version as "Sweet Black Angel." B.B. attributed his version to Nighthawk's but changed Black to Little. Again we go to B.B. King's African concert for this rendition of a classic.

Dave Clark's "Why I Sing the Blues," was recorded twice by B.B., with the latter rendition from an album "Live and Well" becoming the well known one and adapted by other performers. Here is his recording from 1969.

Finally, the signature number for the last four decades of B.B. King's career was his updating of Roy Hawkins' "The Thrill Is Gone." Initially, on his "Completely Well" album, this was the recording that crossed him over as an artist. Here he is on Soul Train performing it with Bobby Bland.

Of course, there is so much more B.B. King one could choose, but I limited myself to just five.

Gaye Adegbalola The Griot

Gaye Adegbalola
The Griot
VizzTone

On the back cover of Gaye Adegbalola's new album, "The Griot," she provides a definition of The Griot as "a member of a class of traveling poets, musicians, and storytellers who maintain a tradition of oral history on parts of West Africa … and on this CD." On the second selection of this Cd "Definition: The Griot," she does a recitation set against Jackie Merritt's bones accompaniment that among other things observes The Griot is also "a REPOSITORY, a LIVING ARCHIVE … of Oral History." Additionally, the griot is, in part, a singer, seeker, teacher, preacher, "the entertainer, the unchainer, the keeper of our history, the remover of whitewashed mystery." This should give a sense of the spirit that infuses this recording, much of which might be termed 'protest' songs, but I prefer the term truth songs that the late street gospel singer Flora Molton termed some of her recordings. On this latest musical journey of mostly original songs, she is backed by her co-producer Jeff Covert on electric and acoustics, drums, bass, banjo and keyboards; her own acoustic guitar and harmonica; Roddy Barnes on piano on several selections; Reesa Gibbs on chant and backing vocals on several tracks; Jackie Merritt on bones on three tracks and a horn section led by trumpeter Zack Smith.

There is a definite tinge of anger in her vocals on such tunes as "Nothing has Changed" where she recalls sit-ins and picket lines, dogs, water hoses, burning crosses and lynchings as well as James Byrd dragged by a truck, and brings us up to date singing about the KKK and Nazis marching in Charlottesville with a chorus of "How Can I Be Angry?" There's been some change it's true. Too slowly in my lifetime, much more we can do." Set against a smoldering blues-rock backing and a bit of acid in her vocal, it sets a tone for this remarkable recording. The mood is present in "Hypocrisy: Liearrhia," where she confronts the discourse of the day "You've got a bad case of liearrhia/ You keep running off at the mouth/ Your tongue comes from the devil/ And your truth is crapping out … ."

She addresses female genital mutilation in "Sexism: FGM," with a middle eastern tinge to the vocal as she sings how she will fight to prevent one from taking a woman's Joy. There are also lyrics addressing poverty in a blues track subtitled "Dirty Sheets" with biting guitar; pollution in "Flint Water" set against a rollicking shuffle groove with Covert's Allman Brothers' inspired slide guitar; and protest on "Kaepernicked" where she proclaims him her new Muhammad Ali.

There are several covers including Doc Pomus and Kenny Hirsch's "(There is Always) One More Time" to illustrate hope; the Bessie Smith classic (also done by Nina Simone) she has been singing since her days with Saffire-the Uppity Blues Women three and a half decades ago, "Need a Little Sugar in My Bowl"; and a modern arrangement of Ma Rainey's "Jelly Bean Blues" that closes this CD. "The Groit" has provocative songs along with Gaye Adegbalola's most passionate singing. It makes for compelling listening.

I received my review copy from Vizztone. This review appeared in the July-August 2019 Jazz & Blues Report (Issue 385). Here is a video of Gaye Adegbalola performing at a 2019 House Concert.

Kevin Burt Heartland & Soul

Kevin Burt
Heartland & Soul
Little Village Foundation

Mike Kappus notes he first was exposed to Kevin Burt as a judge for The Blues Foundation's 2018 International Blues Challenge where the Iowan won not only in the single/duo category. Kappus also notes Burt was the first artist in the Competition's 34-year history to sweep the solo categories — also winning the Solo/Duo Cigar Box Guitar Award for the most promising acoustic player and the Lee Oskar Harmonica Award. Once having to work five jobs (two full-time, three part-time) as a young adult in Iowa City after a football injury in his senior year of college derailed his dreams of professional football, he has become a significant new acoustic blues voice.

It is not like he just started playing the music. In 1996, the sesquicentennial both of Iowa and of the Smithsonian, Burt was chosen by the state of Iowa to participate in a project of the American Folklife Center. “I got the opportunity to be a living exhibition at the Smithsonian representing the state of Iowa as a blues artist, and part of my responsibility was to have an educational component, so that’s when I started doing my research to be able to give accurate historical stories for the state of Iowa from the perspective of a musician.” He has also become quite involved in Blues in the School.

I suspect this is his debut recording and Kid Andersen and Jim Pugh produced this CD which was recorded and mixed at Greaseland. Burt, who wrote 11 of the 12 songs, sings and plays acoustic guitar and harmonica. Andersen adds guitar and melodica (on one track), and Pugh keyboards. Others on this include Jerry Jemmott on bass, Derrick 'D'Mar' Martin on drums, Jon Otis on percussion and Lisa Leuschner Andersen on backing vocals.

Listening to Kevin Burt, one is reminded of Ted Hawkins, a similar acoustic singer-songwriter who had deep rhythm and blues roots. Whereas Hawkins displayed a strong Sam Cooke influence, Burt evokes Bill Withers with perhaps a dash of Al Jarreau. Withers is one of Burt's cited vocal influences along Aaron Neville, Bobby Bland, Luther Vandross, and Marvin Gaye. The song that perhaps is most suggestive vocally and stylistically of Withers' is "I Don't Want To See You No More," where he sings about finding a note on the door and not understand why she left him.

It is a varied program starting with the lively groove on the opening "Day Day" singing about he makes her whole body grins but she will miss him if she leaves more than he will miss her. The performance has a nice harmonica break with the percolating backing behind the singing. Then there is an austere cover of The Beatles' "Eleanor Rigby," backed by his solo guitar, where his phrasing and other vocal dynamics stands out. Pugh's organ helps establish the mood for his expression of thanks for letting him be himself. The percolating groove of "Real Love" reminds me of the Doobie Brothers as he sings about a love they should hang on to and wants to share with nobody else with some rhythmic guitar and crying harmonica.

While the songs on this are more soul than blues, "Never" is a strong, evocative blues with Pugh's piano and Andersen's guitar standing out in the backing against Burt's passionate singing. Another blues has him playing slide and harp for the first verse of "Smack Dab in the Middle," an original and not the song associated with Count Basie and Joe Williams, where he sings about going to the Crossroads and not having done nobody wrong. While there is nothing wrong with the band backing and he has a nice harp break, this performance to these ears would have been stronger if it remained a solo performance. This is a small quibble on an impressive recording full of memorable performances. Kevin Burt shows himself to be an exceptional artist.

I received from my review copy from a publicist. This review originally appeared in the November-December 2018 Jazz & Blues Report (Issue 381). Here is a clip of Kevin Burt performing "Eleanor Rigby," at the 218 International Blues Challenge finals.

Ms Zeno The Mojo Queen Back in Love

Ms Zeno The Mojo Queen
Back in Love
Blue Lotus Recordings

While I heard about Ms Zeno, it was not until I heard perform with my friend Memphis Gold, that I had a chance to experience this powerful singer. Originally from Louisiana, she moved to Memphis after Little Milton heard her, and had her join his backing vocal group. After several years she launched her solo career with Albert King helping introduce her to Beale Street where she became an institution. When B.B. King's Memphis Club opened, Ms Zeno & the Famous Unknowns became the house band. Recently after some personal issues were resolved, she signed with Blue Lotus Recordings and made this album of twelve original songs.

This session is produced by label head Paul Niehaus IV who plays bass, guitar, drums, keys, tenor sax, vocals, mandolin, and French horn on this along with Kevin O’Connor who contributes drums, guitar, keys, baritone & tenor sax, and trumpet as well. Special guests include guitarist G Weevil who appears on 4 selections and harmonica wizard Brandon Santini who appears on two. Guest vocals are provided on various tracks by Gene Jackson and Roland Johnson, while Dustin Shrum contributes trumpet, and Tom Martin lends his accordion to one selection. The strings of Andy Hainz on cello; Mark Hochberg on viola; and Abbie Steiling on violin sweeten three selections. Ms Zeno, Paul Niehaus IV and Gene Jackson have their hand in the twelve originals here.

As mentioned, I have seen Ms Zeno appearing with Memphis Gold, but as much as enjoyed seeing her perform, listening to her here impressed me even more on a recording centered on deep soul and soul-blues. As a singer, she impresses with not simply her power or sense of dynamics (ranging a pussycat's purr to a lioness roar), but the authority she manifests that is evident on the opening title track, a surging Memphis soul number. After her celebrating being back in love, she sings a bluesy lament. "In My Shoes," as her romance is falling apart. It is one of several tracks with strings and has a feel of a classic Hi Records recording.

There is the brassy "That's How I Know," with a groove reminiscent of Tyrone Davis and other deep soul Chicago singers, as she sings about her man being satisfied with her and she is satisfied with how he treats her. Then the mood shifts to the down-home blues of "Willie Brown," with the effective guitar-harmonica accompaniment from Little G Weevil and Brandon Santini and rhythm. There is even a touch of zydeco on "Mojo Queen," and a topical "Rise Up," "Love Is Like a Flower" is another terrific performance with striking lyrics and a fervent, commanding vocal and tough horn-driven arrangement, while Weevil and Santini are on "Call My Name," a duet with Gene Jackson set against an insistent groove.

Throughout, her robust vocals are performed without artifice or hysterics. In addition to Ms Zeno's singing, the backing is superb this throughout. Producer Paul Niehaus IV and Kevin O’Connor put together a marvelous backing even although they obviously employ overdubbing, while the guests are seamlessly incorporated into the songs of this terrific release by Ms Zeno.

I received my review copy from a publicist. This review originally appeared in the November-December 2018 Jazz & Blues Report (Issue 381). Here is a clip of Ms Zeno performing.

Lady A Is Doin' Fine

Lady A
Doin' Fine
Self-produced

Seattle's Blues Diva, Lady A (Anita White), has a new soul-blues recording that should appeal to a broad spectrum of blues fans. Produced by guitarist and bassist Dexter Allen (of the Bobby Rush Band) and pianist Joey Robinson (who plays some drums here), this recording is mostly comprised of originals that evoke some of the classic Malaco and Elko Records.

This is solidly played and she is a very solid vocalist who suggests Denise LaSalle on the opening title track. Here  she sings about waking up and being ready for the weekend, loving life and doing fine as Mississippi is like her second home and also  tells of singing her heart out at B.B. King's. The band shines with tight backing with Allen providing a nifty repeated figure. It is followed by a walking tempo funky blues, "The Ride," with its hook line "Life is like a ride," but one must keep the faith in everything you do but the road can turn on you. An adaptation of Junior Parker's "Next Time You See Me" is presented as "Next Time U C Me" and credited to Lady A (it does appear she may have contributed some new lyrics), and is a nice shuffle performance with Allen taking a solid solo while Richardson plays organ as well as piano.

"Tryin' To Get Over," is a soulful number with an outstanding vocal, where Allen's use of wah-wah along with the groove evokes some of Johnny 'Guitar' Watson's later recordings. "That Man" is a tough soul-blues number that againsuggests classic Denise LaSalle with a bass line that evokes Johnny Taylor's hit, "Last Two Dollars." "Throw Down" is a funky party blues where she instructs partying folks on the dance floor to throw hands in the air or clap in a soulful fashion.

Lady A distinguishes herself with her heartfelt vocals, while the backing led by Allen and Richardson supports and enhances the first-rate soul-blues here.

I received from my review copy from Lady A. Here is her performing The Beatles' "Come Together," as she says in her own way.

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."

Kitchen Man

This is another post to consider points I made in my review of Rory Block's album "A Woman's Soul: A Tribute to Bessie Smith." This will be done through comparing her rendition of "Kitchen Man" with several other versions.

Next is the original by Bessie Smith.

Then there is a recent rendition by Catherine Russell

Next, Saffire- The Uppity Uppity Blues Women with the late Ann Rabson taking the vocal

Here is the late Chicago blues woman, Valerie Wellington

A recent recording by a traditional New Orleans styled band, the Yerba Buena Stompers w Miss Ida Blue 

And here one of Bessie's contemporaries, Sara Martin

Keeshea Pratt Band Believe

Keeshea Pratt Band
Believe
Self-Produced

Based in Houston, the Keeshea Pratt Band was the winner of the Blues Foundation's 2018 International Blues Challenge. In addition to the ear-grabbing vocals of Ms. Pratt, a Mississippi native, this band consists of Music Director, Bassist and Vocals, Shawn Allen; Brian Sowell (Lead Guitar & Vocals); Dan Carpenter (Saxophone); Misaki Nishidate (Trumpet); James Williams III (Trumpet); and Nick Fishman (Drums), while Kid Andersen, Bob Welsh and Little Terry Rogers are among those present.

Pratt really is a terrific singer with a big voice but also her phrasing and her sense of dynamics sets her apart from many singers today. "Make It Good" opens this marvelous album and the horns help lend her pleading vocal a classic soul vibe, "Have a Good Time Y'al" is a joyous reworking of "Let the Good Times Roll," followed by Shawn Allen's "I'm in the Mood," where she is in the mood to sing the blues as she works so hard during the day and now it is the time to play. The music here employs the arrangement B.B. King employed for "The Thrill Is Gone." Again she sings sensationally with the band providing first-rate support and there is a nice guitar solo.

"Its Too Late" is a terrific slow blues again with the horns adding brassy punctuation before her emphatic singing about wanting a real man but getting herself a boy. There is a nice understated piano solo on this. After the New Orleans second line groove of "Shake Off These Blues," with some shattering trumpet, as well as some hot sax and piano solos, there is a rollicking shuffle "Home To Mississippi," with acoustic slide guitar and down home harmonica as Pratt sings about going to the place she first calls home and where folks sing the blues from the king of the blues to the king of rock and roll.

"Monkey See, Monkey Do" is a superb slow blues with the horns adding emphasis and she tells her lover, every time you go creeping, Keeshea goes sees a friend and while her lover hangs with Jane she is with Tarzan. She delivers another powerful vocal on this strong original song with guitarist Sowell adding his instrumental voice along with the horns. The title track opens with electric slide and then the horns before she sings the lyric about believing in one's dreams and if one is going to believe in anything, believe in oneself. It is simply a commanding performance on a recording full of them.

Other songs include a soulfully sung blues ballad, "Can't Stop Now," before another superb slow blues "So Bad Blues," that was recorded live, concludes this outstanding debut recording. Keeshea Pratt is a superb singer, with an excellent band, and they have produced an exceptional recording that is as good as any recent contemporary blues recording this writer has recently heard.

I received a review copy from a publicist. This review has appeared in the July-August 2018 Jazz & Blues Report (Issue 379). Here is the Keeshea Pratt Band at the International Blues Challenge.

I have been letting this blog slide for a bit, but pleased to return to activity with a review of a CD that really impressed me as you will have read.

Bonnie Lee Sweetheart Of The Blues

Bonnie Lee
Sweetheart Of The Blues
Delmark

Among new Delmark blues releases is Bonnie Lee’s Sweetheart of the Blues. Probably best known for her performances with Willie Kent and the Gents, this album will surprise many as it shows her to be far more a singer than a blues belter.

While those familiar with her will not be surprised by her take on Jimmy Reed’s Baby, What You Want Me To Do, her low-key interpretation of Buddy Johnson’s classic ballad Since I Fell For You is a model of taste and phrasing that showcases another side of her. There is considerable variety in the musical settings, from the straight Chicago blues flavor of Got the Blues ‘Bout My Baby with Billy Branch’s harp, the dance-oriented I Love My Baby, and Ocean of Tears which is suggestive to these ears of a Big Maybelle tune.

In addition to Billy Branch, others appearing on this album include bassist, Willie Kent, guitarist Willie Davis, guitarist Steve Freund (who contributes several choice solos, and even takes one vocal, If You Be My Baby), pianist Ken Saydak, and saxophonist Hank Ford, whose solo on Since I Fell For You is especially tasty. Johnny B. Moore contributes the stinging, snapping guitar behind Bonnie’s unforced vocal on Junior Parker’s Next Time You See Me.

With its variety and Bonnie Lee’s natural soulful singing, Sweetheart of the Blues makes for an impressive American LP debut. 

I likely received a review copy from Delmark Records. This review originally appeared in the October 1995 Jazz & Blues Report (Issue 205). Here she is performing at the 1999 Chicgao Blues Festival.

Vaneese Thomas Blues For My Father

Vaneese Thomas
Blues For My Father
Segue Records

The youngest daughter of the legendary Rufus Thomas, Vaneese Thomas, like her sister Carla and brother Marvel, have been involved in the music business dating backing to singing back-up vocals for Stax. After college she relocated to New York where she was a session singer and songwriter. She has issued several albums that showcase her singing and songwriting, and the latest is “Blues For My Father” (Seque Records). It had been five years since her last album, “Soul Sisters Volume 1” (Segue Records), where she resurrected classic soul recordings from the likes of Bettye Swan, Tina Turner, Etta James and her sister Carla. This new recording, as indicated by the title, has her delving more into blues and she contributed ten originals and also handles two covers, one of which is from her late father.

Produced by Thomas and her husband Wayne Warnecke, there is a variety of musicians appearing on this, but the core is Buddy Williams on drums, Will Lee on bass, Robbie Kondor on piano and Tash Neal on guitars with Warnecke on percussion. There are appearances by (among others) Marvel Thomas and Paul Shaffer on organ, Ron Mathes and Jeff Mironov on guitars, horns led by Tim Ouimette and Perry Gartner and Shawn Pelton on drums.

What stands out on “Blues For My Father” is Thomas’ vocals. Rob Bowman, who penned the liner notes, mentions “Vaneese’s masterful control of phrasing, breath, intonation and timbre.” In other-words, she can flat out sing with a display of vocal dynamics as well as power to leave a strong impression on the listeners. She belts out about having the blues while sitting at the station waiting for the train to bring her lover back on the opening “Southern Central Blues.” Then she gets sassy celebrating her man who plays no tricks and “10 X The Man You Are.“

The Memphis funk of “Wrong Turn” is a delightful duet with sister Carla (while Marvel adds organ) with some punchy horns in the backing and a crisp guitar solo from Jeff Mironov. “Wrap Your Arms Around Me” has a bit of southern rock feel as Tash Neal is on dobro with Mironov again on guitar. Part of the melody here is evocative of the Ricky Allen recording “Cut You Loose,” although her lyric is telling her man to wrap his arms around her and never let go.

The centerpiece of this release is a duet with her father Rufus, “Can’t Ever Let You Go.” Like Natalie Cole did with her recordings with her deceased father, Vaneese adds her vocal to the original Rufus Thomas recording. Husband Warnecke pulled out Rufus’ vocal from the original analog masters, added some exhortations from other Thomas recordings, then provided a contemporary backing, and guitar and sax solos along with Vaneese improvising around her father’s vocals.

Other highlights on this set include “Corner Of Heartache And Pain,” a straight, slow blues about the pain felt after her man left with Paul Shaffer on organ. “Love’ Em And Leave’ Em Behind” is a soulful number where Vaneese tells a heartbreaker she has seen her friends in too much pain, but he won’t do the same to her. “Southern Girl” is a celebration of her roots and the south with Kirk Whalum taking the sax solo. There is also a straight cover of John Fogerty’s “The Old Man Down The Road” before the disc closes with a wonderfully sung lament, “Blue Ridge Blues” backed simply by Rob Mathes’ guitars.

“Blues For My Father” is a showcase of Vaneese Thomas’ craft as a songwriter and her soul-shaking vocals and should have considerable appeal among blues and southern soul audiences. 




I received my review copy from a publicist. This review originally appeared in the November-December 2014 Jazz & Blues Report (Issue 357). I recently reviewed her most recent recording, The Long Journey Home.

Here Vaneese is performing at the 2015 Pennsylvania Blues Festival.

 

Monster Mike Welch and Mike Ledbetter Right Place, Right Time

Monster Mike Welch and Mike Ledbetter
Right Place, Right Time
Delta Groove Music

Having been part of the Chicago Blues Festival Tribute to Otis Rush, it was natural that Mike Welch and Mike Ledbetter collaborate on a recording and the spirit of the legendary Rush is evident on this new recording by the two, from the title that evokes a legendary Rush album, to the performances by vocalist Ledbetter and guitarist Welch that both show the deep impact of Rush' soul-searing music on both.

They are backed by Welch's associate in Sugar Ray & the Blue Tones, Anthony Geraci on keyboards, Ronnie James Weber on bass and Marty Richards on drums along with appearances from Laura Chavez on guitar; and Sax Gordon and Doug James on saxophones and they play wonderfully starting with a cover of an Elmore James recording "Cry For Me Baby," with Welch echoing Eddie Taylor's original guitar part, and closing with a nice instrumental shuffle feature for Welch's Rush-influenced styling, "Brewster Avenue Bump."

The only overt Rush cover is a fine rendition of "I Can't Stop Baby," Willie Dixon's reworking of "I Can't Quit You Baby," Rush waxed for Chess. But the spirit of Rush is also present in reworking of Jimmy Robins' bluesy Northern Soul groove, "I Can't Please You"; the reworking of Junior Parker's "How Long Can This Go On," into a West Side Chicago shuffle; as well as playing the Tampa Red-Robert Nighthawk's gem "Crying Won't Help You Baby," as if Rush recorded it. This here is also a nice reworking of the Jerry Leiber-Artie Butler funk, "Down Home Girl," along with the Rush inspired originals, Welch's deep slow blues, "I'm Gonna Move To Another Country," and the Ledbetter penned medium tempoed shuffle "Can't Sit Down."

The only possible quibble that might be leveled is that Ledbetter might have slightly tempered a couple of the vocals such as the opening "Cry For Me Baby." That might be in part a result of Ledbetter's 'operatic training' which I was not aware of before reading Dick Shurman's liner notes, but one can find no other fault in his strongly projected singing. This is a minor, and a subjective, criticism of what is an excellent recording.

I received my review copy from Delta Groove. Here Monster Mike Welch and Mike Ledbetter perform Otis Rush's "Right Place, Wrong Time," at the 2016 Chicago Blues Festival.

Joe Louis Walker JLW

Joe Louis Walker
JLW
Verve

Joe Louis Walker’s new Verve release may be his breakthrough album with respect to reaching beyond the core blues audience. The material and the production may a bit more accessible without losing the music’s edge.

Perhaps the rhythm is recorded a little heavier, and Rain on My Mind sounds similar to some Stones’ tune. Those not familiar with the blues world of today may think it is Bonnie Raitt, not Angela Strelhi, on the soulful duet, Hold On. Besides Strelhi, guest appearances are made by the Tower of Power Horns on a couple tracks, Branford Marsalis on the nice soulful Inner City Man, and James Cotton on an acoustic Going to Canada - bassist Henry Oden’s take on the Dust My Broom riff.

What is unusual about this album is that Walker did not pen most of the songs.. There’s the intense version of the oldie Need Your Lovin’ Every Day, and the excellent rendition of Otis Blackwell’s On That Powerline that Walker had been recorded for the Otis Blackwell tribute album on Shanachie that also appears here. Walker himself is the source of the best material. 12-Step Lovin’ (co-written with Laurie Basson) has a clever lyric analogizing love as an addiction with the 12-step treatments for addiction, while Alone is a nice jazzy, soulful blues. Walker throughout sings and plays with the conviction and imagination that has always characterized his recordings and performances.

While it may not be as varied or jazz-inflected as his previous Blues Survivor, JLW is still typical of a Joe Louis Walker recording. It is first rate.

This review originally appeared in the October 1994 Jazz & Blues Report (Issue 295). I likely received a review copy from the record company but may have purchased it. Here from over a decade after JLW, Walker is with Billy Branch doiig a Robert Johnson-Elmore James classic. 
 

John Boyd The Real Deal

John Boyd
The Real Deal
Little Village Foundation

In his brief notes to this debut by John Boyd, Rick Estrin speaks of his stylistic range at times reminiscent of shouters like Big Joe Turner and Wyonnie Harris and other times like blues crooners like Junior Parker and early B.B. King. I am not sure I agree, although listening to this I agree with the Rick Estrin penned opening track where Boyd proclaims "I Am The Real Deal," that he certainly is. I assume Estrin is the harp player on this selection while Aki Kumar is also heard on this album. Others here include Kid Andersen, Big Jon Atkinson and Robert Welsh on guitar; Jim Pugh, Welsh and Andersen on keyboards; Dave Chavez, Danny Michel and Andersen on bass; June Core, Atkinson and D'Mar Martin are among those on drums; while horns include the saxophones of Eric Spaulding and Terry Hanck. Andersen produced and recorded this at his Greaseland Studios. Boyd wrote ten of these songs

After emphatically letting us know he is the real deal, Boyd takes on a hot rocking shuffle "I Will Discover" that suggests classic Junior Parker with some blistering guitar in the vein of Roy Gaines backing Bobby Bland on Duke whereas the following "I'm Like A Stranger To You," has the feel of a Percy Mayfield Tangerine recording. Whoever did the arrangement here is to be commended, while Boyd again shows just how fine a singer he is. There is plenty of humor in Rick Estrin's ode to big-legged woman "That's Big!" with a bass line that evokes Jimmy McCracklin's "The Walk." Another hot shuffle, "That Certain Day" features some outstanding guitar in the vein of classic Freddie King.

An Estrin-Andersen collaboration "Dona Mae" takes us to Chicago in a performance in the manner of vintage Muddy Waters, while the musical setting of "I'm So Weak Right Now" evokes B.B. King's "The Thrill Is Gone," as Boyd sings about not being able to get himself together as his lady has gone. Then there is a terrific slow blues with some haunting sax at the opening "Screaming in the Night" with a great vocal and backing evocative of an unissued Otis Rush Cobra side, whereas musically "(Have You Ever Been To) Marvin Gardens" is reminiscent of the Willie Dixon Argo album by Walter Horton. Unlike the limited vocal of the late harmonica wizard, Boyd handles the vocal with plenty of personality and there is some fine harp here.

The album closes with Boyd's marvelous "John, The Blues Is Calling You," as he sings he knows what must do, because he was born a blues disciple with some greasy organ and more terrific guitar. With the excellent players Kid Andersen assembled, it would be pretty hard to produce something other than a very entertaining recording. When one adds a terrific singer like John Boyd, then one has a stellar recording that is as impressive a contemporary real blues debut as one might have heard in some time.

I purchased this. This review originally appeared in the March-April 2017 Jazz & Blues Report (Issue 371). Here is a video that introduces John Boyd.

Michelle Wilson Evil Gal Blues

Michelle Wilson
Evil Gal Blues
Bullseye Blues

Michele Wilson and Evil Gal were the winners of The Memphis based Blues Foundation’s 1993 National Amateur Blues Talent Competition. Based on Evil Gal Blues, there can be little question that this woman can sing. A voice that generally is reminiscent of the Ruth Brown of the fifties, she also captures a bit of Dinah Washington on Cry Me a River, although without the nasal quality of Washington’s vocals. Listing to her handle Brown’s As Long As I’m Movin’, one might feel captured in a time warp. Her rendition of Dinah Washington’s Evil Gal Blues is refreshing, helped by superb, swinging arrangement that doesn’t clone Washington’s original with the Lionel Hampton Orchestra. The three saxophones of Evil Gal may lack the brass of Roomful of Blues, but they hit a groove just like their more celebrated New England jump blues revivalists. Evil Gal has a swinging rhythm section and adds its own personality to these performances. Whether updating Ella Johnson’s I’m Just Your Fool or Lavern Baker’s Voodoo Voodoo, Michelle Wilson’s voice is never strident or pretentious sounding, and her phrasing is relaxed and assured. The overall result is some first rate music. And, she is not afraid to sing ballads, as in her rendition of Cry Me a River. I approached this with a bit of skepticism, but there is not a duff note on a terrific debut recording.

Another vintage review This review originally appeared in the September 1994 Jazz & Blues Report (Issue 194). I probably received a review copy from Bullseye Blues. Here is a recent performance of singing As Long As I’m Movin’.