GAYE ADEGBALOLA Neo-Classic Blues

GAYE ADEGBALOLA
Neo-Classic Blues
HOT TODDY MUSIC

This is Gaye Adegbalola’s most recent “embrace” of the classic blues and the classic blues women, Accompanied by pianist Roddy Barnes, Gaye interprets some well- known, and rescues some more obscure songs from the earliest days of blues recording. In addition, she sings several originals that are presented in the same vein as the early blues foremothers.

From the opening moments of Ma Rainey’s Black Bottom to the last notes of Roddy Barnes’ Summer Sky, we are treated to some exquisite performances. There is a fair number of selections associated with Ma Rainey in addition to the opening track that include Yonder Come the Blues, Prove It to Me, and the immortal See See Rider, all of which Gaye delivers wonderfully with Barnes’ complimentary backing. The bawdy The Dirty Dozens receives spirited treatment as does does Lucille Bogan’s BD Woman Blues. Another Bogan song, Sloppy Drunk, is taken at a distinctively slower tempo than Ann Rabson performs the number with Saffire. Gaye’s original, Twisted Woman Blues fits in seamlessly with Sippie Wallace’s Up the Country Blues, while her ballad How Can I Say I Miss You, compliments her rendition of the Duke Ellington-Paul Webster classic, I Got It Bad and That Ain’t Good. 

A couple of songs from blues history are also refreshed by Gaye here, Perry Bradford’s Crazy Blues, the bluesy Perry Bradford song that Mamie Smith recorded to launch the blues craze, and Alberta Hunter’s Down Hearted Blues that was Bessie Smith’s first recording. In addition to the wonderful performances, Gaye provides short but insightful comments on all the songs. This is simply a marvelous disc of blues performed with so much heart and panache that is unreservedly recommended.

This review appeared originally in the July-August 2004 Jazz & Blues Report (Issue 269). I likely received a review copy from a publicist. This still should be available at finer sellers. Here is a video of Gaye and Roddy Barnes performing I Got It Bad and That Ain’t Good.

 

Deb Ryder Memphis Moonlight

Deb Ryder
Memphis Moonlight
VizzTone

"Memphis Moonlight" is a new release from the husky-voiced blues singer and songwriter Deb Ryder. Like her earlier recordings, it is produced by Tony Braunagel and Ryder's husband Rick while Johnny Lee Schell engineered the session. A core backing group of musicians includes Braunagel on drums, Schell on guitar, bass, and keyboards, Travis Carlton on bass, Mike Finnigan on the Hammond B-3, Peter Van Der Pluijim on harmonica, Joe Sublett on saxophone, and Mark Pender on trumpet. There are guest appearances by guitarists Ronnie Earl, Joey Delgado and Alistair Greene, saxophonist Steve Berlin, and accordionist David Hidalgo. Ryder wrote all 13 songs (two with her husband, Rick).

Deb Ryder's previous releases impressed me with her strong songwriting and her convincing, powerful vocals. Like her prior albums, this new release contains some hard-hitting blues and blues-rock. She sings powerfully but with nuance and an excellent display of vocal dynamics. Ryder never comes off as sounding shrill and emoting. The production and the support are top-notch as well.

Things kick off with the brassy, horn-driven, soulful funk of "I'm Coming Home, where she proclaims she is coming home where she belongs, singing over Sublett's sax. Plujiom's harmonica adds down-home flavor to "Hold On," with Braunagel leading an insistent groove. Alistair Greene adds his slide guitar along with that from Schell on her soulful vocal on a vibrant down-home gospel blues, "These Hands." Then there is "Get Ready," with an echo added to her voice as she urges us to start a revolution of love and speak out against injustice.

The mood shifts on a slow, straight-forward blues, "Love Is Gone," with Finnigan's organ adding atmosphere. This song is one of the two tracks that showcase Ronnie Earl, whose playing is impressive as always. This is a standout track here. Another high point is the title track has her singing supported only by Schell on guitar, bass, and tambourine and backing vocals by her and Finnigan. She sings about feeling good about being in Memphis and regrets letting her lover go in the past. "Just Be Careful" takes us musically to the Mississippi hill country with its infectious groove and memorable lyric with the tagline, "if you can't be good, just be careful," with Schell adding some rollicking slide guitar.

Schell shines on "Jump On In," where Ryder tells her man to let himself go and spend time with her. A jazzy shuffle, "Standing at the Edge," follows with swagger and swing in Ryder's vocal. Finnigan lays down a tough foundation for her vocal as well as taking a greasy solo. The Delgado brothers, Hidalgo and Steve Berlin lend a zydeco flavor to the lively "Second Chances." At times Ryder's tune "Most of All" hints at Etta James' "I'd Rather Go Blind." Ryder sings magnificently here while Ronnie Earl adds a solo played with such depth of feeling that matches Ryder's superb singing. It closes another excellent recording with outstanding originals, terrific backing, and Deb Ryder's authoritative singing.

I received my review copy from VizzTone. Here is a relatively recent performance from Deb Ryder.

Etta James The Montreux Years

Etta James
The Montreux Years
BMG

This Etta James double album is one of the initial releases (Nina Simone being the other) from the Archives of The Montreux Jazz Festival in conjunction with The Claude Nobs Foundation. The Foundation was founded to oversee the Claude Nobs audio and visual archives of recordings of performances at the Festival. There are 21 performances from six performances from 1975 to 1993 over the two CDs (and this is available in other formats including double LPs).

The CDs are packaged in a small hardback package. There are booklet notes from Bob Merlis, Etta James' press agent as well. The notes provide an overview of how her career was intertwined with her Montreux performances. There is an interview with guitarist Brian Ray who plays on her appearances from 1975, 1977, and 1978. Others heard on various selections, including guitarists Bobby Murray Josh Sklair, Cash McCall, saxophonist David 'Fathead' Newman, trumpeter Ronnie Buttacavoli, and saxophonist Ritchie Howell, Howard Johnson on tuba, and drummer Herman 'Roscoe' Ernest III. Montreux Jazz producer Claude Nobs adds harmonica to several tracks.

The first disc is a mix of performances from 1977 to 1993. Most are with the Roots Band that included guitarists Bobby Murray and Josh Sklair. The second CD is her first performance at Montreux. Although the personnel are not listed in the booklet, they include guitarist Brian Ray and saxophonist Klaus Doldinger and introduced by the announcer before Etta starts her performance. There is over two and a half-hour of music on the two discs.

As noted, the first disc is a selective ion of performances from different Festival appearances. They find James in fine form with a mix of material opening with "Break-in' Up Somebody's Home." There are several performances contemporaneous with her "Seven Year Itch" album inching stunning renditions of "I Got the Will" and "Damn Your Eyes." The two early performances on this disc are from when she was on the Chess family records. They include the powerful "Tell Mama" and one of several renditions of Jimmy Reed's "Baby What You Want Me To Do" that are on this album, including one retitled as "Running and Hiding Blues." Of particular note is the superb medley she does, "Medley: At Last/ Trust in Me/ Sunday Kind of Love." She introduces them by saying they thought she was going to be a jazz singer. Interestingly, "At Last" is not performed on its own, but this medley is superb with her timeless singing ably supported by The Roots Band. On an encore from 1978 of "Baby What You Want Me To Do," there are some fiery solos from Brain Ray and saxophonist Gene Dinwitty.

The second disc from 1975, her first European performance, features a fair amount of blues, although it opens with a fiery performance of The Staples' "Respect Yourself." This concert was a blues-heavy program with powerful renditions of "Drown in My Own Tears," "Dust My Broom," "Baby What You Want Me To Do," Rock Me Baby," and "Stormy Monday." During "Drown in My Own Tears" there is a point where she sings without a microphone to showcase her power as a singer. The high point of this set is "I'd Rather Go Blind," with one of her most compelling vocals.

 Etta James was a force of nature, and she was not simply a powerful singer but a nuanced one with an excellent sense of tonal and rhythmic dynamics. Her backing bands, whether the ones with Brian Ray or The Roots Band, are terrific throughout these performances. Sometimes they get to stretch out and solo. At other times, they wonderfully support her improvised scatting and shouts. The sound and production are excellent, and this superb album is an auspicious initial release for "The Montreux Years" series.
 
I received my review copy from a publicist. Here is Etta performing at Montreux.

Deb Ryder - Memphis Moonlight

Deb Ryder

Memphis Moonlight

VizzTone

"Memphis Moonlight" is a new release from the husky-voiced blues singer and songwriter Deb Ryder. Like her earlier recordings, it is produced by Tony Braunagel and Ryder's husband Rick while Johnny Lee Schell engineered the session. A core backing group of musicians includes Braunagel on drums, Schell on guitar, bass, and keyboards, Travis Carlton on bass, Mike Finnigan on the Hammond B-3, Peter Van Der Pluijim on harmonica, Joe Sublett on saxophone, and Mark Pender on trumpet. There are guest appearances by guitarists Ronnie Earl, Joey Delgado and Alistair Greene, saxophonist Steve Berlin, and accordionist David Hidalgo. Ryder wrote all 13 songs (two with her husband, Rick).

Deb Ryder's previous releases impressed me with her strong songwriting and her convincing, powerful vocals. Like her prior albums, this new release contains some hard-hitting blues and blues-rock. She sings powerfully but with nuance and an excellent display of vocal dynamics. Ryder never comes off as sounding shrill and emoting. The production and the support are top-notch as well.

Things kick off with the brassy, horn-driven, soulful funk of "I'm Coming Home, where she proclaims she is coming home where she belongs, singing over Sublett's sax. Plujiom's harmonica adds down-home flavor to "Hold On," with Braunagel leading an insistent groove. Alistair Greene adds his slide guitar along with that from Schell on her soulful vocal on a vibrant down-home gospel blues, "These Hands." Then there is "Get Ready," with an echo added to her voice as she urges us to start a revolution of love and speak out against injustice.

The mood shifts on a slow, straight-forward blues, "Love Is Gone," with Finnigan's organ adding atmosphere. This song is one of the two tracks that showcase Ronnie Earl, whose playing is impressive as always. This is a standout track here. Another high point is the title track has her singing supported only by Schell on guitar, bass, and tambourine and backing vocals by her and Finnigan. She sings about feeling good about being in Memphis and regrets letting her lover go in the past. "Just Be Careful" takes us musically to the Mississippi hill country with its infectious groove and memorable lyric with the tagline, "if you can't be good, just be careful," with Schell adding some rollicking slide guitar.

Schell shines on "Jump On In," where Ryder tells her man to let himself go and spend time with her. A jazzy shuffle, "Standing at the Edge," follows with swagger and swing in Ryder's vocal. Finnigan lays down a tough foundation for her vocal as well as taking a greasy solo. The Delgado brothers, Hidalgo and Steve Berlin lend a zydeco flavor to the lively "Second Chances." At times Ryder's tune "Most of All" hints at Etta James' "I'd Rather Go Blind." Ryder sings magnificently here while Ronnie Earl adds a solo played with such depth of feeling that matches Ryder's superb singing. It closes another excellent recording with outstanding originals, terrific backing, and Deb Ryder's authoritative singing.

I received my review copy from VizzTone.

Patti Parks - Whole Nother World

Patti Parks - Whole Nother World - Booga Music/ VizzTone

From Western New York, vocalist Patti Parks built quite a following apart from her career as a working nurse. She caught Kenny Neal's attention at the Blues Foundation's International Blues Challenge. Neal signed her to his Booga Music label and brought her to his Baton Rouge, Louisiana studio where he produced "Whole Nother World." Backing Patti's vocals are Kenny Neal on guitar, Carlton Ross on rhythm guitar, Arlando O'Connor on bass, Brandon Adams on keyboards, and Michael Harris on drums. Frederick Neal adds keyboards to one track, Guy Nirelli adds keyboards to two tracks, and Jason Parfait adds saxophone to one song.

There is a nice selection of mostly obscure material. The album opens with a cover of Yvonne Jackson's Ichiban recording "I'm Troubled." Taken at a nice shuffle groove, Parks quickly puts her stamp on this recording with her powerful, expressive singing. She shouts out the lyrics without sounding shrill with tight backing, although the synthesized horns add a cheesy feel. It is followed by a reworking of an old Erica Guerin recording, "More Than You'll Ever Know." Guerin wrote this song with Neal and the late Bob Greenlee. It is a slow bluesy number that Parks pours her soul into. The backing is first-rate, with Neal being terrific. Up next is a pretty straight, if strongly sung and played, rendition of James Brown's "It's A Man's Man's Man's World." 

Neal and Parks duet on Neal's "Baby Bee," on which Neal plays acoustic guitar and harmonica. It is an appealing, laid-back back-porch performance. Parks covers a couple more Erica Guerin recordings. "Stickin' to My Guns" is set against a relaxed shuffle groove, with Neal adding some down-home harmonica in the backing. Then there is the pop-soul anthem "Don't Play Me Cheap," with Adams' solid piano and keyboards while Jason Parfait plays some strong yakety-yak tenor sax. Kenny Neal provided the lyrics for the funky "I Can't Think" with another potent vocal, although again with cheesy synthesized horns.

There is also Parks' powerful performance of the anti-rape song, "No Means No." It is a superb close to a superbly sung recording. It should be noted that there are only eight songs and less than a half-hour of music. However, there is no fat or gristle to this first-rate recording.

I received my review copy from VizzTone. Here is a performance by Patti Parks.

Tia Carroll - You Gotta Have It

 Tia Carroll - You Gotta Have It - Little Village Foundation

From the opening of "You Got To Have It," this listener became absorbed in this new album by veteran Bay Area vocalist Tia Carroll. Carroll has been singing for years with her own groups and the likes of Jimmy McCracklin and Sugar Pie DeSanto. While she has recorded albums before, this is her first USA release. Noel Hayes has been listening to her for over twenty years and made this recording happen and brought Carroll to Greaseland Studios for Kid Andersen and Jim Pugh to put together their magic. 

Besides Andersen's guitar and Pugh's keyboards, the studio band consists of Steve Ehrmann on bass, Vicky Randle on percussion, and Paul Revelli on drums. There is a horn section of Mike Rinta on trombone, Rob Sudduth on tenor sax, Aaron Lington on baritone sax, and Jeff Lewis on trumpet. Backing vocals are provided by The Sons of Soul Revivers, Lisa Leuschner Andersen, and Willy Jordan. Charlie Hunter guests on bass & guitar on one track, Igor Prado plays lead guitar on one track, Derrick D'Mar Martin plays drums on one selection, and Gordon Beadle adds sax to two songs.

The album opens with her cover of Anthony Hamilton's "Ain't Nobody Worrying." It's a stunning rendition of this stark depiction of urban street life with the shots fly high, kids die young, and the homeless have no place to turn. Hunter plays both bass and guitar, and The Sons of the Soul Revivers add backing vocals as the intensity of Carroll's stunning vocal slowly builds before she explodes. The rest of this album is of a similar level. For example, Jim Pugh co-wrote "The Last Time" while with Robert Cray. Kid Andersen adds a searing Magic Sam feel with his guitar. 

Rick Estrin wrote "Don't Put Your Hand on Me," and Carroll belts out her warning against a backing that evokes Albert King's "The Hunter." Andersen's guitar suggests Albert King's style with a dash of Albert Collins mixed in. The rendition of a Johnny Ace ballad, " Never Let Me Go," follows. It might bring back memories of some of Etta James' early Chess recordings. Gordon Beadle takes a booting solo here. Carroll's own "Leaving Again" with Andersen's swampy wah-wah guitar has a seventies soul feel. Then there is a stellar rendition of Johnny Copeland's "Mama Told Me," along with a soulful version of Z.Z. Hill's "I Need Someone." Kid and Lisa Andersen wrote "Ready To Love Again." This song comes across as a lost Hi Records recording. Igor Prado adds stinging guitar to Carroll's original, "Move On."

An impassioned interpretation of The Staples "Why Am I Treated So Bad" closes this recording. One wonders why it took so long for Tia Carroll to get an album issued in the States. Her soulfulness, phrasing, timing, and clarity of her diction result in some of the most compelling blues and soul vocals this listener has heard in some time. With a strong musical program and support from an exceptional studio band, Tia Carroll's "You Gotta Have It" is a simply sensational recording.

I received my review copy from a publicist. Here is Tia Carroll with Igor Prado from 2012.

Danielle Miraglia Bright Shining Stars

Danielle Miraglia
Bright Shining Stars
VizzTone

Boston-based Danielle Miraglia has straddled musical genres from folk, Americana-roots, and blues as a solo artist and with her band the Glory Junkies. There have been comparisons made of her to Bonnie Raitt and Lucinda Williams. This new album highlights the folk-blues aspect of her music. It is an entertaining mix of her attractively sung renditions of classic blues with her original originals that range from blues-rooted to folk-country. She is aided on her performances by the viola of Laurence Scudder, the guitar of Peter Parcek, and the harmonica of Richard Rosenblatt.

With a gentle foot stomp, her mesmerizing guitar riff, and Scudder's melancholic viola, a brief instrumental "Sounds Like Home" leads into her rendition of "See See Rider." She is a striking singer who provides a slight folk tinge with a clean as spring water voice. Scudder's doleful viola accentuates this. Miraglia mixes in choice originals like the topical "Pick Up the Gun," a protest against gun violence as she sings that another should pick up a gun to give her a reason to shoot. Then there is "You're Gonna Make Me Lonesome When You `Go," with Parcek's stinging guitar has a feel of a Tracy Chapman styled blues. Her heartfelt singing matches her distinctive lyrics. Another similar original is "Meet Me In the Morning," with her strong guitar playing with Rosenblatt adding harmonica.

There is plenty of charm in her cover of Keb Mo's "You Can Love Yourself," with Parcek's use of sustain giving his backing a steel guitar flavor. Miraglia renders a reflective interpretation of Tampa Red's "When Things Go Wrong," although her version is based on Big Bill Broonzy's recording. She accompanies herself very effectively, displaying technique as well as restraint.

Other tracks include intriguing covers of songs by Janis Joplin and Robert Johnson. Danielle Miraglia has a melodious voice with considerable appeal, and with the backing provided, has produced a gem of roots music.

I received my review copy from VizzTone. Here Danieel performs "Sounds Like Home," and "See See Rider."

Nora Jean Wallace BluesWoman

Nora Jean Wallace
BluesWoman
Severn Records

Music lovers have reason to celebrate the return of Nora Jean Wallace with a new CD, "BluesWoman." It has been 16 years since Severn issued her acclaimed "Going Back to Mississippi." She left the music scene to take care of her ailing mother, but now she returns with this release. About that earlier album, I wrote that she "has shown herself as among those who will carry on and follow Koko Taylor and keep 'this great music alive and vital.'" Taylor was a major influence on her, and like Taylor, she has a deep, husky voice with an authoritative, no-nonsense attack.

Severn's David Earl produced this recording and picked up the guitar for four numbers. He also assembled an excellent band of Johnny Moeller on guitar, Steve Gomes on bass, Kevin Anker on organ, Steve Guyger on harmonica, Stanley Banks on keyboards, and Robb Stupka on drums. Kim Wilson guests on harmonica on one selection. There are two covers. Wallace or Stanley Banks wrote eight of the ten tracks.

Banks wrote the opening song "Martell." Against a relaxed shuffle groove, Wallace sings about trying to forget her man, and that she is going to drink some Martell until her eyes turn bloodshot red. Steve Guyger quickly shows why he is among the most underrated harmonica players playing today. It is followed by a deep Memphis soul groove for Syl Johnson's "I Can't Stop." Moeller contributes a neat guitar riff in the backing of her robust singing before a sharp, focused guitar solo. Then follows Banks' "I'm a Blues Woman," where Wallace proclaims she is a Blues Woman from her wig down to her shoes. The performance does evoke classic Koko Taylor with Guyger and Moeller, both adding spice to the musical blend.

The George Jackson penned "Evidence" is a soul-blues gem, with Wallace singing about the lipstick traces and a hotel receipt being evidence of her man's infidelity. It is a compelling performance where she displays her mastery of vocals dynamics. This song is followed by Wallace's "Victim," where she sings about being a victim of love to a man who has a woman on the side. Moeller's rapier-like guitar stands out here. Other standout tracks include the marvelous played Chicago blues shuffle "Look Over Yonder," and the evocative "I've Been Watching You."

"Dance With Me" is a solidly performed and enjoyable, if lightweight, track. The album closes with the strong, moody "I Don't Have to Beg You to Love Me," with another assured, passionate vocal. It is the finale on Nora Jean Wallace's most welcome return. On the outstanding "BluesWoman," Nora Jean Wallace shows that she is still a vibrant, superb singer and backed by an excellent studio band.

I received my review copy from a publicist. Here is Nora Jean Wallace singing right before the pandemic closed things down.

Take 5 WIth Shemekia Copeland

 Shemekia Copeland has a new album, "Uncivil Wars," coming out soon. She has been performing for over two decades, at first with her father, the Late Johnny Copeland. After his passing, she has become perhaps the most prominent woman blues singer. For this Take 5, I have selected some videos of her performing live.

We start with her singing "Turn the Heat Up," which I believe was on her first album. Her band included Barry Harrison (who was drummer in her father's band) on drums, pianist Doña Oxford on piano, Eric King on bass and Arthur Neilson on guitar.

Next up is another tune from her first album, "Married With the Blues" from a 2017 performance in Poland a few years ago.

Here is a duet with Robert Cray singing the Bobby Bland classic "I Pity the Fool."

During her live perfomances and recordings she usually includes one of her father's songs. Here she performs, "It's My Own Tears."

Another of her father's songs she usually sings is "Ghetto Child." We close out this Take 5 with this powerful performance.

Mary Jo Curry Band Front Porch

Mary Jo Curry Band
Front Porch
Self-Produced

Out of Illinois, the Mary Curry Band makes a strong musical statement with its new album. A classically trained singer, pianist, and actor was struck by this band she heard in a small club. It was there she met the guitarist, and her future husband, Michael Rapier. Five years after playing together, they met Chris Rogers on bass and Rick Snow on drums to form the core of the band. Not only did they become a tight band, but they also became gifted songwriters and produced this new recording. Brett Donovan or Ezra Casey on keyboards, and Brian Moore on saxophone round out the touring and recording band. On this recording, they are joined by special guests Albert Castiglia, Tom Holland, and Andrew Duncanson. Nine of the eleven songs are band-written originals.

With a funky bass riff, the album kicks off with "Nothin' Is Easy," as Curry sings about bad times being here and she standing at the crossroads but life ain't unfair. Castiglia takes a short solo while Brett Donovan on the Hammond and saxophonist Moore stand out. It is followed by a party song where Curry says she wants to turn up, get down and "Turn It Loose." She quickly displays an authority in her singing with nuanced vocal dynamics, clear diction, and the relaxed feel of her phrasing. All this while the band helps build the excitement in her vocals with their backing. Tom Holland adds scintillating guitar on as she lambastes her lover on "All Your Lies." The band is superb with Rogers and Snow putting together a tight shuffle groove.

She impressively handles the complexity of a relationship in "The Man," as well as duets with Duncanson on "Lookin'," which set against an insistent driving groove. The urgency of her vocals on these two songs contrast with the wistful quality on the ballad "House Is Lonely." It says so much about how good a singer she is that she is equally convincing in both settings. Andrew Terrell Thomas wrote "Explaining the Blues," where she pulls out all the emotional and vocal stops singing about while she left one man for another. Casey's organ solo adds to the drama of her outstanding performance.

"Shake and Bake" is an instrumental feature that showcases Tom Holland's fleet Chicago blues fretwork and saxophonist Moore, set against the crisp rhythm section. Castiglia is back for a spirited cover of Edgar Winter's "We Had a Real Good Time," and the brooding title track about waiting and making her plans for her man who has been keeping strange company and doing Mary Jo wrong. There is a second line-gospel-funk feel to "Joyful," that closes this impressive, outstanding recording.

I received my review copy from a publicist. Here is Mary Jo Curry in performance.

 

Take 5 With Esther Phillips

This installment of Take 5 is a short playlist of Esther Phillips. Esther Phillips had a remarkable career starting with her first recordings with Johnny Otis on "Double Crossing Blues," and continuing decades later when she had a disco hit with "What A Difference a Day Makes." She was one of the great post-war women of the blues and those who select the Blues Foundation's Blues Hall of Fame inductees for the Blues Foundation should be ashamed that she has not already been inducted posthumously.

First up is her hit, "Double Crossing Blues," with the Johnny Otis and The Robins.

Another one from her early years was for Federal with the Dominoes, "The Deacon Moves In"

 
Esther had hits with songs that were not strictly in the rhythm and blues vein such as "Release Me," and "When a Woman Loves a Man." Her cover of the Beatles' "And I Love Him," so impressed them, that they flew her to England to perform on tv with them.

She never strayed far from the blues however as can be heard in this medley with Johnny Otis titled "Cry Me a River Blues," but so much more.

Finally, we close with her harrowing performance of a Gil Scott Heron song whose lyrics Esther unfortunately lived. This performance was so stunning that Aretha Franklin gave the Grammy to her because she thought Esther deserved a Grammy more than she did.

While I normally stop at 5 tracks, I have a bonus today with a clip of her with Nina Simone, Carmine McRae, Maxine Weldon, and Morgana King paying tribute to Billie Holiday.

Janiva Magness Sings John Fogerty

Janiva Magness
Change in the Weather - Janiva Magness Sings John Fogerty
BlueElan Records

This latest release from roots-blues diva Janiva Magness is a change of pace from her recent releases that leaned on her own songwriting. Here she interprets some of John Fogerty's most remembered songs, and for some of them lending a different view as sung by a woman. Supporting musicians include drummer Steve Wilson; guitarists David Darling (who produced this CD) and Zachery Ross; bassist Gary Davenport; and keyboardist Arlan Oscar. On one track Rusty Young adds dobro and guitar, and Aubrey Richard plays fiddle. There are guest vocals from Sam Morrow and Taj Mahal.

If I have any reservations it is what sounds like generic rock accompaniments to a couple of the songs such as the opening "Change in the Weather," with a freak-out blues-rock guitar solo. There are no complaints with Janiva Magness' singing. She has become one of the foremost blues and roots vocalists around. Mavis Staples is quoted in the press material that when Janiva sings "Soul music is alive and kicking," Her delivery of the songs is impeccable, bringing out some of the nuances of the lyrics.

Sam Newton (whose voice is suggestive of Fogerty) joins her for a spirited "Lodi." Her renditions of "Someday Never Comes" and "Have You Seen the Rain" displays her expressive range and are amongst her most powerful, and subtly passionate singing here. The more understated backing on the latter number enhances the mood as well. On "Don't You Wish It Were True," Taj Mahal adds his banjo and vocal. There is also slide guitar and a ragged groove as the two sing, wishing for a world with no more sorrow and hate. Slide guitar and a swampy groove underlie the cover of "Bad Moon Rising," while the rendition of "Fortunate Son" hews close to the Credence original with Magness singing with controlled anger fitting for the protest lyrics.

I am not familiar with all of the originals here, but particularly powerful is the performance of the less familiar "A Hundred and Ten in the Shade." It stands out with the stark simplicity of the music as Magness sings about "Bottomland hard as a gravestone… ." "Looking Out My Back Door," closes this album with a down-home, country feel with Rusty Young's dobro and Aubrey Richmond's fiddle adding to this tone. A few musical blemishes notwithstanding, Janiva Magness has certainly provided a superlative tribute to the music of John Fogerty.

I received my review copy from a publicist. This review originally appeared in the November-December 2019 Jazz & Blues Report (Issue 387). Here she performs "Have You Seen the Rain."

Heather Newman Rise From the Flames

Heather Newman
Rise From the Flames
VizzTone

"Rise From the Flames" is the second album from bassist-vocalist Heather Newman. About her earlier album, "Burn Me Alive," I concluded, "With the strong, empathic support by her band throughout, Heather Newman impresses with her wholehearted, passionate vocals on a most noteworthy recording debut." Here she is with her Kansas City band of Ryan Matthew (vocals/keys/percussion), Keith Ladd (lead guitar), and Adam Watson (drums), with guest appearances by Michael Lefever (saxophone) and Teddy Krulewich (trumpet). She wrote all 13 songs inspired by the end of a relationship and her dealing with consequences of this.

Since I first heard Heather on a Nick Schnebelen Band recording. I found her singing was striking as I praised her phrasing and pitch as spot on. Also, I found her delivery and her vocal dynamics impressive, especially with the judicious use of a lioness growl. There is nothing on this recording that would cause me to change that. She handles the ups and downs of relationships on these well-crafted songs. She might question her former lover's choice of a new lover on "She Sure Looks a Lot Like Me," while on the title track where she talks about coping and that she will rise from the flames of a broken relationship. Ladd's guitar impresses on the title track, "Water and Wine," "Coming Home," and other selections. "Lonely on Beale" has a funky groove as she sings about being left lonely with the horns honking in the accompaniment, while she pours everything into "His Soul," against the insistent accompaniment and Matthew's deft electric piano solo. Understated accompaniment with acoustic guitar enhances Newman's wistful singing on "Take It Slow." In contrast, "Coming Home" has a funkier feel and punchy horns.

Her supporting band impresses throughout these well-paced performances that never come off as frenzied or rushed. The band provides supple backing, and the focused solos and the production allows the listeners to savor her soulful, nuanced vocals and the splendid support provided her." "Rise From the Flames" is another marvelous Heather Newman recording.

I received my review copy from VizzTone.  This review appeared in the September-October 2019 Jazz & Blues Report (Issue 386), although I made minor stylistic changes. Here is Heather Newman at a recent performance.

 

Annika Chambers Kiss My Sass

Annika Chambers
Kiss My Sass
VizzTone

About Annika Chambers' 2014 debut album "Making My Mark," I wrote about this excellent debut, "Annika Chambers may possess a powerful voice but she also is a marvelous singer whose timing, phrasing and her sense of dynamics is quite impressive, and one awaits more funky blues and soul from her in the future." In the interim, she won the 2019 Blues Music Award for Female Soul-Blues Artist. This is her third album and produced by Richard Cagle and Larry Fulcher who produced her debut album with drummer Tony Braunagel co-producing two selections he plays drums on. Fulcher is the bassist on this with a variety of other musicians including guitarists The Might Org, David Carter, and James Wilhite. One track is a duet with Canadian guitarist Paul DesLauriers.

There is a nice mix of songs from a variety of sources opening with the "Let the Sass Out," where after a workweek is over and she no longer has to take crap she can let her sass out. Her impressive vocal is set against an insistent groove, and there is some hot guitar. As strong as that vocal is, she is perhaps even more commanding on "That's What You Made Me," singing about what her cheating man has made her. She commands the listener's attention with her articulation, dynamics, phrasing, and passion in her singing.

Her singing is superb throughout, and the backing is first-rate. A few more of the stand-out tracks include Mack Rice's "What Your Thing," where Ruthie Foster adds background vocals and on which the Mighty Org lays down pedal steel guitar in the backing. Then there is a marvelous rendition of Angela Strehli's "Two-Bit Texas Town" celebrating listening to the blues over the radio and Muddy Waters, Lightnin' Hopkins, and others making them want to dance. Barry Sellen's Hammond B-3 adds grease to this spirited performance. Chambers and Fulcher wrote "A Brand New Day," a terrific blues where her heartfelt singing is backed just by the Mighty Org's nuanced guitar, Randy Wall's keyboards and Fulcher's bass. Perhaps no performance better displays the emotion and soulfulness she sings with than a Carolyn Wonderland blues-ballad, "Stay." Then there is a marvelous cover of the Sugar Pie DeSanto-Etta James classic "In The Basement."

The album closes with Chris Smither's "I Feel So Same," where Canadian blues wizard Paul DesLauriers whose provides the steel guitar slide accompaniment as well as adds vocal responses to Chambers vocal. It is another moving performance on an excellent album.

I received my review copy from VizzTone. I will be posting my review of "Making My Mark" shortly. This review appeared in the September-October 2019 Jazz & Blues Report (Issue 386), although I made minor stylistic changes. Here is a recent performance of "Kiss My Sass."

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.

Moonshine Society Sweet Thing

Moonshine Society
Sweet Thing
Mojo Music Group

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

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

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

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

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

 

Vaneese Thomas Down Yonder

Vaneese Thomas
Down Yonder
Seque Records

Blues and soul fans will ll be delighted by this new album by Vaneese Thomas, the youngest daughter of Rufus Thomas. On the twelve originals, she is backed by guitarist Al Orlo, keyboardist Robbie Kondor, bassist Will Lee, and drummer Shawn Pelton. Also collaborating with her are Lawrence Boo Mitchell and Reverend Charles Hodges along with trumpeter Marc Franklin and baritone saxophonist Kirk Strothers from The BoKeys. Older sister Carla Thomas added backing vocals, and Kevin Bacon sings a duet with Vaneese.

This recording certainly gets off to an impressive start with the swampy Tony Joe White feel of the opening “Ebony Man.” Singing with a delivery that has a hint of Tina Turner, she forcefully spins the tale of a sharecropper with whining slide guitar and a hard groove. The mood switches to the Memphis soul feel of the pleading “I Tried” with the Memphis Horns section and the organ of Hodges. Then there is the country-soul flavored “Highway of Regret,” with a reflective vocal and Katie Jacoby’s moody violin. It is followed by the Memphis grinder “Wake Me,” with the horns blasting away as she sings about waking her from the nightmare, and pain she feels. Carla is one of the backing singers on the song of hope “Second Chance,” about folks needing “a second chance when it comes to love and romance… .”

Another standout selection is the funky blues-tinged ”Lies” when she tries to get to the truth of the matter as her lover keeps lying. There is some marvelous blues guitar, and the horn section is brassy and punchy. “Handle Me Gently” is a wonderfully sung soul-blues ballad about needing some tender loving to help her recover from being hurt so many times. “Legacy of Pain” is a poignant duet with Bacon about murders in Mississippi that remain unprosecuted with a plea bring justice to the crimes. After the slow-burning soul of “Last Kiss,” there is “Gone,” where guitarist Orlo evokes Pops Staples on a gospel-rooted performance in the manner of the Staples. The album closes with more gospel flavor on the title track as Vaneese sings about being a vagabond who keeps getting drawn back to the city on the Riverbank.

Vaneese Thomas continues to impress listeners with the latest album. This recording mixes strong original songs, focused backing musicians with superb soulful singing. It provides more evidence of how marvelous a singer, not merely a soul-blues singer, Vaneese Thomas is.

I received my review copy from a publicist. Here is Vaneese (from 2015) performing a Syl Johnson-AL Green classic.

Alberta Hunter Downhearted Blues: Live at the Cookery

Alberta Hunter
Downhearted Blues: Live at the Cookery
Rock Beat

This recording brings back memories of a couple of evenings this writer had in the late 1970s when the legendary Miss Hunter was a regular feature at Barney Josephson's "The Cookery" in Greenwich Village with pianist Gerald Cook and bassist Jimmy Lewis. Alberta Hunter was, of course, one of the legendary so-called 'classic' blues singers, but her career extended decades. She is famous for writing "Downhearted Blues," that is most famous from Bessie Smith's famous recording (and as she tells the audience, she was still collecting royalties from when this performance was recorded in 1980).

Hunter also recorded at a famous recording session with Louis Armstrong and Sidney Bechet in the twenties and continued to perform until the 1960s. She started working as a nurse in 1957 until she was forced to retire by hospital regulations in 1974. She was bored until Josephson invited her to a six-week engagement at The Cookery and her star was ignited once again, recording four albums, writing songs for a Robert Altman film and delighting audiences.

The performances here were featured in the documentary "Alberta Hunter: My Castle's Rockin'," and what a marvelous set of music we have starting with her exuberant, sassy opener "My Castle's Rockin'," with he getting the audience to clap along with her. It is a wonderful program including her rendition of "Downhearted Blues," "The Love I Have For You" which she wrote for a Robert Altman film, a marvelous "I Got Rhythm," the bawdy "Two-Fisted Double-Jointed Rough and Ready Man," "The Dark Town Strutter's Ball," a strong rendition of "I Got a Mind To Ramble," "When Your Smiling," "Georgia on My Mind," and "Handy Man." Supported by Cook's marvelous accompaniment, she displays plenty of feisty sassiness and also tenderness. More important, she swings hard and leads her accompanists in this manner. I imagine how striking her fist into the palm of the other hand as she got The Cookery audience rocking on so many nights.

I purchased this. This review appeared in the January-February Jazz & Blues Report (Issue 382).   He she performs "Two-Fisted Double-Jointed Rough and Ready Man."

Shirley Johnson Blues Attack

Shirley Johnson

Blues Attack

Delmark Records

Vocalist Shirley Johnson has been a mainstay of Chicago’s North Loop bistro Blue Chicago for the past seventeen years, and that’s where you will likely find her unless she’s touring overseas. A Virginia native, she had roots in the church so many blues & R&B performers. A fellow Norfolk alumna, Ruth Brown was a role model, but she was influenced by such acts as Etta James, Johnnie Taylor, Bobby ‘Blue’ Bland, and B.B. King. 

Johsnon worked pop as well as gospel gigs until a friend told her to go to Chicago where she relocated to in April 1983. Working first with Buster Benton and then with singer Johnny Christian, she got herself part of the Chicago scene. Then keyboard wizard Professor Eddie Lusk heard her, hired her to a Canadian tour and later brought her Blue Chicago as his regular vocalist, and after he died in 1992, she continued on at the club. In 1994 she recorded “Looking For Love” for Appaloosa which was followed by a 2002 Delmark album “Killer Diller.” She returns to Delmark for her new release, “Blues Attack.”

For “Blues Attack,” she has brought on board a band of guitarist Luke Pytel, keyboardist Roosevelt Purifoy, bassist Lovely “JR” Fuller, Jr. and drummer Cordell Teague with a horn section of Lawrence Fields, Kenny Anderson, Hank Ford, and Willie Henderson added to several tracks. The fourteen selections on “Blues Attack” include several written by Maurice John Vaughan, several by her band members and several that she contributed to, along with covers of R&B classics. 

This is just a solid set of Chicago blues sung and played strongly. Purifoy is first-rate on keyboards, while Pytel plays a solid blues guitar with just the right tone and bite as Johnson delivers the goods with her straight attack that eschews histrionics for a simple, soulful delivery. The songs range from her cautionary warning to her lover, “You’re Reckless,” and need to change his ways to keep whatever glimmer of a flame is in their love. The title track has a funky groove enhanced by a full dose of brass, as she sings about having a blues fever which moved through her body and mesmerized her, left her tired and soaking wet but nothing wrong with that, and Pytel shines more here). 

There is a nice rendition of the great Wilson Pickett classic “634-5789,” followed by an easy tempoed shuffle “Just Like That,” as she explains her relationship is over and moving on. “You Shouldn’t Have Been There,” is a fine atmospheric slow blues where she tells an ex to move on. “I’m Going To Find Me a Lover,” turns the tempo hotter as were she declares if it takes a long time its all right as she isn’t gonna take less than she deserves. It continues the lyrical center of many of the songs here emphasizing relationships that cool down or break down due to abuse or cheating. The performances have a variety of tempos and accompaniments that add to their enjoyability. 

Delmark should be thanked for bringing a healthy slice of blues from a marvelous singer who merits the attention “Blues Attack” should bring.

I received my review copy from Delmark Records. This review originally appeared in the April 2009  Jazz & Blues Report (Issue 315) although I have made some minor changes.  Here is Shirley Johnson performing "Blues Attack."

Nancy Wright Playdate!

Nancy Wright
Playdate!
Direct Hit Records/ VizzTone

It was Bob Porter who alerted me to saxophonist Nancy Wright, whose playing on a Blues Cruise deeply impressed him. She has just issued a recording "Playdate!" that was produced by Christoffer 'Kid' Andersen and recorded at his Greaseland Studios. Andersen also contributes guitar with the backing band including Chris Burns on keyboards, Joe Kyle Jr. on bass; J Hansen on drums, Tom Poole on trumpet, and Faris Jarrah on trombone, behind Wright's sax. There are a number of guests here that I will highlight as well, and I take it that Wright takes the uncredited vocals on this.

Listening to Wright's raspy sax (played with plenty of vibrato) I am reminded of Junior Walker and Eddie Shaw, which certainly has an appeal. Certainly, her playing stands out on the rocking reworking of a New Orleans recording 'Why You Wanna Do It," with the fabulous soulful Wee Willie Walker taking the soulful vocal. As a singer, she has a bit of country in her sound but does a solid job of covering Koko Taylor on "I Got What it Takes," which features Tommy Castro on guitar and her own blistering solo. Victor Wainwright adds boogie laced piano to her original rocker "Yes He Do," which she rides out on sax. There is a pretty straight cover Eddie Shaw's "Blues For the Westside" with Joe Louis Walker on guitar while Wright evokes Shaw's heavy vibrato on sax. Lonnie Mack (to who this album is dedicated) was the source of "Been Waiting That Long" that Frank Bey sings, while "Trampled" is a driving Junior Walker-styled instrumental with Jim Pugh on the organ with Andersen taking a terrific Motown inspired guitar solo.

Wright's vocal on the gospel number "Satisfied" has her backed by a gospel choir, while Terry Odabi sings "Warranty," with a choice Wright lyric, followed by a capable vocal on Henry Glover's "Cherry Wine" originally recorded by Esther Phillips for Federal. Elvin Bishop is on guitar for a raspy instrumental take on "There Is Something On Your Mind," that I believe Big Jay would enjoy. Mike Schermer adds guitar to "Back Room Rock," a medium tempo rocker that sports solos from him and Wright and some call and response between them towards the close. "Good Rocking Daddy" is a Wright original, not the Etta James number, and is evocative of some sixties Chicago soul recordings.

Another instrumental, the moody "Soul Blue" with Chris Cain on guitar, closes this album on a strong note. Her sax on this is a bit more nuanced (less vibrato), and the underrated Cain shines as does all the players on this. The musicianship throughout is first-rate, and in addition to the solos, the arrangements are solid and avoid being hackneyed, and the production is up to the high standards expected from Kid Andersen and the Greaseland Studios. There is so much music to enjoy on Wright's "Playdate!"

I received my review copy from VizzTone. This review originally appeared in the September-October 2016 Jazz & Blues Report (issue 368), although I have made a few minor corrections to this review. Nancy Wright has a new recording out and I will be reviewing that shortly. Here is a video of Nancy Wright in performance.