The McKee Brothers A Time Like This

The McKee Brothers
A Time Like This
Self-Produced

"A Time Like This" is The McKee Brothers' third album. Only one of the brothers, Denis, is heard on "A Time Like This." This release has McKee on vocals, guitar, bass, keyboards, and percussion. He is joined by musicians from Los Angeles and Detroit. These include Bobby West on keyboards; Bobby Watson on bass; Steve Stevens or Vincent Fossett Jr. on drums; Chris Stevens on congas, vibes, and percussion; Lee Thornburg on brass; and Doug Webb on reeds. Others heard include Larry McCray, Joey Delgado, and Stan Budzynski on guitar, and Tim Douthit on harmonica. At the same time, Maxayn Lewis adds backing vocals. Bobby West contributed the bulk of the songs here (several in collaboration with Denis McKee), and Denis and Ralph McKee contribute one each song.

Denis McKee is a most appealing vocalist with a slight touch of sandpaper in his voice, while the backing is terrific. Blues may be the foundation of most performances here, but there are definite jazz, funk, soul, and rock touches. Think about elements of Chicago, Blood Sweat & Tears, Tower of Power combining for The McKee Brothers musical stew. Things start with the soul-tinged "How Can I Miss You Baby?" with its clever use of familiar stock phrases such as "You never miss your water till your cup runs dry." With a relaxed groove, Duothit's mournful harmonica, it kicks off a varied set of performances. Then there are roaring horns and Larry McCray's searing guitar to support McKee's vocal on "Whistleblower Blues."

The title track is a well-crafted soul ballad, while "The Legend of Luther Stringfellow," about a guitar picker who started going crazy. Musically, this song evokes "Ode to Billy Joe." Doug Webb's clarinet and Thornburg's trumpet lend a New Orleans jazz tinge to "Don't Cha Let It Go To Your Head," and it is followed by the swamp-pop flavored "Bluer Than You," with West's piano evoking of some of Fats Domino and Huey Smith recordings from the sixties. McKee's solo on this latter track displays his facility and taste. After the pop-flavored 'Think It Over," the blues return with the unusual "Putt Putt Hustler" about miniature golf. Perhaps not a deep blues lyric but fun nonetheless. Joey Delgado is heard with strong guitar fills and solo, and Duothit's harmonica is also strongly featured. Larry McCray's fiery guitar returns on the rollicking "Dawg" that also features Stan Budzynski's Southern-rock styled slide guitar.

In summary, "A Time Like This" is an eclectic grouping of songs with an engaging pop-blues cast to it. It is marvelously played with brassy horns over a tight rhythm section. Denis McKee is a pleasant and appealing performer who ably fronts a delightful recording. As an aside to this review, while preparing his review, I also listened to the McKee Brothers first album, "Enjoy It While You Can," which featured the strong blues-eyed soul singing of Bob Seger keyboardist Bob Schultz and highly recommend that album as well.

I received my review copy from a publicist. This review originally appeared in the January-February 2021 Jazz & Blues Report (Issue 394). I have made a couple minor edits.

Greg Nagy Stranded

Greg Nagy
Stranded
Big O Records

This writer first became aware of singer-guitarist-songwriter Greg Nagy as part of the soul-blues group Root Doctor, when they appeared at the Pocono Blues Festival. Shortly after that appearance, Nagy focused on a solo career. About his last recording “Fell Toward None,” I observed that it was "an intelligently produced and performed recording that is full of soulful vocals, superior fretwork and focused accompaniments."

Nagy's latest recording, "Stranded" (Big O Records), reunites him with his frequent collaborator, Jim Alfredson who handles the keyboards and produced this with Nagy. Alfredson may be best known as keyboard player with the terrific vocalist Janiva Magness, but is an outstanding keyboard player and has produced several strong organ jazz recordings. Zach Zunis guests and solos on one of the tracks which are mostly Nagy originals (with several choice covers).

At the time of recording "Stranded", Nagy's 24 year old marriage was in dissolution and the pain from that colors these performances. This tone for the album is set with the title track (by Rick Whitfield and Jeff Paris) where he sings about being "stranded in the sea of tears in an island of broken hearts." The passion of his vocal is matched by his short guitar lines, and that is characteristic of the performances here where the focus is on the singing, not on his guitar chops. On Alfredson's "Walk Out That Door," Nagy tells this lady that he can tell she's lying and things won't be the same anymore. There is a strong solo break by Alfredson here.

Noteworthy is the rearrangement of a Bobby Bland classic "Ain't No Love In The Heart of the City" which is given a reggae groove as Nagy sings strongly. Perhaps no song covers the heartache Nagy was going through as "I Won't Give Up," with a compelling lyric of a scared heart and not giving up or give in, and with the lean, tight backing it is a commanding performance. Another striking performance is "Long Way To Memphis" with its stark, insistent groove, while "Been Such a Long Time," with Nagy singing "its been such a long since you gave her love away" and holding her heart apart, has a funky groove that certainly will get folks up and dancing.

If the tone of many songs here are of broken hearts and relationships, Nagy sings that all he wants to hear his woman say is "welcome home, welcome home" on the closing "Welcome Home," a ballad by Kevin McKendree that closes out this album. "Stranded" is a another excellent recording by Greg Nagy that brings together solid playing, strong, soulful material and vocals that are full of heart and conviction.

I received my review copy from a  publicist. This review originally appeared in the May-June 2025 Jazz & Blues Report (Issue 360). Here Greg performs "Born Under A Bad Sign" from 2013.

New Moon Jelly Roll Freedom Rockers

New Moon Jelly Roll Freedom Rockers
Volume 1
Stony Plain

As Luther Dickinson writes in the liner notes for this release, the genesis for the New Moon Jelly Roll Freedom Rockers was on a tour bus when Mavis Staples and Charlie Musselwhite hot the road together with the North Mississippi All Stars. Eventually, Luther (guitar, mandolin, and bass) and his brother Chris (drums and washboard) sat down for a guitar jam with ex-Squirrel Nut Zippers leader Jimbo Mathus, along with their father, Jim Dickinson (on piano), and blues greats Charlie Musselwhite (on harmonica) and Alvin Youngblood Hart (guitar and mandolin) for a blues and roots music celebration under the rubric of the New Moon Jelly Roll Freedom Rockers.

Word of this recording was mentioned only obscurely in interviews and referenced as a great old-school recording by those few witnesses. After Jim Dickinson died in 2009, it hung out in the archives until Stony Plain founder Holger Petersen heard about the sessions this year and expressed his enthusiasm to release it. Luther Dickinson and his partner/engineer Kevin Houston finished the production of the present album, which is the first volume. The second volume is scheduled for Spring 2021.

There are ten tracks with Musselwhite and Hart each singing three, while Jimbo Mathus and Jim Dickinson each singing two songs backed by varying configurations. There are times that the groove is straight Chicago blues as on Musselwhite's opening "Blues, Why You Worry Me." Musselwhite's vocals sound a bit more upfront than on some of his recent recordings while his harmonica has a full Mississippi sax sound, with Jim Dickinson strong on piano. In contrast, Musselwhite has a more measured vocal and on the Memphis Jug Band's "K.C. Moan," a performance with a skittle band feel and apt acoustic harp. A real surprise is his high-stepping reworking of "Strange Land" that he recorded on his first album some five decades ago.

Alvin 'Youngblood' Hart is among the finest interpreters of classic Mississippi blues as can be heard on renditions of Charlie Patton's "Pony Blues" and the Mississippi Sheiks' "Stop and Listen Blues." In addition to his robust singing, there is some sterling mandolin on "Stop and Listen." which is likely played by Luther Dickinson while Hart lays down the guitar parts. There is also an interesting cover of Jimi Hendrix's "Stone Free." Mathus is showcased on a brooding slow blues, "Night Time" (with terrific Musselwhite harp), and a raucous, jaunty skittle band rendition of "Shake It and Break It." Jim Dickinson handles the vocal on a bawdy "Come On In My House" with nifty mandolin and a rowdy cover of Wilbert Harrison's "Let's Work Together." The playing on this last number is a bit too busy.

There may be a few flaws here, but the long-overdue release of the first volume from the New Moon Jelly Roll Freedom Rockers should interest blues and roots music fans. The performances are mostly top-flight, resulting in some serious fun.

I received my review copy from a publicist. Here is a clip from 2008 of them performing "K.C. Moan."

Chickenbone Slim Sleeper

Chickenbone Slim
Sleeper
Lo-Fi Mob Records

A few years back, I reviewed Chickenbone Slim's Album, "The Big Beat." I characterized it as "a most entertaining album of gritty performances that evoke the golden period of the fifties and sixties blues." Slim, real name, Larry Teves, returns with this collection of blues and blues-roots songs. His vocals and guitar are backed by Scott Smart on guitar, Troy Sandow on harmonica, Andrew Crane on bass, and Marty Dodson on drums. This was recorded by Kid Andersen at his Greaseland Studios. Andersen also is a guest here, along with Laura Chavez and Joey Harris.

There are a number of musical sources to be heard here from West Coast jump blues to raunchy rockabilly. The ambiance of these performances goes back decades. There is the Johnny 'Guitar' Watson slashing guitar that opens "Vampire Baby." On this song, Slim sings about being a vampire who roams at night to find someone to satisfy his appetite. "Tougher Than That" is a rockabilly-flavored flavored number in the manner of some of Jay Miller's swamp-pop recordings. "The Ballad of Dick" has a Johnny Cash styled groove. Another rockabilly flavored number "Ride" comes off like an unrecorded Carl Perkins song. On these tracks, Sandow displays his harmonica talent.

The title, "Strolling With Chickenbone," suggests it as a homage to T-Bone Walker. However, Slim's buoyant fretwork owes much to Pete 'Guitar' Lewis as well. A different mood is present for "Helpless," an acoustic folk plea, with a twangy electric guitar break. "Dignity' is a nicely rendered straight blues before the album closes from the ominous swamp grooves of "These Things Happen." While this recording is more rockabilly-country, and less blues than "The Big Beat," the music on "Sleeper" has many of the same qualities that made that recording such a rewarding listen. Chickenbone Slim has produced another album that blues and roots enthusiasts will find much to dig into.

I received my review copy from a publicist. Here is "Dignity" from the album.

Chickenbone Slim Sleeper

Chickenbone Slim
Sleeper
Lo-Fi Mob Records

A few years back, I reviewed Chickenbone Slim's Album, "The Big Beat." I characterized it as "a most entertaining album of gritty performances that evoke the golden period of fifties and sixties blues."  Slim, real name, Larry Teves, returns with this collection of blues and blues-roots songs. His vocals and guitar are backed by Scott Smart on guitar, Troy Sandow on harmonica, Andrew Crane on bass, and Marty Dodson on drums. This was recorded by Kid Andersen at his Greaseland Studios. Andersen also is a guest here, along with Laura Chavez and Joey Harris.

There are a number of musical sources to be heard here from West Coast jump blues to raunchy rockabilly. The ambiance of these performances goes back decades. There is the Johnny 'Guitar' Watson slashing guitar that opens "Vampire Baby." On this song, Slim sings about being a vampire who roams at night to find someone to satisfy his appetite. "Tougher Than That" is a rockabilly-flavored flavored number in the manner of some of Jay Miller's swamp-pop recordings. "The Ballad of Dick" has a Johnny Cash styled groove. Another rockabilly flavored number "Ride" comes off like an unrecorded Carl Perkins song. On these tracks, Sandow displays his harmonica talent.

The title, "Strolling With Chickenbone," suggests it as a homage to T-Bone Walker. However, his buoyant fretwork owes much to Pete 'Guitar' Lewis as well. A different mood is present for "Helpless," an acoustic folk plea, with a twangy electric guitar break. "Dignity' is a nicely rendered straight blues before the album closes from the ominous swamp grooves of "These Things Happen." While this recording is more rockabilly-country and less blues than "The Big Beat," the music on "Sleeper' has many of the same qualities that made that recording such a rewarding listen. Chickenbone Slim has produced another album that blues and roots enthusiasts will find much to dig into.

I received my review copy from a publicist. Here is a recent video of Chickenbone Slim in performance. His website is www.chickenboneslim.com.

The Texas Horns Get Here Quick

The Texas Horns
Get Here Quick
Severn Records

The Texas Horns, comprised of Mark "Kaz" Kazanoff (tenor sax), John Mills (baritone sax), and Al Gomez (trumpet), are one of the most in-demand horn sections for both recording sessions and on tour with some of the biggest names in the roots music world. "Get Here Quick" is their own album of blues, soul and roots music, backed by an all-star group of supporting musicians. Special guests include singers Curtis Salgado, John Nemeth, Gary Nicholson, Guy Forsyth, and Carolyn Wonderland; as well as guitarists Ronnie Earl, Anson Funderburgh, Johnny Moeller, Denny Freeman, Derek O'Brien, and Jonn Del Toro Richardson. Also, Red Young and Nick Connolly play keyboards.

"It took us a year to make 'Get Here Quick,'" recalls Mark Kazanoff, who with his horn-mates arranged all the songs and horns on the sessions. "I don't usually like to do record production projects like that. But this time, we had so many wonderful guest musicians in mind that we knew we would never be able to get everyone together in one place for a week or two; so we did the CD bit-by-bit. That also allowed us to use a couple of different rhythm sections."

There is a mix of vocals along with rhythm and blues instrumentals in the vein of King Curtis and Junior Walker. One of the top tracks, "Guitar Town," opens this recording. Guy Forsyth sings John Mills clever lyrics about knowing about every dive in the city, but it is hard being to be saxophonist in a guitar town. Anson Funderburgh is the lead guitarist and trades fours with Kazanoff, Mills, and Gomez respectively. Carolyn Wonderland sings vigorously and plays lead guitar on the driving performance of Kazanoff's "I'm Doin' Alright, at Least for Tonight," supported by a blistering Gomez trumpet solo. Mills composed the instrumental "Feel No Pain," with Johnny Moeller's stinging guitar set against the riffing horn before Mills wails on the baritone sax followed by Moeller's terrific guitar solo.

Gary Nicholson wrote and sings "Fix Your Face," on which he also plays guitar. After Kazanoff takes a honking tenor sax solo that the late Big Jay McNeely would have been proud of, Ronnie Earl displays his distinctive style. Nicholson also contributed the bouncy "Soulshine," with Anson Funderburgh on lead guitar and a terrific tenor sax chorus from Kazanoff. Gomez' instrumental "2018" has a New Orleans meets Bo Diddley groove. Moeller and Nick Connolly play short guitar breaks before a section of the interplay between the three horns.

Riffing horns provide a setting for Johnny Moeller's guitar leads on one of Kazanoff's instrumentals "Better Get Here Quick." There is fiery Gomez trumpet and an electric piano break from Young. Kazanoff also wrote the soul-ballad, "Love Is Gone" with a terrific John Nemeth vocal and, a booting Kazanoff tenor sax solo. Mills' "Sundown Talkin'" showcases more blue-eyed soul with a passionate Curtis Salgado vocal. Kazanoff sings in an almost talking blues manner "You Can't Be Serious," a protest blues about this 'rich man's paradise." It has a concise Jon Del Toro Richardson guitar solo while Derek O'Brien adds slide guitar fills.

If there is one fault, the horn section unison leads generally are not as memorable as the vocals or various solos are. Still, there are some exceptional performances throughout, even on those that are merely entertaining.

I received my review copy from a publicist. Here are The Texas Horns performing in 2018.

Manx Marriner Mainline Hell Bound for Heaven

Manx Marriner Mainline
Hell Bound for Heaven
Stony Plain Records

The Manx Marriner Mainline is a project of Harry Manx and Steve Marriner, two of Canada’s most award-winning blues and roots music artists. The two two multi-instrumentalists (Manx on slide guitar, banjo and his trademark Mohan Veena and Marriner on electric, slide, baritone and 12-string guitars, harmonica, bass, Hammond organ and drums) Both sing ad contributed songs to the disc that also includes several venerable blues and gospel songs including a Charlie Patton blues, and gospel numbers from The Staples and Reverend Gary Davis. Clayton Doley adds Hammond organ, and Moe Duella is on drums on some of this recording.

There is a nice mix of material that is well sung and played starting with the opening Manx blues "Nothing," with nice guitar and harmonica from Marriner, along with an ice shuffle groove and Manx's appealing, slightly gravelly singing. In contrast, Manx's "Everybody's Knows" is a nice country-tinged number with Marriner adding atmospheric guitar. Marriner's "My Lord" is a solid gospel blues with some nice acoustic 12-string guitar and harmonica. Manx plays a banjo lead and delivers a wistful vocal to a lovely ballad "My Only One," with Doley adding Hammond organ. Manx sings an engaging, straightforward, vocal on a small ensemble reworking of Charlie Patton's "Rattlesnake Blues." This is one of three covers as Marriner does a nice rendition of the Staple Singers "Wish I Had Answered," with an accompaniment that evokes Howlin' Wolf and Ray Charles. On Rev. Gary Davis' "Death Have No Mercy,"  Manx adds slide guitar to Marriner's 12-string guitar

The last song is an enticing ballad performance, "Rise and Fall In Love." It is sung by Manx with Marriner's adept electric guitar accompaniment with Jim Bowskill adding viola and violin at the end. It closes this delightful collaboration by Manx and Marriner that brings us fresh renditions of older songs mixed with intriguing, idiomatic originals that are wonderfully played ad well sung.

I received my review copy from a publicist. This review appeared in the May-June 2019 Jazz & Blues Report (Issue 384) although some stylistic revisions have been made to the published review. Here is the official music video for "Nothing."

Mighty Mike Schermer Bad Tattoo

Mighty Mike Schermer
Bad Tattoo
Firedog Records/VizzTone Label Group

This is Mighty Mike's latest release featuring a dozen songs finding the singer-guitarist-songwriter at the Greaseland Studios with guest stars including Chris Cain, Rick Estrin, Aki Kumar, Jim Pugh, Nancy Wright, Billy Price, and others! He has been a guitarist with Marcia Ball since 2009 and before that worked with Elvin Bishop, Maria Muldaur, Angela Strehli, Bonnie Raitt, Howard Tate, Charlie Musselwhite, and Sista Monica amongst others. The core band on this CD is Schermer, guitar, and vocals; Steve Ehrmann, bass; Paul Revelli, drums; and Austin Delone, organ. Two tracks have a horn section of Eric Bernhardt, baritone and tenor saxophones; and Nancy Wright, tenor saxophone. Jim Pugh sits in on organ on three tracks while one song, “Ain’t That The Way Love Goes?” includes a different band with Jim Pugh, Chris Cain on electric piano, and a rhythm section of Kid Andersen, bass; and Alex Pettersen, drums. Cain also contributes guitar on one selection while Billy Price contributes a backing vocal. Schermer wrote or co-wrote all of the songs.

This is a solidly recorded and played CD. Schmerer is more striking as a guitarist than a singer but his somewhat light, plain singing I find quite listenable and honestly delivered. And his songs are solid idiomatic ones starting with the opening "She Won't Be Coming Back," with a groove, melody, and horns evocative of Little Walters "Up the Line." Then there is the amusing "Lover's Hall of Fame" about a relationship gone sour as he tells his ex that she's not on the ballot for the Lover's Hall of Fame. The Farfisa organ on "How Much Longer" gives it a feel of a beach club dance song in the sixties, while the title track is a relaxed jump blues as he sings about a tattoo about some other dude that she tries to hide. Besides his appealing singer, there is some sharp guitar akin to sixties Johnny 'Guitar' Watson as well as nice supportive horns including a booting tenor sax solo. There is a soulful "Ain't That the Way Love Goes," with a backing vocal chorus, and a "Baby Down the Well," with pounding piano, Rick Estrin's harmonica and a jackhammer groove.

"Hey Francine," a country-rockabilly tinged song is perhaps the weakest vocal here. It is well played like the rest of this recording. Schmerer has put together a strong backing ensemble with solid contributions from his friends. Add well-crafted originals, and one has a very engaging recording.

I received my reviewe copy from VizzTone. This review originally appeared in the May-June 2019 Jazz & Blues Report (Issue 384), although I have made minor stylistic changes. Here is a video of him covering Latimore's "Let's Straighten It Out."

 

Watermelon Slim Church of the Blues

Watermelon Slim
Church of the Blues
NorthernBlues Music

This is the 13th album by William P. Homans, better known as Watermelon Slim, dating back to 1973 when his "Merry Airbrakes" recording was celebrated as one of the first anti-Vietnam War albums done by a military veteran. It took him 29 years for his second album, "Big Shoes To Fill," which established his acclaimed career. Mississippi Fred McDowell is perhaps his biggest influence, and he developed his slide style as well as his gritty, raspy vocals. He co-produced this album with Chris Hardwick as well as plays harmonica and electric slide guitar. He is backed by his band of John Allouise on bass and Brian Wells on drums. He has guests including guitarists Bob Margolin, Nick Schnebelen, and Joe Louis Walker; vocalists Sherman Holmes and John Nemeth; and keyboardist Red Young. While the guests may add interest to this recording, it is Slim with his strong playing, vocals, and personality that makes this album so enjoyable.

The recording opens with "St. Peter's Ledger,' as he authoritatively delivers Ron Meadow's lyrics about where he might end up in the after-life and displays his strong slide guitar style. He follows up with one of several topical songs, Tom McFarland's 'Tax Man Blues," a strongly performed working man's complaint of having too much taken out of his pay stub. The strong backing enhances his strong singing and slide guitar solo. Muddy Waters' "Gypsy Woman" (with Slim on harp and Bob Margolin adding playing slide) is one of several covers of classic Chicago blues that he avoids copying the original while placing his stamp on the performance. Other similarly strong performances include Howlin' Wolf's "Smokestack Lightning" and J. B. Hutto's "Too Much Alcohol.' He makes minor changes in the arrangement (no trace of broom dusting on the Hutto number) so that these songs receive a fresh feel along with his powerful singing and playing.

Slim's "Post-Modern Blues," with the strutting horns, has him singing about trying to deal with the rapid changes of the 21st Century, while "Hollar #4" is a moving vocal moan about blues and his own life. His rendition of Allen Toussaint's "Get Out of My Life Woman" with his slide driven accompaniment evokes the early Paul Butterfield cover while a similar funky feel is present on a cover of Gene Barge's "Me and My Woman," the latter tune sporting more fine harmonica. Among other high points include the high-stepping topical blues about protests and the increasing visibility of overt racism "Charlottesville (Blues for My Nation)," with his hope for better days for all. An amusing bonus song, 'Halloween Mama" closes another excellent Watermelon Slim recording.

A received my review copy from a publicist. This review originally appeared in the March-April 2019 Jazz & Blues Report (Issue 383).  I have previously reviewed some Watermelon Slim albums including "Escape From the Chicken Coop," the eponymously titled "Watermelon Slim and the Workers," and "No Paid Holidays." Here is Watermelon Slim performing.

Chickenbone Slim Chickenbone Slim

Chickenbone Slim
The Big Beat
Lo-Fi Mob Records

Chickenbone Slim is the alter ego of Larry Teves, a San Diego based musician who started playing guitar in 2011 after playing bass in many bands for many years. Years of playing in a variety of blues and rockabilly bands is reflected in the performances here where he is backed by Big Jon Atkinson on harmonica, guitar and bass; Marty Dodson on drums and Scot Smart on bass. Recorded at Greaseland Studios, Kid Andersen engineered and mastered this and played guitar on one of the nine songs here.

With austere, relaxed backing and Slim's relaxed, unforced and grainy vocals, some of the songs has an ambience similar to the Baton Rouge based 'swamp blues" of Lazy Lester, Lonesome Sundown and others. The opening title track features superb harmonica as well as Slim's own smartly, played solo while "Me and Johnny Lee" is an even better performance in this vein as he sings about being as lonely as he can be as after she broke his heart is just him and Johnny Lee. "Long Way Down" has a bit more grit in the manner of a Tony Joe White, and a biting guitar solo from Scot Smart, as he sings about meeting his lover on the long way down.

The country-flavored "Hemi Dodge," has Kid Andersen on guitar and mournful harmonica from Atkinson, while there is a folk performance with just his acoustic guitar accompanying his vocal on "Vodka and Vicodin," his best friends as he is out of luck. There is an insistent groove to "Long Legged Sweet Thing" as Slim hammers out his vocal against skeletal backing and strong harp, while "Man Down" has a West Side Chicago feel with a boogaloo rhythm.

The closing "Break Me Of a Piece" returns us to the swamp blues vein and ends a most entertaining album of gritty performances that evoke the golden period of fifties and sixties blues.

I received my review copy from a publicist. This review originally appeared in the November-December 2017 Jazz & Blues Report (Issue 375). Here is a promo video for this recording.

The Sherman Holmes Project The Richmond Sessions

The Sherman Holmes Project
The Richmond Sessions
M.C. Records

The origins of this album by the surviving member of The Holmes Brothers goes back to 2014, the year they were honored with a National Heritage Fellowship, the highest award given in the US for traditional arts. That same year they participated as master artists in the Virginia Folklife Apprenticeship Program where they mentored several young musicians. While they enjoyed the performances of those they mentored along with other traditional musicians, not long after in January 2015, Popsy Dixon passed away from cancer and then Sherman's brother Wendell died a few months later of multiple health problems. Sherman in that year continued to participate in the Apprenticeship Program mentoring 11 year old Whitney Nelson, and after backing her at the Apprenticeship Showcase, he was asked to sing a number in honor of Wendell and Popsy, and sat down at the keyboards to sing a traditional gospel number, "I Want Jesus." It was after that performance that Jon Lohman suggested they record this album.

Lohman suggests that in the spirit of The Holmes Brothers, this recording draws on a variety of genres and styles. While true, this recording has a strong bluegrass-Americana feel, with the blues and soul aspects somewhat less prominent. Lohman, besides producing this adds harmonica behind Holmes' vocals, bass and keyboards. Other notable musicians on this include Rob Ickes on dobro; Jared Pool on mandolin and telecaster guitar; Sammy Shelor on banjo; Jacob Eller on upright bass; and David Van Deventer on fiddle. Joan Osborne, long-time friend of The Holmes Brothers, adds her vocal on one track, while the Ingramettes add backing vocals to others selections.

Gospel songs are in fair abundance here ranging from the living bluegrass rendition of "Rock of Ages," with strong dobro and fiddle along with a terrific supporting vocal from one of the Ingramettes, the austere "I Want Jesus," with simple accompaniment (again with dobro prominent) and gospel chorus backing); the traditional African-American gospel rendered "Wide River," and a stunning bluegrass-rooted rendition of Carter Stanley's sentimental ballad "White Dove." There are strong heartfelt performances, renditions of Vince Gill's "Liza Jane" (not the similarly titled New Orleans number) and Jim Lauderdale's "Lonesome Pines." Toss in intriguing versions of The Band's "Don't Do It," and Creedence Clearwater Revivals' "Green River," with vocals that would likely have impressed Levon Helm.

There are two deep soul numbers, renditions of "Breaking Up Somebody's Home" (with a intriguing employment of traditional country instruments in the backing), and the James Carr classic, "The Dark End of the Street," with Joan Osborne guesting in support here. The Carr number has also been been one that a number of country performers recorded back in the sixties. The album closes with the Ben Harper composition "Homeless Child," with a powerful lyric, fervent backing chorus and focused backing. It is another heartfelt performance on this strongly performed and moving recording that may transcend classification but one that will enthrall those who simply love good music.

I received my review copy from M.C. Records. This review originally appeared in the July-August Jazz & Blues Report (Issue 374). Here Sherman Holmes performs "Green River."

Patty Reese Let in the Sun

Patty Reese
Let in the Sun
Azalea City Recordings

Washington DC area roots-rock stylist and songwriter Patty Reese is a favorite among audiences in the Nation's Capital area. About this album (her fourth) she states, "This collection of songs is an honest representation of who I am, where I come from and where my heart is. The Blues remains the rock on which I have built every song I’ve ever written. I also love to incorporate songs by artists that inspire me and this time it was Steve Earle and Bob Dylan.” Backing her on the nine originals and two covers guitarist Jonathan Sloane; bassist Sonny Petrosky; drummer Andy Hamburger and Tommy Lepson on keys (co-producer with Reese).

Opening with a swampy blues "Is It Too Late For Me?," she proves adept in mixing in references to black cats and killing chains in a performance about searching for a happy home and saving herself from a devil's campaign with an emphatic groove and blues-rock slide. "Your Love" is a Texas blues-rock shuffle as she celebrates her love as a rock to build her home, a feather to make a bed and more. "Soul Satisfier" is a horn driven piece of danceable funk that she belts out while Sloane rocks out a bit in guitar as Lepson provides some grease with his organ, while she sings in a sultry fashion on "I Won't Let You Down," as she sings that when the world leaves you cold, "I won't you down." Her vocals throughout are full of heart and honesty

Other high-points include "Open A Window, Let In The Sun," a roots rocker with a gospel accent with Brian Simms on keyboards and Dave Chappell on guitar and "Awesome Sauce" a dance-able number with a New Orleans styled groove and blues-rock slide guitar evocative of Little Feat's "Dixie Chicken." "I Hear a Lie" is a moving country-rooted lament followed by a fresh interpretation of Dylan's "Don't Think Twice It's Alright."

Steve Earle's lovers lament "Goodbye" is the closing track and Reese heartfelt singing of her regrets on this moving country performance is standout selection on a solid collection of performances that show her range as a performer and songwriter.

I received a review copy from a publicist. This review originally appeared in the March-April 2017  Jazz & Blues Report (Issue 371). Here Patty performs, ""Is It Too Late For Me?"

The Jimmys Hot Dish

The Jimmys
Hot Dish
Brown Cow Productions

The Madison, Wisconsin based The Jimmys, sure know how to turn out some hot jumping blues and rhythm sounds. Their disc, "Hot Dish" (Brown Cow Productions), is a showcase for this band led by vocalist and keyboard player Jimmy Voegeli (pronounced "vaguely') which includes Pete Weber (ex-Hubert Sumlin) on guitar; Mauro Magellan on drums; Johnny Wartenweiler on bass and The Amateur Horn Stars; Darren Sterud (trombone/vocals), Pete Ross (saxophones), and Mike Boman (trumpet). Voegeli, Weber and Magellan contributed all the songs here.

This is a terrific band with the horns adding musical colors and texture far beyond the simple riffs of a number of groups with the songs ranging from the scorching "Loose That Woman," a rumba blues that evokes classic Ray Charles with some strong piano and a booting saxophone solo. There is a more stately tempo to Weber's "You Say You Will" which has a blistering guitar solo. Voegeli and Magellan contributed the funky "Freight Train" with Weber's guitar exhibiting a bit of twang. The aptly titled "Funk Schway" and a driving shuffle "Jacqui Juice" are two instrumentals that allow the players to stretch out. The T-Bone Walker style shuffle ""What Gives," with a slightly muffled vocal and some nice growling trombone embellishments and solo, while Vocelli lays down boogie woogie inflected piano. There is even a hint of Little Richard on the frenzied "She's Wild." If one track stands out it is the Charles Brown meets Ray Charles sounding "Saddest Man," with superb piano, a marvelous horn arrangement and terrific guitar and tenor sax solos support Voegeli's world weary vocal about a love that is lost.

The Jimmys are terrific whether playing jump blues, rock and roll, or Memphis funk, and the songs here are both idiomatic yet fresh. Tinsley Ellis (quoted on the cover) is right on, "The Jimmys have mined pure R&B gold with 'Hot Dish.'"

I received this my review copy from a publicist. Last Monday I posted a review of their most recent recording, "Live in Transylvania." This review originally appeared in the January-February 2016 Jazz & Blues Report (Issue 364). Here is a clip of The Jimmys performing.

The Jimmys Live in Transylvania

The Jimmys
Live in Transylvania
Brown Cow Productions

Led by keyboardist and vocalist (as well as one who helps on his family's 1500 acre Dairy farm), Jimmy Voegeli, The Jimmys, is one of the hottest blues bands out of Wisconsin with its mix of modern and jump blues. Recorded at the 2015 Sighisoara Blues Festival in Romania, this new disc is full of hot jump blues grooves with slashing guitar, greasy organ and rollicking piano, and hot riffing brass.

A hot organ instrumental, "Jacqui Juice," kicks things off with the leader starting off with some strong organ before the horns add their voices before Pete Weber takes a guitar solo that sounds like a cross between Pee Wee Crayton and B.B. King followed by Charley Wagner taking off on trumpet, then some booting sax from Pete Ross before the leader returns with some deep burning organ. Kudos to John Wertenweiler on bass and Mauro Magelian on drums for pushing the groove here and throughout.

It is followed by a jump blues, "I Wonder" with the leader on piano with some T-Bone Walker styled guitar from Weber with Voegeli wondering where his love gone and what she does to him as Darren Sterod's growls on the trombone. Voegeli's straight-forward blues shouting also has considerable appeal. There is a rock and roll feel on a cover of Jim Liban's jumping blues "You Can't Hurt Me Anymore," with Weber and the leader's piano featured. In contrast is "Hell or Heaven," a number in the manner of the pop supergroup, Chicago, and shows how solid Voegeli and band are playing non-blues material (also displayed on the group's closing number, The Band's "Ophelia").

The buoyant "Love will Find a Way," is followed by a credible interpretation of Mack Rice's "Cold Women," although Voegeli can't quite match Albert King as a singer. Nice to hear a cover that is not the usual over-played blues standards. The classic Freddie King recording "Lonesome Whistle Blues," is slowed down and reworked into how it might have been performed by B.B. King, with Wagner adding some growling obligatos. Weber sings the gruff sounding vocal on his medium tempo "You Say You Will," with a dedication to Hubert Sumlin as he takes a torrid solo. Voegeli's 'Lose That Woman" is a Ray Charles' styled romp with the rhythm laying down a terrific groove with short fiery solos from the leader, Ross and Weber.

The sound of this spirited location recording is quite good. Jimmy Voegeli and The Jimmys put on quite a show in Transylvania and listening to one can imagine what a party folks had that evening with this wonderful jumping blues performance.

I received from my review copy from a publicist. This review appeared originally in the January-February 2017 Jazz & Blues Report (Issue 370). My review of "Hot Dish" the previous album by The Jimmys, appeared in the January-February 2016 Jazz & Blues Report (Issue 364) but not on this blog and I will post it next week. Here are The Jimmys  at the 2015 Sighisoara Blues Festival.

Scott Ramminger Do What Your Heart Says To

Scott Ramminger
Do What Your Heart Says To
Arbor Lane Music

What a pleasure it is to have a new CD from Mid-Atlantic saxophonist-singer-songwriter Scott Ramminger that is full of the bluesy, roots-rock gumbo with a heavy dash of New Orleans flavor. Backing Ramminger is a Crescent City studio band of David Torkanowsky on keyboards; Shane Theriot on guitar; George Porter on bass; and Doug Belote on drums, with Roland Guerin replacing Porter and Johnny Vidacovich replacing Belote on two tracks. Trombones and trumpet with Ramminger provide a full horn section and there are guest vocalists supporting Scott that include Tommy Malone, Bekka Bramlett, Francine Reed, The McCrary Sisters, Janiva Magness and Roddie Romero (who plays accordion on one track).

Scott writes good songs, full of humor and a perspective on the affairs of the heart and sings in an appealing, natural, rustic style. He also adds fluent, idiomatic big-toned sax to these selections backed by the stellar rhythm section. The album gets off with a New Orleans funk groove of "Living Too Fast" as he tells his tale about this woman with brains, looks and the like who poured his bottle into the ocean, cigarettes in the trash, coming to the conclusion Scott was living too fast (with Malone adding harmony), and while on May 1 he thought she was the one, by Labor Day she had extinguished all his fun with a booting sax solo and some New Orleans piano from Torkanowsky. With Bekka Bramlett adding support, "Someone New To Disappoint," is a nice hard rock number with Scott as someone who won't be changed so he is looking for someone else to disappoint. On the title track Scott deals with being battered by a lover, and sometimes instead of using one's brain, one should "Do What Your Heart Says To," with him taking another booting sax solo followed by Torkanowsky with some idiomatic Crescent City piano and Francine Reed on backing vocal.

Scott's has taken a beating and has not slept since she left and he's "Hoping That The Sun Won't Shine," with Bekka Bramlett supporting his vocal and Scott playing baritone as well as tenor sax on this blue ballad. "Winter Is Always Worse" is a strong slow performance that opens with some sizzling guitar from Theriot while "Get Back Up," with Guerin and Vidacovich, gets into a funk groove as he sings about getting back up when dealing with life throws at you while The McCrary Sisters add vocal backing and a short trombone break is followed by some deep in the gut baritone sax, guitar and chicken fried organ. Janiva Magness guests backing Scott on the easy rocking shuffle "It's Hard To Be Me," as Scott sings about his trouble and coming up with these lies and make up stories to hold on to a love.

"Off My Mind" is another solid slow blues while "My Girl For Life," is a swamp pop styled ballad. Roddie Romero's accordion lends a Tex-Mex accent to the rock and roll groove of "Stubborn Man," with honking sax, brief blistering guitar, and hot piano to take this  and the album to a rollicking close. Like he has done on his excellent prior recordings, Scott has produced some seriously entertaining music with plenty of substance. He writes real good songs, is a most engaging singer and a strong saxophonist who backs himself with some stellar players. The result is another helping of real fine musical gumbo.

A publicist provided me with the review copy. Here is a video of Scott performing at a CD release party.

Hard Swimmin' Fish True Believer

Hard Swimmin' Fish
True Believer

Acme Blues Company, a former Northern Virginia group that included harmonica player and vocalist Waverly Milor, once described themselves as 'Industrial Strength Blues." Such a description might be applied to Milor's present group, Hard Swimmin' Fish, also based in Northern and Central Virginia. Its other members are Demian Lewis on guitar, banjo and vocals, Randy Ball on bass, and Jason Walker on drums and percussion. On their latest self-produced album, they are supported by the organ of John Sharrar on one selection.

On their website, they describe themselves, "Hard Swimmin’ Fish is an ensemble deeply rooted in the traditions of American music. Our down home roots sound pilfers from the best that early American music has to offer including blues, jazz, funk and swing, and churn it all up into a spicy brew that is familiar yet uniquely our own." Listening to this latest release, one is struct by the blues center of the performances and the impressive ensemble playing that overshadows the instrumental solos which are quick and to the point.

The tenor of their sound is set with the insistent, machine-like groove of the opening title song as Milor gruffly delivers the lyrics of being a true believer tied to the stake with his overdubbed harmonica adding feel of the performance. Plenty of grit follows on "Five Years Hard Labor," with its chugging rhythm and his being let go from his job for his five years of hard labor and having his woman walk out the door. "Come Together" is not the Beatles number, but a Lewis original with him laying down some hot acoustic slide guitar set against a tight groove. Covers include a straight, rocking treatment of Howlin' Wolf's "Howlin' For My Darling"; an atmospheric reworking of Little Willie John's classic "Need Your Love So Bad," with one of the nicest vocals on this and organ from Sharrar; and a warp speed rendition of the classic Ray Charles stomp "Mess Around."

A traditional gospel number, "Don't Let the Devil Ride" which segues into "Wish I Was In Heaven Sitting Down,"closes out this latest release that perhaps exhibits why Hard Swimmin' Fish has been developing a following around Northern and Central Virginia and parts of Maryland.

Received my review copy from a publicist. This review originally appeared in the November-December 2016 Jazz & Blues Report (Issue 369). Here Hard Swimmin' Fish perform "True Believer."

 

Johnny Nicholas Fresh Air

Johnny Nicholas
Fresh Air

It has been about four decades when I saw Guitar Johnny and the Rhythm Rockers along with blues legends Walter Horton and Johnny Shines outside Buffalo NY. Of course the chance to see Horton and Shines may have been my prime motivation, but Johnny Nicholas and his band were outstanding on their own, not simply as a backing band to Horton and Shines. That was part of a tour promoting albums by Nicholas, Horton and Shines and it was quite a memorable nite. Nicholas, part of a New England scene that included Duke Robillard, Sugar Ray and the BlueTones, and Roomful of Blues, would eventually move to Austin, Texas where he became part of that music scene as well as expanding his musical palette to include Western Swing in a tenure with Asleep at the Wheel.

Nicholas has a new album "Fresh Air," with blues and roots songs where he and his multi-instrumental talents (piano, guitars and more) is joined by an all-star cast that includes Scrappy Jud Newcomb (guitars, mandolin, mandocello), John Chipman (drums, percussion, vocals) and Bruce Hughes (bass, vocals, percussion), plus a guest list that includes Cindy Cashdollar (lap steel and additional guitars), and Steve Riley on button accordion. There are interpretations of Sleepy John Estes' "Kid Man Blues" and Howlin' Wolf's classic recording, "Back Door Man," along with eleven originals that he penned or had a hand in writing.

His blues roots are evident of his opener, "Moonlight Train" where he sings about dreaming about the falling rain and a chill down his spine when he heard that moonlight train set against a reworking of the "Rollin' and Tumblin'" melody. It is followed by his original take of Estes' "Kid Man Blues," adding a country accent, almost in the manner of the late Levon Helm. "Red Light" is a stomping rocker with Cindy Cashdollar's steel guitar with Nicholas pounding the piano and Steve Riley adding accordion breaks almost in the manner of Spade Cooley or Garth Hudson. "Sweet Katrina" has him recalling hoboing on freight trains from Chicago to Memphis and meeting Katrina, initially a sweet woman but who got meaner than a one-eyed dog," and might evoke classic Little Feat for some. Then there is his woman who wants Johnny to "Play Me (Like You Play Your Guitar)," a neat lyric by him and Gary Nicholson. "How Do You Follow a Broken Heart" is a lovely blues-ballad that will conjure up some classic West Coast blues from Charles Brown and early Ray Charles with lovely Cashdollar steel guitar adding to its appeal, while "Roll On Mississippi" is reflective folk-country ballad, with Newcomb's mandolin adding to the song's mood. Other high points includes a very imaginative recasting of "Backdoor Man," and the title song, a lovely country ballad.

The playing from Nicholas and his band is terrific, and Nicholas sings with heart and authority throughout making this a superb album of American roots in the tradition of The Band, Levon Helm, Anders Osborne, and others.

I received my review copy from a publicist. This review originally appeared in the November-December Jazz & Blues Report (Issue 369).  His website is http://johnnynicholasblues.com/. Here is Johnny performing "Back Door Man" and "Fresh Air."

Nick Schnebelen Band Live at Knuckleheads Vol. 1

Nick Schnebelen Band
Live at Knuckleheads Vol. 1
VizzTone

Part of the International Blues Challenge winning sibling band, Trampled Under Foot (and selected for the Albert King Guitar Award at the time), Nick Schnebelen now leads his own band and VizzTone has issued their debut album, "Live at Knuckleheads Vol. 1," recorded at the famed Kansas City club. The singer and guitarist is joined by Heather Newman on guitar and vocals, Cliff Moore on bass and Joe Voye on drums for a hard rocking collection of blues and blues-infused roots rock.

Schnebelen and Newman share vocals with Newman being the more engaging singer, while Schnebelen is uneven. He comes across well on the rockabilly tinged opening track "I'm Goin'" but his heavier approach on the blues-rock Muddy Waters' influenced "Break of Day" (akin to "Walking Blues") is not as natural sounding. There may be a touch of country in Newman's vocals and there are times I wish Newman would tone her singing down at spots, but this is a quibble as her phrasing and pitch is spot on her performances, and this is also a recording of a live performance.

Schnebelen's guitar is quite fiery and inventive. He might rock a bit for my taste, but when he picks up the slide and quotes Muddy's "I Be's Troubled" backing Heather on "Tailgate Swing," his considerable technical skills and musical sense is quite evident. he is quite a player and he ably takes the heat down on the low-key "Who Will Comfort Me." Perhaps he bellows his vocal a bit on his forceful, and fresh, rendition of "Spoonful," with Heather adding vocal backing. Then he picks up the steel guitar for a nice cover of the Santo and Johnny's hit "Sleep Walk."

A terrific cover of Dolly Parton's "Jolene" further illustrates the band's virtuosity followed by an high-energy rendition of the Gary US Bonds hit "New Orleans" with  Hound Dog Yaylor meets George Thorogood slide backing the husky vocal that ends this  animated and highly engaging live blues and roots set that will have many wanting more.

I received a review copy from VizzTone. Here is a video of them in performance.

Tommy Castro's Method To My Madness

 

There might be a "Method To My Madness," the new Alligator album by Tommy Castro & the Painkillers. Castro is a fairly reliable artist bring his husky, slightly gravelly vocals and rocking guitar to a disc with ten originals and a couple of choice covers. The Painkillers of Michael Emerson on keyboards, Randy McDonald on bass and Bowen Brown on drums with Ari Rios on percussion is a pretty well-oiled machine. There are no surprises on this unlike his last album "The Devil You Know," which had a few hard rock tracks that fell flat to these ears.

Castro writes clever songs with an ability to generate a lyrical hook. Certainly the opening "Common Ground," with its call for us to stand together or common ground, band together before we all fall down displays this. The title track is a catchy rocker where he tells this lady that he is blinded with desire for her and there is a method to his pursuit of her. It is followed by a ballad where he sings about having "Died and Gone To Heaven," when he is with the one he loves. The rocker "Got a Lot," has a rocking groove and one could easily imagine this being done by a zydeco band. As good as these songs may be, the wonderfully paced shuffle "Two Hearts," and a cover of the Muscle Shoals soul classic "I'm Qualified" stand out (the latter perhaps having Castro's finest vocal here) stand out as exceptional. Also strong is "Lose Lose," a slow blues that Castro co-wrote with Joe Louis Walker with a nice lyric and terrific guitar.

"Method To My Madness" closes with a rendition of B.B. King's "Bad Luck." Castro toured with King years ago and this solid cover, done in tribute, closes a very appealing recording.

I received my review copy from Alligator. Here is Tommy Castro & the Painkillers live.

Hans Theessink & Terry Evans - True & Blue

 

While not previously aware of the collaboration between the Dutch blues-roots veteran Hans Thessink and the Mississippi born gospel-rooted vocalist Terry Evans, the new release by the two “True & Blue” (Blue Groove) is a live recording from the Metropol in Vienna, Austria that certainly will be of interest to fans of the pair in a blues-anchored roots music program.
Included are covers of songs associated with such legends as Memphis Slim, J.B. Lenoir, Chuck Berry, Leadbelly, Wilson Pickett and Robert Johnson with original songs from Thessink. 

The blend of Theessink’s baritone and Evans’ gospel-rooted tenor (with falsetto) and the interplay between their guitars is full of charm that infuses the performances starting with a spirited folk-blues original “Demons,” followed by a rendition of “Mother Earth” where one can hear Robert Johnson’s influence on Theessink’s guitar accompaniment for his vocal as Evans adds embellishments. Evans takes the vocal lead on the standard ”Glory of Love,“ which is based on Big Bill Broonzy’s rendition with wonderful fingerstyle guitar as the two trade leads and Evans scats. 

Evans wrote “Gotta Keep Moving” with Bobby King and Ry Cooder, and features some clean, crisp slide along with some fine singing. Theessink adds some rack harmonica on the lively rendition of Leadbelly’s “Bourgeois Blues,” which is followed by a folk-funk rendition of Wilson Pickett’s ”Don’t Let The Green Grass Fool You.“ 
 
The two cover of Robert Johnson’s ”Cross Road Blues“ with a hot interpretation inspired from the original and not the rock rendition by Cream. They do a lively cover of Chuck Berry’s ”Maybelline," with lively slide guitar and  country finger-picking. Another standout track is the boogie rendition of J.B. Lenoir’s “Talk To Your Daughter.” “Shelter From the Storm” is an appealing folk-ballad that Theessink’s laconic baritone provides some of its appeal. 

“True & Blue” appeals with the obvious empathy Theessink and Evans have for each other, which is manifested through this most enjoyable live recording.

 I received my review copy from a publicist. The review appeared in the July-August Jazz & Blues Report (Issue 361) and I have made a few minor edits.  Here are the two in concert performing "Don’t Let The Green Grass Fool You.“