Whitney Shay A Woman Rules The World

Whitney Shay
A Woman Rules The World
Little Village Foundation

There is something about a recording that makes one take notice, especially when it is by an artist that one was previously unaware of. San Diego vocalist Whitney Shay made that impression when I first started listening to her assertive "Ain't No Weak Woman," that opens up this new release of modern urban blues and classically oriented soul. Supporting her expressive singing is the excellent support that producer and guitarist Christoffer 'Kid' Andersen has provided. On this she is supported by a studio band that includes Jim Pugh on keyboards, Kedar Roy on bass, Alex Pettersen on drums and 'Sax" Gordon Beadle on saxophones with Igor Prado and Aki Kumar among those guesting on selected tracks.

"Ain't No Weak Woman" is one of four songs Shay co-wrote with Adam Eros, and she vigorously delivers her lyric that having a weak moment does not make her a weak woman. It is a moving vocal set against a driving groove with a superb Sax Beadle tenor sax solo. More raspy sax opens a lesser known Dinah Washington number "Blues Down Home." The terrific horn arrangement and her superb vocal suggests she could handle a straight jazz recording as well as she handles the blues and soul here. This track also has Jim Pugh's greasy organ accompaniment, a nice harp break from Aki Kumar and booting sax that evokes Eddie Chamblee and the like. After a hint of New Orleans on another original, "Don't You Fool Me No More," Igor Prado adds his slashing guitar and a  vocal on another original, the funky "Love's Creeping Up On You."

The title track was Denise LaSalle's answer to James Brown's "It's a Man's World." Sdt against the firm accompaniment, moaning and shouting, she delivers another knockout vocal. Andersen's sitar helps open her fervent blues shouting on a reworking of Little Richard's "Freedom Blues," followed by a strong deep soul interpretation of Candi Staton's "Get It When I Want It," with Sax Beadle's baritone sax a significant part of the backing. Among the other selections is the low-key original lament, "Empty Hand," where her phrasing and vocal dynamics stands out.

Another driving Little Richard number "Get Down With It," closes this recording. The terrific studio band and Andersen's production along with Shay's powerful, nuanced singing result in a superb recording.

I received my review copy from a publicist. I have made some stylistic edits to the review that originally appeared in the July-August Jazz & Blues Report (Issue 379). Here is a video of Whitney Shay performing.

Raphael Wressnig & Igor Prado The Soul Connection

Raphael Wressnig & Igor Prado
The Soul Connection
Chico Blues Records

I became aware of the Austrian organist Raphael Wressnig from a social media posting of a selection by him and this led me to purchase as a download an album of his with guitarist Alex Schultz, "Soul." A few weeks later I was pleasantly surprised to receive in the mail a new recording by Wressnig with the wonderful Brazilian guitarist, Igor Prado, "The Soul Connection," that was recorded in San Paolo. Joining the two are Yuri Prado on drums, Rodrigo Mantovani on bass, horns led by Sax Gordon Beadle on several tracks and vocalists Wee Willie Walker, David Hudson, and Leon Beal. Mixed between soulful vocal tracks and tight combo instrumentals, "The Soul Connection" is  terrific.
 
Willie Walker was brought along for the project. Based in Memphis in the 1970s, Walker was originally supposed to record "Trying To Live My Life Without You," but it was done first by the great Otis Clay who was interested in doing it again, but Clay passed away before they could recofrd it with him. Walker opens this CD with a fabulous vocal on this that conjures up Clay's original. There are tough horns riffing on this while Wressnig greases the backing. Walker is also present for four terrific renditions of songs associated with Little Willie John starting with a terrific "Suffering With the Blues," backed by just the organ combo. There is a terrific organ solo on this while Prado plays in a Billy Butler-Sonny Forriest groove. "Home at Last" brings back horns on a number some Junior Wells fans may recognize as "Country Girl," with Prado channeling T-Bone Walker. "My Love Is" has finger snapping and a very low-key backing with acoustic bass along with organ, while the shuffle "Heartbreak," has Sax Gordon riffing like the sax on the original while Wressnig provides a greasy foundation with more jazzy playing from Prado.

David Hudson sings solidly on his cover of Tyrone Davis' classic "Turning Point," while Leon Beal does a fervent rendition of the Bobby Bland hit "Don't Cry No More," with Prado coming across as B.B. King meets Clarence Holliman in his solo. The instrumentals include a organ combo rendition of Little Willie John's recording "Young Girl," with some stinging guitar from Prado after the organ lead. "No-La-Fun-Ky," from Prado and Mantovani evokes the classic Meters sound, while the Wressnig-penned "Turnip Greens," conjures up Booker T and MGs. "The Face Slap Thing No. 05" is taken at warp speed and features some blistering playing from Wressnig and Prado and followed by a nice relaxed rendition of "Grazing In The Grass," with the leader making use of the full range of sound textures from his organ. It is terrific, but that is true of all the performances here.

This superb recording is available as a CD, download and vinyl. There is also a deluxe recording which is a 2-CD Digipack that also includes "Captured Live," a nine-song CD by the Soul Gift Band with a guest appearance by Deitra Farr. I have not heard that, but based on what I have heard by Wressnig, I suspect it is a gas.

I received from the artist. Here are Raphael Wressnig & Igor Prado performing "Young Girl" live.

 

Outstanding 2010 New Blues Recordings

Continuing my look back at 2010 releases, here are ten choice new blues recordings. These are not in specific order.

Ronnie Earl Spread The Love (Stony Plain) About this terrific CD of blues and jazz guitar I wrote, “Ronnie Earl can takes us from the alley up into the heavens with his playing. He can play with grit yet touch us in our hearts and soothe our minds.”

James Cotton Giant (Alligator). Strong latest album by the harmonica legend with his current working band thats shows his harp playing as strong as ever. It “is a strong addition to Cotton’s rich musical legacy and is also valuable to document the terrific music that Cotton has been playing with his working band.”

Chris James & Patrick Rynn Gonna Boogie Anyway (Earwig Music). Second CD by guitarist and bassist who are well-versed in classic Chicago blues, whether backing legends like Jody Williams, or playing their own music. About this I wrote, “James and Rynn’s musical partnership has produced a second marvelous helping of blues delicacies.”

Andy Cohen Built Right On The Ground (Earwig Music). Andy Cohen has been playing older music styles on guitar, piano, dolceola and assorted instruments for several decades now and has had a number of recordings over the year. Of this, I observed, that it “showcases not simply how good a player he is and the extensiveness of his repertoire, but also the warmth and genuineness of his vocals. This recording is a must for lovers of acoustic and traditional blues.

Samuel James For Rosa, Maeve, and Noreen (Northern Blues). An unusual album of acoustic songs and storytelling that is deeply rooted. Samuel James “doesn’t shout his vocals as almost speaking them as his performances are somewhat conversational. Samuel James’ music is distinctive and fresh sounding. The result is a most beguiling recording that evokes older blues styles but is full of contemporary stories.”

Lynwood Slim and the Igor Prado Band Brazilian Kicks (Delta Groove). Brazilian Igor Prado’s excellent CD, Watch Me Move” (Chico Blues), grabbed my attention. Here he and his band are fronted by the strong singer-harmonica player, Lynwood Slim. Besides Prado’s spectacular playing, this band rocks and swings. “Listening to the collaboration between Lynwood Slim and the Igor Prado Band reinforces the enthusiasm I have shown towards Prado a few months ago. Slim’s own contributions display his fine singing and terrific harp playing on an album that amazes in how good it is. This is clearly among the best blues recordings I have heard in 2010.”

Robin Rogers Back in the Fire (Blind Pig). A final testament to a wonderful singer who just passed away, but was much loved by her fellow musicians and those who knew her. About her I noted that she sang “with complete authority and total conviction.” This is a terrific recording and stands as evidence of the strong music she produced before she left us.

Shakura S’Aida Brown Sugar (Ruf). My opening paragraph of my review says it all. “Born in Brooklyn, raised in Switzerland and long resident in Toronto, Ontario, Shakura S'Aida, is an international artist whose involvement in the Canadian music scene has been ongoing for the past 30 years, enriching the jazz, blues and classic R&B communities with her soulful voice, enthusiastic personality and commitment to music as an art form. Recently signed to Ruf Records, she has a new disc, Brown Sugar, that certainly will establish her as a significant vocalist.


Chris Cain So Many Miles (Blue Rock’It Records). Highly underrated West Coast blues performer who n ever disappoints. His music may lack flash but has plenty of substance. “Cain’s ability as a guitarist is displayed as his driving solos are concisely delivered, interesting driving solos, swinging with unexpected twists. Chris Cain’s sound is soulfully delivered blues with an urbane jazzy spicing and So Many Miles showcases this exceptionally.”


Eden Brent Ain’t Got No Troubles” (Yellow Dog Records). Pianist and vocalist eden Brent has certainly emerged this year as a strong performer (2010 BMA Award winner for her piano). Here latest recording “mixes a marvelous pianist and vocalist with strong material, sympathetic backing and varied, imaginative programming resulting in a terrific recording that should appeal to blues and roots music fans.”

Lynwood Slim & Prado Band Team Up For Brazilian Kicks

A few months ago, I was more than pleasantly surprised by a blues release from the Brazilian Igor Prado Band, writing “Guitarist and vocalist Prada, along with brother Yuri on drums, Rodrigo Mantovani, bass and Denilson Martins on saxophones, mixes hard modern blues and Memphis Soul with some ripping guitar … .” A new surprise came my way as I received an advance of a new recording by West Coast singer and harp player, Lynwood Slim who had traveled down to Sao Paolo to record the Prado Band. “Brazilian Kicks” is the new release on Delta Groove, and the combination of Slim’s vocals and harp with the ripping backing by the Igor Prado Band makes for a strong recording deeply rooted in classic blues, soul and funk.

“Shake It Baby,” opens this disc and is the only track on which Prado sings. This is a James Brown styled number that Junior Wells and Buddy Guy penned and recorded over forty years ago. Prado takes it more into a funk band vein with booting sax from 20 year old Denilson Martins. Besides Igor Prado’s guitar (he takes a terrific break here full of single note runs and Ike Turner styled whammy bar effects), Slim rides it out on flute as the performance fades out. Guest pianist Donny Nicholo joins bassist Mantovani and drummer Yuri Prado to create a terrific rhythm section, evident on the Dave Bartholomew penned “Is It True,” with nice piano as the song fades out. 

Martins’ multi-tracked horns kick off the cover of Wyonnie Harris’ recording of “Bloodshot Eyes,” as Slim emphatically delivers the Hank Penny lyric. Martins takes a robust tenor sax solo before Prado takes a solo break with a bit of twang added to the single note runs. “My Hat’s on the Side of My Head,” is a swinging blues-ballad comfortably crooned by Slim with jazzy playing (echoes of Al Casey and Tiny Grimes), before more fine tenor sax. Duke Robillard fans should really dig this track. The hot instrumental “Blue Bop,” is based on a familiar riff that Prado launches off from for some  hot choruses. Martins rips off a husky baritone sax solo displaying considerable agility in addition to his robust sound. 

The band takes the temperature down a notch for Slim’s cover of Little Walter’s “Little Girl,” as Prado evoking Louis Myers and Slim’s shows his debt to Little Walter. Mantovani and Yuri Prado provide their unobtrusive support here as throughout. “I Sat and Cried,” is a superb rendition of an uptown blues by the late Jimmy ‘T-99’ Nelson, while on Slim’s ballad “Maybe Someday,” the band captures the melancholy tone of his lyrics. Nicholo plays some nice jazz-shaded blues piano before Prado takes a short break. This track suggests some of Johnny Bassett’s blues and, like those recordings, demonstrates that mellow does not mean bland or devoid of soul. 

“Show Me the Way,” another Slim original (co-penned with Junior Watson), is a terrific Chicago-styled blues with more terrific harp, followed by “Bill’s Change,” a driving Prado penned instrumental with more scintillating guitar and some fierce baritone sax. Like most of this album, it is perfect for dancing. The rendition of Memphis Slim’s “The Comeback” is more urbane, jazzy (than straight Chicago) blues with tinges of Joe Williams in Lynwood Slim’s vocal and small group Basie in the backing here. Prado plays jazzy on this, while Martins raspy tenor is right on. 

The most unexpected delight is the closing instrumental “Going to Mona Lisa’s,” penned by Slim and Prado. It  sound like a lost Little Walter instrumental with the Aces. Yuri Prado coming off like Fred Below as he drops bombs and drives the performance along. Slim in his notes states that Yuri has “the snap, attack and timing as good or better than any of the heavyweights out there today!” I can’t recall anyone catching the flavor of Below’s drumming as Yuri Prado does here. This track may place his drumming more upfront, his playing throughout validates how Slim described him.

Listening to the collaboration between Lynwood Slim and the Igor Prado Band reinforces the enthusiasm I have shown towards Prado a few months ago. Slim’s own contributions display his fine singing and terrific harp playing on an album that amazes in how good it is. This is clearly among the best blues recordings I have heard in 2010. Delta Groove’s website is www.deltagroovemusic.com, while Slim can be found on myspace at www.myspace.com/lynwoodslimband and Igor Prado at www.myspace.com/igorprado. I have a feeling we will be hearing more from our Blues friends from San Paolo.

This is scheduled for release on November 16, and I received a review copy from the firm handling publicity for the release.

Igor Prado's Strong Brazilian Blues Moves

The blues certainly developed an audience and players around the world. Guitarist Igor Prado hails from Brazil and his latest recording (and my introduction to his music) is “Watch Me Move” (Chico Blues). I purchased this from bluebeatmusic.com, where they succinctly describe this as “They make the kind of rockin blues with a traditional approach you used to be able to find here in the US.........This LIMITED EDITION release features strong singing, super song selection and SCORCHING guitar.” Not an inaccurate couple of sentences.

Guitarist and vocalist Prada, along with brother Yuri on drums, Rodrigo Mantovani, bass and Denilson Martins on saxophones, mixes hard modern blues and Memphis Soul with some ripping guitar (fans say of Johnny Moeller’s wild playing will go for Prada’s playing here and he is a pretty strong vocalist. Some pretty straight covers of “Knock on Wood,” and “Signed, Sealed and Delivered,” along with rearranging the old Ray Charles stomp recording “Messaround,” and reworking as if The Power Station did it as a blues. The title track is one of Junior Wells’ funk numbers, amiably take on Lil Bob’s “I Got Loaded,” while “Gene’s Groove,” is a hot organ instrumental allowing Martins to showcase his robust tenor sax while Igor Prado showcases his jazzier chops, while the closing “Ice Man Groove,” is a rocking funky instrumental that is clearly inspired by the late Albert Collins who seems probably Prado’s greatest influence as a guitarist and who would be proud to have inspired such a solid musical offspring. Occasionally, Prado’s accent can be heard in his vocals but he sings with authority and never sounds forced. As Charlie at Bluebeat Music said, “Watch Me Move,” “features strong singing, super song selection and SCORCHING guitar.” This is a recording I will be returning to again and again and I give this a big thumbs up.

For FTC purposes, I purchased this CD.