In a Roomful of Blues

Roomful of Blues
In a Roomful of Blues
Alligator Records

Roomful of Blues has been delivering its brand of rocking, horn-driven blues for over a half-century. It has been led by the likes of Duke Robillard, Ronnie Earl, and Sugar Ray Norcia. Currently, it is co-led by guitarist Chris Vachon (been with the band for 22 years) and saxophonist Rich Lataille (who has been in the group since 1970). The other members of Roomful on this cd are vocalist Phil Pemberton, drummer Chris Anzalone, bassist John Turner, keyboardist Rusty Scott, saxophonist Alek Razdan, and trumpeter Carl Gerhard.

Roomful of Blues has received so many accolades and awards over the years. This latest recording is sure to add to those. Vachon and others contributed the original songs that dominate this release, although there are two covers of some obscure blues songs. It has been fascinating to see Roomful evolve from a jump blues and boogie-woogie band based in the sounds of T-Bone Walker and Big Joe Turner into a modern urban blues band rooted in the sounds of the Duke recordings of Bobby Bland and Junior Parker, and the Memphis sounds from Stax and Hi Records. They still can dig into the jump blues vein as shown by the arresting cover of an early Doc Pomus recording, "Too Much Boogie." There is also a driving rendition of Buddy Ace's "What Can I Do" with the horns displaying the influence of the great Joe Scott, who arranged so many Duke Records classics.

The album sports fabulous original material including the humorous "Phone Zombies" about folk glued to their smartphones; the rollicking rock and roll of "We'd Have a Love Sublime"; a touch of zydeco for "Have You Heard"; and "Carcinoma Blues," about the real blues dealing with treatment for cancer. Phil Pemberton sings as well as he ever has, and the band is consistently superb in support of the vocals. The horn arrangements are first-rate, and Vachon and the horns have plenty of space to shine. Roomful has produced some excellent music over the years, and this recording may be one of their best.

I received my review copy from Alligator. This will be out on March 13. Here is a promo video for the CD.

 

The Jimmys Gotta Have It

The Jimmys
Gotta Have It
Brown Cow Productions

I wrote, reviewing the last album by The Jimmy's "Live From Transylvania." "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." Mr. Voegeli and the group have returned with a new album. It is produced by Tony Braunagel, who also plays drums on it. Besides Voegeli, The Jimmys consists of Chris Sandoval, drums; John Wartenweiler, bass; Perry Weber, guitar and vocals; Pete Ross, saxophone; Mike Boman, trumpet; and Joe Goltz, trombone. Braunagel replaces Sandoval on this recording, and Kyle Samuelson and/or Kevan Feyzi are on trombone instead of Goltz. Al Falaschi on baritone sax and Kat Shipe fill out the horns on the recording. Marcia Ball does a duet with Voegeli and provides background vocals along with Melodye Perry and Mike Finnigan, while Wally Ingram adds percussion.

Voegeli and Weber contributed to most of the songs here, and both take lead vocals with Voegeli being the stronger singer, while Weber has a bit coarser delivery. Both are standout players as well.  Voegeli is a rollicking jump blues rooted pianist and a sterling organist. Weber is a terrific idiomatic guitarist, whether channeling gulf coast swamp-blues guitar or B.B. King single note playing. The rhythm section is superb, and the horns add a strong supporting presence.

Things kick off with the rock and roll of Ain't Seen Nothin' Yet," with Weber's enthusiastic singing and Voegeli's rollicking piano. "Write a Hit" is a terrific vocal duet by Voegeli and Marcia Ball. Set against a New Orleans to Gulf Coast groove, they trade lines about their relationship breaking up. Voegeli regrets losing his house, car, and especially the dog to which Ball responds he blew it, and the dog was her and comes back when she calls the dog's name. Then there is a relaxed rocking blues, Voegeli's "She's Gotta Have It," followed by Weber's "Starting Up Again." The latter number is a talking blues in the musical vein of Slim Harpo's "Scratch My Back," with some apt trebly guitar.

"Hotel Stebbins" is a rocking boogie-woogie party song with a superb piano break, while Weber's "Drinkin''" is a straight blues by Weber about getting into trouble when he starts drinking. The is a Little Feat feel to Voegeli's "When You Got Love," with Weber's crying slide guitar adding to the mood. Gary Nicholson and Kevin McKendree wrote "Always a Woman," whose melody evokes Billy Boy Arnold's "I Wish You Would." There is some greasy organ and Ross' honking sax on this track. Jim Liban's "Someday Baby" is reminiscent of Freddie King's "Someday After Awhile." with Weber adding some excellent guitar to go with his brawny singing.

An instrumental "Jose," that sounds like a contrafact to "Ode to Billie Joe," closes another sterling recording by this terrific band with excellent songs and first-rate performances.

I received a review copy from a publicist. here is a video of The Jimmys in performance from 2019.

 

Take 5 With Amos MIlburn

I was a senior in college when I went to Cleveland's VA Hospital to see the legendary Amos Milburn who was being treated for a stroke. A few years after this he was able to use one hand in playing and recorded for Johnny Otis. Milburn was one of the biggest rhythm and blues artists of the late 40s and early 50s with his suave singing style and his superb boogie-woogie piano.

One of his early recordings was a cover of "Down the Road a Piece." Here is a version he recorded for the "Showtime at the Apollo" TV show with the Paul Williams Band backing him.

His music was often simply good time music as heard here on "Let's Have a Party."

The great Maxwell Davis arranged and played on many of his recordings including a vocal version of "Flying Home," best known from Lionel Hampton's recording with Illinois Jacquet. Lieber and Stroller wrote the lyrics for this stomping boogie.

Milburn was known for drinking blues as well as hot rocking boogie jump tunes. His hits included "One Bourbon, One Scotch, One Beer," 'Bad bad whiskey," Thinking and Drinking," and "Let Me Go Home Whiskey." Here is "Thinking and Drinking."

 Finally, one of his biggest hits was "Chicken Shack Boogie,' which has been reworked by the likes of Floyd Dixon, Jimmy McCracklin and jump blues revivalists Big Joe and the Dynaflows. The original was a major #1 hit on the R&B charts. Here is Milburn's remake of the song for Imperial backed by Dave Bartholomew's Band with Lee Allen and Earl Palmer. It is hotter than a NASA rocket at lift-off.

Terry Hanck I Still Get Excited

Terry Hanck
I Still Get Excited
TVR/VizzTone

It has been three years since The Terry Hanck Band's last album, "From Roadhouse To Your House Live," which I summarized captured "the engaging and strong blues, R&B and rock of the Terry Hanck Band… ." Hanck returns on this new release with his saxophone and vocals with his band of guitarist Johnny' Cat' Soubrand, bassist Tim Wager and drummer Butch Cousins along with the keyboards of Jim Pugh and guitar, bass and more from Kid Andersen. Anderson co-produced this recording with Hanck, which has several special guests including June Core on drums, Rick Estrin on harmonica, Chris Cain on guitar, and Tracy Nelson on vocals.

Reviewing that live recording, I observed that "Hanck is quite a congenial vocalist with a bit of grizzle whose robust saxophone with a mix of King Curtis yackety-yak with Junior Walker honking." There is no reason to change that observation based on the performances here that range from blues, rock and roll, and swamp pop. It also does not hurt to have such an excellent band, including the guest musicians. This is heard throughout the 11 performances here, starting with the opening title track. It is a gem of rock and roll with a tagline "I might be old as sin, but in my mind, I am just a kid, lawd I still get excited." Pugh channels Johnnie Johnson or Lafayette Leake, Soubrand takes a rocking solo with Hanck riding the song out with some honking and high note screeching.

Louis Jordan is among Hanck's influences, as shown by a cover of "Early in the Morning," but also on his original "Smooth Tyrone." This song sounds like the Jesse Mae Robinson-Louis Jordan penned "Blue Light Boogie." In this song, Hanck has provided original lyrics replacing those of the original. Pugh, Soubrand, and Hanck all shine musically here while Kid Andersen on bass and June Core on drums keep a relaxed shuffle groove. "Here It Comes" has a relaxed early 60s' R&B groove while it incorporates a bass riff from the Solomon Burke classic "Cry to Me." In addition to a heartfelt vocal, Kid Andersen contributes some neat Spanish-tinged acoustic guitar. On the Chuck Willis-styled shuffle, Rick Estrin adds his sax-like harmonica on "Come On Back," soloing as well as having interplay with Hanck. It is followed by the appealing instrumental, "Rosita (No Wall Call Hold Our Love)."

Several remakes are not far removed from the originals recordings. These include Bobby Charles "Why People Like That?" with some 'yackety-yak" sax and "Howlin' For My Darlin'" with Soubrand channeling Hubert Sumlin. Also heard are energetic renditions of Eddie' Cleanhead' Vinson's "Hold It Right There," and "Feel So Bad," based on Little Milton's Checker recording, with more exceptional Soubrand guitar. One exception is an older Little Milton recording, "Spring," that Hanck and Tracy Nelson, in marvelous performance, transform into swamp pop. It stands out in another splendid collection of blues and roots performances by Terry Hanck.

I received my review copy from VizzTone.  Here is a video of Terry Hanck performing "Sweet Tyrone."

 

Jersey Swamp Cats Go Cat Go!

Jersey Swamp Cats
Go Cat Go!
Self-produced

Fans of jump blues and hot swing will find this debut from the Jersey Swamp Cats to their liking. Comprised of Gerry Gladston on piano, Don Leich on guitar, bassist Larry Ghiorsi and drummer Chris Reardon with all four contributing vocals whether lead or backing. They lay down nine rocking rhythm and blues classics with influences including the like of T-Bone Walker, Fats Domino, Pee Wee Crayton, Professor Longhair and others on a program of five covers and four idiomatic originals.

Things kick off with an exuberant rendition of the Louis Prima's classic, "Jump, Jive and Wail," with a capable vocal, terrific jump blues guitar, and rollicking piano. An original "Cupcake!" is an easy rocking performance with a credible vocal from Leich who also handles the vocal on a straight cover of "Blue Monday" that hews to the Fats Domino hit although Leich is nowhere as strong a singer as Domino. "I Don't Mind" is another original. It has a New Orleans flavor with a melody that evokes "Junco Partner."  Gladston shows restraint in his piano, and there is a strong trumpet solo from guest Patrick Dudasik. Another guest, Anthony Salimene Jr adds saxophone.

There is some terrific playing on "Too Tired" although the vocal sounds forced and lacks the swagger of Johnny 'Guitar' Watson's original. Pianist Gladston sings quite capably on the smooth swing of "Dance All Night!" There is more of a New Orleans groove on the "Tootie Ma is a Big Fine Thing" with quite a good vocal from bassist Ghiorsi while Reardon plays a nice understated second-line groove. Both of these tracks feature the horns and the two horns trade fours on the latter number. "I Get Evil" is based on Albert King's recording of an old Tampa Red classic "Don't You Lie To Me," with fine guitar and Gladston ably singing.

The album closes with some driving hot rod rock and roll, "Shiny Gray Corvette" with Leich and Gladston both singing and a fiery guitar solo. It should be noted that the playing time is around a half-hour, but the performances are tight and concise. The Jersey Swamp Cats are a very talented band, and if the vocals occasionally do not match the terrific playing, "Go Cat Go!" is a completely entertaining recording.

I received my review copy from a publicist. This review appeared in the July-August 2019 Jazz & Blues Report (Issue 385), although I made minor stylistic changes. Here is a video of the Jersey Swamp Cats performing recently.

Big Joe and the Dynaflows Rockhouse Party

Big Joe and the Dynaflows
Rockhouse Party
Severn Records

"Rockhouse Party" is a surprise recording by Big Joe Maher. It has been several years since the DMV drummer, jump blues singer and bandleader has had a new recording. His last album "You Can’t Keep a Big Man Down," was issued in 2011. Recorded in Franklin Tennessee, Maher is reunited with Kevin McKendree, the original Dynaflow keyboard player. He and McKendree co-produced this, and others heard here are young prodigy Yates McKendree on guitar, Robert Frahm on guitar, and Tom "Mookie" Brill on bass and vocals. On one track another guitar prodigy, Erin Coburn guests. Engineering the music is Evan Sarli, son of the late Jeff Sarli, who was the original bassist with the Dynaflows.

There is a nice mix of material that might be labeled urban blues as much as jump blues starting with a rendition of "Driving Wheel." While patterned after the Junior Parker recording, this is no copy and Maher delivers a relaxed heartfelt vocal strongly backed with the organ helping lay down a musical foundation, and there are terrific guitar solos displaying the contrasting attacks of Yates and Frahm. Brill has not previously been featured as a vocalist. I recall him doing a solid Howlin' Wolf styled vocal, but was not prepared for his soulful singing on Little Milton's "So Mean To Me," and O.V. Wight's "8 Men 4 Women," again with some strong backing.

Maher has always had an affinity for Smiley Lewis recordings and does a credible rendition of "Go On Fool" while laying down a solid second-line groove while Kevin McKendree plays driving boogie-woogie inflected piano. It is followed by an excellent Maher original "World Gone Wrong," with atmospheric accompaniment, and well-considered solos, to go with the topical lyrics. Brill sings a rollicking shuffle interpretation of an old Nappy Brown recording, "If You Need Some Lovin,'" on which Maher and Erin Coburn provide backing vocals. There is a cover by Brill of Fenton Robinson's "Tennessee Woman," that has a rockabilly flavor but comes off as a bit frantic. His other vocal is a solid rendition of Mack Self's 1958 Sun rockabilly recording, "Vibrate."

Maher's "Go With The Flow" is a strong original jump blues celebrating his new Dynaflow automobile, followed by another original "I'm a Country Boy," that sounds like it came from a Snooks Eaglin session for Imperial with Erin Coburn adding her solid fretwork. Two instrumentals, "Overdrive" and "Sleepy Joe" showcase the two guitarists. The two wrote the latter number with its ingratiating lazy groove. Percy Mayfield's "Two Years of Torture" closes this album with a superb 'three o'clock in the morning' flavored performance.

There are no surprises here for those familiar with Joe Maher on an excellent recording full of fine vocals, marvelous playing and a nice variety of blues songs.

I received my review copy from a publicist. This review originally appeared in the January-February 2019 Jazz & Blues Report (Issue 382). Here is a video from a few years back of Big Joe Maher with Anson Funderburgh on guitar.

Harpdog Brown For Love & Money

Harpdog Brown
For Love & Money
Dog House Records

Canadian husky-voiced blues vocalist and harmonica player, Harpdog Brown, has a new recording rooted in the post-war jump blues and the blues shouters like Big Joe Turner, Wyonnie Harris and Smiley Lewis with a touch of Chicago blues. Brown has a gravelly voice similar to Dr. John with a bit of Louis Armstrong, and besides his full-throated singing and harmonica, contributed three originals while Wayne Berezan added two and both Skye Lambourne and Brandon Issak one. There are songs from the repertoires of Louis Jordan, Memphis Slim, and Amos Milburn. Those backing Brown include Brown are Dave Webb on keyboards; Robert Vail Grant on drums; Jeremy Holmes on bass; Steve Dawson, who produced this recording, on guitar; William James Abbott on clarinet and alto sax; Skye Lambourne on trombone; and Jerry Cook on tenor and baritone sax.

This is horn-driven, blues shouting with hot grooves. Indeed the temperature is heated with the opening "No Eyes For Me," although the horn arrangement is a bit trite. More impressive is Webb's organ solo. The groove is a bit more relaxed for the cover of Louis Jordan's "Blue Light Boogie," with Abbott's bluesy alto standing out with the horns adding punch with a very appealing vocal, Webb takes an excellent piano solo, and Brown takes a harmonica solo displaying a big tone, sax-like phrasing and a mastery of dynamics. Even if his vocal on "The Comeback," is overshadowed by the great Joe Williams-Count Basie recording, Brown delivers more than a credible vocal with Abbott displaying considerable finesse here while Dawson adds some stinging guitar fills.

Lambourne rousing trombone opens Brown's "Reefin' Lovin' Blues," a first-rate original jump blues with another tough harmonica solo. Plunger mute growling trombone provides a counter voice to Brown's vocal on the slow blues by Berezan, "A New Day Is Dawning," with Abbott's twisting clarinet solo framed by Dawson's guitar chords with the accompaniment's intensity building as the performance goes on. There are a couple of robust interpretations of Amos Milburn's drinking blues, "Vicious Vodka," and "Thinkin' and Drinkin'." Pianist Webb is superb channeling Milburn's own boogie-woogie rooted style.

Brandon Issak's "I'll Make It Up To You," has a lighter, swinging feel with Webb, Abbott, Lambourne soloing before Brown takes a harp solo in a Rice Miller vein. Then there is the philosophical, New Orleans flavor of Webb's "For Love & Money," with a melody that evokes "Stagger Lee." Webb stands out on this. Brown's harp enlivens his interpretation of the late Wynonnie Harris' "Buzzard Luck." Brown is not as convincing singing Lambourne's love song "Sasha's Lullaby," written when Lambourne was 14, but his forte is being a shouter, not a crooner. It is not a terrible track, but a minor blemish on an extremely entertaining jump blues recording.

I received my review copy from a publicist. Here is a clip of him performing "For Love & Money."

Grand Marquis Brighter Days

Grand Marquis
Brighter Days
Grand Marquis Music

Formed in the 1990's in Kansas City as a jump blues and swing band, Grand Marquis has established themselves as an institution in the region while morphing perhaps into a band mixing soul, New Orleans grooves and pop flavors that might be (as a reference point) likened to Blood, Sweat and Tears crossed with New Orleans brass bands. I say that because this writer would not describe this new release, their eighth album, as a blues album. But the description is not a comment on the merits of Grand Marquis or this recording.

The driving six-piece horn band is comprised of Bryan Redmond (lead vocals and saxophones); Chad Boydston (backing vocals and trumpet), Trevor Turla (backing vocals and trombone), Ryan Wurtz (guitar), Ben Ruth (backing vocals, uptown bass, and sousaphone), and Fritz Hutchinson (backing vocals and drums). While the publicity for this release likens Redmond's vocals to David Clayton-Thomas, I found his phrasing more in the vein of Van Morrison, although not quite as limber a singer. Still, there is much to enjoy whether in the opening "Another Love," or the title track with a strong trumpet solo as well as some shattering slide guitar. This is a well-rehearsed band with tight horns and a solid rhythm section.

A couple of songs take us musically to New Orleans with the Mardi Gras second-line feel of "Night Shift," where Redmond sings about not worrying about working on the night shift with the horns each strongly soloing as well as letting loose with some New Orleans polyphony with Ruth on sousaphone. After Boydston's strident trumpet, Redmond follows with some twisting clarinet and later some strong tailgating trombone from Turla. More New Orleans flavor can be heard on the brass band styled funk instrumental "It Don't Matter," where all the horns and Wurtz get to solo (Redmond wails on the baritone sax on this). "Ain't No Spark" is a funky number with a call and response between Redmond and the rest of the band with another burly trombone solo by Turla.

There is a reflective interpretation of Jimmy Cliff's "Many Rivers To Cross," with a solid Redmond vocal and a nice arrangement of the brass to help frame his singing here (along with an imaginative trombone solo). A spirited take on the traditional "Down By the Riverside," is given a solid New Orleans brass band styled setting, taking out this very intriguing and entertaining recording.

I received my review copy from a publicist. I have a few minor changes to the review that appeared in the September-October Jazz & Blues Report (Issue 380). Here is a recent performance of "Night Shift."

Gus Spenos It's Lovin' I Guarantee

Gus Spenos
It's Lovin' I Guarantee
Self-Produced

Gus Spenos is a sax-playing bluesman who plays and sings in the vein of the great blues shouters while also being a top neurologist in Indianapolis. This is his latest recording and he recorded it in Hoboken with a terrific big band that includes Wycliffe Gordon on trombone and Cecil Brooks III on drums. The rest of the rhythm section also includes Brandon McCune on keyboards and Brad Williams on guitar. Others present include Freddie Hendrix on trumpet, Bruce Williams on alto sax, and Jason Marshall on baritone sax. These gentleman along with Gordon, McCune and Williams are heard on solos throughout.

Spenos and his collaborator, Collin DeJoseph, wrote 4 originals and there are 9 covers here. DeJoseph who also played piano did the arrangements. This is solid jump blues that is wonderfully played with plenty of hot horn solos and tight rocking grooves. The originals such as the title track and "Every Tic's Got a Toc," are solid originals in the jump blues tradition while songs covered are not songs that have been covered to death.

Spenos is an adequate, if at times awkward sounding, singer who does invest a lot of spirit in his vocals although he is overshadowed by his inspirations. A the same time, the horns and band are wonderful with Gordon contributing some terrific growling trombone on Jimmy Rushing "Fool's Blues," where the leader takes a one of several terrific booting tenor sax solos here. Guitarist Williams takes a fleet solo on TNT Tribble's "She Walks Right In," followed by Hendrix's blistering trumpet. On Eddie Boyd's "Hush Baby Don't You Cry," Jason Marshall's burly baritone sax is followed by Gordon's gutbucket play while McCune lays down some hot buttered fried soul on the B-3.

Brad Williams opens "Livin' is a Cry" when some T-Bone Walker styled chords and then chords under Spenos tough tenor sax opening on a solid slow original with Gordon's growling obligatos adding plenty to the feel of this performance and is followed by Buddy Johnson's "Lil Dog," a wonderful instrumental that showcases Spenos tenor sax as well as Gordon's gutbucket trombone, Bruce Williams alto sax and Hendrix's sizzling trumpet. Another solid number here is Eddie Mack's "King Loving Daddy." It is a nice jump blues by a lesser known shouter.

The only reservation about this recording is that Spenos is not a compelling singer. However, the excellence of the musical performances here may merit attention from fans of jump blues and classic rhythm'n'blues.

I received my review copy from a publicist. This review originally appeared in the May-June 2018 Jazz & Blues Report (Issue 378) although I have made a few minor changes.

Adrianna Marie And Her Roomful Of All-Stars

Adrianna Marie And Her Roomful Of All-Stars
Kingdom of Swing
VizzTone

West Coast chanteuse Adrianna Marie has a second recording of jump blues and swing backed by a fine band including underrated guitarist L.A. Jones, pianist Al Copley, bassist Kedar Roy, drummer Brian Fahey and the Roomful Horns (Doug James, Rich Lataille, Doug Wooverton, Mark Early and Carl Querrfuth). Duke Robillard, who did the studio production, and Junior Watson guest on selected tracks while Bob Corritore is on harmonica for one tune.

There is a mix of originals by Adrianna along with covers of classic blues and swing numbers. The originals are pretty good songs and like everything this is well played in the vein of the early jump blues style of Roomful of Blues with plenty of brass as on the opening title track, her tribute to the swing era although the real king of swing was King Carter and not Goodman. Some nice growling trumpet from Wooverton on this selection. A similar thrust is "Gimme a Roomful," a salute to swing and Roomful of Blues."

A straight cover of an Esther Phillips' classic "Better Beware" is followed by a rollicking original "Sidecar Mama" that sounds like a cover of an unissued Camille Howard or Wynona Carr recording with a superb solo. "Memphis Boogie" is another noteworthy original in the jump blues tradition. These are fun sides with plenty of solo space, although when she attempts renditions from Ellington "Mood Indigo," Billie Holiday, "The Blues Are Brewin'," her vocals are enjoyable but hardly distinctive. And if not in the league as a singer on Helen Humes' level, her rendition of Humes' "Drive Me Daddy," displays her good taste in material. The terrific Muddy Waters' styled slide guitar, has Bob Corritore's harmonica lend it a Chicago blues meets jump blues feel.

"Jump With You Baby" gives several of the players a chance to solo while L.A. Jones duets with her on the boisterous "T-Bone Boogie," a thinly disguised reworking of Big Joe Turner-Pete Johnson classic "Roll 'Em Pete," with a terrific Doug James baritone sax solo and Al Copley laying down some strong boogie woogie piano. Jones takes a T-Bone Walker styled solo here followed by his wonderful playing on the closing instrumental "Blues After Hours." It closes an enjoyable and well-performed, if not outstanding, swing and blues recording.

I received my review copy from VizzTone. This review appeared in the May-June Jazz & Blues Report (Issue 372). Hdere she performs "Kingdom of Swing."

Floyd Dixon Wake Up And Live!

Floyd Dixon
Wake Up And Live!
Alligator

Rhythm and Blues pioneer Floyd Dixon has been alive and well on the West Coast these years, and with the release of Wake Up and Live! on Alligator, he may start to reap some of the rewards that fellow pioneers Charles Brown and Ruth Brown have garnered in recent years.

The Marshall, Texas native gained fame for his recordings in the late forties and fifties. While he has been compared to Charles Brown, a substantial portion of his repertoire was rockers that were somewhat in the vein of those with which Amos Milburn scored. In fact one of Dixon’s Specialty recordings, Hole in the Wall is a takeoff on Milburn’s Chicken Shack Boogie. Dixon is perhaps known as the composer of Hey Bartender, But that is a somewhat trivial song compared to the other fine rocking blues and blues ballads he waxed in the forties and fifties.

While opening with a remake of Hey Bartender, Wake Up and Live! sports a whole range of material from the menacing slow Mean And Jealous Man, to Rockin’ At Home, another song reminiscent of Milburn’s Chicken Shack Boogie. Unlike Brown, Dixon’s voice shows a hint of wear, but he is also a more overtly expressive vocalist. His playing shows absolutely no deterioration and his producer Port Barlow plays strong idiomatic guitar. While Eddie Synigal is a new name to this writer, he is a booting saxophonist.

While I’ve heard a self-produced album by Dixon that was enjoyable, it did not suggest how powerful a performer he remained. A recipient of the Rhythm and Blues Foundation Pioneer Award several years ago, this album shows that Floyd Dixon is more than capable of recalling past glories, and that the best may even be yet to come. Great stuff.


I likely received a review copy from Alligator Records, and I believe is still available. This review originally appeared in the June 1996 Jazz & Blues Report (Issue 212). Here is Floyd (who passed away in 2006) performing.

Floyd McDaniel & The Blues Swingers Let Your Hair Down!

Floyd McDaniel & The Blues Swingers
Let Your Hair Down!
Delmark

Veteran Chicago guitarist and vocalist Floyd McDaniel’s musical career spans decades and he turns 80 next July. Alabama born, he moved to Chicago when he was 15 and has been playing professionally since the 1930’s, including some time spent in New York. He was a member of the Four Blazers, spent time with the Ink Spots, met Charlie Christian after Christian joined Benny Goodman and learned from T-Bone Walker, who had been part of a dance act with his wife’s sister. In the past few years he recorded overseas. Now Delmark has issued a wonderful new McDaniel album of jump blues, sung and played with rare authenticity.

While a couple of songs date back from his days with the Four Blazers (including the peppy opening Raggedy Ride), he handles a range of material including versions of a number of songs associated with T-Bone Walker - Blue Mood (by Jessie Mae Robinson and erroneously credited to Walker), the ballad, I Want a Little Girl (also associated with Jimmy Rushing and Count Basie), West Side Baby, and T-Bone Shuffle (here called Let Your Hair Down). The Jimmy Rushing-Count Basie classic Sent For You Yesterday is revisited as is Roy Milton’s R.M. Blues. Other high points include renditions of the Billie Holiday classic, God Bless the Child, the swing band staple, Christopher Columbus, Louis Jordan’s Caldonia, and W.C. Handy’s St. Louis Blues.

McDaniel’s guitar is straight out of the T-Bone Walker bag, while his vocals are suggestive of the late Cousin Joe. The Blues Swingers are an eight piece little big band with rhythm, three saxophonists and trumpet. While this is McDaniel’s show, tossing in his T-Bone Walker styled solos and his relaxed, heartfelt vocals, it is the whole group that rocks the groove on an album of ripping jump blues.

This review originally appeared in the February 1995  Jazz & Blues Report (Issue 198) and I likely received a review copy from Delmark Records. Here is Floyd from the 1995 Chicago Blues Festival.

Roomful Of Blues Dance All Night

Roomful Of Blues
Dance All Night
Bullseye Blues

I remember first hearing about Roomful of Blues from Big Joe Turner and Lloyd Glenn who had raved about them after being been backed by them. When their first album came out, I was impressed by their faithfulness to the originals, although they were derivative. In the decade and a half since, there have been some personnel changes, but they have maintained their commitment to the jump blues.

Today, the band exhibits more personality and individuality in its music. This is evident in the new album. Fronted by vocalist and harp player Sugar Ray Norcia, the album shows their incorporation of modern urban blues into their repertoire with nice versions of Little Milton’s That Will Never Do and Little Walter’s Up the Line. The Buddy and Ella Johnson classic I’m Just Your Fool and Lillie Mae, derived from a Smiley Lewis recording, are given first-rate readings.

Sugar Ray contributes some strong originals, and his relaxed delivery, reminiscent of Junior Parker, evinces his development as a fine blues vocalist. Chris Vachon ably handles the guitar, Matt McMabe pounds the 88s, and the horns of Bob Enos, Carl Querfurth, Greg Piccolo and Doug James rip through the ensemble parts and solos. This simply is superb jump blues.

I likely received my review copy from the record label. This is still available as a CD or download. This review originally appeared in the July-August 1994 Jazz & Blues Report (Issue 193). Here is "Up The Line" from this album.

The Jimmys Serve a Hot Dish

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 strong piano and booting saxophone. 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 from a publicist. Here is a clip of The Jimmys in performance.

The Knickerbocker All-Stars Go Back Home To The Blues

A most pleasant surprise is a new release by The Knickerbocker All-Stars, "Go Back Home To The Blues" (JP Cadillac Records). The release is a follow-up to last year's "Open Mic At The Knick" and like the earlier album celebrates the Westerly, Rhode Island venue, the Knickerbocker Cafe. This is where, in the 1960s, musicians like Greg Piccolo, Johnny Nicholas, Fran Christina and others played in various groups which led to the emergence of Roomful of Blues by Duke Robillard and Al Basile and other bands. Producer Jack Gauthier and Musical Director Copley have put together a superb band of Mark Teixeira, drums; Brad Hallen, standup/electric bass; Al Copley, piano; Monster Mike Welch, guitar; Doug James, baritone/tenor sax; Sax Gordon Beadle, tenor sax; Rich Lataille,alto/tenor sax; Doc Chanonhouse,trumpet; and Carl Querfurth, trombone. Vocals are shared by Sugar Ray Norcia, Brian Templeton and Willie J Laws with Al Basile playing cornet and singing on one selection.

The musical focus is on the urban blues of the fifties and sixties with renditions of songs associated with Bobby Bland, Roy Brown, Guitar Slim, Chuck Willis and Larry Davis with Basile contributing several idiomatic originals as well. What can one say as the All-Stars are terrific, with Welch again showing that he has become one of today's top string benders. He channels Freddie King in backing Laws' soaring vocal on " You Know That You Love Me." Norcia opens the album with Bobby Bland's classic "36-22-36," with his terrific vocal perhaps more akin to Junior Parker than Bland. There is superb playing, including a booting tenor sax solo, backing Templeton on a jumping cover of Roy Brown's "Cadillac Boogie." Copley pounds on the piano on the Basile original "Brand New Fool," behind a fervent Norcia vocal, while Welch channels Guitar Slim as Laws' fervently sings Slim's  "Something to Remember You By." Norcia again evokes Junior Parker on a ripping cover of Chuck Willis' "Take It Like A Man."

The rest of this album is of an equally high level. There is a late night instrumental feature for the horns "Hokin'," while Basile plays cornet and delivers an appealing vocal of his witty original, "Don't You Ever Get Tired Of Being Right?" Templeton sounds vigorous on the Basile-penned title track that has strong tenor sax and guitar solos. Copley lays down some serious boogie woogie piano and Doug James get down in the alley on baritone sax on "Blockbuster Boogie." Laws preaches the blues on a driving rendition of Larry Davis' "I Tried," with more of Welch's blistering guitar. This entire recording is a joy for fans of jump and urban blues to listen to. It is another upper deck home run from the Knickerbocker All-Stars.

I received my review copy from a publicist. Here is a video of the Kickerbocker All Stars featuring Brian Templeton on the vocals.

The Knickerbocker All Stars Open Mic At The Knick

“Open Mic At The Knick” by The Knickerbocker All Stars on JP Cadillac Records is a celebration of the music scene in Westerly, Rhode Island in the late 1960s when such musicians as Greg Piccolo, Johnny Nicholas, Fran Christina and others held forth in various groups leading to the emergence of Roomful of Blues. With a core of musicians from guitarist Ricky King Russell and the Cadillac Horns, this recording brings together some terrific renditions of classic fifties and sixties blues, R&B and jump blues tunes. Fran Christina and his brother Bobby (one of the producers) hold forth the drum chair, while Al Copley and Dave Maxwell share the piano chair with a first rate horn section that includes Rick Lataille. The 13 vocals are shared between eight vocalists that include Johnny Nicholas, Sugar Ray Norcia, Curtis Salgado, and J. P. Sheerar (another of the producers).

The songs are classics associated with B.B. King “You Upset Me Baby” (ably reworked by Norcia); Bobby Bland’s “Turn On Your Love Light” (one of two terrific vocals from Malford Milligan the other being on the Butterfield Blues Band’s “Love Machine”); Billy Eckstine - Earl Hines’ “Jelly Jelly” and Lowell Fulson’s “Reconsider Baby” (Sung by John Nicholas who also sings Guitar Slim-Freddie King’s “Along About Midnight”); Buddy Guy’s “Mother-In-Law Blues” and B.B. King’s rendition of “Five Long Years” (sung by Willy Laws); Bland’s “Ain’t That Lovin’ You (sung by Salgado); Eddie Vinson’s “Somebody’s Got To Go” (sung by Sheerar) and Freddy King’s “I’m Tore Down (sung by Brian Templeton).

This is a marvelously played album of covers of classic blues. The band is excellent and the arrangements well done, even adding extra horns to several selections which had smaller groups on the original performances such as “I’m Tore Down” and “Going Down.” Toss in some strong vocals (and the only disappointing one is Nicholas on “Along About Midnight” and that is because my reference point is Guitar Slim and Roy Brown) and one has a terrific listening experience. Highpoint's include Milligan channelling Bobby Bland, Nicholas singing the Eckstine big band chestnut, Willie Law’s rendition of a lesser known Buddy Guy recording and Sheerar’s evocation of Cleanhead Vinson, but everything is a high level. With so many of the original performers no longer with us, this is a tribute not only to those days of the late 1960s but the music that inspired them.

I received my review copy from a publicist. This review originally appeared in the January-February 2015 Jazz & Blues Report (Issue 358).  The Knickerbocker All Stars have a new platter "Go Back Home To The Blues" that I hope to post a review of shortly. Here is a clip of them performing this year.

Blue Lunch's Special - 30th Anniversary Deluxe Edition

30 years is a pretty long time for any band to hang together, and while some members may come and go, Cleveland’s Blue Lunch has kept doing it with a mix of jump blues in the vein of early Roomful of Blues and Chicago blues. Rip Cat Records has just issued their Special - 30th Anniversary Deluxe Edition, compiled from their six CDs. The core personnel appear to be Bob Frank on guitar and vocals; Pete London on harmonica and vocals; Raymond DeForrest on bass and one lead vocal; Scott Flowers or Mike Janowitz on drums; Mike Rubin on trumpet; Mike Sands on piano, Bob Michael on trombone and Norman Tischler or Keith McKelley on tenor sax. The 16 tracks include live recordings are included along with studio ones with 8 originals and 8 covers.

An instrumental by Frank, Sideswiped, kicks this CD off with a funky groove, tight horns and solid guitar and solid sax from McKelley. Next up is Frank’s Cold Day Down Below, with a second line groove and more tough sax (this time from Tischler). Skin Bones and Hair, is a terrific T-Bone Walker styled shuffle from Frank with some nice T-Bone inspired playing from him. London handles the vocal on his hot rocker, Cuttin’ Up, where Tischler rips a terrific tenor sax solo as Frank chords under him and the rhythm section swings hard with some more T-Bone inspired playing from Frank on a live rendition that got the dancers jitter-bugging hard. London’s The Fidget showcases his strong harmonica playing set against the rocking rhythm and riffing horns. Best I Can is a tough-sounding slow blues.

The choice of covers is interesting from a lesser known Jackie Brenston number Leo the Louse; a straight cover of 60 Minute Man; and The Five Royales amusing Monkey Hips & Rice. Frank does a fairly nice rendition of Robert Lockwood’s Little Boy Blue, backed just by the rhythm section. The most surprising cover is a three tenor sax feature on Sonny Rollins’ Tenor Madness that allows McKelley to display his jazz chops with guest tenor players Christopher Burge and Tony Koussa. This is followed by the rainy night feel of The Lonely One.

London handles the vocal on the amusing cover of Ernie K-Doe’s Mother-In-Law that closes this varied and quite engaging recording by this tight and swinging, jump blues band. Special - 30th Anniversary Deluxe Edition will likely enlarge Blue Lunch’s fan base beyond the band’s Cleveland roots.

A publicist provided the review copy. Here is the late Robert Lockwood, Jr., playing with Blue Lunch.

Roomful Of Blues Celebrates 45 Live

45 Live, the new Alligator CD by Roomful of Blues is a live performance that celebrates the band’s 45 years. The band started as a jump blues oriented group inspired by the music of T-Bone Walker, Roy Milton, Johnny Otis, Big Joe Turner, Eddie ‘Cleanhead’ Vinson and the like, and even recorded behind Turner and Vinson for a couple of quite well regarded recordings. Over the years evolved into more of an modern urban blues band (think Bobby Bland’s Duke recordings). Originally Duke Robillard fronted the band on guitar and vocals and when he left, Ronnie Earl spent a stint on guitar with Chris Vachon eventually taking over that spot which he has held for a couple decades. Philip Pemberton has been handling the vocals for some time now. Roomful has become an institution, and I say that in a positive manner in having their having an immediately recognizable sound and approach to the music.

Recorded at The Ocean Mist in Rhode Island over three nights, the disc kicks off with the driving Just Keep On Rockin’, followed by the insistent modern urban blues It All Went Down the Drain, although on this latter number and the following Jambalaya, Vachon sounds like he is trying to copy Lonnie Mack’s tone. A cover of Magic Sam’s Easy Baby gives a chance for Vachon to stretch out with the horns riffing in support. That’s Right is a superb hot jump blues performance, and is that Rich Lataille who is wailing on tenor sax (Lataille has been with Roomful for 43 years). Lataille’s homage to Illinois Jacquet, Straight Jacquet, allows Lataille, fellow saxophonist Mark Earley and trumpeter Doug Wolverton (growling with his mute) to display their chops on a number that evokes Flying Home. There are also first rate renditions of Crawdad Hole, and Somebody’s Got To Go, that Big Joe Turner and Eddie ‘Cleanhead’ Vinson respectively recorded with Roomful thirty-five odd years ago. As good as these are, the interpretation of Jimmy Rushing’s I Left My Baby, is really special with Pemberton terrific and I suspect Buck Clayton would be smiling listening to Wolverton’s playing here.

Providing the foundation is the excellent rhythm section of keyboardist Rusty Scott (nice solos on Crawdad Hole and I Left My Baby); bassist John Turner, and drummer Chris Rivelli. They lay down the solid groove and cover a lot of blues genres as Rich Lataille notes, “Though we cover all the bases, our mainstay is horn-driven, hard honking R&B.” And there is plenty of that hard driving R&B here.

I received my review copy from Alligator Records. This is scheduled for release on July 30.

Little Willie Littlefield at the 2009 Ponderosa Stomp

2009_Ponderosa_Stomp_Night_1-1021-Edit, a photo by NoVARon on Flickr. Copyright Ron Weinstock

Sad to hear the news that Little Willie Littlefield passed away on June 23 in Holland at the age of 81. The Texas born pianist and singer was part of the West Coast blues scene of the late forties and early fifties and his music was in the vein of Ivory Joe Hunter, Charles Brown, Amos Milburn and Floyd Dixon. He is best known for his recordings of "K.C. Lovin'" (better known as "Kansas City" from Wilbert Harrison's monster hit) and "Ruby Ruby" but outstanding recordings he made for Modern and Federal included "Happy Payday" and "Its Midnight." He had been living in Holland for the last 35 years and rarely performed in the US in this period. I was lucky to see him perform at the 2009 Ponderosa Stomp where his solo performance had a vigor that belied his age. RIP.

Here is Little Willie Littlefield performing "Kansas City"and a performance with Candye Kane.

Doug Deming Asks What's It Gonna Take

“What’s It Gonna Take” by Doug Deming & the Jewel Tones (VizzTone) is a companion release to the recent CD by harmonica wizard, Dennis Gruenling. Like Deming was prominent on Gruenling’s recording, Gruenling is featured with Deming along the Jewel Tones Andrew Gohman on bass and Devin Neel on drums. This release was recorded in Florida and is a strong set of blues and roots music that is as easy on the ears as it is certainly to get the dancers up and on the floor.

7 of the 11 songs on What’s It Gonna Take are Deming originals starting with the title track with its Deming giving his heartfelt plea as to whether his heart is gonna break or what is it gonna take. As on Gruenling’s album, there is spectacular and well crafted harmonica and guitar. I really like Deming's uncluttered, crisp playing. As a vocalist, Doug Deming is an appealing singer and his guitar playing will delight fans of Duke Robillard, Bill Kirchen and similar players.

Think Hard is built on a churning Chicago blues groove with some outstanding saxophone like harmonica behind Deming’s energetic vocal. One Good Reason is a number that evokes Bill Kirchen’s rendition of Hot Rod Lincoln, reflected by Deming’s guitar as well as by Gohman’s slapped upright bass. The group sound terrific on a fine cover of Willie Mabon’s Poison Ivy, with more dazzling harmonica. An Eye For An Eye is a Muddy Waters styled original benefiting from the spare backing as Gruenling again dazzles while Deming's simple driving playing is quite effective. 

No Big Thrill is a fine original suggestive of Sonny Boy Williamson II’s Bring It On Back Home, with Anthony Smith playing the harp here. On a charming rendition of Buddy Johnson’s A Pretty Girl (A Cadillac and Some Money), Gruenling employs the bottom range of his chromatic harmonica while accompanying Deming’s vocal. Gruenling’s spirited, Bella’s Boogie, closes this CD on a dynamic note with lively guitar, a short drum break and dynamic harmonica. It is a performance that again showcases the tight, swinging groves of Deming and the Jewel Tones. 

What’s It Gonna Take is a marvelously performed recording that will delight fans of Chicago and jump blues. 

I received my review copy from VizzTone. Here they are doing Buddy Johnson’s A Pretty Girl (A Cadillac and Some Money).