Clint Morgan - Troublemaker

Clint Morgan
Troublemaker
Lost Cause Records

"Troublemaker" is an intriguing recording of roots music as pianist-singer Clint Morgan who mixes country, blues, folk, and gospel. Besides singing, he plays piano on this album. Others on this album include Kevin McKendree (who co-produced this with Morgan) on keyboards, David Santos on bass, Kevin Blevins on drums, Jim Hoke on saxophone, and Bob Corritore on harmonica. Additionally, there are appearances by Bob Margolin, John Del Toro Richardson, Kinky Friedman, Watermelon Slim, and the McCrary Sisters.

This is a well-produced recording with excellent backing. Morgan's singing might suggest Johnny Cash and even does a pretty solid rendition of Cash's "Big River." His vocal style is often more talking than singing with a narrow range and occasionally stilted approach. There are several tracks of note, including "Hungry Man Blues," a fascinating reworking of Robert Johnson's "Kind Hearted Woman," although Morgan's woman just can't cook a decent meal. Then there is the rock and roll of "She Take My Money," about a woman who thinks Clint is a cash machine. The backing evokes classic Chuck Berry with a seriously booting sax solo from Hoke and rollicking Johnny Johnson-styled piano.

Whatever vocal limitations Morgan has, he has a knack for crafting and delivering lyrics such as "Too Rich To Sing the Blues," singing that he can sing like Robert and Elmore but is too busy picking stocks for his retirement plan. Jonn Del Toro Richardson joins him on slide guitar and vocal for "Hurricane Harvey," about the devastation caused by the hurricane that took homes away but still, the sun will come out tomorrow, which is a whole new day. Kinky Friedman joins Morgan for the honky-tonk "Someone Put a Walmart on the Farm." Watermelon Slim and Bob Margolin add their talents to Morgan's "The Cover of the Living Blues," a reworking of the hit "The Cover of Rolling Stone."

There are a couple of gospel numbers included. One is a rendition of the old spiritual "Go Down Moses" with the McCrary Sisters, with Morgan's softly sung baritone quite effective. With just his piano accompaniment, he sings about Jesus as a troublemaker. The simplicity of his performance adds to its effectiveness. Despite his limitations as a singer, Clint Morgan's songs are intriguing, and his performances have a definite appeal.

I received my review copy from a publicist. Here is a a track from the album with Bob Corritore on harmonica.

Mavis Staples Live in London

Mavis Staples
Live in London
Self-Produced

This gem of a live performance was recorded by the great Mavis Staples at London's Union Chapel over two July 2018 nights. She was backed by Rick Holmstrom – guitar and background vocals, Jeff Turmes – bass and background vocals, and Stephen Hodges – drums. Donny Gerard and Vicki Randle also provided backing vocals. She powerfully sings songs written by Ben Harper, Jeff Tweedy, her father Roebuck Staples, David Byrne, George Clinton, Curtis Mayfield, and others, along with one she co-wrote with Tweedy.

With a career extending seventy years, she continues to amaze with the vitality and nuanced phrasing of her vocals. Holmstrom's trebly, at times acidic guitar and the simple, functional backing from Turmes and Hodges, provide austere support for Mavis' robust, expressive vocals. The result is an album of compelling performances by a living legend.

This recording is available as a download on Bandcamp, https://mavisstaples.bandcamp.com/album/live-in-london.

I purchased this. This review appeared in the March-April 2020 Jazz & Blues Report (Issue 389). Here Mavis Staples is heard and seen performing "No Time For Cryin'" from this album.

Scott Ramminger Rise Up

Scott Ramminger
Rise Up
Arbor Lane Music

I wrote about Scott Ramminger's last studio album that Scott "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." Since then he issued a live album in the same vein. It included a couple of my photos, so I did not review it. This one is a bit different from his previous studio albums that had been heavy on horn sections and backing vocals. About this recording, Scott says, "I set out trying to make a record that had a slightly different sonic footprint, sort of a stripped down, more acoustic vibe. I hired a fine jazz drummer and upright bass player. And at one point, with my producer hat on, I asked them to play less like we were at Blues Alley (a famous DC jazz club) and more like we were playing in a Brooklyn strip club in about 1960,"

Rise Up features only five players -- Ramminger on vocals and tenor sax; Wes Lanich on piano and Hammond B3, Shane Theriot on guitar, Paul Langosch on upright bass, and Emre Kartari on drums. They tackle eight songs on this CD. Scott's laconic, grainy vocals deliver his sometimes self-deprecating vocals with the right sense of humor and irony, while his sax flows like a nice stiff drink. The band is terrific laying down the right grooves. Pianist Lanich is excellent with his mix of bop and New Orleans rumba, while Theriot (former Neville Brothers guitarist) wails whether playing straight or stinging slide (as on "88 Reasons" where Ramminger's woman gives him reasons to cry).

The material ranges from songs about failing relationships to the topicality of the title track with its funky groove (Lanich on organ) and his acerbic sax as he sings about corrupt politicians, children hungry and immigrants vilified and we have to stop this madness before its too late. He has a robust and passionate sax solo here. Elsewhere his sax is overdubbed to be part of the vocal accompaniment.

Ramminger's songs resonate with memorable lyrics and the rhythm duo of Langosch and Kartari provide a steady groove like in "Lemonade Blues," a slow blues that opens "Life gave me lemons, so I made some lemonade, … I got no sugar in my cupboard, so this stuff don't taste that great." The only complaint is the relatively short playing time, but there is no fat or gristle heard in the eight songs on another entertaining CD from Scott Ramminger.

I received my review copy from a publicist. This review appeared in the July-August 2019 Jazz & Blues Report (Issue 385). Here is Scott Ramminger performing.

 

Johnny and Jaalene

Johnny and Jaalene
Ripcat Records

This album introduces the modern teen idol duet of Johnny Ramos and Jaalene DeLeon on a program of mostly remakes of teen rock and roll recordings from the late fifties and sixties. The 19-year-old Ramos is a guitar-playing son of blues guitarist Kid Ramos and is a guitarist as well as a singer who is tearing things up in a blues, roots and rockabilly band. Jaalene is a 16-year-old theater girl, and choirs student turned rockabilly diva who has been called "The Queen of the Teens." The dup handle all the vocals, including some duets, while the younger Ramos plays acoustic guitar. Backing musicians include Kid Ramos and Tommy Harkenrider on guitar, Brent Harding on bass and Kid Dabbs on drums with Jesus Cuevas adding Norteña accordion on 4 tracks and Rob Dziubla adding saxophone to three.

The appeal of the two (think Sha Na Na performance of oldies without the camp aspects of their stage act), is immediately evident on the pair's marvelous rendition of The Ronettes hit, "Baby I Love You." Jaalene's pure teen voice and Ramos' slight vibrato is so charming and puts to lie that those hits were simply the result of Phil Spector's production and not the singing of Ronnie Spector. Kid Ramos has a brief, taut solo here. I suspect Carla Thomas might approve Jaalene's wonderful singing of her hit "Gee Whiz." After Johnny's hiccup-ping take of Eddie Cochran, "Teenage Cutie," the two enchant us their sublime channeling of the Everly Brothers' hit, "Let It Be Me." With booting saxophone and some slashing guitar, Jaalene delivers a spirited vocal on Etta James' rock and roller, "Good Looking."

"Los Chuco Suaves" is one of the songs from the Mexican American tradition with Johnny rhythmic acoustic guitar while singing in what might find a melodramatic manner, with a choice button accordion solo. It is followed by another lilting teen ballad, "Angel Baby," as Jaalene sings about being in heaven with Johnny. Johnny sings Doug Sahm's Tex-Mex lament, "Why Why Why," with booting sax and accordion in the backing. While perhaps not yet possessing the weight of Wanda Jackson as a vocalist, Jaalene does a credible vocal on "Let's Have a Party," with some crisp guitar playing from both Ramos and Harkenrider. There is a lively rendition by Johnny of an obscure Bill Allen rockabilly recording, "Please Give Me Something," that is more focused and hotter than the original.

After Jaalene's delightful bilingual singing (with Johnny providing a genial harmony) on a Chicano rock ballad "Cuando Caliente," the two perform a Norteña styled rocking rendition of The Danleers' only doo-wop hit with surging grooves, hot accordion, and strong singing. It closes an album that may bring back memories to the older roots music audience, on an enchanting recording that brings some fresh sheen to classic rock and roll music.

I received my review copy from a publicist. This review originally appeared in the November- December 2018 Jazz & Blues Report (Issue 381). Here is the official video for the recorded performance of "Baby I Love You."

Joyann Parker Hard to Love

Joyann Parker
Hard to Love
Hopeless Romantic Records

"Hard to Love" is an easy to delight in mix of soul, blues, country and roots from the Minnesota based vocalist. Parker with guitarist Mark Lamoine and bass player Michael Carvale, produced this release that features 13 songs co-written by Parker & Lamoine. Joining Joyann Parker (vocals/guitar/piano/trumpet) in the studio are Mark Lamoine (guitar/backing v), Tim Wick (piano/organ), Michael Carvale (bass), Alec Tackmann (drums/percussion) and Gunhild Carling (horns on one track).

While she is a classical trained pianist with a degree in music from the University of Wisconsin–La Crosse, Parker sang in Church and a wedding band until she became enthralled with blues and soul, and her band won the Minnesota Blues Society's band competition and in 2015 competed at the International Blues Challenge in Memphis. As a performer she has also added old-time country to her repertoire and Parker and Lamoine recently launched a new show, The Music of Patsy Cline.

This is an impressive release full of good songs, solid playing and passionate vocals starting with the blues-tinged southern rock style of the opening "Memphis," where her mix of dynamics as well as her phrasing and clarity impresses while Lamoine adds some biting slide guitar. In contrast to the no nonsense vocal on Memphis, Parker displays her tonal as well as emotional range set against a swampy groove. "Home" is a marvelous gospel original with Parker sings about overcoming the hard times when crying all alone when one will go home where there is peace in the valley. Lamoine adds a superb guitar solo here to accompany her uplifting vocal. "Dizzy" is a driving funky, rocking blues with her emphatic vocal followed by the low-key, heart-fully sung lament "Jigsaw Heart." There is a similar feel to "Bluer Than You," with lovely piano (and a striking solo) as well as her overdubbed trumpet to support her singing, while "Ray" sports an infectious New Orleans groove. Among these strong performances, "Evil Hearted," a late-night blues may be the standout with the superb atmospheric backing and a superb, nuanced vocal, with some jazz-tinged guitar from Lamoine.

After the rock and roll of "What Happened To Me," the album closes with the title track accompanied solely by Wick's piano that again displays her strengths as a vocal with her clarity, timing, phrasing and ability to go from a whisper to a shout without ever sounding shrill or forced. It is a lovely and terrific close to an a very strong roots and blues recording.

I received my review copy from a publicist. While written for Jazz & Blues Report, this review has not been previously been published. Here she sings "Evil Hearted."

Tom Principato and Steve Wolf The Long Way Home

Tom Principato and Steve Wolf
The Long Way Home
Powerhouse

Longtime friends and musical associates, guitarist Tom Principato and bassist Steve Wolf, come together for a set of mostly musical duets. Principato is best known as for his blues and roots rock performances with his straight-forward parched singing and nuanced, yet high energy guitar that can run from James Burton styled rockabilly to B.B. King styled blues to electrified gypsy guitar. Wolf has been his long-time bassist but also a familiar anchor to a number of Washington DC based groups. There are others heard on several of the eight songs (six composed by Principato and two by Wolf), but they stay mostly in the background.

The performances have an intimate, conversational feel starting with the opening "I Thought Of You," and then followed with Principato displaying his fluid, jazz chops on "Midnight Groove," with Josh Howell's congas helping propel this sparkling performance with Wolf talking a strong solo as Principato lightly chords behind him. Wolf's "Tres Dias Mas," is a charming Tex-Mex flavored ballad, while Principato's "Very Blue," is a low-key, early in the morning instrumental with him playing in a jazzy vein. There is a Flamenco tinge to the lovely "Mi Solea," while "Back Again & Gone," is a relaxed, country-jazz flavored instrumental with Joe Wells' on drums.

There is plenty of wonderful music on "The Long Way Home," which finds Principato and Wolf playing with restraint, but still showing considerable imagination as well as their considerable musical command.

I received the CD to review from one of the artists. Here is a selection from this recording.

Ilya Portnov Strong Brew

Ilya Portnov
Strong Brew
Self-Produced

Russian born harmonica player Portnov impresses on this most enjoyable collection of blues, gypsy jazz and other roots music. A background that included studying classical piano, he also absorbed rock and blues growing up. He studied at the New England Conservatory of Music wherever he received a Masters Degree. He was the first person accepted in NEC with the diatonic harmonica s his main instrument. Taught in Russia to play the harmonica, his teacher Alex Bratetsky showed him an overflow technique, and introduced him to harmonica innovators, Howard Levy, Jason Ricci and Carlos del Junco, making him realize he could play anything on the harmonica. Moving to the US enabled him to meet and study with them, and delve deeper into blues and other roots music including Brazilian choro.

On this nine song program Portnov is supported by Kid Andersen on guitar and bass, Chris Burns on piano and keyboards, June Core on drums with Ben Andrews (a member of Portnov's band Choro Bastardo) adding violin to two tracks, Rob Vye, adding guitar on one track and percussion on another, Robby Yamilov adding bass to one track. It was the recorded by Kid Andersen at his Greaseland Studios.

It opens with the very appealing, old time country tinged "Sunny Afternoon Blues," where his harmonica and Andrews' violin make for a very engaging performance with his playing evocative of jazz harmonica players such as Henrik Meurkens. Against an energetic gypsy flavor (Burns keyboards adds to the flavor with Andersen channeling the Ventures and other surf guitar instrumentals), Portnov dazzles with his sax-like lines.On "Dance Of A Lonely Doll," his wonderful playing is in a gypsy jazz vein with Burns deft piano accompaniment along with very light bass and drums. Rob Vye's guitar introduces Rev Gary Davis' "Cincinnati Flow Rag" with some wonderful fingerstyle picking before Portnov joins in and then the full ensemble on a lively acoustic band number.

The waltz "In a Town Garden" is another charming gypsy-flavored tune with some nicely played harmonica and organ from Burns. "Behind The Wall," is a solid instrumental in a Little Walter vein with some fat toned Mississippi saxophone while Burns and Anderson lay down some solid support and Core is superb on this easy rocking instrumental. The title track is a laid back, four o'clock in morning, blues instrumental played relatively softly with tasteful solos from Burns and Andersen in addition to the leader. "1928" is a lovely tango which also features Ben Andrews' violin.

Its back to the blues on the closing "Till Early Morning," with its infectious Bo Diddley groove and enticing tremolo employed in Andersen's guitar playing. Portnov is a marvelous harmonica player and is backed by the marvelous studio band on this marvelous recording.

I received my review copy from a publicist. Here is a performance by Robert Vye and Ilya Portnov.

Steve Howell Jason Weinheimer - A Hundred Years From Today

Steve Howell Jason Weinheimer
A Hundred Years From Today
Out of the Past Music

Steve Howell & the Might Men's "Yes I Believe I Will," I found to be "a delightful, congenial mix of folk, country and blues that will appeal to a wide range of roots music listeners." Howell's latest is an acoustic collaboration with Weinheimer, a member of the Mighty Men, as they interpret early jazz and blues numbers from a variety of sources including Mississippi John Hurt, Jim Jackson, Jack Teagarden, Louis Armstrong and Bo Carter.

Howell's easy flowing finger style guitar and genial vocals are supported by Weinheimer's bass starting with "Lulu's Back in Town" that was first popularized by Fats Waller. Howell does lack the exuberance that Waller had, with a low-key singing approach that is analogous to Mississippi John Hurt, even if he doesn't have quite the warmth of Hurt's vocals (but who does). Of the pleasures to be heard here are covers of a couple of Hurt's recordings including a marvelous "Louis Collins." There is a nice reading of Jim Jackson's "Kansas City Blues," along with the reflective title track that he learned from Jack Teagarden. An earnest "Basin Street Blues" is followed by the medley of "Limehouse Blues" and "After You've Gone" with superb finger style playing and a genial vocal on the latter number."

After a jaunty version of Bo Carter's "Who's Been Here" (Carter's rendering of "Alabamy Bound"), Howell closes this with an affecting rendition of Hoagy Carmichael's "Rockin' Chair," that was a staple of Jack Teagarden and Louis Armstrong's repertoire, and often a highlight of Armstrong's All Stars when Teagarden was a member. Living Blues once characterized Howell as a "gentle, Deep South-inspired acoustic troubadour," and this thoroughly captivating, if brief, recording displays why with his affable and charming performances.

I received my review copy from a publicist. This review originally appeared in the July-August Jazz & Blues Report (Issue 374). Here the two perform "Kansas City Blues."

Brad Stivers Took You Long Enough

Brad Stivers
Took You Long Enough
VizzTone

In his mid-twenties, Austin-based singer, songwriter and guitarist Brad Stivers will make folks take notice with this album which is a solid mix of roots rock, blues, soul and country. Certainly the opening "2000 Miles" is a solid rockabilly laced stomper with a raspy vocal crisp solo followed by the driving rendition of a Ray Charles number, "You're Just About To Lose Your Clown," with gutbucket tenor sax from Mark Wilson along with more fine guitar and a solid soulful, vocal. "Put It Down" is another rockabilly flavored performance with his tremolo-laced guitar prominent.

The funky R&B laced ""Took You Long Enough," is followed by a fine country duet with pianist Emily Gimble on a cover of a classic Ray Charles recording, "Here We Go Again," with his guitar in a supporting role. Malford Milligan handles the vocal on a good cover of the O.V. Wright classic, "Nickel and a Nail," with some searing guitar on a version evocative of the late Otis Clay with Roy Buchanan. 

An instrumental take on the Smiley Lewis recording, "One Night of Sin" showcases Stivers playing with his judicious and thoughtful development of the solo and his attention to tone. "Can't Wait" is a nicely paced shuffle followed by the brooding "Save Me," again where he employs a heavy tremolo tone. The album closes with a searing guitar instrumental rendition of the James Brown classic "Cold Sweat," perhaps inspired by Albert King's similar treatment of this funk classic.

Stivers is a very good vocalist, and a guitarist who builds his solos in an intelligent and imaginative fashion, never overplays and makes use of his tone to great effect. Stivers establishes himself on "Took You Long Enough" as a roots rock and blues voice to keep one's ears open to.

I received my review copy from a publicist. This review appeared in the July-August 2017 Jazz & Blues Report (Issue 373). Here Brad performs the Little Bob and the Lollipops hit (also redone by Los Lobos), "I Got Loaded."

 

Laura Tate Let's Just Be Real

Laura Tate
Let's Just Be Real
811 Gold Records

Texas born vocalist Laura Tate has a resume that goes way beyond the blues and soul rooted music on this recording. She is an actress who performed in musicals and other theatrical productions, as well as television shows like "Dallas: and HBO's "First and Ten," as well as engaging in film production and directing music videos, commercials and documentaries. As far as her vocal influences, she states "I grew up listening to everything from rock and roll and Motown to show tunes, and soulful ballads. I loved Tony Bennett, Billie Holiday, Ella Fitzgerald, and other greats from the past along with the Beatles, James Brown, Bonnie Raitt, Carole King, and Linda Ronstadt. I have been singing their songs ever since." Her vocals on this is supported by a terrific studio band including the producer, arranger and engineer, Terry Wilson on bass guitar; Billy Watts on guitars; Jeff Paris on keyboards and mandolin; Tony Braunagel on drums; Lee Thornberg on brass; and Paulie Cerra on saxophones. Leslie Smith adds percussion and Teresa James on backing vocals.

This is a wonderfully recorded album full of fresh songs, most in a classic rhythm & blues vein and even the covers are not your typical standards including a wonderful reworking of a Thin Lizzy favorite, "Boys Are Back In Town." Tate is a soulful singer with a relaxed, unforced delivery that gets one's attention with the opening "Nobody Gets Hurt," that has hints of classic Hi Records as well as the easy rocking groove of "If That Ain't Love." She is quite good, if not quite on the level of Irma Thomas, whose Allen Toussaint penned "Hitting on Nothing" she does a nice cover of. The studio band captures the feel of the 1963 original and includes a nice tenor sax solo.

After a jazz-tinged late night blue ballad "Can't Say No," Tate reworks "Boys Are Back In Town," into a reflective lament for an outstanding performance, "Still Got the Blues" is a superb urban blues with a relaxed vocal and Watts playing strongly on guitar. "I Need a Man" is another solid blues performance with a vocal that might be described as Peggy Lee crossed with Etta Jones. It has a fine piano solo from Paris. The title track is another lovely ballad marvelously played and followed by the swampy, southern-rock blues, "I Know You Live." Watts contributes both slide guitar backing and a tremolo laced background riff while Paris takes a brief solo on the his. The Stephen Bruton penned "Big Top Hat," evokes Louis Jordan while Tate sings the lyrics with plenty of sass.

"Wildest Dreams," is a solid country-rock performance in the vein of seventies Linda Ronstadt that is the final track on a first-rate recording by a fine singer that is wonderfully backed throughout.

I received a review copy from a publicist. Here is a video of her performing.

Beth Garner Snake Farm

Beth Garner
Snake Farm
The Music of Nashville

Roots Singer-Songwriter-Guitarist Beth Garner has a new album with a bluesy flavor. Six of the songs are originals, the exception being the title track from Ray Wylie Hubbard. She is backed by a band that includes Rory Hoffman (sax, keyboards and rhythm guitar), Wes Little (drums), Steve Forrest (bass) and Angela Primm and Gale Mayes (background vocals).

Listening to this, comparisons might be made to some of Tony Joe White's swampy roots music of decades ago. Certainly the feel of a medium tempo groove of "Backroads Freddie," as well the slow drag groove of 'Drop Down." She impresses as a guitarist, whether playing slide or straight, and the huskiness in her voice gives adds to the appeal to the performances. Hoffman's baritone sax adds atmosphere to this latter number. "Used to Be" is an exuberant hot shuffle blues where she plays some rollicking slide guitar in the manner of the late Johnny Winter, while her slide is set against a funk groove on "Ramblin' Man" who she needs.

After the title track about Ramona who works at the reptile house, the album closes with "Wish I Was," another slow bluesy and swampy rocker with more slide guitar. Beth Garner impresses with terrific guitar and direct, natural vocals resulting in a fine blues and roots-rock effort.

I received my review copy from a publicist. This review originally appeared in the March-April 2017 Jazz & Blues Report (Issue 371). Here is the official video for this album.

Professor Louie & the Crowmatix Crowin' the Blues

Professor Louie & the Crowmatix
Crowin' the Blues
Woodstock Records

Professor Louie & the Crowmatix is a Woodstock, New York based Americana/roots musical group led by Aaron Louis Hurwitz, who collaborated with The Band for over fifteen years. He is a musician and producer, nicknamed "Professor Louie" by Rick Danko, and also a regular at the workshops of Common ground on the Hill in Maryland. Originally a studio band, the Woodstock NY based aggregation who now perform regularly and this is their third album. The Crowmatix are Professor Louie (vocals, accordion, piano, Hammond organ, keyboards); Miss Marie (vocals, percussion, piano); Gary Burke (drums, percussion); Frank Campbell (bass, vocals); John Platania (electric /acoustic guitars); Josh Colow (lead guitar) and special guest Michael Falzarano (guitar).

This is a solid and a very likable set of well played straight-forward blues and roots tunes. Professor Louie and Miss Marie are solid vocalists, although this listener would not call either an outstanding singer. The tone is set on the opening rendition of Marie Adams "I'm Gonna Play the Honky Tonks," with the Professor handling the vocal and taking a nice piano solo. There is chugging groove on the original "Prisoner of Sound" and followed by their rendition of "High Hell Sneakers," with Platania taking a short solo. Miss Marie handles the lead on the melancholy ballad "Love is Killing Me," while there is some rollicking piano and slide on a credible cover of Elmore James' "Fine Little Mama."

Professor Louie handles the vocal on Jimmy McCracklin's "I Finally Got You," with an insistent, driving rhythm. It sounds like an accordion creates hornlike riffs on Big Bill Broonzy's "Why Did You Do That to Me,"  a performance that  suggests the classic "Make Me a Pallet on the Floor." There is a creative reworking of the Jay McShann-Walter Brown classic "Confessing the Blues," erroneously credited to B.B. King. Miss Marie ably handles the lyrics against a solid backing that sounds derived from Ray Sharpe's "Linda Lu." Similarly, they rework the Jimmy Reed shuffle "Bright Lights, Big City," into a slow R&B flavored groove. Jimmy Rogers' "That's Alright," has been covered so often that it takes more than the listenable performance here to leave a deep impression. The album closes with Professor Louie on a bouncy instrumental, "Blues For Buckwheat," an affectionate tribute to the late zydeco legend.

This is a well played and sung recording, with a nice choice of material, but overall while there is  good music here, nothing left a deep impression. I have a feeling I might enjoy them more live than on this recording.

I received my review copy from a publicist. Here is "Love is Killing Me," from the recording.

Tami Neilson Don't Be Afraid

Tami Neilson
Don't Be Afraid
Outside Music

New resident in New Zealand, Tami Neilson was born in Canada and grew up in her family's country group. Following the passing of her father Ron, she moved to New Zealand where she established herself as a major country performer while still writing songs with her brother Jay along with her Kiwi collaborator Delaney Davidson, who also is on guitar. Others in her group include guitarist Dave Khan, Ben Woolley on bass and Joe McCallum on drums.

She has been described as a bit of Patsy Cline with Wanda Jackson's sass with a dash of Sharon Jones. When I listen to the title track, the last song her father wrote I am reminded of some of Mavis Staples' recent recordings with the atmosphere of the baking, while "Holy Moses" has a bit more rock and roll flair. Listening to "Lonely," a duet with Marlon Williams, one certainly can hear similarities to Cline, a similarity also present on Davidson's original "So Far Away," where a crisp rocking tempo adds an additional edge. "If Love Was Enough," is another slow, lovely country waltz with austere backing.

"Bury My Body," the last song her father heard before he passed, is another performance evocative of Mavis Staples with its austere, mesmerizing backing complementing the fervent, almost shouted, vocal. It is followed by the rockabilly-latin frenzy of "Loco Mama." "Heavy Heart" with astute use of reverb and vibrato in the backing, is another marvelous country lament, followed by the more traditional country flavored, "Only Tears." The album closes with a moving song for her father, "The First Man," where she sings he was the first man who she ever loved and who held her in his hands.

Not being familiar with Tami Neilson before, I was impressed, to say the least, by this remarkable and moving recording that anyone interested in roots and real country music with some gospel-soul seasoning should look into.

A publicist provided my review copy. This review appeared in the January-February 2017  Jazz & Blues Report (Issue 370). Here is a video for "Lonely."

Ted Hawkins The Next Hundred Years

Ted Hawkins
The Next Hundred Years
Geffen  

The release of a new Ted Hawkins album on David Geffen’s label is a surprising one for a major label, and has gotten Hawkins coverage on CNN. The LA street singer’s Rounder albums have just been issued on compact disc. He might be described as acoustic folk-soul or Sam Cooke unplugged. The Next Hundred Years has a country feel from the backing on most songs which are mostly originals dealing with the vagaries of human relationships. The opening Strange Conversation relates to a phone conversation where his baby tells him that his next lover is going to be the blues. His lyrics have a force because of their simplicity and slight naivete. In addition to the originals, there is a stirring cover of John Fogerty’s Long As I Can See the Light. This is a captivating release at the intersection of southern soul and country.

This review originally appeared in the September 1994 Jazz & Blues Report (Issue 194). I likely received a review copy from either the publication or the record company. This appears to be either  available new and/or used, or as a download. Here is Long As I Can See The Light.

 

Lew Jetton & 61 South Rain

Lew Jetton & 61 South
Rain
Coffee Street Records

Singer, songwriter and guitarist Lou Jetton and his band 61 South brings a new audio gumbo mix of southern rock, blues and other roots elements to his latest recording "Rain," one of the most appealing recent blues-rock roots efforts this individual has heard recently.

One can hear such influences as the Allman Brothers, Eric Clapton, Duane Allman, Little Feat and others on this set where the Tennessee-born Jetton is backed by his regular lineup of Sam Moore on guitar, Dan Bell on keyboards as guitar, Otis Walker and James Sullivan on bass and Erik Eicholtz on drums. Guests here include thumbpicking guitarist Alonzo Pennington; keyboard player Solon Smith; backup singer Miranda Louise; and harmonica player J.D. Wilkes.

The album takes it title likely from the three very different numbers than contain rain in their title, but in addition to this there are typical themes of broken relationships and hopes for better times. The opening number, "Who's Texting You," an amusing contemporary song about cheating through the cell phone, showcases Jetton's appeal as a singer as well as being able to lay down well shaped solos that complement agreeable, grainy singing and his amusing lyrics. He rock and rolls things on "Move On Yvonne," with harmonica and Miranda Louise adding her short vocal, and a rollicking piano break, followed by the urgency of his vocal on "Mississippi Rain," hsa swampy tremolo guitar and an insistent groove while he sings about the heavy rain and thunder and how things one knows will never be the same.

"Lay Me Down" is a soulful southern rock ballad evocative of Eric Clapton and is followed by a country gospel boogie "Glory Train," and then a very nice rendition of John Hiatt's "Feel Like Rain." The southern rock groove and vocal "Done Done It" sounds like it would be home on Country Music Television, while there is one nice acoustic guitar that is part of the easy going rocker "Sandy Lee." "Keeping Me Awake" is a hot rocking shuffle which leads to an excellent rendition of Allen Toussaint's "It's Raining." With only piano accompaniment, Jetton's baritone is quite moving in this wonderful performance. It closes a very enjoyable album of varied musical grooves and blues moods.

I received my review copy from a publicist. This review originally appeared in the November-December 2016 Jazz & Blues Report (Issue 369). Here is Lew Jetton performing "Feels Like Rain."

Alligator Records 45th Anniversary Collection

It has been 5 years since Alligator Records produced its last label retrospective/sampler, so now it has issued the two-disc "Alligator Records 45th Anniversary Collection," that allows Bruce Iglauer to mix some of the recordings from the label's history with tracks from more recent recordings. So a typical driving rocker from a 2008 Lil' Ed & the Blues Imperials release is followed by some searing Son Seals from his 1973 debut recording.

Rather than go through every artist and track, let me say that there is plenty of fine music here, even if some of the performances are not to my taste. Listening to Shemekia Copeland's rendition of her father's "Devil's Hand," one is impressed by the freshness of her rendition, and roots artist JJ Grey and Mofro is one of the more compelling artists Alligator has promoted over the past decade or so. It certainly is a teat to hear fresh new (not necessarily young) voices such as Toronzo Cannon, Jarekus Singleton and Selwyn Birchwood, along with the bluesy roots of Moreland & Arbuckle. Then one has vintage Koko Taylor doing "Voodoo Woman" from her first Alligator album along with Jimmy Johnson's "Your Turn to Cry" from the "Living Chicago Blues" series.

The rockabilly of Lee Rocker is mixed in with the roadhouse blues-country of Delbert McClinton and the rollicking Gulf Coast boogie of Marcia Ball. And it certainly is a treat to listen to A.C. Reed with Bonnie Raitt guesting, along with some sizzling live Luther Allison and the gospel of Mavis Staples and the Holmes Brothers. Both Guitar Shorty and Joe Louis Walker have been prominent relatively recent additions to Alligator's catalog although I would suggest that these are not the best recordings of their career. Of course, lets not forget selections by Billy Boy Arnold, Lazy Lester and Charlie Musselwhite.

Bruce Iglauer provides both an overview on the label and all the performances included. With about two and half hours of music among the 37 performances on these two-discs, it is priced as if it was a single disc so it represents good value along with the good music.

I reeeived my review copy from Alligator. This review appeared in the July-August 2016 issue of Jazz & Blues Report (Issue 367).

Colin Linden Rich in Love

Blues has always been a foundation for the music of Colin Linden, although his music has evolved to encompass rock, country and other roots music. Now based in Nashville(and he is even the musical director for the TV show Nashville), he had spun together a new roots recording, "Rich In Love" (Stony Plain)  full of original songs and given some marvelous performances. Linden wrote all 12 songs, although five songs were written with the collaboration with amongst others Janice Powers, Tom Hambridge and Gary Nicholson.

Linden and his various guitars, mandolins, and ukuleles are joined by his fellow members of The Rotting Matadors, bassist John Dymond and drummer Gary Craig. Charlie Musselwhite adds harp to several selections, Reese Wynans adds piano/organ to a number of song and Amy Helm contributes harmonies to several songs as well. This is a terrific country-roots group that play some really strong songs such as the opening "Knob & Tube," with his clever use of electrical terms to describe a relationship ("the current runs from me to you like knob & tube"). Mix in his grainy, genuine singing and adept musicianship and one has a fine performance. He also understands the value of restraint as on the next track "I Need Water," with Tim Lauer adding atmosphere on the organ as Linden sings he needs water to fill these tears as he deals with his heartbreak.

"Delia Come For Me," is a fine ballad which opens with just acoustic guitar as he sings of being framed because he was the first man they found and put someone away and bury in the ground (and he adds some electric guitar fills as Dymond and Craig provide sympathetic support. Musselwhite and Wynans are present on "The Hurt," a bluesy number with Musselwhite playing some very strong accompaniment followed by a lovely and gentle "Everybody Ought to Be Loved."

The title track opens in a somber, austere manner as Linden sings about his baby used to cry while he was sleeping," with Musselwhite's embellishments adding to the mood generated by the vocal and guitar. His way with words and the music mike be likened to The Band in his blending of various musical threads and his adroit way with words like on the plaintive "And Then You Begin," or the honky tonk flavor of "Luck of Fool," with nice use of tremolo.

Linden's songs are sung with wit, warmth and thoughtfulness, superbly played although he and his band eschew empty flash and mirrors, resulting is one terrific recording that will appeal to a very wide audience.

I received my review copy from Stony Plain. My review appeared in the November-December Jazz & Blues Report (Issue 363) downloadable at jazz-blues.com. Here is Colin Linden performing.

James Burton, Albert Lee, Amos Garrett and Dave Wilcox are Guitar Heroes

Stony Plain has a release that will certainly enliven the listening of guitar geeks, "Guitar Heroes." The album brings forth a performance from the Vancouver Island MusicFest by guitar legends James Burton, Albert Lee, Amos Garrett and Dave Wilcox backed by the keyboards of Jon Greathouse, the bass of Will MacGregor, and the drums of James Harrison Smith. Doug Cox, Artistic Director of the Festival discusses in the liner notes how this performance came together which I will leave for your eyes.

James Burton first came to notice on Dale Hawkins' early recordings including "Susie Q", before hooking up with Rick Nelson and then Elvis Presley. Albert Lee is best known to me as a country picker (an extension of Burton's chicken scratching style) who spent time with Emmy Lou Harris, Eric Clapton and Rodney Crowell. Amos Garrett was with Ian & Sylvia, Maria Muldaur, Paul Butterfield's Better Days and Bonnie Raitt while Dave Wilcox was also with Ian and Sylvia, Maria Muldaur, Nashville North, and The Ian Tyson (TV) show. This gives a sense of their roots but the music extends here to blues, rockabilly and jazz.

Lee and Wilcox handle most of the vocals in a most credible fashion. Certainly no issue about Lee's rendition of Arthur Crudup's "That's All Right (Mama)" that was Elvis' first single and the contrast between the switching leads and other guitarists providing support is delightful. Greathouse handles the vocal on "Susie Q" with Wilcox taking the first lead followed by Burton, Garrett and Lee, with Greathouse also soloing. It should be noted that both of these performances are little more than 5 minutes and allow each to display there licks and tricks but no one takes long self-indulgent solos. "Sleepwalk" is a showcase for Garrett's multiple string bending and tonal command followed by a lively rockabilly rendition of Ray Charles "Leave My Woman Alone," with Lee's affable vocal and some instrumental sparks, particularly the trading of licks between Lee and Greathouse for the first break and between Lee and Burton to ride out this 7 minute plus romp that seems shorter.

The opening of Jimmy Rogers "You're the One" sounds like they are about the hit "Honky Tonk" before Wilcox leads the  into a straight blues vein as he delivers a vocal a bit more forcibly than Rogers did before then calling on Burton to take the first solo, and after singing another verse introduces Lee. It is refreshing these gentleman handle this blues from the standpoint of country musicians and listening to their use of tone as well as their picking is a delight. Herbie Mann's recording "Comin' Home Baby" was a standard warmup track of blues bands in the sixties and the quartet of guitarists provide a lively rendering here. Wilcox's guitar introduces "Flip, Flop and Fly" which he sings and on which Lee is exceptional on. An instrumental renditions of the atmospheric "Only the Young" and a swampy rockabilly take on "Pork Salad Annie," are followed by a Wilcox original, "Bad Apple," the only forgettable performance him.

I know of the closing "Country Boy" from the Ricky Skaggs recording and the terrific video which was filmed in part in the New York subway system, but was not aware that Lee was one of the song's writers. It is a terrific number to close this performance. Lee may not have the range of Skaggs as a singer, but ably sings as well as takes listeners for a ride with some stunning playing here, with Greathouse and Wilcox also getting to take crisp breaks. This closes a terrific recording on a invigorating manner. "Guitar Heroes" captures four terrific guitarists on a festival performance where there mutual admiration meshes with often astonishing playing. Country roots and rock fans will find much listening joy here.

I received my review copy from a publicist. Here is "Susie Q" from this recording.

The Nighthawks Hold a Back Porch Party

 

As R. Keith Owens observes in his brief notes for The Nighthawks new album "Back Porch Party" (Eller Soul Records), it is sort of a follow-up to the group's "Last Train To Bluesville," being an acoustic, unplugged session recorded before a studio audience. This edition of the The Nighthawks has been pretty stable personnel wise since Mark Stutso replaced Pete Raguso on drums, joining original member Mark Wenner (harmonica), guitarist Paul Bell (guitar) and Johnny Castle (bass). There is choice selection of material including songs from Jimmy Rogers, Muddy Waters, Willie Dixon, Lightnin' Slim and Ike Turner mixed in with originals from band members.

There really isn't much new to say about the music here. The Nighthawks are a terrific working band which can be heard in these unplugged performance whether Wenner's lead off on a brisk-paced take on Jimmy Roger's "Rock This House," followed by some back porch twang on the old patsy Cline classic "Walkin' After Midnight." Bell's chording and single note fills are marvelous embellishments as Castle and Stutso keep a relaxed groove. It is fascinating to listen to Bell play acoustically on the Ike Turner and Rhythm Kings' "Matchbox," which features some nice singing from Stutso who also delivers a nice original with a swamp pop tinge, "Down To My Last Million Tears."

Bell's guitar supplies a rockabilly touch to the rendition of a Willie Dixon song recorded by Muddy Waters' "Tiger In Your Tank," while a similar feel is heard on Castle's "Jana Lee" whose melody evokes the cajun-rock hit "Sugar Bee." Muddy Waters' classic take on the "Catfish Blues" theme, "Rollin' Stone" receives a straight interpretation while Wenner also plays homage to Lightnin' Slim on an easy rocking cover of "Rooster Blues." There is more fine guitar and harmonica throughout along with the clean, crisp rhythm. "Back Porch Party" is another welcome addition to The Nighthawks body of recordings and a worthy successor to their previous unplugged recording.

I received my review copy from a publicist. This review originally appeared in the May-June 2015 Jazz & Blues Report (Issue 360). Here is a video of The Nighthawks. It is not unplugged but is of a song associated with Muddy Waters.

Lisa Mills Says I'm Changing

Gulf Coast chanteuse Lisa Mills refers to herself as "a blue-eyed-soul singer armed with a guitar" who speaking about her music says "If anything, I would refer to what I do as American Southern roots music.” Her new release "I'm Changing" (MillsBluz Records) is mostly a re-constructed version of tracks Lisa originally recorded and released in 2005. For this updated release she employed groundbreaking producer Trina Shoemaker, the first woman to win the Grammy Award for album engineering. Her backing musicians include guitarist Rick Hirsch and drummer T. K. Lively of Wet Willie fame; guitarist Corky Hughes and bassist Ian Jennings. Lisa notes “There are two fully re-recorded tracks on the album, ‘Take My Troubles" and "Tell Me," and three new [original] songs." While she thought she would have to redo vocals on other songs, Trina Shoemaker's mixing resolved many issues so only two songs needed to be totally redone.

The opening track "Better Than This/ I Don't Need You Anymore" grabbed the attention of this listener. With Hirsch's uncluttered guitar lead and a backing that evokes classic Muscle Shoals, Mills vocals ring true. This song with lyrics of leaving a cheating man is followed by another strong performance, "I Don't Want to Be Happy" ("I just want to be with you"). Again kudos to the backing whose direct, uncluttered backing lets the full warmth of her singing to be felt and appreciated. 

"I Need a Little Sunshine," co-written with bassist Jennings, is another display of her soulful vocals, while the title track has a country-folk flavor with Pat Murphy's fiddle being prominent. The pace changes with "Eyes So Blue" an expression of love set to a joyful reggae groove. This may not be the musical highpoint, but it may be this writer's favorite selection. There are a couple gospel numbers including an a cappella rendition of her original "Tell Me,” and Rev. Robert Wilkins' "Wish I Was in Heaven Sitting Down," with Corky Hughes on resonator guitar. "Rain in the Summertime" is a folk-flavored performance where she is backed only by her own acoustic guitar.

"I'm Changing" closes with a marvelous interpretation of Jimi Hendrix's "Little Wing." Lisa Mills is an extraordinary singer and also songwriter and with the backing provided and the production supplied by Trina Shoemaker, she has provided a superb recording that should appeal to a wide range of listeners.

I received my review copy from a publicist. This CD has been out a few months and I apologize for not reviewing it earlier. I remember enjoying it when I first head it and when listening to it a couple days ago I knew I had to write about it. Here she is seen performing "I'm Changing."