George Gee Swing Orchestra Swing Makes You Happy!

George Gee has been leading the George Gee Swing Orchestra since 1980, inspired by Count Basie who mentored him. While leading the big little band (9 pieces that sounds much bigger) he has had the services of trombonist, composer and arranger David Gibson for five years and the results of their collaboration can be heard on “Swing Makes You Happy!” (Rondette Jazz).

The recording features 19 selections that include 5 Gibson originals, and three transcriptions from Chick Webb’s repertoire. Gibson handled all of the arrangements. Gibson’s trombone anchors the brass section that includes trumpeters Freddie Hendrix and Andy Gravish. The saxophone section consists of Ed Pazant, Michael Hashim and Tony Lustig on alto, tenor and baritone respectively; while the rhythm section consists of Steve Einerson on piano, upright bassist Marcus McLaurine and Willard Dyson on drums. Vocals are provided by Hilary Gardner and John Dokes.

Listening to this brings back memories of Panama Francis’ reincarnation of the Savoy Sultans from the late seventies and early eighties. This band swings hard and at full throttle with joyous conviction. The rhythm section is stellar and there are plenty of strong solos with Lustig’s baritone sax and Hendrix’s trumpet among the many pleasures throughout thsi recording. Gibson’s opening “Comin’ Home” is suggestive of Basie from the 50s as his the swinging “I Know.” Of the vocalists, I was already familiar with Hilary Gardner and she sings quite well on “Sweet Pumpkin”, and “No Moon At All.” This writer is not as enamored with Dokes. I have heard much better renditions of “I’d Rather Drink Muddy Water,” although the taut Basie-style arrangement is solid as is Ed Pazant’s alto solo. Dokes also does not come across convincingly on “Evenin’,” which was a feature for Jimmy Rushing when he was with Basie. Gardner and Dokes duet on “If I Were a Bell.”

I do not wish to imply that Dokes is a poor singer, but to these ears he doesn’t convey the warmth and feeling of say Jimmy Rushing and Joe Williams (or Carmen Bradford who sang “I’d Rather Drink Muddy Water” with Basie.). It is a minor criticism as the the music here is infectious with its ebullient spirit. Listing to the George Gee Swing orchestra, one indeed agrees that “Swing Makes You Happy!”

I received my promo copy from a publicist. This review originally appeared in the January-February 2015 Jazz & Blues Report (Issue 358) although I have made some minor stylistic changes.  Here is a performance clip of them.

Zora Young & Little Mike and the Tornadoes - Friday Night

"Friday Night," (Elrob Records), a new release by Zora Young & Little Mike and the Tornadoes, brings back memories of seeing the likes of Pinetop Perkins and Hubert Sumlin backed by Little Mike and the Tornadoes at Twist & Shout in Bethesda, Maryland, and recordings the Tornadoes made backing them. In this same role, they back Zora Young, a solid Chicago blues chanteuse whose husky, smokey vocals go down like a smooth scotch on the rocks. This is blues with kick. On this date are Little Mike Markowitz along with his long-time partners, guitarist Tony O. Melio, bassist Brad Vickers and drummer Robert Piazza. Kim McKaba is on keyboards. Several originals from Markowitz and Tony O are mixed with covers of recordings by Howlin' Wolf, Big Joe Turner, Otis Spann and Lucille Spann, and Bonnie Lee.

Horns are added to originals like the title track from Little Mike and the opening "I've Been a Fool Too Long," and provide additional punch behind Zora's moaning vocal style. Certainly she places her stamp on Tony O's "I Love Chicago" as she belts out about her singing the blues and Chicago being both home and the home of the blues. Her vocal here is supported by the Tornadoes driving accompaniment. Wolf's "44 Blues" is nicely covered, but better is her soul-drenched rendition of Big Joe Turner's hit, "Chains of Blues." On a very enjoyable recording, a highpoint might be the wonderful rendition of Otis Spann-Lucille Spann's "Country Girl," with strong playing from McKaba, Little Mike and Tony O (evoking Sam Lawhorn on this track)." Riffing horns and Mike's harmonica add punch behind a fervent cover of Bonnie Lee's "I'm Good."

Young, Mike and Tony O sit out the closing "Spann's Boogie," which is a driving instrumental for pianist McKaba who is ably supported by Vickers and Piazza. It is a solid performance although odd for an album showcasing Zora Young's blues vocals. Throughout there is fine, idiomatic playing from Little Mike and the Tornadoes. Zora Young has not exactly been recorded extensively, so a new recording by her is welcome, especially when she sounds so fine, as she does here.

I received my review copy from a publicist. Here is Zora Young singing at the Lucerne Blues Festival backed by Bob Margolin, Bob Stroger and Kenny Smith.

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.

Blue Rider Trio Harp, Steel and Guts

Blue Rider Trio

Harp, Steel and Guts

Mapleshade 06932

Salty Dog-1/ Easy Rider-1/ Last Fair Deal Going Down-1/ Death Have No Mercy In This Land/-1 Ride ‘Till I Die-1/ Make Me A Pallet -2/ Black Betty-1/ Stagolee/ Sweet Home Kokomo-1/ Silver City Bound/ Long Tall Mama-2/ See See Rider-1/ Diddy Wa Diddy-1. 47:43.

Ben Andrews, g, vcl; Mark Wenner hca-1; Jeff Sarli -b-1; Larry Willis-2. 12/99-01/00. Upper Marlboro, MD

The Blue Rider Trio is a Washington, D.C. area-based acoustic blues trio centered around Ben Andrews’ guitar and vocals. The Trio also includes Mark Wenner (of the well-known band, the Nighthawks) on harmonica, and Jeff Sarli (currently with John Mooney, and formerly with Big Joe & the Dynaflows and Bill Kirchen & Too Much Fun) on acoustic bass. "Harp, Steel and Guts" is the second Blue Rider Trio Mapleshade release, although the disc includes a couple solo tracks by Andrews and two duets by Andrews with pianist Larry Willis. 

While often described as a delta blues stylist, Andrews’ blues is as indebted to the East Coast blues tradition (particularly Blind Willie McTell), the music of Leadbelly, and the early city blues of Big Bill Broonzy and the like. Andrews is a very skilled guitarist, whether playing a slide solo or tear off a fingerstyle run. Throughout he maintains a steady, unhurried, rhythm. Andrews also injects plenty of personality to well worn songs. His version of Robert Johnson’s “Last Fair Deal Gone Down” transforms the Johnson lament in an lively East Coast blues with very nice slide guitar picking. “Sweet Home Kokomo” is less distinctive, and owes much more to Johnson’s “Sweet Home Chicago” than it does to Kokomo Arnold’s “Kokomo Blues.” Sarli consistently provides a steady rhythmic anchor and Wenner adds a most sympathetic accompanying voice. His atmospheric playing adds to Andrews’ solemn treatment of Reverend Gary Davis’ stark “Death Have No Mercy In This Land.” 

Andrews’ rendition of “Stagolee” is derived from Mississippi John Hurt’s recording, while “Silver City Bound” was originally a Leadbelly tribute to Blind Lemon Jefferson. The two duets with pianist Larry Willis are disappointing as Willis sounds a bit tentative accompanying Andrews. Occasionally the performances comes off a bit too self-conscious as on “Easy Rider”, but overall, this is music that has captured Andrews’ passion for many years and it sounds as if he is far from being bored with the songs here. One gaffe in the packaging has “See See Rider” called “C.C. Rider on the back tray card.

I received my review copy either from Mapleshade or from Cadence, in which this review originally appeared in 2001. This is available and also as part of "Early Morning Blues: The Complete Blue Trio Sessions." Ben Andrews passed away in 2011 and was only 51. I had the pleasure of knowing him and see him play numerous times and miss him. Here is a 1990 performance of "Gallows Pole."

Otis Clay and Johnny Rawls Are Soul Brothers

Otis Clay guested on Johnny Rawls’ last recording, the highly praised “Remembering OV.” Now the two have collaborated for a new Catfood Records release “Soul Brothers.” The veteran blues and soul singers are backed by bassist Bob Trenchard and The Rays on a program of classic soul covers and originals. The production and the backing throughout is first-rate.

Certainly a recording with plenty of charms, it is not consistently up to the level one might imagine from the pairing of the two. Clay does not sound quite as vigorous here as elsewhere. Perhaps the covers of Delaney & Bonnie’s “Only You Know and I Know” and the recently departed Jimmy Ruffins’ “What Becomes of the Broken Heart” don’t come up to the originals, although in fairness on the former number I expected more in the vein of Sam & Dave (“You Don’t Know Like I Know”), which as a duo they don’t equal. Better is the straight cover of Tyrone Davis’ smash, “Turn Back The Hands of Time.” I emphasize these are good performances, simply not extraordinary.

 Rawls (often with Trenchard) continues to be one of the more interesting songwriters today as the bluesy “Voodoo Queen” and the deep soul original “Living on Borrowed Time,” the latter number sounding like vintage OV Wright. “Road Dog” is a collaboration with Trenchard and Clay as he and Rawls sing (with ounchy backing) about playing in Memphis, getting a few hours of sleep and then on to New Orleans. Also included is Rawls gospel original “Hallelujah Lord.”

“Soul Brothers” is a solid collection of southern soul and blues performances even if it does not capture Otis Clay and Johnny Rawls at their very best.

I received my copy from a publicist. Here Otis Clay and Johnny Rawls are seen performing Tyrone Davis’ smash, “Turn Back The Hands of Time."

James Cotton It Was A Very Good Year

James Cotton

It Was A Very Good Year

Just a Memory JAM 9144-2

It Was a Very Good Year/ Mystery Train/ She’s My Baby/ One More Mile/ How Sweet It Is (To Be Loved By You)/ I Can’t Quit You Baby/ Sweet Sixteen/ Midnight Creeper/ Hootchie Cootchie Man/ You’re So Fine. 46:55.

Cotton, vcl, hca, Albert Gianquinto, p; Luther Tucker,g; Bobby Anderson, b; Francis Clay, d. September 28, 1967. Montreal, Quebec, Canada.

This is the third disc deriving from live performances by the James Cotton band at the New Penelope Cafe in Montreal in September 1967 on Just a Memory. These must be among the last performances by the Cotton band with Albert Gianquinto on piano. This writer saw Cotton and his band in Cleveland in early Fall 1967 (possibly a week or two after the engagement which produced this recording), by which time a saxophone had replaced pianist Gianquinto. In any event , this was one of Cotton’s best bands and if this recording lacks the highest of fidelity (the drums are too prominent), the sound is acceptable. 

1967 may well have been a very good year in Montreal with Expo ‘67, but the title track is a feature for Gianquinto’s jazzy piano before the band brings Cotton up to the stage. There is a nice mix of songs from Cotton as he opens up with Jr. Parker’s “Mystery Train” before tackling Sonny Boy Williamson’s “She’s My Baby” which Cotton had recorded as “Sugar Sweet,” and his own “One More MIle”. The inclusion of Marvin Gaye’s Motown hit “How Sweet It Is,” is an indication that the boundaries between blues and soul were not as demarcated as some find today. 

Luther Tucker’s guitar is spectacular on Cotton’s solo rendition of Otis Rush’s “I Can’t Quit You Baby,” and the lengthy “Sweet Sixteen” where he really stretches out. Cotton has the lengthy “Midnight Creeper” to showcase his harmonica mastery. Cotton also sings here as well as he ever did and the level of the music supports the memory of this being a great blues band. Incidentally, the closing “You’re So Fine,” is erroneously credited to Little Walter. It is a reworking of the Johnny Otis song that was a hit for the Fiestas.

This review was written in 2001 and likely published in Cadence from whom I likely received a review copy. I had previously reviewed another CD "Seems Like Yesterday" from this engagement, and it was posted back in 2012. Here is Cotton and band from 1967 doing "Off The Wall."

Andy Cohen - Road Be Kind

Andy Cohen is a remarkable performer who i am most familiar with from his blues playing, but as Earwig's Michael Frank observes, "he never ceases to impress me with encyclopedic knowledge and ability to play at a high level, Traditional blues, folk and true Americana music …" On two days in August and September 2014, he recorded 25 songs from which Michael Frank chose 16 for Cohen's new Earwig album, "Road Be Kind." As Cohen notes in the booklet, roughly half of the music is contemporary which was out of character from the blues and related traditional material he performs. Some of the material was in tribute to folks he has known, like Luke Baldwin, Utah Phillips, Pegleg Sam and Bill Hinkley, whom have passed on.

The opening "Five and Ten Cent Blues," one of his originals with his nimble accompaniment and natural, slightly raspy singing, evokes sixties recordings from Bob Dylan, Ramblin' Jack Elliot, Steve Goodman and others. This feel is carried forward in an original by the forgotten Luke Baldwin, "Seldom Seen Slim." Then there is the delightful fingerpicking rendition of Sonny Terry's "Spread the New Around," along with the delightful, "Talkin' Hard Luck," taken from Chris Bouchillion's 1925 recording as well as Pegleg Jackson's version with plenty of delightful guitar and a mix of a rap and talking singing. One can only conjure up in one's mind how an old medicine show performer as Chief Wahoo would try to sell some elixir to this.

The title song was written by Scott Alarik and receives a lovely, lilting performance, while John Loudermilk's "Windy and Warm," allows Cohen to showcase his marvelous fingerstyle playing as he adroitly handles its complexity (Cohen notes its a level or two more complex than "Freight Train"). "Mysterious Mose," which Cohen admits he stole from R. Crumb and His Cheap Suit Serenaders, is a delightful hoot that contrasts with his very moving treatment of Utah Phillips' cowboy song "The Goodnight - Loving Trail." Another outstanding blues performance is "Seaboard Train," taken from Larry Johnson's rendition of a song old timey artist Sam McGhee recorded as "Railroad Blues." Cohen plays with a deft touch and invention that might have even made Johnson's mentor, Reverend Gary Davis, smile.

"Ten and Nine" is a labor song about women working in the mills, some very young. Its author, Mary Brooksbank," who spent time in prison for labor agitation. It is followed by a lovely medley of Irish songs, "Blarney Pilgrim / Jig McCoy." A lovely instrumental rendition of the Lennon-McCartney penned "Blackbird" provides the coda to this recording. "Road Be Kind" is an fabulous recording from an truly special talent.

I received my review copy from a publicist. Here is Andy playing a selection from the new album.

Things About Comin’ My Way: A Tribute to the Music of The Mississippi Sheiks

One of the most celebrated African-American recording acts of the thirties was The Mississippi Sheiks. Comprised mostly of members of the Chatmon family (Lonnie, Sam, Bo and others) along with Walter Vinson, they had a very wide repertoire and considerable influence on both black and white performers. They introduced the standard “Sittin’ on Top of the World,” (which has been performed by Howlin’ Wolf, the Grateful Dead, Western Swing and bluegrass bands), “Stop and Listen Blues,” and several songs like “Yodeling, Fiddling Blues,” suggestive of Jimmie Rodgers, the Father of Country Music. The Sheiks recorded 70 odd recordings ranging from blues, waltzes, topical songs and hokum. Some members of the Chatmon family recorded outside the Sheiks extensively. Bo Chatmon was better known as Bo Carter and had a remarkable recording career that included more than a few risqué lyrics while Sam Chatmon had a productive recording career after the sixties blues revival before he passed in 1983. The Sheiks music has been in recent years been revived by artists as diverse as Alvin Youngblood Hart and Bob Dylan.

“Things About Comin’ My Way: A Tribute to the Music of The Mississippi Sheiks” (Black Hen Music) came as a surprise when it arrived. Put together by Steve Dawson, much of this was recorded over two days in Seattle and/or Vancouver, but some was recorded in other locations. They brought together a variety of performers, some who perform closer to the Sheiks’ recordings such as the lively North Mississippi Allstars rendition of “Its Backfirin’ Now,” John Hammond’s “Stop and Listen,” and the Carolina Chocolate Drops rendition of “Sittin’ on Top of the World.” Others are not as tied to the originals. Vancouver singer-songwriter Ndidi Onukwilu, supported by the project’s house band, on the title track which employs the same melody as “Sittin’ on Top of the World,” but has a different flavor due to some blues-rock accents in the accompaniment. Bruce Cockburn’s vocal on “Honey Babe Let the Deal Go Round,” vocally evokes the late Piedmont master, John Jackson, although the performance has a bit of country flavor. I do find it hard to agree with the sometimes pretentious liner notes that this is an essential track, no matter how much of a Canadian treasure Cockburn is.

Pretentious is how I might describe the artsy Van Dyke Parks arrangement used on Oh Susanna’s rendition of “Bootlegger’s Blues.” This is a shame as she does a real nice job on the vocal. Danny Barnes (an Austin legend who I never heard of before), is too country sounding for “Too Long,” and probably should have been given the more country flavored “Jailbird Love Song,” to record. Guitarist Bill Frisell is heard on a duet with trombone of the instrumental “That’s It,” while on “Please Baby,” Madeleine Peyroux sounds like a Billie Holiday wannabe.

Producer Dawson himself sings in a neutral manner on a blues-rock adaptation of “Lonely One In This Town.” The stronger tracks include Geoff Muldaur & the Texas Sheiks (with Stephen Bruton on guitar and Johnny Nicholas on mandolin) on “The World Is Going Wrong,” with a highlight being his a robust vocal and a great fiddle solo from Suzi Thompson. Del Ray, who was mentored by Sam Chatmon does a lovely “We Are Both Feeling Good Right Now,” supported by her adept guitar and a pair of clarinets. Bob Brozman may be a marvelous guitarist but on “Somebody’s Gotta Help You,” shows he is not a very good singer

As suggested, this is a mixed bag. There is nothing poor here, and the tracks make for enjoyable listening with several tracks being exceptional. I do agree with the decision to not simply give us an album of straight covers, but I do find that the relatively few performers of color here odd. I have no idea how performers were selected, and who had been asked and unavailable. But one cannot say that such contemporary African-American performers such as Corey Harris, Youngblood Hart, Guy Davis, or Taj Mahal would not have made significant contributions here.

Upon getting word of a new Alligator Records Blind Willie Johnson tribute album coming in 2016, I noted the absence in this forthcoming release of performers of color other than the Five Blind Boys. It struck me as yet another case of so-called Americana tributes of Black American Music having myopic understanding of the full range of music out their today. It reminded me of tributes to the Missiisppi Sheiks that Steve Dawson did in 2009 and 2010. This review of “Things About Comin’ My Way: A Tribute to the Music of The Mississippi Sheiks”originally appeared in the Oct. 15 - Dec. 1, 2009 Jazz & Blues Report (Issue 321) and expressed my concerns in the last paragraph. I also reviewed, and posted the review on the blog, the subsequent “The Mississippi Sheiks Tribute Concert.” I likely received the review copy from a publicist.  

The Acoustic Blues & Roots Of Duke Robillard

Duke Robillard has been fairly prolific on recordings recently and Stony Plain has issued his latest, "The Acoustic Blues & Roots Of." One might be tempted to call this "Duke Unplugged," but the 18 selections cover a wide range of genres, not simply types of blues. Along with some of his regular partners in music, bassist Marty Ballou, pianist Matt McCabe and drummer Mark Teixeira there are guest appearances including vocalists Sunny Crownover and Maria Muldaur, guitarist and vocalist Mary Flower, pianist Jay McShann, harmonica wizard Jerry Portnoy and clarinetist Billy Novick. Along with Robillard originals there are songs from Stephen Foster, Jimmie Rodgers, Big Bill Broonzy, the Delmore Brothers, Tampa Red, John Estes, Hank Williams, Robert Lockwood Jr., and others.

Overdubbing allows him to showcase his mandolin on the brief "Old Kentucky Home," followed by his capturing a pre-war Chicago blues groove on Broonzy's "Big Bill Blues." "Left Handed," with Portnoy contributing the Sonny Boy Williamson I harp comes across as another Big Bill styled performance. Portnoy is also on the cover of Sleepy John Estes' "Someday Baby." There is a pretty straight rendition of "I'd Rather Drink Muddy Water," while Novick's clarinet and Robillard's mandolin are heard on a nice"St. Louis Blues."

There are affable renditions of country tunes including Jimmie Rogers "Jimmie's Texas Blues," with a credible yodel"; a lovely duet with Mary Flower on the Delmore Brothers' "Nashville Blues"; and a cover of Hank Williams' waltz, "Let's Turn Back The Years." Sunny Crownover sings "Evangeline," covering a song associated with Emmylou Harris and The Band. With Novick on clarinet, Robillard sings some Tampa Red hokum on "What Is It That Tastes Like Gravy?" Most performances are short (Under 4 minutes), with the longest being a take on Robert Lockwood's "Take A Little Walk With Me," that has outstanding piano from McCabe. A treat is a duet with Jay McShann on the moody Meade Lux lewis composed instrumental "Profoundly Blue."

Robillard acquits himself as a vocalist and the playing is wonderful throughout resulting in an enjoyable change of pace from Duke's other recordings.

I received my review copy from Mark Pucci. Here is Duke Robillard jumping the blues.

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.

Rick Estrin and the Nightcats You Asked For It … Live

From his long tenure with Little Charlie and the Nightcaps which became transformed into Rick Estrin and the Nightcats, Rick Estrin has impressed blues fans with his songwriting, harmonica playing and his vocals (although to this listener’s ears, they can be an acquired taste). The present Nightcats is a solid band with Kid Andersen on guitar, Lorenzo Farrell on bass, organ and log, and J. Hansen on on drums and one lead vocal.

Recorded at Biscuits and Blues in San Francisco, "You Asked For It … Live," is an especially lively performance with plenty of Estrin’s wicked harp playing and Andersen shows off his chops and his considerable inventiveness. There are some new tracks and a few familiar classics my “My Next Ex-Wife,” “Dump That Chump” (admittedly not one of my favorites by him, and “Don’t Do It” which is a litany of his Doctor’s instructions that essentially have him avoid anything that might be fun. It is perhaps my favorite of his songs, but he certainly has a word with words like on “Smart On Einstein” which also sports some strong chromatic playing to go with his lyrics that he was “smart like Einstein and rich like Donald Trump.” This is one of the tracks that Farrell is on organ which contributes to the coloring under his solo along with Andersen’s chording and single note fills.

Drummer Hansen acquits himself as a singer and songwriter on a nice relaxed traditionally-rooted shuffle “Baker Man Blues” who has the sweetest job around as all the girls are talking about his bread and biscuits all over town with Estrin channeling Big Walter in his solo here. The CD closes on a nice cover of Sonny Boy Williamson II’s ‘Too Close Together” with Estrin backed only by Andersen on acoustic bass. It suggests some of the solo pieces the second Sonny Boy recorded in Europe and is a nice tribute to that legend.

Anyone who has heard Estrin on record or live will not be surprised by "You Asked For It … Live," and for those unfamiliar with him, this recording is an excellent introduction to him and his excellent band.

I received from Alligator. This review was written for jazz & Blues Report but I do not believe it has been published. Here is Rick Estrin and the Nightcats performing live.

Andy Santana And The West Coast Playboys Watch Your Step!

Andy Santana is a triple threat as a singer, guitarist and harmonica player (and he is also a songwriter) whose name will be most familiar to those of the West Coast, but some may have seen his name as a sideman to some albums or perhaps have his independently produced recordings. Anyway his profile will rise greatly with the release of "Watch Your Step!" by Andy Santana And The West Coast Playboys on Delta Groove. The West Coast Playboys include Kid Andersen (who co-produced this with Andy), Anthony Paule, Mike Schermer, Bob Welsh, Rusty Zinn (who penned the liner notes), Lorenzo Farrell and June Core.

While there are a few Santana originals sprinkled in, most of this are taken of covers of songs that have not been cooked and burned to death (no "Sweet Home Chicago" type numbers). Santana is a wonderful singer that sings with a natural, relaxed soulfulness akin to such Gulf Coast legends as Tommy McClain, Warren Storm, Freddy Fender and Doug Sahm. And he brings a distinctive attack to the guitar (Rusty Zinn likens him to the love child of Wild Jimmy Spruill and Johnny Guitar Watson) and his harp playing is terrific.

What a range of material too from the opening swamp rocker by Carol Fran "Knock Knock"; a tasty cover of Bobby Parker's title tune that is modeled on Parker's original recording. It showcases Santana's crisp, biting guitar, and is ably sung (although he is not on Parker's level); "Playgirl," one of two Smiley Lewis songs here, on which he takes both guitar and harp solos (his harp playing suggests some of Papa Lightfoot's recordings); the rollicking "You May Not Know: with a smokin' groove and a performance (with backing vocals) suggestive of Clyde McPhatter and the Drifter's "What Ya Gonna Do"; a song co-written with Rick Estrin, "No Double Talk," with Kid Andersen adding greasy fafisa organ and shattering Ike Turner-styled guitar; and a terrific instrumental, "Greaseland" (named after Andersen's studio) which showcases several of the guitarists. The rest of the performances on "Watch Your Step!" are similarly impressive making for an impressive recording.

I received my copy from Delta Groove. Here is Delta Groove's video promoting this recording.

Frank Vignola & Vinny Raniolo Swing Zing

 

The duo of Frank Vignola & Vinny Raniolo brings together the veteran Vignola, certainly one of the most remarkable guitarists today, with the younger Raniolo who serves to complement Vignola's oft astounding playing. The two have a new recording "Swing Zing" on Vignola's FV-15 label on which the two (with guests) play 13 swing era classics.

There is more than a hint of Vignola's Gypsy Jazz style, especially on the jaw-dropping 'Joseph Joseph" on which Olli Soikelli joins the two, while Bucky Pizzarelli, and Gary Mazzaroppi join in backing a lovely vocal from Auda Mariel on the classic Jerome Kern ballad "All the Things You Are." There are so many delights including the brilliant interplay between Vignola and Gene Bertoncini on the brisk "Whispering."

From the opening delightful elegance of "Cheek to Cheek" to the lovely rendering of "Do You Know What It Means To Miss New Orleans" and the closing medley of "Peg O My Heart"/"I'm Confessin'," listeners are treated to a mix of lyricism and dazzling improvisational take-offs that prove that jaw-dropping technique matched with musical taste and intelligence make for compelling performances that move the heart and lift one's spirits. "Swing Zing" is simply wonderful.

I received my review copy from a publicist. I have made a few minor changes to the  review which appeared in the July-August Jazz & Blues Report (Issue 361). Here is a video of these two performing a medley of "Tico Tico/ Apache."

Anthony Geraci and 50 Shades of Blue

“50 Shades of Blues” is a new Delta Groove recording by keyboard wizard Anthony Geraci and The Boston Blues All Stars. Geraci is best known in anchoring the keyboards for Sugar Ray and the Bluetones, and he is joined by his band-mates: Sugar Ray Norcia, guiatrist Monster Mike Welch, bassist Michael ‘Mudcat’ Ward and drummer Neil Gouvin (although Marty Richards handles the drum chair for most of this). Guests include Darrell Nulisch, Michelle ‘Evil Gal’ Wilson, and Toni Lynn Washington, who along with Norcia, handle the vocals. Geraci produced this, in addition to playing piano and organ, and writing all 13 songs.

He gives some really wonderful new blues heard in terrific performances by all involved. Darrell Nulisch sings the opening “Everything I Do Is Wrong,” that sounds a song Otis Rush should have recorded for Duke. It features a tough Welch solo while Geraci pounds the ivories. The title song follows, a jump blues duet shared by Norcia and Wilson, with rollicking piano. Welch plays in a T-Bone meets B.B. vein on this. The next two selections are classic Chicago styled blues. “Sad But True,” is a Tampa Red styled blues with Welch on slide and Norcia on harmonica. It is followed by the stunning Muddy Waters influenced “Heard Thet Tutweiler Whistle Blow,” with Norcia singing about going to Detroit to build a car for Mr. Ford. Geraci channels Little Johnny Jones and Otis Spann on these two songs.

More Otis Spann influence is present on the closing “Blues For David Maxwell,” a superb instrumental tribute to the late pianist with Geraci's at perhaps his finest (and he is exceptional thoughout). This performance builds in intensity as Welch adding fiery guitar before Ward’s bass leads the band into a surprising concluding portion where they evoke Pharoah Sanders “The Creator Has a Master Plan,” with Norcia playing wood flute here. It is a marvelous finale to a stellar recording. Anthony Geraci is a first-rate blues songwriter and a terrific keyboard player. With these superb musicians supporting him, there should be no surprise about the consistently marvelous music on “50 Shades of Blue.”

I received my copy from Delta Groove. Here is a performance from the CD release party.

Markey Blue Hey Hey

“Hey Hey” (SOULOSOUND RECORDS) is a debut album by Nashville based chanteuse, Markey Blue, with vocalist Jeanette Markey and guitarist Ric Latina. They are supported with by some of Nashville’s top musicians on an album that attempts to recall the glories of the classic Memphis and Muscle Shoals soul. Markey herself helped pen all the 12 originals that comprise this release.

This is a solid and brassy recording starting with the driving opening track “When Love Comes Along (Hey Hey)” that lends the disc its title. “Something's Wrong” is an outstanding track with the studio band hitting that groove. It showcases Markey’s strengths as a singer including a bit of raspy grit and an unforced delivery that evokes classic soul singers such as Ann Peebles. The Peebles comparison might be most evident on “Feeling Blue,” a heartfelt performance that hints of, “Feel Like Breaking Up Someone’s Home,” with its punchy horns, backing vocals and crisp guitar break.

Former Allman Brothers guitarist Jack Pearson co-wrote “Play Me” with Markey and he takes a solo while Markey really pours everything into with  vocal. She also tears into the lyric of “Another Lover” as she sings good-bye and that she’s gonna find the best man she can.  Next is a tender soul ballad “With You” where Latina’s guitar solo here may be his best on the album. The trebly swamp-blues infused “Voodoo Do” sports Markey’s at her most sensual. “By My Side” is another solid ballad performance with solid rhythm and crisp horns that evoke classic Stax recordings.

“Hey Hey” concludes on a most impressive fashion with a funky lament, “Baby I’m Cryin’”, which Steve Cropper produced the vocals for. There is so much to enjoy about this release from the strong backing, good original songs and Ms. Markey’s heartfelt, persuasive vocals. Markey Blue will make fans of blues and soul take note.

I received a review copy from Delta Groove Promotions who were also doing publicity for this. Markey Blue is currently crowdfunding a new album on Go Fund Me. Here is a video of this Nashville-based band in performance.

Curtis Nowosad Dialetctic

 

Winnipeg-raised drummer Curtis Nowosad (now based in New York) scores with a solid recording "Dialectics" (Cellar Door). Bandmates include tenor saxophonist Jimmy Greene (who taught in University of Manitoba for awhile), Canadian pianist Will Bonness, and Canadian-based, New York expatriates, bassist Steve Kirby and trumpeter Derrick Gardner (both currently on the faulty at the University of Manitoba).

Featuring mostly Nowosad's original compositions, the album is described as neo-Hard Bop. According to Kevin Sun in the liner notes "“Neo-hard bop” retains the driving, synchronized horn line as its focal point as well as the tightly arranged format and extended soloing that we associate with stacks of 50s and 60s Blue Note records, but takes these elements even further: more hits, more vamps and interludes with bass and piano ostinato, more pyrotechnical blowing." Sun says many of these albums have little to offer other than a nostalgic sound. In contrast, Nowosad's group "has the sound of a working band that’s been steadily pursuing its own mode of collective communication."

Nowosad's arrangement provides a fresh rhythmic take on Wayne Shorter's "Speak No Evil," before Gardner explodes on trumpet, followed by Greene whose tenor solo quickly builds the intensity, and then the leader takes a crisp solo. "Empirically Speaking," based on the changes of a Duke Pearson composition, has pianist Bonness soloing strong which transitions into Greene who comes off like a Clifford Jordan or Booker Ervin. This is followed by a couple of choruses from Kirby and then one by Gardner. This is a wonderfully paced performance followed by the title track with a touch of funk in the groove.

The briskly paced “159 & St. Nick” alludes to "Sweet Georgia Brown," while "A Casual Test," is a  blues performance with strong playing by Gardner, Greene and Bonness before the horns trade fours with Nowosad. "Reconciliation," is a lovely ballad, while Nowosad provides an Afro-Cuban setting for a vibrant rendition of Thelonious Monk's “Bye-Ya,” Greene plays soprano sax on “Gleaning & Dreaming,” a fascinating waltz with shifting tempos. A fast rendition of "I Remember You," closes the CD  with strong, spirited, and fresh, playing from all.

"Dialectics" has wonderful original compositions and fresh arrangements of some well-known songs, strong ensemble interplay with plenty of musical invention by the quintet. Those wanting straight-ahead jazz in a hard bop vein will savor the music here.

I received my review copy from a publicist. Here Curtis with Jimmy Greene on sax performing
"Empirically Speaking."
 

Jimmy Burns It Ain't Right

 

The new Jimmy Burns recording, "It Ain't Right" (Delmark Records),  is his fifth album for the label dating back to 1997. He has not exactly been over-recorded, so a new release by him  should be welcome. The younger brother of Detroit blues legend, Eddie Burns, Jimmy has an extensive vocal group and soul background, although he also has deep Mississippi rooted blues roots as was displayed on his album "Leaving Here Walking" Jimmy is backed by his working band Anthony Palmer, guitar; Greg McDaniel, bass: Bryant "T" Parker, drums; with support from Sumito "Ariyo" Ariyoshi, piano; Roosevelt Purifoy, organ; and a full horn section. With the exception of two originals from Billy Flynn, the album is comprised mostly of covers including a couple of Percy Mayfield songs and one by his late brother, Eddie. Dick Shurman produced this recording in February of 2015.

The opening track by Flynn, "Big Money Problem" is a track that evokes some of the best Mississippi rooted performances from Burns' prior recordings and is followed by Flynn's lovely R&B ballad "Will I Ever Find Somebody?" showing off his soulful singing with a notable piano solos and effective horns. The backing to "Snaggletooth Mule," a nice hoodoo blues, may sound familiar to Johnny Copeland fans.  On a rendition of Percy Mayfield's "Long As You're Mine," the horn riffs lend an unwelcome frenzied sense to the performance. The treatment of Mayfield's "My Heart Is Hangin' Heavy," is more straightforward and, to these ears, more satisfactory. There is a solid rendition of The 5 Royales "Crazy, Crazy, Crazy," a performance that harkens back to his vocal group days.

Eddie Burns' "Hard Hearted Woman" is a crisp, easy rocking shuffle, and Jimmy plays nice down-home harmonica on a fresh reworking of Jimmy Reed's "A String To Your Heart," with a nice loping groove. Also heard is surprising, enjoyable cover of Goree Carter's "Rock Awhile," if a bit laid back compared to Carter's jump blues original. A cover "Stand By Me" has a nice vocal and some nifty guitar, but otherwise did not leave much of an impression. "Surrounded" is a nicely paced shuffle with a terrific baritone sax solo from Aaron Getsug and nice guitar break. Burns places his own stamp on Little Walter's "It Ain't Right," with rollicking piano and a clever guitar line in the accompaniment, while a fresh funk arrangement enlivens his interpretation of the Junior Wells classic, "Messin' With the Kid."

The album closes with a Burns leading a gospel quartet styled rendition of "Wade in the Water," with a nice lead vocal. Jimmy Burns "It Ain't Right," displays his considerable talents over a variety of blues, R&B and gospel. Perhaps it has a couple of musical miscues, but overall this is a welcome addition to his very distinctive body of recordings.

I received my review copy from Delmark. Here is Jimmy performing "Leaving Here Walking."

Generation Blues Experience Looks For a Private Angel

Generation Blues Experience arose in 2012, when twelve year old Ray Goren visited Bell's, a South Central Los Angeles juke joint and met 78 year old Jamie Powell and 68 year old Sammy Lee with whom they established bonds that transcended the differences in age and lifestyle. Having shared stages with BB. King and others, and having recorded two albums, R. Music, Inc. has just issued "Private Angel," a recording of seven originals and one cover.

Generation Blues Experience is comprised of Ray Goren (guitar and vocals); Jamie Powell (guitar and vocals); Sammy Lee (harmonica and vocals); Lester Lands (bass, rhythm guitar and vocals);  (keyboards); and Albert Trepagnier, Jr. (drums). Bobby 'Hurricane' Spencer is musical director, plays tenor saxophone and did the album's horn arrangements. Others on the recording are Dan Weinstein (cornet and trumpet); Terry DeRouen , (formerly with Lowell Fulson and Guitar Shorty - rhythm guitar); Andrew Bush (keyboards); and Retha Petruzates, Lands and Spencer (backing vocals).

Sammy Lee takes the vocal on the opening “Little Mama,” with a latin groove and punchy horns as he sings about a lady in her skinny jeans and working it on out before Goren takes a very impressive couple of choruses that displays a clean and crisp attack before Lee closes the vocal out over Goren’s guitar. The title track is a slow minor blues that displays Goren maturity as a singer vocal set against a backing that suggests B.B. King’s recording of “The Thrill Is Gone.” Goren wrote the country blues “Crazy” for Powell whose strong singing is complemented by Lee’s down home harp as well as a showcase for Goren’s guitar pyrotechnics.

Goren displays a different side from his hard rocking guitar style on a lovely ballad, “Rainin’” with his plea as to why did you leave baby, “cause its sunny outside baby but raining in my room.” Besides his vocal, the jazzy solo displays a different side to Goren’s playing. It is followed by a shuffle “Katrina,” on which Lee sings about the Hurricane that treated New Orleans so mean with fine guitar and a bit of down home harp. “Sugar Momma” is a a lazy blues spotlighting Lee’s down home harp and vocals which reworks the classic Sonny Boy Williamson I and Howlin’ Wolf blues with solos by Goren and Lee.

Bassist Lands sings soulfully on “Put Love On Your Guest List,” (and take hate off your mind) with a short crisp Goren guitar break followed by a concert recording of Bill Wither’s “Ain’t No Sunshine” to close out this album. Goren’s capable vocal showcases a lengthy solo on which he builds from some jazzy filigrees to some serious guitar fireworks. Its a solo that certainly illustrates why he is someone who likely will become prominent among contemporary audiences especially. The solo perhaps goes on a bit long, but there is no denying his capabilities as a guitarist or a singer. And while he shares the spotlight with the rest of Generation Blues Experience, “Private Angel” is as much a coming out showcase for a precocious and very talented Ray Goren.

I received my review copy from a publicist.My review originally appeared in the November-December 2014 Jazz & Blues Report (Issue 357). Here is Generation Blues Experience in performance.

Tommy Castro's Method To My Madness

 

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

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

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

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

The Reverend Shawn Amos Tells It

Shawn Amos’ “The Reverend Shawn Amos Tells It” (Put Together) is recording containing covers of some classic blues with a few originals. Amos is the son of Wally “Famous” Amos and R&B singer Shirlee May, who grew up in Los Angeles in the 1970’s when his father was booking legendary Motown acts like Marvin Gaye.

Produced by Steve Jordan, Amos’ vocals and harmonica are supported by his trio of Don Medina (drums), Chris Roberts (guitar) and Ed Terrio (bass), along with Anthony Marinelli (Hammond B-3 organ) and Gia Ciambotti and Kim Yarbrough (vocals). It opens with a straight cover of Junior Wells Delmark LP rendition of "Hoodoo Man Blues" with the guitar perhaps a bit too up front in the mix. Shawn Amos certainly sings with animation yet avoids going over the top.

“(The Girl Is) Heavy" is a number with somewhat simple lyrics and a pretty direct approach with the guitarist making evocative use of tremolo while "I'm the Face" is a swamp blues rock that adapts "Got Love If You Want It" melody as Amos sings about being the big wheel. There is some restrained guitar playing on this this which contrasts with the guitar fireworks on the cover of Elmore James’ "Something Inside Of Me." My complaint is the guitar is mixed too upfront in the mix. Amos certainly sings with fervor although he will not make people forget Elmore James, but is not too shabby.

Junior Wells’ influence is also evident on rendition of "Good Morning, School Girl" including adapting Well's vocal mannerisms such as "hey hey" and “ooh ooh wee.” The album closes with a passionate plea whether his woman even notices he is here, "Sometimes I Wonder.” There is nothing new here, but Amos brings a fair amount of personality to his performances and brings plenty of fervor to this recording.

I received from a publicist and Rev. Shawn Amos has a new recording which I look forward to listening to. This review originally appeared in the November-December 2014 Jazz & Blues Report (Issue 357).  Here is a video of the making of this recording.