Vaneese Thomas Sings Blues For My Father

The youngest daughter of the legendary Rufus Thomas, Vaneese Thomas, like her sister Carla and brother Marvel, been involved in the music business dating backing to singing back-up vocals for Stax. After college she relocated to New York where she was a session singer and songwriter.

She has issued several albums that showcase her singing and songwriting, and the latest is “Blues For My Father” (Seque Records). It had been five years since her last album “Soul Sisters Volume 1” (Segue Records), where she resurrected classic soul recordings from the likes of Bettye Swan, Tina Turner, Etta James and her sister Carla. This new recording, as indicated by the title, has her delving more into blues and she contributed ten originals as well as handles two covers, one of which is from her late father.

Produced by Thomas and her husband Wayne Warnecke, there is a variety of musicians appearing on this but the core is Buddy Williams on drums, Will Lee on bass, Robbie Kondor on piano and Tash Neal on guitars and Warnecke on percussion. There are appearances by (among others) Marvel Thomas and Paul Shaffer on organ, Ron Mathes and Jeff Mironov on guitars, horns led by Tim Ouimette and Perry Gartner and Shawn Pelton on drums.

What stands out on “Blues For My Father” is Thomas’ vocals. Rob Bowman, who penned the liner notes “Vaneese’s masterful control of phrasing, breath, intonation and timbre.” In other words she can flat out sing with a display of vocal dynamics as well as power to leave a strong impression on the listeners. She belts out about having the blues sitting at the station waiting for the train to bring her lover back on the opening “Southern Central Blues.” Then she gets sassy celebrating her man who plays no tricks and “10 X The Man You Are.“

The Memphis funk of “Wrong Turn” is a delightful duet with sister Carla (while Marvel adds organ) with some punchy horns in the backing and a crisp guitar solo from Jeff Mironov. “Wrap You Arms Around Me” has a bit of southern rock feel as Tash Neal is on dobro with Mironov again on guitar. Part of the melody here is evocative of the Ricky Allen recording “Cut You Loose,” although her lyric is telling her man to allow her to be strength for him and "wrap your arms around me and never let go.”

The centerpiece of this release is a duet with her father, “Can’t Ever Let You Go.” Like Natalie Cole did with her recordings with her deceased father, Vaneese adds her vocal to the original Rufus Thomas recording. Husband Warnecke pulled out Rufus’ vocal from the original analog masters, added some exhortations from other Thomas recordings, then provided a contemporary backing and guitar and sax solos along with Vaneese improvising around her father’s vocals.

Other highlights on this set include “Corner Of Heartache And Pain,” a straight, slow blues about the pain felt after her man left with. Paul Shaffer on organ. “Love’ Em And Leave’ Em Behind” is a soulful number where Vaneese tells a heartbreaker she has seen her friends in too much pain but he won’t do the same to her. “Southern Girl” is a celebration of her roots and the south with Kirk Whalum taking the sax solo. There is also a straight cover of John Fogerty’s “The Old Man Down The Road” before the disc closes with a wonderfully sung lament, “Blue Ridge Blues” backed simply by Rob Mathes’ guitars.

“Blues For My Father” is a showcase of Vaneese Thomas’ craft as a songwriter and her soul-shaking vocals and should have considerable appeal among blues and southern soul audiences.

This review was written in Fall 2014 and appeared in issue 361 of the Jazz and Blues Report (issue 357). She will be appearing at the Pennsylvania Blues Festival this coming weekend (July 26). Here she is performing live.

Lil Ed and Shemekia Copeland Headline 24th Pennsylvania Blues Festival

Shemekia Copeland

The Pennsylvania Blues Festival approaches quickly. The following has appeared in the May-June Jazz & Blues Report (Issue 360) that can be downloaded at jazz-blues.com.

Celebrating 24 years of Blues in the Poconos, the Pennsylvania Blues Festival takes place at Split Rock Resort, Friday July 24 through Sunday July 26. It moves to Split Rock in Lake Harmony, Pennsylvania after 4 years at the Blue Mountain Resort. The new location is close to the original Festival location on Big Boulder Mountain. "The Blues Lovers Blues Festival," as it calls itself will be headlined by Shemekia Copeland on Saturday the 25th and Lil Ed and the Blues Imperials. There will be zydeco from Dwayne Dopsie and the Zydeco Hell-raisers as well as gospel from the Highway QCs,and such notable performers as Walter 'Wolfman' Washington; John Nemeth and Alvin 'Youngblood' Hart.

Friday night, June 24, the Festival opens with an Indoor Showcase with Mikey Junior's Blues Review, featuring the fine harmonica player and vocalist. It takes place inside the Galleria at Split Rock.

Monster Mike Welch and Sugar Ray

Saturday June 25, the Festival Main Stage opens with Dwayne Dopsie and the Zydeco Hell-raisers. One of the sons of zydeco legend Rockin' Dopsie. Dwayne Dopsie's hard-driving and rocking music is also heavily influenced by Clifton Chenier and similarly he is marvelous blues singer and player as well as traditional zydeco artist who will also do a Hendrix-influenced rendition of "Hey Joe." Besides opening the main stage he will close the Tent Stage that night. Alligator Recording Artist Selwyn Birchwood, winner of the International Blues Challenge a couple years back, brings his exuberant blues with his tight band, solid vocals and guitar, including lap steel (he was mentored by Sonny Rhodes). Severn Records artist Sugar Ray & The BlueTones follows and the group led by Ray Norcia has been laying down Chicago styled blues for nearly 40 years (This writer saw them in 1978 in New York backing J.B. Hutto. Norcia a marvelous singer (reminiscent of Junior Parker and he had a stint fronting Roomful of Blues) and fine harpist is backed by Monster Mike Welch on guitar; Anthony Geraci on keyboards, Michael 'Mudcat' Ward on bass, and Neil Gouvin on drums. New Orleans Icon, Walter 'Wolfman' Washington and the Roadmasters is up next on the Main Stage bring there mix of blues, soul and funk. Closing the Main stage will be Shemekia Copeland who recently resigned with Alligator Records bring her tight band and her powerful vocals on a mix of blues and blues-rooted material that underscores why she has been named Koko taylor's successor as "Queen of The Blues."

Walter 'Wolfman' Washington

In addition to the Main Stage, others acts will be presented in the Tent Stage. Electro-Fi Recording Artist Harmonica Shah & Carlton Washington will open the tent stage and play a second set later. Also in the tent performing two sets is John Mooney. Mooney mixes Delta Blues with the New orleans second-line. Growing up in Rochester NY, Mooney was mentored by legendary Son House and his most recent recording is a tribute to the Delta Blues Icon. Dwayne Dopsie closes out the tent Stage after Mooney's second set. Later Saturday evening, Bobby Kyle will lead a Tribute to Johnny Copeland in the Galleria Governor's Ballroom.

Blues on Sunday July 26 starts with a Blues Brunch in the Governor's Ballroom featuring Slam Allen, a dynamic singer and guitarist who spent several years fronting James Cotton's Band. Sunday on the Main Stage opens with the legendary gospel group, The Highway QCs. This Gospel Quartet was sort of the junior Soul Stirrers and members years ago included Sam Cooke, Johnny Taylor and Low Rawls. Up next on the main stage is Vanesse Thomas, who is the terrific blues and rhythm singing daughter of Rufus Thomas. Victor Wainright and the Wild Roots brings this rocking keyboard wizard to the main stage and he is followed by the terrific soul-blues Blues Music Award winning vocalist John Nemeth. Closing the Main stage will be Alligator recording artists, Lil Ed & the Blues Imperials, who will bring their exuberant house rocking slide-guitar blues.

Lil Ed Williams

Sunday, the Tent Stage will have performances from Alvin 'Youngblood' Hart, The Peterson Brothers and Mikey Junior. Alvin 'Youngblood' Hart emerged over two decades ago laying down traditional Delta and Texas blues which has expanded to include a wide range of material, making him a 21st Century songster in the manner of a Leadbelly. He has been called a musical love child of Howlin' Wolf and Link Wray. The Peterson Brothers are youthful blues prodigies that show that blues can still inspire youth and have shared stages with Pinetop Perkins, Willie Smith, Michael Burks and Marcia Ball. their website notes they are recording a debut album. Hart and they will play two sets before Mikey Junior closes the Tent Stage.

Once again, the festival sports a superb line-up of blues. Split Rock offers lodging as well as serves as the Festival site. there are a number of other accommodations available near the Festival site. Information on tickets and lodging can be accessed at the Festival's website, http://www.pennsylvaniabluesfestival.com/.  (all photos by and © Ron Weinstock).

“In the Mix” (Jazzhaus Records) is Bernard Allison’s first studio in six years and certainly is a good one. Bernard produced this and is backed by a tight band of George Moye on bass, Mario Dawson on drums and Mark ‘Muggie’ Leach on keyboards with Bruce McCabe adding piano to two selections and Jose Ned James adding sax to four tracks. Bernard wrote five originals and the others are interpretations of songs from Colin James, Freddie King, Tyrone Davis and two from his late father, Luther Allison.

What impresses is both the strength and restraint Bernard displays throughout whether playing a blues-infused rocker by Colin James, “Five Long Years,” that opens this CD, or the marvelous relaxed shuffle rendition of his dad’s “Move On The Hood” with his lean, muscular slide guitar that here. “Call Me Mama,” co-written with his mother, is a terrific soulful number with marvelous sax from James and a vocal that suggests that Allison would have considerable appeal on the soul-blues circuit even without a guitar. The rendition of Tyrone Davis’ “I Had It All The Time” certain reinforces this observation. Set against a lazy Jimmy Reed shuffle groove, “Something’s Wrong,” is a terrific blues performance again with wonderful slide and terrific playing by the band with McCabe adding some rollicking piano here. “Set Me Free” is an original that sound like a classic Chicago blues from the late 70s and 80s. The album ends with a terrific rendition of “Moving On Up” which was one of his father’s first recordings.

“In the Mix” is a terrific recording that displays the breath and maturity of Bernard Allison’s music.
 



I received my review copy from a publicist. Here is Bernard with bis late father, the legendary Luther Allison.

Benny Turner's "Journey"

Benny Turner has has a distinguished career playing bass and anchoring the bands of his brother, the legendary Freddie King; another Chicago blues legend Mighty Joe Young, and the late Queen of New Orleans, Marva Wright (with whom this writer best knows him). Additionally he pioneered playing bass behind gospel acts and played with the likes of Dee Clark. He has just issued his third recording (the first this writer has heard) as a leader, “Journey” on Nola Blue.

One often looks beyond a sideman who may sing a couple or two opening numbers before bringing on the main act. However, from the first notes of “Breakin’ News,” one quickly becomes aware of the authority Turner brings as a vocalist, not simply a strong bass player who anchors a band. With the handsome production, solid shuffle groove, brassy horn arrangements (from Turner and saxophonist Jason Mingledorff), Marc Stone’s guitar and effective use of backing vocals he convincingly delivers his lyrics about the relationship being over and “ain’t no more crying.” The mood turns down home on “Don’t You Ride My Mule” with Sunpie Barnes adding his harp and Charles Moore rhythm guitar, while Turner’s regular drummer Jeffrey ‘Jellybean’ Alexander lays down the groove and Josh Paxton adds the keyboards here in lieu of Turner’s regular collaborator Keiko Komaki who plays on most of the recording. On other selections, Derwin “Big D” Perkins is on rhythm guitar.

Other selections display Turner’s way with a word in addition to his singing including the reflective “How I Wish” as he sits in his rocking chair wishing his woman was here with him and the topical “What’s Wrong With the World Today” that touches on issues of homelessness, violence and other matters as Turner sings that “We need love” on this closing track. Another number that should resonate is the soulful ballad “Worn Out Woman” with its theme of a woman’s work never being done, getting the kids on the bus and then dust the house. Turner even takes up the guitar and kazoo for the relaxed, down-home instrumental “My Mother’s Blues.” with twin keyboards and Alexander playing lightly on bass drum and cymbal.

The variety and strength of material, the strong work by the band and Benny Turner’s heartfelt and persuasive vocals make “Journey” a gem of a recording.

I received my review copy from a publicist. Here is Benny Turner in performance at the 2013 French Quarter Festival in new Orleans.

Junior Mance Jubilation

Delmark’s acquisition of the Canadian Sackville label continues to make available some wonderful recordings covering the whole spectrum of jazz. Among the latest releases to get back into circulation is a live solo piano recording from the wonderful Junior Mance, “Jubilation” (Sackville). Mance, who established himself with Dizzy Gillespie, Cannonball Adderly and the two tenor team of Eddie ‘Lockjaw’ Davis and Johnny Griffin, had been working leading his own trios and also in duos in New York from the 1960s on when he was recorded at Toronto’s The Montreal Bistro in September, 1994.

“Jubilation” was originally released in 1996 and likely will be new to most ears. In a program ranging from Hoagy Carmichael, Ellington and Strayhorn, W.C. Handy, Jerome Kern and Oscar Hammerstein, Dizzy Gillespie and Cole Porter, Mance throughout showcases his considerable and ability in mixing gospel and blues roots with florid Tatum-esque runs. The title track is a particularly exhilarating performance, but his touch and tenderness is shown on a rendition of “Georgia On My Mind.”

Mance gets playful on “Lady Be Good,” while his take on “All the Things You Are” is a high point on this exceptional release. Mance also puts his own stamp on a marvelous take of the venerable “St. Louis Blues,” as well as on “Birks Works,” while he invests a morose tone to “Lover Man.” “What Is Thing Called Love” starts in a reflective manner before Mance turns his interpretation into a stride-rooted romp. This track exhibits the wide ranging musical imagination mixed with his formidable technique making “Jubilation” such a delightful recording.

I received my review copy from Delmark. Here is Junior Mance doing "Jubilation" in 1959.

Brandon Santini Live & Extended

Brandon Santini has been establishing himself as one of the new blues harmonica hotshots. With his band of Timo Arthur guitar, Nick Hearn on bass and Chad Wirl on drums, the Memphis-based Santini was recorded in July 1014 performing at Le Petit Imperial de Québec as part of Festival D’été Du Québec and his rousing performance can be heard on “Live & Extended” (VizzTone).

Santini’s formidable fat, wet harmonica sound is present throughout with his no-holds barred attack. At the same time, the performances are straight blues. He may be high energy but that does not mean he has rocked out and his sense of dynamics is terrific. He has chosen intriguing covers and solid idiomatic originals. His vocals are solid and the band provides solid support whether taking us  down in the alley or rocking a nice shuffle.

From the opening moment of his hot take of James Cotton’s "One More Mile” to the closing encore number “Come On Everybody,” Brandon Santini lays down  driving harmonica blues and forceful singing. “This Time Another Year,” with its chugging rhythm and some of guitarist’s Arthur best  playing is a terrific track as he sings about maybe being in Chicago or down south in Tennessee. Then he takes down the tempo on “Elevate Me Mama” which again sports some strong harp. After the nice groove of an original “Evil Woman” we hear a fresh, rockabilly tinged reworking of Walter Horton’s “Have a Good Time.”

Other choice covers include the funky groove to recast Slim Harpo’s "Got Love If You Want It,” and Frank Frost’s “My Back Scratcher,” with its mix of a lazy groove and Santini’s extroverted vocal and harp. Then there is his hot shuffle “No Matter What I Do,” and the breakneck tempo of “I Wanna Boogie With You.” Listening to this terrific recording one gets a sense of just how exciting he is live. “Live & Extended” certainly whets this listener’s appetite to see him live.

I received my review copy from VizzTone. Here is Brandon Santini performing "Evil Woman" at another Festival. 

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."

Sixth Mid-Atlantic Jazz Festival Stands Up For Real Jazz

Paul Carr

The Sixth Annual Mid-Atlantic Jazz Festival returns Presidents’ Day Weekend to the Hilton Washington DC/Rockville Hotel & Executive Meeting Center, 1750 Rockville Pike, Rockville, Maryland 20852. Put on by the Jazz Academy of Music, the motto of Mid-Atlantic Festival is “Standing Up For Real Jazz.” In this vein, the focus is on hard, swinging jazz with a number of national headliners mixed in with some of the finest musicians in the Washington DC area. The featured performers for this year include vocalists Tierney Sutton, Allan Harris and Carmen Lundy and instrumentalists including trumpeter Sean Jones; saxophonists James Carter, Jimmy Greene, Craig Handy and Marcus Strickland; bassist Rufus Reid; trombonists Delfaeyo Marsalis; and pianists Kenny Barron, Ellis Marsalis and Patrice Rushen. Local jazz favorites include vocalists Sharon Clark and Janine Gilbert-Carter; saxophonist Paul Carr; pianist Eric Byrd, and vibraphonist Warren Wolf. Performances are held both on the Ronnie Wells Main Stage as well as smaller club settings.

Sharon Clark

Friday night, February 13, the Ronnie Wells Main Stage opens with tenor saxophonist Paul Carr, head of the Jazz Academy of Music, and a marvelous player leading a group with vocalist Sharon Clark. Clark, arguably DC’s leading female jazz singer. Writing in the New York Times, Stephen Holden wrote that she “evokes not Holiday but rather a less operatic Sarah Vaughan fused with the more animated side of Shirley Horn, a singer who also liked to take her time. Ms. Clark’s voice is rich, her phrasing unfussy, her jazz embellishments minimal.” They will be followed by another terrific singer Tierney Sutton, with trumpeter Sean Jones closing the evening with his group.

Main Stage activities resume late morning Saturday February 14 with the Mid-Atlantic "Jazz Voice"--Vocal Competition with six semi-finalists competing for a $2000 Grand Prize. Shortly afterwards an afternoon session features DC drummer Samuel Prather and Groove Orchestra with the marvelous vocalist Christie Dashiell. They are followed by Chelsey Green and the Green Project, led by the talented violinist. Saturday Evening’s Main Stage performance opens with a Tenor Saxophonist Summit with three of today’s most compelling tenor players: James Carter, Craig Handy and  Marcus Strickland. After their set, vocalist Allen Harris will captivate the audience followed by Ellis Marsalis and son Delfaeyo, on The Last Southern Gentleman Tour.

Craig Handy

Sunday on the Main Stage, Vuyo Sotashe, the 2014 Mid-Atlantic Vocal Jazz Competition winner, opens the afternoon show followed by the great bassist and composer Rufus Reid leading his Quartet. Craig Handy and Second Line Smith closes the session. Handy’s latest project mixes New Orleans grooves with a tribute to the great organist Jimmy Smith.

Sunday evening’s final Main Stage session opens with one of this writer’s favorite vocalists, Janine Gilbert-Carter backed by a trio that includes pianist Eric Byrd with a saxophonist to be named. Carter brings plenty of warmth and a touch of Dinah Washington to a varied selection of material. Next is  tenor saxophonist Jimmy Greene whose backing group includes the legendary Kenny Barron on piano and will focus on music from Greene's latest album, “Beautiful Life” on Mack Avenue Records. Greene is a masterful saxophonist with a robust tone and this recording is part of his ongoing grieving process at the sudden and tragic loss of his 6-year old daughter, Ana Marquez-Greene, who fell victim to the Sandy Hook Elementary School mass murder in Newtown, CT. After this performance, vocalist Carmen Lundy will close out the Main Stage with the great Patrice Rushen on piano and keyboards.

Marcus Strickland

Throughout the festival, there will be plenty of music in the MAJF Club and the MAJF Juke Joint rooms. Friday night the Marcus Strickland Quartet performs two sets in the MAJF Club while David Cole will be laying down blues in the Juke Joint. Saturday shows in the MAJF Club include the Terry Koger Sextet, vocalist Chad Carter, and the great drummer Winard Harper, while Memphis Gold will be in the Juke Joint. Sunday evening Shirletta Settles, Anthony Compton, and Sarah McKenzie are among the MAJF Club room performers while Anthony “Swamp Dog” Clark will be blowing his harmonica and shouting the blues in the Juke Joint.

Additionally there will be free performances in the Hotel Atrium including Big Band and Combo competition performances. There will also be interviews with a number of the artists and workshops for students that are led by some of the performers. One can see how packed the weekend will be. For more information with fuller artist biographies, information on accommodations and tickets along with special features on several of the performances visit, http://www.midatlanticjazzfestival.org.

Buddy Tate Is A Texas Tenor

Buddy Tate was both a band mate of, and successor to, fellow Texas tenor saxophonist Herschel Evans. Both had played together in Troy Floyd’s Band and when Evans passed away at a young age, Tate was called to replace him in the Count Basie Band. Like Evans, Tate had a big sound drenched in the blues and like Evans, his playing contrasted with Lester Young. His playing was typical of what has become known as the Texas Tenor sound which includes such other masters as Illinois Jacquet and Arnett Cobb. After leaving Basie in 1949, Tate had a lengthy career leading his own Celebrity Club band in Harlem as well as extensively touring Europe. By the time the Sackville album, that Delmark recently reissued “Texas Tenor,” was recorded in 1978, many artists would travel as single artists and hook up with local rhythm sections. In the present case, Tate was hooked up with the terrific rhythm section of pianist Wray Downes, bassist Dave Young and drummer Pete Magadini for a session of ballads and standards.

This is a wonderful date full of swing and some marvelous ballad playing. The opening tunes “June Night” and “Someday Sweetheart” are swinging renditions of numbers that were popular in Tate’s youth. The latter number was recorded by Jelly Roll Morton and King Oliver, although Tate’s version is more modern rhythmically than the versions by those pioneering jazz artists. “If You Could See Me Know” is a wonderful rendition of Tadd Dameron’s ballad displaying the warmth and tenderness generally characteristic of Tate with the rhythm section providing a light touch. The rhythm is hotter on the fine rendition of “I’ll Remember April,” with Downes adding some nice latin accents.

Tate is heard on clarinet on a bluesy take on “Georgia on My Mind,” followed by some somewhat breathy tenor on “Alone Together.” His swinging, nuanced tenor throughly delights on “Bye Bye Blackbird,” where his swinging, nuanced playing thoroughly delights. This Delmark reissue of the Sackville release includes two previously unissued selections, a lovely rendition of the Ellington-Strayhorn collaboration “Isfahan” (Tate evokes later day Ben Webster here), and “Lullaby of the Leaves” which provides another example of his clarinet playing with a woody, bluesy flavor.

Supported by a rhythm section, Tate is terrific throughout the marvelous “Texas Tenor.”

I received my review copy from Delmark. Here is Tate doing the classic ballad "Blue and Sentimental."

Freddy Cole's Singing the Blues

There is an appealing weariness in Freddy Cole’s treatment of a Bobby Bland recording “This Time I’m Gone For Good,” that is on  his new High Note album, “Singing the Blues,” On this release, Cole handles classic blues themes and some originals that also include mournful ballads. Simply singing here, he is accompanied by John Di Martino on piano, Harry Allen on tenor sax, Randy Napoleon on guitar Elias Bailey on bass and Curtis Boyd on drums with Theresa Hightower sharing vocals on two of the eleven songs.

Derrick Lucas’ liner notes note that the music on this recording reflects the era in which Cole grew up that was “the final generation of African-Americans to view the blues as their own popular music and culture,” and the renditions contained “reflect the elegance of the blues represented by Charles Brown, Percy Mayfield, Amos Milburn and Ivory Joe Hunter and of course, Freddy’s brother Nat.”

It is 50 years ago when Freddy Cole recorded his first album that contained a rendition of Freddie Spruell’s “Muddy Water Blues.” His current rendition begins this CD in a very appealing manner. A real highlight is the rendition of “Goin’ Down Slow,” which reflects the Oliver Nelson-Stanley Turrentine rendition of the song that is set to the groove of Percy Mayfield’s “River’s Invitation.” Allen’s marvelous tenor sax and Napoleon’s fleet guitar evokes memories of Charles Brown’s terrific 1990s group with the late Clifford Solomon and Danny Caron. Another song that captures this ambiance is brother Nat’s “My Mother Told Me” with terrific short solos from Allen and Napoleon.

Cole’s relaxed vocal is matched with Theresa Hightower’s vivacious one of “All We Need Is a Place” about getting it on to snuggle and more. Cole penned the original blues that lends the album its title as he warns this girl she will be singing the blues one of these mornings, she will be miserable and while he won’t be happy, Freddy will feel great. “The Ballad of the Sad Young Men” is a moody lament about sad young men drifting through their lives while growing. Allen’s tenor adds to the melancholy of the performance.

Steve Allen’s “An Old Piano Plays the Blues” closes this album with Allen’s tenor again complementing Cole’s mournful vocal along with a deftly played solo from Di Martino. Freddy Cole’s “Singing the Blues” indeed captures the sophisticated eloquence of the blues of late forties and early fifties. Not simply Freddy Cole’s fans, but fans of the late Charles Brown and his contemporaries should enjoy this recording of late night blues and ballads.

I received my review copy from High Note Records.  Here Freddy Cole is performing Muddy Water Blues.

Charles Davis For the Love of Lori

With a six decade career that includes associations with such iconic artists as Billie Holiday, Dinah Washington, Sun Ra, Ben Webster, Kenny Dorham, Elvin Jones and Jimmy Garrison, Illinois Jacquet, Freddie Hubbard, Johnny Griffin, Ahmad Jamal, John Coltrane, Clifford Jordan, Cedar Walton, Sam Jones, Billy Higgins and countless others, Charles Davis has not recorded as frequently as a leader as his talent as a saxophonist, composer and arranger merited. Perhaps best known as a baritone saxophonist, he is on tenor sax on his new recording “For the Love of Lori” (Reade Street Records). On this session he is joined by a superb band that includes pianist Rick Germanson; trumpeter Joe Magnarelli, trombonist Steve Davis; bassist David Williams and drummer Neil Smith.

The Lori, on the beautiful title track, is his late wife Lori Samet-Davis who passed away and the beautiful ballad is one way of his coping with the loss. His wife’s passing was not the only loss Davis suffered as his long-time musical collaborator, Cedar Walton, was supposed to be on this recording but passed away prior to the September 2013 recording date so Rich Germanson replaced him while Walton’s long-time bassist Williams helps anchor this album along with the marvelous drummer, Neil Smith.

The wonderful opening selection “Beques” displays the authority of the ensemble, whether soling or playing as an ensemble. Davis’ arrangement of Irving Berlin’s “What’ll I Do?” provides a lazy feel and after Davis states the theme on tenor, Magnarelli mades judicious use of a mute before Steve Davis masterful solo which is one of the album’s many pleasures. Julian Priester’s “Juliano” is a bright swinger as Steve Davis swings gruffly followed by Magnarelli’s forceful trumpet that segues into the leader’s robust tenor as the rhythm section pushes the performance along (Germanson takes a well conceived solo as well). It is followed by the leader’s salute to Kenny Dorham, “KD” that spotlights Magnarelli’s lyrical and driving playing.

Charles Davis warmth, strength and lyricism as a ballad player is evident on the title track while Smith’s drumming is wonderful in adding embellishments under the solos and the ensemble portions. In addition to his wonderful playing, Germanson contributed the arrangement for the first-rate hard bop rendition of Cedar Walton’s “Cedar’s Blues,” which also allows him to stretch out with the first solo over Williams walking bass line and Smith’s subtle rhythmic accents. The closing “I'll Be Seeing You” is a nicely paced and wistful rendition of this standard.

From the loss of his soul mate and a close friend, Charles Davis has found the strength to bring together the excellent band and music that makes “For The Love of Lori” such a delightful and marvelous hard bop recording.

I received my review copy from a publicist. Here is Charles Davis in performance.

The Blues Soul of Billy Boy Arnold

Produced by Duke Robillard, Billy Boy Arnold’s new Stony Plain recording “The Blues Soul of Billy Boy Arnold” has him performing songs he has long loved along with originals, early R&B songs, blues/jazz standards and some rare soul gems. Arnold’s vocals and harmonica are backed by Robillard’s guitar and band with Bruce Bears on keyboards, Brad Hallen on bass and Mark Teixeira’s drums with a horn section of regular Robillard associates Rich Lataille, Mark Earley and Doug Wooverton.

Arnold can be an effective vocalist but with some exceptions, including a compelling West Side Chicago blues-styled remake of B.B. King’s “Worried Dream” (with some great Robillard guilt), and the classic Chicago blues shuffle groove of Arnold’s original “What’s on the Menu Mama,” most of this is simply pleasant. Arnold’s use of harp on an old Mack Rice soul classic “Coal Man” gives it a different flavor, but his limited range and simple vocal style doesn't render a strong impression on the old Eddie Miller classic “I’d Rather Drink Muddy Water” or “Nat Adderly’s “Work Song” (with Oscar brown’s lyrics). These are not bad performances, but there are many better recordings of “Muddy Water” (thinking Lou Rawls and Carmen Bradford) and Gregory Porter has placed his stamp on “Work Song.”

There is a nice variety of material and Duke has provided solid settings for Arnold’s singing with solid playing by all including nice slide guitar from Duke on “99 LBs.”  Bears plays some rollicking piano on ”Muddy Water,” and displays a jazzy touch on “St. James Infirmary.” Arnold adds nice harp throughout in his distinctive style and the ensemble give a touch of Southern Soul in the backing for the remakes of “Coal Man” and Joe Tex’s still relevant topical song “A Mother’s Prayer.” They also do a solid job in backing Arnold on a nicely done Ray Charles cover, “Don’t Set Me Free” 

“The Blues Soul of Billy Boy Arnold" is an enjoyable recording with a couple of stand-out selections.

I received my review copy from a publicist.  Here is Billy Boy from several decades ago strongly singing a Jimmy McCracklin classic.

Chris Smither Is Still On The Levee

“Still on the Levee” (Homunculus Music/Mighty Albert) is a double disc retrospective of Chris Smither’s 50 odd year career in new June 2013 recordings. Smither is a singer-songwriter whose performances and songs have a Dylanesque flavor as well as deep blues roots in his direct finger style guitar playing. As Charlie Hunter, his former co-manager observes, Smither’s guitar style is 1/3 Mississippi John Hurt, 1/3 Lightnin’ Hopkins and 1/3 himself.

The two CDs cover a pretty wide range of songs by Smither and display his position as a significant composer and lyricist. There is the wistfulness of "Song of Susan" to a fine original blues "Another Way To Find You" that evokes Robert Johnson riffs with a heartfelt vocal and strong harmonica backing. Allen Toussaint adds his piano to "Train Home" that lends a slightly different flavor behind Smither's vocal as he waits for a train to take him home.

Smither's gravelly vocals have a restrained quality that adds to the appeal. "Lola" is a bluesy folk number with exceptional lyrics and restrained rollicking piano backing. "Shillin' For the Blues,” which features members of Morphine, has interesting backing including softly recorded baritone sax by Dana Colley. Loudon Wainwright III joins Smithers on the lively "What They Say."

With his world weary vocals and the deft, but restrained, accompaniment, it is no wonder that Smither's "Can't Shake These Blues" Produced by David Goodrich (who plays on much of this), “Still on the Levee” is a recording that showcases this remarkable singer-songwriter as he considers some of his favorite and most memorable songs.

I received this from a publicist. Here he performs in concert "Love You Like a Man."

Billy Branch Blues Shock

It has been years since Billy Branch’s last recording, a Japanese CD shared with guitarist Carlos Johnson, a decade ago. Thankfully Blind Pig has issued a new release by Branch and the Sons of the Blues, “Blues Shock,” that is a thoroughly entertaining, wonderfully played recording that showcases Branch’s heartfelt singing and songwriting on an imaginative, varied program. He is joined by Dan Carelli on guitar, Sumito ‘Ariyo’ Ariyoshi on keyboards, Nick Charles on bass and Moses Rutles Jr. on drums (and one vocal). Ronnie Baker Brooks guests on one track on guitar and vocal and the Chicago Horns led by Bill McFarland add punch to three tracks.

There is plenty of funk, down home groves and stellar musicianship. The CD opens with “Sons of the Blues” penned by Branch and poet Sterling Plumpp, on which Branch sings “some people don’t know my name because all they got is a very weak game, I am the son of the blues (2x).” Set against a strutting funk groove Branch lets us know he “is the man who makes the news” before blasting off a fiery harp solo set against the punchy horns. It’s followed by Branch picking up the chromatic for a terrific cover of “Crazy Mixed Up World,” which would make up Little Walter smile, especially his solo and special note should be made of the contributions Carelli and Ariyoshi provide with their fills in supporting the lead.

The title track is a punchy number built over Carelli’s slide guitar riff with the horns with Branch singing about a feeling coming over, it ain’t pneumonia or the flu, but its a crazy, funky feeling one can’t shake, the “Blues Shock.” It’s followed by the amusing “Dog House” as Branch and Brooks sing sleeping on the couch and the spouse leaving kibbles and bits for dinner. After this wonderfully paced performance, there is a straight cover of Shorty Long’s early Motown groover, “Function at the Junction” followed by the disc’s most remarkable performance, “Going to See Miss Gerri One More Time,” about Gerri Olivier who owned the legendary Palm Tavern in Chicago’s Bronzeville neighborhood for about 50 years. The Palm was a legendary place near the Regal Theatre and Branch recounts her coming from Jackson, Mississippi as part of the Great Migration and celebrates the Palm and the many legends who performed there before the Palm was torn down a few years back. There is a definite country-soul flavor to this remarkable performance that serves as a tribute to a remarkable lady.

Ariyoshi contributed the instrumental “Back Alley Cat” which allows Branch to showcase his harp set against Ariyoshi’s rolling piano. A rousing boogie rendition of John Lee Hooker’s “Boom Boom” is followed by Moses Rutles Jr.’s amusing vocal on”Slow Moe” highlighted by Rutles almost stuttering vocal and effective use of stop time by the band. Branch’s lyric about Slow Moe taking his time, as well as being built to last is supported by some superb harp in his backing. “Baby Let Me Butter Your Corn” is a burning shuttle with an amusing lyric (I’ll keep on churning till that butter comes”) and rollicking piano and harmonica solos.

An instrumental “Song For My Mother” closes this recording exhibiting his marvelous tone as well as his construction of his solo. It concludes one of the most stimulating recent blues recordings. “Blues Shock” mixes a variety of material and moods and will make one laugh as well as listen to Branch’s storytelling here along with some stunning musicianship.

I received my review copy from Blind Pig Records. Here is a video of "Blues Shock.

Linsey Alexander - Come Back Baby

I found Linsey Alexander’s first Delmark album, “Been There Done That” to be “the most impressive blues recording which is one of the finer blues albums I have heard this year (2012).” Now Delmark has issued his follow-up “Come Back Baby!” which has the singer and guitarist joined by a band that includes guitarist Breezy Rodio; keyboards from Roosevelt Purifoy, bassist Greg McDaniel and drummer Pooky Styx with Bill McFarland leading a horn section and Billy Branch contributing harmonica to three selections.

The album opens with “Little Bit of Soap,” one of two songs Alexander did not write. This is a terrific performance as he sings about washing this women out of his life with a great vocal and guitar that brings to mind seventies B.B. King. The album is at its best with his soulful vocals and clever lyrics. The playing behind him is strong and the one criticism I have on several selections would be the buzzsaw guitar tone on several selections including that heard on the intense original “I Got A Woman.” Perhaps the tone is supposed to match the intensity of his vocal her as he tears into the lyric of his woman being more woman than he will every need. The tone detracts from fully enjoying the fiery solo here. This tone is also employed on the reworking of “I Can’t Quit You Baby,” that provides a new arrangement for the Otis Rush classic recording. An excellent slow blues “Too Old To Be A New Fool” showcases some searing guitar with a cleaner tone along with superb chromatic harmonica from Branch.

Alexander’s wit is displayed on the shuffle “Call My Wife,” on which he wants his wife to open the door for poor Linsey, who is so drunk he lost he car and car keys. Billy Branch channels Rice Miller mixed with Walter Horton with some exquisite harmonica on this. Alexander is also known as “The Hootchie Man” as reflected in his funky dance number “Booty Call.” “Things Done Changed” has a serious lyric as Alexander as recalls Jim Crow days, segregated bus stations and buses and the like, set against horn riffs and a solid electric piano solo by the remarkable Purifoy (he also played a strong solo on “Booze and Blues’), followed by strong, stinging guitar.

Despite this writer's reservations on the guitar tone on several tracks (and others will disagree), “Come Back Baby" is a strongly performed recording that exhibits plenty of fire from Alexander with his fervent singing and searing guitar.

I received my review copy copy from Delmark Records. Here is the opening “Little Bit of Soap.”

Don Pullen's Richard's Tune

A welcome re-release by Delmark from the Sackville label is Don Pullen’s Richard’s Tune. Originally released in 1975 as “Solo Piano Album,” the album takes its title from the title track which was dedicated to Muhal Richard Abrams. Pullen first attracted attention as a member of the “New Thing” with recordings for ESP, but later was working in rhythm and blues. He worked with such perfomers as Big Maybelle, Ruth Brown, Irene Reid, Arthur Prysock and Nina Simone before joining Charles Mingus for what is considered the bassist's last great band along with drummer Danny Richmond and saxophonist George Adams. After Mingus death, he would form a quartet with Adams and Richmond.

The five compositions performed on Richard's Tune, (including two takes of Big Alice), illustrate what Stuart Boomer describe in his liner notes as “a lyric historicism, a capacity to invoke the past in the light of the absolute present and presence, drawing at will on the history of jazz and its still potent roots in blues and gospel.” This aspect is evident on the title selection which ranges from the post-Monk piano tradition (some evokes Randy Weston to these ears) and includes a brief dense, percussive segment that mixes with the general lyricism of much of his playing on this. His playing here  also illustrates his precise touch.

The longest selection is a dedication to Malcolm X Suite (Sweet) Malcolm (Part : Memories and Gunshots), a number that, with elegance, lyricism and passion, mixes Pullen's gospel and soul roots with percussive free passages for a musical tour de force. It is followed by Big Alice, a bouncy number with a rhythm and blues underpinning. Boomer notes that this was rare sideman original that Mingus would perform with his group and here it is a joyous performance with its almost New Orleans feel . Song Played Backwards is played in reverse of the note sequence that Pullen composed. It is densest and most percussive performance on this rerelease.

Don Pullen passed away in April, 1975 at the age of only 53. Delmark is to be thanked for making Richard’s Song readily available again as it is a buoyant, passionate display of Don Pullen’s piano mastery and marvelous compositions.

I received my review copy from Delmark.

Erin Harpe & the Delta Swingers' Love Whip Blues

The Delta Swing is a fine original as Harpe calls listeners out to go swinging from Cambridge to Memphis. It is played with a relaxed groove and features strong harmonica. The rendition of Willie Brown’s Future Blues exhibits the tight ensemble playing supporting Harpe’s vocal although some might find the tempo a bit fast here. Bob Margolin’s slide guitar enhances the fine reworking of Lucille Bogan's The M&O Blues. Good Luck Baby is an original with a bit of reggae flavor.

There is jaunty adaptation of an old William Moore recording, One Way Man, followed by a similarly buoyant rendition of Pick Poor Robin Clean. That was originally waxed by Virginia songster Luke Jordan. Gross adds a mandolin solo and Countryman taking a bass break here. After the call to the dance floor of Virtual Booty Blues, the Delta Swingers perform Charles River Delta Blues, a lovely rendition of William Brown’s Mississippi Blues. This William Brown (solely recorded by Alan Lomax) is a different individual than the Willie Brown of Future Blues who is best known for an association with Son House and Robert Johnson.

Erin Harpe & Jim Countryman performing at the Archie Edwards Blues Heritage Foundation

A solid rendition of John Prine’s Angel of Montgomery closes out this most enjoyable recording. Listening to Love Whip Blues, one appreciates why this group has been developing a large following around Boston. In fact, they won the Boston Blues Society’s Blues Battle and will be competing in Memphis at the 2015 International Blues Challenge. One certainly expects more will be heard from them.

I received my review copy from VizzTone. Here are they performing a lovely rendition of Charles River Delta Blues from that same performance. After that is a duet performance of that song by Erin and Jim Countryman at an Archie Edwards Blue Heritage Foundation concert.

Mississippi Heat Sends Out A Warning Shot

Pierre Lacocque's Mississippi Heat have a new release on Delmark, Warning Shot, that will be welcomed by the band's fans and likely make new fans from listeners. Lacocque’s leadership along with his songwriting and marvelous harmonica playing (Charlie Musselwhite is quoted calling it tasty and brilliant) is joined by one of the most underrated vocalists in the blues, Inetta Visor; vocals and guitar from Michael Dotson; guitar from Giles Corey; bass from Brian Quinn; and a vocal from Kenny Smith who shares the drum chair with Andrew Thomas. Former band member Carl Weathersby is on guitar on a couple tracks, Neal O’Hara is on keyboards, Ruben Alvarez is on percussion and Sax Gordon handles the saxophones.

The opening Sweet Poison is an imaginative original, built upon the Elmore James broom dusting riff with Lacocque's fine harp riding over Dotson’s crisp slide playing. The band pushes the groove behind a superb vocal from Visor. Years ago she might have been described as a moaner as opposed to a  shouter, but her nuanced singing is thoroughly a delight. You get a sense of the vivacious quality of her performances listening to her, but the joy she has singing is evident when one sees Heat live (or on the band’s Live DVD “One Eye Open, Live at Rosa’s” on Delmark). Sweet Poison is followed by the rollicking “Alley Cat Boogie” with pumping piano from O’Hara and an exuberant vocal from Visor.

An original Come To Mama sports Caribbean rhythms (handled by Thomas) while Corey takes the guitar lead sounding like he’s playing through a Leslie amp. Gordon takes a tough tenor sax solo, while Lacocque’s solo suggests some of Walter Horton’s playing (thinking of Horton’s take La Cucaracha). More terrific harp along with Corey’s jazzy guitar is heard behind Visor’s moving singing on a reworking of a Ruth Brown recording, I Don’t Know. Dotson takes a capable vocal on Yeah Now Baby with its North Hills Country meets Muddy Waters rhythms.   

Birthday Song, is a funky, buoyant original that provides blues and soul revival bands with an alternative to the standard birthday song. Corey is in a Santana mode here with Gordon and Lacocque riffing in support. Dotson’s guitar lead on his bouncy rocker, Swingy Dingy Baby evokes the late Texas guitarist Cal Valentine. Too Sad To Wipe Way The Tears has a low-key backing with terrific Lacocque’s harp in a Sonny Boy Williamson II manner. Dotson’s restrained slide playing is exceptional. 

Set against a crisp shuffle groove and Gordon’s one-man sax section, the instrumental rendition of Your Cheating Heart  showcases Lacocque’s wonderful harp. Gordon takes a booting solo on this. A Part of Special a funky Visor original whose  backing vocal chorus, the horn arrangements (and a sax solo that would have King Curtis smiling) and a terrific vocal suggests some classic 70s Aretha Franklin (she is really good here). 

The terrific Warning Shot features tight ensemble playing (one of the things that Lacocque has always focused on with this band), excellent new original material, interpretations of songs that have not been recorded a zillion times, strong solos and the wonderful blues and soul vocals of Inetta Visor. 

I received my review copy from Delmark Records. For those near Washington DC, Mississippi Heat is at Madam's Organ on Friday October 17. Here is a video of Mississippi Heat performing.

 

Evergreen Class Jazz Band Plays Early Tunes

Delmark's latest releases include a re-release of Jump Records Early Tunes 1915-1932 by The Evergreen Classic Jazz Band. Originally issued in 1995, this CD has them rendering  interpretations of songs from the mid-nineteen teens until the early thirties. This Seattle ensemble is led by Tom Jacobus who plays brass bass (tuba) and string bass; and includes Craig Flory and Jake Powel on reeds; David Holo on cornet; David Loomis on trombones, kazoo and vocals; Dan Grinstead on piano; Al LaTourette on banjo; and Dale Roach on drums.

The brief notes on the back cover note that many of these performances were originally done by larger ensembles, but the Evergreen Classic Jazz Band (particularly Jacobus) have arrangements of these for the octet. This is a nicely performed traditional jazz album with an effort to evoke the sound and feel of such bands as Jimmy Noone, Erskine Tate, King Oliver and His Dixie Serenaders and Tiny Parham. There is plenty of spirit to be heard in the classicist approach they have starting with the exuberance of the opening Stomp Off, Let’s Go, to the swinging rendition of an early Bennie Moten recording Ding Ding Blues.

There is the twenties Oriental exoticism of Tiny Parham’s On the Bay of Old Bombay, with nice cornet from Holo, who may be overall the most consistent, and least dated sounding solicit here. The reeds of Flory and Powel are displayed to good effect on the lovely rendition of Jimmy Noone’s Apex Blues. The vocals on a King Oliver recording Got Everything are pretty corny (think about Rudy Vallee on a megaphone) but the plunger mute playing is solid. Loomis’ gutbucket trombone is a counterpoint to Powel’s soprano sax on Sidney Bechet’s Blues in the Air, which is followed by a lively performance of Fats Waller’s Minor Drag.

The rendition of the Joplin/Marshall Swipesy Cake Walk is in a classic ragtime orchestra vein (think about Joplin’s “Red Back Book’), while  Grinstead does a solo rendition of the Joe Jordan rag Nappy Lee. The novelty  Play Me a Frigid Air, has a dead pan vocal of the somewhat inane lyrics and followed by a strutting rendition of Stock Yards Strut. This was perhaps trumpeter Freddie Keppard’s most famous recording. It is played with stop time effects and a nice clarinet solo. Folks will know She’s Funny That Way from the classic Billie Holiday recording (He’s Funny …). The rendition here employs Jimmie Noone’s arrangement with  lovely playing although a forgettable vocal.

Other remakes include a lesser known Louis Armstrong Hot Five recording Put ‘Em Down Blues and a solid rendition of Duke Ellington’s Ring Dem Blues, although Powel’s bass sax solo sounds a bit awkward. This a pleasant traditional jazz recording with a number of vibrant performances. Those who enjoy this should check out the Delmark recordings of the youthful contemporary Chicago ensemble, The Fat Babies.

I received my review copy from Delmark. Here is a 2014 performance of Stomp Off, Let’s Go.

Lucky Peterson - I’m Back Again

 

Blues Boulevard’s new Lucky Peterson album I’m Back Again is a release of music from the excellent DVD/CD set on BlackbirdMusic/ Soulfood by The Lucky Peterson Band Featuring Tamara Peterson Live At The 55 Arts Club. The eleven performances on this release are available on the DVDs and the CDs of the earlier set, but are limited to those that featured Lucky and not the others which featured Tamara. Lucky’s backing band included Shawn Kellerman on guitar, Tim Waites on bass and Raul Valdes on drums. It is a hard-rocking, tight band that did a fine job supporting Lucky (heard on organ as well as guitar).

I wrote, reviewing the DVD/CD set, “The material ranges from Lucky’s reworking of blues classics such as You Shook Me, I’m Ready, and Who’s Been Talking, along with Johnny ‘Guitar’ Watson’s Ta’ Ta’ You. He takes out the slide for Dust My Broom, while getting really greasy on the B-3 on I’m Back Again, as well as Rico McFarland’s Giving Me The Blues. Listening to these performances again, my views haven’t changed.

Those having Live At The 55 Arts Club, will have no reason to buy this fine reissue, but others may want to get this strong sampling of Lucky Peterson (and his excellent band) today.

I received my review copy from a publicist. Here is Lucky performing Who’s Been Talking, although from a different performance.