Paul Rishell Swear To Tell The Truth

Paul Rishell Swear To Tell The Truth
Tone Cool / Rounder

Boston area blues artist Paul Rishell works both in an acoustic as well as an electric band vein. Swear To Tell The Truth is his second Tone-Cool album, and like his earlier one features both sides of his blues persona, although the focus is mostly on his acoustic side. 

Guitarist Ronnie Earl and harmonica player Little Annie Raines help out, along with producer Richard Rosenblatt who adds harp to Bukka White’s Shake ‘Em On Down and Drinkin’ Water From a Hollow Log, where Rishell plays a Fred McDowell slide part on the Rolling and Tumbling theme. Rishell’s skill on guitar is quite notable, particularly when he handles East Coast blues as his version of Blind Boy Fuller’s Mamie is exquisite. 

If he can’t make one forget Howling Wolf with Somebody in My Home, Ronnie Earl’s striking electric guitar on Earl Hooker’s Swear To Tell the Truth is first rate. Perhaps the finest track is his rearrangement of Charlie Patton’s Some of These Days, which Rishell aptly describes as ‘wistful.’ His fingerpicking guitar is delightful, with Michigan River Blues showcasing his clean picking. 

A very well conceived and produced collection.

I likely received a review copy from Rounder Records. This review appeared in the September 1994 Jazz & Blues Report (Issue 1994). Here from two decades later, Paul Rishell and Annie Raines perform "Some of These Days."

 

Swingadelic Visits Mercerville

Swingadelic
Mercerville
Zoho Music

The self-described 'little big band' Swingadelic was formed in 1998 during the neo-swing movement was cresting when bassist Dave Post gathered his jazz & blues playing friends together to play engagements at various New York City venues, and when the swing scene waned the band stayed active playing swing dance groups, concerts, festivals, schools and private engagements and today plays 100 dates a year. This new album is a tribute to the legendary songwriter Johnny Mercer. Previously Swingadelic has recorded tributes to Duke Pearson and Allen Toussaint.

Pianist and vocalist Johnny Bauers traces the origin of the present recording to the work he did for a Mercer show during the 2009 centenary of him. Subsequently he brought this concept to Swingadelic's Dave Post, and enlisted Vanessa Perea, the sublime vocalist featured on this recording and we started doing shows all over the New York area. During these shows, they told the story of Johnny’s life and the stories of his songs, striking a chord with our audiences. According to Bauers, "[t]his CD is an attempt to recreate some of that magic we feel when we go onstage and perform this great music."

As my first exposure to Swingadelic, I was surprised and impressed by the band's solid musicianship and the focused performances of such familiar numbers as "Too Marvelous For Words," "Blues in the Night," "That Old Black Magic," "I Wanna Be Around," "Jeepers Creepers," "Moon River/The Days of Wine and Roses," "G.I. Jive," and "One For The Road." This set kicks off with "Too Marvelous For Words," where the band punchy, brassy playing grabs the listener. Johnny Bauers is a decent singer, but vocally the star here is Vanessa Perea whose timing, intonation and relaxed phrasing shines. He does shine in a Louis Prima manner with his growl on "That Old Black Magic," and does a credible job crooning on the Tony Bennett hit, "I Wanna Be Around."

The medley of two songs co-written with Henry Mancini, ""Moon River/The Days of Wine and Roses," opens with Panea's lovely, wistful treatment of the former number before Bauer's crooning of the latter number, but he cannot convey the humor present on Louis Jordan's hit on "G.I. Jive." Paul McCartney wanted to collaborate with Mercer in the 1970s but health issues prevented this from happening. The performance of "P.S I Love You" is a fascinating mash-up of the Beatles song with a Gordon Jenkins-Mercer collaboration of the same name.

A serviceable singer, Bauers' piano and his arrangements are first-rate and help account for the splendid playing throughout this recording. Also, there are a number of notable solos including those of guitarist George Naha on "Acc Cent Chu Ate the Positive" and "Blues in the Night," while John Disanto's baritone establishes the feel on "That Old Black Magic." Robert Edwards trombone enlivens "I Wanna Be Around" while Audrey Welber's clarinet is featured on "Goody Goody," and Michael Weisberger ably reprises Louis Jordan's alto sax solo on "G.I. Jive."

Dancers and listeners will find much to enjoy in this lively, appealing recording.

I received my review copy from a publicist. Here Swingadelic perform a song that will be familiar from Bobby Darin.

swingadelic

John McNamara Rollin' With It

John McNamara
Rollin' With It
Bahool Records

John McNamara is an Australian whose music took him to Beale Street, not simply because he competed at the International Blues Challenge, but because the influence of soul and blues that can be heard in his music. His new album was recorded in Memphis at the Ardent Studios and found the singer, songwriter and guitarist backed by such Memphis studio stalwarts as drummer Steve Potts; bassist James Kinard; guitarist Michael Toles; and keyboardist Lester Snell (who did the arrangements) along with a strong horn section. McNamara wrote six of the ten songs. along with his renditions of songs associated with Bobby Bland, Otis Redding and Little Willie John.

McNamara impresses as a singer as well as guitarist from the opening "One, Two Of A Kind," that evokes the brassy Memphis sound with his soulful, natural sounding singing and biting guitar set against the horn riffs. The idiomatic originals and choice covers continue with "Bad Reputation" delivered in his slightly whisky parched singing, whose musical structure is a cousin to "Fever," and a lyric of ignoring his reputation as he is "all about loving you." There is the slow, moody "Under The Weight Of The Moon," as he laments about laying awake about being without her, with very apt backing.

The covers are straight-forward and delivered in a relaxed fashion ranging from the Bobby Bland classic soul ballad "Ask Me Nothing (But About the Blues)," to an Otis Redding Stax classic "Security," another strong Bobby Bland cover "Blind Man" (that Little Milton also covered five decades ago) and the closing rendition of Little Willie John's "Suffering With the Blues." With heartfelt singing and the handsome arrangements, McNamara displays not simply his love of the music that influenced him but how ably he interprets these classic songs in addition to his marvelous originals. One gets impressed by his strong performances on a striking new recording to delight fans of sixties-seventies Memphis soul and blues.

I received my review copy from a publicist. Here John performs "Ask Me Nothing (But About the Blues)."

Abdullah Ibrahim Ancient Africa

Abdullah Ibrahim
Ancient Africa
Sackville/Delmark

Still known as Dollar Brand when Sackville released some of this on a vinyl album, "Sangoma," it was recorded during his first visit to Toronto in 1973 shortly after converting to Islam and having made a recent pilgrimage to Mecca. What fascinates about these lengthy solo piano improvisations is his jazz invention extemporizing off South African folk themes in a magical manner

The title of the vinyl album "Sangoma" means the one who beats the drum, and that meaning is consistent with the percussive aspects of Ibrahim's playing as he develops the folk themes underlying the compositions, starting with the title track, a three part suite of "The Water's Edge,""Bertha in Turquoise," and "Krotoa." Simply listening to his improvisation during this first part is mesmerizing as he develops a melodic line set against a droning rhythmic bass foundation as he chants with the music with seamless transitions to the other parts of this suite. The other two improvisations are similarly fascinating to listen to his inventiveness.

The final selection, "Khotgso" is previously unissued.  Here Ibrahim plays a bamboo flute (instead of piano) and provides a spoken recitation. It is a captivating performance that brings to a close another important Delmark reissue from the Sackville catalog.

I received my review copy from Delmark. Here is a recent performance from Abdullah Ibrahim.

Tommy Ridgely Since The Blues Began

Tommy Ridgely 
Since The Blues Began 
Black Top

While attending the New Orleans Jazz & Heritage Festival for the first time at the end of April, I caught plenty of great blues, zydeco and R&B. While he did not play the festival during the first weekend, Tommy Ridgely was at Howlin’ Wolf, a New Orleans Club, as part of a New Orleans Rhythm & Blues revue that also included Oliver Morgan, pianist Eddie Bo and Earl King. 

Ridgely, who first recorded with Dave Bartholomew’s band in 1949, made such memorable sides as Shrewsbury Blues, Looped, Jam Up and Gonna Meet My Girl. At the Howlin’ Wolf he stuck to the songs from his new album, Since the Blues Began and his vocals were exquisite. I also saw him the next afternoon at Jimmy Buffett’s Margaritaville where he played piano, and sang a wide range of blues, backed by acoustic guitar and harp. 

Since the Blues Began is a superb album, and shows Ridgely to be as vital today as his first recordings with Dave Bartholomew’s band. He is heard with a crack band that includes Sammy Berfect and Edward Frank on keyboards, the incredible Snooks Eaglin on guitar, George Porter on bass and Kaz Kazanoff and Tony Dagradi on saxophones. Ridgely may be close to 70, but he still sings with great vigor and flexibility in his delivery. He doesn’t sound his age. 

He is obviously happy with the album and there is no filler among the songs. There are some new recordings of songs he waxed years ago, including I Heard That Story Before, and Let’s Try to Talk It Over. The latter number may suggest why he was once known as the “New King of the Stroll”. He contributed a number of new songs, like the opening Pretty Lady ( many guys will be able to identify with the sentiment of its lyrics), Running After You, and The World Is Our Stage. Jody Siegel contributed the title song. 

Ridgely’s lyrics explore the varying aspects of male-female relationships from a sophisticated, adult perspective. And, for someone whose early recordings are classic jump blues in a Roy Brown vein, Tommy Ridgely seems completely at home with the nineties Crescent City R&B groove. To reiterate, Tommy Ridgely’s Since the Blues Began is a terrific disc. 

I likely received my review copy from Black Top Records. This review appeared originally in the July-August 1995 Jazz and Blues Report (Issue 203). This is available used or as a download.  Here is the original recording of I Heard That Story Before, that he remade for this album.

Gregory Lewis Organ Monk, The Breathe Suite

Gregory Lewis
Organ Monk, The Breathe Suite
Self-produced

The remarkable organist Gregory Lewis's latest album represents an attempt to pay homage to the victims of police violence in the US, several of which are named in the various parts of the work. The title is a reference to the cries of "I Can't Breathe" that Eric Garner was heard saying several times while in the chokehold that ended his life. He is supported here by an impressive cast of musicians including drummers Nasheet Waits and Jeremy 'BEAN' Clemons; guitarists Marc Ribot and Ron Jackson; tenor saxophonist Reggie Woods and trumpeter Riley Mullins.

Lewis is of course one of today's most striking Hammond B-3 players, and this release also illustrates how original a composer he is. The album opens with "The Chronicles of Michael Brown," the victim of a police shooting outside St. Louis. It opens with Lewis' sober atmospheric introduction with Ribot adding some acidic guitar as the horns join in the opening statement with Waits' drumming adding to the suspended tempo of the opening before Woods, Mullins, and Ribot explode with their solos. The second part of the suite, "Trayvon" (for Trayvon Martin) is a brisk, bluesy trio with trio Jackson and Clemons, followed by "Aiyana Jones Song" (Jones being a seven-year old killed during a police raid of a residence), a reflective performance by this trio with some stunning straight-ahead guitar along with Lewis' marvelous, at times bouncy playing here more in the vein of a Larry Young than Jimmy Smith and Jack McDuff. The quintet with Waits, Ribot, Woods and Mullins returns for the atmospheric "Eric Garner," that slowly builds intensity with Wait's standing out.

The final two parts of the suite are "Ausar And The Race Soldiers" and "Ausar And The Race Soldiers Reprise." The title here likely refers to the Ausar Auset Society, a Pan-African religious organization. The first part is a spirited quintet performance with Clemons, Jackson, Woods and Mullins, all of whom are on fire here. The Reprise is a driving trio performance by Lewis with the two drummers where Lewis's virtuosity and his improvisatory imagination is at the fore here. They conclude a recording full of exceptional music that is a worthy homage to the tragic events that inspired Lewis here. 

I received my review copy from a publicist. In the video below, Gregory Lewis discusses how he became Organ Monk.

Jimmy Rogers With Ronnie Earl & The Broadcasters

Jimmy Rogers
Jimmy Rogers With Ronnie Earl & The Broadcasters
Bullseye Blues

In Spring 1978, this reviewer went to see J.B. Hutto at a New York club where he was accompanied by a Boston area band, Sugar Ray and the Bluetones which featured an excellent guitarist, Ronnie Earl Horvath. They did a splendid job of backing Hutto’s Chicago slide guitar blues, and Horvath even then showed his considerable guitar prowess. I bought an EP by the band which included a Horvath homage to Earl Hooker and several other blues done handsomely by Sugar Ray Norcia, Horvath and the band.

Over a decade later, Ronnie Earl, and Sugar Ray are caught live in Europe backing yet another Chicago blues legend, Jimmy Rogers, at a German concert. Joined by stellar pianist Dave Maxwell and a first rate rhythm section, Earl opens with hot tributes to Gatemouth Brown and Earl Hooker before letting Sugar Ray handle the vocal on The Same Old Blues. From then on, Jimmy Rogers, sounding remarkably youthful, reprises a number of his more celebrated songs including Rock This House, Gold Tailed Bird, Walking By Myself, and Left Me With a Broken Heart, with plenty of solo space for Earl, Sugar Ray and Maxwell, along with some nicely done breaks by Rogers himself.

There can be little fault with the playing, but compared with Rogers’ Chess singles, the focus of the songs becomes slightly diffused with the jamming. This is a matter of observation and taste, because this is what one will hear live if one sees Rogers with his own band. This might even have an edge over the fine Antone’s album by Rogers on which Kim Wilson’s harp dominates at certain places, and certainly an indication of how vital Rogers can still be.

I likely received my review copy from a publicist. This review originally appeared in the Septeember 1994 Jazz and Blues Report (Issue 194). Here is Jimmy Rogers performing in 1994.

Chelsea McBride's Socialist Night School The Twilight Fall

Chelsea McBride's Socialist Night School
The Twilight Fall
 Browntasauras Records

24-year old award-winning composer, orchestrator and multi-instrumentalist Chelsea McBride leads the Toronto based big band, The Socialist Night School which is heard here on its first full length recording. This big band is a unique cross-generational collection of some of Toronto finest musicians, where award-winning veterans like William Carn, Colleen Allen & Brownman Ali find themselves standing next to some of Toronto's hottest jazz 20-somethings that provides a platform for McBride to tell her musical stories. Her approach is in a manner similar to that of Bob Brookmeyer, Maria Schneider and Darcy James Argue, but here she displays her own fascinating approach. About the music here, each tune has it's own narrative direction accompanying it, and outlining a life-cycle that starts you at birth, and then -- one tune at a time -- moves you forward through a life-time of experiences.

Musically, she provides a varying canvas of textures, and approaches employed here ranging from the opening ballad, "Ambleside," with a vocal from Alex Samaras about waking up on a beach. Besides her own punchy tenor sax, her scoring of the reeds accompanying the vocals along with drummer Geoff Bruce's subtle cymbal play that evokes waves crashing on the beach make a picturesque performance. In contrast to the pastoral "Ambleside," there is the nervous energy "Intransitory," with its rock-tinged rhythmic feel, Chris Bruder's staccato piano, searching alto sax and David Riddel's fuzz-toned electric guitar which builds in intensity.

Of the title track she asks the listener: "Close your eyes and picture your six-year old self in onesie pajamas falling through a purple sky with orange clouds.  Until you land in a carnival -- broken, tilted Ferris wheel on one side, dusty abandoned carousel, chipped paint, fading, on the other. …" The swirling musical colors along with biting guitar as the horns adding coloring and contrast until the horns explode before blistering trumpet as the tempo transitions into a march-like cadence before the musical storytelling of the bluesy "Smooth (or What I Should Have Said Instead)," with Samaras singing to a person one did not want to see but needs to make amends to, "If I had something to say, and something to prove, would you just be confused?" This is another number with the leader's distinctive tenor sax playing.

Other tracks take us further through the transit of our lives as McBride herself suggests in her own compositional narrative, with The Socialist Night School's performances of these imaginative compositions, wonderfully scored and played with considerable spirit, whether a trombone solo on "Arrival of Pegasus," or fiery tenor saxophone in the perky "Foot in Mouth," with some. "The Twilight Fail," is a multi-faceted musical journey that will delight listeners, and makes one hope to hear more from this Canadian composer and her big band.

I received a review copy from a publicist. This review originally appeared in the May-June 2017 Jazz & Blues Report (Issue 372). Here is a video that gives a teaser of the music on "The Twilight Fail."

 

Danielle Wertz, Tal Cohen Intertwined

Danielle Wertz, Tal Cohen
Intertwined
Self-produced

This collaboration between vocalist Danielle Wertz and pianist Tal Cohen is a delightful, lovely recording of standards and originals that is ultimately full of charm. Wertz, from Falls Church, Virginia, received a degree in Jazz Vocal Performance from the University of Miami's Frost School of Music, and was a semi-finalist in the 2015 Thelonious Monk International. Cohen's piano in part reflects the folk songs and classical music he played growing up in Israel. He moved to Perth, Australia at the age of 16 where he continued his musical studies at the Western Australian Academy of the Performing Arts. The stablished in Australia as a performer, he is the winner of the 2015 Barry Harris International Jazz Competition in Detroit.

"Intertwined," is an intimate session in which the two develop their ideas together, It opens with saxophonist Jamie Oehlers (one of the two tracks he plays on) introducing the standard "Beautiful Love," on which Oehlers solos as well as does Wertz scatting after her lovely delivery of the lyrics. She has enchanting voice that sings the lyrics in a soft, almost dreamy fashion, while the interplay between her, Cohen, and on this track Oehlers, has a fugue-like quality. The title track is an original by the duo where you her scatted, wordless vocals is set off against Cohen's piano again displaying a chamber-like quality in this duet. There is the longing of Wertz's vocal on "But Not For Me," before the other original by the pair, "Chopin Meets Abach," where her vocal again provides an instrumental voice as opposed to simply interpreting lyrics. Other standards receiving very appealing interpretations include "I Wish You Love" (with some scatting by Wertz intertwined with Cohen's piano); "Manhattan in the Rain" with Cohen's spare piano introduction and backing; and "Autumn Leaves," on which Oehlers contributes to the wistful rendition of this classic.

A brief snippet of the title track closes this marvelous recording. Danielle Wertz enchants with her voice, tone and phrasing while complemented by Cohen's uncluttered accompaniments (as well as the accents added by Oehlers' saxophone on two selections), resulting in wonderful listening.

I received a download to review from a publicist. Here is a recent performance of Danielle Wertz with a fine trio led by Chris Grasso.

 

Laura Tate Let's Just Be Real

Laura Tate
Let's Just Be Real
811 Gold Records

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

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

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

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

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

The Cash Box Kings Royal Mint

The Cash Box Kings
Royal Mint
Alligator Records

Those wanting some house party, rocking real deal blues need go no further than The Cash Box Kings' new disc, the first for Alligator. With the strong singing from Oscar Wilson and harmonica and occasional vocals from Joe Nosek, guitar from Billy Flynn and/or Joel Patterson, drums from Kenny 'Beedy Eyes' Smith or Mark Haynes, keyboards from Lee Kanehira, this is one straight shot of Chicago blues mixed with a dose of jump blues and a touch of rockabilly.

The rollicking reworking of Amos Milburn's hit, "House Party," certainly kicks this off on the right start and one takes notice of Wilson's strong singing along with Nosek's full toned harmonica. It is followed by a solid rendition of Jimmy Reed's "I'm Gonna Get My Baby," with strong singing and harp and a terrific shuffle groove. It is on cover of a lesser known Muddy Waters number, "Flood," that Wilson's vocals evokes the legendary Chicago giant while Flynn's slide guitar suggests Waters' guitar style and Kanehira is equally solid. An acoustic rendition of Robert Johnson's "Traveling Riverside Blues," set to the "Rollin' and Tumblin'" music and the cover of "Sugar Sweet" additionally showcase how strongly Wilson and company evoke Waters' classic sound. On Junior Wells' "I'm a Stranger," Kanehira lays down greasy organ under the vocal while Flynn's slide is in Robert Nighthawk vein

As a singer Nosek  is less impressive, although a honest, unforced and straight-forward vocalist.  His topical original, "Build That Wall," which is set to a Tex-Mex rockabilly backing, is a delightful with a Chuck Berry flavored guitar break. "Blues For ChiRag," is a strong urban, topical blues about violence in Chicago today, and the humorous shuffle "If You Got A Jealous Woman Facebook Ain't Your Friend," with some terrific guitar from both Flynn and Patterson besides Wilson's full-bodied singing. Another party song is the rendition of Clifton Chenier's rocker "All Night Long," with solid horns, a terrific piano break and solid horns along with a terrific Flynn solo. Nosek's easy going singing and harp delights on the raggy, closing number, "Don't Let Life Tether You Down."

"Royal Mint" is chock full of some exceptional performances, and the level of the music is never less than very entertaining. Listening to this, it is easy to see why they have a strong fan base, one that is certain to expand.

I received a review copy from Alligator. Here The Cash Box Kings perform Muddy Waters' "Blow, Wind, Blow."

Leigh Pilzer Strunkin’

Leigh Pilzer
Strunkin’
Self-Produced

One of the mainstays of the very fertile Washington D.C. jazz scene, this is the first album for baritone saxophonist, composer and arranger Leigh Pilzer. A member of the Smithsonian Jazz Masterworks Orchestra and The DIVA Jazz Orchestra as well as one who frequently can be heard with other area ensembles. On this album, recorded live at the 6th Annual Washington Women in Jazz Festival, she leads a terrific ensemble that also includes Jen Krupa, trombone; Sherrie Maricle, drums; Amy Shook, bass; and Jackie Warren, piano. She composed six of the eight compositions with Amy Shook contributing "Brag Time," and Jen Krupa contributing “Duel at Dawn."

The title track is a jaunty number that to me suggests a classic Prestige Records date with Pilzer's vigorous, heavy tone suggesting the likes of Pepper Adams, Nick Brignola, and Cecil Payne, while Krupa's trombone complements Pilzer and displays her own strong playing, with Warren also spotlighted. This is a superb rhythm section. There is a nice romantic tinge to "Blue Moo," with Krupa taking the lead as Pilzer weaves around her on the head on this wonderfully paced number that also showcases Amy Shook's firm, driving bass. A Harry Carney-Duke Ellington flavor is heard on a lovely ballad "Miss Ally In Allyworld," while Shook opens "Brag Time" with a finger popping groove on this hard swinging number that has  marvelous growling trombone in a Tricky Sam Nanton manner, along with Warren's rollicking piano. Pilzer seems to relish focusing on the low end of the baritone's register, yet swings in an effortless sounding manner as on "Thaddish," as well as her bossa nova "It's Anyone But You," with its exchanges between her and Krupa and also provides solo space for all including Marcie. There is a playful opening of bop-laced "Duel at Dawn," with Maricle's drums adding considerable heat with echoes of Tadd Dameron on the close.

What a wonderful recording. These are all musicians playing with passion, intelligence and imagination and with the excellent rhythm section and the marvelous solos, one has a superb recording that has one wanting more.

I received as a download from a publicist. Here is Leigh Pilzer's recent performance at Phillips Collection as part of the 2017 DC Jazz Festival.

Candye Kane White Trash Woman

Candye Kane
White Trash Woman
Ruf Records 

If blues is, as some describe it, “grown-up music, then Candye Kane’s emergence as a blues diva is not far removed from her earlier career in the adult entertainment business. But while her background may make her seem like a novelty, when you hear him pounding the ivories, belting out a remake of Bullmoose Jackson’s Big Fat Mamas Are Back in Style or listen to her caress the country-ish ballad What Happened to That Girl, one realizes her talent leads one to quickly forget the novelty of her background. 

Her latest album, White Trash Woman was recorded in Austin, Texas and is on the German Ruf label. Produced by Mark 'Kaz' Kazanoff, who also leads the horn section, he is joined by a stellar studio band that includes drummer Damien Llanes, bassist Preston Hubbard, guitarist Jeff Ross (with appearances by Johnny Moeller and David Grissom), harp wiz Gary Primich, keyboards by Riley Osbourn. Together they bring together a smorgasbord of blues moods and settings and Candye Kane comes across equally compelling belting out the title track (“It is an honor to be called a trashy broad in the traditions of legends such as Divine and Dixie Rose Lee), and Estrogen Bomb which she is the strong woman who offers no apologies and takes no prisoners when she gets crossed. 

She reworks the Loving Spoonful’s What a Day For a Daydream into a blues while lending a country feel to What Happened to the Girl, and sings about being Misunderstood with the band providing a traditional jazz backing including some nice clarinet. Leiber and Stoller’s I Wanna Do More evokes Little Walter’s hit, My Babe, with its groove and some fine harp by Mr. Primich. The following track, the original It Must Be Love, is a rocking shuffle with a fine fifties T-Bone mixed with B.B. guitar solo and strong jumping horns and a clean, soulful vocal. In contrast Queen of the Wrecking Ball, has her singing woman who breaks hearts with some nice guitar evoking the gulf coast swamp blues sound. 

Other songs include a boogie woogie about sexual self-gratification, and, Mistress Carmen, about a Grand Domme who is proud of her sensuality set to a New Orleans groove (Please Mistress Carmen, we just want to watch you dance), and a lovely love ballad, I Could Fall For You. With truly memorable songs and strong backing, Candye Kane convincingly delivers this varied programme with humor and passion. Candye Kane may be a White Trash Woman but this recording is most certainly high class.

I likely received a review copy from Ruf Records or a publicist. This review original appeared in the September 2005 DC Blues Calendar and the March/April 2006 Jazz & Blues Report (Issue 280). Here is a video of Candye (who passed away in 2016 with Little Willie Littlefield (who passed away in 2013).

Nick Schnebelen Live in Kansas City

Nick Schnebelen
Live in Kansas City
VizzTone

This is a follow-up to "Live at Knuckleheads," and features one of the members of the family band, Trampled Under Foot, leading a trio with Cliff Moore on bass, and Adam Hagerman on drums (I am taking this information of Nick's website as no other her personnel is given on the CD cover), although some tracks like the closing "Conformity Blues," sounds like additional musicians are present. Moore was on that earlier album which also featured Heather Newman. From the credits, most of the songs may have originally been by Trampled Under Foot with a few interesting covers.

Musically, this recording comes across as blues-rock. He is a limited singer who certainly invests his vocals with heart, although with a small range. He is quite a guitarist, combining technique, tone and imagination in the power blues-rock trio format heard here. Taken in small doses, tracks like the opening "Fool," with its field holler opening transitioning to a driving blues-rock, the cover of "Herbert Harper's Free Press News" (from the infamous "Electric Mud" album), and the sparkling slide guitar he plays "Bad Woman Blues" set to the Bo Diddley groove, certainly stand-out. There is more slide on a hyper-kinetic cover of Johnny Winter's "Mean Town Blues," and then the Z.Z. Top sounding boogie "Johnny Cheat." However, "Bad Disposition" comes off musically as a bit over the top. The closing "Conformity Blues," is musically the most interesting track with superb guitar and a feel in the manner of the Allman Brothers

Those coming to hear Nick Schnebelen's impressive blues-rock guitar playing will not be disappointed, although some, like this listener, will enjoy the music here is a few songs at a time.

I received my review copy from VizzTone. Here is Nick performing "Bad Woman Blues" and "Mean Town Blues."

Adrianna Marie And Her Roomful Of All-Stars

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

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

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

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

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

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

Classic Piedmont Blues From Smithsonian Folkways

Various
Classic Piedmont Blues From Smithsonian Folkways
Smithsonian Folkways

A new acoustic blues compilation from Smithsonian Folkways delves in the archives for the selections on this. Piedmont blues has an easy flow played in a finger-picking style where the guitarist, according to the late John Cephas, uses "thumb and fingers with an alternating thumb and finger style. I keep a constant bass line going with my thumb, and on the treble strings I pick out the melody or the words of the song I'm singing." Cephas is quoted in the cogent booklet with liner notes on the Piedmont blues, and the specific songs included (along with artist biographies), by Barry Lee Pearson.

From the opening John Jackson performance of "Truckin' Little Woman," the delightful Warner Williams performance, "Hey Bartender There's a Big Bug in My Beer" with Kentucky flatpicker Eddie Pennington, several performances of Brownie McGhee and Sonny Terry, Baby Tate's wonderful "If I Could Holler Like a Mountain Jack," along with the incomparable Rev. Gary Davis' instrumental "Mountain Jack," John Cephas and Phil Wiggins' rendition of Blind Boy Fuller's "Mamie," Elizabeth Cotton's "Going Down The Road Feeling Bad," Pink Anderson's "Meet Me in the Bottom," to the closing tribute by Archie Edwards to his friend  Mississippi John Hurt, "The Road Is Rough and Rocky," this is marvelously played music by some of the style's  finest artists.

There are also included a few performances by old-time music artists such as Hobart Smith, Doc Watson and Roscoe Holcomb, and as Pearson notes there was plenty of musical interaction between such a artists with Black artists. One of my finest memories of John Jackson was him playing old-time string band music with former musical students of him and it is unfortunate that none of the performances he and Doc Watson performed together at The Smithsonian Folklife Festival have been issued as they would have made this wonderful collection even better.

I do note that the Archie Edwards performance had been previously issued on the similarly theme Smithsonian-Folkways collection "Classic Appalachian Blues" and it is unfortunate another performance by him was not chosen. Still this is a first-rate collection of this blues style.

I purchased this recording. Here is the late John Jackson performing.

Catherine Russell Harlem on My Mind

Catherine Russell
Harlem on My Mind
Jazz Village


Some familiar with this blog may be aware, I am a fan of the singer, Catherine Russell. Regarding her 2012 release "Strictly Romancin'," I observed that, "Vocally she remains as commanding as in her past efforts as her vocals are delivered soulfully yet with a clarity that many vocalists today would benefit from listening to her mix of clean diction and musicality." The same can be said about this latest recording, with a mix of classic swing numbers mixed with intriguing renditions of fifties rhythm'n'blues and a few obscure songs that she introduces to many. 

On her latest release she is backed by a superb rhythm section of guitarist Mike Munisteri, pianist Mark Shane, bassist Tal Ronen, and drummer Mark McLean. Saxophonists Andy Ferber, Mark Lopeman and Dan Block along, with trumpeter Jon-Erik Kellso, are among those playing on horns. One track has centenarian Fred Staton (brother of the late Candy Staton). 


The title track is an Irving Berlin song that Ethel Waters originally recorded and is performed with small group backing as Russell so sonorously delivers "I’ve got Harlem on my mind /And I’m longing to be low down/ And my parlez vous will not ring true / With Harlem on my mind," and followed by the vibrant big little band (tentet) horn-driven  "I Can’t Believe That You’re In Love With Me," with Munisteri providing solid rhythm guitar in the manner of Freddie Greene. This is followed by the ebullient swing of "Swing! Brother Swing!" with wonderful muted trumpet by Kellso, trombone from John Allred and Mark Lopeman's tough tenor sax. Then there is the wonderful rendition of Ray Noble's classic ballad, "The Very Thought of You," the delightful, slightly naughty, neo-trad reworking of the Clarence Williams' classic, "You Got the Right Key But The Wrong Keyhole" (with Lopeman's clarinet and Munisteri's banjo), and anogther lovely ballad, "Don’t Take Your Love From Me," with a marvelous, romantic tenor sax solo from Fred Staton.

An impish rendition Fats Waller-Andy Razaf gem “Blue Turning Grey Over You,” is followed by a wonderful rendition of a torch song, “You’re My Thrill,” with a marvelous Farber horn arrangement. I am not sure who first recorded “I Want a Man” (Esther Phillips?) but Russell's rendition reminds me of the sass and vigor Ruth Rrown brought to similar material. Benny ‘King’ Carter’s classic “When Lights Are Low,” receives a royal rendition followed by a terrific cover of Little Willie John’s “Talk To Me, Talk To Me,” along with her own, heart-felt take of Dinah Washington’s “Let Me Be the First to Know.”

The retro-swing “Goin’ To Town,” was part of Duke Ellington’s Cotton Club repertoire and recorded by Catherine’s father Luis Russell in 1931. The effervescent performance provides a lively close to another superb recording from Ms. Russell. No one is producing such a series of excellent joyful celebrations of swing jazz and jump blues as Catherine Russell, of which “Harlem on My Mind,” is simply the latest example.

I purchased this as a download. Here Catherine performs a blues Dinah Washington recorded,  "My Man Is An Undertaker."

Rockin' Johnny Burgin Neoprene Fedora

Rockin' Johnny Burgin
Neoprene Fedora
West Tone Records

This new release is a follow-up to "Greetings From Greaseland," and further chronicles Burgin's move to California from Chicago. Like the early recording, this was recorded by Kid Andersen (who plays guitar, bass, baritone guitar and piano on various tracks) at his Greaseland Studio. Others backing Burgin include Ali Kumar on harmonica and a couple vocals; Bob Welsh on guitar and piano; bassist Vance Ehlers; drummer June Core; drummer Stephen Dougherty; saxophonist Nancy Wright and accordion player Steve Willis.

There is a mix of material from the opening title track, an instrumental that bridges blues, surf and Tex-Mex guitar on a tune that deconstructs the melody of Herbie Mann hit "Comin' Home Baby" with Wight's raspy sax adding atmosphere behind Burgin's tremolo laced runs then transitions into a "Night Train" inspired segment segueing into a "Bo Diddley" beat groove with some Chuck Berry styled guitar. This tour de force is followed by a West Side Chicago blues "Guitar King" which suggests Otis Rush crossed with Jimmy Dawkins. Burgin is an amiable singer, if not a great one. He is convincing on "Won't Get Married Again," in the manner of the legendary Eddie Taylor. "Let Me Be Your Teddy Bear," has Magic Sam styled guitar with uncluttered backing reminiscent of Eddie C. Campbell.

Alabama Mike wonderfully handles the lead vocal on "Smoke and Mirrors," with its syncopated Byther Smith meets Bobby Rush accompaniment. Mike's other vocal is a nice soul ballad, "I Did The Best I Could," with a bluesy solo from Burgin. Besides the nods to Chicago blues, "Kinda Wild Women" is a zydeco flavored dance number followed by an attractive swamp pop ballad, "Please Tell Me," and "Our Time Is Short" is a waltz that employs the "Jole Blonde" melody. On this musical trip to the bayou, there is solid accordion and rubboard. "Self-Made Man" with shattering Jimmy Dawkins' flavored guitar along with Aki Kumar's reedy singing and terrific full-bodied chromatic harmonica. "I Ain't Gonna Be Working Man No More" brings back memories of the greatly underrated Johnny Littlejohn's "Chips Flying Everywhere," both with the interesting syncopation of rhythm.

"Goodbye Chicago" musically evokes Howlin' Wolf as Burgin sings about why he is going to California and has to put the Windy City down. As the song progresses he recites a list of Blues artists he played with in Chicago, and quite an impressive list it is. Wright takes a terrific tenor sax solo in the manner of Eddie Shaw on this. It closes another fine recording by Rocking Johnny Burgin who displays his deep Chicago blues roots while incorporating other sounds into his fertile musical garden.

I received a download from the artist from which I was able to do this review. Here is a video of Johnny and Ali Kumar performing in Finland.

Billy Price Alive and Strange

Billy Price
Alive and Strange
Nola Blues/Vizztone

Veteran blue-eyed soul singer Billy Price follows his acclaimed collaboration with the late Otis Clay that won a Blues Music Award. It has been some three decades since the late Jerry 'The Bama' Washington who play Price's covers of O.V. Wright and others over WPFW in Washington, DC. Price is still at it with a mix of southern soul and city blues covers and idiomatic originals that he recently documented on this live recording with the Billy Price Band. The members of the Billy Price Band are Steve Delach (guitar), Tom Valentine (bass), Dave Dodd (drums), Jimmy Britton (keyboards), and Eric DeFade (tenor sax). There are guest horn players and background vocalists on this.

Price is in good form although his the tone of voice seems to be a tad flat as if perhaps showing a bit of the years of performing. Still it doesn't detract from these straight-forward and heartfelt performances. The tone is set with a rendition of Carl Sims' "It Ain't A Juke Joint Without The Blues," with Delach's guitar complementing Price's vocal of a place full wall to wall and everyone having a ball, followed by a nice delivery of William Bell's lament as since she has been gone, Bill is living the "Lifestyles Of The Poor And Unknown."

Price's own "Something Strange" is a driving funky blues with punchy horns. Price does a solid cover of a lesser known Bobby Bland recording, "This Time I'm Gone For Good." It is followed by a nice version of Earl Thomas' soul ballad about holding on for "One More Day," with nice jazzy guitar and tenor sax solos. After a sober treatment of a Percy Mayfield gem, "Nothing Stays The Same Forever," Price and Band get into a James Brown cover "Never Get Enough," and then a brassy rendition of Magic Sam's "What Have I Done Wrong," which also showcases solos from Delach (particularly outstanding here) and DeFade.

One of Price's strength is his incorporation in his repertoire of lesser known gems such as George Torrence's 1968 recording "Lickin' Stick," before closing the live set from the Club Cafe in 2016 with a wonderfully paced Roy Milton classic, "R.M. Blues," with Joe Herndon blasting the trumpet solo. A bonus track, "Making Plans," was recorded at the Carnegie Mellon School of Music in 2012, that also showcases Price's ability at putting together a lyric. This bonus track adds a nice close to a real good recording by the veteran singer.

I received my review copy from VizzTone. This review appeared in the May-June 2017 Jazz & Blues Report (Issue 372).  Here is the Billy Price Band performing "It Ain't A Juke Joint Without The Blues."

Floyd Dixon Wake Up And Live!

Floyd Dixon
Wake Up And Live!
Alligator

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

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

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

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


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