Scott Ramminger Rise Up

Scott Ramminger
Rise Up
Arbor Lane Music

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

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

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

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

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

 

Rockin' Johnny & Quiqué Gomez Dos Hombres Wanted

Rockin' Johnny & Quiqué Gomez
Dos Hombres Wanted
VizzTone

Singer-guitarist Rockin' Johnny Burgin has unquestionably established himself as a practitioner of old school Chicago style blues through his work with the likes of Taildragger, Eddie Taylor Jr, Mary lane, Little Arthur Duncan, Mary Lane, Jimmy Lee Robinson and Willie Buck as well as on his idiomatic recordings. Hailing from Madrid, Spain, singer-harmonica player Quiqué Gomez has a reputation as a jazz-influenced blues singer who also is a Sinatra stylist with a Spanish Big Band. They have joined forces on an album of 11 originals, and three choice covers backed by Eric Przygocki on bass and Stephen Dougherty on drums with Christian Dozzler on piano or accordion, Josh Fulero on guitar on three tracks, Greg Izor on harp for one track, and Farris on trombone on one track.

This recording will appeal to Chicago blues fans as this is a tight band led by two strong singers and players evident from Rockin' Johnny's opening shuffle "Your Charm Won't Help You," with a short fiery solo. Gomez establishes himself as a most capable singer on "Take It Like It Is" with his full-bodied harp solo following solos from Fulero and Burgin. He also sings on Burgin's "You Can't Steal My Sugar," although the performance is a bit too frenzied. A real surprise is a cover of Robert Lockwood Jr.'s "Funny But True" with a strong vocal by Gomez and Rockin' Johnny evoking Lockwood's unique guitar style.

With Dozzler adding accordion, Rockin' Johnny delivers a clever lyric using gambling analogies on 'Ain't No High Roller," the performance of which includes a particularly strong harmonica solo, followed by a stinging guitar solo. There is also an outstanding slow blues sung by Burgin, "Coffee Can Blues." Kudos to Przygocki and Dougherty who throughout provide steady and firm support. "Livin' Day to Day" is a topical blues played with against a Jimmy Reed shuffle groove on which Gomez delivers a fine vocal. More Jimmy Reed shuffle flavor is evident on Gomez's "Otro Hombre," a jaunty performance sung in Spanish.

With trombone and accordion, Burgin's "Step it Up Bro," is a change of pace that is more in the vein of a Nat King Cole jive blues. It sports exceptional harmonica that owes as much to Toots Thielemans as Little Walter and a jazzy guitar solo. "Are You Ever" is a first-rate Louisiana styled swamp blues-rocker in the manner of the late Lazy Lester with perhaps Burgin's best vocal on this recording. Gomez takes the lead vocal on a relaxed reworking of Tampa Red's "Don't Blame Shorty," which again has marvelous and imaginative harmonica along with Burgin's evocative classic Chicago blues guitar. It is a splendid close to a marvelously entertaining Chicago styled blues album.

I received my review copy from VizzTone. This review originally appeared in the March-April 2019 Jazz & Blues Report (Issue 383). Here the two perform Little Walter's "Rocker."

Zac Harmon Enjoys A Mississippi BarBQ

Zac Harmon
Mississippi BarBQ
Catfood Records

It has been over a decade since I first saw Zac Harmon perform. It was on the Legendary Rhythm and Blues Cruise after he won the International Blues Challenge and he certainly established himself as a singer, songwriter and guitarist in the blues world at that time. It was at that time he had issued a recording "The Blues According to Zachariah" which included some of the songs he was performing and became a favorite with his covers of "Mannish Boy" and "It Hurts Me Too," the joyous gospel of "The Mighty High" and "Who's That Knockin'," an original that even on CD gave an indication of how good a showman Zac Harmon was and is.

About his 2012 album, "Music Is Medicine," I wrote "'Music Is Medicine' is a terrific demonstration of Zac Harman’s musical healing arts. He is one of the few artists today that can bridge the various blues scenes today, appealing to blues cruisers as well as those who turn out to hear their favorite soul-blues and southern blues acts on the chitlin circuit and this recording can similarly bridge a wide range of listening audiences." This remains true with his latest release, his first on Catfood Records. On 7 of the 11 tracks Zac's guitar and Catfood's house band, The Rays that includes Bob Trenchard (also the executive producer) on bass, Johnny McGhee on guitar and Dan Ferguson on keyboards with a four piece horn section. The other four selections have his own band with Corey Carmichael on keyboards, Chris Gipson on bass, Ralph Forrest on drums and Texas Slim on guitar. Harmon wrote or co-wrote eight of the performances, many with Trenchard.

Those familiar with Harmon's soul-drenched vocals and his excellent, concise guitar playing will find no surprises with the performances on this CD. This CD opens with the Trey Hardin-Sandy Carroll penned "Gypsy Road," where he sings about his restless soul taking a long drive down the gypsy road. Brassy horns lend a Memphis feel to a soul-blues ballad "So Cold" which is about a hot romance going cold with his lover's touch becoming as cold as ice. He sings about a smooth, deceptive lover whose love was fading away, "Smoke and Mirrors." It is followed by the  title song celebrating having ribs, drinking and a summer time party. It has a relaxed, slow-dance groove.

A Chicago blues styled shuffle, "Honey Pleez," has Bob Corritore's harmonica added to Harmon's Band. "Make a Dollar Out of Fifteen Cents," is a song about hard times as Harmon sings about trying to pay his bills because as soon as he gets money is as soon as its gone. His guitar solo on this track suggests the latter-day Johnny 'Guitar' Watson.

Closing this recording, Harmon sings intensely (and takes a searing guitar solo on his interpretation of Bob Dylan's "Knocking on Heaven's Door." It caps this latest excellent addition to Harmon's body of recordings.

I received a review copy from a publicist. Here is a promo video for "Mississippi BBQ."

Little Freddie King Fried Rice & Chicken

Little Freddie King
Fried Rice & Chicken
Orleans Records

Having Little Freddie King's Orleans' recordings made available again will certainly be welcome by fans of the Crescent City's down-home blues performer. He was 55 in 1995, the year Orleans Records released 'Swamp Boogie,' that was his first album. For much of his career, he played hole-in-the-wall bar gigs in New Orleans, as a sideman for John "Harmonica" Williams, Polka Dot Slim, Bill "Boogie Bill" Webb and "Brother" Percy Randolph. Gary Rouzan brought him to Carlo Ditta and Ditta put together a session of sympathetic players including bassists Earl Stanley (famous for the local classic "Pass the Hatchet"), Robert Wilson and Jason Sipher; drummers Kerry Brown and Bradley Wisham; and organist and pianist "Crazy" Rick Allen. The first six sides of this 11 track CD (and side A of the vinyl LP) are from this session. The last five are live recordings issued initially King's in-concert album "Sing Sang Sung," released in 2000 with his longtime drummer "Wacko" Wade Wright; bassist Anthony Anderson, bass; and harmonica player Bobby Lewis Titullio. There are also recordings from two 1999 shows at the Dream Palace on Frenchmen Street.

Little Freddie King, unlike his namesake, was no virtuoso nor would one call him a great singer, but his exuberance and simple, straight-forward approach provide plenty for a listener (or someone at his shows to enjoy) as he plays driving, danceable songs with plenty of honesty and fervor. Jimmy Reed and the swamp blues tradition of Baton Rouge may be a source of his musical inspirations, but Freddie King's recordings is another one.

Of the eleven tracks, there are six instrumentals starting with the opening "Cleo's Back." Of interest is "The Great Chinese," which starts off as a cover of "Tequila," but only takes off from the first bars of that classic. There is a twangy rendition of "Cotton Fields Back Home, "titled "Kinky Cotton Fields." The live tracks open with "Sing, Sang, Sung," a retitled rendition of Freddie King's " Sen-sa-shun," which itself is an instrumental version of "Got My Mojo Working." Another nod to the Texas Cannonball (Freddie King) is "Hideaway."

The vocals include a nice slow blues "Mean Little Woman," a credible "What'd I Say," and the swamp blues styled "I Used To Be Down," with its Jimmy Reed's touches and it incorporates Reed's "Down in Virginia." There is a tinge of funk on "Do She Ever Think of Me" as he wonders if she ever thinks about poor Freddie and a Jimmy Reed cover, "Honest I Do."

The album closes with "Bad Chicken," a tune he continues to play today with his chicken scratching guitar. It concludes a welcome release that brings together the best of his Orleans recordings that displays the simple exuberant blues he so capably still plays.

I received my review copy from a publicist. Here is Little Freddie King performing.