That Houserocking Slide Guitarist Lil Ed Williams

This is the text of an article I wrote about Lil Ed that appeared in the August 1998 DC Blues Calendar, the the newsletter of the DC Blues Society. Ed was one of the featured artists at the 1998 DC BLues Festival, and this article was to promote that appearance. I believe I interviewed Ed when he was appearing at Bethesda Maryland's Twist & Shout, a club memorialized in a Mary Chapin Carpenter song. Twist & Shout unfortunately closed many years ago. All the photos are from the 2009 Pocono Blues Festival at Big Boulder Ski Area in Lake Harmony, Pennsylvania. © Ron Weinstock.

There are certain sounds that characterize the blues, and slide guitar is one of them. particularly in the vein of the legendary Elmore James who made a number of pioneering recordings in the fifties and early sixties including Dust My Broom, The Sky Is Crying, and Shake Your Moneymaker. James’ houserocking style has been emulated by countless blues players including Hound Dog Taylor, J.B. Hutto, and Homesick James. One of the modern masters of this tradition is Lil' Ed Williams, nephew of the late J.B. Hutto, who tears into his blues with the ferocious joy that marked his uncle's music. Williams will bring his houserocking music to this year’s D.C. Blues Festival.

A Chicago native, Ed is 42 years old, and he takes great pride in playing in the vein of his uncle. “My uncle was J.B. Hutto. He taught me basically everything |know. He'd come around and play for the family.”Growing up, Ed remembers listening to a lot of Muddy Waters, John Lee Hooker and a lot of the older guys on records. “My uncle introduced me to his first album, which the one I know of, “Hawk Squat. That really fascinated me. We sat down and we played it over and over and over. He laughed about it.“

He remembered parties in the yard where J.B. and his band would come by and play. "My family, my aunts, my uncles. We had a really big backyard, and they would get out there and Uncle J.B. came over with his band. ° They would barbecue and just have cases of beer, and whiskey, and they'd be out there. It was all dirt yard. And they'd be out there — kicking that dirt up.

... He'd be playing so loud everybody in the neighborhood came aon by. Everybody coming in and we stayed. like our house was this side of big yard. And right by us was a big, they call it a honeymoon building then, but it was a big project, and there was an alley between us. And people would line up in this alley coming up to the fence shaky their bodies. It was so wonderful and you know I was real young then. I think I was about 8 or 9 years old. And I thought it was  the most wonderful thing in the world. | wish I could do this."

Too young to get into the clubs his uncle played (Wise Fool or Biddy Milligan’s), the he name often would sneak him in. "Paing a mustache on me, put a big wide hat on me , sneak me in." At the time was playing with Lee Jackson on second guitar, J.D, Buckner on drums and Bombay Carter on bass. It was fascinating to see him play, step on a stage with 100 foot chords. ... A lot easier without a child, but the chord is much more because people get involved, make sure you don’t trip."

When 17, Ed played in a soul group, displaying an unusual chording technique he learned from from Hutto. “This one guy used to play a lot of Temptations, Aretha Franklin, stuff like that. | wind up trying to do chords for him, but by me (being) an unorthodox player, my chords for him was not the same as his and he got upset with me. But it was the same chord, but I wouldn't do it the way (he wanted). He told me I was playing right, he couldn’t understand that when I do the chord, it sounded like his but I was doing like him, but doing a different motion.”

Ed started playing blues around 19. “I started forming my own band. I was going with a girl and her brother. I teached him to play drums ‘cause I knew how to play drums. That was my first instrument, was drums." As a drummer he was self-taught. “I did not look to anybody, I just used to listen to J.B.’s drummer when they came over to play. That’s where I got me feel from.”

Ed writes a lot of material but leaves a lot of room for his band members to develop their parts. He may add a bass part “and my brother, he'll take it (and from it). I like them to improvise themselves. I like them to take control of what they want to do and that way it all blends together. When you have to real deal with a person all you have to a special run, then it gets to be more work, but when they can improvise it and play it the way they feel it, then it’s fun.”

He also doesn't spend too much time rehearsing tunes. “The way I do me it, I kinda surprise my guys. I'll come up with something and I'll let them hear it one time and before they know it, I'll lay it on them.”

Ed’s first recording was for an Alligator anthology Roughousin' that came out in the 1980's, but the session led to a release of a full album. He recalled how it happened. "| used to see Bruce (Iglauer) come in. We used to play at BLUES on Halstead. And he used to come in.He just come in and walk out. But I didn't know who this guy was. My old rhythm player, Dave Weld, know who he was. Dave would grab me by the arm, 'There’s Bruce, There’s Bruce from Alligator records.' I said 'So what man. You know just a man.’

One day Bruce came in real late that night. We were finishing off the last song. He came up, walked up to me. "How ya doing?' 'Yeah, how ya doing?' He introduced himself. I shook his hand.He said, 'How do you guys feel about coming down to the studio and do a collection song.' 'Sure.' Dave was having a fit. Dave knew what was going on. We knew we wanted to make a record. We were going to save our money and go into one of those studios and own the collection. That was me Dave was talking about. I had no construction, no idea what this was all about.

So the next morning we had to get up real early that morning.  | never forget it. I had to go to work. I was working at the car wash and I had to leave the car wash I think at about 10 or 11 o'clock. Pookie was working the car wash, he had to leave and Dave and our drummer met us at the studio. We walked in with our car wash suits on and Bruce laughed and we said we looked funny and we all laughed.

I was kinda shaky. I was kinda scared. so we got in and we started warming up. Bruce said, 'Well, do something.' I had already been writing songs at that point and I started playing some of the old-time stuff that I learned from B.B., Muddy, all then guys. He said, 'That's good. What about some of your stuff.' And I started playing my stuff and everybody that was in the studio started clapping, having a good time and I got excited ‘cause it was like I was in a club. And I started to doing my club antics walking around, walking on my toes, crawling on my knees ‘cause we were all having fun.

“I had never heard studio sound. That’s what really got to me, ‘cause I never heard it coming from. the headphones sounding so good. Sounded really good. Bruce came out after we did 5 or 6 songs. 'You know it sounds real good. Let’s do an album. OK.' Right then, I freaked out. That was the happiest day of my life. ... We cut 30 songs in 3 hours.”

When I mentioned some acts do 4 songs in 3 hours Ed told me about someone once asked him about artists who do a lot of overdubbing and whatever. “I said well that’s their thing, if that's what they want to do. But to me, for me, Number one, time is money. Number two by me working in the car wash I've got that fecling of getting my job done. “Cause I was buffer. So I had to finish, I had to buff cars in 15 minutes. I had to buff it, and detail it In 30 minutes, So that’s the way I work even in the studio, get it done.” If a take is not right they'll try it again not overdub it. However, if they do it three times and still  can't get it right, they drop that song. “Cause you're going to lose it. Not gonna sound no better, it's only gonna get worse. The more you play it, the more you get tired of it.”

Ed has recorded four albums, three for Alligator, and when we spoke in June, was getting ready  to do another album for Alligator. Musically he continues to grow. "I'm improvising more, more different lyrics cause I'm listening to everybody. Then I was just  listening to Muddy Waters. John Lee Hooker, Elmore James. But I'm a music type of guy and I listen to all types. … I've got some stuff I'm working on in [a reggae] groove. When I do songs like that, put those types of tunes. I want to make my own so I have to really improvise, feel it out, You know I got into Chuck Berry about two months ago and I already came up with a couple songs in his style. I've got into Ruth Brown. I see her on the boat when I was on the boat going to the Bahamas. It amazed to see this woman,'cause I never hear her before. However, my wife know who this was. All I knew was about Etta James, Koko Taylor, Billie Holiday. How did I miss Ruth Brown. She is fantastic. I do one of her songs, 'If you want to live happy, don't listen to your so-called friends.' | do that."

While J.B. Hutto is Ed's biggest influence, he only has recorded Hutto's 20% Alcohol. "What I really want to do is make a tribute album to him, because I  know all his songs." J.B. influenced Ed not simply as a guitarist but also as a singer. He mentioned others, "I like Muddy Waters. That's why I hit those deep tones. And stuff like thal.”

Ed got the opportunity to play with J.B. once before his uncle passed at a club Vegetable Biddies in Indiana, "It was so wonderful. he was walking on tables and he gave me a long chord too and he made me jump off the stage. It was just great. I said then. I told him I wanted to play. One thing he told me, ‘You promise me your gonna keep the blues alive then I'll teach you.’ He did. I promised him that and he said 'You keep my tradition going, cause you’re the next one In line' He knew that."

Here is Lil Ed Williams and the Blues Imperials in performance from a Blues Festival in 2008.

Reviews from April 1988

Notes Hot & Blue - This was a column of reviews I wrote for the DC Blues Society's original newsletter, the DC Blues Calendar. This is from April 1988 when it was a two-page flyer. The front-page noted the Blues Society was presenting a concert with Friz Hollway and John Dee Holeman. As noted from my review, Lonnie Brooks was appearing at the Bayou on April 4th.

Lonnie Brooks, in town at the Bayou on the 4th, has a new Alligator album, Live From Chicago- Bayou Lightning Strikes. Brooks has always had strong rock roots, first being part of the Louisiana swamp pop scene before moving to Chicago. This is a pretty tasty set of rocking blues and rhythm & blues which is sure to appeal to those who like blues laced with rock which strikes me as more bouncy than some other recent Alligator albums. As a label on the cover says, this is "Genuine Houserockin’ Music”.

The English Krazy Kat label has been issuing a variety of albums of blues, rhythm'n'blues, and gospel from the Gotham family of labels. A typical album is Big Band Blues (KK814) which includes several swinging selections by the great blues shouter Jimmy Rushing with a band including Bill Doggett and a variety of Basie alumni, a track by J.B. Sumners who sang with Tiny Grimes, three tracks by singer Tiny Tim (Timothy Flair, not the 60s" pop figure), and a jumping band led by trombonist Ernie Fields. Solid swinging and jazzy stuff.

A recent reissue, Alley Special (KK 820) represents  Sometime of a coup. This album includes Muddy Waters’ first commercially issued recording, "Mean Red Spider" from 1946 appeared on the 20th Century label as by James ‘Sweet Lucy" Carter. Muddy sings strongly and is backed by an urban blues band which includes strong piano and alto sax but some awful Soprano sax. Other recordings on this include the fine Detroit bluesman, Baby Boy Warren, a previously unissued Eddie Burns track, a track by harmonica player Sonny Boy Johnson (influenced by the 1st Sonny Boy Williamson) and several tracks by Texas bluesman Wright Holmes.

More unissued Eddie Burns along with some excellent John Lee Hooker can be heard on Detroit Blues 1950-1951 (KK 816). The Hooker sides are Strong solo recordings including an early version of “House Rent Boogie". The Burns selections feature some tough harp and a rough down home blues band with John Lee Hooker's quitar evident on a couple tracks. Great Downhome blues.

I likely received a review copy of the Lonnie Brooks from Alligator Records. I likely purchased the three Krazy Kat releases (which were English). The Krazy Kat label no longer operates and I believe its releases are out-of-print although maybe available as CDs from Collectables.

Long John Hunter Border Town Legend

Long John Hunter
Border Town Legend
Alligator Records

Long John Hunter's exhibitionistic electric blues is fields removed from Cephas and Wiggins. With years of playing all night at the Lobby in Juarez, Mexico, across the border from El Paso. His gigs became legendary as he would swing from the rafters or stroll outside with his long guitar chord. So were his
45s for the New Mexico Yucca label. A couple years back, the now defunct Spindletop label issued his first cd, and this new follow-up, "Border Town Legend," is now on Alligator. 

Long John Hunter is an old fashioned Texas guitar slinger and vocalist. While B.B. King is his original influence, his cutting, guitar shows as much influence from T-Bone and other Texas based blues guitarists. One track, "Long Star Shootout" is a playful guitar battle with Hunter's guitar opening and closing, while sandwiching solos from Derek O'Brien, Johnny Nicholas, Joe Kelley and young Guitar Jake Andrews (son of Sam Andrews, guitarist for Janis Joplin and Tracy Nelson). His gritty singing is a strong point, too. His phrasing is right on the button, and the slight rasp in his vocals goes down like a smooth ale. In addition to his own playing, Art Lewis, his fabulous saxophonist, gets several spots to lay down some tough tenor solos including on the rousing "Ole Red" and his down in the alley spot on "Arkansas." 

While his covers of "Grits Ain't Groceries" and "Everybody Knows," are solid, they don't add anything to the better known originals. The strength of this collection is the originals, like the jaunty "Nasty Ways," co-authored with producers Tary Owens and Jon Foose, or the opening "T-Bone Intentions." Matched with some of Austin's finest players, it is a welcome straight, no chaser Texas blues album which will not disappoint those who have seen hirn live or heard his earlier recordings.

This review appeared in the March 1996 Jazz & Blues Report. I received my review copy from Alligator Records. I see Amazon sells this as a CD-R but it is available used from various, and one can listen to this recording on various streaming services. Here Long John Hunter performs a Gulf Coast classic, "Irene."

Cephas and Wiggins Cool Down

Cephas and Wiggins
Cool Down
Alligator

John Cephas and Phil Wiggins are perhaps the premier acoustic duo in the blues today, and they certainly do nothng to tarnish that reputation with their first Alligator album, "Cool Down." Given the substantial body of recordings they have previously made, the present album provides variety in the musical settings. 

In addition to straight duets, Phil's brother Skip adds bass and vocals on places, Kentucky Travis-style guitarist Eddie Pennington adds his touch to several songs, a small combo with clarinet and piano by Daryl Davis enliven a couple of tracks, and on a version of Skip James' "Special Rider," Djimo Kouyate plays the kora, an African stringed instrument. There are also personal renditions of songs from Blind Boy Fuller ("Screaming and Crying"), Bessie Smith ("Backwater Blues"), Fats Domino ("Going to the River"), and Reverend Gary Davis ("Twelve Gates to the City"). 

While generally thought of as a light, bouncy, ragtime flavored music, the Pledmont-inspired blues Cephas and Wiggins play on this disc has a sober, restrained character, which this writer detected on even the uptempo numbers such as the opening "Action Man," and "The Blues Will Do Your Heart Good." A somberness pervades much of this,and those looking for some Blind Blake style ragtime fingerpicking or the like will not find it here. What one will find here are very thoughtful, measured blues that repay careful listening.

This review appeared in the March 1996 Jazz & Blues Report. I likely received a review copy from Alligator Records. Here is  a live performance from the 2003 Smithsonian Folklife Festival.

Christone "Kingfish" Ingram - 662

Christone "Kingfish" Ingram - 662 - Alligator Records

Only 22, Christone "Kingfish" Ingram already made a mark with his debut album "Kingfish." He has been playing before people most of his life. "About that prior album, I observed that Kingfish was a terrific guitarist with a heavy blues-rock pull out all the stops on most of the electric tracks on this. I really don't enjoy his guitar fireworks as much as I do his singing. He is an outstanding vocalist with plenty of warmth and expressiveness with an unforced delivery." 

Like the prior album, Tom Hambridge produced this and plays drums on the album. Others in the studio on various selections include guitarists Kenny Greenberg and Bob Britt: bassists Glenn Worf and Tommy MacDonald, and keyboardist Marty Sammon. Max Abrams on sax and Julio Diaz on trumpet are heard on one song. One selection has "Kingfish" backed by Nick Goldston on Drums, Bass, Piano, Keyboard, and Acoustic Guitar with backing vocals from Brooke Stephenson. Most of the songs are by Kingfish with Hambridge and Richard Fleming.

There is a celebration of his North Mississippi roots on the title track that opens this recording with a searing guitar rockin' blues solo as celebrates the Mississippi Delta 'the birthplace of this he blues. Another song, "Not Gotta Lie," is a biographical snippet of his brief musical life as against a heavy funk groove with a blazing blues-rock solo before testifying blues is where he comes from and is his history. Then he celebrates Mississippi juke joints, "Too Young To Remember," where he sings about having heard about juke joints where whiskey used to flow. Kingfish may be too young to remember but old enough to know. There is more funk and searing blues-rock guitar on this track. Another bit of musical autobiography is "Something in the Dirt," where there is magic in the music, but must be something in the dirt as he sings about playing his first gig at Red's when he was 11.

Against a rock groove, he sings about life on the road as on "Long Distance Woman," the one who wakes him on the phone and accuses him of doing wrong. This listener prefers the Memphis soul-blues "That's All It Takes," with riffing horns and a more laid-back backing behind his outstanding singing and straight blues picking. Another song about a relationship breaking is "You've Already Gone," with an almost jazzy guitar attack. "I Got to See" sounds like a Robert Cray song with sterling rock and roll guitar and superb singing. He pulls all the stops on guitar on a terrific slow blues, "Your Time Is Gonna Come."

Also stunning are his observations on "Another Life Goes Back," where he wonders where hate comes from and how can we stop the madness. Kingfish's guitar playing evokes Albert King on this track. A bonus track, "Rock and Roll," is a tender song devoted to his late mother, backed by Nick Goldston, who provides the evocative backing. 

Even if some of the blues-rock trappings may not be to my taste, Christone' Kingfish' Ingram plays superbly throughout, whether rocking out or channeling Albert King. And he is one of the best young singers in the blues world today. If he did not play guitar, he still would have great appeal. With the outstanding "662," Christone 'Kingfish' Ingram further establishes himself as an impressive new blues voice.

I received a download to review from Alligator Records. The song, "662," is currently available as a single. The full album will be available on July 23. Here is "662.

Koko Taylor and Philip Walker Reviews

 

Koko Taylor - The Old School - Alligator Records

As the title suggests, the recording is directed to hard-hitting, old-school Chicago blues and includes interpretations along with some originals. Chicago's Blues Queen Koko Taylor handles them in her own hold-nothing back style. One track is by The Blues Machine, and the other eleven tracks have a studio band led by Criss Johnson and drummer Willie' The Touch' Sutton (featuring guest appearances from Bob Margolin, Billy Branch, and Kaz Kazanoff. 

Most of the new tunes are from Koko herself. Gonna Buy Me a Mule is a striking song as she tells her man she's gonna take the place of him. The jaunty warning, You Better Watch Your Step, with Billy Branch playing some Jimmy Reed inspired harp. Bob Margolin adds slide guitar to Memphis Minnie's "Black Rat, and Lefty Dizz's Bad Avenue. The arrangements of both tunes are a bit cluttered, though, and the performances come off as too hectic. If Criss Johnson's arrangements allowed more space in the backing, Old School would have sounded more like Koko's first Alligator album, and I Got What It Takes. 

I have no fault with Koko's performances as she sings really well here-sounding so at home with the material. It's also nicely programmed with very nice covers of a couple songs associated with Muddy Waters, Don't Go No Further, and Young Fashioned Ways. I just wish the attempt at being 'old school' by the band had a bit lighter, more swinging groove than they play with here.

Phillip Walker - Going Back Home - Delta Groove

Going Back Home finds the Gulf Coast native and longtime West Coast bluesman in solid form. The strength of the Delta Groove disc is Walker's characteristically strong vocals (with just a hint of sandpaper in his voice) and a rocking/swinging guitar. 

Producer Randy Chortkoff has selected a solid backing band, including guitarist Rusty Zinn, Jeff Turmes on bass (and sax for a few tracks), Richard Innes on drums. Chortkoff also provided Walker with a great pack of songs from mighty pens. Eddie Snow's Mean, Mean Woman features an accompaniment derived from Junior Parker's Mystery Train. An original Chortoff song, Honey Stew, evokes Lightnin' Hopkins. The band might have limbered up on some of the grooves of Lightnin' Hopkins' Jewel Recordings. 

The backing is a bit too upfront, and the music loses some of its regional flavor. One wishes the rhythm section was not right on the beat. If it were more like the laconic Excello groove, the sound would have been better. These are still very good recordings, with Walker first-rate throughout. His takes on "Blackjack", "Leave My Money Alone," "Bad Blood," and Walking With Frankie" are particularly outstanding, and if not a perfect date, there is still plenty to enjoy.

These reviews appeared in a 2007 DC Blues Society newsletter. I received my review copies from the record companies or a publicist.

LUTHER ALLISON - Live In Chicago

LUTHER ALLISON - Live In Chicago - ALLIGATOR 

The late Luther Allison certainly emerged as among the most exciting live blues performers in his too-brief American comeback of 1994 to his passing in 1997. While there are some excellent live albums of Luther in Paris and at the Montreux Jazz Festival on Ruf, Alligator has just issued Live in Chicago, a two-disc set of live performances, anchored by his June 1995 Chicago Blues Festival performance. Also included are November 1995 performances at Buddy Guy’s Legends and May 1997 performances from Lincoln Nebraska’s Zoo Bar, the latter being among what would be his last.

Backed by the James Solberg Band augmented by the Memphis Horns, Luther opens his Chicago Festival performance with an incendiary rendition of Soul Fixin’ Man, sung with as much passion as his guitar possessed fire. The Chicago Fest performance is laced with impassioned renditions of Cherry Red Wine and Bad Love (the latter featuring a dialog between Luther and his guitar. A rendition of Hound Dog Taylor’s Give Me Back My Wig is taken at supersonic tempo, a bit fast, although Luther cleanly sings the lyrics and rips out his slide guitar solo. This performance is not from the festival but from the Legends recordings. Perhaps some audio problems with the festival performance resulted in the substitution of this recording. It is followed by another slide feature, It Hurts Me Too with Allison pouring everything into his vocal. 

The first disc concludes with Luther and Eddie Campbell joining Otis Rush for a medley Gambler’s Blues, (first waxed by Dinah Washington), and Sweet Little Angel (which goes back to Lucille Bogan’s Sweet Black Angel). It is a memorable jam as Rush and Allison sing with fire and all three layout some strong licks. The second disc continues in the same spirit, with originals like All the King’s Men and Will It Ever Change heard along with covers of What Have I Done Wrong and Everything’s Gonna Be All Right. 

Some of the most memorable performances I ever attended were from Luther Allison, and this release probably best showcases the power and passion he brought to the stage.

I received a review copy from Alligator. This review originally appeared in the November-December 1999 Jazz & Blues Report, although I have made minor edits. Here is a video of Luther performing "Bad Love" from another show.

Alligator Records--50 Years Of Genuine Houserockin' Music

Various - Alligator Records--50 Years Of Genuine Houserockin' Music- Alligator Records

Alligator Records is celebrating its 50th Anniversary this year and, as it has in past years, compiled, 40th Anniversary Collection, a three-CD compilation of 58 recordings from the label since it released Genuine Houserockin' Music by Hound Dog Taylor, which label founder Bruce Iglauer says is the mantra that still governs the label. However, he notes the label no longer just records blues, even if the artists are deeply rooted in the blues tradition. There is also a double LP vinyl edition with twenty-four selections.

Given the diversity of contents and the purpose of this collection, it is not my intent to review the contents here. I suspect folks will find selections they don't like and others they think are timeless. Besides celebrating Alligator Records history, this compilation hopefully will introduce some of the artists and recordings that some may be unfamiliar with. There are vintage selections from Koko Taylor, Hound Dog Taylor, Son Seals, Fenton Robinson, and Albert Collins. Also, there are contemporary acts like Michael Burks, Tommy Castro, Shemekia Copeland, and Selwyn Birchwood. 

There is a selection from the Grammy Award-winning collaboration between Albert Collins, Johnny Copeland, and Robert Cray, a track from Professor Longhair, a live Luther Allison track, a selection from Saffire-The Uppity Blues Women, and a duet between Corey Harris and Henry Butler. Other performers represented here include Guitar Shorty, Billy Branch, Joe Louis Walker, Janiva Magness, JJ Grey & Mofro, Tinsley Ellis, and Coco Montoya. Also, many of the recent albums on Alligator are represented, including tracks from Chris Cain, The Cash Box Kings, Curtis Salgado, The Nick Moss Band featuring Dennis Gruenling, Toronto Cannon, Rick Estrin & The Nightcats, Elvin Bishop & Charlie Musselwhite, and Roomful of Blues.

In addition to his overview of Alligator's history, label head Bruce Iglauer provides short bios of the various acts. I believe his concluding comments to the liner notes states things very well, 

"Today, after 50 years, Alligator remains proudly independent and still 100% dedicated to Genuine Houserockin' Music. With a roster that includes beloved veterans like Marcia Ball, Lil' Ed & The Blues Imperials, Elvin Bishop and Roomful Of Blues, rising stars like Selwyn Birchwood and Toronzo Cannon, and the 22-year-old sensation Christone "Kingfish" Ingram, we are committed to the past, present and future of the tradition. Now that illegal downloading has been replaced by digital streaming services reaching around the globe, Alligator's music can be heard in China, India, and across Africa, and in other countries where it was never available in physical form. Hound Dog Taylor & The HouseRockers would be amazed to see what happened to the tiny record label, now with over 350 releases, that was created to bring their music to the world. They'd be thrilled to know that billions of people can now discover the joyous houserockin' blues that they played every Sunday at Florence's Lounge."

"Alligator Records-- 50 Years Of Genuine Houserockin' Music" is a vibrant celebration of the impressive (and still growing) body of music produced by Alligator Records and Bruce Iglauer.

Alligator Records provided a download to review.

Curtis Salgado - Damage Control

Curtis Salgado - Damage Control -Alligator Records

Listening to Curtis Salgado's new album (his fourth for Alligator), I found his soulful singing evoking Solomon Burke. I am not suggesting conscious copying, but rather similarity in their voices. This similarity is perhaps most evident in the opening "The Longer That I Live," a fresh original from Salgado, Mike Finnigan, and another that has him sing about growing older, the challenges he faced, and that the older he is, "the older I want to get." Finnigan adds some sterling organ, Jim Pugh is on piano, while Kid Andersen provides some scintillating guitar. Another original, the funky "What Did Me In Did Me Well," has a philosophical reflection about a relation he ruined. He adds some harmonica against the same sterling backing band.

Contrasting to these two numbers' southern style is the New Orleans to Memphis rock and roll of "You're Going To Miss My Sorry Ass," with Kevin McKendree's rollicking piano and George Marinelli's piano. While his singing is not evocative of Solomon Burke here, Salgado ably delivers these witty vocals. McKendree and Marinelli (on slide guitar) are also on the southern roots rock-flavored "Precious Time." Then there is the Tex-Mex accent of "Count of Three" with guitarist Johnny Lee Schell, organist Mike Finnigan, pianist Jim Pugh, and drummer Tony Braunagel. Then there is a terrific soul ballad, "Always Say I Love You (At The End Of Your Goodbyes)," with Jackie Miclau replacing Pugh on piano. It is a further demonstration of the variety to be heard on this recording. 

The 13 songs on this album were captured at sessions in Nashville (engineered by McKendree), Studio City, California (engineered by Schell), and Santa Clara, California (engineered by Andersen). Salgado has had difficult health issues in the past, but listening to his vibrant, robust singing, one would never guess that. Add first-rate backing and terrific originals to Salgado's top-flight vocals, and one has an outstanding recording.

I received a download to review from Alligator Records. Here is "The Longer That I Live."

Chris Cain - Raisin' Cain - Alligator Records

It has been a little over a decade since I reviewed Chris Cain's album "So Many Miles ( Blue Rock'It)." As I wrote then, Chris Cain has been playing his blues with a jazzy twist on the West Coast for quite some time. He recorded for the Ford Brothers' Blue Rock'It label and Blind Pig Records and built up quite a body of excellent recordings matched in quality by his live performances. A reference point for Cain's sound might be B.B. King (who his dad first took him to see with he was three), notably the King when he collaborated with the soulful, jazzy grooves provided by the Crusaders (think of King's rendition of "Never Make a Move Too Soon"). Add a dose of Albert King's guitar sound, and one has an imposing performer.

He recently was signed to Alligator Records, and this is his initial release for the label. It was recorded at Greaseland Studios and produced by Kid Andersen. In addition to his guitar, vocals, and keyboards, Chris Cain is backed by Greg Rahn on keyboards, Steve Evans on bass, and either Derrick "D'mar" Martin or Sky Garcia on drums and percussion. Kid Andersen adds rhythm guitar, acoustic guitar, or melodica to several tracks. Michael Peloquin adds saxophone, Mike Rinta plays trumpet, Jeff Lewis is heard on trombone, and Doug Rowan is on baritone sax on various selections. 

Cain wrote all twelve songs, ranging from funky uptown blues, scorching shuffles, and down-home southern soul-blues. Cain's robust, passionate singing and his striking note-bending and inventive solos capture one's attention throughout with excellent backing. The songs themselves offer fresh takes on familiar blues themes. The opening "Hush Money" has Cain singing about keeping his high finance lady happy, as she helps herself to anything he makes. Against punchy horns, Cain shouts about paying her hush money to keep her quiet with a tight guitar break. Then there is an energetic shuffle, "You Won't Have A Problem When I'm Gone," with a lyric reminiscent of Percy Mayfield. Cain sings about her mistreating him, and if she thinks Cain is the problem, she won't have a problem when he is gone with a heated guitar solo set against riffing horns. 

Other songs include the Memphis soul-flavored topical blues "Down on the Ground" about people trying to survive. When one is down on one's luck, no friend is around, and so many people want to kick someone when one is down. Albert King's influence is perhaps most evident during "I Believe I Got Off Cheap," with a solo that channels King's distinctive sound against the riffing horns. It is a gem on an album of stellar performances. Then there is the stunning, autobiographical, "Born To Play," as he recalls his parents and growing up in a house full of music, seeing Ray Charles and B.B. King when they came to town and learning to play his father's guitar. 

With excellent original material, outstanding vocals and guitar, and first-rate backing, Chris Cain's "Raisin' Cain" latest may be the finest album of Chris Cain's very distinguished career.

I received a download to review from Alligator Records. Here is a video of Chris Cain along with Kirk Fletcher.

Shemekia Copeland Uncivil War

Shemekia Copeland
Uncivil War
Alligator Records

It is amazing to see how it has only been 22 years since Shemekia Copeland's first album came out. Indeed, the promise of that album has been fulfilled many times as she is generally regarded as today's Queen of the Blues. But as she has matured, she has shown that being viewed as a blues artist is no longer a confining description as she readily and convincingly crosses over to musical genres. It can be suggested that her latest album "Uncivil War" is as much a roots and soul recording as a blues recording. This sentiment is a descriptive comment and not a comment on this recording's quality. "Uncivil War" is a superb recording.

"Uncivil War" was recorded in Nashville with award-winning producer and musician Will Kimbrough at the helm. There is quite a crew of musicians on this recording. In addition to Kimbrough, the core band consists of Lex Price on bass and Pete Abbott on drums. Guest musicians on "Uncivil War" include guitarists Jason Isbell, Steve Cropper, Christone "Kingfish" Ingram, Webb Wilder, and Duane Eddy. Also present are mandolin wizard Sam Bush, dobro master Jerry Douglas, and Phil Madeira on organ and guitar.

The material is striking, starting with the opening "Clotilda's On Fire," written by Kimbrough and Shemekia's manager John Hahn. It is the story of the very last slave trade ship to arrive in America (in Mobile Bay, Alabama) in 1859, 50 years after the slave trade was banned. The ship was burned and sunk by the captain to destroy the evidence. The wreckage was finally discovered in 2019. Shemekia's passionate singing is matched by the backing than includes a scorching solo from Jason Isbell. Then follows a terrific Staple Singers-esque message song, "Walk Until I Ride," with Shemekia in total command. I do feel there is a certain naivety to the lyric of the title track. However, Copeland authoritatively delivers the message of cooling down hostilities with folks having differing views. Jerry Douglas and Sam Bush lend an American feel to this track.

"Money Makes You Ugly" is a hard rock performance where she wails about those with money who abuse folks and the environment with a searing guitar solo by Christone "Kingfish" Ingram. There is an affectionate tribute to Dr. John, "Dirty Saint," with a second line beat and some nifty slide guitar from Kimbrough. After an atmospheric cover The Rolling Stones' "Under My Thumb," there is the hard rock "Apple Pie And A .45" that addresses gun violence with lyrics about a child getting killed and blood running in the streets.

Other musical delights include "She Don't Wear Pink" that Webb Wilder co-wrote. Wilder and Duane Eddy add to the alternative country feel of a song with a definite pro-feminist slant. Shemekia is superb in her interpretation of a lesser-known Junior Parker recording, "In the Dark." Steve Cropper adds his guitar to a superlative blues performance. A terrific country-soul flavored rendition of her father's "Love Song" is the final track on an outstanding recording by one of our musical treasures.

I received a download to review from Alligator Records. Here is "Clotilda's On Fire" from this album.

Elvin Bishop & Charlie Musselwhite 100 Years of Blues

Elvin Bishop & Charlie Musselwhite
100 Years of Blues
Alligator Records

The title of this first full album by blues veterans Elvin Bishop and Charlie Musselwhite refers to time playing blues if one added their careers together. It was also a selection that the two recorded together on one of Bishop's Big Fun Trio albums, which is reprised here. Bob Welsh on piano and guitar joins them, with Kid Andersen playing bass on four selections. The result is an album with has a loose back-porch party feel of Bishop's recent Big Fun Trio recordings.

The loose jam fell starts with Bishop's party celebration of the blues "Birds of a Feather." Even though there is no drummer present, the performances are rhythmically dynamic. Musselwhite plays his harp with a robust, full-bodied tone. His vocals sound a bit more upfront than some of his recent recordings . He does credit to Roosevelt Sykes' "West Helena Blues" with Welsh on piano. "What the Hell" is a topical blues that was issued on the Alligator "2020 Blues" sampler. "Good Times" is a solid Musselwhite original with Bishop channeling Robert Nighthawk while Charlie ponders about where did all our good times go.

Bishop does an atmospheric cover of Leroy Carr's "Midnight Hour Blues" with Musselwhite contributing some harmonica to contribute to the performance's mood. Musselwhite's "Blues Why Do Worry Me" is a rowdy Chicago shuffle with Welsh adding sterling piano, while Bishop's "Chicago Slide" sounds like a nicely played reworking of Thelonious Monk's "Blue Monk." This recording's highlight may be Musselwhite's "Blues For Yesterday," a nostalgic recollection of "when times were tough, but we had fun." The album closes with the new recording of the title track as they recollected about the Chicago of five decades past when they were first coming out.

The recording of a drummer-less Chicago blues recording is not unprecedented. Listening to this, I thought of some of Norman Dayron recordings (often issued on Testament) by Johnny Young, Otis Spann, and others that often were without drummers. Like those recordings, there is plenty to enjoy here. Bishop and Musselwhite sound like they had a blast recording this, and folks will have one listening to it.

I received a download to review from Alligator Records. Here are Elvin and Charlie performing Tampa red's "Don't You Lie To Me" from February of 2020.

2020 Blues—New Music From Alligator Records

Various Artists
2020 Blues—New Music From Alligator Records
Alligator Records

This is a digital-only sampler from 5 albums that Alligator was going to release this year. Unfortunately, the Covid-19 pandemic intervened and eliminated nearly all live performances and the like. In Bruce Iglaur's words, "It's now clear that the pandemic and its results are going to continue for some time to come. We can't wait any longer to begin to share this great new music with the media and the public. … These albums are scheduled for later this year and early next year. 2020 Blues and each individual track will be available on all the popular download and streaming sites."

This compilation is a welcome teaser for the five upcoming albums. The first selection up is from Chris Cain, whose "I Believe I Got Off Cheap" is from an album to be released early next year. I have been quite a fan of Cain for years, and it is great that he will have a new album. This song is a terrific track on which he channels Albert King's guitar style paired with his soulful vocals. Following you is a selection from Selwyn Birchwood, "Living In A Burning House." From a release schedule for January, it is a typical first-rate performance from one of the real young blue bloods.  Also scheduled for release next year is a new Curtis Salgado album. The track "The Longer That I Live" is a stunning Memphis soul performance. If the rest of this album is this good, it is another most purchase.

Both Shemekia Copeland and Elvin Bishop-Charlie Musselwhite will have new albums out this year, Shemekia, in October and Elvin-Charlie in September. Both of their songs deal with the deep divide in our country now. Shemekia sings "Uncivil War," a plea for us to get along, although her plea "to listen to one another and, ultimately, come together" may strike some as naive. The striking performance is more Americana than blues, and it is good to see her showing how expressive she can be no matter the musical setting. The raucous "What The Hell?" is a rowdy duet with Bishop singing about things ailing our country and talking about what he likes about the President, which is nothing, Musselwhite wails throughout this track. It certainly makes one quite interested in their collaboration.

In summary, quite an appetizer for these upcoming releases with some terrific music. It is available from Alligator Records (https://www.alligator.com/albums/2020-Blues---New-Music-From-Alligator-Records/) and the usual digital outlets.

I received a download to review from Alligator Records. Here is a video of Chris Cain performing and channeling Albert King.

 

Bitten By the Blues: The Alligator Records Story Bruce Iglauer and Patrick A. Roberts

Bitten By the Blues: The Alligator Records Story
Bruce Iglauer and Patrick A. Roberts
Chicago: University of Chicago Press
2019: 338pp

I met Bruce Iglauer in the Spring of 1971 when I traveled to Kent, Ohio, to see Mighty Joe Young perform at The Kove. Bruce was accompanying Young who was playing in support of his Delmark album, "Blues With a Touch of Soul." The next day, Bruce and Mighty Joe Young came to the WRUW-FM studios at Case Western Reserve University, where I hosted a weekly blues program. It was the beginning of a relationship that still exists. I would next see Bruce after he founded Alligator Records and accompanying Hound Dog Taylor on his performances. I got to know not only how hands-on Bruce was in producing records, but also the extent of what he did in promoting the records and his artists. "Bitten By the Blues," tells the story of how he became more than merely a blues fan and created one of the signature blues record labels of the past five decades.

We are taken from Iglauer's childhood, going to college, seeing John Coltrane in concert, and then seeing Fred McDowell at a Chicago folk festival which is what instigated his passion for the blues. Bruce would help book Howlin' Wolf at his college, and moving to Chicago after graduation where he worked at the Jazz Record Mart and Delmark Records. He would also be going to Chicago blues clubs, helping found Living Blues magazine, and much more.

Of course, the story includes Bruce's discovery of Hound Dog Taylor, and efforts to get him on record. These efforts led to the formation of Alligator Records and the rest is the history of the label's history and artists. We meet Son Seals, Koko Taylor, Fenton Robinson, Albert Collins, Lonnie Mack, Lonnie Brooks, Katie Webster, Professor Longhair, and so many more artists. We learn how they artists to Bruce's attention, what was involved in recording these blues masters. Iglauer also details  efforts by Alligator to promote these artists to different markets and radio. There is plenty about what was going on behind the scenes as radio programming changed, and how, with few exceptions, radio became less open for independent and blues artists. He also details his brief efforts to issue reggae music that he licensed from Jamaican labels and also record and promote artists whose music impressed him in ways similar to the blues. These include Eric Lindell, and JJ Grey and Mofro.

He does not go into every artist or recording that Alligator released records of. For example, the late Johnny Heartsman's "The Touch" I believe is an undeservedly less well-known gem of the label. I would have loved to know how Heartsman and Bruce connected. I understand that he could not chronicle every single recording or artist, or this book would be double in size. The book does list every record Alligator released through 2018. I do not know if the paperback release of this book has updated this list. I want to add that it has been some months since I read this, so I have been very general in summarizing its contents.

Alligator continues to release new music whether from established blues and roots performers like Tinsley Ellis, Marcia Ball, Rick Estrin and the Nightcats, Shemekia Copeland and Roomful of Blues as well as new voices like Nick Moss with Dennis Gruenling, The Cash Box Kings, Selwyn Birchwood, Lindsay Beaver, and Toronzo Cannon. "Bitten By The Blues" is a welcome addition to books about the blues. Thankfully the story it tells continues today and hopefully for many more years.

I purchased this book. Here is a short Alligator Records playlist starting with Johnny Heartsman's "Paint My Mailbox Blue."

Next up is Hound Dog Taylor with "She's Gone."

Koko Taylor is next with "I Got What It Takes" from her first Alligator Album."

Son Seals follows with a cover of "Mother-In-Law Blues," from his debut album.

  

For this short playlist, we conclude with a selection from another less-well-known gem on Alligator, the piano-guitar duets of Henry Butler and Corey Harris, here heard on "Let Em Roll" from the album "Vu Du Menz."

In a Roomful of Blues

Roomful of Blues
In a Roomful of Blues
Alligator Records

Roomful of Blues has been delivering its brand of rocking, horn-driven blues for over a half-century. It has been led by the likes of Duke Robillard, Ronnie Earl, and Sugar Ray Norcia. Currently, it is co-led by guitarist Chris Vachon (been with the band for 22 years) and saxophonist Rich Lataille (who has been in the group since 1970). The other members of Roomful on this cd are vocalist Phil Pemberton, drummer Chris Anzalone, bassist John Turner, keyboardist Rusty Scott, saxophonist Alek Razdan, and trumpeter Carl Gerhard.

Roomful of Blues has received so many accolades and awards over the years. This latest recording is sure to add to those. Vachon and others contributed the original songs that dominate this release, although there are two covers of some obscure blues songs. It has been fascinating to see Roomful evolve from a jump blues and boogie-woogie band based in the sounds of T-Bone Walker and Big Joe Turner into a modern urban blues band rooted in the sounds of the Duke recordings of Bobby Bland and Junior Parker, and the Memphis sounds from Stax and Hi Records. They still can dig into the jump blues vein as shown by the arresting cover of an early Doc Pomus recording, "Too Much Boogie." There is also a driving rendition of Buddy Ace's "What Can I Do" with the horns displaying the influence of the great Joe Scott, who arranged so many Duke Records classics.

The album sports fabulous original material including the humorous "Phone Zombies" about folk glued to their smartphones; the rollicking rock and roll of "We'd Have a Love Sublime"; a touch of zydeco for "Have You Heard"; and "Carcinoma Blues," about the real blues dealing with treatment for cancer. Phil Pemberton sings as well as he ever has, and the band is consistently superb in support of the vocals. The horn arrangements are first-rate, and Vachon and the horns have plenty of space to shine. Roomful has produced some excellent music over the years, and this recording may be one of their best.

I received my review copy from Alligator. This will be out on March 13. Here is a promo video for the CD.

 

Tinsley Ellis Ice Cream in Hell

Tinsley Ellis
Ice Cream in Hell
Alligator Records

"Ice Cream in Hell" is Tinsley Ellis' 11th album for Alligator Records. There will be no surprises for fans of Ellis' mix of blues and blues-rock filled with his searing guitar and robust blues shouting. Co-produced by Ellis with Kevin McKendree (who plays keyboards (and guitar on one track). Others on this include Steve Mackey on bass and Lynn Williams on drums and percussion. Jim Hoke and Quentin Ware play sax and trumpet respectively on two songs.

In addition to his rocking blues playing and vocals, Ellis is an excellent songwriter who coins intriguing phases in his lyrics. He opens "Don't Know Beans," with "If dogs could talk, about what they see… they would really tell it all, so you don't know beans," as he tells his lover who is she going to believe, Tinsley or her loving eyes. Set against an emphatic groove, Ellis delivers a dynamic performance about a relationship blowing up. Relationships breaking up is a common theme as he sings that they will serve ice cream in hell before he takes his lover back. Besides his robust vocals, there is plenty of crisp, torrid guitar.

Then there is the brashly played shuffle, "Foolin' Yourself," a passionately sung slow, minor-key blues, "Hole in My Heart," and a slide guitar feature "Sit Down Mama" on which McKendree plays rhythm guitar. This latter number sounds like a tribute to Hound Dog Taylor with its house-rocking groove and high energy slide guitar that evokes Taylor. It also sports one of Ellis' best vocals here. Other sterling performances include "Everything and Everyone" with its Latin groove and Ellis evoking Santana's guitar playing, and "Unlock My Heart" where Ellis' guitar channels Johnny 'Guitar' Watson. There is outstanding guitar playing, solid and tight backing, and first-rate originals resulting in another excellent Tinsley Ellis CD.

I received my review copy from Alligator Records.  Here is "Last One To Know" from this CD.

Cephas & Wiggins Homemade

Cephas & Wiggins
Homemade
Alligator Records

 I’m sure many of your are already familiar with the talents of John Cephas, one of today’s leading exponents of Piedmont blues fingerstyle guitar, and a singer whose honey-tinged vocals suggest the legendary Big Bill Broonzy. One should not forget that his partner, Phil Wiggins is a marvelous master of the blues harmonica whose subtly nuanced playing and solos complement and enhances Cephas’ singing. The two have become favorites around the world with their distinctive sound.

"Homemade" is a mix of some classic blues songs that should be highly familiar to their many fans along with some strong original blues. Included are such staples of their live concerts as Blind Boy Fuller’s "Mamie" and "Pigmeat," Memphis Minnie's "Me and My Chauffeur," and Skip James’ "Illinois Blues." While I believe some of these songs have been recorded by the duo before, those recordings may have been only on out-of-print tapes or records. All of these songs receive very personalized and thoughtful interpretations. Daryl Davis adds his strong piano to the rendition of "Worried Life Blues," which is dedicated to the late Big Chief Ellis, with whom Cephas and Wiggins played with years ago. There is also a fine idiomatic rendition of the classic "Trouble in Mind" which mistakenly lists the Richard Jones composition as traditional.

Additionally, the album contains a number of new songs including one about the dangerous "Spider Woman" that Mike McQuade contributed the lyric to while Cephas composed the melody. John, Phil, and producer Joe Wilson combined to put together the bawdy original, "Jelly Roll," and Phil wrote the original "Sounds of the Blues," on which he takes the vocal. Cephas’ describes his own "I Was Determined,"  simply as “That’s mine, my story,” as he sings about his life in music. This is another solid recording sought after by their already existing fans and certainly serves as a nice introduction to their music.

This review originally appeared in 1999 in issue 238 of the Jazz & Blues Report. I received my review copy from Alligator Records. Here are the two performing at the White House in 1999.

 

Coco Montoya Coming in Hot

Coco Montoya
Coming in Hot
Alligator Records

"Coming In Hot" is the latest Alligator release from blues-rocker and powerhouse guitarist Coco Montoya. Like his prior recording, "Hard Truth," this is produced by drummer Tony Braunagel and recorded by Johnny Lee Schell, who plays rhythm guitar on wight of the 11 tracks. Others on this recording include Mike Finnigan on keyboards, Billy Watts on rhythm guitar on three songs, and Bob Glaub or Mile Menell on bass. Jon Cleary plays piano on one selection.

Montoya's searing guitar and forceful vocals continue to impress those who like a solid blues-rock mix. He certainly puts so much into his singing as on "Good Man Gone." The title track has a catchy, rhythmic groove as he tells his woman to get her fire burning as he is coming in hot tonight with a stunning guitar solo. He channels Albert Collins on Collins' classic slow blues, "Lights Are On But Nobody's Home," with terrific guitar and one of his most compelling vocals here. Warren Haynes' ballad, "What Am I?" is a nice change of pace with his relaxed vocal and the somewhat restrained backing, although he takes a fiery solo. There is a cover of a less-known Bobby Bland recording, "Ain't it a Good Thing." Shaun Murphy shares the vocal on this splendid performance with some terrific blues guitar from Montoya.

A rocking shuffle "Water to Wine" closes this album with Montoya celebrating this woman who can do almost anything such as change 'water to wine.'" It closes another CD of varied, nicely paced, and played performances. Coco Montoya continues to deliver the goods for those who like their blues with a rock-edge.

I received my review copy from Alligator. This review appeared in the September-October 2019 Jazz & Blues Report (Issue 386), although I made minor stylistic changes. Here is a relatively recent performance by Coco Montoya.

The Nick Moss Band Feat. Dennis Gruenling Lucky Guy!

The Nick Moss Band Feat. Dennis Gruenling
Lucky Guy!
Alligator Records

About the previous album by The Nick Moss Band, "The High Cost of Low Living," I observed that "there is strong and varied material (including choice songs to cover), very good singing, and excellent playing. This is also wonderfully recorded, resulting in a superb straight-no-chaser Chicago blues recording." Now, guitarist and vocalist Moss, along with harmonica wizard and vocalist Dennis Gruenling, return with this new disc. Others in the band include Taylor Streif on keyboards and background vocals; Rodrigo Mantovani on bass and background vocals; and Patrick Seals on drums and background vocals. Kid Andersen adds rhythm guitar to several tracks as well as baritone guitar and mandolin, and Mighty Mike Welch plays lead guitar on one track. The album was co-produced by Moss and Andersen and recorded and mixed by Andersen at Greaseland Studios. 13 of the 14 tracks are originals with Moss having written 11 and Gruenling two.

Moss plays and sings with considerable authority, although 'occasionally' his diction can come off as a little mush-mouthed (in the manner of Junior Well and Carey Bell) as on the rocking paean to his hometown "312 Blood" where Moss celebrates his hometown of Chicago. Streif takes a two-fisted solo, while Gruenling wails on his break before Moss adds to the instrumental fire. Johnny O'Neal Johnson's "Ugly Woman" shows the wit Moss's performance can bring. It is one of the tracks with uncredited horns with Gruenling riffing behind the vocal, and Streif takes a rollicking solo. The title track is an upbeat shuffle with scintillating guitar and a solid vocal before Gruenling's soaring sax-like harp solo. Moss' own solo shows how much of the Chicago blues guitar tradition he has absorbed in developing his superb attack.

Moss' "Sanctified, Holy And Hateful," set to the melodic theme of "Half Ain't Been Told," is a stellar slow blues about the hypocrisy of certain evangelicals with a terrific vocal, Gruenling's robust chromatic harp playing and Moss playing with so much passion here. Gruenling shows himself to be a capable vocalist on his hot shuffle, "Movin' On My Way," with Moss and Kid Andersen taking crisp solos and trading fours with Gruenling's swooping horn-like harp taking this performance out. Moss follows this up with the relaxed, mellow feel of "Tell Me There's Nothing Wrong," with Gruenling taking a tasty solo in a Sonny Boy Williamson vein followed by Moss' shattering solo. "Me and My Friends" is set to a groove that evokes Phillip Walker and Jimmy McCracklin ("Steppin' Up In Class") with horns adding to the atmosphere here. "Simple Minded" had Andersen on mandolin, and the performance brings back memories of the late Johnny Young with Gruenling playing in a Walter Horton manner and Streif hinting at Otis Spann.

"Hot Zucchini" is an instrumental in the vein of Booker T & the MGs with greasy Hammond B-3 from Streif, stinging guitar from Moss and riffing horns. Another instrumental, "Cutting the Monkey's Tail," provides space for Gruenling and Moss to shine. The concluding track, "The Comet," is an atmospheric Muddy Waters styled blues that is a tribute to the late Mike Ledbetter with whom both Moss and Monster Mike Welch had played. The two duet with Welch taking the lead (and soloing in accompanying Moss' vocal. While the contributions of Moss, Grueling and Streif have been spotlighted, one cannot ignore the first-rate backing provided by Mantovani and Seals. This is one terrific band, and given the authority and imagination that Moss, Gruenling, and Streif play with, blues fans are in luck with the fabulous "Lucky Guy!"

I received my review copy from Alligator. This review appeared in the September-October 2019 Jazz & Blues Report (Issue 386) although I made minor stylistic changes. Here is a recent performance by Nick Moss with Dennis Gruenling.

 

Christone "Kingfish" Ingram

Christone "Kingfish" Ingram
Kingfish
Alligator Records

This CD is Christone "Kingfish" Ingram's long-awaited debut. Called a rising prodigy by NPR music and endorsed by Buddy Guy, Kingfish has been playing to blues audiences for most of his young life. Videos and youtube and performances have led to hype about him. Tom Hambridge produced this debut and plays drums on most selections, with Bob McNelly adding guitar and Tommy McDonald on bass. Others playing on this include Marty Sammon on keyboards, Buddy Guy on guitar and vocals, Keb 'Mo on guitar and vocals and Billy Branch on harmonica. Tom Hambridge was involved in writing most of the 12 songs, many in collaboration with Ingram and others with Richard Fleming. One song is a collaboration between Ingram and Jontavious Willis.

At the outset, Ingram is a terrific guitarist with a heavy blues-rock pull out all the stops on most of the electric tracks on this. I really don't enjoy his guitar fireworks as much as I do his singing. He is an outstanding vocalist with plenty of warmth and expressiveness with an unforced delivery. So even if the opening "Outside of This Town," is a bit heavy musically, his singing knocks out. It is followed by a terrific duet with Buddy Guy with another excellent vocal and some of his best electric blues guitar here who is not overshadowed by Guy who is in fine form here.

Billy Branch adds harmonica while Ken 'Mo also is on guitar on the driving "If You Love Me," with an energetic guitar break followed by Branch's solo. "Listen" is a duet with Keb 'Mo and a pop-blues in the vein of Keb 'Mo's music with the backing more restrained. "Believe These Blues" has some of his more interesting guitar solos with exciting twists and turns urns along with his effective use of tonal dynamics. "Trouble" is a rocking number set against a New Orleans second-line groove.

"Been Here Before" is one of the acoustic blues here, with remembrances of his grandma singing and Ingram not sure how he became the way he is. Again he sings the lyrics with clarity and feeling. "Hard Times" is a traditional sounding acoustic blues with Ingram's vocal backed by Keb 'Mo's adept Resonator slide guitar. The closing "That's Fine By Me" is a heartfelt blues ballad that is evocative of some classic Chuck Willis with an excellent piano solo in addition to effective blistering guitar.

I do not deny he is an excellent guitarist, just not to my taste. Christone 'Kingfish' Ingram is a superb blue singer and with strong songs (and one reason I may view the songs so highly is because of how good a singer he is) and the firm support and production, "Kingfish" is a terrific recording, not merely an excellent debut.

I received my review copy from Alligator Records. This review appeared in the July-August 2019 Jazz & Blues Report (Issue 385). Here is a video for "Outside of This Town."