Ms Zeno The Mojo Queen Back in Love

Ms Zeno The Mojo Queen
Back in Love
Blue Lotus Recordings

While I heard about Ms Zeno, it was not until I heard perform with my friend Memphis Gold, that I had a chance to experience this powerful singer. Originally from Louisiana, she moved to Memphis after Little Milton heard her, and had her join his backing vocal group. After several years she launched her solo career with Albert King helping introduce her to Beale Street where she became an institution. When B.B. King's Memphis Club opened, Ms Zeno & the Famous Unknowns became the house band. Recently after some personal issues were resolved, she signed with Blue Lotus Recordings and made this album of twelve original songs.

This session is produced by label head Paul Niehaus IV who plays bass, guitar, drums, keys, tenor sax, vocals, mandolin, and French horn on this along with Kevin O’Connor who contributes drums, guitar, keys, baritone & tenor sax, and trumpet as well. Special guests include guitarist G Weevil who appears on 4 selections and harmonica wizard Brandon Santini who appears on two. Guest vocals are provided on various tracks by Gene Jackson and Roland Johnson, while Dustin Shrum contributes trumpet, and Tom Martin lends his accordion to one selection. The strings of Andy Hainz on cello; Mark Hochberg on viola; and Abbie Steiling on violin sweeten three selections. Ms Zeno, Paul Niehaus IV and Gene Jackson have their hand in the twelve originals here.

As mentioned, I have seen Ms Zeno appearing with Memphis Gold, but as much as enjoyed seeing her perform, listening to her here impressed me even more on a recording centered on deep soul and soul-blues. As a singer, she impresses with not simply her power or sense of dynamics (ranging a pussycat's purr to a lioness roar), but the authority she manifests that is evident on the opening title track, a surging Memphis soul number. After her celebrating being back in love, she sings a bluesy lament. "In My Shoes," as her romance is falling apart. It is one of several tracks with strings and has a feel of a classic Hi Records recording.

There is the brassy "That's How I Know," with a groove reminiscent of Tyrone Davis and other deep soul Chicago singers, as she sings about her man being satisfied with her and she is satisfied with how he treats her. Then the mood shifts to the down-home blues of "Willie Brown," with the effective guitar-harmonica accompaniment from Little G Weevil and Brandon Santini and rhythm. There is even a touch of zydeco on "Mojo Queen," and a topical "Rise Up," "Love Is Like a Flower" is another terrific performance with striking lyrics and a fervent, commanding vocal and tough horn-driven arrangement, while Weevil and Santini are on "Call My Name," a duet with Gene Jackson set against an insistent groove.

Throughout, her robust vocals are performed without artifice or hysterics. In addition to Ms Zeno's singing, the backing is superb this throughout. Producer Paul Niehaus IV and Kevin O’Connor put together a marvelous backing even although they obviously employ overdubbing, while the guests are seamlessly incorporated into the songs of this terrific release by Ms Zeno.

I received my review copy from a publicist. This review originally appeared in the November-December 2018 Jazz & Blues Report (Issue 381). Here is a clip of Ms Zeno performing.

Brandon Santini Live & Extended

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

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

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

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

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

Jarekus Singleton's Refuse To Lose

Highly heralded before he signed with Alligator, Jarekus Singleton certainly impresses on his debut for the label Refuse to Lose. The Clinton, Mississippi native turned heads with his self-produced Heartfelt, and this new album certainly will wake up many listeners with the freshness of his sound and songs. He is backed by his band of James Salone on Organ; Ben Sterling on Bass and John "Junior" Blackmon on Drums and Percussion. On one song they he is backed by Brandon Santini on Harmonica; Ben Sterling on Bass and Robert "Nighthawk" Tooms on Piano.

While his guitar playing is a bit hard rocking to my taste, there is no question his abilities or his musical imagination. His blending of blues-rock, traditional blues and soul, funk and hip hop results in a very distinctive sound. His songs are fresh and bring together the various elements together in a manner so that the music comes across as multi-faceted, not contrived. One can not praise his band enough as they handle transitions from hard rocking to more restrained sections seamlessly. The rhythm section of Sterling and Blackmon is excellent, and organist Salone stands out with both his supportive playing and solos. But the leader’s insistent playing is at the fore, and even on a shuffle type number he adds unusual, interesting twists in his playing.

Singleton is also an extremely gifted, soulful singer. His voice suggests Robert Cray (an observation that came listening to Gonna Let Go), although his delivery has more of an edge. Singleton brings so much personality to these performances that often have unusual lyrical themes. On the title track, he sings about the adversity he has overcome, underlying the drive he has to Refuse to Lose. This and Keep Pushin’, are the most personal of the songs here. On the latter number he sings about a basketball career cut short by injuries (he starred at Southern Mississippi in college), how his uncle took him to a blues club where he was bitten by the blues bug, and that has now become the life he is pursuing with his music.

Other songs perhaps have more standard themes about being mistreated such as Crime Scene which is where his lady broke his heart or Sorry, where he sings about being soft-hearted and almost feeling sorry a little bit, but when he recalls the pain she caused, he isn’t sorry a bit. This song illustrates his clever way with a phrase singing that if lying was a sport she would have a number one draft pick and a number one seed as well as imagining what she might do for a Klondike bar.

Some of my fellow blues traditionalists may find this too rocked out. After all, my initial reaction to Refuse to Lose was mixed. However, listening to this over several weeks, I now appreciate Jarekus Singelton and how stirring his music is.

I received my review copy from Alligator Records. He is appearing at the Pennsylvania Blues Festival on Sunday July 27 and I am really looking forward to his appearance. Here is a video of a recent appearance by him at the North Atlantic Blues Festival a few weeks ago.