Hurricane Ruth Good Life

Hurricane Ruth
Good Life
American Showplace Music

Reviewing Hurricane Ruth LaMaster’s “Ain’t Ready For The Grave,” I wrote, “Ruth LeMaster earned her name because of her huge voice in a small package  … .” I found that album to be a “solidly performed collection of blues and rock that displays Hurricane Ruth as a powerful and expressive vocalist.” Much the same can be said about this new recording whose ten tracks include eight written or co-written by her. Backing her on this recording are Scott Holt on guitar, Bruce Katz on keyboards, Calvin Johnson on bass, and Tony Braunagel on drums.

The songs are a mix of bluesy rock and roll to soulful ballads that demonstrate her vocal and emotional range. She certainly comes off with cyclonic force on the rollicking rock of “Like Wildfire.” She might be shouting the blues here, but never gets histrionic or shrill. Katz is terrific here while Holt has a hot short guitar break.  “Dirty Blues” has another powerful vocal, although Holt’s nasty tone lends this a blues-rock flavor.  It is followed by one of the strongest songs here, “What You Never Had.” Written with Tom Hambridge, this is a relaxed shuffle with Katz smoking on the organ. The lyrics derive from a comment her late mother made about not worrying about one never had as life is about living. The vocal is as stunning as the song.  Even better is the title track, which was based on a conversation with her mother a year before she passed. Again, the lyrics stand out as does the atmospheric vocal and backing. Holt’s solo is striking set against Katz’s organ. One might easily recommend this album based on just these two tracks.

 Other tracks of note include the rendition of Gary Nicholson’s “Torn in Two,” with searing blues-rock guitar behind her vigorous singing. “Black Sheep” is a fun bluesy rock performance where Ruth celebrates being a bit of a badass. “Who I Am” is about leaving behind her previous life of partying and addiction and no longer who she was. There is a conviction in her singing that comes from her living what she is singing about.  It is another terrific track on an outstanding blues and rock recording.

I received my review copy from a publicist. Here is Hurricane Ruth in performance.

Joe Louis Walker * Bruce Katz * Giles Robson Journeys to the Heart of the Blues

Joe Louis Walker * Bruce Katz * Giles Robson
Journeys to the Heart of the Blues
Alligator Records

English harmonica player Robson states in the liner notes that this album represents a shift from what many consider it the blues today "which is a loud and proud classic rock-infused sound" that "is something quite distant from the music’s roots… ." The present collaboration between Robson, the Blues Hall of Famer Walker and keyboard wizard Katz, best known perhaps for playing with Ronnie Earl, is meant "to be a celebration of the dynamics, grooves, lyrics and, above all, the feeling of pure traditional blues. Blues played intimately and at a low volume and with the wonderful space that is created when drums and bass are taken out of the equation."

Robson also notes this recording has antecedents going back to Muddy Waters' "Folk Singer," the Blue Thumb recording "Buddy and the Juniors" with Buddy Guy, Junior Wells, and Junior Mance, and the European acoustic recordings by Sonny Boy Williamson. Despite the stripped-down setting and acoustic instrumentation, the playing her,e is not far removed from the blues these artists usually play, absent amplification. I point to the Washboard Sam recording "Run Me Down," where what Walker plays is not far removed from what he would play in an acoustic setting. I should be mentioned Katz is outstanding here and Walker sings pretty much as one might expect.

There is an interesting choice of material, mostly rarely covered songs, starting with Papa Lightfoot's "Mean Old Train" that opens this, along with a forceful vocal by Walker on Sunnyland Slim's "It's You, Baby." "Murderer's Home" derives from Blind Willie McTell, but the performance here has more of a stop and go feel as opposed to the fluidity that characterized McTell's music. Roosevelt Sykes' "Feel Like Blowin' My Horn," is dedicated to Robert Lockwood Junior who played on a Sykes recording of this song and Walker models his guitar here on Lockwood. More examples of Katz's superb playing can be heard on his accompaniment to Walker's singing on Big Maceo's "Poor Kelly Blues" and his rollicking boogie-woogie piano on Maceo's "Chicago Breakdown," a spectacular solo piano performance. Robson impresses throughout with his harmonica and is showcased on the instrumental "C & J Boogie" where Walker providing a simple boogie guitar backing to the energetic wailing harmonica. A highlight might be Walker's terrific vocal on Son Bonds "Hard Pill to Swallow," with Robson and Katz providing dynamic support.

It might be best described as blues unplugged as opposed to traditional blues, but this trio has put together solid and entertaining blues performances even if they may not take us to the Heart of the Blues.

I received my review copy from Alligator Records. This review appeared in the November-December 2018 Jazz & Blues Report (Issue 382). As I write this, this recording just won a Blues Music Award for Best Acoustic Album. Here is a video of the three playing in Europe.

Chris O'Leary Gonna Die Trying

There is something about Chris O'Leary's music that strikes the listener immediately and it is the authority that he brings to his songs, and his songs have a reality to them that make his vigorous singing sound so powerful. O'Leary served in the Marines for 7 years and played for six years as a mem­ber of Levon Helm’s Barn­burn­ers, and this is reflected in his superb new American Showcase Music CD "Gonna Die Trying." In addition to his vocals and strong harmonica playing, he is backed by Chris Vitarello on gui­tar, Andy Stahl and Chris Difrancesco on sax­o­phones, Matt Ray­mond on bass and Jay Devlin on drums. In addition to his band, other players on this include Bruce Katz on piano & organ, Vin­nie Nobile on trom­bone, and Willa Pan­vini McCarthy & Libby Cabello on back­ground vocals. John Mooney is a spe­cial guest on one track.

One thing that strikes this listener from the first selection, "Can't Help Yourself," is his raspy, cleanly articulated, rapid-fire vocals. He commands our attention singing about going of the war and then returning home to find promises made before he served were empty; that jobs being exported overseas labor overseas with unions being blamed; and there being too little money for our war casualties today. Similarly powerful songs include "19¢ a Day," set against a crisp John Lee Hooker boogie groove, and the stark "Letters From Home," (opening with terrific guitar from Vitarello) where O'Leary sings of being terrified and lonesome in a dirty hole a thousand miles from home with desert winds chilling him to the bone in the god-forsaken combat zone. His vocal is compelling (his vocal dynamics is exemplary) and the backing is terrific. "One More Saturday Night," is a superb shuffle as he displays his formidable harmonica chops, on a song about about making it through the week, and needing one more Saturday night to let loose. The spirited "Harvest Time" has a New Orleans second-line groove with John Mooney adding slide guitar.

There is so much to like about Chris O'Leary and with excellent songs, and first-rate backing from his band and guests, O'Leary's "Gonna Die Trying" is sensational.

I received my review copy from the label. Here is he performing "Letters From Home."

Albert Washington Step It Up and Go

Albert Washington
Step It Up And Go
Iris

Albert Washington is a singer-guitarist who made a number of singles from the late fifties to the seventies for such labels as Fraternity and Jewel, one of which, If You Need Me, was covered by the Rolling Stones. Born in Georgia, but a Cincinnati resident for most of his adult life, he hasn’t recorded for twenty years. Iris Records, an independent label that previously issued some notable jazz recordings has just remedied this with Step It Up and Go, a newly released album containing ten originals and a nice reworking of the Buddy and Ella Johnson classic, Since I Fell For You.

Washington suffers from high blood pressure, and near blindness, both derived from diabetes. While his voice can’t soar as high as on his classic deep soul recordings, this fifty three year singer certainly comes across as soulful as ever on a program of mostly modern blues with several tracks, such as Hard Days and The Good Old Days, showing more than a hint of southern soul.. He receives solid backing here, with horns on a few tracks, and harmonica on a few others, although horns suit his music far better than the harp.

Bruce Katz’s keyboards are particularly worthy of note, and Kevin Barry adds some nice guitar. The bass and drums simply provide a basic foundation, but without as much imagination as Katz and Barry. A couple of message tunes, Things Are Getting Bad and Leave Them Drugs Alone, add variety to his blues and soul laments like Hold On To a Good Woman, a fine slow blues with Katz and Barry both featured. A solid, promising return of a midwest blues legend.

This review originally appeared in the April 1993 Jazz & Blues Report (Issue 180) and I likely received my review copy from either that publication or the record company. You may still be able to find this as a used CD. He would also record a follow-up for Iris, A Brighter Day. He passed away in 1998. Ace Records in the UK, in 2004, released an excellent compilation of his early recordings Blues and Soul Man.

Here is a vintage Albert Washington recording from the sixties.

Debbie Davies Solid New Recording - After The Fall

Its been nearly two decades since Debbie Davies debuted on Blind Pig Records after leaving Albert Collins' Band. Over the ensuing period she has toured the world and established herself as a significant talent. She has her first new CD in several years on MC-Records, After The Fall and it displays the strengths her prior recordings and her performances exhibited.

After the Fall is produced by guitarist Dave Gross who guests on several tracks. The band includes drummer Don Castagno; bassists Mark Lindsey or Scott Hornick; and organist Bruce Katz. Catagno contributed to eight of the 11 songs (three by himself), while Davies wrote the other three and collaborated with him on three. This recording is dedicated to the late Robin Rogers who touched Debbie and countless others.

She is a singer in the Bonnie Raitt vein with a clean, relaxed vocal style that radiates her honesty and sincerity. Her guitar playing is deft, imaginative and able to display plenty of fire without being cluttered as she explores the relationships with lovers whether singing Don’t Put the Blame on Me, or singing that if one isn’t thinking one can’t fall, one ain’t thinking at all on The Fall, a more general about needing a helping hand to pick oneself off the ground.

“True Blue Fool is a lovely ballad wistfully sung, while the mood shifts with the hot shuffle groove of Done Sold Everything, about times being tough and having sold everything and got no more and has got no more. Other standouts tracks include All of My Forgiveness, where if her man doesn’t say he is sorry, all of her forgiveness will be gone, and Goin’ To A Gaggle, with a rollicking second-line groove about partying all night with friends. I’ll Feel Much Better When You Cry, is a nice blues about her pain felt when her man left and hoping he feels that pain when someone walks out on him. R.R. Boogie, dedicated to the late Robin Rogers, is an imaginative instrumental with a tight groove and some sizzling single note runs.

Certainly anyone who has been a fan of Debbie Davies will not be disappointed by this release. After the Fall will be welcome by blues lovers of a diverse range of tastes. Recommended.

I received my review copy from the record label. Here is Debbie in performance.

Bruce Katz Very Live! at the Firefly

The keyboards of Bruce Katz has been a most welcome to a variety of performers recordings, including in recent years, Duke Robillard and Joe Louis Walker. With his current band of guitarist Chris Vitarello; bassist Rod Carey; and drummer Ralph Rosen, he has a new disc on his own Brown Dog label (distributed by VizzTone), Live! at the Firefly, recorded at the Ann Arbor, Michigan club in April 2008.

Live! at the Firefly is a collection of chicken-licking blues and jazz instrumentals that fans of Jack McDuff and Jimmy McGriff will love. Opening with a straight blues groove on Deep Pockets, Katz and Vitarello both display their chops and musical sense. An unusual choice is Charles Mingus’ Better Get It In Your Soul, and ambitious attempt with plenty of Katz’s greasy Hammond B-3 to start things off with everybody swinging hard. Carey and Rosen certainly merit praise here, before a nicely paced solo from Vitarello.

Katz switches to piano on a late night slow blues, The Blue Lamp, that lets him rumble down in the alley as well as lets Vitarello a chance to show his electric blues chops. Jump Start, is a funky groover with twangy guitar; Ice Cream Man, is a playful funky blues; while the solo piano Southern Route, has a country-tinge. Marshall Country, evokes West Side Chicago to these ears, and Crew of Two, is a ebullient shuffle.

Norton’s Boogie Woogie, has blistering boogie piano, a rocking guitar solo followed by sizzling solo piano interlude with the full quartet taking it out in jumping fashion. Its followed by the atmospheric Victoria, with Katz on piano and this joyous disc concludes with Brother Stevie. This walking shuffle closes Live! at the Firefly on the high level that characterizes this entire recording.

This review originally appeared in the February 2009 Jazz and Blues Report (Issue 313), although I made a few minor stylistic changes. Here is the Bruce Katz Band performing in Norway a few months after recording this album.

Chris Bergson's Bluesy Americana

Chris Bergson is a New York singer-songwriter-guitarist who mixes R&B, rock, country and folk roots for a most enjoyable set of ‘Americana’ with a definite blues accent. His music resume includes stints with jazz singers Annie Ross, Dena DeRose, Sasha Dobson and Norah Jones, but in recent years he has infused more blues in his music. His latest CD Imitate the Sun, (2 Shirts Records) has six originals along with four covers. The only member of the band on this that I have heard of is Bruce Katz who is on keyboards, but also of note is Jay Collins who provides several sax solos as well as arranges horns for several selections.

Listening to the opening Goin’ Home as well as the title song, I am reminded of the classic The Band recordings as well as contemporary acts such as Anders Osborn that similarly mix roots, country, rock and blues. These are nice crafted songs with a solid rhythm section and Collins lays down a tough tenor solo on the title track while Bergson struts out on guitar. He knows when not to get too heavy and he sings naturally with just the right amount of grit. Shattered Avenue opens with just lightly layered slide guitar behind his lugubrious vocal. With a insistent funk groove and riffing horns, Hello Bertha has a different feel and, Katz’s keyboard accompaniment provides nice accents to the performance. The cover of Willie Dixon’s Meet Me In the Bottom, a rootsy rendition of a song associated with Howlin’ Wolf that benefits from the almost reggae stutter step in the accompaniment with Bergson being a bit more emphatic vocally here.

The folky, Laying It Down In White, is followed by the unusual choice of You’ve Been a Good Ole Wagon, a song most associated with Bessie Smith. It opens with just Katz’s piano for the first verse of the vocal harking backing to the twenties in his playing before the whole band joins in. Collins’ tenor sax being notable in the accompaniment and Bergson takes a slide solo. The mood changes to funk on Mr. Jackson, with Katz having a nice electric piano solo. Dust My Broom has been recorded numerous times. Bergson’s shuffle arrangement takes it away from the usual broom-dusting and rambling on my mind riffs. Katz has a rollicking solo in addition to Bergson’s insistent twangy, chicken scratching guitar and an insistent vocal. A thoughtful rendition of Bob Dylan’s Standing in the Doorway, closes this consistently strong recording. Chris Bergson excels at writing songs, his vocals covey warmth and sincerity, and he is a thoughtful, imaginative good guitarist who plays with the right mix of fire and taste. Recommended.
My review copy was provided by publicist for label

Rishell & Raines Have Bluesy Night in Woodstock

I wrote the following review for Jazz & Blues Report (December 2008 issue 311) and can be downloaded at www.jazz-blues.com.

It has been several years since the popular duo of Paul Rishell & Annie Raines have had a new release and their “A Night in Woodstock” is live recording on their Mojo Rodeo imprint. It features the pair as a duo and with their band that includes Reed Butler, Billy MacGillivray and Chris Rival along with guest spots by John Sebastian and Bruce Katz.

Recorded at the Joyous Lake in 2005, it opens with Rishell doing marvelous interpretations of Blind Boy Fuller’s “Custard Pie,” and with Tommy Johnson’s “Canned Heat Blues.” With Rishell steady, assured accompaniment and Raines supportive harmonica backing, these two performances illustrate how Rishell as grown in handling such vintage material. Johnny Winter’s “Dallas,” is a marvelous display of Rishell’s wonderful slide playing and an excellent evocation of the Robert Johnson-Muddy Waters tradition (with elements of “Terraplane Blues in its melody). “Got to Fly” is the pair’s original and provides Raines with the vocal spotlight on this highly likable performance. A medley of Jack Clement’s “It Will be Me” and Rishell’s “I Will Be Looking for You,” enchants with Rishell’s wistful vocal. It is followed by a country blues adaptation of Louis Armstrong’s “Old Man Mose,” into a delightful folk blues. “Blues on a Holiday,” has Bruce Katz join in on piano as opposed to the sparse band backing with Rishell’s pensive vocal again moving the soul of the listeners.

The band kicks into a more forceful groove on “Can’t Use It No More,” a modern hokum blues, with the duo harmonicas of Raines and Sebastian, both of whom solo here being to the forefront followed by Katz’s barrelhouse piano. Raines handles the vocal on Lazy Lester’s “I’m a Lover Not a Fighter,” with a nice amplified harp solo, whereas “Moving to the Country,” has a forceful Rishell vocal as he tells us he is returning to things he never should have left behind. Jerry McCain's songs often have a wry spirit to them and Rishell delivers the lyrics on “Bad Credit,” with Raines wailing on harp, embellishing Rishell’s vocal. Rishell starts “Blue Shadows,” sounding like B.B. King on guitar, before launching into the vocal on a fresh, driving arrangement of Lloyd Glenn’s song. the album closes with a harp instrumental by Raines and Sebastian, “Orange Dude Blues.”

“A Night in Woodstock” is a throughly engaging live recording with many excellent moments that certainly merits serious attention.

For FTC regulations I have no idea whether I got this from a public relations firm or the recording label.

Mighty Sam's Mighty Soul & Blues

This is a review I wrote in late 2001 that appeared in the DC Blues Calendar. Mighty Sam remains such a great voclaist it is well worth calling your attention to today.

Since his “rediscovery,” the former deep soul legend Mighty Sam McClain has slowly developed a following with a number of very fine releases, the latest of which, Sweet Dreams, has been recently released on Telarc. McClain certainly stands as one of the finest singers working in the soul-blues vein, with a delivery and voice that should appeal to fans of Bobby Bland. McClain also wrote many of these tunes, exceptions being the soulful transformation of the title track which is one of the tunes country legend Patsy Cline is best identified with and the Staple Singers’ hit Respect Yourself. With a solid band anchored by Bruce Katz on piano and Barry Seelen on the B-3 and a solid horn section, McClain belts out a variety of tunes with standouts including the country-flavored ballad Learn How to Love You Again, and Nothing But a Feeling, a nice slow blues with nice solo breaks for tenor saxophonist Chuck Langford and pianist Katz. While capable of belting out a lyric with the best of them, what makes McClain so special is that he delivers the songs so soulfully without shouting the lyrics except for emphasis. Perhaps some of the tunes are somewhat generic shuffles and slow blows and the horns play somewhat generic riffs, but McClain is one of those vocalists that one would not mind listening to sing about anything.