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.

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.

 

Terry Hanck I Still Get Excited

Terry Hanck
I Still Get Excited
TVR/VizzTone

It has been three years since The Terry Hanck Band's last album, "From Roadhouse To Your House Live," which I summarized captured "the engaging and strong blues, R&B and rock of the Terry Hanck Band… ." Hanck returns on this new release with his saxophone and vocals with his band of guitarist Johnny' Cat' Soubrand, bassist Tim Wager and drummer Butch Cousins along with the keyboards of Jim Pugh and guitar, bass and more from Kid Andersen. Anderson co-produced this recording with Hanck, which has several special guests including June Core on drums, Rick Estrin on harmonica, Chris Cain on guitar, and Tracy Nelson on vocals.

Reviewing that live recording, I observed that "Hanck is quite a congenial vocalist with a bit of grizzle whose robust saxophone with a mix of King Curtis yackety-yak with Junior Walker honking." There is no reason to change that observation based on the performances here that range from blues, rock and roll, and swamp pop. It also does not hurt to have such an excellent band, including the guest musicians. This is heard throughout the 11 performances here, starting with the opening title track. It is a gem of rock and roll with a tagline "I might be old as sin, but in my mind, I am just a kid, lawd I still get excited." Pugh channels Johnnie Johnson or Lafayette Leake, Soubrand takes a rocking solo with Hanck riding the song out with some honking and high note screeching.

Louis Jordan is among Hanck's influences, as shown by a cover of "Early in the Morning," but also on his original "Smooth Tyrone." This song sounds like the Jesse Mae Robinson-Louis Jordan penned "Blue Light Boogie." In this song, Hanck has provided original lyrics replacing those of the original. Pugh, Soubrand, and Hanck all shine musically here while Kid Andersen on bass and June Core on drums keep a relaxed shuffle groove. "Here It Comes" has a relaxed early 60s' R&B groove while it incorporates a bass riff from the Solomon Burke classic "Cry to Me." In addition to a heartfelt vocal, Kid Andersen contributes some neat Spanish-tinged acoustic guitar. On the Chuck Willis-styled shuffle, Rick Estrin adds his sax-like harmonica on "Come On Back," soloing as well as having interplay with Hanck. It is followed by the appealing instrumental, "Rosita (No Wall Call Hold Our Love)."

Several remakes are not far removed from the originals recordings. These include Bobby Charles "Why People Like That?" with some 'yackety-yak" sax and "Howlin' For My Darlin'" with Soubrand channeling Hubert Sumlin. Also heard are energetic renditions of Eddie' Cleanhead' Vinson's "Hold It Right There," and "Feel So Bad," based on Little Milton's Checker recording, with more exceptional Soubrand guitar. One exception is an older Little Milton recording, "Spring," that Hanck and Tracy Nelson, in marvelous performance, transform into swamp pop. It stands out in another splendid collection of blues and roots performances by Terry Hanck.

I received my review copy from VizzTone.  Here is a video of Terry Hanck performing "Sweet Tyrone."

 

Mighty Mike Schermer Bad Tattoo

Mighty Mike Schermer
Bad Tattoo
Firedog Records/VizzTone Label Group

This is Mighty Mike's latest release featuring a dozen songs finding the singer-guitarist-songwriter at the Greaseland Studios with guest stars including Chris Cain, Rick Estrin, Aki Kumar, Jim Pugh, Nancy Wright, Billy Price, and others! He has been a guitarist with Marcia Ball since 2009 and before that worked with Elvin Bishop, Maria Muldaur, Angela Strehli, Bonnie Raitt, Howard Tate, Charlie Musselwhite, and Sista Monica amongst others. The core band on this CD is Schermer, guitar, and vocals; Steve Ehrmann, bass; Paul Revelli, drums; and Austin Delone, organ. Two tracks have a horn section of Eric Bernhardt, baritone and tenor saxophones; and Nancy Wright, tenor saxophone. Jim Pugh sits in on organ on three tracks while one song, “Ain’t That The Way Love Goes?” includes a different band with Jim Pugh, Chris Cain on electric piano, and a rhythm section of Kid Andersen, bass; and Alex Pettersen, drums. Cain also contributes guitar on one selection while Billy Price contributes a backing vocal. Schermer wrote or co-wrote all of the songs.

This is a solidly recorded and played CD. Schmerer is more striking as a guitarist than a singer but his somewhat light, plain singing I find quite listenable and honestly delivered. And his songs are solid idiomatic ones starting with the opening "She Won't Be Coming Back," with a groove, melody, and horns evocative of Little Walters "Up the Line." Then there is the amusing "Lover's Hall of Fame" about a relationship gone sour as he tells his ex that she's not on the ballot for the Lover's Hall of Fame. The Farfisa organ on "How Much Longer" gives it a feel of a beach club dance song in the sixties, while the title track is a relaxed jump blues as he sings about a tattoo about some other dude that she tries to hide. Besides his appealing singer, there is some sharp guitar akin to sixties Johnny 'Guitar' Watson as well as nice supportive horns including a booting tenor sax solo. There is a soulful "Ain't That the Way Love Goes," with a backing vocal chorus, and a "Baby Down the Well," with pounding piano, Rick Estrin's harmonica and a jackhammer groove.

"Hey Francine," a country-rockabilly tinged song is perhaps the weakest vocal here. It is well played like the rest of this recording. Schmerer has put together a strong backing ensemble with solid contributions from his friends. Add well-crafted originals, and one has a very engaging recording.

I received my reviewe copy from VizzTone. This review originally appeared in the May-June 2019 Jazz & Blues Report (Issue 384), although I have made minor stylistic changes. Here is a video of him covering Latimore's "Let's Straighten It Out."

 

Nancy Wright Playdate!

Nancy Wright
Playdate!
Direct Hit Records/ VizzTone

It was Bob Porter who alerted me to saxophonist Nancy Wright, whose playing on a Blues Cruise deeply impressed him. She has just issued a recording "Playdate!" that was produced by Christoffer 'Kid' Andersen and recorded at his Greaseland Studios. Andersen also contributes guitar with the backing band including Chris Burns on keyboards, Joe Kyle Jr. on bass; J Hansen on drums, Tom Poole on trumpet, and Faris Jarrah on trombone, behind Wright's sax. There are a number of guests here that I will highlight as well, and I take it that Wright takes the uncredited vocals on this.

Listening to Wright's raspy sax (played with plenty of vibrato) I am reminded of Junior Walker and Eddie Shaw, which certainly has an appeal. Certainly, her playing stands out on the rocking reworking of a New Orleans recording 'Why You Wanna Do It," with the fabulous soulful Wee Willie Walker taking the soulful vocal. As a singer, she has a bit of country in her sound but does a solid job of covering Koko Taylor on "I Got What it Takes," which features Tommy Castro on guitar and her own blistering solo. Victor Wainwright adds boogie laced piano to her original rocker "Yes He Do," which she rides out on sax. There is a pretty straight cover Eddie Shaw's "Blues For the Westside" with Joe Louis Walker on guitar while Wright evokes Shaw's heavy vibrato on sax. Lonnie Mack (to who this album is dedicated) was the source of "Been Waiting That Long" that Frank Bey sings, while "Trampled" is a driving Junior Walker-styled instrumental with Jim Pugh on the organ with Andersen taking a terrific Motown inspired guitar solo.

Wright's vocal on the gospel number "Satisfied" has her backed by a gospel choir, while Terry Odabi sings "Warranty," with a choice Wright lyric, followed by a capable vocal on Henry Glover's "Cherry Wine" originally recorded by Esther Phillips for Federal. Elvin Bishop is on guitar for a raspy instrumental take on "There Is Something On Your Mind," that I believe Big Jay would enjoy. Mike Schermer adds guitar to "Back Room Rock," a medium tempo rocker that sports solos from him and Wright and some call and response between them towards the close. "Good Rocking Daddy" is a Wright original, not the Etta James number, and is evocative of some sixties Chicago soul recordings.

Another instrumental, the moody "Soul Blue" with Chris Cain on guitar, closes this album on a strong note. Her sax on this is a bit more nuanced (less vibrato), and the underrated Cain shines as does all the players on this. The musicianship throughout is first-rate, and in addition to the solos, the arrangements are solid and avoid being hackneyed, and the production is up to the high standards expected from Kid Andersen and the Greaseland Studios. There is so much music to enjoy on Wright's "Playdate!"

I received my review copy from VizzTone. This review originally appeared in the September-October 2016 Jazz & Blues Report (issue 368), although I have made a few minor corrections to this review. Nancy Wright has a new recording out and I will be reviewing that shortly. Here is a video of Nancy Wright in performance.

Lara Price I Mean Business

Lara Price
I Mean Business
Price Productions/ Vizztone

Lara Price was born in the war torn country of Vietnam in 1975. Abandoned at birth, Lara became a part of the controversial Operation Baby Lift, the mass evacuation of orphans from South Vietnam to the United States, and was one of the small number who have survived. She has been singing since a youth and in 1997 moved to the San Francisco Bay area where she has been involved in a variety of musical productions. "This"I Mean Business" is her sixth album (the first for this writer) and is an impressive and mature recording by this Bay Area singer whose career has included several genre spanning recordings.

 Recorded at Kid Andersen's Greaseland Studios, Price is supported by an A-List crew of musicians including Jim Pugh (Robert Cray Band), Chris Cain, and fellow VizzTone label-mates Mighty Mike Schermer (Marcia Ball) and Laura Chavez (who plays with Lara frequently when she’s not touring with Candye Kane), along with Andersen and a tight, punchy horn section and backing vocal chorus. Price also wrote, co-wrote and collected songs for this release (some of the collaborations involved Schermer and Chavez) and the overall feel is of the classic soul and blues of the sixties and seventies.

This feel of classic soul and blues is fostered by her solid covers of the Candi Staton recording "Get It Where I Want It," Ann Peebles' "Slipped, Tripped, Fell In Love," both of which were penned by George Jackson. She has a touch of vibrato in her singing and her vocal dynamics helps add to the power of her singing. Also strong is a strong interpretation of Freddie King's "Pack It Up." Her originals certainly are noteworthy as well including her collaboration with Schermer, "Happy Blue Year," with some terrific guitar from him as well as keyboards from Pugh, to enhance her moving vocal on this blues lament. Chavez (who added some terrific guitar to "Pack It Up") collaborated on the deep soul original "Time," probably the best example of Price's use of dynamics in her vocal with the performance's intensity building to its explosive climax (and Chavez is stunning here as well).

There are other delights including the title track with Chris Cain's sharp guitar break and a a strutting groove behind Price's fervent singing and the closing blue lament "Love Lost" with Andersen on lead guitar. Price impressed this writer throughout and sounding convincing whether singing softly or forcefully. With excellent support and Kid Andersen's solid production, Lara Price's "I Mean Business" is a striking recording.

I received a review copy from VizzTone. This review originally appeared in the January-February 2016 Jazz & Blues Report (Issue 364). Here is Lara Price performing.

Jimmy Adler Visits Grease Alley

Jimmy Adler
Grease Alley
Sprucewood Productions

Pittsburgh based Jimmy Adler is a triple-threat as a songwriter, singer and guitarist as evident on his new recording "Grease Alley." Adler traveled California California to record with Kid Andersen at Andersen's Greaseland Studio and was joined but a band that includes Andersen on bass, former Robert Lockwood drummer Junior Core, keyboard wizard Jim Pugh and saxophonist Eric Spaulding with Chris Cain guesting on two of the 13 selections.

"The opening "Say It Like Magic Sam," musically derives from "T-Bone Shuffle." Here, Jimmy sings that he's a guitar man who tries to "tell it like T-Bone, say it like Magic Sam," and contributes some solid T-Bone Walker styled fretwork. It is set against a solid shuffle groove played at a nice, relaxed tempo. The title track is an appealing rocker with a second-line groove on which Pugh adding organ grease. On this, Adler sings about going down to grease alley to get his groove on. "Drank Too Much," an easy rocking lament of overindulgence, has Adler playing slide and evoking Johnny Littlejohn and Homesick James. Adler plays some Muddy Waters-flavored slide on the rollicking closing "Hoodoo Highway."

"No Pain" opens with Albert King sounding guitar with Chris Cain sharing the vocal on a lyric about  the older he gets, the less one knows. "Cornbread and Lima Beans" is a jazzy flavored Albert Collins-type groove with Pugh's Hammond contrasting with Adler's slashing guitar while "Love Was Worth These Blues," has a late night groove with more jazz-tinged guitar and an appealing restrained vocal. Also of note is the reflective and soulful, "What I've Done."

"Grease Alley" is a wonderfully entertaining recording. Jimmy Adler is quite an engaging singer, and a very inventive guitarist/ Kid Andersen and the studio band has provide solid support and grooves that makes for memorable blues.

I received my review copy from Jimmy. Here Jimmy plays

 

Can't Keep Sista Monica Down

One of the most impressive blues performers of the past decade has been Sista Monica Parker. She certainly can belt out a vocal, but also can powerfully deliver a lyric without raising her voice, and she has always led terrific bands. Word that she had overcome serious health issues was certainly welcomed by knowing blues fans and she has another superb new recording on the Mo Muscle label, Can’t Keep a Good Woman Down.

In addition to her regular band, anchored by Danny B. Ceconcini on keyboards, there are guest appearances by Larry McCray and Chris Cain on guitar. She presents us with a program of 11 originals (well one is a James Brown adaptation) and two covers to show that the “lioness of the blues” is back and as strong as ever.

Sista Monica at 1997 DC Blues Festival. Photo © Ron Weinstock

The title track and the closing, It’s Good to Be Alive, obviously relate to her overcoming her recent health problems. Cookin’ With Grease is a rocking, funky number that has her recall her musical roots and lets folks know that when the groove is right, you really are “cooking with grease,” while Put It in the Crock Pot is a funky tribute to James Brown and the JB’s that the Godfather would likely appreciate. Both Willie Nelson’s Funny How Time Slips Away and Sam Cooke’s A Change Is Gonna Come, have been recorded extensively. Her performance of the Cooke classic is solid but she really puts more of her stamp on Funny, with her delivery of the lyric.

Songs like Show Me What You’re Working With, Put Your Money Where Your Mouth, The Truth and The Bigger They Are the Harder They Fall, certainly represent what Solomon Burke once described as “the woman of today” who doesn’t take nonsense from her partner. This is not to say that Sista Monica cannot be romantic as she caresses the lyric of Leave the Door Open and Surrender to Love.

Sista Monica is as compelling a vocalist as anyone in the blues and with this disc has added to her substantial body of recordings. This will be among my favorites of the year and is highly recommended.

This review appeared in slightly different form in the September-October 2005 Jazz & Blues Report (Issue 276) and the August 2005 DC Blues Calendar, and my review copy was provided by Sista Monica. Sista Monica is still putting out some great music. Her most recent album is Living In The Danger Zone band information on her music can be found at http://www.sistamonica.com/. My review copy was provided by Sista Monica.  Below is Sista Monica performing.

Chris Cain Spins His Urban Blues Vignettes With Jazzy Tint

Chris Cain has been playing his blues with a jazzy twist on the West Coast for quite some time. Having recorded for the the Ford Brothers’ Blue Rock’It label as well as Blind Pig, since 1987 he has built up quite a body of excellent recordings that is matched by his lively performances. An reference point for Chris’ sound might be B.B. King (who his dad first took him to see with he was three), particularly the King matched by the souful jazzy grooves provided by the Crusaders (think of B.B.’s rendition of “Never Make a Move Too Soon”). His latest album is on Blue Rock’It, “So Many Miles” and it is another strong recording by him. He is provided excellent support here by Robben Ford Band with Robben playing rhythm guitar on many tracks, and on one instrumental, “East Foothill Fingerprints,” Larry Carlton joins him for a a soulful jazzy-blues guitar jam.Outside of the instrumental, the disc is a showcase for Cain’s songwriting and shows how the way he has with words while displaying his heartfelt vocals and hot guitar as he tells his stories quite strongly.

The title track is a tale of driving from Syracuse, stopping in Lincoln, staying at a funky hotel room, flying down the highway, and “so many miles, so many places, so many wide open spaces … .” Opening “Tomorrow’s Gonna Be A Better Day,” Chris evokes Albert King in his’ opening guitar lines as Ford drives the groove with his rhythm playing as Cain sings that “we have both wasted, all the petty games we have choose to play, I know we had some good times ... but tomorrow is going to be a better day,” with a strong solo from Cain before he vocally returns and asks to bury the past and clear the way for the better day.  He brings us some intriguing urban vignettes such as “Late Night Jungle Dreams,” a powerful topical lyric about a Vietnam Veteran who is a demolition expert but never adjusted to returning home, and then takes us down to this joint and the folks hanging there in “Down at Dino’s,” that opens with Ford’s backing wah-wah guitar setting the atmosphere. On “Interplanetary Jam,” he introduces us to a character who is preparing for alien invasion in his basement while “The Decline of the Golden Boy,” deals with a former superstar college athlete and big man on campus who never adjusted to life after college. Throughout, Cain interlaces these stories with strong vocals and guitar with excellent backing from the Ford Band, with horns added on a few tracks. Throughout, Cain’s ability as a guitarist is displayed as his driving solos are concisely delivered, interesting driving solos, swinging with unexpected twists. Chris Cain’s sound is soulfully delivered blues with an urbane jazzy spicing and “So Many Miles” showcases this exceptionally.


For FTC purposes, the review copy of this was provided by Blind Pig Records.