Thornetta Davis Honest Woman

Thornetta Davis
Honest Woman
Sweet Mama Music

The opening track to Thornetta Davis' "Honest Woman" is a recitation from her sister on how her sister makes her feel "When My Sister Sings the Blues." Listening to "I Gotta Sing the Blues," one easily appreciates why this powerhouse vocalist is Detroit's Queen of the Blues. It certainly does not hurt that she has a fine band that includes on many tracks guitarist Brett Lucas, bassist James Simonson, keyboardist Philip J. Hale and drummer Todd Glass or that Kim Wilson adds harmonica who also shares the vocal.

Then she rocks things a bit as she tells her man that the things he does to make up for his cheating ways, as she tells him "That Don't Appease Me," as she sings that his sorry does not work and get on out of here. The music on this incorporates a riff from "You Don't Love Me," that complements her sassy, take no nonsense vocal.

Guitarist Larry McCray, brother Steve on drums and Kerry Clark along with the keyboards of Chris Codfish back her soulful singing on the gospel blues "Set Me Free," which is followed by a strong soulful ballad "Am I Just A Shadow." After the rollicking New Orleans groove of "I Need A Whole Lotta Lovin' (To Satisfy Me)," she takes her down in the alley with a superb slow blues "I'd Rather Be Alone," with a vocal that builds in intensity until it explodes.

Other tracks include uptempo rocker about recovering after her lying ex, "I Believe (Everything Gonna Be Alright)," while on "Get Up And Dance Away Your Blues" she shouts with joy for the listener to get up on this jump blues swinger. Then there is another terrific slow blues "Can We Do It Again," with the backing (including the marvelous horn arrangement) evokes some of the classic blues-funk of Johnny 'Guitar' Watson from the seventies. Like "I'd Rather Be Alone," this track stands out among a very impressive recording with a choice Lucas guitar solo in addition to Davis' compelling vocal.

The title track is a wonderful soul number followed by another rocking gospel blues "Feels Like Religion," that closes this recording. It is an impressive recording with Thornetta Davis' impressive singing and  fine backing and production.

I received my review copy from a publicist. This review appeared in the March-April 2017 Jazz & Blues Report (Issue 371). Here is Thornetta in performance.

Johnnie Bassett Had The Cadillac Blues

As I write this, word was received that Johnnie Bassett, a gentleman as well as a superb bluesman has passed away. The Detroit News has an obituary as does the Detroit Free Press. Here is a review of his CD for the now defunct Cannonball label that appeared in the April 1998 Jazz & Blues Report (Issue 230). I likely received a review copy from the label or a publicist. 

Johnnie Bassett’s emergence from obscurity in Detroit continues with Cadillac Blues (Cannonball), the third album by the very talented singer-guitarist to hit the racks in a very short time. This album is similar to his Black Magic album, I Gave My Life to the Blues, with Bassett backed by the Blues Insurgents of Chris Codfish on the Hammond B-3 and organ bass; R.J. Spangler on drums; Keith Kaminski on alto and tenor saxophone; and Dwight Adams on trumpet and flugelhorn.

Johnnie Bassett at the 2010 Pocono Blues Festival. It was the last time I saw him perform. Photo © Ron Weinstock What is remarkable is not just how good Bassett is, or what a good band he has, but how consistent his recordings are. He has had three first-rate albums made available in such a short time. Perhaps having waited four decades to take the spotlight, he doesn’t waste any opportunity to showcase himself. It certainly does not hurt that he has good material, or that the Blues Insurgents are such a fine band. Codfish and Spangler provide a swinging rhythmic foundation, while Adams and Kaminski play punchy head arrangements and take some terrific solos. With a hint of world weariness in his voice, Bassett effectively communicates the ironies in the lyrics, like on his own That’s Fair Play, where he notes how a former lover is suffering with her new man. Perhaps its because Bassett has been in the motor city for so long, but cars are a frequent theme in the songs. Not only are there two songs devoted to the Cadillac, the title track and Cadillac Baby, but on That’s Fair Play Bassett also notes that a former lover won’t leave him alone now that he has a Mercedes. A bit of Memphis funk on Get Over Here Baby is tempered by the Blues Insurgents’ jazz sensibilities. Kaminski and Adams both take solos that go beyond simple blues band conventions and complement Bassett’s own fine playing. Much is made of T-Bone Walker’s influence on Bassett, although one should not minimize the clear influence of B.B. King’s guitar playing of the mid-sixties. Bassett might be compared to the late Fenton Robinson, although Robinson’s music does not swing quite as hard as Bassett’s does, like on the hot jump blues Raise the Roof, Raise the Rent. Produced by Ron Levy at Willie Mitchell’s Memphis Studio, Cadillac Blues, is another release that will help establish Johnnie Bassett as one of the brightest new names in the galaxy of blues stars. Here is a video of Johnnie Bassett performing Cadillac Blues.

The Gentleman Johnnie Bassett Is Back

2010-0724 Pocono Blues Day 2-2626, originally uploaded by NoVARon.

It has been so nice to see Detroit’s Johnnie Bassett bring his sophisticated and urbane sound back and while this release was issued in 2009, and this review originally appeared in the August 2009 Jazz & Blues Report (Issue 319). I have a particular fondness for Johnnie and his earlier recordings as well as his live shows. For example, he put on a terrific show at the Pocono Blues Festival this past July (pictured above). Anyway here is the review.


Its been too many years since that Detroit bluesman Johnnie Bassett has had a new release and thankfully the Mack Avenue subsidiary Sly Dog has issued the aptly title “The Gentleman is Back.” Perhaps its the misfortune of his prior label going under after releasing several distinctive recordings characterized by Bassett’s soulful baritone and his jazzy guitar style with its mix of T-Bone Walker, mid-sixties B.B. King (think the “Blues is King” album) mixed with a dash of Grant Green’s bluesy jazzy styling. As Bob Porter says in the liner notes, Johnny does not waste a note, “no flash-all content.” On this new album he is joined by several old friends. Chris Codfish on keyboards anchors the backing trio, “The Brothers Groove,” while saxophonist Keith Kaminski fronts the Motor City Horns on a program of mostly originals composed by Codfish’s father Robert or Chris himself with a few choice covers.

The material on “The Gentleman Is Back,” is first-rate with Bassett delivering the lyrics with wry wit or with a world weary recognition that sometimes a woman is set in her ways and gets what she wants, so that in the title of one of Robert Codfish’s songs, “Nice Guts Finish Last.” At the same time, he can commiserate with Chris Codfish as they share the vocal on “Keep Your Hands Off My Baby,” which opens with Chris telling Johnnie about all the men making a pass on his woman. At the same time he sings about not wanting a fashion model with a lean and hungry look, wants a soul food mama who knows how to cook with the kind of loving he can’t leave alone, keep your skinny women, Johnny wants one with “Meat on Them Bones.” Few would dare to put “Georgia on My Mind” on record and expect to be taken serious, and while he can’t match Ray Charles on the Hoagy Carmichael standard, his mellow blues performance certainly is first rate. Perhaps the only miscue is the use of steel guitar on “I Can’t See What I Saw In You,” a country-tinged ballad perhaps but which didn’t need the pedal steel. “I’m Lost,” is a splendid Duncan McMillan song about being lost in love and misery over a woman. I was nor familiar with this tune and the performance here evoke Latimore’s “Let’s Straighten It Out,” as well as the B.B. King recording of Roy Hawkins’ “The Thrill is Gone.” In any event, his vocal is superb and guitar solo is at the top of his game. 

One of the finest gentlemen in the blues is indeed back and we should be quite thankful for Mack Avenue and Sly Dog for that fact and releasing this terrific recording. It should be relatively easy to find.


For purposes of FTC regulations, the review copy was received from the firm handling publicity for the recording label.