Whitney Shay A Woman Rules The World

Whitney Shay
A Woman Rules The World
Little Village Foundation

There is something about a recording that makes one take notice, especially when it is by an artist that one was previously unaware of. San Diego vocalist Whitney Shay made that impression when I first started listening to her assertive "Ain't No Weak Woman," that opens up this new release of modern urban blues and classically oriented soul. Supporting her expressive singing is the excellent support that producer and guitarist Christoffer 'Kid' Andersen has provided. On this she is supported by a studio band that includes Jim Pugh on keyboards, Kedar Roy on bass, Alex Pettersen on drums and 'Sax" Gordon Beadle on saxophones with Igor Prado and Aki Kumar among those guesting on selected tracks.

"Ain't No Weak Woman" is one of four songs Shay co-wrote with Adam Eros, and she vigorously delivers her lyric that having a weak moment does not make her a weak woman. It is a moving vocal set against a driving groove with a superb Sax Beadle tenor sax solo. More raspy sax opens a lesser known Dinah Washington number "Blues Down Home." The terrific horn arrangement and her superb vocal suggests she could handle a straight jazz recording as well as she handles the blues and soul here. This track also has Jim Pugh's greasy organ accompaniment, a nice harp break from Aki Kumar and booting sax that evokes Eddie Chamblee and the like. After a hint of New Orleans on another original, "Don't You Fool Me No More," Igor Prado adds his slashing guitar and a  vocal on another original, the funky "Love's Creeping Up On You."

The title track was Denise LaSalle's answer to James Brown's "It's a Man's World." Sdt against the firm accompaniment, moaning and shouting, she delivers another knockout vocal. Andersen's sitar helps open her fervent blues shouting on a reworking of Little Richard's "Freedom Blues," followed by a strong deep soul interpretation of Candi Staton's "Get It When I Want It," with Sax Beadle's baritone sax a significant part of the backing. Among the other selections is the low-key original lament, "Empty Hand," where her phrasing and vocal dynamics stands out.

Another driving Little Richard number "Get Down With It," closes this recording. The terrific studio band and Andersen's production along with Shay's powerful, nuanced singing result in a superb recording.

I received my review copy from a publicist. I have made some stylistic edits to the review that originally appeared in the July-August Jazz & Blues Report (Issue 379). Here is a video of Whitney Shay performing.

Duke Robillard and His All-Star Combo - Blues Full Circle

Duke Robillard and His All-Star Combo
Blues Full Circle
Stony Plain Records

"Blues Full Circle," the title of Duke Robillard's new Stony Plain recording, in part refers to his back to the basics approach of this mostly small band, old school blues. Duke is joined here by his long-time associates Bruce Bears on keyboards, Brad Hallen on bass and Mark Teixeira on drums with Gordon Beadle and Doug James each adding sax to one track There are guest vocals from Sugar Ray Norcia and Kelley Hunt and Jimmy Vaughan adding his guitar on one selection. Duke contributed eleven songs, eight recent ones (one a collaboration with Vaughn) and three from 30 to 45 years ago. Kelley Hunt contributed one and one was a Jimmy 'Baby Face' Lewis song.

Recording of this album was interrupted after recording of seven songs by rotator cuff surgery and after a year off the remainder was cut. I have noticed that in recent recordings Duke's phrasing of his vocals sound self-consciously deliberate. This can be heard on several tracks here including the opening "Lay a Little Lovin' on Me," although as one listens to the excellent performances here it is a minor issue. The spirit of Eddie 'Guitar Slim' Jones is evident on several selections here including the tribute "Blues For Eddie Jones" as well as "Rain keeps Falling," with the slashing guitar work and the slow "Morning Dove" that also suggests Johnny 'Guitar' Watson, one of numerous guitarists influenced by Slim (also Albert Collins, Buddy Guy, and Earl King).

A nicely paced shuffle "No More Tears," finds Duke more in a B.B. King guitar vein while "Last Night" is influenced by some of the Duke recordings of Bobby Bland and Junior Parker with a superb Sugar Ray Norcia vocal and Sax Beadle adding tenor and baritone. After the New Orleans groove of "Fool About My Money" with terrific piano from Bears, Kelley Hunt takes the vocal and boogie piano (Bears is on organ here) on her rollicking celebration of Duke's home studio "The Mood Room." Doug James adds baritone sax behind Duke and Jimmy Vaughan on their easy rocking instrumental duet "Shufflin' and Scufflin'," with some organ grease from Bears in addition to the expected superb solos from both guitarists.

As usual, Duke's band is in top form, and whatever quibbles I might have about Duke's singing (and it is a minor point), the music on "Blues Full Circle" is exceptional.

I received my review copy from a publicist. This review originally appeared in the November-December 2016 Jazz & Blues Report (Issue 369) although there are corrections and minor revisions from that published review. Here is Duke and Monster Mike Welch along with Duke's band.

 

Jumpin' With Junior Watson

Among the most respected blues and roots guitarists associated with the West Coast swing and jump blues scene is Junior Watson. Bharath Rajakumar and Wally Herson have produced his most recent recording, Jumpin’ With Junior (Royal Regal Records). Watson is joined by long-time collaborator Fred Kaplan on piano and different rhythm sections. This CD was recorded in Montreal and Pasadena. Bharath plays harmonica on 2 of the 8 Montreal selections, while Gordon Beadle adds sax to two of the 7 Pasadena recordings.

There is plenty of attention to tone and atmosphere on the recordings starting with the hot Butter Top. Watson's affection for the Memphis guitar stylings of Floyd Murphy, Willie Johnson and Pat Hare is evident on his twisting lines on Knee High Boogie. Watson is adequate as a vocalist on Floyd Jones’ Stockyard Blues, as Bharath channels Snooky Pryor and Walter Horton. Watson’s playing here on this in an Eddie Taylor vein. No one is going to purchase this for Watson’s singing, but the vocals do provide a change of pace.

Bo-Nanza is an interpretation of the theme of the classic TV show as if it had been recorded by Bo Diddley. Another take on a TV theme songs is Beverly’s Hillbilly, with a reggae groove. These tracks contrast with the late night, jazzy tinge of Velvet Mood. Happy Hoppy is a bouncy salute to Houston steel guitarist Hop Wilson on which Watson playd some taut steel. Dragnet Blues was originally recoded by Johnny Moore’s Blazers with Frankie Ervin soning on a Charles Brown styled performance. Watson’s vocal is pretty effective on a moody performance.

The title track is a hot instrumental with driving single note runs accented by slashing chords. His slide guitar rendition of One Night With You may conjure up Earl Hooker, while There’ll Be a Day (with nice harmonica added) is a nice cover of a lesser known Jimmy Reed number. Mr. Downtime is an atmospheric late night cocktail blues instrumental while Boppish provides an interesting contrast between Watson’s jazz-accented blues style and Beadle’s tenor sax that channels Illinois Jacquet and Wardell Gray on this while on the closing The Barn Burner, Beadle plays more in the honking style of Big Jay McNeely. 

Junior Watson rarely records under his own name and that is enough reason for many to be interested in this. There is plenty of intriguing and imaginative playing throughout that makes for fun listening.

I purchased this although it may be hard to fine. Here is a video of Junior Watson. 

Matthews Stubbs Soul Bending Guitar

Another young guitarist, Matthew Stubbs makes his debut on the VizzTone release, Soul Bender. Stubbs, only 25, has certainly quite some experience, having competed in the Blues Foundation’s International Blues Challenge, and toured as a sideman with Janiva Magness, John Nemeth and Linwood Slim. Currently he is in Charlie Musselwhite’s Band. Pretty impressive resume receiving strong endorsements from Bob Margolin and Junior Watson.

Soul Bender was produced by Stubbs and includes Sax Gordon Beadle leading a tight horn section along with a tight rhythm section on an all instrumental program. Listening to this, one can agree with Bob Margolin who suggests this is what Freddie King might have sounded like if he had recorded in Memphis with the Bar-Kays. There is a mix of hot blues riffs infused with some surf instrumental twang set against a funk groove and riffing horns syled after the Memphis horns.

Taken a few tracks at time, or put in an ipod or other mp3 player put in a shuffle mode, Stubbs fiery, yet tasty guitar is best appreciated along with some blasts of Beadle’s gutbucket tenor (20 Gallons of Beadle Juice or Sticky Bunz). Rivelli’s Mood, is a nice slow gospel-tinged instrumental with the horns setting the mood with Stubbs stating the theme before blasting out a call and response with Beadle. The rocking Stompin’ On Thru, opens with Stubbs setting out with a blistering tempo and mixing is single note runs with some chords that Beadle gets works off of.

While there are moments that might evoke King Curtis’ Memphis Soul Stew, the songs are based on funky grooves and riffs that start to sound the same listened to in one sitting. Bear in mind that some of us also find albums of Freddie King instrumentals best taken in small morsels.

I likely received this release from a publicist or VizzTone and it originally appeared in the May 2009 Jazz & Blues Report (Issue 316). Matthew has a subsequent release that I have not heard. Here is Matt and Mr. Beadle on sax.