Jason Ricci & the Bad Kind My Chops Are Rolling!!

Jason Ricci & the Bad Kind
My Chops Are Rolling!!
EllerSoul Records

I am not sure if Jason Ricci is considered the Bad Boy of the Blues, but he brings a punk attitude along with his harmonica virtuosity to this new release. He is accompanied by his high energy band of John Lisi on guitar and dobro, Andy Kurz on bass, and John Perkins on drums. Kaitlin Dibble adds guest vocals. Most of the songs are originals from Ricci or Lisi.

While if some of the songs might not fit a traditional notion of blues, they are not heavily rocked out, and there is an understated quality in the performance of some songs such as "Break in the Rain," on which Ricci showcases not only his harp chops but his original, imaginative soloing. Lisi's dobro work is also quite evident here. "Don't Badger the Witness," a more traditional blues structure opens with Ricci's full-toned harmonica sports of gravelly vocal, and one wonders if the theme of not badgering the witness arose from his own experiences. Lisi's guitar, with his use of vibrato and tremolo, adds to the performance's atmosphere. The next track, "F_ck the Falcons (Who Dat Nation)," is a celebration of the New Orleans Saints and profanity-filled lambasting of NFL officiating and the NFL Commissioner set to a hot second-line groove with Slats Klug playing accordion and Lisi laying down a memorable solo. The final track "Who Dat Nation" is a radio-friendly version of this.

"Going to California" is a fascinating instrumental that shows how Ricci is not simply a technical virtuoso, but able to spin a jazz-inflected, soulful solo on the chromatic harmonica before Lisi enters with a contrasting high-energy electrified slide solo. It is followed by Kaitlin Dibble's endearing singing on the Barbara Lynn classic, "If You Should Lose Me," with Ricci's accompaniment and solo full of magic. The title track is a funky slice of music as, in what is almost a throwaway vocal, he celebrates his chops rolling and plays some astonishing harp licks against Lisi's funky guitar as the rhythm gets down with the groove.

"The Way I Hurt Myself" is a fabulous slow straight-forward blues performance with an intense vocal, some terrific blues guitar, and an excellent showcase of Ricci's use of tonal and volume dynamics in his pull-out-all-the-stops, three o'clock in the morning solo. It is followed by the energetic rockabilly-styled "Think It Over." Jason Ricci's chops are indeed rolling on a fascinating blend of blues and roots that showcases a broad and engaging musical personality with a tight, driving band.

I received my review copy from EllerSoul Records. Here is Jason Ricci performing this year with Joe Krown, John  Fohl and others at the Maple Leaf Bar in New Orleans.

 

Moonshine Society Sweet Thing

Moonshine Society
Sweet Thing
Mojo Music Group

"Sweet Thing" is the second album by the DC area band, Moonshine Society. The core of the band is guitarist Joe Poppen and vocalist Black Betty (Jenny Langer), along with bassist Chris Brown and drummer Rodney Dutton and they have developed their blues and roots music stew. Lending support on some of the tracks are keyboardists Wes Lanich and Benjie Porecki, bassist Tod Ellsworth, and the horns of the great Ron Holloway, Vince McCool and Ken Wenzel. Jason Ricci's harmonica was added onto two tracks. Black Betty and Poppen, when not fronting Moonshine Society, are members of The Ron Holloway Band.

There is a fascinating mix of blues, blues-rock, and soul starting with the opening title track that was penned by Langer. It might be viewed as an answer song to Muddy Water's "Mannish Boy," with Ricci providing some energetic harmonica behind Langer's insistent vocal as she tells her man not to play games with her. "Shake" has a nice groove with a riff that evokes Nick Gravenites "Born in Chicago." Langer sings about going out and dancing the night away with Poppen laying down some fiery single note runs while Holloway has a booting solo. A particular standout selection is the reworking of the Ruth Brown hit, "Mama, He Treats Your Daughter Mean." It is set to a New Orleans second-line groove with Porecki on piano laying down some Crescent City styled piano. Vince McCool takes a brief, fiery trumpet solo, and Holloway on tenor sax and Wenzel on baritone sax take robust solos with the three horns leading the second line until performance fade out. Langer's "Come On Home" is a stunning performance in a Memphis soul style with Porecki channeling Booker T and Poppen evoking Steve Cropper.

There is a tribute to Johnny Winter on "Southern Road," which is more in a blues-rock vein with Ricci adding to this wide-open performance. Another highlight is a mash-up of Bill Withers' "Use Me" and Dr. John's "On Gilded Splinters," with her striking vocal backed by Poppen's explosive blues-rock guitar. Langer ably covers Etta James' "I'd Rather Go Blind," with a nicely shaped guitar solo and backing Langer whose vocal builds with passion as the performance unfolds. "Deal the Devil Made" contrasts with a more restrained vocal and backing. Poppen takes a solo on acoustic guitar on this selection.

A bonus track, "The One Who Got Away," is included. It was recorded in cooperation with "Cancer Can Rock," with a different backing band but also serves as another example of Langer's powerful, focused singing. It adds to the pleasures of an impressive recording.

I received my review copy from a publicist. Here is a video of a recent live performance of "Sweet Thing."

 

JJ Appleton & Jason Ricci Dirty Memory

"Dirty Memory" (Old Boy Network) by JJ Appleton & Jason Ricci is an energetic recording of unplugged blues by two quite accomplished players. Ricci is among the most accomplished harmonica players working in the blues and roots realms and he has an able partner in Appleton, a singer-songwriter and guitarist with support from either Tim Lefebvre or Neal Heidler on double bass. There are six originals from Appleton, two from Ricci and covers of Blind Willie Johnson’s “Nobody’s Fault But Mine,” The Rolling Stones “Black Limousine” and “It Ain’t No Use” from Gary “U.S.” Bond.

Appleton is a capable singer of the songs and he brings a driving percussive approach to his steel guitar playing as evident on the opening "Leaning Blues," rooted in the "Dust My Broom" riff with Ricci's harp all over the place. Blind Willie Johnson’s classic “Nobody's Fault But Mine” is an interesting interpretation, but is dwarfed by Blind Willie’s original. "Can't Believe It's Good" is a lively number that one could easily imagine being transformed into a full band performance and Ricci's unrestrained playing is very appealing here, like Sonny Terry on speed. Ricci's "New Man" opens with some really nice and imaginative harmonica playing behind Appleton's wistful vocal and followed by "Jason Solo," an unaccompanied virtuoso performance that might be viewed as a tribute to classic fox chase and train instrumentals. "At the Wheel Again" is another fine duet with spirited harp and steel guitar with Appleton singing about being the "devil's pawn singing an angel's song." I am not familiar with the Stone's rendition of "Black Limousine," but the enjoyable performance here (particularly Appleton's slide playing) evokes the Stone's cover of "Little Red Rooster." A similar groove (without slide) marks the cover of Gary 'U.S.' Bond's "It Ain't Use," which benefits from the restraint shown here.

A reflective, solo performance by Appleton, "Come On Over, Come On By," concludes a recording of acoustic blues that many will find to their liking.

A publicist provided my review copy. It was written for Jazz & Blues Report and likely will run in the January-February 2016 issue (issue 364). Here the two perform "Nobody's Fault."