The Texas Horns Blues Gotta Holda Me

 

Mark ‘Kaz’ Kazanoff may be the best known of The Texas Horns, a trio of horn players who have contributed to numerous fine recordings. Kaz brings his tenor sax and harmonica along with John Mills who plays baritone and tenor saxophones and Adalberto Gomez on trumpet to “Blues Gotta Holda Me” (VizzTone). Recorded in Austin in 2014 the three are joined by guitarist Derek O’Brien, and drummer Barry Frosty Smith along with a variety of guests who include Nick Connolly, Marcia Ball, Ronnie James, Johnny Nicholas, W.C. Clark, and Anson Funderburgh.

There is a mix of instrumentals and vocals (most of which are taken by Kazanoff) on a recording that breaks no new grounds perhaps, but makes for enjoyable listening and likely to be a favorite for dancers. The music is well played and there are plenty of strong horns solos. The standout vocal is a soulful one from W.C. Clark on Kazanoff’s original “Cold Blooded Lover,” while Marcia Ball does a credible cover of the Smiley Lewis classic recording “Go On Fool,” with the horns providing an unusual Mariachi tint to the performance.

Musically, the rendition of “You’re Driving Me Crazy” is better than Kazanoff’s bland vocal. The performance sounds like it was based on the Big Joe Turner rendition from classic “The Boss of the Blues” album on Atlantic. He takes a terrific tenor sax solo on this. Also his vocal on the Percy Mayfield classic “Lost Mind” lacks the grit of Mayfield’s original as well as the brilliance of the late Johnny Adams’ rendition. Finally, as much as he tries, he can’t bring the ebullience needed on a rendition of Louis Jordan’s “Caldonia.” Here he is company with others like Muddy Waters and Gatemouth Brown who have faltered on this.

The instrumentals are fun, finger popping tunes with the exception of a terrific rendition of “People Get Ready.” The opening “Soul Stroll” kicks this off with a nice shuffle groove while Mills’ “Kick Me Again” has a march like feel with some robust playing from Mills on the baritone and O’Brien on guitar. “Rippin’ and Trippin‘“ is a hot number for the jitterbuggers while the funking rendition of Hilton Ruiz’s ”Home Cookin’” has soulful grease from Connolly on the B–3 along with some tough playing from each of horns.

“Blues Gotta Holda Me” may not be a compelling recording, but it certainly is a fun and entertaining recording that is a welcome change of pace for blues listeners.

I received my review copy from Vizz-Tone. Here is a video of them performing.

Omar Dykes Runnin’ With The Wolf

Omar Dykes has been pretty busy with new releases lately and with his band, The Howlers, he has another new release Runnin’ With The Wolf (Provogue Records). As the title suggests, this is a tribute to Howlin’ Wolf. Given Omar’s gravelly, gruff vocals, an album of Wolf songs would seem a natural and Dykes approaches the material not to copy Wolf’s recordings, “but to stay close to the spirit. … I tried to modernize the songs … Why copy something not for note … when it’s already available in the original form. … I wanted to have fun with songs that I’ve loved ever since I was a kid.” 

Those backing Omar on his journey through the Wolf’s music include Derek O’Brien, Casper Rawls, or Eve Monsees on guitar, Ronnie James or Bruce Jones on bass, Wes Starr or Mike Buck on drums, Ted Roddy on harmonica, Nick Connolly on keyboards and Kaz Kazanoff and Lex Ismore on saxophones. Settings range from a trio (as on the tough renditions of Killing Floor, and Little Red Rooster, as well as the rollicking interpretation of Riding in the Moonlight) to a larger band with horns (as on the latin groove of Who’s Been Talkin’, the uptown urban funk groove of Do The Do (admittedly a pretty trite Willie Dixon lyric) and the all night party vibe of Wang Dang Doodle). Even on these sides with a larger band, the backing is supple, never heavy handed.

There are plenty of delights to be savored here including the title track that Omar penned with his imaginative incorporation of titles and phrases from Wolf’s recordings in his lyrics. A particular highlight for these ears is the rendition of Worried All The Time, which comes across as if Hank Williams had recorded a Wolf number. Its hard to find fault with the take on Spoonful, which is structured similarly to Wolf’s original recording and includes some short Sumlin-like guitar accents. In contrast, there is a country boogie guitar line used in the backing for Back Door Man, which is imaginatively reinvented here.

Marvelously played and sung, Runnin’ With the Wolf is a tribute to one of the greatest of all blues artists and another fine release from Omar Dykes.

I received my copy from a publicist for the record label.

Omar and the Howlers Too Much Is Not Enough

Jimmy Reed’s music is deceptively simple to play. With its lazy rhythm, simple boogie bass and mush mouth vocals it would seem so easy to cover and interpret. However, for every Jimmy Witherspoon, with his behind the beat vocals gave a personalized uptown approach, or Swamp blues masters like Lazy Lester, Jimmy Anderson, and Slim Harpo, others (such as Etta James) might handle the songs a bit too heavily. 

This brings us to a new release by Omar and the Howlers on Big Guitar Music, Too Much Is Not Enough. This recording of Reed’s music features the late Gary Primich on harmonica for what was Primich’s last recordings. This recording was recorded prior to Omar’s collaboration with Jimmy Vaughan On the Jimmy Reed Highway. Like that album, this includes a number of special guests including guitarists Derek O’Brien, Gary Clark, Jr., as well as Jay Moeller and Ronnie James. Not having heard the Jimmy Reed Highway, I cannot vouch for the statement that this recording takes a different approach. I can attest that this is a very fine recording of Jimmy Reed songs.

Omar Dykes' hoarse, gravelly vocals would seem more appropriate for the music of Howlin’ Wolf or Captain Beefheart. Importantly, his relaxed delivery simply nails the renditions of Too Much, Honest I Do, I Ain’t Got You, and Shame, Shame, Shame. The backing stands out with Primich shining. There is one non-Reed song included, Dykes’ I Gotta Let You Go. This is a swamp blues that evokes Slim Harpo’s Tee-Nah-Nee, with Gary Clark, Jr. adding slide guitar in the backing. On two selections Clark doubles on harmonica and guitar and if not as accomplished on harmonica as Primich, still acquits himself well.

Fans of Jimmy Reed, as well as of Omar Dykes, will certainly enjoy Too Much Is Not Enough. These are wonderfully paced performances and many ‘blues players’ would do well to see how one can take familiar material and make it sound fresh and vital. This is so good that I will be checking out the Jimmy Reed Highway, and looking forward to Omar Dykes promised future releases that will center on the music of Howlin’ Wolf and Bo Diddley.

I received this from either the label or publicist.  Here is Omar performing at the CD release party for this CD.

Omar and The Howlers Never Gone

Having recently had the pleasure to consider the excellent overview of the past two decades of Omar and the Howlers Essential Collection on Ruf, I received recently the latest Omar and the Howlers recording I’m Gone (Big Guitar Music). Its a session that has him joined by guitarists Casper Rawls and Derek O’Brien; bassists Ronnie James and Bruce Jones; and drummers Mike Buck and Wes Starr for a rocking collection opf rockabilly and blues.

It starts with the title track, a hot rockabilly stomp that evokes the classic Sun sound and with a forceful, gravelly vocal. All About the Money, is a lazy blues shuffle with a relaxed vocal, some nicely articulated guitar and a nice relaxed pace. Drunkard’s Paradise is a country number about drinking in the darkness with some chicken scratching guitar and steel guitar. Bo Diddley was an inspiration for Omar and Wild and Free, which uses the “Bo Diddley beat” and he employs judicious use of tremolo on it, followed by the driving Dust My Broom groove of Down At The Station.

Lone Star Blues is an atmospheric , straight-ahead blues instrumental which like this recording benefits from the economical backing and playing that benefits as much by what is not played as what is played. The ensuing track, Omar’s Boogie is a solid country-rockabilly instrumental with plenty of twang and followed by the slow Goin’ Back to Texas, which has a swamp blues flavor; a nice, gritty vocal and Casper Rawls’ guitar solo which takes some unexpected twists. Let Me Hold You is a swamp-pop styled ballad followed by a easy rocker, Move Up To Memphis, and then a solid cover of John Lee Hooker’s brooding I’m Mad Again. The booklet misidentifies the track penned by Hooker and it is I’m Mad Again, the 11th track, not the 10th track as stated there.

The closing track is another rockabilly groover, Take Me Back which uses Scotty Moore’s guitar riff from Elvis Presley’s rendition of Mystery Train. Its a lively track, solidly sung by Omar with his gravelly approach. It caps another solid and recommended recording from Omar Dykes.

My review copy was provided by a publicist. Here is some Omar and the Howlers to enjoy.