Adam Schultz - Soulful Distancing

Adam Schultz
Soulful Distancing
Blue Heart Records

"Soulful Distancing" is the debut album under the name of 18-year old songwriter-guitarist Adam Schultz. Schultz's dad asked Clarence Spady if he would give then 14-year old Adam a guitar lesson, and Spady was so impressed he invited Adam to play a couple of songs with him at Spady's regular Terra Blues gig in NYC. Thus began Spady's mentoring of Schultz, who has developed into quite a guitarist and has quite a close musical relationship with Spady.

Spady and Douglas Schultz produced the present album. Spady adds his guitar as well as vocals on the five cover tunes. Adam Schultz wrote six songs for which Spady sang one, Michael Angelo sang four, and Ekat Pereyra sang one. Besides Adam and Spady's guitar, the core members of the studio band are Adam Cohen on bass, Robert O'Connell on keyboards, Sharon O'Connell on drums, Scott Brown on piano, Tom Hamilton on saxophone, and Pat Marcinko on percussion.

As Spady says in his liner note about Adam, "He has developed a unique style: fusing a Latin jazz influence from his music teachers with a blues influence from me, sprinkled with a bit of funk that Adam is naturally drawn to." This statement is displayed in his playing on the revival of Johnny 'Guitar' Watson's "A Real Mother For Ya," as well as his original "Harlem Tonight," a fine original that might melodically suggest "Just the Two Of Us" with a solid Michael Angelo vocal. The old Louis Jordan classic "Early in the Morning," besides showcasing Adam's keen, crisp guitar, also has saxophonist Hamilton in the spotlight.

Spady revisits Adam's "Good Conversation" that Spady recorded on his recent album, "Surrender." Then on an imaginative cover of Little Walter's "Who," Adam's lean, twisting guitar impresses more. Another song of note is the Latin-tinged funk, "Cure For the Blues," about this dancing lady who has the cure for the blues. A terrific vocal by Angelo, a churning bass line by Cohen, and more scintillating blues guitar result in a super track. Then there is a nifty cover of Tyrone Davis' "Can I Change My Mind," with a choice Spady vocal, along with an intriguing funk re-working of the old Ricky Allen recording "Cut You Loose."

There is plenty to enjoy in "Soulful Distancing." Adam Schultz is a guitarist who shows much more than promise and writes some darn good songs. Add that the under-recorded Clarence Spady sings on six of the eleven songs and strong backing from a first-rate studio band, and one has quite a solid blues with a strong dash of soul recording.

I received my review copy from a publicist.

Bobby Parker Shine Me Up

Bobby Parker
Shine Me Up
Blacktop

Bobby Parker’s second Black Top album certainly shows that the acclaimed Bent Out of Shape was no fluke. | should caveat that Bobby is one of my favorite artists, and one of the benefits of living around D.C. has been the opportunities to see him relatively frequently and get to know him. 

A Washington area native, Bobby Radcliff once mentioned to me that years ago Parker was as good as his better known Chicago contemporaries. Listening to Shine Me Up, one would suggests that in some ways Bobby betters them. Ten of the eleven songs are Parker originals, and neither Buddy Guy nor Otis Rush have contributed any comparable body of new songs in recent years. And, they are good songs mixing hooks with catchy riffs and tasteful horn riffs covering a wide soul-blues palette. 

For example, It’s Unfair, a terrific slow blues, opens up with a James Brown horn part before Bobby sings about women treating men like toys as the band captures some of the flavor of the classic Stax recordings of the seventies. Bobby adds a pleading vocal and his buzz-saw guitar with the skill of a surgeon finely opening up his patient. The title track finds Bobby asking his woman to “Shine me up baby. Make me feel good for you and me. | feel dull and I’ve had a bad day darlin’, and | really need sympathy... .’ Splib’s Groove finds Bobby working over a go-go groove, and Somebody’s Coming In My Back Door is a classic blues theme freshly reworked by Parker. 

The one cover is a lesser known Little Willie John recording, Drive Me Home. The choice of the song may have been fortuitous, but Parker’s keen, high-pitched vocals owe a bit to the past rhythm and blues giant, although Bobby brings plenty of his own personality to the songs. It has taken Bobby Parker years to get to where he is now, which is one of the blues’ most sizzling vocalist-guitarists. He also happens to be one of the best songwriters in the idiom.

This review appeared in a 1995 issue of Jazz & Blues Report (Issue 205), and likely also appeared in the DC Blues Calendar, the DC Blues Society's newsletter. I probably received a review copy from Black Top Records. This may be available used or as a download. Here is Bobby Parker performing "Watch Your Step" a few months before he passed away in 2013.

 

Duke Robillard & Friends Blues Bash!

Duke Robillard & Friends
Blues Bash!
Stony Plain

Duke Robillard had built up such a distinguished body of recordings as an artist and producer over five decades. This latest release is another chapter in his well-regarded career about which he states is "packed with plenty of bright sounding Fender guitar a la Ike Turner, Lefty Bates, etc. Just a good listening or dancing record like the blues records I bought when I was a kid." His intent was "to make a straight vintage-style blues album with rhythmic grooves and no hook-laden songs." "Blues Bash!" Certainly accomplishes his objective.

Playing on this recording is his band of Bruce Bears on keyboards, Mark Texiera on drums, and either Jesse Williams or Marty Ballou on bass. Then there is the horn section of Greg Piccolo on tenor sax, Rich Lataille on alto and tenor sax, and Doug James on baritone sax. Mark Hummel adds harmonica, and Robert Welch adds piano on one track. On a cover of Smiley Lewis' "Ain't Gonna Do It," the band consists of Mark Braun on piano, Marty Ballou on bass, Marty Richards on drums, Al Basile on cornet, and Sax Gordon on sax. Besides Duke, Chris Cote and Michelle Willson are heard on vocals.

Duke is focused playing his Fender guitar on these recordings, whether evoking Ike Turner behind Cote's vocal on the cover of the Kings of Rhythm recording "Do You Mean It," or channeling Lefty Bates on a rendition of Bates' instrumental "Rock Alley." He plays in the manner of Johnny Rogers in the cover of Roy Milton's shuffle "What Can I Do," as well as suggesting early Johnny Guitar Watson on "Give Me All the Love You Got."

The music is impeccably played with some top-flight singing, especially from Cote on "Do You Mean It" and Wilson, as she interprets a lesser-known Helen Humes recording, "You Played on My Piano." Her vocal exhibits plenty of humor the lyrics lend themselves to. Duke himself sings quite well with the Chicago styled blues "No Time," with Mark Hummel adding harmonica on perhaps Duke's finest vocal on the album. The other players are sterling, including Piccolo with a booting tenor sax solo on "Rock Alley" and Doug James rousing baritone on "You Played on My Piano."

The rest of the ten tracks are as entertaining and well-played with a special salute to the jazzy atmospheric instrumental "Just Chillin'" that closes this latest outstanding recording from Duke Robillard.

I received my review copy from a publicist. Here is "Do You Mean It!" from Blues Bash!"

Ronnie Earl & the Broadcasters Rise Up

Ronnie Earl & the Broadcasters
Rise Up
Stony Plain

Ronnie Earl returns with a new album, the majority of which were recorded in "Living Room Sessions" at his house in March 2020, and several from a set at a "Daryl's House Club" show in 2019. Earl was recovering from back surgery at the time of these sessions. Recorded shortly before Covid-19 pandemic shut down most live music, "Rise Up" features the guitarist's band of Dave Limina on keys, Diane Blue on vocals, Paul Kochanski on bass, and Forrest Padgett on drums. Guitarist Peter Ward is also present on some of these recordings and contributed the liner notes. The album is his 13th for Stony Plain and 27th of his 45-year-old career.

Earl is one of the most distinctive and interesting guitarists in the blues. A nuanced player, Earl, is a master of tonal dynamics, phrasing, and solo construction. Earl builds solos like smoldering coals in a charcoal grill that bursts into flames when fat drips down. Furthermore, his accompaniments here cradle Ms. Blue's soulful vocals, while the band displays the cohesiveness and strong interplay of years together.

Ronnie Earl & the Broadcasters seem incapable of playing poorly, and like his prior albums, one would be hard-pressed to find a weak chorus, much less track. There is a solo rendition of the traditional "I Shall Not Be Moved," opening this recording followed by Earl's original "Higher Love" with one of Blue's sterling vocals. Among her other memorable vocals are the performances of Fenton Robinson's "You Don't Know What Love Is," Little Johnny Jones' "Big Town Playboy," and the gospel-tinged interpretation of Bob Dylan's "Lord Protect My Child." Then there is the stone-cold topical blues with perhaps Diana Blue's most intense vocal, "Black Lives Matter." This song is an original from her and Earl, and Earl adds a spoken part where he celebrates Dave Maxwell and others who have passed on.

There are, of course, several superlative instrumentals, including the slow, brooding "Blues For George Floyd," where his playing drips with emotion. In addition to a tribute to Lucky Peterson, another slow mesmerizing instrumental is "Talking to Mr. Bromberg." Limina is a first-rate organist who is featured on piano on the old Ray Charles instrumental "Mess Around."

Peter Ward joins in on "Navajo Blues" that showcases both guitar stylists. It is the closing track on yet another exceptional Ronnie Earl recording.

I received my review copy from a publicist. Here is a relatively recent performance by Ronnie Earl & the Broadcasters.

Joe Louis Walker Viva Las Vegas Live

Joe Louis Walker
Viva Las Vegas Live
Cleopatra Blues

"Viva Las Vegas Live" is, I believe, the 26th album from Joe Louis Walker, and the 4th live album, in his Hall of Fame recording career that goes back to 1986. Of the blues artists who emerged from the 1970s on, I would be hard-pressed to find one who has produced such a substantial body of music as well as continues to play such a diverse repertoire. Besides his superb, imaginative guitar playing, he is one of today's blues most powerful, moving singers.

"Viva Las Vegas Live" is available as a CD/DVD package, with the same music on both. It was recorded and filmed at The Railhead at the Boulder Station Hotel and Casino on August 2, 2018. In addition to Walker's guitar and vocals, Bruce Bears is on keyboards, Lenny Bradford on bass, and Dorian Randolph on drums.

The songs here span over two decades of Walker's career opening with the hot rocking "I'm Not Messin' Around" and include the driving blues-rock of "Do You Love Me." One risk of live recordings is that some performances are better experienced live. On disc, the same performance sounds over-extended. "Sugar Mama" has strong vocals and guitar, Bears is first-rate, and Walker even plays some harmonica, but at 16 minutes it goes on a bit too long for these ears. While lengthy, it is not a poor performance.

One can appreciate that Walker maintains such a broad and deep repertoire. "In the Morning" was the title track of his 2002 Telarc album, while "Soldier For Jesus" harkens back to his gospel roots. A rollicking rendition of "Too Drunk To Drive Drunk" has some Chuck Berry styled guitar along with Bears' barrelhouse piano. A rocking "Like It That Way," with some intense guitar has him tell his women to give Walker all her love, that's all he needs. All the band members solo on this selection.

The DVD is pretty straight-forward in presenting these performances with crisp camera work that focuses on Walker and his band. There may be a few flaws here, but that does change the fact that this album is an accomplished live recording.

I purchased this. Here is the official trailer for this release.

Jose Ramirez Here I Come

Jose Ramirez
Here I Come
Self-Produced

Originally from Costa Rica, singer-guitarist-songwriter Jose Ramirez has been making a name for himself in the Blues World. Residing in the Washington, DC area recently, he won the 2019 DC Blues Society's Battle of the Bands. Representing the DC Blues Society, he competed in the Blues Foundation's International Blues Challenge, where he finished second overall, an impressive achievement. Ramirez was poised to start touring in support of his debut album "Here I Come," when the Covid-19 pandemic put a wrench in his plans. He has relocated to Florida to ride the pandemic out, and eventually resume his performing career.

The pandemic may have suspended his live performances, but thankfully not prevented the release of this new recording. Ramirez teamed up with Anson Funderburgh, who produced this disc that was recorded in Austin, Texas. Funderburgh guests on two of the 11 songs. Others playing on this recording are Jim Pugh on piano and organ, drummer Wes Starr, bassist Nate Rowe, and the legendary Texas Horns.

Ramirez wrote nine of the eleven songs, and he impresses immediately with the opening title track, a relaxed walking tempo shuffle as he sings about some of his influences and inspirations as he pushes on to reach his musical goals and keep the blues alive. It is refreshing to hear such a gifted singer and guitarist rooted in straight-ahead blues. Listening to his vocals, one would not guess that English is not his first language, but even more impressive is his phrasing and vocal dynamics. One might suggest a cross between Floyd Dixon and Fenton Robinson as a rough analogy. His guitar playing is also old-school, with touches of T-Bone Walker as well as B.B. King.

Ramirez can croon in his interpretation of a lesser-known T-Bone Walker recording, "I Miss You Baby," or get down and funky on "Gasoline and Matches," where he shares guitar duties with Funderburgh. There is a burly baritone sax solo on the last number that I presume is from Kaz Kazanoff. This latter number also displays his songwriting craftsmanship. "One Woman Man," where Ramirez sings that he is not looking for love and is not a one-woman man. It features a searing guitar solo and an inspired piano solo by Pugh to close this performance. From straight blue shuffles, Ramirez also delivers a bit of solid soul with "The Way You Make Me Feel," a track that evokes Tyrone Davis. Again Pugh stands out with his comping behind an excellent vocal. Often Robert Johnson covers are forgettable, but Ramirez places his stamp on this number by transforming "Traveling Riverside Blues" with a reggae groove. Pugh's organ and the crack rhythm section lay the foundation for his piercing guitar.

"Here I Come" is not merely an impressive debut of a promising artist. Anson Funderburgh's top-flight production and a fabulous studio band provide the foundation for Jose Ramirez to showcase his gifted songwriting along with his terrific vocals and guitar playing. It is a superb recording.

I received my review copy from a publicist. Here is Jose Ramirez performing "Here I Come."

Albert King Live in the 70s

Albert King
Live in the 70s
RockBeat

While there are several excellent live Albert King albums available, this 2014 release is one that should not be overlooked. This is a compilation of four several different shows and venues. There is a lack of detail on personnel and the sources of these recordings.

From the Fillmore East in 1971, we get strong performances of "Blues Power," 'Crosscut Saw," and "Personal Manager." King is certainly in good voice, and his pinched note guitar is in force as well. There are five selections for The Forum in Hollywood from 1972 with sterling performances of "Angel of Mercy," "Oh Pretty Woman," "Breaking Up Somebody's Home," and "Stormy Monday." From St. Charles, Illinois in 1974, King does "Born Under a Bad Sign" and his interpretation of Ray Charles' "I Believe To My Soul." Finally, we go to The Double Door in Chicago, where Albert digs deep in "I'll Play the Blues With You."

Sound is very good at the minimum, and with the riffing Horns and the strong support from his backing bands, King sang and played out some first-rate blues.

I purchased this. Here is Albert King in 1981.

 

Kid Ramos' West Coast House Party

Kid Ramos
West Coast House Party
Evidence

Kid Ramos' second Evidence album, West Coast House Party, features a who's who of some of the more prominent blues guitar pickers on the West Coast blues scene along with a variety of vocalists and other players.

Musically, this album leans to the jump blues scene that thrived on the West Coast, with two takes of a T-Bone walker instrumental,  Strollin  With Bone, spotlighting Gatemouth Brown and Duke Robillard along with Kid Ramos, sandwiching other tracks. Other guitarists here include Junior Watson, Rick Holmstrom, Rusty Zinn, and Charlie Baty, while Zinn, Robillard, Watson, James Intveld, Kim Wilson, Janiva Magness, Big Sandy Williams, and James Harman handle the vocals. Jeff Turmes anchors the horns, while Fred Kaplan is on piano, LarryTaylor on bass, and Stephen Hodges is on drums.

It is a tight band that swings, and Ramos gets to trade guitar solos with his peers and special guests. The vocals are generally quite good, although overshadowed by the originals. James Intveld is a capable singer on Roy Brown's  Love Don't Love Nobody,  but not merely in Brown's league as a singer (admittedly few are), and even Kim Wilson can't quite equal a Smiley Lewis on a jump blues like Real Gone Lover.

Within its admitted limitations, this record still possesses considerable appeal. The music is wonderfully played and the result is a lively blues party disc great for dancing and/or listening.

I wrote this review in 2000 and it likely was published in the D.C. Blues Calendar. I likely received a review copy from Evidence Records or a publicist. Here is Kid Ramos as part of The Fabulous Thunderbirds from 2003.

Tinsley Ellis Ice Cream in Hell

Tinsley Ellis
Ice Cream in Hell
Alligator Records

"Ice Cream in Hell" is Tinsley Ellis' 11th album for Alligator Records. There will be no surprises for fans of Ellis' mix of blues and blues-rock filled with his searing guitar and robust blues shouting. Co-produced by Ellis with Kevin McKendree (who plays keyboards (and guitar on one track). Others on this include Steve Mackey on bass and Lynn Williams on drums and percussion. Jim Hoke and Quentin Ware play sax and trumpet respectively on two songs.

In addition to his rocking blues playing and vocals, Ellis is an excellent songwriter who coins intriguing phases in his lyrics. He opens "Don't Know Beans," with "If dogs could talk, about what they see… they would really tell it all, so you don't know beans," as he tells his lover who is she going to believe, Tinsley or her loving eyes. Set against an emphatic groove, Ellis delivers a dynamic performance about a relationship blowing up. Relationships breaking up is a common theme as he sings that they will serve ice cream in hell before he takes his lover back. Besides his robust vocals, there is plenty of crisp, torrid guitar.

Then there is the brashly played shuffle, "Foolin' Yourself," a passionately sung slow, minor-key blues, "Hole in My Heart," and a slide guitar feature "Sit Down Mama" on which McKendree plays rhythm guitar. This latter number sounds like a tribute to Hound Dog Taylor with its house-rocking groove and high energy slide guitar that evokes Taylor. It also sports one of Ellis' best vocals here. Other sterling performances include "Everything and Everyone" with its Latin groove and Ellis evoking Santana's guitar playing, and "Unlock My Heart" where Ellis' guitar channels Johnny 'Guitar' Watson. There is outstanding guitar playing, solid and tight backing, and first-rate originals resulting in another excellent Tinsley Ellis CD.

I received my review copy from Alligator Records.  Here is "Last One To Know" from this CD.

Rick Vito Soulshaker

Rick Vito
Soulshaker
VizzTone

Rick Vito has had quite a career stretching back to the 1970s. He has played or recorded with Bob Seger, Bonnie Raitt, John Mayall, Roger McGuinn, Boz Scaggs, Dolly Parton, John Prine, Delbert McClinton, Roy Orbison, Jackson Browne, and others. Vito also was a member of Fleetwood Mac and fronted Mick Fleetwood's Blues Band for several years. On "Soulshaker," he plays guitar, bass, and keyboards besides singing. He also produced this recording. Charles 'Mojo' Johnson plays drums on nine of the 12 tracks while Rick Reed plays on the other three. Kevin McKendree plays on organ on one track, Mark Horwitz guests on organ and Charles Harrison plays organ on two tracks.

While I understand Vito is well known for his slide work, I did not know what to expect when I started listening to "She's Just Too Fine." It is one of the ten songs Vito wrote or co-wrote. This performance was quite striking with its Jimmy Reed styled boogie groove, Vito's distinctive, focused driving slide guitar and a relaxed, natural vocal delivery. It set the tone for this entire recording no matter whether it was more in a blues-rock vein. His restraint as a singer and a musician adds to the impact of his performances. His ability to create an atmosphere during a performance is heard on "I've Got a Secret." It is followed by the high stepping boogie groove of "I Do Believe," with more dazzling slide guitar.

With Kevin McKendree on organ, he revives the classic Jackie Wilson recording "Doggin' Around," while evoking Santo and Johnny with his playing. Another fascinating instrumental is his original "Soul Shadows" with supportive drumming from 'Mojo' Johnson. "Dancin' Little Sister" is an excellent rock and roll blues taken at a brisk tempo, but not too fast. Vito sings the catchy lyric and dazzles with his slide guitar. The pace gets even hotter on his exuberant gospel, blues-rocker, "I'm Going to Heaven." On "Promise Land," he again returns to a Jimmy Reed groove with some engaging resonator guitar playing against his relaxed singing.

"Soulshaker" closes with a stunning instrumental rendition of Sam Cooke's "A Change Is Gonna Come." Vito's slide guitar tone, his musical ideas, and the restraint he plays with are all exhibited here. Rick Vito impressed this listener with his songs, his singing and sterling musicianship. The result is this fabulous CD.

I received my review copy from Vizztone. This review appeared in the September-October 2019 Jazz & Blues Report (Issue 386), although I made minor stylistic changes. Here is Rick performing
"A Change Is Gonna Come."

Paul Gabriel Man of Many Blues

Paul Gabriel
Man of Many Blues
Smoke Ring Records

"Man of Many Blues" is the latest CD from New England based guitarist-singer Paul Gabriel. Duke Robillard, who also plays on this recording, produced it. Gabriels performs 13 originals and is backed by an all-star cast of musicians, including Duke Robillard (acoustic archtop guitar, electric guitar); Scott Spray (a veteran of both Edgar and Johnny Winter bands), long-time Gabriel friend and band member Frank Davis and Paul Opalach (bass); Mark Teixeira (drums); Sugar Ray Norcia (harmonica); Bruce Bears (piano and Hammond organ); Lonnie Gasperini (Hammond organ); Howard Eldridge (vocals); Christine Ohlman (backing vocals); Mark Earley (tenor and baritone sax); and Doug James (baritone sax). This is the second album by Gabriel that Robillard has produced and it is dedicated to Gabriel's friend Georgia Louis, a 1960s Gospel and Blues singer.

The recording has a varied program of blues, blues-infused rhythm and blues and pop. Gabriel, to these ears, strength is his vocals. He sings naturally with a relaxed sense of timing that this listener finds appealing. He has written several memorable, adult songs that are handsomely played with some strong solos, but the performances are vocal focused. There is a celebration of music on the opening track, a New Orleans blues "I Feel Good." On the pop-flavored "Cold Cold Cold" with Mark Earley's tenor sax adds flavor to a song that has hints of the music of Steely Dan, and Hall and Oates. Sugar Ray Norcia adds his harmonica to the folk-blues lament, "I'll Be That Way Sometime." There is a Johnny 'Guitar' Watson funk flavor to "No Finance No Romance" on which Howard Eldridge shares the vocal.

"Blues For Georgia," dedicated to Georgia Louis, is a jazzy R&B instrumental displaying Gabriel's thoughtful, non-flashy guitar playing. There is the world-weary humor of "Second Story Man," as he traipses all across town with a woman who can't find her key when she gets home. Both Gabriel and Robillard have concise solos on this. Musically "Man of Many Blues" evokes some of Johnny Adams' Rounder recordings. It has a lyric about a person who took some abuse in his life but never took shortcuts with some biting jazz-inflected blues guitar. "Face Full of Frown" is a lively jump blues shuffle with a driving guitar solo. Dear John Letter" closes this CD in an album rock vein with some searing guitar.

 I do have one complaint, and that is the text on the album cover is very difficult to read. The red type on the dark brown background does not help the legibility of text. About the music, I enjoyed it very much. I might not call this is the best thing since sliced toast with orange marmalade, but Paul Gabriel brings sophistication and a deep blues feeling to these well-recorded, well-performed and delightful musical performances.

I received my review copy from a publicist. This review appeared in the September-October 2019 Jazz & Blues Report (Issue 386), although I made minor stylistic changes. Here he performs "Blues For Georgia."

Take 5 With B.B. King

What can one say about B.B. King? One of the most beloved performers of the late 20th and early 21st Century, He truly was the King of the Blues. Here are five choice performances by him.

First is "Sweet Sixteen," which is what one of his signature numbers was earlier in his career. This is from a performance in Africa.

His recording of a Lowel Fulson song, "Three O'Clock in the Morning," was his first major hit recording.

Another early hit was his recording of "Sweet Little Angel." The song goes back to Lucille Bogan's "Sweet Black Angel," but also was recorded by Tampa Red, and Robert Nighthawk as "Sweet Black Angel." Tampa updated his version as "Sweet Black Angel." B.B. attributed his version to Nighthawk's but changed Black to Little. Again we go to B.B. King's African concert for this rendition of a classic.

Dave Clark's "Why I Sing the Blues," was recorded twice by B.B., with the latter rendition from an album "Live and Well" becoming the well known one and adapted by other performers. Here is his recording from 1969.

Finally, the signature number for the last four decades of B.B. King's career was his updating of Roy Hawkins' "The Thrill Is Gone." Initially, on his "Completely Well" album, this was the recording that crossed him over as an artist. Here he is on Soul Train performing it with Bobby Bland.

Of course, there is so much more B.B. King one could choose, but I limited myself to just five.

Junior Watson Nothing To It But To Do It

Junior Watson
Nothing To It But To Do It
Little Village Foundation

Junior Watson is among the most respected blues guitarists on the West Coast who has played with and recording with such acts as Big Mama Thornton, George Harmonica Smith, Jimmy Rogers, Shakey Jake, Kim Wilson, Charlie Musselwhite, William Clarke and more. He was the original guitarist in The Mighty Flyers with whom he stayed ten years. He has not recorded often as a leader which is rectified on this new CD from the Little Village Foundation. This recording was co-produced by Kid Andersen with Watson and recorded at Andersen's Greaseland Studios. Andersen himself says, "There is no guitarist on earth I value higher than Junior Watson." Making this record with him is one of the greatest honors in my life."

There is a mix of instrumentals and vocals. Watson sings on several tunes, and there are vocals by guests Alabama Mike and Lisa Leuschner Andersen. Others in the studio band are Sax Gordon on saxophone; Jim Pugh on keyboards, Kedar Roy on bass, and Andrew Guterman on drums with Gary Smith on harmonica on one song.

The mood is set with the opening instrumental, "Up and Out," displaying Watson's crisp, twisting attack that evokes to this listener the shattering Memphis attack of Willie Johnson mixed with a touch of Albert Collins and Jimmy Nolen. Gordon is outstanding while Pugh's skating rink organ adds to the atmosphere. Other instrumentals include "Ska-Ra-Van" a ska version of Juan Tizol-Duke Ellington's Caravan." Gordon takes an imaginative tenor sax solo while Pugh' organ adds to the flavor of the performance. There is a Mexican flavored instrumental "Summer of Love" with scintillating guitar, and a raucous shuffle "Space Flight, with Pugh's organ, followed by some blistering guitar." "Pee Wee Classic," a tribute to Pee Wee Crayton, is an exciting spinoff of "Texas Hop."

The five vocals by Lisa Andersen, Kid's wife, are a revelation as she sings with a forcefulness and nuance that suggests such sixties female singers as Carol Fran, Carla Thomas, and Barbara Lewis. Certainly the hard-rocking "Don't Freeze Me Out" is a gripping performance, while "One Way Street" is a further showcase of how good a singer she is while Gordon is excellent on the baritone sax. Another vocal is the James Brown penned "I Found You," a variant of "I Got You." Alabama Mike co-wrote with Watson, an intense slow blues "A Shot in the Dark," on a performance in the vein of Buddy Guy's Chess recordings. Watson himself is an understated, appealing vocal on a shuffle "Louella," as well as a revival of Chicago blues harpist Dusty Brown's "Well, You Know," with Gary Smith adding his harmonica.

Junior Watson, a brilliant guitarist and with the terrific backing band, is showcased on a marvelous recording that displays his considerable talents.

I received my review copy from a publicist. Here is a clip of Junior Watson performing in 2017.

Bryan Lee Sanctuary

Bryan Lee
Sanctuary
Earrelevant Records

Some of my most memorable experiences listening to blues live (as well as listening to blues recordings) came from Bryan Lee. This is his latest CD with a variety of backing musicians including Jimmy Voegeli on keyboards, Jack Berry on bass and Matt Liban on drums.

Lee calls this a blues-gospel recording and that might impact one's reaction to this. I do not take away from Lee's convictions, but some might find too much preaching here although Lee sings strongly and plays wonderfully. The band is excellent as well but even on a solid shuffle like "The Gift" where he recites his musical influences he was says Jesus straightened him out and now Bryan knows what to do. Then he sings that "Jesus Gave Me the Blues," that is followed by a rendition of the late Cootie Stark's "U-Haul," with its lyric that we don't owe anything since we can't take it when we pass on. Lee does a fervent new recording of one of his older blues, "Don't Take My Blindness For Weakness," where he sings I'm as good as you, and anytime one makes one, Bryan has to make two. There is also a nice arrangement of "The Lord's Prayer," that Lee sings his heart out.

As stated, "Sanctuary" is musically a solid Bryan Lee performance, but again some may be turned off by the religious content.

I received my review copy from a publicist. This review appeared in the January-February 2018 Jazz & Blues Report (Issue 382). Here is an earlier live version of "Don't Take My Blindness For Weakness."

Artur Menezes Keep Pushing

Artur Menezes
Keep Pushing
Self-Produced

Menezes is a mainstay of the blues scene in his native Brazil who is based in Los Angeles. He was third place finisher in the band category at the 2018 International Blues Challenge where he winner of the Gibson/Albert King Award for Best Guitarist. This is his fourth album with a band that includes Carey Frank on keyboards, Daniel Aged on bass, Gary Novak on drums, Jamelle Adessa on brass and Dan Boisey on saxophones with producer Josh Smith adding rhythm guitar to several selections.

This is a strongly performed set of originals, mostly in a modern urban blues vein such as the opening "Now's the Time," although several tracks are in a rock vein including the driving "Keep On Pushing," where he plays some shattering guitar and "Come With Me," with perhaps too heavily distorted guitar. Much better is a nice slow "Any Day, Anytime," a tune that evokes classic Stax blues from Johnnie Taylor and Little Milton. His singing is outstanding without any hint of an accent and his guitar here is superb with its lean, clean tone. It iss followed by a sharp Albert Collins styled blues, "Should Have Never Left," with guitar that evokes the late legend.

"Love'n'Roll" is a rollicking jump blues styled with his jazzy single note playing evoking the likes of Johnny Rogers on some classic Roy Milton recordings along with a scorching trumpet solo. Then there is the funky groove of "Pull it Through," with his fuzz-toned effective, and the straight urban blues "Give My Money Back," with his string bending suggesting Albert King. "Can't Get You Out Of My Mind" is a low-key, late night blues with  nice jazzy playing, intriguing tempo changes and horn backing. "Till The Day I Die," which is too rock-based for my taste,  closes this recording. I was less enamored with the rock-rooted performances here, although they are well played. However, most of this recording had strong, impressive blues performances with his excellent singing and playing, as well as an terrific band.

I received my review copy from a publicist. This review appeared originally in the July-August 2018 Jazz & Blues Report (Issue 379), although I made minor stylistic edits to that review. Here Artur Menezes performs "Should Have Never Left."

Buddy Guy says The Blues Is Alive and Well

Buddy Guy
The Blues Is Alive and Well
Silvertone/ RCA Records

According to the press materials, this is Buddy Guy's 18th solo album. It is produced by Tom Hambridge who has been a recent producer and collaborator with Guy, who also had a hand of nearly every song here and plays drums. The rest of the core backing band here is Kevin McKendree on keyboards, Willie Weeks on bass and Rob McNelly on rhythm or slide guitar m(although he sits out some tracks). Also heard here are guest appearances from Jeff Beck (who called Guy his favorite guitarist decades ago), Keith Richards, James Bay and Mick Jagger.

It is a solid, straight-forward recording pretty much in the vein of Guy's recent recordings. There is plenty of punch in the backing and the tone of Guy's guitar and his vocals belie his age of 81 years. There is an in-your-face quality to his fretwork on the opening "A Few Good Years," supporting his strong vocal on one of a number of strong originals here. It is followed by a rollicking shuffle "Guilty as Charged," with McKendree outstanding in his accompaniment while Guy plays more blistering guitar. Jeff Beck and Keith Richards add their guitar to "Cognac," with Beck especially pulling out all the stops as Guy sings about the merits of "Cognac," which has "liquid gold in every sip." The Muscle Shoals Horns add punch to the backing on the title track, with Guy singing soulfully about her woman having another man. I do not who James Bay but he adds his guitar and vocals to "Blue No More," with its low-key manner and is it may be Bay who contributes the B.B. King styled playing here.

Hambridge contributes a sledge hammer groove with a drum loop along with Guy's hammering out his guitar as he shouts about "Whiskey For Sale," with the McCrary Sisters adding vocal harmony on this minor entry here. Mick Jagger adds some nice harmonica adding to the late night feel of a slow blues, "You Did the Crime." The Muscle Shoals Horns return for "Old Fashioned" which is perhaps a bit over-the-top for these ears as Hambridge anchors the driving backing here. Rice Miler's "Nine Below Zero" is transformed into a hard hitting Muddy Waters' styled number followed by a Memphis styled rocker, "Ooh Daddy."

"End of the Line" is a Jimmy Reed-styled shuffle with Guy's easy going vocal, shattering guitar along with punchy horns before the album closes with a brief "Milking Muther For Ya," where Guy sings a verse of the Dirty Red song accompanied only by his guitar. 15 very different performances on this album which certainly will satisfy those wanting Guy's sizzling guitar playing, but also displays his fine singing as well.

I received my review copy from a publicist. This review originally appeared in the July-August 2018 Jazz & Blues Report (Issue 379). Here is the audio of Buddy Guy's performance of "Cognac" with guests Jeff Beck and Keith Richards from this CD.

Sue Foley The Ice Queen

Sue Foley
The Ice Queen
 Stony Plain

Sue Foley's early recordings left me cold in part because her vocals came off flat to these ears, despite he undeniable strengths as a guitarist, What is striking on her latest recording on Stony Plain is how her vocals have dramatically improved. Joining her as special guests is a trio of legendary Texas guitar slingers – Jimmie Vaughan, Z.Z.Top’s Billy F Gibbons and Charlie Sexton - along with other Lone Star State all-stars, including Chris “Whipper” Layton (bass) (and George Rains (drums), Derek O’Brien (guitar), Chris Maresh and Billy Horton (bass) and The Texas Horns: John Mills, Al Gomez, Jimmy Shortell, Randy Zimmerman and Mark “Kaz” Kazanoff. Producer Mike Flanigan adds his keyboards to the striking backing on a set of blues and roots songs.

With two exceptions (from the Bessie Smith and Carter Family songbooks), Foley wrote all the songs (one being a collaboration with Flanigan). The music ranges from blues, blues-infused rock and roots. The performances are solid and Foley's fluid guitar playing displays her virtuosity, but also her musical intelligence and ability to craft marvelous solos with wonderful support. As indicated her singing has improved as heard on her opening "Come To Me," with the restraint in her delivery of slightly nasal singing. Charlie Sexton's slide guitar and backing vocal is noteworthy besides her own smoldering playing. Like the opening track, "81" is more of a blues-infused rock number with her brooding vocal and stinging guitar.

The title track is a nice slow blues with just Billy Horton's bass and George Rains drums with a choice lyric ("all the men agree that I'm too slippery to catch"), and a terrific guitar solo. It is followed by a buoyant duet with Jimmy Vaughan on the shuffle "The Lucky Ones," with them trading vocal lines as well as guitar solos. Another strong track is "Gaslight," with a gusty tenor sax solo from Elias Haslanger along with Foley's own crisp solo against the amusing lyric. Billy Gibbons adds his gravelly vocal, guitar and harmonica to "Fool's Gold," with a lazy shuffle groove and some greasy organ from co-composer Flanigan, before another terrific Foley solo.

"If I Have Forsaken You" is a wonderful song which will evoke the classic Bobby Bland Duke recordings in part to John Mills' arrangement for the Texas Horns. While Foley will never be viewed as a singer on the level of the late Bland, she sings with quiet conviction here, and certainly this is a song one might expect to hear others cover as well. In contrast, her updating of Bessie Smith's "Send Me To The ‘Lectric Chair," is more interesting musically than vocally. Much more appealing is the wistful "Death of a Dream," with her on acoustic guitar with standup bass and drums backing. The final two tracks have her on solo acoustic guitar. The flamenco-rooted, "The Dance," is a striking original followed by a adept rendition of the Carter Family's classic "Cannonball Blues."

Overall, this was a delightful surprise to this listener. Sue Foley is an exceptional guitarist, writes intriguing originals, and is now a capable singer with charm and conviction. If there are a couple of imperfect performances, the "The Ice Queen" still is a first-rate album of blues and roots.

I received from Stony Plain via a publicist. This review originally appeared in the March-April 2018  Jazz & Blues Report (Issue 377). Here Sue Foley performs "The Ice Queen."

Tinsley Ellis Winning Hand

Tinsley Ellis
Winning Hand
Alligator Records

Near thirty years since he first recorded for Alligator Records (and twenty since his last Alligator album, Tinsley Ellis returns with an album of house rocking blues and rock, showcasing his brawny, volcanic guitar and husky singing. He is joined by Kevin McKendree on keyboards (who co-produced this with Ellis), Steve Mackey on bass and Lynn Williams on drums that was engineered and mixed by McKendree at The Rock House.

Nine of the ten songs are Ellis originals and display the range of his music starting with the searing, hold no prisoners opening blues-rock of "Sound of a Broken Man." In contrast, the easy rocking shuffle blues, "Nothing But Fine," illustrates the clarity and precision, along with fire of his playing along with a more relaxed vocal, while "Gamblin' Man," is a nice original blues performance (the melody slightly evocative of Box Scaggs recording of "Someone Loan Me a Dime"), with a well-shaped, fiery guitar solo and a heartfelt, expressive vocal. Another fine blues performance is "Don't Turn Off The Light." There is also high energy blues-rock of "Kiss This World" with its swelling groove and the rock and roll of "Satisfied," with McKendree's rollicking road house piano in addition to Ellis' guitar. The one cover, Leon Russell's "Dixie Lullaby," sports more rollicking piano (and organ grease) along with some fiery Freddie King inspired guitar.

This is another impressive collection of music from Ellis whose playing shows him still to be a tone master and a fiery guitar slinger. His high energy playing is firmly backed by the terrific studio band. Ellis is also a most congenial, expressive singer and contributed some solid original blues on this memorable blues-rock release.

I received my review copy from Alligator Records. For those in the Washington DC area, he will be at Blues Alley on Wednesday January 17 and playing the Creative Alliance in Baltimore on Thursday January 18. Here is Tinsley from an October, 2017 performance. A fuller listing of upcoming shows is at http://www.tinsleyellis.com/toughloveshows.html.

Saunder's King - Swingin'

With respect to my recent post on St. James Infirmary which I linked on Facebook, one gentleman posted several additional versions of this 'jazz standard.' One of these was by a West Coast artist Saunders King from the forties. Born in Louisiana in 1909, Saunders King was a pioneering electric guitarist and vocalist who straddled the worlds pf blues and jazz in forties and fifties. His S.K. Blues was a hit, and an even bigger hit when covered by Big Joe Turner (and it also was performed by Jimmy Witherspoon and others). King also had a wonderful version of the Mary Lou Williams' penned What's Your Story Morning Glory, that was first recorded by Andy Kirk and His Clouds of Joy with Pha Terrell handling the vocal.

As a vocalist, King was very much in the vein of Terrell and Billy Eckstine, with a warmth in his baritone. And his jazzy guitar playing was an added attraction to his music. Later he would become Carlos Santana's father-in-law and he even recorded with this musical legend. He passed in 2000 after suffering a stroke in 1999. Ace Records (UK) has a fine CD of his best recordings available. Here are some of his recordings and a couple of covers.

Here is the first part of S.K. Blues.

Here is his rendition of St. James Infirmary.

Here he is playing the aptly titled instrumental Swingin'. 

Here is the uptempo B Flat Blues.

Here is a top-ten R&B hit in 1949, Empty Bedroom Blues

And here is Big Fat Butterfly, a song Dexter Gordon would sometimes perform.

Here is the Dexter Gordon doing Big Fat Butterfly

And we close with Big Joe Turner with Pete Johnson with their hit version of S.K. Blues.

Johnny Guitar Watson At Uncle Pö's Carnegie Hall, Hamburg 1976

Johnny Guitar Watson
At Uncle Pö's Carnegie Hall, Hamburg 1976
Jazzline

This is a live 1976 German radio broadcast of Johnny 'Guitar' Watson from Hamburg that has just been made available on CD and download. Watson is backed by his Watsonian Institute comprised of Peter Martin, trumpet; Tommy Robertson - trombone; Paul Dunmall - sax; Gil Noble - piano, synthesizer; Bobby Howard - bass and Emry Thomas - drums, and the recording was made around the time of the "Ain't That A Bitch" album but the songs here range beyond the dance funk blues of that recording.

I have several videos and recordings of a number of Watson's live performances, but these are mostly later and the repertoire is somewhat different here. It opens with a cover of the Grover Washington hit "Mister Magic" on which Watson unleashes some pretty solid guitar, followed by the title track of one of his underrated Fantasy albums, "I Don't Want To Be a Lone Ranger," with more electrifying guitar on this song where he sings no one wants to be a lonely one, but Johnny wants to be the lady's only one. In addition to his seductive singing, one should note the horn arrangements as well as the jazzy guitar runs. It's follow wed by a terrific slow rendition of "Stormy Monday" in which he incorporates a bit of the lyrics of Jimmy Reed as well as some spectacular blues guitar. A strong funky "Superman Lover," is followed by the bravado of "Gangster of Love," the funky, topical trying to make ends meet of "Ain't That a Bitch," and then his rock and roll ballad "Cuttin' In." Watson was in first-rate form this evening and his band provides tight, crisp support.

A jam on the sensuous "I Need It," allows him to introduce and showcase his band members before a short closing instrumental closes nearly an hour of exceptional Johnny 'Guitar' Watson. I purchased this as a bargain priced download with digital booklet on iTunes for about $5 and believe the hard copy is bargain priced (although not that cheap). This would be highly recommended even if it was not so inexpensive, and at that price, any JGW fan needs this.

I purchased this as a download. Here is a live performance of Johnny doing "Gangster of Love."