Tony Holiday Soul Service

Tony Holiday
Soul Service
VizzTone

The Memphis-based Tony Holiday came to my attention with his "Porch Sessions," that featured his collaborations with several blues performers. It was a highly entertaining recording, although it showcased his guests as much, if not more, than Holiday himself. This is rectified in this new release. It places his songwriting and singing to the forefront along with his harmonica playing. Ori Naftaly, of the group Southern Avenue, produced this album that was recorded at Zebra Ranch, the Dickinson family studio in Independence, Mississippi. In addition to Holiday's vocals and harmonica, this recording features Landon Stone on guitar, Max Kaplan on bass and background vocals, Danny Banks on drums, and special guests Naftaly on guitar and Victor Wainwright on keyboards. Holiday wrote all eight songs (some with John Nemeth).

Holiday is a very good, straight-forward singer with a fat tone on the harmonica. He also is a songwriter with a way to craft memorable tunes starting with "Payin' Rent on a Broken Home," a song with a catchy bass figure that may evoke an Albert King number. There is plenty to enjoy in the songs on this album from the Chicago blues of the opening number to the rocking flavor of "She Knocks Me Out," with Stone's keen slide guitar and Wainwright's boogie piano. "It's Gonna Take Some Time" is a marvelous swamp pop flavored number with Stone adding twang while Holiday sounds like he is channeling Lazy Lester here. Perhaps the top track is "Good Advice," where he strings together of various homilies his grandma gave as good advice. It is played at such a nice tempo. Holiday lays down exceptional chromatic harmonica on "Checkers on the Chessboard," and The Hustle." on "Checkers," Wainwright adds a marvelous keyboard accompaniment. The closing "Ol' Number Nine" is a solid piece of Rolling Stones' flavored rock and roll.

One might complain about the short playing time (only 30 minutes), but there is little fat or gristle in these performances that provide a welcome showcase of Tony Holiday's music.

I received my review copy from VizzTone Records. Here are Tony Holiday and Max Kaplan performing ""It's Gonna Take Some Time."

Rick Estrin & The Nightcats Groovin' In Greaseland

Rick Estrin & The Nightcats
Groovin' In Greaseland
Alligator Records

Its been 30 years since Alligator signed Little Charlie and the Nitecats. Guitarist Charle Baty was the bandleader, by Rick Estrin fronted the band with his somewhat gruff, heartfelt wise-guy vocals (a phrase Bruce Iglauer employs describing Estrin's singing), authoritative harmonica and songwriting, full of wit and wisdom. In 2009, when Baty retired from touring, Estrin took over the band and this is the fourth CD under his leadership. Greaseland in the title refers to the studio that Nitecats guitarist Kid Andersen operates where this disc was recorded. His productions have been among the finest recent straight-ahead blues and roots recordings from any source and this disc has much of the same qualities with clean crisp sound. Lorenzo Farrell is on keyboards while Alex Pettersen occupies the drum chair. There are a number of guests on various tracks including saxophonist Nancy Wright, bassist Jerome Jemmott and electric pianist Jim Pugh. Estrin contributed 11 of the tunes here (one a collaboration with Andersen), while Andersen added one as did keyboardist Farrell.

As suggested above, this is a wonderfully played recording by a super band, starting with the kicking opening shuffle, "The Blues Ain't Going Nowhere," with a litany of reasons why the blues ain't dying with some fat chromatic playing. Then there is the humor of "Dissed Again," with Farrell's rollicking piano. It is followed "Tender Hearted" with Estrin's talking about the experiences with back biting rats so he is tender hearted no more. It has  scintillating tremolo-laced guitar from Andersen along with more strong chromatic harp. Joe Kyle on bass and Pettersen lay down a nicely restrained groove here. Andersen's terrific tribute to Lonnie Mack, ""MWAH!" is a reworking of Mack's classic instrumental "WHAM!," and he captures Mack's Magnetone amp sound.

"Another Lonesome Day," is a slow blues with Andersen evoking Otis Rush and Ike Turner, while Estrin is in a Sonny Boy Williamson II vein with his crying harp playing here. It is followed by the Estrin-Andersen collaboration "Hands of Time," with a groove evocative of "High Heel Sneakers," and some strong amplified hard. Farrell is featured with his greasy organ on the jazzy "Cole Slaw," with a short harp break and some very nice fretwork from Andersen. After a heated shuffle celebrating partying going on at Greaseland, "Hot in Here," there is a strong topical blues "Living Hand To Mouth."

The album closes with a harmonica feature "So Long (for Jay P.)" that showcases not simply Estrin's virtuosity, but his taste and how he shapes his solo. With the excellent backing here, and the throughout this recording, it is fitting coda to another marvelous recording from Rick Estrin & the Nitecats.

I received my review copy from Alligator Records. Here Rick Estrin & The Nightcats are seen performing "The Blues Ain't Going Nowhere."

 

Steve Krase Should've Seen it Coming

Steve Krase
Should've Seen it Coming
Connor Ray Music

I am familiar with harmonica-player Steve Krase from his contributions to recent Trudy Lynn recordings. This his is apparently his fourth album, but first this writer has heard. He is backed by a band that includes co-producer Rick Romano on bass, David Carter on guitar, Richard Cholakian on drums, Randy Wall on keyboards and Alisha Pattillo on saxophones, with appearances from guitarists mark May and Bob Lanza, James Gilmore and backing vocals from Trudy Lynn. Six of the eleven songs here are 'covers' (including one credited to Kraze) and there are two explicit versions of two of the originals that are at then end of the CD.

 Krase says he wanted to make a fun record and he did so opening with a bouncy Romano-penned shuffle "Brand New Thang" with Mark May's stinging guitar along with his harp (the vocal likely overdubbed over the backing. The track displays his appealing, unforced vocals and skilled harp. It is followed by a take on a classic Little Walter recording, "Crazy For My Baby," distilled through Charlie Musselwhite's version with a rumba groove, backing vocals and solid chromatic harp. A bouncy rendition (with terrific harmonica) of an old Bobby Mitchell (and Fats Domino) recording "Let the Four Winds Blow," is followed by his lyrical updating of a Jimmy Rogers recording "The World's Still in a Tangle" (which actually goes back to Arthur Crudup, Robert Lockwood and Honeyboy Edwards) as he is building a bunker instead digging a cave and adding references to assault rifles and zombies. This is a wonderfully paced performance with steady backing and more terrific harmonica.

A bit of danceable rock and roll with Bob Lanza taking the lead guitar is "Shot of Rhythm and Blues," followed by the title track that Krase's brother penned with Pattillo's sax adding to the mood on this lyric along with a whispered vocal and then a lengthy jamming section where Wall and Carter also solo. There is a lively and imaginative interpretation of James 'Wee Willie' Wayne's "Travellin' Mood" (also a staple for Snooks Eaglin), followed by take on Clarence 'Frogman' Henry's "Troubles, Troubles," that is solidly played but taken at too quick a tempo. After a strong shuffle, "Make You Love Me Baby," comes the hilarious "Repo Man" as a modern bad ass who won't knock on the door, but will bang one's wife, but will take one's car, and nothing one can do because the repo man is coming after you. There is some terrific sax on this performance. This along with the title track are also heard in separate takes with explicit lyrics placed at the end of the CD. "Way Back Home" by Wilton Felder was originally recorded by the Jazz Crusaders. Krase has adapted Junior Parker's recording for this excellent, moody instrumental.

Certainly a solid recording as Krase is a very good singer and striking harmonica player with adept, steady support, and fresh material and takes on older songs making for a totally engaging recording.


I received my review copy from a publicist. This review originally appeared in the July-August 2017 Jazz & Blues Report (Issue 373), although I have made a few minor changes to the text. Here is a performance by the Steve Krase Band.

 

Vin Mott Quit The Women For The Blues

Vin Mott
Quit The Women For The Blues

Vin Mott Music

In his twenties, young harmonica wizard Vin Mott will surely attract notice with his debut recording. On this he is backed by his band of Sean Ronan (guitar), Dean Shot (upright, electric bass) and Andrei Koribanics (drums), with keyboards audible in the backing at times. Mott kicks off a collection of idiomatic Chicago-styled blues with the title track, "Quit The Women (For The Blues)," as he sings about quitting the women for a little thing called the blues set to a groove that evokes Howlin' Wolf's "Killing Floor," and a Ronan shows a bit of Hubert Sumlin's influence in his playing but is far from a copyist. The leader shows off his wet, fat tone on his lengthy solo as well as a credible singer.

The medium tempo rocker like "Make Up Your Mind," is another showcase for his driving harmonica style as well as Ronan's precise playing. An atmospheric, slow blues, "The Factory," where he sings about can't do no more whisky or more cocaine, this living ain't living, as he has been beaten down by the factory, has him on chromatic harp while Ronan (with a short guitar break) and the rhythm provide low-key support. Ronan is on slide guitar adding some "Dust My Broom" on the shuffle "I'm a Filthy Man," where his animated vocal sounds slight distorted (perhaps singing through the harp mike). "Freight Train" sounds inspired by Junior Parker's "Mystery Train," with more impressive harmonica and a fast, fleet guitar solo, although the tempo is a trifle too fast (probably great for dancers live). There is a nod to the "Key to the Highway" melody on the animated shuffle, "Ol' Greasy Blues." another performance that shows Mott's ability to take traditional blues materials to construct his originals.

The album closes with the instrumental "Hott Mott's Theme," a hyper-kinetic tempo-ed feature for the leader's harp and Ronan's crisp, swinging fretwork. This is certainly a fun recording to listen to and takes this listener back to the bar bands I was listening to when I got into the blues decades ago. One can imagine the good times when they play various taverns and other venues in their native New Jersey and this writer looks forward to more from Mott in the future.

I received my review copy from a publicist. This review originally appeared in the March-April 2017 Jazz & Blues Report (Issue 371). Here is a video clip of Vin Mott is performing the title track.

Mitch Kashmar West Coast Toast

Mitch Kashmar
West Coast Toast
Delta Groove

Scott Dirks, in his brief liner notes to the new Mitch Kashmar album "West Coast Toast," observes that if Chicago was home and proving ground for many legends of blues harmonica, the move to the West Coast of pioneer George 'Harmonica' Smith led to his presence influencing a whole generation and new off-shoot of the blues harmonica sound. The result was the 'West Coast Sound,' which he describes as "a hard-swinging, sophisticated and distinctly different offshoot of the amplified harp sounds familiar in Chicago." Kashmar is described as one of the handful of masters of this California sound, bringing his unique voice as a harpist and a soulful singer, on a release tipping his hat to the West Coast blues legacy with select covers mixed in with his originals.

An opening instrumental, "East of 82nd Street," establishes Kashmar's fat tone and imaginative playing in this tradition, along with the solid studio band of Junior Watson on guitar, Fred Kaplan on keyboards, Bill Stuve on the bass and Marty Dodson on drums. Watson gets to showcase his chops as well in a short break and his comping under the leader's dynamic playing. Kashmar's abilities as a vocalist are established by a cover of Willie Dixon's "Too Many Cooks" (some will be familiar from Robert Cray's cover more than Jesse Fortune's original), with Kaplan laying down an intriguing solo. It is followed by a capable rendition of an old Little Willie John recording, "Young Girl," with a backing and harp evocative of Sonny Boy Williamson's "Help Me."

The tempo picks up on the topical original, "The Petroleum Blues," a rocking performance where he sings about "how much money are we gonna lose," and then slows down on "Mood Indica," with his fat, juicy playing set against Kaplan pounding the 88s, who along with Watson get to take choice solos while Stuve and Dodson push the groove forward. The is an appealing shuffle rendition of Billy Boy Arnold's "Don't Stay Out All Night," while Kashmar on "My Lil' Stumptown Shack," shows he able to construct an original that captures the flavor of classic 50's Chicago blues.

Kashmar's interpretation of John Lee 'Sonny Boy' Williamson's "Alcohol Blues," is nicely played and followed by an easy rocking version of lesser known Lowell Fulson song, "Love Grows Cold," with explosive guitar by Watson. The jazz-tinged instrumental "Canoodlin'," has a late night feel to it and closes a set of strong blues performances.

I received my review copy from Delta Groove. Here is a promotional video for this recording.

Little Mike How Long

Little Mike
How Long
Elrob Records

Michael Markowitz, aka Little Mike, has a new set of Chicago-styled blues "How Long," although his usual cohorts, The Tornados are not present. Musically there will be little surprises as Mike brings his harmonica, some piano and vocals to a mix of classic blues and idiomatic originals with varying studio personnel, but stylistically very akin to what he done with the Tornados.

The title song is the J.B. Lenoir classic, although Mike's rendition is reminiscent of that by Pinetop Perkins with whom Mike played with numerous times. The studio band is quite tight behind him, even at a breakneck tempo (perhaps a tad too fast) as on "Smokin'," where he sings about cigarettes gonna kill him and he can't quit no matter how hard he tries. There is a surprising take on the Bobby Timmons hard bop classic "Moanin'," with some twisting harp lines and nice guitar. His brisk shuffle "When My Baby Left Me," is followed by a feverish take of Johnny Young's instrumental "Slam Hammer." Other highlights include a cover of Eddie Taylor's "Bad Boy," where he adds rollicking piano behind his harp and earnest vocal, and the atmospheric "Not What Mama Planned," with some nifty guitar.

In an interview excerpted in the liner notes, Mike describes his blues as "deep, hard hitting and raw." Certainly there is little contrived here, just straight-forward blues that fans of Little Mike will be quite familiar and others will find to their taste.

I received my review copy from a publicist. This review originally appeared in the November-December issue of the Jazz & Blues Report (Issue 369). Here Little Mike is seen with the Tornados.

Rick Estrin and the Nightcats You Asked For It … Live

From his long tenure with Little Charlie and the Nightcaps which became transformed into Rick Estrin and the Nightcats, Rick Estrin has impressed blues fans with his songwriting, harmonica playing and his vocals (although to this listener’s ears, they can be an acquired taste). The present Nightcats is a solid band with Kid Andersen on guitar, Lorenzo Farrell on bass, organ and log, and J. Hansen on on drums and one lead vocal.

Recorded at Biscuits and Blues in San Francisco, "You Asked For It … Live," is an especially lively performance with plenty of Estrin’s wicked harp playing and Andersen shows off his chops and his considerable inventiveness. There are some new tracks and a few familiar classics my “My Next Ex-Wife,” “Dump That Chump” (admittedly not one of my favorites by him, and “Don’t Do It” which is a litany of his Doctor’s instructions that essentially have him avoid anything that might be fun. It is perhaps my favorite of his songs, but he certainly has a word with words like on “Smart On Einstein” which also sports some strong chromatic playing to go with his lyrics that he was “smart like Einstein and rich like Donald Trump.” This is one of the tracks that Farrell is on organ which contributes to the coloring under his solo along with Andersen’s chording and single note fills.

Drummer Hansen acquits himself as a singer and songwriter on a nice relaxed traditionally-rooted shuffle “Baker Man Blues” who has the sweetest job around as all the girls are talking about his bread and biscuits all over town with Estrin channeling Big Walter in his solo here. The CD closes on a nice cover of Sonny Boy Williamson II’s ‘Too Close Together” with Estrin backed only by Andersen on acoustic bass. It suggests some of the solo pieces the second Sonny Boy recorded in Europe and is a nice tribute to that legend.

Anyone who has heard Estrin on record or live will not be surprised by "You Asked For It … Live," and for those unfamiliar with him, this recording is an excellent introduction to him and his excellent band.

I received from Alligator. This review was written for jazz & Blues Report but I do not believe it has been published. Here is Rick Estrin and the Nightcats performing live.

Omar Coleman Born and Raised

On his initial Delmark release Born and Raised, Omar Coleman impresses with soul-infused vocals, and harp playing that perhaps evokes both the folk-funk of Bobby Rush, and the soul-blues fusion of the late Junior Wells (both who he admits are influences). He is backed by a solid band of Pete Galanis on guitar; Neal O'Hara on keyboards; Ari Seder on bass and Marty Binder on drums and percussion with guitarists Toronzo Cannon, Mike Wheeler and David Herrero each guesting on two selections. Coleman wrote (or co-wrote) 12 of the 14 songs here.

Its a varied mix of material starting with the opening rocker Tryin' to Do Right where he sings about trying to do right by his lady even though he wants to do wrong through the closing Raspberry Wine with its jazzy accents. His songs and his performances convey a man who is sensitive and strong. He sings you don't need a man like him, you need a Man Like Me, (with Cannon adding some guitar fire). Coleman is a strong, yet nuanced, singer convincing whether delivered with soulful blues of Man Like Me; the funk of Sit Down Baby and the topical title track; the wistful ballad, I Was a Fool; the driving rocker Slow Down Baby; the shuffle You Got a Hold On Me, as well as the afore-mentioned Raspberry Wine," which suggests that he could do a solid job as a blues shouter.

Besides Coleman's persuasive vocals, his straight-forward harp playing has much appeal with its fluidity and voice-like character. He also has written some fresh new songs that is crisply played resulting in some marvelous performances making Omar Coleman's Born and Raised one of the most striking blues albums of 2015 so far.

I received my review copy from Delmark. Here he is performing the title track live at Rosa's Lounge.

Hank Mowery Account To Me

At first glance, Hank Mowery’s new recording Account To Me (Old Pal) might seem like a tribute to the late Gary Primich. The recording after all includes 5 songs written by Primich (2 of which were never previously recorded) and was produced with members of Primich’s family. Tad Robinson, himself a singer, songwriter and harmonica player like Primich and Mowery, calls it more of a collaboration between Mowery and Primich’s family. Adding to the collaborative character of this recording is the presence of bassist Patrick Recob from Primich’s band. Others on this include guitarist Troy Amaro, Chris Corey on keyboards, and John Large on drums and percussion. Jimmie Stager plays National steel guitar and sings on one track and Junior Valentine adds 2nd guitar to 3 selections.

Mowery certainly establishes himself with this recording as a singer, harmonica writer and songwriter with his rocking original Spend a Little Time, that kicks off this CD. Besides his strong, natural vocal and harp playing, Corey shines on piano and the Wurlitzer piano here. Account For Me is a previously unrecorded song that Primich penned and this soulful ballad has a bit of swamp pop feel. In addition to his heartfelt vocal he adds some very nice harp with Amaro taking a short solo full of bite. The rendition of Primich’s Put The Hammer Down is a nice cover of Primich’s original with tight, understated ensemble playing (with a neat repeated guitar figure) and is followed by a strong original slow blues from Mowery If I Knew What I Know which opens with him blasting on the harp. 

Memphis Slim and Matt Murphy’s Banana Oil is a nice latin-flavored instrumental with jazz flavoring that allows Corey (on organ), Amara and Mowery to shine during their sharply focused solos. Tricky Game sports a understated New Orleans groove that contrasts with the solid shuffle My Home, with the lyrics lamenting the absence of his woman’s love. In addition to the splendid playing by all, Mowery stands out with his relaxed, natural vocals. Bassist Recob ably handles the vocal on his original, Target, built on a blues vamp that goes back at least to Little Willie John. Amaro stands out with his solo as well as his tone as part of the atmospheric backing here. Mowery provides harp backing to Jimmie Stagger’s vocal and guitar on a nice cover of Robert Wilkins’ depression era recording, That’s No Way To Get Along, that closes “Account To Me.” The music on this may sound familiar as Wilkins, after he gave up blues, redid this song as The Prodigal Son, which was covered by the Rolling Stones. 

As noted, Account To Me is both a tribute to Gary Primich and a collaboration with Primich’s family. Mowery is himself a strong blues voice that is showcased on a most entertaining recording. This writer looks forward to hearing more form Mowery in the future.

My review copy was provided by a publicist for this release. Here is a clip of Hank Mowery performing