Christone "Kingfish" Ingram - 662

Christone "Kingfish" Ingram - 662 - Alligator Records

Only 22, Christone "Kingfish" Ingram already made a mark with his debut album "Kingfish." He has been playing before people most of his life. "About that prior album, I observed that Kingfish was a terrific guitarist with a heavy blues-rock pull out all the stops on most of the electric tracks on this. I really don't enjoy his guitar fireworks as much as I do his singing. He is an outstanding vocalist with plenty of warmth and expressiveness with an unforced delivery." 

Like the prior album, Tom Hambridge produced this and plays drums on the album. Others in the studio on various selections include guitarists Kenny Greenberg and Bob Britt: bassists Glenn Worf and Tommy MacDonald, and keyboardist Marty Sammon. Max Abrams on sax and Julio Diaz on trumpet are heard on one song. One selection has "Kingfish" backed by Nick Goldston on Drums, Bass, Piano, Keyboard, and Acoustic Guitar with backing vocals from Brooke Stephenson. Most of the songs are by Kingfish with Hambridge and Richard Fleming.

There is a celebration of his North Mississippi roots on the title track that opens this recording with a searing guitar rockin' blues solo as celebrates the Mississippi Delta 'the birthplace of this he blues. Another song, "Not Gotta Lie," is a biographical snippet of his brief musical life as against a heavy funk groove with a blazing blues-rock solo before testifying blues is where he comes from and is his history. Then he celebrates Mississippi juke joints, "Too Young To Remember," where he sings about having heard about juke joints where whiskey used to flow. Kingfish may be too young to remember but old enough to know. There is more funk and searing blues-rock guitar on this track. Another bit of musical autobiography is "Something in the Dirt," where there is magic in the music, but must be something in the dirt as he sings about playing his first gig at Red's when he was 11.

Against a rock groove, he sings about life on the road as on "Long Distance Woman," the one who wakes him on the phone and accuses him of doing wrong. This listener prefers the Memphis soul-blues "That's All It Takes," with riffing horns and a more laid-back backing behind his outstanding singing and straight blues picking. Another song about a relationship breaking is "You've Already Gone," with an almost jazzy guitar attack. "I Got to See" sounds like a Robert Cray song with sterling rock and roll guitar and superb singing. He pulls all the stops on guitar on a terrific slow blues, "Your Time Is Gonna Come."

Also stunning are his observations on "Another Life Goes Back," where he wonders where hate comes from and how can we stop the madness. Kingfish's guitar playing evokes Albert King on this track. A bonus track, "Rock and Roll," is a tender song devoted to his late mother, backed by Nick Goldston, who provides the evocative backing. 

Even if some of the blues-rock trappings may not be to my taste, Christone' Kingfish' Ingram plays superbly throughout, whether rocking out or channeling Albert King. And he is one of the best young singers in the blues world today. If he did not play guitar, he still would have great appeal. With the outstanding "662," Christone 'Kingfish' Ingram further establishes himself as an impressive new blues voice.

I received a download to review from Alligator Records. The song, "662," is currently available as a single. The full album will be available on July 23. Here is "662.

Chris Cain - Raisin' Cain - Alligator Records

It has been a little over a decade since I reviewed Chris Cain's album "So Many Miles ( Blue Rock'It)." As I wrote then, Chris Cain has been playing his blues with a jazzy twist on the West Coast for quite some time. He recorded for the Ford Brothers' Blue Rock'It label and Blind Pig Records and built up quite a body of excellent recordings matched in quality by his live performances. A reference point for Cain's sound might be B.B. King (who his dad first took him to see with he was three), notably the King when he collaborated with the soulful, jazzy grooves provided by the Crusaders (think of King's rendition of "Never Make a Move Too Soon"). Add a dose of Albert King's guitar sound, and one has an imposing performer.

He recently was signed to Alligator Records, and this is his initial release for the label. It was recorded at Greaseland Studios and produced by Kid Andersen. In addition to his guitar, vocals, and keyboards, Chris Cain is backed by Greg Rahn on keyboards, Steve Evans on bass, and either Derrick "D'mar" Martin or Sky Garcia on drums and percussion. Kid Andersen adds rhythm guitar, acoustic guitar, or melodica to several tracks. Michael Peloquin adds saxophone, Mike Rinta plays trumpet, Jeff Lewis is heard on trombone, and Doug Rowan is on baritone sax on various selections. 

Cain wrote all twelve songs, ranging from funky uptown blues, scorching shuffles, and down-home southern soul-blues. Cain's robust, passionate singing and his striking note-bending and inventive solos capture one's attention throughout with excellent backing. The songs themselves offer fresh takes on familiar blues themes. The opening "Hush Money" has Cain singing about keeping his high finance lady happy, as she helps herself to anything he makes. Against punchy horns, Cain shouts about paying her hush money to keep her quiet with a tight guitar break. Then there is an energetic shuffle, "You Won't Have A Problem When I'm Gone," with a lyric reminiscent of Percy Mayfield. Cain sings about her mistreating him, and if she thinks Cain is the problem, she won't have a problem when he is gone with a heated guitar solo set against riffing horns. 

Other songs include the Memphis soul-flavored topical blues "Down on the Ground" about people trying to survive. When one is down on one's luck, no friend is around, and so many people want to kick someone when one is down. Albert King's influence is perhaps most evident during "I Believe I Got Off Cheap," with a solo that channels King's distinctive sound against the riffing horns. It is a gem on an album of stellar performances. Then there is the stunning, autobiographical, "Born To Play," as he recalls his parents and growing up in a house full of music, seeing Ray Charles and B.B. King when they came to town and learning to play his father's guitar. 

With excellent original material, outstanding vocals and guitar, and first-rate backing, Chris Cain's "Raisin' Cain" latest may be the finest album of Chris Cain's very distinguished career.

I received a download to review from Alligator Records. Here is a video of Chris Cain along with Kirk Fletcher.

Selwyn Birchwood Living in a Burning House

Selwyn Birchwood
Living in a Burning House
Alligator Records

It is a pleasure to have a new recording by Selwyn Birchwood to warm the winter blues away with the new year. The tall, lanky Birchwood has expanded his band, adding the keyboards of Walter "Bunt" May to his band. The rest of the band consists of baritone saxophonist Regi Olivier (who also plays alto and tenor saxophones and piccolo flute on this recording), bassist Donald "Huff" Wright, and drummer Philip "Squeak" Walker. Tom Hambridge produced this album and contributed backing vocals and percussion to some tracks. One selection is a duet with Diunna Greenleaf.

There is plenty of blues with a bit of rock energy. Hambridge's production gives this a hard-hitting feel opening with the opening "I'd Climb Mountains." There is plenty of his warm, grainy, expressive baritone and searing guitar. The songs range from this fiery number to the soulful loping ballad, "She's a Dime." Olivier's baritone helps lay down a deep bass groove on "I Got Drunk, Laid And Stoned." This song also showcases Birchwood's sizzling lap steel guitar.

One of the top originals, "Living in a Burning House," has Birchwood's dealing with a hellacious relationship with his passionate singing and fiery guitar along with Olivier's raspy, raucous sax solo. Then there is the rocking shuffle of "You Can't Steal My Shine," with a rollicking guitar break. May's organ is prominent in the backing on this. Then there is the duet with Diunna Greenleaf, "Mama Knows Best," about trying to get his mama's blessing about his girl, but Diunna sings that she won't cook or clean, and listen to your mama that this girl will be the death of Selwyn. Birchwood's guitar dances in and around Olivier's riffs and fills. I would expect this track gets much airplay.

One last track to highlight is another rocking shuffle, "Through A Microphone," where Birchwood celebrates being on the stage, and the only time he is at home when he bares his soul through a microphone. It is another first-rate performance on Selwyn Birchwood's latest stellar recording.

I received a download to review from Alligator Records.  Here is a video of "Freaks Come Out At Night," from this recording.

JW-Jones Sonic Departures

JW-Jones
Sonic Departures
Solid Blues Records

I have been a fan of JW Jones since his 2004 recording "My Kind of Evil." I have watched his career progress and enjoyed other recordings by him. He was honored as the Best Guitarist at the 2020 International Blues Challenge, where the trio he was part of, Horojo Trio, was the 1st Place Band. Unfortunately, he won this right before the Covid-19 pandemic prevented him from touring to develop his career further. "Sonic Departures" is his latest and is a strong enough recording to be of interest despite his inability, due to the pandemic, to perform and tour to promote it.

Playing on this recording is his touring band of Will Laurin (drums/vocals) and Jacob Clarke (bass/vocals), along with longtime band-mate Jesse Whiteley on keyboards and horn charts. Kaz Kazanoff also contributed a couple of big band arrangements for the 13 piece horn section on this recording. In part, the album gets its title from Jones's additional tracking of vocals, guitars, and studio effects. He contributed three originals and six covers.

Jones has a very appealing voice in a pop sort of manner. He sings with a straight, attractive, and melodic approach. If he had been performing some 60 years ago, he might have well been a teen star in the vein of Dion. I don't say this as criticism as his tuneful, on-pitch singing and delivery of his originals like the opening "Blue Jean Jacket" and "Ain't Going To Beg" are substantial efforts that have the bonus of his stunning guitar. His craftsmanship, skill, and imagination lead to some very solos that build with fiery intensity.

The covers here include a spirited rendition of a very funky take of a lesser know Albert King recording, "Drying on Dry Land," with the horns adding color to his impassioned vocal. There is wonderfully played cover of Guitar Slim's "Things I Used To Do," along with Clarence Carter's southern soul classic "Snatching' It Back" with some judicious use of studio effects. One standout track is a swinging big band reworking of the Everly Brothers' "Bye Bye Love" that suggests Jones could cut it as a crooner. Whitely has a choice chorus on the piano here. There also is a swinging rendition of Buddy Johnson's "It's Obdacious," with a booting tenor sax solo.

There might be some studio tricks that are departures from JW-Jones prior recordings, but there is no departure from the high level of Jones' music on this outstanding recording.

I received my review copy from a publicist. Here is a promo video for this recording.

2020 Blues—New Music From Alligator Records

Various Artists
2020 Blues—New Music From Alligator Records
Alligator Records

This is a digital-only sampler from 5 albums that Alligator was going to release this year. Unfortunately, the Covid-19 pandemic intervened and eliminated nearly all live performances and the like. In Bruce Iglaur's words, "It's now clear that the pandemic and its results are going to continue for some time to come. We can't wait any longer to begin to share this great new music with the media and the public. … These albums are scheduled for later this year and early next year. 2020 Blues and each individual track will be available on all the popular download and streaming sites."

This compilation is a welcome teaser for the five upcoming albums. The first selection up is from Chris Cain, whose "I Believe I Got Off Cheap" is from an album to be released early next year. I have been quite a fan of Cain for years, and it is great that he will have a new album. This song is a terrific track on which he channels Albert King's guitar style paired with his soulful vocals. Following you is a selection from Selwyn Birchwood, "Living In A Burning House." From a release schedule for January, it is a typical first-rate performance from one of the real young blue bloods.  Also scheduled for release next year is a new Curtis Salgado album. The track "The Longer That I Live" is a stunning Memphis soul performance. If the rest of this album is this good, it is another most purchase.

Both Shemekia Copeland and Elvin Bishop-Charlie Musselwhite will have new albums out this year, Shemekia, in October and Elvin-Charlie in September. Both of their songs deal with the deep divide in our country now. Shemekia sings "Uncivil War," a plea for us to get along, although her plea "to listen to one another and, ultimately, come together" may strike some as naive. The striking performance is more Americana than blues, and it is good to see her showing how expressive she can be no matter the musical setting. The raucous "What The Hell?" is a rowdy duet with Bishop singing about things ailing our country and talking about what he likes about the President, which is nothing, Musselwhite wails throughout this track. It certainly makes one quite interested in their collaboration.

In summary, quite an appetizer for these upcoming releases with some terrific music. It is available from Alligator Records (https://www.alligator.com/albums/2020-Blues---New-Music-From-Alligator-Records/) and the usual digital outlets.

I received a download to review from Alligator Records. Here is a video of Chris Cain performing and channeling Albert King.

 

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.

 

Roscoe Shelton's Soulful Legacy

Fred James has played a substantial role in documenting and getting recognition for Nashville's R&B scene. One of the artists whose careers Fred James helped to revive was Roscoe Shelton who passed away in 2002. Originally Shelton was on the Excello label for whom he made many fine blues and soul recordings, many of which were his own songs. Later he recorded for Sound Stage 7 where he had two national hits, appeared on the legendary The !!!!Beat TV show and then found himself burned out. He did record some for local labels and performed in local clubs and then semi-retired from music, working at a medical hospital. James recorded fellow Excello artist Clifford Curry in 1992 for an Italian label, and Curry told him many of his label mates were still around, leading to Shelton's career being revived which led to albums on Blue Moon, Appaloosa, Black Top and Cannonball (with Earl Gaines). "Save Me", the present set, is comprised of recordings from a variety of dates. One is a duet with Mary Ann Brandon is from her album "R.O.A.D.", while a track with Earl Gaines is an alternate of what appeared on Cannonball. A terrific singer that grew up in the Church (he was once a member of the Fairfield Four), he was very at home with the blues. Highlights include the terrific title track, the cover of Ivory Joe Hunter's "Blues at Midnight," the shuffle, "Why Didn't You Yell Me (For So Long)," and the belly-bumping blues, "Think It Over." Not a bad track here as Shelton never received the recognition his talents and music deserved. Highly recommended.

This is slightly edited version of review that appeared in Jazz & Blues Report