Bobby Patterson Second Coming

I have been slow on writing new material, so here is a review from 1997,

Bobby Patterson
Second Coming
Ultrax / Ichiban

Bobby Patterson, who made some recordings for Ronn some years ago, has a new album out on the Ichiban distributed Proud/Ultrax. A singer and guitarist, Patterson’s vocals bear some resemblance to those of Bobby Parker. Patterson has produced a first rate album of modern soul-blues.

He shows himself to be a terrific vocalist as he digs into these songs, most of which are originals dealing with typical lyrical themes of back door men and relationships falling apart. More than one song finds Bobby working and slaving for his woman while it is the other man who gets the thrills. As Bobby sings on the opening "If He's Gettin’ the Thrills", let him pay the bills. Patterson sounds like the relationship just broke-up on "Even a Dog" and "All We Have in Common," standing out.

He also ably handles the philosophical, soulful ballad, "You Can't Steal Something." "Right Place, Wrong Time," is not the familiar song associated with Otis Rush but a Patterson original where he tells the story about going to a party where he finds another man making love with his wife. While Patterson plays guitar, it is not heavily featured here - although there is some nice guitar on "Keep Your Hand to Yourself," which has a nice funky groove as Patterson tells his friend that he doesn’t mind him keeping his eyes on Patterson’s babe, but he better keep his hands to himself. It may be Butch Bonner that is prominent on guitar here. Patterson also is heard on a fine interpretation of the Bobby Bland classic "I'll Take Care of You".

The studio bands heard provide strong backing, and while there is some synthesized strings and vocal choruses employed, they are not employed in a heavy-handed manner, but enhance Patterson’s
fervent, soulful singing. This is one of the best soul-blues releases I've heard recently.

This review originally appeared in the October 1997 (Issue 225) of Jazz & Blues  Report although I have reformatted it into paragraphs. I likely received a review copy from Ichiban. 

 

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.

 

Kevin Burt - Stone Crazy

Kevin Burt - Stone Crazy - Gulf Coast Records

About Kevin Burt's prior album "Heartland & Soul" (Little Village Foundation), I observed, "Listening to Kevin Burt, one is reminded of Ted Hawkins, a similar acoustic singer-songwriter who had deep rhythm and blues roots. Whereas Hawkins displayed a strong Sam Cooke influence, Burt evokes Bill Withers with perhaps a dash of Al Jarreau. Withers is one of Burt's cited vocal influences along with Aaron Neville, Bobby Bland, Luther Vandross, and Marvin Gaye." "Stone Crazy," Burt's new release, is on Mike Zito's Gold Coast Records, and this observation still holds true.

While the press release for this recording lists ten songs, my download included eleven. Burt wrote all but the cover of Bill Withers' "Better Off Dead." Backing Burts, vocals, harmonica, and guitar are producer Mike Zito on guitars, Doug Byrkit on bass guitar, Matthew Johnson on drums, Lewis Stephens on keyboards, and Jimmy Carpenter on saxophone. 

There is a nice mix of tunes and themes ranging from the down-home harmonica and funky groove of the opening "I Ain't No Problem With It" to the easy shuffle blues, "You Get What You See," with Carpenter adding his sax to some nice guitar. "Purdy Little Thang" has an insistent, simple groove, while the title song is an island breeze soulful love song. "Same Old Thing" is a choice blues about her loving someone else, while another soul ballad, "Something Special About You," has him singing about he wants to make someone his lover. There is also a solid rendition of Bill Withers' powerful "Better Off Dead," about a person whose addictions lead to his marriage breaking up and the line "she's better off without me, and I am better off dead now that she is gone." 

"Stone Crazy" seems certain to expand Kevin Burt's fan base. A mix of strong material, first-rate playing, and exceptional soulful singing make this another choice release from him.

I received a download to review from a publicist. This review has appeared in the May-June 2021 Jazz & Blues Report (Issue 396). Here Kevin Burt performs "Stone Crazy."

JOHNNIE TAYLOR - Gotta Get The Groove Back

JOHNNIE TAYLOR - Gotta Get The Groove Back - MALACO (1999)

The sudden death of Johnnie Taylor deprived the blues and soul world of one of its greatest talents.TheSoul Philosopher had been catching folks’ ears ever since he replaced Sam Cooke in the Soul Stirrers, and later was signed to Cooke’s SAR label. Later Taylor was on Stax where such recordings as "Who’s Making Love," "Cheaper to Keep Her," and "Jody," became major sellers and staples for blues and cover bands. After some success with Columbia, most notably with "Disco Lady."

Taylor spent the last years on Malaco where he enjoyed considerable success the past few years. He was the biggest selling artist in Stax’s history and I believe his albums have been Malaco’s biggest sellers. His last album, "Gotta Get the Groove Back," has been selling well and been on the Billboard Blues charts for over half a year in addition to being nominated for a Grammy. It mixes tracks with a studio band, such as the terrific, driving title track, with one using programmed keyboards (some with horns). There is a good mix of soulful numbers before he closes with "Soul Heaven," evoking the many legendary R&B figures he used to sing and work with, and who he now has joined. 

Taylor never got his due from the general public, but the man was a terrific singer who was at top form till the end.

I likely purchased this or may have received a review copy from Malaco. This review originally appeared in the May-June 2000 Jazz & Blues Report although I may have made minor grammatical changes. Here is "Soul Heaven."

Wee Willie Walker & The Anthony Paule Soul Orchestra - Not In My Lifetime -

Wee Willie Walker & The Anthony Paule Soul Orchestra - Not In My Lifetime - Blue Dot Records

Listening to a recording as good as "Not in My Lifetime" is bittersweet, knowing that there will be no more music from this marvelous soul and blues singer. Wee Willie Walker, who recorded for Goldwax Records decades ago, passed away three days after finishing recording this album. As a brief snippet of an interview with Willie that opens this album indicates, Willie went home feeling joyful after the music before dying in his sleep. It is a follow-up to "After A While," also with Anthony Paule leading the backing. I wrote about that album that it was "an imaginatively programmed and arranged recording, that showcases one of the last original soul singers. We should be thankful he is with us and still sings with all his vocal talent intact on a terrific recording." 

Paule on lead guitar and electric sitar leads a backing band consisting of Tony Lufrano on keyboards, Endre Tarczy on bass, Kevin Hayes. On drums, Derek James on trombone, Bill Ortiz on trumpet, Charles McNeal on tenor saxophone, and Rob Sudduth on baritone saxophone. Background vocals are provided by Larry Batiste, Sandy Griffith, and Omega Rae, with The Sons of the Soul Revivers doing the background on one track. Jon Otis adds percussion to four selections, and Curt Ingram adds french horn to one track. There are ten originals, one an instrumental by Tarczy, and nine songs are by Christine Vitale, mostly in collaboration with Paul and Batiste. One of the covers revives one of his Goldwax recordings, and the other two are songs that go back to Little Willie John.

The music here is consistently top-flight soul and blues with a strong dose of Memphis with a touch of the Philly Sound. The Soul orchestra is tight and pushes a strong groove behind Walker's soul-drenched singing, starting with Walker exhorting his women to "Don't Let Me Get In Your Way," as she tells her friends Willie is not satisfying. The Memphis feel of that opening track shifts to the soul ballad, "Over and Over," with the vocal chorus evoking the Philly sound. Then there is a Latin groove for "Real Good Lie," which punchy horns from Tony Lufrano's horn arrangement while Paule musically dancing with his guitar solo.

"Darling Mine" conjures the classic era of deep Memphis soul with a vocal that has some of the power of the legendary Johnny Taylor. The Sons of the Soul Providers provides a gospel feel for the positive message that we are in this together on "I'm Just Like You," and we should try to find common ground. "Make Your Own Good News" has the feel of a classic Curtis Mayfield recording if it had been recorded at Memphis or Muscle Shoals. I am not familiar with the Goldwax original "Warm To Cool To Cold," but Walker was still preaching his soul at these sessions. It is great to hear the covers of Little Willie John's recordings "Heartbreak" and "Suffering With the Blues," sung with such conviction and backed so wonderfully.

Tarczy's "Almost Memphis" is a funky instrumental that allows the band members to stretch out, followed by "'Til You've Walked In My Shoes," a jazzy-flavored and sophisticated performance with Paule's carefully crafted guitar solo along with Walker's outstanding singing. "Not In My Lifetime" is a recording that will stay in the hearts of soul and blues lovers for many, many years. Wee Willie Walker left us with a stellar recording that is sure to be on many Best of 2021 lists.

I received my review copy from a publicist. Here is a performance by Wee Willie Walker & The Anthony Paule Soul Orchestra.

Larry Davis - Jeffrey Scott reviews

Larry Davis - Funny Stuff - Rooster Blues

Best known for the original recording of "Texas Flood," which was popularized by Stevie Ray Vaughan, Larry Davis had a relatively short but distinguished career, which included at one time being signed to B.B. King's Virgo label. Originally a bass player, he started playing guitar while touring with Albert King. 

In 1982 Rooster Blues issued his album, Funny Stuff, which won the 1982 Handy Award for Best New Album and contained the two tracks that won for Best Single. Davis sang with plenty of gospel-based soul while playing his Flying V Gibson in a hard-edged style that clearly reflected Albert King's influence. He produced one of the strongest recordings of the Eighties. This is a welcome reissue of that album.

From the title track, a terrific song about a lady who has hoodoo'ed him to the closing rendition of Albert King's "Got to Be Some Changes Made," Davis pours his heart into the vocals while turning out some high-energy solos. Other high points include his funky renditions of "That Will Never Do" and George Jackson's "Find' Em, Fool 'Em & Forget 'Em." There are also the searing, slow blues "Teardrops" and "Worried Dream." 

Legendary saxophonist and producer Oliver Sain produced this as well as played sax and keyboards. Billy Gayles, of Kings of Rhythm fame, played drums on half of this while Johnny Johnson played piano on five of the ten tracks. The album holds up wonderfully and one would be hard-pressed to find any better modern blues recordings since this came out. There may be some as good, but not better.

Jeffrey Scott - Rattlesnake Daddy

With John Jackson as his uncle, and friends with the likes of John Cephas and Doc Watson, one

should not be surprised that the debut album of Jeffrey Scott, the self-produced "Rattlesnake Daddy" is firmly in the East Coast fingerstyle guitar tradition. 

This disc contains a selection of songs from Blind Blake, Blind Boy Fuller, Arthur Crudup, and Big Bill Broonzy among others, Scott displays a crisp, fluid guitar style while his tenor is a bit brighter sounding than John Jackson's straightforward delivery of a lyric. Perhaps he is not yet as deft a guitarist as his uncle or John Cephas, but he does maintain a nice relaxed groove on "Step It Up and Go" as well as "That's All Right Mama." 

This is a very enjoyable disc and indicates Scott is a talent with more than simply promise here.

These reviews originally appeared in the 2001 November DC Blues Calendar, then the DC Blues Society's newsletter. I have made minor edits for readability. I likely received the Larry Davis from a publicist. I do not remember whether I bought the Jeffrey Scott or not. The Jeffrey Scott is currently available at Amazon. The Larry Davis may be hard to find. Here Jeffrey Scott performs "Red River Blues."

Dexter Allen Keep Moving On

Dexter Allen - Keep Moving On - Endless Blues Records

This new album by singer-songwriter-guitarist Dexter Allen is a mix of straight-ahead urban blues and southern soul. Years of playing lead guitar with Bobby Rush can be heard in the funk-tinged performances here, if not quite as bawdy as Rush. Through overdubbing, Allen plays keyboards and bass in addition to guitar. Others on this date include drummers Christopher Minter and Joey Robinson and the keyboards of Joey Robinson.

A comparison for Allen might be Theodis Ealey (thinking especially of Ealey's Ichiban albums and songs like "Bluesman Lover"), in his mix of songs that are traditionally rooted along with a touch of straight soul. Allen has an appealing baritone voice, and he plays straight-forward, idiomatic guitar. He more capably handles a straight shuffle like "Pack Up My Bags," where he sings about moving far away from his woman who treated him like a dog. The title track deals with people coping with everyday struggles, but one should keep their hopes up. "F.A.B.U.L.I.S.T. Woman" is a down-in-the-alley blues about this woman that won't do right. 

Allen's soulful side is perhaps best shown on "I Just Love That Woman," with appealing deep from the gut singing, along with "Can't Live Without You." The music of the latter number evokes the Toussaint McCall classic, "Nothing Takes The Place of You," Allen takes us to church with his singing here as he tells his girl she's the best thing for him, and he doesn't want to lose her love. Then there is a funky appreciation of a lady's shaking her body on the dance floor, "I Like The Way."

Overall, this album is a solidly produced blues and soul recording. Dexter Allen stands front and center with the first-rate music present on "Keep Moving On."

I received my review copy from a publicist. Here is a video of Dexter Allen performing.

Dave Keller You Get What You Give

Dave Keller
You Get What You Give
Tastee Tone Records

Singer-guitarist-songwriter Dave Keller has put together a special new recording dedicated to raising funds toward enhancing racial justice and equity. Keller, whose mix of soul and blues has earned him acclaim, fans, and friends, is joined by Trudy Lynn, Joe Louis Walker, Annika Chambers, Johnny Rawls, Annie Mack, Dawn Tyler Watson, Brother Bob White, Carly Harvey, Toussaint St. Negritude, Katie Henry, Chad Hollister and others who donated their time and talent for this recording. Even before release, raised over $2,000.00 from pre-orders with "all of which will go directly to groups working for racial justice and equity." The list of recipient groups includes the NAACP Legal Defense Fund, Know Your Rights Camp, N'COBRA, and Jus' Blues Foundation.

Separate apart from the fundraising aspect of this album; the performances are stunning. This starts with the opening duet between Keller and Annika Chambers, "One More Tear." It is a superb Memphis soul styled song about two lovers who can't get over each other. The production, the playing, and the singing are exceptional. It sets the tone and standard for this album. More of the same is present in the duet with Carly Harvey, "The Thing We Do," as the two celebrate their love for each other. Another outstanding duet is the title track with Annie Mack with its country-soul flavor. There is an uplifting duet between Keller and Dawn Tyler Watson, "God Is Love/ Love Is Everything."

Among other inspired songs are "The Evil Men Do." This song has a topical lyric about this land be haunted with bodies handing on the tree and lying on the ground under a knee as Annika Chamber, Annie Mack, and Johnnie Rawls add their voices. Ira Friedman adds a stark piano backing, with Tom Palance adding a haunting trumpet solo. Friedman's spare piano also backs Keller's sober vocal on "The Spark." Brother Bob White sings and plays piano on the classic gospel number "Precious Lord, Take My Hand" with Keller adding responsive guitar.

There are other equally stirring performances. These include those with Joe Louis Walker and Katie Henry. Also, Keller's acoustic steel guitar and harmonica support Toussaint St.Negritude on the spoken blues "I'm Gonna Let It Shine," about standing on the banks of tomorrow and pressing for a brighter tomorrow. This number concludes a remarkable recording, one of the finest new recordings I have heard in 2020. "You Get What You Give" is not merely great music but raises money for a great cause.

I received my review copy from a publicist. Here Dave performs "The Evil Men Do."

Johnny Rawls Where Have All the Soul Men Gone

Johnny Rawls
Where Have All the Soul Men Gone
Third Street Cigar Records

Johnny Rawls returns with his third recording for Third Street Cigar Records with another collection of soul-blues. Recorded in Denmark, Rawls wrote and produced this latest addition to his discography. Horns were added in Ohio. Those familiar with Rawls' prior recordings or performances will find nothing new here. It is merely another well-produced set of songs starting with the title selection, "Where Have All the Soul Men Gone." Rawls' latest song salutes some of the great soul and blues legends that shaped his music and whose legacy he carries on.

Rawls' pleading gospel-rooted soul vocals are set against crisp backing, including moaning horns that evoke the Hi records sound, as he sings about his women and what they mean to him. For example, in "Can't Leave It Alone," he sings about wanting to leave her alone. However, she has her hook in too deep, but also she has everything he needs. In addition to the medium tempo groovers like "Keep On Doing My Thing," Rawls contributes an original soul ballad, "Love, Love, Love," where he celebrates that no one can kiss or hold him as his woman does. 

There is a bit of soul philosophy on "Money" when Rawls preaches about folks needing money to fill up a car, buy new shoes, or buy one's woman a gift. Larry Gold adds a short guitar break to this selection while taking a more substantial solo on "Town Too Small." A gospel original, "Calling On Jesus," is the final selection on another first-rate Johnny Rawls recording.
 
I received my review copy from Third Street Cigar Records. Here is a performance by Johnny Rawls.

Sonny Green Found! One Soul Singer

Sonny Green
Found! One Soul Singer
Little Village Foundation

"Found! One Soul Singer" is the latest release from the Little Village Foundation. The album is the first full album by Robert 'Sonny' Green, a Louisiana native who relocated to Los Angeles. Green was named Sonny by Big Jay McNeely to make folks think he was Little Sonny Warner, the vocalist on "There Is Something On Your Mind." Growing up, he was a classmate of Mighty Sam McClain. He did record some highly prized 45s.

This recording was done at Kid Andersen's Greaseland Studio, and Andersen plays guitar. Others on the session include Jim Pugh on Hammond B3, Chris Burns on clavinet and piano, Endre Tarczy on bass, and Ronnie Smith on drums. Others on the session include Mariachi Mestizo on violins, Jeff Lewis on trumpet, Mike Rinta on trombone, and Aaron Lington on tenor and baritone saxophone. D'mar plays drums on one track while Terry Hanck and Gordon Beadle are heard soloing on one track each.

Musically, this is a very appealing album of modern urban blues and soul-blues in the vein of Bobby Bland, Little Milton, Syl Johnson, Little Johnny Taylor, and others. He has the gospel-rooted screams and chocked cries down and puts everything into the performances here that are ably backed. There are times when his diction is a bit slurred, as on the cover of Bobby Bland's "I'm So Tired" and Little Milton's "If Walls Could Talk." His rendition of "Blind Man" owes a bit to Little Milton. It is a fine performance, as is Green's channeling of Syl Johnson on the churning groove of "Back For a Taste of Your Love." Trumpeter Lewis stands out with his brief horn blasts here.

Rick Estrin's "I Beg Your Pardon" is a superb slow blues with a vocal that would do Little Johnny Taylor proud. Pugh plays a greasy organ solo. There is a deep soul rendition of an early Willie Nelson song, "Are You Sure." Alabama Mike joins on an original, "Trouble." It is a first-rate duet in the style of the Jewel recordings by Ted Taylor and Little Johnny Taylor. Incidentally, the CD cover lists it as the ninth track. It is the eighth track, and "If You Want Me To Keep Loving You," another strong performance in the Little Johnny Taylor mode, is the ninth track.

This album closes with a well-sung cover of Ted Taylor's "Be Ever Wonderful." There is plenty to enjoy about this recording. Sonny Green ably evokes so many greats as he recreates their songs. He certainly displays his considerable vocal chops, and Kid Andersen and the backing musicians provide top-flight backing. For fans of soul-blues and deep soul, Little Village Foundation has indeed found a most soulful singer.

I received my review copy from a publicist. Here is Sonny Green performing recently.

 

Bettye Lavette Blackbirds

Bettye Lavette
Blackbirds
Verve

"Blackbirds" is the latest recording from the great Bettye Lavette. This recording is Lavette's celebration of some iconic black women artists by performing songs associated with these women. It is produced by Steve Jordan, who produced Lavette's Grammy-nominated "Things Have Changed." Musically it has the clean, austere setting providing a backdrop for her sharp, at times, acidic delivery. The personnel includes guitarist Smokey Hormel, keyboardist Leon Pendarvis, drummer Steve Jordan, and bassist Tom Barney.

Her approach certainly is spot on for the opening Nina Simone's "I Don't Hold No Grudge," with her singing providing emphasis to the pain of the lyrics with a stinging closing guitar solo from Hormel. Sharon Robinson contributed a somber "One More Song," that Lavette pours her heart into singing about one more broken story line. Another gem is a spellbinding interpretation of Della Reese's torch song "Blues For the Weepers." She opens a stellar rendition of Ruth Brown's "Book of Lies" unaccompanied as she recalls the broken promises of her ex-lover who broke her heart.

Lavette's rendition of Lil Green's "In the Dark" (originally titled "Romance In the Dark") has a brooding sensuality to it with a sharp guitar solo. It is followed by a stark, reflective take on Dinah Washington's "Drinking Again." It says so much about Lavette's ability to make a song her own that the delivery of the harrowing imagery of "Strange Fruit" is almost as memorable as Billie Holiday's original recording. That is high praise of her interpretive powers. Buddy Johnson's "Save Your Love For Me" has been recorded by countless artists. One of the earliest versions was Nancy Wilson's with Cannonball Adderly, which is the inspiration of Lavette's pleading rendition of this modern classic.

With Hormel's spare guitar anchoring the backing, Lavette closes this recording with her interpretation of The Beatles' "Blackbird," again displaying how she can impart so much emotion in a song. One suspects that this outstanding release will garner Bettye LaVette more Grammy nominations. She is an American classic artist.

I received my review download from a publicist. Here is Bettye Lavette singing "Blackbird," in 2017.

Sam Joyner When U Need a Friend

Sam Joyner
When U Need a Friend
Self-produced

Keyboardist-singer-songwriter Sam Joyner was born and raised in Chicago but is based in New Orleans, where his regular gigs include Spirits on Bourbon and Teddy’s Juke Joint. The latter club is in Zachary, Louisiana. On this session, he is backed by Benny Turner on bass; Jellybean on drums: Lil Ray Neal, Marc Stone, and Harry Sterling on guitar; and others.

The performances include the soul-blues of “Must Be Jelly” (not the William Clarke song), and the raucous Chicago blues shuffle, “Goin’ to Chicago.” Joyner is a robust, slightly sandpaper-toned singer who sounds at home in a variety of blues styles. His passionate singing on “Hard 4 Your Money,” is complemented by Lil Ray Neal’s B.B. King-styled fretwork. The semi-autobiographical “Them Bluez” is a showcase for some piano as well as his determined singing. Lil Ray Neal returns on a superb atmospheric slow blues, “Breakin’ Up Our Happy Home,” with a heartfelt vocal, a down-in-the-alley piano solo, and a “Long Distance Call" part spoken-part sung closing segment.

Other tracks of note include another solid shuffle is “Natural Born Luvah,” and “Onions Ain’t the Only Thing” with the cheesy keyboards. Marc Stone adds slide guitar on the title track that closes this CD. Sam Joyner certainly captures the listener’s attention with the authority and conviction he sings with. I wish the liner notes gave a bit more information about Sam’s career and provided information on who played on what songs. The music does speak for itself, however, and does so very impressively.

I received my review copy from a publicist. Here is Sam Joyner performing at the 2017 International Blues Challenge Finals.

Vintage Ichiban Blues

It's impossible to keep up with the entire range of Ichiban's releases. Among those of recent note is Sonny Rhodes' latest, Livin' Too Close to the Edge; part of the label's Wild Dog series. This is a tasty morsel finding Rhodes playing both standard and lap steel guitar, and singing in a soulful fashion, while backed by a solid band. Rhodes is particularly impressive on the lap steel, and his old
friend L.C. 'Good Rockin' Robinson would be proud. Rhodes took up the steel guitar as a tribute to Robinson. Material is pretty standard fare with a nice reworking of Jimmy Rogers' You're the One (although wrongly credited to Clarence E. Smith), and Santo and Johnny's pop hit, Sleep Walk (again not properly credited). This is one of the better recent releases to come from Florida's King Snake Studio.

Cleveland mailman Travis Haddix is a double threat as a songwriter as well as a soul-blues vocalist, with Artie 'Blues Boy' White being among those who have recorded his songs. His latest Ichiban release, What I Know Right Now is a solid strongly sung set of soul and blues.With Haddix, the songs are as interesting as his performances. There is the nice moody blues, Strange, with its effective (yes, effective) use of synthesizers, his soulful ballad Getting By With a Lie, and the salacious Jawbreaker. He displays as much wit and soul in his singing as his lyrics. Very solid production from Bryon Cole and the the Kala studio band who, with productions like this, give Malaco Records a good run for the money.

Another recent Ichiban release is Chick Willis' Holdin' Hands With the Blues. While a guitarist, Willis doesn't play here. Like the Haddix album this is a solid contemporary soul-blues date with memorable tracks including the title track (a potential blues anthem written by Denise LaSalle), a deep in the gut rendition of Ernie Johnson's You're Gonna Miss Me, the rocking and funky Heaven to
Betsy, his One Slick Woman, a someone's been in my bed song with nice slide guitar, and the closing ballad, I'm Only Guilty of Loving You. This is a real fine album that shows Willis is capable of doing far more than recycling Stoop Down Baby.

This review originally appeared in Issue 172 of Jazz & Blues Report in 1992. I likely received review copies from Ichiban or a publicist. I believe the three releases may still be available, used if not as new,

Frank Bey All My Dues Are Paid

Frank Bey
All My Dues Are Paid
Nola Blue

Take a veteran soul singer, pair him with a terrific backing band, and have them record a choice collection of under-recorded covers and new songs, and one has Frank Bey's new soul-blues recording. " All My Dues Are Paid" is produced by Kid Andersen (Rick Estrin is co-producer) and recorded at Andersen's Greaseland studio. Andersen adds his guitar to this session, and other backing musicians include Jim Pugh on keyboards, Jerry Jemmott on bass, Alex Pettersen on drums, Eric Spaulding, and Nancy Wright on saxophones. Lisa Leuschner Andersen and D'Mar are among the backing vocalists here.

Reviewing Bey's album with the Anthony Paule Band, "Soul of the Blues," I noted how he evoked the late Solomon Burke and Mighty Sam McClain. Listening to this recording, one also hears tinges of Brook Benton, Percy Sledge, Jimmy McCracklin, and Percy Mayfield. Things start on a high note with "Idle Hands," which was originally recorded by Eddie Palmieri and Harlem River Drive. Against the churning groove and brassy backing with a blistering Eric Spaulding tenor sax solo, Bey delivers this topical song. It is followed by the Billy T Band's break-up song, "One of These Days," where is gritty baritone is supported by a lazy, swampy backing. Another notable performance is the soulful rendition of Mike Schermer's "It's a Pleasure." Rick Estrin contributed an old Nightcats classic "Calling All Fools," an excellent swinging, uptown blues with Nancy Wright blasting off on tenor sax after Jim Pugh's piano solo. There is plenty of grit in Bey's singing here.

The title track is an autobiographical bit of funk penned by Bey, Kathy Murray, Estrin, and Andersen, as Bey authoritatively sings about always pushing against whatever obstacles he faced, and now is his time to shine. Jack Sanford takes a vibrato-laden tenor sax solo on this track. He pours plenty of heart into his interpretation of a George Jones hit, "He Stopped Loving Her Today," which has strings added in the backing. A choice rendition of another Estrin penned Nightcats number, "I'll Bet I Never Crossed Your Mind," follows. With booting sax from Nancy Wright, Bey evokes the legendary Jimmy McCracklin on this performance. A couple of Percy Mayfield numbers follow. There is a horn-driven treatment of "Never No More" with Lorenzo Farrell's chicken shack organ and some sizzling guitar from Andersen to support Bey's shouting. In contrast, "Ha Ha in the Daytime," is performed in a more intimate, laconic setting with Jim Pugh on piano and Eric Spaulding on tenor sax backing Bey's more reflective vocal.

Among the other selections is a cover of Arthur Alexander's southern soul tune "If It's Really Got To Be This Way," a reflective interpretation of Lou Reed's "Perfect Day," and an intense rendition of John Lennon's "Imagine," that builds with a gospel-rooted intensity. The latter number closes this superb showcase of Frank Bey's passionate, nuanced singing.

I received my review copy from a publicist. This review originally appeared in the January-February  Jazz & Blues Report (Issue 388). Here is Frank Bey singing "Imagine."

 

The Mike Duke Project … Took A While

The Mike Duke Project
… Took A While
Little Village Foundation

It certainly did take a while for this recording Mike Duke to see the light of day. Bob Brown, who produced this album, recounts in the liner notes how he came across Duke's songs and music. In 1981 Brown, then manager of Huey Lewis & the News, received a cassette of four different songwriters, one of which was "Hope You Love Me Like You Say You Do," Brown called Huey Lewis, and it was included on his second album and became a top 40 hit. Brown notes that Duke's vocal on the demo blew him away. Shortly after that, Brown called Duke who sent him more demos, and two of which were also recorded by Huey Lewis. Brown and Duke eventually met and moved from the Atlanta area to the West Coast. Duke had been in the rock band, Wet Willie. He was a member of the house band at Slim's in San Francisco and with Delbert McClinton for most of the 1990s.

While many of the selections come from demos from decades ago, they sound very good opening with the nice deep soul performance "Little Miss Pigtail." Duke is a striking singer who injects plenty of feeling into his vocals as on 'Let Her Go and Start Over," a recording where one can hear the outlines of what would be a hit for Huey Lewis. Duke's vocal does not take a back seat to the better known Lewis. He still has quite a robust voice as on a 2019 recording "Let Me Be Your Fool Tonight." Although his backing band is the Zydeco Flames, this track has more of a Tex-Mex feel to it. "That's What I Like About the South" is a 1991 trio performance with Jack Pearson on guitar and Ike Harris on bass. This low-key performance has a relaxed, jazzy tinge and Pearson takes a single-note acoustic guitar solo. Another 2019 track, "I'm Not Sad Tonight" evokes some of The Band's recordings, while "Ain't No Easy Way," is a soul-flavored pop song that one might imagine a group like The Eagles having recorded. Then there is the country-flavored "Honey I Love You," and the passionate, gospel-flavored "Torn & Scarred."

After the variety of well-played and wonderfully sung performances, this recording closes with a live solo piano instrumental "Nicasio," with a New Orleans accent. It may have taken a while, but Mike Duke is a first-rate singer and performer as well as songwriter. Recognition of his talents is long overdue.

I received a review copy from a publicist. This review originally appeared in the November-December 2019 Jazz & Blues Report (Issue 387). Here is a condensed promo for the CD.

Tad Robinson Real Street

Tad Robinson

Real Street

Severn Records

Tad Robinson's new album of blue-eyed soul, "Real Street" was recorded at Memphis' Electraphonic Recording and recorded by Scott Bomar, leader of the acclaimed Memphis soul band, The Bo-Keys. Robinson's vocals and harmonica are vocals and harmonica are backed by the legendary Hi Rhythm section of Charles Hodges – Hammond organ; Leroy Hodges – bass; and Howard Grimes – drums. They are augmented by Joe Restivo – guitar; Kevin Anker – Wurlitzer electric piano; Marc Franklin – trumpet; Kirk Smothers – sax; and Devin B. Thompson – background vocals.

Robinson and his band do an excellent job of recreating the classic Hi Records sound. Robinson and friends have contributed several choice originals, and they interpret songs from George Jackson, Roy Orbison, David Gate, and others. Certainly, an original like "Changes" with chugging rhythms comes off like a cover of a classic Syl Johnson number. Its memorable lyrics are about friends one has trusted have let you down, and then only love can help you negotiate the changes. There is a marvelous heartfelt rendition of a George Jackson soul ballad, "Search Your Heart," where Robinson pleads for his woman not to put him in misery. Robinson adds down-home harp on "Love in the Neighborhood." "Wishing Well Blues" is a soulful blues about his woman leaving set against this terrific rhythm section with biting guitar, punchy horns, orchestral organ, and a touch of harmonica.

Robinson takes the old Roy Orbison ballad, "You Got It," and transforms it into deep southern soul in a fashion that Otis Clay or Syl Johnson may have done it. Then there is a similar transformation of Bread's hit."Make It With You," by David Gates, into a classic Hi Records styled performance. Superbly backed by this terrific studio band and sung so fervently by Robinson, "Real Street" is a gem of contemporary Memphis-styled soul.

I received my review copy from a publicist. Here is Tad Robinson performing "Love in the Neighborhood" from this CD.

Billy Price Dog Eat Dog

Billy Price
Dog Eat Dog
Gulf Coast Records

It has been at least four decades since Billy Price and the Keystone Band issued their first album. After relocating to Baltimore from Pittsburgh, Price remains quite active with his deep blue-eyed soul. He traveled to Kid Andersen's Greaseland Studios to record this latest recording. He has quite a studio band including Andersen on guitar and assorted instruments, Alex Petterson on drums, Jerry Jemmott on bass, Jim Pugh on keyboards, Eric Spaulding on tenor sax, Jack Sanford on baritone sax, and John Halblieb on trumpet. Congas are present on most selections and played by Jon Otis (one of the late Johnny Otis' sons and Vicky Randle. Randle was also one of the background vocalists along with Lisa Leuschner Andersen, Charlie Owens and the Sons of the Soul Revivers. There are also guest appearance from Rick Estrin, Alabama Mike, and Mike Zito, who is Gulf Coast Records co-founder.

Standout tracks on this include the original "Lose My Number" as he tells his former lover that she can forget about him, as he is still hooked. Then there is a brassy, strutting interpretation of Bobby Byrd's "We're on Love." The title track was written by Rick Estrin who adds chromatic harp and solos superbly. Alabama Mike adds his powerful singing to that of Price on a topical blues about trying to make it in a world where they sing describing various social ills. Price's cover of Otis Rush's "My Love Will Never Die" gets to showcase Andersen's incisive guitar as well as the horn section. "All Night Long Café" is a funky original with Mike Zito adding some searing guitar. French guitarist Fred Chapéllier, t, a frequent collaborator with Price, co-wrote the cheating blues "Remnants," and the soulful ballad "More Than I Needed." The latter number evokes the classic Philadelphia soul sound.

"Dog Eat Dog" is another well-produced and solidly recorded new release adding to Price's fine body of recordings.

I received as a download from a publicist. Here he is from a recent performance with his Charm City Rhythm Band.

Vaneese Thomas Down Yonder

Vaneese Thomas
Down Yonder
Seque Records

Blues and soul fans will ll be delighted by this new album by Vaneese Thomas, the youngest daughter of Rufus Thomas. On the twelve originals, she is backed by guitarist Al Orlo, keyboardist Robbie Kondor, bassist Will Lee, and drummer Shawn Pelton. Also collaborating with her are Lawrence Boo Mitchell and Reverend Charles Hodges along with trumpeter Marc Franklin and baritone saxophonist Kirk Strothers from The BoKeys. Older sister Carla Thomas added backing vocals, and Kevin Bacon sings a duet with Vaneese.

This recording certainly gets off to an impressive start with the swampy Tony Joe White feel of the opening “Ebony Man.” Singing with a delivery that has a hint of Tina Turner, she forcefully spins the tale of a sharecropper with whining slide guitar and a hard groove. The mood switches to the Memphis soul feel of the pleading “I Tried” with the Memphis Horns section and the organ of Hodges. Then there is the country-soul flavored “Highway of Regret,” with a reflective vocal and Katie Jacoby’s moody violin. It is followed by the Memphis grinder “Wake Me,” with the horns blasting away as she sings about waking her from the nightmare, and pain she feels. Carla is one of the backing singers on the song of hope “Second Chance,” about folks needing “a second chance when it comes to love and romance… .”

Another standout selection is the funky blues-tinged ”Lies” when she tries to get to the truth of the matter as her lover keeps lying. There is some marvelous blues guitar, and the horn section is brassy and punchy. “Handle Me Gently” is a wonderfully sung soul-blues ballad about needing some tender loving to help her recover from being hurt so many times. “Legacy of Pain” is a poignant duet with Bacon about murders in Mississippi that remain unprosecuted with a plea bring justice to the crimes. After the slow-burning soul of “Last Kiss,” there is “Gone,” where guitarist Orlo evokes Pops Staples on a gospel-rooted performance in the manner of the Staples. The album closes with more gospel flavor on the title track as Vaneese sings about being a vagabond who keeps getting drawn back to the city on the Riverbank.

Vaneese Thomas continues to impress listeners with the latest album. This recording mixes strong original songs, focused backing musicians with superb soulful singing. It provides more evidence of how marvelous a singer, not merely a soul-blues singer, Vaneese Thomas is.

I received my review copy from a publicist. Here is Vaneese (from 2015) performing a Syl Johnson-AL Green classic.

Kevin Burt Heartland & Soul

Kevin Burt
Heartland & Soul
Little Village Foundation

Mike Kappus notes he first was exposed to Kevin Burt as a judge for The Blues Foundation's 2018 International Blues Challenge where the Iowan won not only in the single/duo category. Kappus also notes Burt was the first artist in the Competition's 34-year history to sweep the solo categories — also winning the Solo/Duo Cigar Box Guitar Award for the most promising acoustic player and the Lee Oskar Harmonica Award. Once having to work five jobs (two full-time, three part-time) as a young adult in Iowa City after a football injury in his senior year of college derailed his dreams of professional football, he has become a significant new acoustic blues voice.

It is not like he just started playing the music. In 1996, the sesquicentennial both of Iowa and of the Smithsonian, Burt was chosen by the state of Iowa to participate in a project of the American Folklife Center. “I got the opportunity to be a living exhibition at the Smithsonian representing the state of Iowa as a blues artist, and part of my responsibility was to have an educational component, so that’s when I started doing my research to be able to give accurate historical stories for the state of Iowa from the perspective of a musician.” He has also become quite involved in Blues in the School.

I suspect this is his debut recording and Kid Andersen and Jim Pugh produced this CD which was recorded and mixed at Greaseland. Burt, who wrote 11 of the 12 songs, sings and plays acoustic guitar and harmonica. Andersen adds guitar and melodica (on one track), and Pugh keyboards. Others on this include Jerry Jemmott on bass, Derrick 'D'Mar' Martin on drums, Jon Otis on percussion and Lisa Leuschner Andersen on backing vocals.

Listening to Kevin Burt, one is reminded of Ted Hawkins, a similar acoustic singer-songwriter who had deep rhythm and blues roots. Whereas Hawkins displayed a strong Sam Cooke influence, Burt evokes Bill Withers with perhaps a dash of Al Jarreau. Withers is one of Burt's cited vocal influences along Aaron Neville, Bobby Bland, Luther Vandross, and Marvin Gaye. The song that perhaps is most suggestive vocally and stylistically of Withers' is "I Don't Want To See You No More," where he sings about finding a note on the door and not understand why she left him.

It is a varied program starting with the lively groove on the opening "Day Day" singing about he makes her whole body grins but she will miss him if she leaves more than he will miss her. The performance has a nice harmonica break with the percolating backing behind the singing. Then there is an austere cover of The Beatles' "Eleanor Rigby," backed by his solo guitar, where his phrasing and other vocal dynamics stands out. Pugh's organ helps establish the mood for his expression of thanks for letting him be himself. The percolating groove of "Real Love" reminds me of the Doobie Brothers as he sings about a love they should hang on to and wants to share with nobody else with some rhythmic guitar and crying harmonica.

While the songs on this are more soul than blues, "Never" is a strong, evocative blues with Pugh's piano and Andersen's guitar standing out in the backing against Burt's passionate singing. Another blues has him playing slide and harp for the first verse of "Smack Dab in the Middle," an original and not the song associated with Count Basie and Joe Williams, where he sings about going to the Crossroads and not having done nobody wrong. While there is nothing wrong with the band backing and he has a nice harp break, this performance to these ears would have been stronger if it remained a solo performance. This is a small quibble on an impressive recording full of memorable performances. Kevin Burt shows himself to be an exceptional artist.

I received from my review copy from a publicist. This review originally appeared in the November-December 2018 Jazz & Blues Report (Issue 381). Here is a clip of Kevin Burt performing "Eleanor Rigby," at the 218 International Blues Challenge finals.

Ms Zeno The Mojo Queen Back in Love

Ms Zeno The Mojo Queen
Back in Love
Blue Lotus Recordings

While I heard about Ms Zeno, it was not until I heard perform with my friend Memphis Gold, that I had a chance to experience this powerful singer. Originally from Louisiana, she moved to Memphis after Little Milton heard her, and had her join his backing vocal group. After several years she launched her solo career with Albert King helping introduce her to Beale Street where she became an institution. When B.B. King's Memphis Club opened, Ms Zeno & the Famous Unknowns became the house band. Recently after some personal issues were resolved, she signed with Blue Lotus Recordings and made this album of twelve original songs.

This session is produced by label head Paul Niehaus IV who plays bass, guitar, drums, keys, tenor sax, vocals, mandolin, and French horn on this along with Kevin O’Connor who contributes drums, guitar, keys, baritone & tenor sax, and trumpet as well. Special guests include guitarist G Weevil who appears on 4 selections and harmonica wizard Brandon Santini who appears on two. Guest vocals are provided on various tracks by Gene Jackson and Roland Johnson, while Dustin Shrum contributes trumpet, and Tom Martin lends his accordion to one selection. The strings of Andy Hainz on cello; Mark Hochberg on viola; and Abbie Steiling on violin sweeten three selections. Ms Zeno, Paul Niehaus IV and Gene Jackson have their hand in the twelve originals here.

As mentioned, I have seen Ms Zeno appearing with Memphis Gold, but as much as enjoyed seeing her perform, listening to her here impressed me even more on a recording centered on deep soul and soul-blues. As a singer, she impresses with not simply her power or sense of dynamics (ranging a pussycat's purr to a lioness roar), but the authority she manifests that is evident on the opening title track, a surging Memphis soul number. After her celebrating being back in love, she sings a bluesy lament. "In My Shoes," as her romance is falling apart. It is one of several tracks with strings and has a feel of a classic Hi Records recording.

There is the brassy "That's How I Know," with a groove reminiscent of Tyrone Davis and other deep soul Chicago singers, as she sings about her man being satisfied with her and she is satisfied with how he treats her. Then the mood shifts to the down-home blues of "Willie Brown," with the effective guitar-harmonica accompaniment from Little G Weevil and Brandon Santini and rhythm. There is even a touch of zydeco on "Mojo Queen," and a topical "Rise Up," "Love Is Like a Flower" is another terrific performance with striking lyrics and a fervent, commanding vocal and tough horn-driven arrangement, while Weevil and Santini are on "Call My Name," a duet with Gene Jackson set against an insistent groove.

Throughout, her robust vocals are performed without artifice or hysterics. In addition to Ms Zeno's singing, the backing is superb this throughout. Producer Paul Niehaus IV and Kevin O’Connor put together a marvelous backing even although they obviously employ overdubbing, while the guests are seamlessly incorporated into the songs of this terrific release by Ms Zeno.

I received my review copy from a publicist. This review originally appeared in the November-December 2018 Jazz & Blues Report (Issue 381). Here is a clip of Ms Zeno performing.