Lucky Peterson Band Featuring Tamara Peterson Live At The 55 Arts Club

Lucky Peterson, if not for some personal issues, would be among the leading acts in the blues and funk world. Despite producing a number of albums for Verve/Gitanes and Blue Thumb that are amongst the finest contemporary blues (as opposed to blues-rock) recordings of the past couple decades, his star has not burned as brightly as his talent may have warranted in the United States. Reports are that he apparently has put his house in order with the help of his wife Tamara and busy performing again.

A real pleasant surprise is a new DVD set on BlackbirdMusic/ Soulfood by The Lucky Peterson Band Featuring Tamara Peterson Live At The 55 Arts Club. Recorded at the Berlin, Germany venue, this is a 3 DVD/ 2 CD package with 2 DVDs capturing Lucky’s 2 full sets with Tamara joining midway through the performances with a third DVD providing guitarist Shawn Kellerman’s opening numbers for the two sets along with some behind the scenes of Lucky and band, a brief clip of a rehearsal of a number and an interview with Lucky and Tamara. The music of the 2 DVDs of Lucky and Tamara in performance is also on the two CDs in this set.

Lucky’s Band includes the afore-mentioned Shawn Kellerman on guitar, Tim Waites on bass and Raul Valdes on drums. Its a hard-rocking, tight band which does a terrific job and backing Lucky and Tamara, with Lucky playing both the Hammond B-3 and some guitar, while Kellerman when featured on guitar adding his own blistering attack. Lucky is in good voice and his wife Tamara (who went to High School in Houston with Roy Hargrove, Erykah Badu and Norah Jones) is a terrific singer. 

The material ranges from Lucky’s reworking of blues classics such as You Shook Me, I’m Ready, and Who’s Been Talking, along with Johnny ‘Guitar’ Watson’s Ta’ Ta’ You. He takes out the slide for Dust My Broom, while getting really greasy on the B-3 on I’m Back Again, as well as Rico McFarland’s Giving Me The Blues. Tamara shows how expressive a singer she is on the cover of Prince’s Kiss, along with originals like I Don’t Like You But I Love You, and Last Night You Left. She is a powerful, yet nuanced singer who certainly complements Lucky. 

I found the video well done and capturing the performing personalities of Lucky and his band quite well. I was amused to see how fierce Kellerman appears backing Lucky as I knew the Canadian Kellerman when he was playing with harmonica player, Jordan Patterson in the Washington DC area in the nineties. He has spent time with Bobby Rush as well and his fiery playing may be on the rock vein at times, but he never gets boring or overbearing. 

In the bonus CD Lucky talks about how he thinks that this particular group may be the one to take him to the next level. Based on the performances here on Live At The 55 Arts Club, and given the stability that Tamara and their faith have apparently given him, one should not be surprised if he doesn’t take it to the next level. There is some terrific music to be seen and heard here.

My review copy was received from a publicist. Lucky is appearing at the Chesapeake Bay Blues Festival near Annapolis MD in May.  It was on the strength of this Live DVD/CD package that I decided to attend this festival so I could see him.  Here is a little clip that was posted on youtube to promote Live At The 55 Arts Club.

Colin Linden From the Water

I am presently listening to Colin Linden's most recent recording, Still Live (Yellow Dog Records) and realized that I had reviewed one of his earlier albums a few years back. I will writing a review of the new release in a few days, but I thought I would also post this review from a few years back. I received a review copy from a publicist or the record label. The review appeared originally in the August 2009 Jazz & Blues Report (Issue 319).

Canadian Colin Linden has been playing blues and blues-related roots for some time and has a new CD, From the Water (True North) that certainly will enhance his reputation as a thoughtful and skilled player and singer. This disc is comprised mostly of his originals (some penned with others), the record benefits from his often restrained approach. 

The opening title track has a hypnotic groove akin to that of the North Mississippi Hills Country bands but benefits from a lighter accompaniment. His silences speak more effectively than some of the unrestrained heavy metal approach of some award-winning blues groups from Mississippi. This is followed up by a lovely ballad sung in French, again with spare backing which makes his strong slide solo stand out . An old Blind Teddy Darby recording is the source for a superb country blues performance of Built Right On the Ground, with Paul Reddick adding some nice harmonica support to Linden’s spellbinding guitar and vocal. Smoke 'Em Down, again sports a light accompaniment with Linden on acoustic guitar with Gary Craig using brushes on his drums as he sings about a barrelhouse pianist whose left hand would smoke ‘em all. 

A more rock and roll blues groove follows with Trouble Comes in 3’s, with a melody suggestive of Lieber & Stoller’s Riot in Cell Block 9, although his vocal sounds slightly mannered, and drummer Craig is not as supple. Between the Darkness and the Light of Day, is more of a blues-tinged contemporary folk original with an uplifting lyric of pushing on through life’s obstacles, followed by his spiritual vision on I Have Seen a Miracle, with perhaps more of a country flavor and a vocal that would have been home with The Band. Devilment takes us back with a hokum feel on a lyric of a woman seemingly innocent but having devilment on her mind with lovely piano by John Whynot. John Lennon in New Orleans, has a surreal lyric about being a wanted man no one can recognize with a soulfully sung vocal. 

The remaining tracks are as deftly performed and Linden and his collaborators have written some very strong originals that display plenty of heart without any bombast. Linden’s mix of blues and blues-based roots material here and his understated, but heartfelt performances, makes for a stunning recording.

Here is a video of Colin Linden performing the title track, From the Water.

Hadden Sayers Has Rolling Soul

Rolling Soul is Hadden Sayers’ newest release on Blue Corn Music and follows up the terrific Hard Dollar. Sayers has seen hard times with circumstances leading him to have given up music for a period. Thankfully, he is back and writing new tunes, part of the amazing Ruthie Foster’s band and this new release full of Texas Roadhouse blues and rock with country, swamp pop and Tex-Mex seasoning. On his latest release he is backed by David DeWitt on keyboards and accordion; Mark Frye on bass and Tony McClung on drums and percussion with Phil Clark on harmonica and Baritone sax, Jim Ed Cobbs on clavinet and Ruthie Foster sings on one track.

Don't Take Your Love (out on me), opens with Sayers’ nuanced sandpaper vocals and blues-rock guitar with his effective use of various effects set against his band’s crisp backing. Something Wrong In the World, was written after learning a mentor of his had passed and is a restrained soulful blues about wanting his baby but knowing someone else is holding her tight,” with a nice guitar solo as DeWitt’s organ provides additional musical colors. Sayers and his band struts on Want What You Have, with effective employment of a riff from You Don’t Love Me. He also makes effective use of his wah wah pedal. Also noteworthy is Sayers’ use of sustain and echo with his spare playing on Alone With the Blues. 

Ruthie Foster joins him for the vocals on Lay Down Your Worries, on which Clark adds harp to support the vocals. Hadden calls The Man I'm Supposed to Be, a love letter to his one and only. It is a lovely performance, marked by restraint in his playing that displays that it is what one plays, not how fast and how many notes that one plays, that matters. Unlucky has a rocking country flavor with some nice guitar while DeWitt is in a honky tonk piano mood. Insomniac Blues is a nice 12 bar blues with a late night feel in the backing and a terrific vocal, before closing out with Can’t Get You Off Of My Mind, a very fine piece of blues-rock.

Hadden Sayers has a knack with words, his vocals ring true and his wonderful guitar playing is complemented by his fine band. The result is that Rolling Soul is another excellent addition to his body of recordings.


I received my review copy from a publicist. Here is Hadden in performance although not doing music from this recording. For those in the Washington DC area, he is at Hill Country Barbecue on April 27.

The Kahil El’Zabar Quartet States What It Is!

As Howard Mandel observes, the new Delmark release What It Is! by The Kahil El’Zabar Quartet is the 58th recording to feature the composer-drummer/percussionist-bandleader-music director Kahil El’Zabar. One of the many important musicians to emerge out of Chicago’s Association for the Advancement of Creative Music (AACM) his credits are multiple, including being part of the Ethnic Heritage Ensemble with saxophonist Ernest Dawkins. 

On What It Is!, El’Zabar is joined by Kevin Nabors on tenor saxophone, Justin Dillard on piano, Hammond B-3 and Fender Rhodes, and Junius Paul on bass. The selections with Dillard on the Hammond B-3 provide a fresh twist on an organ group from the opening moments of The Nature Of, as Dillard brings some interesting voicings on the B-3 while Nabors displays a robust attack and full-bodied tone. Paul takes a solo while the leader keeps the groove percolating on this spirited opening track. On Impressions, the first of the two Coltrane covers, the group shows the influence of the classic Coltrane quartet while providing their own personality. One can certainly hear Coltrane’s influence in Nabors’ fervent tenor here, while Dillard evokes McCoy Tyner as well. Dillard is on the Fender Rhodes while the leader is on the African Earth Drum for the title track and sings on a soulful number that has a seventies’ rhythm’n’blues flavor.

“Song Of Myself” has Dillard back on the B3 and, as Howard Mandel observes, he explores some of the realms that Larry Young had ventured in against Paul’s firm ostinato bass and the leader’s sure footed groove. Nabors takes a lengthy solo that also takes unexpected twists while his playing displays his ability to build up a lengthy solo. The other Coltrane cover, Central Park West, is an particularly appealing organ-group reworking of the ballad with Paul contributing a lively bass underpinning, and El’Zabar’s hand drumming supporting Nabors vigorous tenor sax here with Dillard laying down some soulful organ. From The Heart is a lovely original with the leader on kalimba (thumb piano) setting the tenor of the performance. Kari, named after Kahil’s son, is a lively closer in a Coltrane vein. 

What it Is! is outstanding with varied material and energetic, swinging playing by The Kahil El’Zabar’s Quartet. The music here a joy to listen to.

I received my review copy from Delmark. This was the second recording by Kahil El'Zabar I have heard and it inspired me to purchase three more CDs by him (including one by Ethnic Heritage Ensemble).

Buddy Guy Live At Legends

In considering Buddy Guy’s new release, Live at Legends (Silvertone), one is struck by a couple of things. These are not the first live recordings Buddy has made at Legends as several years ago he offered a series of live recordings from his annual run (I purchased two of them). Secondly, on an album titled Live at Legends, it is odd to have some of the recordings included being studio recordings, as if they did not have more live material they could have included.

Musically this is the hard-edged Stone Crazy Buddy Guy with a mix of frenzied styled performances with searing guitar backed by a rock-tinged rhythm section. Unlike the 2004 performances, there are no saxophones to provide another solo voice (although when Guy explodes his solos, is any other voice needed). There is a nice piano break on the opening Best Damn Fool. His enduring love of Muddy Waters is reflected in renditions of Mannish Boy and a medley of I Just Want To Make Love To You with Bobby Rush’s Chicken Heads, with Guy engaging in a bit of call and response with the Legends’ audience on I Just Want To Make Love To You. The appealing Skin Deep benefits from opening in a more relaxed vein before Buddy cranks it up a notch with his solo before taking it down to sing its message about treat others like you want them to treat you. 

After a searing Damn Right I Got the Blues, Guy follows with relatively short medleys of Boom Boom/ Strange Brew, and Voodoo Chile/ Sunshine of Your Love, expressing his admiration for John Lee Hooker and then Clapton and Hendrix. On a live recording, I would rather have heard Buddy revisit at Legends some of his early recordings such as First Time I Met The Blues or My Time After Awhile, than three previously unissued studio recordings although they are pretty similar in the vein of Buddy’s most recent recordings.

Certainly Guy’s many fans will savor the explosive performances on Live at Legends. While blues traditionalists will find this a bit over the top, the fact is Buddy has remained true to his own muse and plays in a manner than belies his age. 

I received my review copy from a publicist.  Here is Buddy Guy doing a song associated with Otis Rush.

Andy T - Nick Nixon Band Drink Drank Drunk

Andy “T” Talamantez is a Southern California native who spent eleven years touring with Smokey Wilson and Guitar Shorty, although in recent years he has been based in Nashville where he has been hosting the Nashville Blues Society’s regular Sunday night jam. It was at the jam that he heard Nick Nixon. “The first time Nick sang next to me on stage I got goose bumps. Nick sings like I’d like to able to sing.” A guitarist himself, Nixon, developed a relationship with Andy T. ““Andy plays great in every style of blues, so I like to just play rhythm and let him handle the hot stuff. But even when he’s playing the hot stuff, Andy knows that the blues is about soul and feeling, not about playing a lot of notes.”

The partnership formed at the Sunday Jams has developed into a most formidable band. The Andy T - Nick Nixon Band has a debut recording on Delta Groove, Drink Drank Drunk. The CD is produced by Texas guitarist and band leader, Anson Funderburgh, who first met Andy T while Andy T was touring with Guitar Shorty. Anson with his association with various singers fronting The Rockets, most notably with the late Sam Myers, brings his experience in making a number of solid recordings. A variety of individuals add backing here including pianist Christian Dozzier, bassist John Garza, and drummer Danny Cochran.

There is a mix of interpretations of some post-war blues classics and originals with the tone set by the rendition of Gatemouth Brown’s Midnight Hour, with Nixon’s singing complemented by Andy T’s guitar playing which evokes Johnny ‘Guitar’ Watson, and this track is followed by a cover of Watson’s Don’t Touch Me. The fifties West Coast flavor is continued in the title track, an original from Tom Hambridge and Gary Nicholson, with Ron Jones adding some raspy sax behind Nixon’s vocal celebrating a 24 hour happy-hour with a lazy groove suggestive of Watson’s Motorhead Baby, with Andy T adding some stinging guitar. Nixon’s voice can soar, but also he is able to sing in a relaxed baritone as on Paul Gayten’s No Use Knockin’ with Jones’ sax featured.

Dozzier’s accordion lends a Tex-Mex flavor on Andy T’s original Have You Seen My Monkey, with a slashing guitar solo. This is followed by the crisply played guitar feature for Andy T and Anson Funderburgh, Dos Danos, with Jones wailing on a sax break as well. Nixon’s No End To The Blues has Nixon really tearing into the vocal joined by Markey’s backup singing here with more blistering guitar. On My Way To Texas is a wonderfully paced original that celebrates the blues history and the wide open spaces of Texas as Nixon sings give me some Lightning, T-Bone, Frankie Lee and Albert is so cool. Nixon’s You Look So Good, is a relaxed Jimmy Reed styled shuffle with Brian ‘Hash Brown’ Calway adding harmonica. Dozzier is on accordion for the closing track, a cover of Ray Charles’ I Got a Woman, where Nixon displays his gospel roots in his fervent singing. 

This is a wonderfully produced recording with a terrific studio band to support Andy T and Nick Nixon in marvelous, wonderfully paced and performed performances. Andy T impresses with his fluidity, tone and taste while Nixon brings pretty of heart and soul to his nuanced vocals. Not simply an impressive debut, Drink Drank Drunk will have listeners wanting another dose of music from The Andy T - Nick Nixon Band. 

I received a review copy from Delta Groove. Here the two are performing Have You Seen My Monkey.

Project Trio Asks When Will Then Be Now.

Project Trio might simply be described as a Chamber Jazz and Music hybrid on its self-released When Will Then Be Now. The trio is comprised of Peter Seymour on bass, Greg Pattillo on flute and Eric Stephenson on cello and they perform a mix of classical numbers from Beethoven, Bach and Rossini with a bebop cover and five originals that display an invigorating, rhythmically charged performances that display the trio’s interplay and bridge of musical worlds.

The short opening take of the opening of Beethoven’s Fifth Symphony, Beethoven 5, opens with a brief statement of the theme before their interplay. Pattillo’s use of his flute almost as rhythm instrument is introduced here and followed by the original Classique, an evocative crossover in the classical tradition. Raga Raja is a lively Indian styled composition with Pattillo driving playing lending an exotic flavor here. In contrast are the three Bach Sinfonias with a distinct chamber music flavor. TV Theme Show is a fun original that should have wide appeal while The Stacks moves from a chamber trio to driving feature for flute and cello. The Charlie Parker and Miles Davis bebop classic Donna Lee starts as a stately bass-cello duet statement of the theme before Pattillo turns up the tempo a few notches with Stephenson shadowing him and then taking his own brisk cello solo before Pattillo leads the performance to its coda. 

“6th Road Middle” opens with the tone of a chorale number by the trio (some really pretty flute at the beginning before becoming a hot jam between the three. Rossini’s William Tell Overture is the lengthiest performance to close this. There is a playfulness leading up to what folks of my age will refer to as The Theme to The Lone Ranger, followed by three minutes of silence before a minute long spacey segment closes this recording. The is a mix of serious music and playfulness on When Will Then Be Now matched by their lively performances that also likely accounts for the following among the diverse audiences Project Trio has garnered.

A publicist provided a review copy. Here is a performance of Rossini’s William Tell Overture to whet your appetite for Project Trio.

"Bad Boy" Perhaps Is Magic Slim's Last Recording

Bad Boy on Blind Pig unfortunately is the final recording of Morris ‘Magic Slim’ Holt who passed away on February 21, 2013 at the age of 75. Over the past forty-five plus years Magic Slim and the Teardrops toured all across the United States (eventually establishing the Zoo Bar in Lincoln Nebraska as home base) and around the world captivating blues lovers with their non-stop Delta-rooted Chicago blues. A terrific live band, Slim's recordings usually captured this.

The last edition of the Teardrops included Andre Howard on bass, Jon McDonald on second guitar, and Brian “BJ” Jones on the drums and they provide the strong driving rhythm to propel the twelve performances here starting with the Eddie Taylor blues that provides this album with its title. Its a pretty diverse collection of material including an interesting rendition of Denise LaSalle’s Someone Else Is Steppin’ In, with Howard contributing a second vocal. One of the best tracks here is a driving rendition of Detroit Junior’s I Got Money, with plenty of stinging guitar, and the following Sunrise Blues, which is a prototypical Magic Slim performance at medium walking tempo.

Girl What You Want to Do is a driving number with a bass line that evokes Mustang Sally and certainly will fill dance floors. I do believe Slim previously recorded for the Austrian Wolf label Roy Brown’s Hard Luck Blues, but certainly there was nothing with him revisiting. Gambling Blues, is a rocking original and the Teardrops get the tempo up for J.B. Lenoir’s How Much More Long, although it doesn’t strike me as one of the most realized performances here. Better is Matchbox Blues, a clever reworking of Albert King’s recording, with plenty of stinging guitar and a tight groove.

A spirited instrumental Country Joyride concludes this album although unfortunately Slim will no longer able to play for us later as he tells us during this tune’s closing. Given the fact Magic Slim had a few dozen albums over his life time, one might be hard-pressed to include this as among his best. Perhaps a couple tracks here are not Slim at his best, but there is still much first-rate blues on Bad Boy.

I purchased my copy. Here is Magic Slim performing the title track.

Albert King's Born Under A Bad Sign Even Better Remastered

The latest addition to the Stax Remasters series of Concord is the classic Albert King album, Born Under a Bad Sign. Previously reissued on CD in 2002, this latest remastered edition includes five previously unissued bonus tracks. Originally issued in 1967 it was amongst the earliest blues albums I purchased (I may have bought it in mono not stereo) and still remains among my favorite blues albums of all time and is one of those blues records that truly are essential.

Originally comprised of three singles along with five songs from another session, King backed by Booker T and the MGs and the Memphis Horns, the album contained a number of recordings that became staples of the blues and rock world including the title track, Crosscut Saw, The Hunter, As The Years Go Passing By, and Laundromat Blues. Whether first recorded by King or not (such as Crosscut Saw originally done by Tommy McClennan and then The Birmingham Blues Boys, or As The Years Go Passing By originally performed by Fenton Robinson for Duke), King placed his stamp on every tune including the unexpected delight of his take of the Ray Noble ballad The Very Thought of You.

The album’s impact can be seen by Cream’s cover of the title track as well as Ike and Tina’s cover of The Hunter (with Albert Collins on guitar), and covers of his music that continue to today. This album as much as any Albert King album displays the strength of his vocals as well as his guitar playing with his tone and nuanced playing. Included are alternate takes of the title track, Crosscut Saw (with an additional chorus at the end), The Hunter, and Personal Manager, as well as an untitled instrumental. In the liner booklet, Bill Dahl provides an astute overview of the music. Michael Point’s notes from the previous reissue along with Deanie Parker’s original 1967 liner notes also are included. As I previously stated, Born Under a Bad Sign is an essential blues album, and this Stax Remasters release improves on its earlier CD reissue.

I received my review copy from a publicist. Here is a video of Albert performing Born Under a Bad Sign.

Little Bit a Blues at Blues Alley

2013-0327 Little Bit a Blues at Blues Alley-3270168, a photo by NoVARon on Flickr.

Warner Williams is a Washington DC area blues treasure that many outside of Washington may not be aware with. Over the past couple decades he has performed with harmonica player Jay Summerour as Little Bit a Blues. Warner will not fly and accordingly does not travel that often although he has played the New Orleans Jazz and Heritage Festival and some other national blues and folk festivals.

Wednesday, March 27, Warner and Jay, with Eric Selby on drums, celebrated at the Washington DC night club Blues Alley, the release of their new CD Live at B.B. King's Bluesville with a marvelous set of acoustic blues that ranged beyond the already wide repertoire of songs on the CDs including Warner's take on such classic blues as Key To The Highway, Digging My Potatoes, I Feel So Good, Greyhound Blues and Good Morning Little Schoolgirl. Warner's fluid guitar was a delight as was his warm baritone and delighted the Blues Alley crowd.

Jay Summerour, Eleanor Ellis and Eric Selby at Blues Alley on March 27, 2013

Eleanor Ellis, one of the finest female acoustic blues women alive opened with a set that included songs from Memphis Minnie, Jim Jackson, Pink Anderson and Simmie Dooley and Little Hat Jones-Andy Boy. Eleanor was also backed by Jay and Eric for her set. Her renditions of Memphis Minnie tunes are better than most by the better known, but not more talented artists, on the recent Memphis Minnie tribute album Maria Muldaur put out recently. Elanor is that good and its time for her to do another CD.

It was an evening of superb acoustic blues. Warner and Little Bit Blues will be appearing at the Pennsylvania Blues Festival on July 28, 2013. here is a link to that festival, http://www.skibluemt.com/seasonal-activities/pa-blues-festival/.

Selected DC Area Blues For the Month of April

Otis Taylor will be at Blues Alley

Back when I edited the DC Blues Society’s newsletter, I highlighted what I thought were especially interesting shows. In that spirit, here are a few blues highlights for April.

April 3 - Otis Taylor at Blues Alley. Otis is touring in support of his latest Telarc album “My World Is Gone,” where he has a special guest, Native American guitarist Mato Nanji. This is of Taylor’s most moving recordings with deceptively simple, stark and understated performances of his songs that convey the tragic times Native Americans have endured better and the presence of Mato Nanji on this tour is especially welcome. 

April 3 Carolina Chocolate Drops at the Birchmere. The Carolina Chocolate Drops have led the revival of tradition African-American String Band music with an eclectic and delightful repertoire and are making a welcome return to the area.

April 6 Grant Dermody & Rich DelGrosso, perform at a House Concert at the Glassie/Littell House in Bethesda. Grant Dermody is one of the really fine harmonica players out there. Rich DelGrosso is among the few blues players who focus on the blues mandolin, but his talents go way beyond that. Rich and his late wife Maureen played a fantastic concert for the DC Blues Society back in 1990 with the legendary Howard Armstrong where they were joined by Cephas and Wiggins at the end. Email Jeff Glassie at jeffglassie@ gmail.com if interested in attending.

Deanna Bogart will be wailing as part of the
Legendary Rhythm and Blues Revue at
the State Theatre. Photo © Ron Weinstock

April 17 Lloyd Jones at the Archie Edwards Blues Barbershop. Portland, Oregon based singer-guitarist has earned a reputation for his funk-drenched urban blues style but is a very gifted songwriter will be making an appearance performing solo at this mid-week show at the Archie Edwards Blues Foundation’s Barbershop. For those who want a preview, check out his excellent 2011 album, “Highway Bound” on Underworld Records.

April 19 The Legendary Rhythm and Blues Revue at The State Theatre. The popular 

The Legendary Rhythm and Blues Revue featuring Tommy Castro and the Painkillers, Deanna Bogart, Magic Dick, and Ronnie Baker Brooks makes another appearance at The State Theatre. This popular revue led by Tommy Castro, is an offshoot of the revue which has become a popular feature of the Legendary Rhythm and Blues cruises.

April 20 - Janiva Magness at Bethesda Blues & Jazz Club. Janiva is a marvelous vocalist who brings a clarity as well as plenty of heart to his blues, most currently displayed by her Alligator recordings. On this tour she is supported by a band that includes a superb keyboard player Jim Alfredson.

April 21 - Gary Nicholson at JV’s. Nicholson is amongst the best roots songwriters in Nashville. he is probably best known for his work for Delbert McClinton, but his name is increasingly found in songwriting credits on many new blues and roots releases. He will be on a tour with a band Scott Ramminger is putting together when he performs at the Falls Church venue. 

April 27- Hadden Sayers at Hill Country Barbecue. Hadden Sayers has a knack with words, his vocals ring true and his wonderful guitar playing is complemented by his fine band. He is touring in support of his exceptional new album Rolling Soul. 

Otis Taylor's World Is Gone

Otis Taylor has received considerable acclaim for his various recordings over the years. Regularly his recordings are highly rated by DownBeat for example and he is a favorite of the DownBeat Critics’ Poll. His so-called ‘trance blues,’ employs simple repeated motifs over which he tells his stories (often in a topical vein) while he and his band members add musical embellishments. The music is generally evocative and haunting. 

His latest Telarc album is My World Is Gone, where he has a special guest, Native American guitarist Mato Nanji, along with Anne Harris on fiddle, Larry Thompson on drums, Shawn Starksi on bass, Brian Juan on keyboards and Ron Miles on cornet, on an album whose songs are centered on the travails Native American’s have suffered as their traditional world has vanished, probably never to return. Against the rhythmic core, Taylor sometimes on electric banjo, mandolin and guitar, Nanji on lead guitar, Harris and Miles add embellishments and solos that enhance the mood of the specific song. It is particularly a delight to listen to Ms. Harris wonderful playing. Those who have seen Taylor live with Harris in the band know the exuberance and excitement she visually contributes which can lead one to miss just how good a fiddler she is and how much her fiddle contributes aurally and not simply visually.

Otis Taylor at 2012 Pennsylvania Blues Festival

This is most directly addressed in the title selection and its a strength of Taylor and Nanji that this opening selection conveys the sorrow of old ways having passed and some of the consequences without the song becoming an overstated polemic. Harris’ fiddle enhancing the mournful tenor of Taylor’s vocal while Nanji adds tight guitar runs. A crisp walking groove permeates Lost My Horse, where a navaho loses his horse from having drank too much (I done lost my horse, I surely lose my mind) whereas Miles floating cornet adds to the atmosphere developed on Huckleberry Blues, where Taylor sings about being stalked by his female neighbor. Sand Creek Mourning is a stark number that recounts a US army massacre of peaceful Cheyenne and Arapaho Indians with Nanji’s guitar and Miles cornet adding to the gloomy feel instilled by the ostinato played by Taylor on banjo and rhythm section. 

Blue Rain in Africa has the haunting line about seeing the white buffalo on the television while there must be blue rain in Africa because that is what he saw on television. Nanji’s tonal coloring here is quite impressive. “Never Been To The Reservation” has a lyric about the man living in luxury oblivious to the hardships as he contrasts babies sleeping on to the grown to the gentleman drinking champagne and eating caviar. Coming With Crosses, is a somber recollection of a young man recounting his mother’s murder by cross-burning riders of the night, with Harris’ fiddle embellishments over the banjo centered accompaniment.

My Home Is Gone is one of Taylor’s most moving recordings with deceptively simple, stark and understated performances of his songs that convey the tragic times Native Americans have endured better than simple polemic lyrics would. It is certain to gather more acclaim to Otis Taylor.

For those living in the Washington DC area, he appears at Blues Alley with special guest Mato Nanji on April 3. Its part of a short East Coast tour that includes Chicago, New York City, Kentucky and Savannah, Georgia. 

I received a review copy from a publicist.  Here is Otis performing Blue Rain in Africa.

Earl Thomas Helping Raise Blues Hall Of Fame Roof

2012-0729 PA Blues Fest Sunday-1250827, a photo by NoVARon on Flickr.

The highpoint of the 2012 Pennsylvania Blues Festival was the riveting performance by the veteran San Francisco Bay singer Earl Thomas and his Blues Ambassadors. Thomas brought not only a deep soul voice to his program of blues and classic R&B (A killer rendition of the Etta James smash I'd Rather Go Blind) , but his showmanship was dazzling. Definitely a performer of the old school, of which there is too little today. 

Tis image taken from the Blues Foundation's website

Sunday, March 24 Earl Thomas headlines a terrific Raise the Roof Concert for the Blues Hall of Fame to raise money for the Blues Hall of Fame that The Blues Foundation. This takes place starting at 1PM PDT, 4PM EDT and 8PM in Europe. Here is some information from the Foundation's website:

"Blues legend Earl Thomas and his friends will play at Club Fox in Redwood City on Sunday, March 24, 2013. This once in a lifetime event, which will not be replicated anywhere, will be live streamed by VenMundi, making it possible for Blues aficionados all over the world to enjoy these extraordinary artists who are coming together in support of The Blues Foundation's Raise the Roof! Campaign for the Blues Hall of Fame.

Sista Monica (seen at 2012 DC Blues Festival)
among those assisting Earl Thomas
Raise the Roof for the Blues Hall Of fame

Earl Thomas started out wanting to support The Blues Foundation by giving back his time and talents as a Blues artist. As his fellow Blues musicians heard about what Thomas was doing, they wanted to join him. As a result, the show will feature Sista Monica, Syreeta Neal, Lady Bianca, Kenny Neal, Tia Carroll, King Tuffnstuff, Shane Dwight, Daniel Castro, John Nemeth, Kyle Rowland, Greg Nagy, Aki Kumar, the Blues Ambassadors and the list is growing.

Thomas explains, “I’m excited to be part of this event, and even more excited to have my friends join me in supporting The Blues Foundation. I think it is important for all of us to give back to the music that we love and to ensure that the history of Blues is preserved. I’m also grateful to VenMundi for helping us contribute 50 percent of the proceeds in support of the Blues Hall of Fame.”"

Here is the link to the specific VenMundi.com page for this PPV event.

As a full disclosure, I am a member of The Blues Foundation and am currently making a monthly pledge towards the Blues Hall of Fame. I will be watching this PPV tomorrow.

Warner Williams Live at B.B. King's Bluesville

Guitarist Warner Williams and harmonica player Jay Summerour have been playing the Washington DC area as Little Bit A Blues for about two decades. Williams is a Piedmont blues treasure although bis guitar style and repertoire shows more than a little country influence, particularly the picking style of Merle Travis and a fairly diverse repertoire. In 2011 he was honored by the National Endowment of the Arts as a National heritage Fellow. Warner does not travel outside of DC very often he will not fly, which probably accounts for him being not familiar to many.

The cover of Little Bit a Blues’ new CD on Soul Stew records is Live at B.B. King’s Bluesville. This is the duo’s fourth album joined by Eric Selby’s deft drums and percussion. Earlier albums include two on the Patuxent label and one on Smithsonian Folkways from a variety of live performances. The cover of this CD labels it The Best of Little Bit A Blues which is odd insofar as this is not a compilation of their best recordings. Rather recorded in November 2012 at the SiriusXM studios of songs that are perhaps the core of Warner’s repertoire.

Starting with Blind Boy Fuller’s Step It Up and Go, through the closing instrumental Little Bit A Blues Theme, Warner takes us through a pretty diverse repertoire including some humorous country honky tonk, Hey Bartender, There’s a Big Bug in My Beer, a ramped up rendition of Lightnin’ Slim’s swamp blues Greyhound Blues, and fine renditions of blues standards like Key to the Highway, Going Down Slow, I Feel So Good, and Good Mornin’ Little School Girl. Despite the familiarity of the material, Warner puts his own stamp on this with his deft guitar playing that incorporates some jazz and country boogie to complement his heartfelt singing while Summerour complements him so well and Selby adds rhythmic embellishments with a light touch.

It is so nice to have the new Little Bit A Blues recording Live at B.B. King’s Bluesville, to spotlight Warner Williams distinctive blues. His repertoire goes beyond what one might on this and he is such a delight to see perform. For those in the DC area, Warner and Jay with Eric will celebrate the release of this at Blues Alley on March 27 with guest Eleanor Ellis. Warner will also be performing at this year’s Pennsylvania Blues Festival at the Blue Mountain Ski Resort in Palmerton, Pennsylvania on Sunday, July 28. 

I received my copy from the performers.

And This Was Maxwell Street

Blues was a staple of the Maxwell Street market for decades before gentrification led to the closing of the market some years ago. In the late 1990s and 2000, there were Ds that released some of the amazing music that might be heard on a Sunday there. This review from the latter part of 2000 was published in the DC Blues Calendar. I likely received review copies from the labels. This is out of print so you need to look for used copies but Amazon, for example, shows several sellers for this.

While efforts continue (bluesman Jimmie Lee Robinson is still on a hunger strike) to preserve the remaining portions of the historic Maxwell Street market area, Rooster Blues has released a three-disc compilation, And This is Maxwell Street that presents music that was recorded as part of the making of the film, And This is Free. Some of the music heard here was previously issued by Rounder on lp and cd as Robert Nighthawk, Live on Maxwell Street. 

The Rounder release has since been repackaged and reconfigured with some previously unissued selections and including tracks attributed to J.B. Lenoir, Carey Bell and Johnny Young. The Rooster Blues set has a full two Îhours of music and also includes selections from Little Arthur (Red Top/Ornithology which is deleted from the latest version of the Rounder); John Wrencher; Arvella Gray, Carrie Robinson; and James and Fannie Brewer. Additionally, Mama Talk To Your Daughter, credited to JB Lenoir on the Rounder is credited to Big Mojo Elem here. 

There are several Nighthawk performances here that are not on the Rounder including a Dust My Broom that includes Mike Bloomfield on guitar (possibly being Bloomfield's earliest recording). The full range of music here is quite powerful and entertaining including ArvNighthawk s updating of Dr. Clayton’s Cheatin’ and Lyin’ Blues, the fervent gospel singing of Carrie Robinson as well as James and Fannie Brewer, street singer Arvella Gray’s vigorous renditions of Corinna, Corinna and John Henry, and one armed harp wizard Big John Wrencher’s Lucille. 

Several tracks spotlight Carey Bell, with I’m Ready perhaps being Bell’s first recorded vocal. Portions of vendor sales pitches and street preachers sermons are heard here as well. Providing some context to the recording. The ounder has a portion of Mike Bloomfield s interview with Robert Nighthawk (uncredited however) which is heard in its entirety (nearly 50 minutes) as the third disc of the Rooster Blues set. 

My advance copy of the Rooster Blues lacks the booklet that should be accompanying it so I cannot comment on this aspect of the package, but because of the more complete reissue of this historic and wonderful blues, And This Is Maxwell Street is preferable, and is a contender for vintage reissue of 2000.

Here is the legendary Robert Nighthawk on Maxwell Street some 50 years ago.

Yazoo's Barrelhouse and Juke Joint Piano Blues Reissues

The latest volumes in Yazoo's piano blues reissues maintain the standard set by the earlier releases in this series. 

Dallas Alley Drag collects 23 selections of pianists and vocalists associated with the notorious Deep Ellum District. Whistlin’ Alex Moore is perhaps the best known performer here, and is heard on several selections including Heart Wrecked Blues, where his whistling is employed along with a loping piano accompaniment. While vocalist Billiken Johnson’s vocal train whistle effects may get tiresome, the accompaniment by Neal Roberts is fine and Frisco Blues is one of several train blues here. Several classic blues verses can be heard on Billiken’s Weary Blues, with stride-flavored piano from Texas Bill Day. Jack Ranger’s Window Blues, celebrating the Texas and Pacific is another fine track. Two fine vocalists, Ida Mae Mack and Bessie Tucker, benefit from K.D. Johnson s fine playing. Tucker was a particularly powerful singer and her three performances are quite compelling. Overall, this is a solid compilation with solid piano and singing.

Even more spectacular is Juke Joint Saturday Night, which includes a number of great barrelhouse blues and rags. It opens with Jabo Williams'spectacular Pratt City Blues, showcasing a driving left hand and some imaginative right hand work. Little Brother Montgomery’s Vicksburg Blues, his version of the Forty Four theme is a classic piano blues. Louise Johnson four sides, often urged on by Son House and Willie Brown, are spectacular including On the Wall, a celebration of various Memphis Saloons with a terrific accompaniment adapted from Cow Cow Blues. Equally astonishing is Skip James idiosyncratic piano on If You Haven t Any Hay Get on Down the Road. His 22-20 Blues, maybe be less spectacular but was covered by Robert Johnson as 32-20. Other selections feature, among others, James Wiggins, Roosevelt Sykes and Kingfish Bill Tomlin with some knock down, barrelhouse blues and stomps. 

Both albums featured informative booklets by Bob Hall.

I wrote this review for the DC Blues Calendar in late 2000 and it appeared in either late 2000 or early 2001. I received review copies from Shanachie which at the time operated Yazoo. One may have to track down used copies of these but they are available as downloads.

Lonely & Blue: The Deepest Soul Of Otis Redding

The new Stax release, Lonely & Blue: The Deepest Soul Of Otis Redding, is a collection that focuses on the heartbreaking, yearning ballads that Redding sang in singular fashion. Producer David Gorman in explaining the concept behind this release stated “I tried to find the saddest most potently heartbreaking songs he ever sang, with no regard for chart position or notoriety.  There are a few hits on the album, but they’re there because they fit the mood, not because we wanted to include the hits.”

It is packaged as if was originally released on Stax during Redding’s lifetime, and mixes some of his most famous ballads of love and heart break. This includes the hits I’ve Been Loving You Too Long, These Arms of Mine, and My Lover’s Prayer, along with lesser known gems Gone Again, Open the Door, Waste of Time, and Everybody Makes a Mistake, along with alternate takes of Open the Door and I’ve Got Dreams To Remember. This latter performance has somewhat darker lyrics than the issued recording.

Throughout Redding is heard with the Stax great studio band including Booker T & the MGs with Steve Cropper being especially superb on the cover of Send Me Some Lovin'. Throughout the Memphis Horns or the Bar-Kays add their signature riffs. As the album closes with his cover of Clyde McPhatter’s My Lover’s Prayer, one is reminded how Otis Redding took familiar songs and made them his own. This terrific ‘new’ Redding release displays just how fresh and contemporary Otis Redding still sounds over 45 years after his tragic early passing. Yes, I highly recommend this.

I received a review copy from a publicist. Here is Otis performing I’ve Been Loving You Too Long.

Otis Rush's Classic Cobra Recordings.

A new reissue of Otis Rush s classic Cobra recordings has been released by Fuel 2000 who  licensed the material fromJewel/Paula. The Essential Otis Rush, The Classic Cobra Recordings 1956-1958 includes all eight singles that Rush recorded  (and all produced  Willie Dixon) along with eight alternate takes. Not every Cobra recording was memorable and little that even Rush’s fervent singing could salvage such as Violent Love, but on smoldering slow blues like I Can’t Quit You Baby, My Love Will Never Die, Groaning the Blues and Double Trouble, as well as uptempo numbers Three Times a Fool and All My Loving (I Miss Loving) (the Mayall version with Clapton on guitar pales in comparison). 

Rush sang here with an intensity matched by few in blues history and complemented that with some stinging guitar (although Ike Turner may be the lead guitarist on Double Trouble). In addition to Willie Dixon, others on the original sessions included guitarists Turner, Wayne Bennett and Louis Myers, Little Walter and Walter Horton on harp; saxophonists Harold Ashby, Red Holloway and Jackie Brenston, pianists Lafayette Leake and Little Brother Montgomery, and drummers Odie Payne and Al Duncan.

Rush's Cobra recordings produced some of the most intense examples of the West Side Chicago Blues style that developed in the fifties and remain classic almost 60 years later.

This review was written in late 2000 and this review likely originally appeared in the DC Blues Calendar around that time, although I have made some stylistic changes from what I originally wrote for clarity purposes. This particular reissue is out-of-print but might be found used. There are other CDs that also reissue Rush's Cobra recordings if not all of the alternate takes. 

Scott Ramminger's Wise Fatherly Advice

Washington DC area saxophonist and vocalist Scott Ramminger impressed with his debut CD Crawstickers. It was full of good songs, strong bands and Ramminger’s strong saxophone playing and vocals. He has followed this up with a new recording Advice From a Father to a Son (Arbor Lane) that builds on the strengths of the earlier recording to produce a collection of performances that will satisfy both dancers and listeners. The album was recorded both in New Orleans (the first seven tracks) and the Washington DC area (last three). The New Orleans tracks have Ramminger’s tenor and baritone saxophones joined by David Torkanowsky on keyboards, Shane Theriot on guitar,   George Porter Jr. on bass, and Johnny Vidacovich on drums, The Washington, DC tracks include Tommy Lepson on organ, Dave Chappell on guitar, Jay Turner on bass and Barry Hart on drums. Nashville’s McCrary Sisters as well as DC’s Patty Reese are amongst those adding background vocals making for a strong cast of those supporting Scott on this.

Scott is a triple threat. He is a vocalist who brings warmth, depth of feeling, and humor, an able saxophonist who plays solidly in the vein of a Lee Allen or Red Tyler and a songwriter whose ability to craft songs together is quite notable. Without going through a detailed analysis of every track, a few highlights of the varied songs heard here include the opening I Love Your Smile, a song dealing with his wife’s many qualities (the clothes she wears, her derriere, fine sense of style, and he really loves her smile) with rollicking New Orleans piano from David Torkanowsky; a duet with Regina McCrary, The Other Man’s Shoes, with a message that folks should look beyond their own narrow views and try to see things from the view of the other man’s views with some striking guitar as well as a nicely shaped and clean-toned solo from Ramminger.

The title song which provides advice include that one be careful of a man in white shoes when buying a car; be generous to people who have less; eat more salad than you need; check your oil when buying gas; if go to an old girlfriend’s wedding try not to act like an ass; and don’t forget to call your mother, her love is second to none; enjoy everyday like it might be your last; advice from a father to a son, set to a lively second-line groove with a nice trumpet solo from Vince McCool; and the closing Sometimes You Race With The Devil, with a nice reggae groove and solid playing by the DC area studio group. This song recently took the Gold Award (the top honor) in the vocal blues/jazz category of the 2012 Mid-Atlantic Songwriting Contest.

The remaining performances stand out in a similar fashion. About Scott’s earlier album, Crawstickers, I observed that it was seriously entertaining with plenty of substance in the performances. With Advice From a Father To a Son, Scott has produced an another excellent  rich musical gumbo that is certain to delight a wide audience.

I received this from a publicist.  Here is Scott performing Crawsticker at the Surf Club, the late, fondly remembered DC area venue.

2013-0303 Erin Harpe at AEBHF-1030790

2013-0303 Erin Harpe at AEBHF-1030790, a photo by NoVARon on Flickr.

Several years ago I heard a wonderful solo album by Erin Harpe, based in the Boston area and daughter of Neil Harpe, a blues singer and guitarist as well as artist from Annapolis, MD. Erin has grown as a performer (and her solo album was very good) and with her group, The Delta Swingers, has perhaps reached the next level. Both the group, as well as Erin and harmonica player Richard Rosenblatt have won the Boston Blues Society's Blues Battles and both made it to the semi-finals of the Blues Foundation's International Blues Challenge.

On March 3, she performed at the Archie Edwards Blues Heritage Foundation in Riverdale MD some wonderful country blues including songs from (amongst others) Memphis Minnie, Furry Lewis, Willie Brown (Son House's friend) and the other one, Bessie Smith and John Prine (an uptempo "Angel From Montgomery").

She was accompanied by Jim Countryman on bass and joined by Washington DC area treasure Eleanor Ellis for several duets. It was a marvelous late afternoon of music and one looks forward to more from this lady including an upcoming debut album by Erin Harpe & the Delta Swingers.