Blues Blast Magazine Album Review: Wendy DeWitt ∙ Kirk Harwood - Industrial Strength

Wendy DeWitt ∙ Kirk Harwood - Industrial Strength

Wette Music

www.wendydewitt.com

www.wettemusic.com

13 tracks / 43:40

I have not heard much boogie-woogie music lately, and that is a shame because it always puts me in a good mood when I hear piano with a deft left hand hammering out those dancing rhythms. Fortunately, I just got turned on to Industrial Strength, the latest release from Wendy DeWitt and Kirk Harwood (and a few of their friends), which is full of Texas/Chicago boogie-woogie at its best.

Wendy DeWitt, “The Queen of Boogie Woogie,” is from Northern California and supplies the piano expertise and vocals for this project. She has been in the business since the 1980s, both with her own band as well as working with legends such as Otis Rush, Hank Ballard and Sam Moore. Her piano has plenty of Otis Spann and Tommy Thomsen influence, and though I am pretty sure there is more than one self-proclaimed queen of boogie-woogie, with this pedigree Wendy has as much right to sit on the throne as any of them.

Kirk Harwood performs the drumming chores, as well as a few vocals, and also lives in the Bay Area, though he is originally from Chicago. Though he was schooled as a jazz drummer, he has branched out in more rocking ways, having toured with harp legend Norton Buffalo, and playing with Huey Lewis and Roy Rodgers.

Industrial Strength not only shows off Wendy’s piano prowess and vocal chops but also her creativity, as she has provided nine original tracks for this album. The album kicks off with “Nervous,” a good example of a Wendy DeWitt instrumental that is a timeless tune that could have been performed in the 1950s or just yesterday. It sets the tone for the album by displaying her mad piano skills and the perfect interplay between her and Kirk Harwood. There is a similar them on the two cover instrumentals, “Boogie Woogie Stomp” by Albert Ammons and “Bass Key Boogie” from the legendary Eurreal Wilford “Little Brother” Montgomery.

The Gershwin standard “Summertime” comes up next, and this is a version like you have never heard before. It is a fast tempo mash-up that starts with “Flight of the Bumblebee” as the intro before Ms. DeWitt starts her smoky vocals. Nancy Wright (again from the San Francisco area) joins in on the saxophone, and she blows a huge sounding horn. I groaned a little when I saw this song on the CD package, but their fresh take on it blew me away.

Industrial Strength is not entirely high-energy boogie-woogie, and it is sweet that DeWitt and Harwood slow things down and provide heartfelt soul tracks too. “Lucky Old Sun” is performed to a standard that rivals Louis Armstrong’s version, and provides tasteful guitar work from Anthony Paule. Another guitar ace, Steve Freund, can be found filling out “If I Could Just” which is a beautiful original ballad.

A few other notable guest guitarists make appearances on this album. Norton Buffalo alumnus Dave Aguilar also throws in a few licks and tears it up on the straight-up blues tune, “It’s Too Late.” And Wendy’s mentor Tommy Thomsen throws a little swing picking around on “Wings of Love.” This is neat stuff!

The most fun track on Industrial Strength has to be “Love and Appreciation,” which has a bit of everything in it, including a little whistling, some jaunty and clever lyrics, and Marty Eggers on tuba. You don’t get much tuba in today’s popular music, it seems.

After the up tempo instrumental “San Francisco” the album slows to the finish with “Gone” which is a baleful lament of friends who have moved on. Steve Freund comes back for this closer and his guitar provides a great counterpoint to Wendy’s voice. That man has soul oozing out of his fingertips.

Though boogie-woogie may seem like a niche of the blues that not everybody will be able to get into, a lot of creativity and energy has gone into making all of the songs on Industrial Strength unique. It is very accessible, and I think it will appeal to a diverse cross-section of blues and/or piano enthusiasts. Check it out if you get the chance!

Review: Musical Theatre West’s South Pacific at the Carpenter Center in Long Beach, California

Hola!

I have been a season subscriber to Musical Theatre West for a few years, and have almost always been pleased with their offerings. So, I was thrilled when I saw that South Pacific (one of my favorite musicals) was on the schedule for the 2014-2015 season. I saw it this past weekend as was not disappointed!

Musical Theatre West has been around since 1952, when it started out as the Whittier Civic Light Opera. Their productions evolved over time, and they went from being an all-volunteer operation to producing full seasons, currently under the capable leadership and vision of Executive Director/produce Paul Garman. Their big shows are hosted by the Carpenter Performing Arts Center at Cal State Long Beach, which is a lovely venue with plenty of conveniently located parking. And only two bathrooms...

South Pacific is one of the heavy hitters in the musical world, and the original 1949 stage show was based on James A. Michener’s Pulitzer Prize winning novel, “Tales of the South Pacific.” The original show won 10 Tony awards and spawned the incredible successful 1958 movie of the same name starring Mitzi Gaynor and Rossano Brazzi. Undeniably this musical is so awesome thanks to the music of Richard Rodger and lyrics from Oscar Hammerstein II.

In case you have been hidden under a rock for the past 65 years, the plot is straight out of World War II with a cast of rowdy Seabees, hot nurses, harried officers, stereotypical natives, and rich expatriates. There are themes of love, racial tension, and death, and they all come together in a wonder fashion. The musical was a head of its time, and the racial themes must have been controversial at the time, though no less pertinent today.

South Pacific has such a long history and loyal following that effectively producing it is no small chore. Musical Theatre West rose to the challenge, and put all of the pieces together in a convincing manner thanks to the able direction and choreography of Joe Langworth.

Visually, the sets were good enough, with a just few too many elements taken care of by canvas, but Paul Black’s lighting was fantastic. The costumes were mostly period correct (I’m not too sure if they wore bikinis in WWII), and it is not too hard to come up with old military uniforms.

The sound was very good. There was a 28-piece orchestra (very big for a MTW production) under the supervision of musical director Dennis Castellano. Unfortunately the musicians were uncredited in the program, and I have no idea if they were union or not. The sound engineering was better than usual with no glaring errors other than the ear-splitting volume of Bloody Mary and too much reverb on the quieter numbers.

So, the basic foundation was solid, and though this is a well-written show its success depends on the cast, and the performers (mostly equity) all delivered solid performances. Alessa Neeck earned the role of Nellie Forbush and her voice was beautiful but her timing was off right from the start. Her love interest, Emile De Beque, was played by Christopher Carl who has voice galore, and who has been performing this role for years in various venues. .

The the other set of lovers, Lietenant Cable and Liat, were portrayed by Patrick Cummings and Cailan Rose. Cummings has a strong stage presence and looks fabulous with his shirt off, and Rose had the grace that was needed to play a character with almost no lines. Jodi Kimuar did a respectable job with Bloody Mary, though the racial stereotype of the character makes me cringe every time I see the show. My favorite character was Spencer Rowe’s Luther Billis, as there is nothing funnier than a macho guy in drag!

The ensemble turned in a solid performance, and they were very good dancers, and they made good use of Langworth’s choreography. Though I have seen this show many times, I had not noticed that aside from a few major numbers, the chorus has relatively little vocal work.

All of this came together well for very solid performance. Musical Theatre West has outdone itself and South Pacific is a classic show with fine production values and a good cast, and a little something for everyone. If you have the chance you should get out and see it before it is gone, but leave the little kids at home with a sitter. This is a long show and they will be squirming in their seats a long time before the final curtain falls (it clocks in at almost 3 hours), not to mention a few adult themes that you will have to awkwardly explain to on the drive home.

If you want to see it you had better hurry as South Pacific is closing on March 1. There are still a few tickets left, so grab them while you can. And, be sure to check out tickets for the last two shows of this season: Les Miserables and Singin’ in the Rain. Also, now is the time to start thinking about next years season, which will include My Fair Lady, West Side Story, Dirty Rotten Scoundrels and a surprise, which has not been announced but I think you will like this very recent musical. You can’t beat the value!

Mahalo!

Blues Blast Magazine album Review: Microwave Dave and the Nukes – Last Time I Saw You

Microwave Dave and the Nukes – Last Time I Saw You

Self Released

www.microwavedave.com

13 tracks / 53:20

I am a sucker for clever band names and Microwave Dave and the Nukes is a winning handle that gives a hint of the good times music they play. Good times abound on their seventh album, Last Time I Saw You, which is mostly blues-based music, but ends up having a little bit of everything in it. Don’t worry though, because all of these songs groove.

There are ten original tracks, along with two cover tunes and a bonus track of mechanical noise (an automotive winch, or so I have been told). The original tracks are primarily written by guitarist and vocalist “Microwave” Dave Gallaher, who founded this band in 1989. The Nukes consist of James Irvin on drums and Rick Godfrey on the bass and harp, completing this Alabama-based trio; all three are all accomplished bluesmen and first-rate musicians.

Last Time I Saw You kicks off with “Drinkin’ Wine Since Nine”, which grinds but (like all liquor-themed songs) does not have the most intellectual lyrics. If you were not previously familiar with the band, this delta-inspired track provides a perfect introduction for Dave’s growly voice and dirty slide guitar work, as well as the tight and adventuresome duo of Irvin and Godfrey.

As I said earlier, there is a little bit of everything in Last Time I Saw You, and the second track “Jesus was Smart”, shifts into a countrified shuffle and provides the listeners with some clever and smart-alecky lyrics. And the surprises just keep on coming. I have been listening to blues for awhile now, and cannot remember the last time I heard a full-fledged lengthy bass solo on a blues album, but “I’ve got a Bet with Myself” delivers one, along with a selection of AC/DC to ZZ Top uptempo rock riffs.

The journey through the album finally slows down for a lovely blues ballad, “The Worst Thing” which provides Dave with the opportunity to show off some truly soulful guitar work. His voice and guitar work magically together. The Billy C. Farlow cover tune, “Alabama Saturday Night” has a Bo Diddley beat to it, thanks in no small part to the thumping drums laid down by James Irvin and some pretty sweet harp work by Godfrey.

“All Night Boogie” is indeed a boogie, and features impressive Keith Moon-esque drumming throughout, almost like a drum solo that happens to have a blues song happening on top of it. James Irvin is very talented, and his playing throughout Last Time I Saw You is considerably more complicated than what is found on more conventional blues albums. This song has really stuck with me and is my favorite on the album, so kudos for doing something a little different, fellas.

Heading into the final half of Last Time I Saw You, there are twists and turns through the influences of the Appalachians, and possibly Memphis, before things get decidedly weird (in a good way).

As the album ends, it takes a couple of unexpected turns, first with “Vagabundos”, a surf tune with Gallaher providing Spanish vocals in his distinctive baritone, and then with “Rafferty”, a 7-minute AOR instrumental that is amazingly melodic . Microwave Dave and the Nukes have provided a little something for everybody on this album, and it is quite a trip!

By now you probably realize that this is not strictly a blues album, but overall is great entertainment and a lot of these songs have made it onto the playlist I am putting together for my next party. I think Last Time I Saw You will appeal to most blues followers, and I think you should give it a listen.

Blues Blast Magazine Album Review: Lazy Lester – You Better Listen

Lazy Lester – You Better Listen

Bluestown Records

www.lazylester.net

www.bluestownrecords.com

13 tracks / 43:20

Lazy Lester is anything but lazy; at 78 years old he is still touring and recording today. Born in 1933 as Leslie Johnson, he is the living link to the Louisiana blues scene of the 1950s and 1960s, when he had a string of hits on Excello records. He did quite a bit of solo work, but is most notable for his work with Lightnin’ Slim.

Lester broke into the business on the strength of his harmonica playing, but has a unique voice and guitar chops to boot. The years have been kind to the man, and his voice has gotten more character and is pleasing to hear. He still blows a mean harp too.

He describes his music as “swamp blues”, a combination of blues, early country music, and swamp pop. He says his main influences are the country singer Jimmie Rogers and legendary southern harp men Jimmy Reed and Little Walter, but I hear a bit of Detroit and Chicago blues influence in there too.

Lazy Lester’s latest album, You Better Listen, is an old-time blues album with non-traditional origins. Lester recorded this material at Juke Joint Studio in Norway, which is not exactly next door to his northern California home. The album was produced by guitarist Morten Omlid, who is part of Spoonful of Blues, which is the backing band on this project. This is the same group that Lester hooks up with for his annual tours of Norway.

The 13 tracks on You Better Listen are a compilation of original material, old blues hits, and a couple of classic country tunes, all in Lazy Lester’s swamp blues style. Through the usual studio magic, Lester is able to play guitar, sing and blow the harp simultaneously on many of the songs.

Staying true to his roots, Lester kicks off the album with the Lightnin’ Slim’s “Rooster Blues”, and this track proves that his voice is still amazing and his harmonica is as sweet as ever. The other thing this recording shows is that his Norwegian brothers from Spoonful of Blues have a great feel for the blues and are very good musicians in their own right. It is more than cool that Lazy Lester covered Slim Harpo’s “Scratch my Back”, especially when you consider that Lester was a percussionist on Slim’s original hit recording. The raw drum sounds and guitar reverb come off perfectly for this old-time blues standard, and there is a great play between the harp and guitar. This turned out to be one of my favorite tracks on You Better Listen.

There is a classic country vibe in much of Lazy Lester’s work, and on this album he broke down and gave us a real-live country tune, “Blue Eyes Crying in the Rain”. This Roy Acuff number has been thoroughly converted to a honkytonk song with a healthy dose of saloon piano, which is pretty cool in my book.

It would be easy to just cover old Excello hits, but Lester wrote four new tracks for this album. “Courtroom Blues” has a simple background with a slow tempo, but throws in plenty of harp as well as an old favorite, the Hammond organ. Prison lyrics always are a sure-fire hit subject for blues music, too.

Another Lazy Lester original is the “OJ Shuffle”, a quick-paced instrumental with just the bare bones of instruments: harmonica, guitar and the simplest of percussion. There is nothing like a good shuffle, and this one delivers the goods. You Better Listen wraps up with the “Paradise Stomp”, an instrumental that honors his new hometown. It provides a change of pace and a healthy countrified dose of Lester’s harmonica to put an appropriate end to this project, sort of like the music over the credits at the end of a good movie.

Overall this is a great album with solid tunes and Lazy Lester’s inimitable voice, but I must warn you that it sounds like it was recorded 50 years ago. The producer and mixer must have been going for a retro vibe, because the background instruments are muddy and the lead vocals, harmonica and guitars are a bit gritty. It works for me, but if you are looking for rocket-ship modern production you will be a bit put out.

I will leave you with one last bit of trivia before I go: Excello producer Jay Miller came up with the nickname Lazy Lester not because of a poor work ethic, but in honor of Lester’s slow style of talking and his easygoing manner.

Blues Blast Magazine Album Review: Rita Engedalen – Chapels and Bars

Hi there!

This was the first review of mine that was published in Blues Blast Magazine; it went live on February 9, 2012.

Rita Engedalen – Chapels and Bars

Bluestown Records

www.ritaengedalen.com

www.bluestownrecords.com

12 tracks / 41:42

Chances are good that you have not heard of Rita Engedalen, but probably only because she is a continent away from you. She has been called Norway’s Queen of the Blues, and with good reason; Rita has released 4 well-received CDs and even earned a Norwegian Grammy award for her 2006 album.

With her latest release, Chapels and Bars, she has another winner on her hands; after a few listens I could not find any songs that I did not like, and had at least 3 of them stuck firmly in my head. This is not strictly a blues album, but more of a compilation of different southern and Appalachian folk music styles. I hear delta blues, pop, gospel, soul and even some southern rock.

This is no problem for Rita as she is the real deal and has the voice, emotion and soul to carry tunes from all of these genres. Her band members and guest musicians also prove to be very talented, with some fabulous guitar picking, and appropriate amounts of mountain fiddle and mouth harp applied only where necessary.

She also has solid songwriting skills, and wrote the lyrics and music for nine of the twelve tracks on Chapels and Bars. Her original works have personal themes to them that bring them home to the listener, and are truly blues lyrics, even if they are not all blues melodies. This is probably a good time to mention that though she is Norwegian, the songs are all performed in English.

The album kicks off with “Chapels and Bars”, which was a great choice as it is one of the best tracks on the album with a tight delta blues groove and plenty of driving steel guitar. Plus I can relate as I have spent plenty of time in chapels and bars.

“My Hill Country Blues” is one of the most mainstream tunes on the album, and could almost be a pop or country radio hit. It is a southern rock at its best with tight drums and Creedence Clearwater-inspired guitars. This is rock and roll, baby. By the way, I heard my 10-year old son singing this song after we got out of the car yesterday, and saying “Mississippuh” just like Rita. That is how catchy this tune is.

And Rita Engedalen just keeps rolling from there. “Sara’s Kitchen” dives back into Mississippi blues, “Last Talk” is a sweet ballad (every album needs one), and “Holy Land” provides a little gospel choir. All of these original tunes provide a little something different for the listener, and are not the least bit boring or tedious.

Chapels and Bars also includes three cover tunes: Jessie Mae Hemphill’s “Lord I Feel Better”, Irma Thomas’s “Don’t Mess with My Man” and Big Mama Thornton’s “Ball and Chain”. Not only are these three very good songs, but they also honor the pioneers of the fantastic womens’ blues music that we enjoy today. “Ball and Chain” is an ambitious song to tackle, and I feel that Rita’s strong and deep voice outshines Thornton, but still cannot top Janis Joplin’s cover. There is no shame in that; she has chosen a strong crowd to run with and can hold her own.

As I said, there are many different types of music on Chapels and Bars, but do not think that it does not hold up well as an album. The songs are all well-written with solid musicianship, and Rita Engedalen’s unique and beautiful voice brings all of the songs together into a single entity that is a pleasure to listen to. I am confident that if you check out Rita’s music you will be impressed too.