Blues Blast Magazine Album Review: Sugar Ray and the Bluetones – Living Tear to Tear

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This CD review was originally published in the March 5, 2015 edition of Blues Blast Magazine. Be sure to check out the rest of the magazine at www.bluesblastmagazine.com

Sugar Ray and the Bluetones – Living Tear to Tear

Severn Records

www.sugarrayandthebluetones.com

www.severnrecords.com

12 tracks / 59:05

Sugar Ray and the Bluetones have been doling out their distinctive brand of blues from the Northeast for over 35 years, and they are playing stronger than ever as evidenced by their latest Severn Records release, Living Tear to Tear. Their sound is a fun blend of harmonica and piano heavy Chicago-influenced blues with some amazingly rocking guitar. The overall effect is timeless and this album could have been recorded fifty years ago, except that modern production values lend it a crystal-clear listening quality.

None of these guys have limited their careers to what they do with the Bluetones, however. The Grammy-nominated singer and harpman, Sugar Ray Norcia, did seven years with Rhode Island’s storied Roomful of Blues and has appeared on over 50 albums with artists as diverse as Ronnie Earl, Otis Grand, Ann Peebles, Jimmy Rogers, Pinetop Perkins, J. Geils, Sax Gordon and Duke Robillard. He is joined on this disc by Monster Mike Welch on guitar, Mudcat Ward on bass, Neil Garouvin on drums, and Grammy-nominee Anthony (no nickname) Geraci on the piano. These musicians have performed with Big Mama Thornton, Hubert Sumlin, John Hammond, Johnny Winter, Otis Grand, The Mannish Boys, Sugaray Rayford, and Debbie Davies, to name just a few.

Living Tear to Tear was recorded at Severn Studios in Annapolis, Maryland, and is an hour-long show of solid blues split up into 12 tracks. These are mostly original tunes penned by Norcia, Welch, Ward, and Geraci, as well as a few well-played covers. They kick off the set with one of the originals, “Rat Trap,” and right away their decades of experience shows as they proceed to tear the roof off the house. Sugar Ray’s harmonica tone and timing are perfect and it is apparent why he is a first-call harp player. His vocals are throaty and Welch’s guitar work is as clear as a bell.

The band slows things down for “Here We Go” and Monster Mike (nicknamed by Dan Ackroyd) adds a little reverb to the guitar while the rock solid backline of Ward and Garouvin (Groovin!) keeps the beat steady. Geraci cuts loose on the keys while Sugar Ray does a good horn substitute with his harmonica on “Things Could Be Worse,” which is a good reminder for all of us.

“Misery” is the longest tune on Tear to Tear, coming in at over eight minutes, and they picked a good song to cut loose on, as this slow-roller brings all of the finer elements of this quintet into play. The lyrics are indeed full of misery as Norcia promises to “…sit here and keep on drinkin’, till I drink my baby off my mind (you might have to cut me off this time).” Welch throws down his best solo of the album on this track, and that is saying something! This is the standout track of the release, with “I Dreamed Last Night” and its wonderful piano from Geraci taking a close second place.

The cover tunes are as well done as the originals. Sonny Boy Williamson’s “Ninety Nine” is a respectful take on the original and it is a delightful romp with subtle guitar work from Monster Mike behind a harmonica-heavy front end. And Lightnin’ Slim’s “Nothing but the Devil” (which was also done well by Rory Gallagher), closes out the set with distorted and growly vocals, bar room piano and the classic story of a man done wrong.

Sugar Ray and the Bluetones’ Living Tear to Tear is one of the best new albums of any genre that I have heard in the past year, with stellar performances from each of the five artists on the bill. It is a must-buy if you like classic harmonica-soaked Midwestern blues, so check it out and see for yourself -- you will not be disappointed!

Isaiah B. Brunt – A Moment in Time | Album Review

Isaiah B. Brunt – A Moment in Time

Self Release

www.isaiahbbrunt.com

9 tracks / 39:39

Isaiah B. Brunt has an impressive amount of musical experience as a studio owner and sideman in Australia. He has worked with the Goo Goo Dolls, the Julio Iglesias Orchestra, and Randy Jackson, plus he toured with Keanu Reeve’s Dogstar when they opened up for Bon Jovi on their Australian tour. But at heart he is a bluesman, and an exceptional one too, as evidenced by last year’s killer release of Just the Way that it Goes and his trip to the International Blues Challenge.

Mr. Brunt has followed up this success with a new album, A Moment in Time, and it is his best work yet. This disc has nine tracks of originals that were written by Isaiah, and he served as the executive producer for this project in addition to taking care of the vocals and guitars. He was joined in the New Orleans studio by a core band of George Porter Jr. on bass, Doug Belote on drums, Mike Lemmler on keys, and a horn section of Jeffery T. Watkins and Ian E. Smith.

I do not hear much of an Australian accent to Brunt’s singing, but he has a wonderfully smooth and rich timbre to his voice, and the effect is quite unique. This is heard right from the start with “Still Waiting,” as Isaiah runs through a conventional 12-bars blues vocal construction. As with the rest of the album, there is a live feel to this mid-tempo tune, with Lemmler providing roadhouse piano and B3 over a fat bass line from Porter. A rowdy guitar solo from Brunt gives a touch of variety, as do a pair of trumpet and guitar solos. This segues into a piano-fueled rhythm and blues tune, “Singing the Blues,” which has lovely backing vocals from Sarah E. Burke.

Brunt can also dig deeper and belt out gritty vocals, and this is a cool contrast to his smoother work. One example of this is “May I Dance with You,” a nice bit of horn and organ driven funk. The backline is a more complex on this song, with Belote working the drum kit and Porter popping out the bass rhythms. This tune features a righteous solo break with interplay between Brunt’s guitar and Watkins’ sax, as well as a sweet horn outro. Isaiah also gets down on “Party Late All Night,” a more conventional 12-bar blues song. These are two of the standout tracks on the disc, and are both great party tunes.

There is also one track that is completely different than everything else on the album, as “Travel Back in Time” takes the listener all the way to New Orleans. This slowly grinder is held together by guest artists Tuba Steve on the sousaphone and James Evans on the clarinet, with snare from Belote keeping time. The horns join in halfway through to accompany a wicked solo from Evans, and the overall effect of this song will make you want to head off to Bourbon Street to forget your sorrows. Or maybe earn some new ones!

After about 40 minutes, the set closes out with “A Moment in Time,” an interesting blend of a mellow country bass beat, reverb-soaked guitar chords, and some jazzy flugelhorn from Smith. Brunt does well with the honest lyrics of remembrance and love, once again with Sarah filling in the backing vocals. After adding in David Stocker and his mellotron samples the overall effect is very pretty, and this ends up being a low-key way to bring things to an end.

Isaiah B. Brunt and his friends did an awesome job with A Moment in Time, and it is a solid follow-up to Just the Way that it Goes. Be sure to check out his website to keep up on his schedule – he only has gig dates scheduled in Australia at this time, but maybe the allure of the States (or another invite to the IBC) will draw him to our shores so we can enjoy his music in person!

Reverend Freakchild – Illogical Optimism | Album Review

Reverend Freakchild – Illogical Optimism

Treated and Released Records

www.www-reverendfreakchild.org

www.treatedandreleasedrecords.com

3 Discs / 35 tracks / 2:29:00

Reverend Freakchild is not your everyday average bluesman. Sure, he can play the blues in all of its forms, but his albums are way out there in the blues realm: they confuse old people, make little kids cry, and cause fellow musicians to grin from ear-to-ear. His latest project is no exception, and it is a worthy follow-up to last year’s amazing Hillbilly Zen-Punk Blues. This time around he has put together Illogical Optimism, which is two discs of his own material plus a third disc from another reverend, Ramblin’ Jennings. Personnel for this project included the Reverend on vocals and guitar, Chris Parker on the skins, Hugh Pool on lap steel, and backing vocals from The Mulebone Singers.

Disc 1: Odds, Ends and Other Amazingness is 67 minutes of a little bit of everything – it is not just a clever title. You will hear that the Reverend has mad guitar skills and a versatile voice, and that Chris Parker is one hell of a drummer. These songs are a collection of popular and obscure covers, and none of them are performed as they were by the original artists. “Who Do You Love” maintains its Bo Diddley beat, but gets a spooky spoken-word vibe. “All Along the Watchtower” goes reggae, but keeps a Hendrix-like solo. And John Lennon’s “Imagine” has Lou Reed written all over it, so there are surely dead hippies everywhere spinning in their graves. This might seem terrible on paper, but everything works out beautifully and in the end and it all sounds wonderful. Trust me.

Disc 2: Everything is Now is something completely different. In a little under an hour, the gang gives a dozen completely different takes on the same song: the catchy “All I Got is Now” from the Hillbilly Zen-Punk Blues album. How different? He does versions of the song in French and German, as well as interpreting it in genres such as punk, funk, reggae, and even “hillbilly.” The hillbilly version (“Alla Gotta Na’”) is breathtakingly stripped down, with lovely banjo and harp accompaniment. Likewise, the acoustic demo version is really cool with a roots vibe and barely intelligible lyrics thanks to a really up-front guitar sound.

Disc 3: Kairos is from Florida’s Ramblin’ Jennings, and this EP (24 minutes) is stripped down and full of awesome. Jennings gets the work done with just his voice, an acoustic guitar, and a harmonica. There are seven original tunes of Gulf Coast blues that use plenty of slide guitar, and Jennings’ voice is perfect for them -- full and timeworn, and dripping with character. There is also one traditional tune, and this vocals-only version of “John the Revelator” is powerful and full of terrifying biblical imagery.

Well, I cannot recommend Illogical Optimism enough. Reverend Freakchild pushes the boundaries of blues and approaches old songs in new ways that really makes the listener think. And his buddy Ramblin’ Jennings brings blues down to its basics to provide a touch point for the other two discs. Give it a listen for yourself, and check out his website for upcoming tour dates as he his getting around quite a bit this summer.

Eliza Neals – Breaking and Entering | Album Review

Eliza Neals – Breaking and Entering | Album Review

Self Release

www.elizaneals.com

12 tracks / 51:08

Sometimes a new album gets misplaced on my desk, and it takes me way too long to get around to reviewing it. This happened with Eliza Neals’ Breaking and Entering, which is a damned shame as this Detroit diva really delivers the goods with this disc of hard-hitting original blues-rock.

Eliza has all the right pieces for success. Her voice which is often compared to Janis Joplin, but I disagree and assert that she has found her own sound and a style that takes the phrase “high energy” to new levels. Her passion and power are so intense that it would be hard for you to find her equal. She is also an incredible songwriter who has managed to earn both the rock and blues songwriting awards from the Detroit Blues Society. Neals wrote eleven of the twelve songs on this release, with co-writing credit for some of the tunes going out to fellow Detroit blues hero Howard Glazer, who brought his axes into the studio for this project.

Eliza kicks off the set with “Detroit Drive” which features Glazer on the Dobro and Erik Maluchnik pounding out the beat on the kick drum. Neals shows a lot of versatility here as she is able to take the vocals from soft to loud at will, while maintaining an edge throughout. This basic acoustic blues provides a cool contrast with the heavy electric blues-rock that is found through much of this record.

This is followed up by the title track, which is the standout song from this disc. “Breaking and Entering” is seven minutes of guitar-fueled awesomeness, and Eliza howls the lyrics with her amazing vocal skills. Paul Randolph on bass and Tim Grogan behind the drum kit hold down the backline on this 1970s AOR epic piece of pychedelia. Glazer and Neals battle it out for who gets to be in the foreground of the sonic stage, and this contest ends up as a draw.

The sole cover is “Sugar Daddy,” a sweet piece of northern soul that was written by fellow Detroiter Barrett Strong. Neals pulls off a more than respectable smooth Motown sound, accompanied by backing vocals from Lizz Kristi, a heavy lead guitar from Shane Visbal, and B3 from Tyrone Smith. This song is completely different than everything else on Breaking and Entering, and it provides for an interesting break.

The album finishes off with a radio edit of “Breaking and Entering” (with a more accessible 4 ½ minute run time), but the real end of the set is “Spinning.” This slowly grinding song uses Glazer’s heavily distorted guitar for the introduction then Eliza tears into the lyrics with a few layers of her distinctive voice. This bare-bones guitar and voice is really the essence of what Neals is all about – in the end it all comes down to the song, doesn't it?

Breaking and Entering is a fabulous effort from Eliza Neals, as it is well-performed and there is not a bad song to be found. She brought a great group of musicians together in the studio (14 in all), and they pulled off a lot of magic with their hard work. Check it out for yourself, and do not make the mistake of misplacing this disc!

Blues Blast Magazine Album Review: Chad Strentz – Shake-Down

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This CD review was originally published in the January 15, 2015 edition of Blues Blast Magazine. Be sure to check out the rest of the magazine at www.bluesblastmagazine.com

Chad Strentz – Shake-Down | Album Review

Tree House 44 Limited Records

www.chadstrentz.com

www.treehouse44.com

15 tracks / 59:07

Chad Strentz is one of the hardest working frontmen in the British blues scene, and you may be familiar with his work with Paul Lamb and the King Snakes, who has earned numerous British Blues Awards, including UK’s Best Blues Band. He has music deep down in his soul, having started playing guitar and singing in his early teens while taking inspiration from all the right artists: Elvis Presley, Johnny Cash, Ray Charles, Little Richard, Big Boy Crudup, and Bo Diddley, to name just a few. After gaining a firm foundation in rockabilly, he dove deep into the blues that he practices each day, both with the King Snakes and his own band, the Chad-illacs.

After decades of touring and recording, it is amazing that Chad had not cut a disc of his own before now. Shake-Down is Strentz’s debut album, and it was recorded in only three days at drummer/producer Mike Thorne’s Rimshot Studios in the English countryside. Chad and Mike were joined by a group of excellent musicians from all over Europe, including Jim Leverton on electric bass, Pete Pritchard on double bass, Christian Rannenberg on piano, and Raphael Wressnig on the Hammond C-3. Jimmy Reiter and Kai Strauss shared electric guitar duties and British acoustic blues guitar giant Danny Kyle sat in on this session as well, which is a real treat!

This disc clicks in at just under an hour, and it includes 15 tracks that are made up of eight Strentz-penned originals and seven really cool covers from some of the artists that have inspired him. Listening to his own songs, it is obvious that Chad is not just a gifted singer, but also a very talented songwriter that has a good feel for American music. The title track kicks things off with up-tempo 1960s soul that has plenty of organ and razor-sharp vocals from Strentz, and this sets the tone for the rest of the album.

After this first song, it is apparent that Shake-Down has a raw and vibrant feel, which is intentional as it was decided to record it live with few (if any) overdubs, and with only tube amplifiers and analog recording equipment. Strentz wanted to honor the music he listened to as a youth by recreating its sound and vibe as genuinely as possible, and it all came together beautifully.

This tribute continues over to his choice of cover songs, as well. These include Ray Charles’ “Hard Times,” “Hey Porter” from Johnny Cash, and the jazz standard “Paper Moon,” complete with boogie-woogie piano and a healthy dose of carnival organ laid over the top of it. On the more obscure side of things are Cowboy Jack Clements’ “It’ll Be Me” and Clarence Carter’s “Someone You Use,” which you may remember from Vonda Shepard’s Ally McBeal soundtrack recording. But the strongest of these is the most pared down: a gorgeous remake of the Miracles’ “Tracks of my Tears.” Chad does an admirable job of living up to Smokey Robinson’s original lyrical style, accompanied solely by Kyle’s subtle acoustic picking.

But Strentz’s originals should not be discounted, as they take the listener on an interesting journey through different American music genres. He throws out a couple of serious shuffles, “Don’t Get Me Wrong” and Street Shuffle,” as well as a little boogie on “Gone for Good” that features killer piano work from Christian Rannenberg. Things really shine when Chad focuses on his influences, such as the rockabilly of “Cardboard Street,” or when he channels his inner Johnny Cash for “So Much Time.”

The set ends with a favorite, “Always on My Mind,” one of the most-covered songs ever (and rightfully so). Though Willie Nelson did a bang-up job with it, the Elvis Presley version defines this song and that is exactly where Chad went with it. The highlight is when Wressnig lays down a sweet Hammond organ break that fits perfectly with the emotional timbre in Strentz’s voice. Please note that if you are patient, after this song ends there is a killer hidden vocal/acoustic howling blues song that should not be missed.

Shake-Down from Chad Strentz is a winner, with 15 solid tracks that are an enjoyable mixtures of blues, soul, and the foundations of rock and roll. His decades of performing and recording have taught him how to do things right in the studio, and it is apparent in this release. Check out a copy for yourself, and see if you agree!

Mahalo!

Blues Blast Magazine Album Review: AC Myles – Reconsider Me

Hello!

This CD review was originally published in the January 8, 2015 edition of Blues Blast Magazine. Be sure to check out the rest of the magazine at www.bluesblastmagazine.com

AC Myles – Reconsider Me | Album Review

Self Release

www.acmyles.com

11 tracks / 41:48

Fresno, California does not get as much publicity as its two big neighbors, Los Angeles and San Francisco, but it is a cool city that helps support one of the largest agricultural areas in the United States. You may not think that there is a lot of blues music going on there, but with half a million people there are plenty of blues enthusiasts to be found. In fact, guitarist and singer AC Myles grew up in Fresno, and he is a fine representative of the town!

AC Myles has a fine pedigree; after touring with his own band as a young man he ended up in San Francisco where he found work as a sideman for killer acts such as Fillmore Slim and Joe Nemeth. This experience honed his performance skills and helped him develop his own brand of blues chops on both guitars and vocals. For his debut album, Reconsider Me, he hooked up with the legendary Kid Andersen, who produced this project as well as recording and mastering it at his Greaseland Records in San Jose, California. Things happened quickly, as they only had to spend two days in the studio, which gives this disc a righteously vibrant feel!

This album is made up of eleven tracks that include four of Myles’ originals and seven special covers. These were not culled from usual list that other artists choose from, as he mostly picked songs that were from some of the artists he has worked with over the years. For this project, AC took on the lead vocals and guitars, and he was joined by Derrick Martin behind the drum kit, Nate Ginsberg on the keyboards, Lisa Andersen with the backing vocals, Endre Tarczy on bass and keys, and Kid Andersen with the rhythm guitar and keyboards.

Things start off with a tight soul tune written by Fenton Robinson, “You Don’t Know What Love Is,” and one thing is for sure: Myles has a fabulous voice. He stays in tune across his impressive range, and his vocals have an honest inflection and character that bring the words to life. Next up is Rory Gallagher’s “Do You Read Me,” which is an ambitious undertaking as Gallagher was a true guitar hero. AC fills the role well, and this turns into a roaring blues rocker with blazing guitars, a thumping bass line, and awesome organ accents. This is one of the top tracks on the album, without a doubt.

After stirring rock with a little gospel in Elvin Bishop’s “Rock My Soul,” the band takes on the title track from Johnny Adams. “Reconsider Me” features some jaw-dropping falsetto, and extra cool roadhouse piano over the solid foundation of Tarczy’s bass and Martin’s drums. This duo also sets up Roman Carter’s 1965 classic, “Queen Bee,” for Myles’ best James Brown imitation.

The most pure blues tune on Reconsider Me is “Death Bed Blues,” which was penned by Myles. His lead guitar has a super-clean tone in this 12-bar Chicago-style tune, and Andersen backs him up well. The slow tempo creates tension for the classic low-down lyrical themes that are sung with emotion and gusto.

AC laid down two very strong original rockers, “Call ‘em All Baby” and “Three Ways to Fall,” and then the set ends with Fats Domino’s “Blue Monday.” But, this time it a Fillmore Slim arrangement with funky wah-wah rhythm guitar and 1970s-issue electric piano. Myles digs deep (and even wails a bit) for this closer, leaving things on a happy note.

If there were anything that is missing with this release, it would be more of AC’s own material. Myles’ career has advanced to the point where his fans would surely like to hear a more personal take on his music. He is a fantastic singer, guitarist, and arranger, so surely he can perform whatever thoughts he puts down on paper and make them work.

It is true that AC Myles has talent galore, and Reconsider Me proves it on every track. This is a solid album of soulful rhythm and blues that is expressed with his own style thanks to his years of experience. Check it out, and we should all hope that he starts working on a follow-up soon!

Mahalo!

Ivor S.K. – Delta Pines | Album Review

Ivor S.K. – Delta Pines

Self Release

www.ivorsk.com

5 tracks / 18:46

There is a strong blues scene in Australia, so I am surprised that more of their music does not make it to my desk for review. So, it was cool to receive a debut disc from Ivor S.K., Delta Pines. This young man has developed a mature voice and guitar skills in a short amount of time, helped along by the mojo of his beloved city of New Orleans.

Ivor Simpson-Kennedy wrote all five of the songs for this EP, and performed all of the guitar and vocal parts. Before he took up guitar he was a drummer, so you will hear that each tune has a cool and steady beat with subtle influences of soul, and maybe even some reggae or ska, but this is still undeniably based on Delta blues. Since there are a few less tracks to deal with than usual, following is the blow-by-blow for each:

First up is “Help Poor Me” and you will probably be shocked that an Australian kid has a voice like a grizzled man from the Delta. Also, he manages to break the word “help” into two syllables – I have never heard that before! In this tale of woe his guitar work is simple and clean, and this is a very listenable piece of music. Things change direction a bit after this. Many blues artists create their own ode to the bottle, and in “Missus Green” Ivor describes a man who puts aside all manner of liquor in favor of his chosen poison, which is all-natural, but not exactly drinkable.

Layers of acoustic and slide guitar are used to construct “Pelican,” an instrumental that is more roots than blues. It is a pretty tune that uses stereo effects to present a sound stage that makes seem like there is more than one player. Ivor’s guitar skills are up to the task, and his fingerstyle shows that he has a good feel for the instrument. A laid-back love song follows this up, and “I Like the Way” is a smart piece of acoustic blues with an intimate message.

The CD finishes up with “Delta Pines” which is a celebration of Mississippi and its music, with shout outs to cultural fixtures from all over the state. This is set to a simple quarter note kickdrum beat (provided by Ivor?), and this percussion provides an interesting change from Ivor’s usual guitar and voice formula. There are at least three guitar parts in play here, which makes me wonder which one he chooses when he is doing a live show!

Ivor S.K. has something going here, and Delta Pines is a solid first effort. His voice is impressive, and his original songs are easy to listen to with lyrics that provide a few surprises along the way. Hopefully he is busy writing new material so that we can get a full-length album from him soon.

Blues Blast Magazine Album Review: David Pinsky and Phil Newton – Over the Moon

This CD review was originally published in the December 28, 2014 edition of Blues Blast Magazine. Be sure to check out the rest of the magazine at www.bluesblastmagazine.com

David Pinsky and Phil Newton – Over the Moon

Self Release

www.davidandphil.info

11 tracks / 49:35

With the many diverse subgenres of blues that are being recorded today, it is good to regularly touch home with where the blues came from so we do not lose track of where we came from. Oregonians David Pinsky and Phil Newton are creating just this kind of bare bones music and are doing a very good job of it, as evidenced by their first album together, Over the Moon.

PInsky and Newton have known each other for years and started playing gigs together a few years back with their brand of Delta style roots and blues, and it caught on. This dynamic duo had enough juice to win the completion that allowed them to represent the venerable Cascade Blues Association at the 2014 International Blues Challenge in Memphis. Competition was stiff and they did not prevail, but the door did not close and they again won the right to represent the CBA again in 2015 at the IBC. I wish them luck!

They came back from Tennessee with none of their fire diminished, and they headed into a Central Point, Oregon studio this past summer to cut their first album together. The album was produced, engineered, and mastered by Thomas Hartkop and it features Dave and Phil on vocals and harmonica, with Dave also providing the guitar parts. That is it – no horns, drums, bass, keyboards, or trio of beautiful backing vocalists. Instead, we get 11 original tracks written with honesty from these two veterans of the Pacific Coast blues scene, and it is a good trade-off.

The set kicks off with “Memphis by Midnight,” and the blues listeners get exactly what they are looking for, which is bare bones acoustic blues. This is a raw recording with woody sounding acoustic guitar that is recorded so well you can hear the strings hitting the frets. The weathered vocals recount this year’s trip to Memphis, with plenty of their recollections, impressions and images. Rounding out the package are a few harp breaks that are muted yet still pretty.

There are other songs that throw out a little of the duo’s history. “Black Highway” is a howling Delta-esque ode to Oregon Route 238, the highway that David and Phil both live on. And “3303 Burdeck Drive” brings back memories of growing up in the cold clime of Oakland, California, this time with a country blues feel thanks to the carefully picked guitar lines and the doubled guitar/harmonica intro.

One of the standout tracks of Over the Moon is “Mama’s in the Kitchen,” which brings a lot of Louisiana spice to the table. This is accomplished with Pinsky and Newton’s minimal instrumentation by having the harmonica mimic a squeezebox, and at times you can be fooled into thinking it actually is an accordion. The guitar lays in the background playing heavy downbeats while the lyrics take the front of the stage (as they do on most of the album), but this time in a Fats Domino style.

Looking at the album as a whole, this is the kind of music that a couple of friends would get together to play at a backyard cookout or in a slow-paced roadhouse, and these two old buddies can do it better than most anyone else around.

Things draw to a close with “Your Turn to Go” with some beautiful harmonica work and aggressively strummed acoustic guitar. The lyrics recall remorse for how things have gone so badly in life, but realizing the need to move along anyway and hope the future gets better. This is what the blues is all about!

If you like what you hear on David Pinsky and Phil Newton’s album, you should try to catch their live show, as they have gigs almost every week for the next few months, including the IBC on Beale Street in Memphis this January. But, if you cannot make it to Oregon or Tennessee, the next best thing would be to pick up a copy of Over the Moon. Taking this journey to the roots of the blues and Americana will definitely be money well spent. Plus, picking up a copy will support their trip to the IBCs, which is a cause worth standing behind!

Blues Blast Magazine Album Review: Marlon McClain – TBC

This CD review was originally published in the December 25, 2014 edition of Blues Blast Magazine. Be sure to check out the rest of the magazine at www.bluesblastmagazine.com

Marlon McClain – TBC

Mac Man Music

9 tracks / 37:06

There are a few folks in the music industry that seem to always be busy and plugged into many diverse projects, and Marlon L. McClain is a shining example of this. After cutting his teeth in Portland, Oregon’s favorite funk band of the 1970s’, Pleasure, he had a stint with the Dazz Band before demand for his writing and producing sent him behind the stage. After many successes with artists as diverse as George Clinton, Tower of Power, George Benson, Kenny G and Joan Baez, he is finally back to making his own music for us to enjoy.

Over the past four decades, McClain has only had time to record three solo discs: Changes in 1981, TBD in 2010, and this year’s release, TBC. Marlon wrote all nine songs on this latest self-produced album, and he also took care of the guitars and keyboards. Al Turner laid down the bass lines, Thomas McElroy played the keyboards, and the drum parts were all handled electronically, with programming by McClain, McElroy, Soulpersona, and Ken Sato. Do not get the impression that this is some sort of 1980s beat box album, though – the drums sound real and are spot on throughout.

The tracks are mostly instrumentals with vocals added here and there as needed to accentuate the action, including the opener, “Me & You.” This is a super-funky tune with jazz influences that shows what a masterful guitarist Marlon is, and his playing is as smooth as silk. Guest artist Curtis Salgado brought his harmonica in for this song, and he does a fabulous job of mimicking McClain’s lines, so that at times it sounds like there are two guitars playing.

After listening to the rest of the tracks, it would be difficult to categorize this record into any one genre, as there is a little bit of everything, but if you dig deep enough there a foundation of funk for all of them. The most divergent song from the blues would be “Positivity,” a bouncy dance track with a disco groove and tightly intertwined guitar/vocal lines. You will also find that “Step into the Light:” is quite danceable, though at a slower and sultrier pace.

Blues-rock is represented in the mix, too, with the harder-hitting “Radiation Blues” which has minimal vocals, round bass, tons of high hat, and smoking guitar from McClain. This is a marked contrast from “That Ain’t Right,” which is more of a loose funky jam session, with a cool give and take between Marlon and Turner’s killer bass lines – it is almost like the whole song was built over a bass solo, which is not something you will find on your average blues album.

There are fairly drastic changes of pace and feel from track to track. For example, “Tokyo Time“ is smooth and jazzy with a laid-back vibe, and then the listener is hit with “GWUWGWUN.” This song has a lot plenty going on, besides a lot of consonants and an unpronounceable title. Marlon’s guitars are up front in this fast-paced tune, but there is also a lot of synthesizer work with simulated flute and trumpet patches, and all of this is playing all over a popping and funky bass line. Both of these instrumentals are catchy and could get stuck in your head for days, which is not a bad thing in this case.

The last song in the set is “You Know,” which is notable for its simple lyrics and complex guitar lines. It is a healthy dose of funky rhythm and blues with more layers of guitar than you can count, and all of them are soaked with distortion and wah pedal galore. After only 37 minutes the album ends, and it definitely leaves the listener wanting more – a few more tracks would have been welcome. We can only hope that Marlon heads back to the studio again soon, as his songs are well written and are a pleasure to listen to.

There is a lot to like about Marlon McClain’s TBC – it has catchy songs that cross genres and hypnotizing grooves that would make it an awesome party soundtrack or even a nice pick-me-up for the morning drive to work to brighten up an otherwise gloomy day. If you like your blues on the jazzier side with a healthy helping of funk, this might be just what you are looking for!

Mahalo!

Jeff Chaz – Sounds Like the Blues to Me | Album Review

Jeff Chaz – Sounds Like the Blues to Me

JCP Records

www.jeffchazblues.com

12 tracks / 58:00

Though he was born in Louisiana, there is a bit of Memphis soul in Jeff Chaz’s sound, which is not too surprising as that is where he learned blues guitar and honed his unique vocal style. Though he kicked back and forth across the country playing trombone and trumpet he ended up sticking with the guitar, and in the mid 1990s he finally made his way home to the Sportsman’s Paradise, where he tears things on a regular basis with his high-energy live shows.

Sounds Like the Blues to Me is Jeff’s latest disc, and it is a worthy follow-up to his very good Chronicles CD. This collection of a dozen original songs features Chaz on guitars and vocals, Doug Therrien on bass, John Autin on keys, Doug Belote with most of the drums, and a horn section of A.J. Pittman and Ward Smith. All of the songs are fun, and there is any easygoing vibe to the proceedings; it must have been a blast during recording sessions at Radionic Studio in Jefferson, Louisiana!

The set kicks off with the title track, and “Sounds Like the Blues to Me” is an upbeat and funky piece of work thanks to Autin’s organ. The band is tight, with a killer backline provided by Belote and Therrien, and Chaz throws down a couple of nice solos when he is not growling out vocals that smack of infidelity. This is followed-up by “Make Love to You in the Sand” a Crescent City-inspired tune with great storytelling that brings the trumpet and sax into play, and you will hear that Pittman did a marvelous job with the horn arrangements.

After this, things slow down with the jazzy “Hitchhiking in the Rain,” in which Jeff howls and bemoans the fate of a lover who gets left behind in the dust. Allyn Robinson picks up the drumsticks on this one, and Autin switches over the piano, laying down some pretty slick barroom improvisation over Therrien’s bass. Then the band goes straight back into the thick of things with a little bit of horn-infused action and spoken word in “I Am the Blues.”

From there, the party carries on with furious abandon. There are a few tunes that should be called out, though. Jeff gives his voice a break on the instrumental “Mt. Vernon Blues,” and his guitar leads have an almost Hawaiian vibe while Therrien hammers on his bass. And there is a lot of humor to be found in the funkfest, “I’m Goin’ After Moby Dick in a Rowboat.” But above it all is the standout track, “You Look So Good to Me,” a jump blues track where the horns are just right and Chaz’s guitar work is sublime.

Before you know it, this hour-long set comes to a close with “You’re Bound to Get Us Both Hung,” a scorching electric blues song which revisits the cheatin’ theme that the album started with. This is one of the more intense tracks on the album with Jeff screaming the vocals and tearing the fretboard off of his six-string with reckless aplomb. There is nothing like ending on a high note!

Sounds like the Blues to Me is an awesome new release from Jeff Chaz, and it hints at how cool his live show must be. There is a reason he has played with heavy hitters like Albert King, Jerry Lee Lewis, and Cab Calloway, after all. Hopefully he will be in Nola next month when I visit, as I will definitely have to make time to track him down!

coWpilot – coWpilot | Album Review

coWpilot – coWpilot

Self Release

www.facebook.com/coWpilot

9 tracks / 30:44

I review a lot of blues CDs, and it was nice to get something a little different to listen to this time, and coWpilot certainly delivered. Their eponymous debut album is a dose of quirky country (among other things) that is nothing like the formulaic pabulum that Nashville songwriters crank out like there is no tomorrow.

coWpilot has survived a long germination, with three members who have known each other for decades since they first met up on the central California coast. The lives and careers of Tee Fitch, Jack Williams, and Chris Barham took different directions, but fate smiled on them and they all eventually ended up in the Lone Star State. About ten years ago they sort of picked up where they left off, found themselves a drummer (Andy Alsup) and another guitarist (Jimmy Buck), and started playing club and corporate gigs again. Hallmarks of their live shows were their curious mashups (such as “Folsom Prison Wizard”), and the welcome conversion of terrible pop tunes to country (“These Boots Are Made For Walkin’”).

Fast forwarding to today, these folks needed a demo CD that they could use to procure more of these precious gigs, so they hit the studio to lay down some quick and dirty tracks. Things got out of hand, and they put together nine original tunes that Tee had written, and spent more time in the studio than they ever thought possible. Jimmy Buck acted as executive producer, and enlisted Bruce Faulconer to do the studio magic at Dallas’ Cake Mix Recording, where much of the album was cut (the remainder of the guitars and vocals were recorded at Hezoree Sound Studios in Kyle, Texas).

As far as their line-up goes, for this project Tee played the guitar and was in charge of the lead vocals, Jack was bassman, Chris played lead guitar and all manner of stringed instruments, Jimmy played the guitar, and Andy was stuck behind the drum kit. Jack, Chris, and Jimmy also added backing vocals. It should also be mentioned that their friend and ace in the hole, Chuck Ward (Bellamy Brothers, and a whole lot more), took care of the keyboard parts. It is good to have friends in high places!

Their half-hour set kicks off with “Texas Raindrops” with a Johnny Cash intro and bass that is slightly fatter than what you would have heard back in the day. Fitch has a pleasant tenor voice, and the catchy chorus features vocal harmonies that are destined to get stuck in your head. Barham throws down a tidy guitar solo with deft finger work, but he does not go overboard. And that is sort of the theme of this album: it is all about the songs so there are no epic solos or musical breaks for the listener to deal with.

This is followed up by one of the standout tracks from coWpilot, “Go Big Train.” Musically, this song is more complex, with layers of acoustics guitars, banjo and pedal steel. Though it starts out as a mid-tempo country ballad with lovely melodies, the chorus is more aggressive and the transitions pique the listener’s interest. This is a fun contrast to the next track, “White Trash Girls,” an up-tempo rhythm and blues love story (sort of) with tasty keyboards provided by Mr. Ward.

“She’s Changed Her Mind Again” features piano from Chuck, and comes off as more of a plaintive modern country tune. This track highlights the backline of Williams and Alsup, who are perfectly in sync yet still squeeze a few tasty fills in here and there. The group also steps into pop-rock on “Happy Going Nowhere,” with vocal harmonies galore and more guitar layers than you can shake a stick at. This is track is also a standout thanks to Fitch’s crooning and his lyrics that are easy to relate to.

Before things end, coWpilot flirts with easy-going California country on “The Opposite of Here,” and country rock with “About Elektra,” which has a gloriously distorted guitar break. Then, before you know it, the set draws to a close with “Until Then,” an example of roadhouse country at its finest, complete with honky-tonk piano and pedal steel.

By the way, there is also a hidden track, but you are not going to hear about it from me. You will have to go find it for yourself…

coWpilot’s debut album is a strong effort, with well-written songs that are professionally played and recorded with care. This kind of Americana music has good legs, and hopefully the guys will make it back into the studio to record their sophomore effort soon. coWpilot will be released on May 7, 2015 and will be available for purchase through the usual digital outlets (iTunes, Pandora, Spotify, CD baby, Amazon, Shazam, etc.), and surely it will be possible to pick up a physical copy at one of their upcoming shows. According to the band, “an extensive tour of Texas is in the works,” so follow them on Facebook to keep up to date on their activities!

Berndon Kirksaether and the Twang Bar Kings – The Voodoo Sessions, Live at Down Under | Album Review

Berndon Kirksaether & the Twang Bar Kings – The Voodoo Sessions, Live at Down Under

Roller Records

www.rollerrec.com

4 tracks / 20:49

I do not get very many blues albums to review out of Norway, but the few that have made it to my desk have been very good. One of these is the latest disc from Berndon Kirksaether & the Twang Bar Kings, The Voodoo Sessions - Live at Down Under. This EP is their fourth release, and it is a healthy dose of burning and moody blues-rock.

Three members of this group are from CIA, a solid blues band that hit the Norwegian scene in the early 1990s. On The Voodoo Sessions Live at Down Under you will find Berndon Kirksaether and Erik Gabrielsen on guitar, Stein Tumert on bass, and Roy Hanssen behind the drum kit; everybody gets credit for vocals on this effort.

This four song EP was recorded live at Down Under in Mjondalen, Norway and it includes three originals and one awesome cover tune. It is apparent that these guys are fans of 60s and 70s AOR swampy blues-rock, and this sound seems to be working for them. You will hear a bit of this when the band kicks off this set with “Mama Roll Over” which builds slowly into a powerfully dark anthem. The sound is very clear for a live album and it is mixed well so that none of the instruments are buried. The vocals are throaty and the lyrics are in English with no trace of an accent, in case you were wondering – they are from Norway, you know…

Next up is another original, “Some Kind of Voodoo,” which is six minutes of psychedelic fun. Berndon and Erik are able to coax synth-like sounds from their highly processed guitars, and there are neat vocal harmonies in play here. Hanssen shows great restraint and lays back on the drums throughout, mostly hitting the toms and adding cymbals in as needed for effect.

When looking for songs to cover, it is hard to go wrong with Robin Trower, so “Mad House” is a pretty good choice for the number three spot. This is one hell of a jam that lets all four members cut loose, and it is nice to hear Hanssen and Tumert go a little crazy. This is the standout track from the disc, and at 3 ½ minutes my only gripe is that it is not long enough!

Closing out the CD is “When the Moon is on the Rise” which gets even more out there in the guitar sounds department with tons of reverb added in. Hanssen keeps a steady beat on the high-hat which helps to create a tremendous sense of tension throughout as it sounds like the band will explode at any moment, though they never do. This song would have fit in well on any of The Doors’ albums, which is good thing in my book.

The Voodoo Sessions Live at Down Under is a fun release from Berndon Kirksaether & the Twang Bar Kings and it is good to hear what they can do live. We can only hope that they make it over to the states soon so we can hear them in person!

Blues Blast Magazine Album Review: John Frick Band – Urban Crossroads

Good day!

This CD review was originally published in the October 16, 2014 edition of Blues Blast Magazine. Be sure to check out the rest of the magazine at www.bluesblastmagazine.com

John Frick Band – Urban Crossroads

Blueshine Records

www.johnfrickband.com

www.blueshinerecords.com

12 tracks / 37:16

The Hague often conjures up memories of murky high school civics lessons about international politics and possibly fond remembrances of the awesome Dutch band Golden Earring. But there is a lot more to this beautiful city in the Netherlands: it is still a major player in international affairs and it has a rich cultural history that goes back nearly 800 years. Also, it is home to a red-hot blues quintet, the John Frick Band!

The John Frick Band is relatively new on the scene, having formed in 2011 as an evolution of John Frick and the Blues Hombres. John Frick is originally from Cape Town, South Africa, but he has traveled all around Europe putting together his distinctive blues chops. He handles the vocals and guitar work for this project, and is joined by Michel de Man on drums, Leo Birza on keyboards and backing vocals, and Tom Moerenhout on horns. Rob Nagel provided the bass parts remotely from his home in South Africa, which is definitely a benefit of living in such a connected society.

Urban Crossroads is the John Frick Band’s sophomore effort, and it is a solid piece of work consisting of 12 tracks, all of them written by John. Frick and Peter Strujik produced this release, and Strujik did a wonderful job of mixing and mastering this material so that everything is clear and nothing is lost in the mix. When the first track starts there is no doubt where this album is going, as “Blinded” is a mid-tempo straight-up blues tune. There is everything you would expect: a 12-bar blues pattern, Hammond organ, thumping bass, tight lead guitar fills and a story of broken love and deception. Rob Nagel also brings his harp to this track, and his parts are tasteful and well integrated.

In fact, there is little in the music to suggest that these guys are not from Chicago or Memphis. Frick’s smooth voice has an almost Midwest accent, and the lyrics do not have the awkward phrases or misplaced words that are fairly common with discs from overseas. This crew has figured out the blues and can serve it up just as well as anyone from either side of the Atlantic.

The John Frick Band switches things up throughout while staying under the blues and rock umbrella. “Get a Load” is a country-rocker that makes good use of Moerenhout’s saxes and Birza’s backing vocals, while “Say What You Want” throws out some high-paced jump blues. “On the Radio” strays dangerously close to smooth jazz with its electric piano and subdued drums, but then the pace kicks back up again on the next track with the funky blues rock of “Recession Blues,” which tells the familiar story of how hard it is to make ends meet these days. There is a little something for everyone on this disc!

“Same Way Too” is the standout track from the album. This slow-paced blues song builds dramatically, almost like an early Led Zeppelin ballad. It is quite beautiful, with heavy organ parts from Birza and restrained guitar work from Frick combining to set the mood. Morenhout’s saxophones (and the more hopeful lyrics) put together a pretty love story that diverges from the classic Plant/Page writing template.

“Gotta be Worth It” closes out the set, and it is a neat uptempo piece with Jerry Lee Lewis-like piano accompanied with biting guitar riffs from Frick. Coming in at a mere 1-½ minutes, this song leaves the listener wanting more, which is a common theme with this album -- if there is one thing to want from this Urban Crossroads, it would be more music. More than half of the tracks come in under three minutes, so this is not a terribly long release (around 37 minutes). It is better that they did not fluff up the record with substandard material, but another 15 minutes would have been fantastic. As it is, it is still a good buy and it would be a good addition to any blues fan’s library.

The John Frick band has headed back to the studio to cut a new album that will be released in 2015, and if they can keep this momentum going, it will certainly be worth checking out too.

Mahalo!

Blues Blast Magazine Album Review: Slim Bawb and the Fabulous Stumpgrinders – Gristle and Guts

Hello!

This CD review was originally published in the October 9, 2014 edition of Blues Blast Magazine. Be sure to check out the rest of the magazine at www.bluesblastmagazine.com

Slim Bawb and the Fabulous Stumpgrinders – Gristle and Guts

Self release through Swampgrass Records

www.slimbawb.com

11 tracks / 46:30

When thinking of Sacramento, California, high-test swamp music might not be the first thing that comes to mind, but this is where Slim Bawb cut his teeth with the Beer Dawgs, playing five nights a week for 20 years. Their take on swamp rock and blues was a powerful force, enough to gain them entry into the Sacramento Area Music Hall of Fame. But all things change over time, and Slim Bawb (also known as Bob Pearce) moved to Austin, Texas eight years ago, where he founded Swamp Studios and his latest band, Slim Bawb and the Fabulous Stumpgrinders.

Slim Bawb has released six albums, the latest of which is Gristle and Guts. The new Fabulous Stumpgrinders line-up for this CD includes Jay Warren on drums and “Lil” Howard Yeargan on accordion, keyboards, and harmonica. Pearce takes care of the vocals, guitar, banjo, mandolin, mandola, and the boot bass. The latter is a custom foot-operated bass pedal assembly that Slim Bawb uses to bang out the low end. It might seem weird on paper but it works very well in the real world (and on this disc).

Gristle and Guts includes 11 original tracks, all of them penned by Pearce and Yeargan. This is not unusual, as Slim Bawb has been playing his own music professionally for the last 35 years, which is an impressive feat in this era of used-up cover tunes. And when the first track “Job Job” starts, it is hard to believe that Pearce is a California native, as this song is straight-up Cajun country. Piano and accordion are used to set the mood over some heavy-sounding slide guitar work. Bawb’s voice has a pleasant whiskey rasp, and the lyrics are clever and use good rhyming techniques. By the way, the song is not referring to the Biblical figure, but rather to the idea that “She wants me to get a Job Job.”

One of the standout tracks is “Down to the River,” a gospel-tinged Cajun tune with some super sweet vocal harmonizing by Pearce and Yeargan. This is a fun song with good interplay between the squeezebox and the resonator guitar, with a kicking snare drum driving the way. Bawb also throws in a well-placed mandolin solo, which lends a little folk feel to the proceedings. This is backed up by “Bottle is Home,” a swamp blues track that provides a grim contrast to the hopeful feel set by the previous song. What album would be complete without a song about the misery of the hard-drinking life?

But the Fabulous Stumpgrinders do not limit themselves to bayou music, as they serve up some hearty funk with “Last Call for this Fool,” which features hard-core syncopated electric guitar from Pearce and terrific harp work from Yeargan. They also put together a beautiful ballad, “Redneck Riviera” which may be the best track on the album with its gorgeous melody and laid-back vibe that paints a vivid mental picture. This band is not a one-trick pony by any stretch of the imagination.

The title track, “Gristle and Guts” was written to honor Slim Bawb’s grandson Jon, who was hit by a drunk driver when he was 15. This swamp blues song tells the story of that night in chilling detail, accompanied for the first half by a somber guitar ostinato and a simple kick drum to hold the beat. After this, synthesizers are used to add to the mood and then all hell breaks loose to end the tune on a positive note. By all accounts it was a terrible accident, but fortunately Jon is recovering and getting stronger every day.

Though the spooky accordion-fest “Bayou Shine” is listed as the final song on Gristle and Guts, there is a hidden reprise of “Job Job” for track 11, and it is a jangly 60-hertz snippet with glorious feedback and hiss. It is not exactly something people would buy all by itself, but it is a fun closer and gives and idea of what a neat spirit Slim Bawb has.

Throughout Gristle and Guts, Slim Bawb and the Fabulous Stumpgrinders keep coming up with new musical approaches for each song so that the album never gets dull and it remains consistently entertaining. These guys have made their own niche of Louisiana-style rock and blues, and it works well for them. They are gigging regularly, and their shows are well-reviewed by critics and well-received by their fans, so check out their website for their schedule if you are anywhere near Austin. Also, if you are in the Sacramento Area, Slim Bawb comes back each year for a Beer Dawgs reunion show, so keep your ear to the ground or you might miss it!

Mahalo!

Blues Blast Magazine Album Review: Steve Freund and Gloria Hardiman – Set Me Free

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This CD review was originally published in the September 4, 2014 edition of Blues Blast Magazine. Be sure to check out the rest of the magazine at www.bluesblastmagazine.com

Steve Freund and Gloria Hardiman – Set Me Free

Delmark Records

www.stevefreund.com

www.delmark.com

14 tracks / 53:31

Delmark Records has done blues fans a few favors this year as they re-released classic blues records that have previously been unavailable in the digital world. First there was Queen Sylvia and John Embry’s Troubles, and now we get Steve Freund and Gloria Hardiman’s Set Me Free, both of which were originally published by Chicago’s Razor Records. This 1983 Freund/Hardiman album has been hidden for too long, and it is quite a collector’s item.

Steve Freund is a legendary Bay Area bluesman, guitarist, and producer, but he was based out of Chicago when he cut Set Me Free, his first album. It was also Hardiman’s vocal debut as she jumped into the music scene after the birth of her twins, and her chemistry with Steve was magical. They were backed by a killer team from the Windy City that was made up of Ken Saydak on piano and organ, the legendary Sunnyland Slim on piano, Sam Burckhardt on sax, Bob Stroger and Harlan Terson on bass, and Eddie Turner on the skins. Those truly were the good old days!

Right from the first track, “You Got Me (Where You Want Me),” it is apparent that Freund had left his Brooklyn upbringing behind, as only a Chicagoan can make this kind of blues. His guitar work is razor sharp and his timing is impeccable, things that would make him welcome in any blues band. The other eye-opener is how unbelievable it is that this is Hardiman’s first album because her voice is powerful and sassy, with a confidence that is contagious.

Sunnyland Slim makes his first appearance on Jimmy Rogers’ slow-rolling “That’s All Right.” Freund was Slim’s guitarist back then, and this is fortunate as his presence on this disc is a real treat. It is neat to hear this song sung from a woman’s perspective, and Gloria nails it. Also, Freund’s guitar is played with perfect phrasing and feel over the rock solid backline of Stroger on bass and Fred Grady on the drums. These guys also pitch in on the Slim’s other songs: the original instrumental “Jammin’ with Sam” and Guitar Slim’s “The Things I Used to Do.” Surprisingly, this last song is the only time that Freund takes the vocals on this album, and he does Guitar Slim proud with his wailing tenor.

Hardiman gets to shine on nine of the tracks, though, and her most notable contribution is on King Curtis’ “Let Me Down Easy.” Gloria had a strong gospel background before she hooked up with Steve, and she brought this with a heart dose of soul as Ken Saydak rolled out a gospel-inspired piano accompaniment. A close second is her respectful take on Aretha Franklin’s “Dr. Feelgood,” which will give you goosebumps.

Eddie “Cleanhead” Vinson’s “Kidney Stew Blues” is the final song from the original release, and this instrumental is one of the standout tracks of the album. Harlan Terson holds down a solid bass line on this one as Saydak and Freund trade leads with Sam Burckhardt’s sublime tenor saxophone. This is some of the finest instrumental blues that you will come across.

The original album had ten tracks, but the CD re-issue lists four bonus songs that include the previously unreleased “Homework” and “Kiddio” and two songs from a Ken Saydak 45 record (remember those?), “Shoppin’ and Snackin’” and “Swanee River Boogie.”

It must have been a hard choice to leave the first two songs off the original cut of Set Me Free, but perhaps their 1960s sound just did not fit in when all was said and done. Gary Heller and Freund get a few good guitar licks in on Otis Rush’s “Homework,” but Hardiman takes the lead with a firm hand and gorgeous supporting vocals from Diane Homes and Gail Washington. And Brook Benton’s “Kiddio” is extra tight with honkytonk piano from Saydak and hard drum fills from Eddie Turner. Both of these tracks feature the extra cool harmonica stylings of Mr. Ron Sorin, and it is a shame that this is the first time his work on this project has been available to the public.

Chances are good that you never heard the two Ken Saydak songs before, and this is a fabulous opportunity. “Shoppin’ and Snackin’” is one of the funniest songs you will find, and Saydak goes all the places musicians fear to tread, singing about patriotism, race and religion in his pleasant tenor range. Of course he does it with his piano supporting him, not to mention a solid guitar performance from Bob Levis. “Swanee River Boogie” brings the disc to a close, and Saydak does a wonderful job on this instrumental that turns out at least as good as Fats Domino’s version. His piano work stands on its own in this solo performance, and he can certainly throw down a serious boogie that could shake a piano to pieces.

Set Me Free is an incredible album, and it is easy to see how it propelled Steve Freund into a stellar career that includes seven of his own albums and production credit on dozens more. But it is also a wonderful snapshot in time, with heart wrenching vocals from Gloria Hardiman, phenomenal keys from Ken Saydak, and a chance to hear Sunnyland Slim accompanied by a certifiably dangerous band. There is a good reason why the original LP is so collectible and this CD is a must-have for any blues collection. If you are a fan of the genre I guarantee that you will listen to it more than once!

Mahalo!

Blues Blast Magazine Album Review: Chris Bergson Band – Live at Jazz Standard

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This CD review was originally published in the August 28, 2014 edition of Blues Blast Magazine. Be sure to check out the rest of the magazine at www.bluesblastmagazine.com

Chris Bergson Band – Live at Jazz Standard

Innsbruck Records

www.chrisbergson.com

www.innsbruckrecords.com

15 tracks / 62:45

It is not hard to find a great blues or rock guitarist, and tracking down a good singer and front man is a little harder, but they are out there. Songwriting clinics crank out more than enough new writers every week, and some of them can actually pen really nice tunes. But, finding a talented guitarist that is also an effective leader, singer, and songwriter is not an easy task, which makes Chris Bergson a true find!

Bergson is a New York City native who has lived in the tri-state area for his whole life, and who has been recording his music for the past 20 years. Chris’ playing has deep roots, and he is more than proficient in all genres of music, and he is even a faculty member of NYC’s 92Y (serving the community for 140 years), teaching jazz, rock and blues guitar. He has worked and played with the big names in the business, including B.B. King, Etta James, Norah Jones, The Band’s Levon Helm, and Howlin’ Wolf’s guitarist, Hubert Sumlin. He has recorded six studio albums, including the award-winning Fall Changes and Imitate the Sun.

This time around the Chris Bergson Band gives up a dose of their stage show with Live at Jazz Standard. This New York City club has been his home base for the past 10 years, and he drew these 15 tracks from two shows last summer. His usual four-piece group was up front, including Chris on vocals and guitars, Craig Dreyer on keys, Matt Clohesy on bass and Tony Leone behind the drum kit. They were joined on these gigs by the fine horn section of Ian Hendrickson-Smith and David Luther on sax, and Grammy winner Freddie Hendrix on trumpet. Roman Klun recorded and mixed this CD, and acted as co-producer with Bergson.

The first track on the disc is “Greyhound Station” and the band opens strong. Even though the club is called Jazz Standard and Chris was appointed the U.S. Jazz Ambassador by the Kennedy Center, this show is nothing but killer funky blues. After the guitar-heavy intro Bergson launches into the vocals and he belts them out convincingly with harmonies courtesy of Tony Leone. Chris also tears out a hard-hitting solo and lead licks throughout. This is one of the seven songs he co-wrote with his wife, Kate Ross – in fact this album was mostly written by Bergson, with eight all-new songs, and five older tunes that have been extensively remodeled.

After the horn-heavy “Mr. Jackson” (with horn arrangements by Jay Collins) the band is joined by special guest vocalist Ellis Hooks for “The Only One.” Hooks’ glorious voice pairs well with Bergson’s, and there is a Sam and Dave good times vibe at work here. The backline of Clohesy and Leone is spot-on but never goes over the top as this show is all about the songs, and the musicians are there to help tell the story, not to show off.

There is a touching moment as Chris puts Tennessee Williams’ poem “Heavenly Grass” to music. He plays a mean delta-style acoustic guitar against a sparse backdrop of bass, drums and just enough Wurlitzer of Craig Dreyer. This slow roller features extended solos from Bergson and Dreyer and is a nice partner to the next track, the soulful and inspirational “High Above the Morning.”

The two non-originals on Live at Jazz Standard are the harmony-heavy traditional “Corinna” and Ronnie Shannon’s “Baby, I Love You.” The latter is an instrumental that allows Bergson to spit out sharp lead licks on his guitar over the punctuation provided by the ultra tight horn section. The vocals leading up to this point were so compelling that the musicians were appropriately playing a supporting role, and it is nice to hear the band cut loose a little!

The heavy funk of “Christmas in Bethlehem, PA” makes sure that this is nothing like any holiday song you have heard before. Dreyer’s 1970s organ sound, Bergson’s processed guitar and Leone’s massive snare set the stage for Hendrix, who channels his inner Maynard Ferguson. The lyrics are full of hard luck and longing, and Chris sings them with all of his heart.

The final two cuts on the album are “The Bungler” and “Gowanus Heights,” both Bergson/Ross songs from his acclaimed breakthrough album from 2008, Fall Changes. Listening to these cuts is a reminder of what a well recorded, mixed and mastered album this is. The sound is clear, no instrument or voice seems too loud or soft, and there is a logical progression to the songs with natural sounding breaks in between. Kudos go out to Klun for his recording and mixing, and to Chris Gehringer for his mastering work – professionals like these guys make all the difference in the world.

Live at Jazz Standard is a fine piece of work from Chris Bergson, providing a realistic overview of his career to date, and it is much more relevant than any “Best Of” or “Greatest Hits” album could be. Most artists would be content to rehash old stuff, but the Chris Bergson Band stepped up and provided more than enough new material for their old fans to enjoy. For those who were not fans before, this disc will convert them into believers and it may convince them to seek out his catalogue and maybe even inspire them to catch a live show the next time they are in New York City!

Mahalo!

Blues Blast Magazine Album Review: Joe Caro and the Met Band – Live in New York City

Good day!

This CD review was originally published in the August 21, 2014 edition of Blues Blast Magazine. Be sure to check out the rest of the magazine at www.bluesblastmagazine.com

Joe Caro and the Met Band – Live in New York City | Album Review

www.joecaroandthemetband.com

Innsbruck Records

www.innsbruckrecords.com

10 tracks / 78:27

Even if you have never heard of Joe Caro, if you are a fan of most any genre of music there is a good chance that you have listened to his work before. He is one of New York City’s most in-demand session and touring guitarists, and he took up the instrument when he was eight after seeing the Beatles on TV. He is well versed in blues and jazz, but he has worked with huge pop and rock artists, with credits that include Crosby, Stills and Nash, The Eagles, Stanley Clarke, Bobby McFerrin, Bon Jovi and Clint Black.

But Caro is also an inspirational bandleader, having formed BFD with Late Night’s Will Lee and drummer Steve Ferrone and subsequently tearing up the New York club scene. This group made a name for itself by featuring storied guest artists such as Pat Metheny, Donald Fagen, Michael McDonald and the Brecker brothers. And more recently he fronted the Met Band who gigged every Tuesday at the Metropolitan Café over a period of eight years.

Joe Caro and the Met Band’s new release, Live in New York City, was recorded at Drom, which is the epicenter of music in the East Village. His line-up for this show was truly an all-star list of players that included Randy Brecker and Lew Soloff on trumpet, Anton Fig on drums, Blue Lou Marini on the sax, Clifford Carter behind the keyboards and Conrad Korsch on bass. Of course Caro played the guitar and handled the vocals, but he was also the co-producer of this project, along with Roman Klun who took on the recording, mixing and mastering chores.

This album has a wonderful blend of modern blues that makes for a pleasurable listening experience, and it is a joy to hear professional musicians who are at the top of their game. The often-covered “Labor of Love” by Tim Kaihatsu kicks off the set and these guys nail it. Joe’s voice is clear and strong, but this cut is not about the lyrics as each member gets the opportunity to show their chops. After hearing all of the solos it is apparent that this is a very well recorded show as the level is even for the voice and each instrument, and the overall sound is as clear as a bell. Klun did a fabulous job here!

Next up is a killer Denise LaSalle song from 1975, “Someone Else is Stepping In.” It is awesome that 40 years later her lyrics are so convincing that it is easy to picture her new way of wearing his hair now that she is a brand-new woman. Korsch holds down a fat bass foundation on this 10+ minute track with some help from Carter on the organ and Letterman’s Anton Fig on the drums. This one is considerably more complicated than the usual 12-bar blues, and as things move on the listener is treated to an extended guitar solo from Caro as well a trumpet battle between Brecker and Soloff.

Caro penned five of the songs that the band played on this evening, and the first of these is “In the Name of God,” which holds up examples of the excuses that people make for the terrible things they do. This blues song has pop undertones, but also a heavy dose of jazz and the horn section is up to the complicated arrangements. This is followed up by another original: “Upper East Side Blues,” a song of modern worries that hits too close to home in these troubled times. It has a cool layout, as it is a fairly traditional five-minute slow blues song with a six-minute rumba/fusion instrumental interlude in the middle.

An unexpected entry on the set list is a beautiful instrumental version of Lennon and McCartney’s “Strawberry Fields” from the Beatle’s 1967 Magical Mystery Tour album. Caro takes the melody with his guitar, and uses effects to create different textures and feels. Though this is rock, Carter’s piano work lends it a jazz feel, and it all comes together well here. This ends up being the best cover tune of the bunch, which is a tough call because there are also fine versions of Ray Charles’ “Mary Ann” (complete with a sexy Latin beat and a lurid back story) and Willie Dixon’s “Seventh Son.”

One of the standout tracks on Live in New York City is another original, “Love Don’t Bother Me,” a funky rocker which is pretty much a drum solo with a song happening on top of it. The band stays tight throughout despite huge swings in tempo and dynamics, making this an exciting listening experience. But it is not fair to call out a favorite, because there is not a bad song on this disc.

After the final song ends (appropriately titled “Going Home”) it seems like a shame that 78 minutes have already passed and there is nothing else coming. It is undeniable that Live in New York City is an excellent album, and it captures the energy and refined talent that Joe Caro and the Met Band brings to the stage. It would be a fine addition to most anyone’s CD collection, but after a listen it will also make you want to track down one of their live shows. At this point it looks like you will have to go to New York City to see them, but their website says there are plans for a tour. Stay tuned!

Mahalo!

Blues Blast Magazine Album Review: John Mayall – A Special Life

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This CD review was originally published in the August 14, 2014 edition of Blues Blast Magazine. Be sure to check out the rest of the magazine at www.bluesblastmagazine.com

John Mayall – A Special Life

Forty Below Records

www.johnmayall.com

www.fortybelowrecords.com

11 tracks / 44:17

It seems like John Mayall needs no introduction, but there may be a few folks out there that have never heard of the Godfather of British Blues. Maybe they do not know that over the past 50 years he has led the ever-changing members of The Bluesbreakers, which has included other legends such as Eric Clapton, Jack Bruce, Peter Green, John McVie and Mick Taylor. Or that in the late 1960s he moved to Los Angeles and never missed a beat as he continued to spread his blue and rock, but this time with a progressive path that took his blues and rock to another level.

John’s work has resulted in over 50 albums to date, and he has played with every blues artist of note while touring nearly endlessly. It appeared that Mayall was hanging up his hat in 2008 when he announced that The Bluebreakers were calling it quits, but that was not the case. Luckily for us he could not sit still and in 2009 he put together a righteous band that in just a few short days cut Tough, a terrific album that spawned a new series of tours.

Mayall’s latest effort, A Special Life, picks up where his last album left off and it is hard to believe that there has been a 5-year dry spell since he last cut a new record. It is a blessing that many of the same personnel have returned, as they are as tight of a crew that a frontman could hope for. This leaner band is made up of Texan Rocky Athas on guitar and Chicagoans Greg Rzab on bass and Jay Davenport behind the drum kit. John was the producer for this project, as well as taking on the vocals, piano, organ, harmonica, and clavinet. Once again, the album only took a few days to record, and it impossible to tell as it is a nicely-produced disc that benefitted from the toils of co-producer, engineer and mixer, Eric Corne.

The first track features special guest C.J. Chenier on accordion and vocals, and this is particularly apt as “Why Did You Go Last Night” was originally written and recorded by C.J.’s father, Clifton Chenier, the Zydeco legend. Mayall used to do this song back when Jack Bruce was in The Bluesbreakers, and it is definitely more blues than Cajun as Chenier belts out his vocals over John’s honkytonk piano stylings.

This is followed up by the straightforward blues rocker, “Speak of the Devil,” which was penned by former Mayall guitarist Sonny Landreth. This version is a bit faster than the original, and we get to hear that John still has a powerful voice as he holds his own again the blazing guitar of Rocky Athas. Davenport and Rzab nail a tight beat under their leader’s Hammond organ chords, and this song turns out as slick as can be. These guys having been touring together for the past few years, so it should be no surprise that they are still in sync. After this, John lets his harmonica fly as he honks out Jimmy Rogers’ classic, “That’s All Right.”

It is true that Mayall has nurtured generations of guitarists, but we have to remember that he is no slouch behind the fretboard either. John takes the lead guitar parts on Albert Kings’ “Floodin’ in California” and on the title track and he plays with poignancy and an artist’s touch. Any blues band out there would be happy to have him sit in on guitar!

John Mayall wrote four of the songs on A Special Life including a re-do of “Heartache” which originally appeared on his 1965 debut album. But his newer songs are stronger yet as he looks into things that are more current to him. The subjects include our terrible political climate in “World Gone Crazy” and the blessings and curses of his career in “A Special Life”. Of course he would not be the Godfather if he did not crank out a broken-hearted blues song, and “Just a Memory” fits this role perfectly, albeit with jazz-influenced piano. This slow-rolling song is powerful, and turns out to be a fitting way to end the album.

A Special Life shows that John Mayall is still able to bring out the best in a talented band, and that he has not been resting on his laurels. It is a well-crafted and personal effort and we can only hope that it will not be another five years before he hits the studio again. In the meantime, check John’s website for details of his North American and European 80th birthday celebration tour, which will certainly be worth your time!

Mahalo!

Blues Blast Magazine Album Review: Janiva Magness - Original

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This CD review was originally published in the August 7, 2014 edition of Blues Blast Magazine. Be sure to check out the rest of the magazine at www.bluesblastmagazine.com

Janiva Magness – Original | Album Review

Self Release through Fathead Records

www.janivamagness.com

11 tracks / 44:45

When folks talk about the blues they always bring up Chicago, Memphis and New Orleans, but there is also a killer blues scene in Los Angeles. One of the most talented artists in L.A. is singer/songwriter Janiva Magness, who has eleven records in her catalog and more blues awards than you can shake a stick at, including the Blues Foundation B.B. King Entertainer of the Year, Contemporary Blues Female Artist of the Year (multiple times), and Song of the Year for “I Won’t Cry”!

But it took a long time to get to this point, and Janiva’s life story would make for an incredible book. She was born in Detroit, became orphaned as a young teen, was placed in a dozen foster homes before she came of age, and had to give up her own daughter for adoption when she was 17. This is a grim biography, but fortunately she found support from her last foster mother and inspiration from an Otis Rush concert that helped her set her sights on a career in music. After working as a sound engineer, getting gigs as a backing singer (including Kid Ramos and R.L. Burnside), and forming her own band (The Mojomatics), she made her way to Los Angeles, where she self-published her first album in 1997.

Magness’ latest CD is the self-released Original, her finest work to date. This is her first album on her own after six years with Alligator Records, and Janiva is treading new ground by stepping up and co-writing seven of the eleven tracks on the disc. This project was produced, recorded, and mixed by Dave Darling, who worked on her three previous albums as well as with an impressive list of artists that includes The Stray Cats, Brian Setzer and Glen Campbell.

From the first track the listener will know why she did not have a blues label make this record. There is blues foundation to everything she does, but this music expands into soul, roots and Americana, so it is impossible to assign it to any one genre. “Let Me Breathe” gives heartbreaking insight into the feelings of emptiness and guilt following a hard break-up, accompanied by sultry and soulful lyrics with hard blues guitar riffs. This contrasts well with the message of hope found in “Twice as Strong” an upbeat pop/soul song with neat background harmonies and the tight backline of Gary Davenport on bass and Matt Tecu on drums.

“When You Were My King” is one of Janiva’s collaborations with the Australian songwriting team of Lauren Bliss and Andrew Lowden, and they definitely clicked on this one. This bittersweet R&B tune slows things down and serves a vehicle for Magness to display her softer side. Jim Alfredson sets the background with his keyboards, and Darling contributes a sweet guitar countermelody. After mourning the loss of her love, for the next track she opines that that void needs to be filled. “I Need a Man” is an upbeat rocker with a Bo Diddley-esque beat that gives the lady a chance to tear loose and her emotion proves to be contagious.

One would think that with her tough upbringing and plenty of bad turns in recent years (divorce, deaths of friends and family, and a major surgery that could have taken her singing voice), that this could be an album of pain and bitterness. Janiva somehow puts all of this into perspective and provides a healthy dose of introspection and hope, as seen in the standout track “With Love,” which features Dan Navarro of the hit songwriting team, Lowen and Navarro, on backing vocals.

The album’s closer, “Standing,” is another group effort from Magness and Bliss/Lowden with a pretty melody (Alfredson’s piano and Zach Zunis’ guitars are lovely counterpoints) and poignant lyrics of loss and strength. Though this is a very slow rhythm and blues track it is far from dull as it builds drama throughout, even as it slowly rolls to a close. This song is the final reminder that Original maintains good pacing throughout and it is helped along with slick production, good musicians and classy arrangements. There is nothing to find fault with here, and Dave Darling fulfilled his role as producer handily.

Original is a stunning album in its honesty and craftsmanship; Janiva Magness has a hit on her hands and surely there will be a few more awards coming her way. But her live show is exceptional too, and these songs will make the transition to the stage very well. So buy the CD, but also make plans to see her on the tour as she has a staggering number of stops before the end of the year and there will surely be one near you!

Mahalo!

Blues Blast Magazine Album Review: Craig Brenner – Live at the Old Mint

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This CD review was originally published in the July 24, 2014 edition of Blues Blast Magazine. Be sure to check out the rest of the magazine at www.bluesblastmagazine.com

Craig Brenner – Live at the Old Mint |Album Review

Self Release

www.craigbrenner.com 14 tracks / 53:15

There is just not enough good boogie-woogie music being recorded anymore, and fortunately the drought has ended with Craig Brenner’s first new album since 2009, Live at the Old Mint. He has assembled a collection of blues and boogie-woogie tracks from his live shows that will surely lift your mood!

Craig is one of the best-educated pianists around; after attending college in Florida he moved to the Hoosier State in the mid-1970s to study at the Indiana University School of Music and he never left. Since then, Brenner has studied classical, jazz and boogie-woogie piano with the masters of each genre, and has received multiple grants from the Indiana Arts Commission. He is serious about his craft, and it shows in his performance.

This certainly is a live album, but this is not just a recording of one show at the Old US Mint in New Orleans (and it really is an old mint, in case you were wondering). This CD is actually a collection of 14 songs culled from 5 different performances spanning seven years. Included are 10 songs from two shows at Old US Mint, three more from two shows from Artsgarden in Indianapolis, and a track from a radio show that he and his wife did in 2013. This set avoids being a hodgepodge thanks to the wonderful job of mixing and mastering done by Jacob Belser of Primary Sound Studios in Bloomington, Indiana – for the most part there is a very consistent sound, feel and flow to the music.

Brenner produced this album himself, and it includes six compositions that he wrote as well as a nice collection of songs that could easily be the final exam for a musician that is seeking a doctorate in blues and boogie-woogie piano. One of these is the first song in the set, “I Stepped in Quicksand” written by the legendary jazz and blues pianist, Charles Brown. Craig takes this one on his own, and there is a fun jazz influence on this one that goes well with his thin, yet pleasant, tenor vocals. The piano sounds clear on this one and there is only a hint of hiss and sibilance, which is to be expected on a live recording of this type.

From there he heads into one of his own compositions, “To Boogie or Not to Boogie,” one of the eight songs on this disc that he recorded with Alfred “Uganda” Roberts on congas. I would never think of combining congas and hard-hitting piano music, but it works on this straight-up boogie-woogie tune, probably because of the talent behind those drums. Roberts is a Crescent City native who turned his percussion work into a career that included performing and recording with heavyweight artists that include Professor Longhair, Allen Toussaint, The Meters, Snooks Eaglin, Gatemouth Brown, Willie Tee and Dr. John.

The covers are all super-cool! They include gems like “Train Blues”, a faithful rework of Lux Lewis’ “Honky Tonk Train Blues” which has a glorious saloon piano sound. Or Brenner’s version of Pinetop Smith’s 1928 seminal hit “Pinetop’s Boogie Woogie,” his joyous hammering of Professor Longhair’s “Hey Now Baby,” and the familiar sounds of Jimmy Forrest’s “Night Train.” But the standout of these has to be “Mess Around,” a song written by Atlantic Records president and founder Ahmet Ertegün which was one of Ray Charles’ first hits in 1953. The audience really gets into this song and claps along as Craig hoots the vocals and Roberts keep the beat with his congas. This must be something to see live, and of course everyone can commiserate that they don’t want their little girl to mess around.

One of the more fun tunes is Brenner’s original “Crawdad Shuffle” that he performed with his significant other, Lori, at the Indiana University Radio-Television Center in Bloomington in 2013. This instrumental features Mrs. Brenner on a rubboard which is placed far forward in the mix, and Craig almost takes a supporting role to its hypnotic scrapings. The rubboard and congas are not ordinarily leading instruments, and it is fascinating that Brenner can pair up with these percussion instruments and allow them to shine.

The tunes on this CD go by quickly, and before you know it the final track, “Carolina Shout,” will be coming through your speakers (or headphones). Recorded at Artsgarden in 2011, this James P. Johnson song from 1921 has no vocals or accompaniment, just Craig showing incredible timing on what has to be one of the most difficult songs to play correctly. This ragtime song has some jazz influence with a tremendous dynamic range and rhythms that are as tricky as they come. Craig totally nails it, and it is the perfect way to close out the set.

Live at the Old Mint is a good effort from Craig Brenner and a fine showcase of his piano and songwriting skills. If you are not a fan of boogie-woogie, do not let this one scare you off. There is still plenty of blues, ragtime and even jazz to be found on this disc, and you will certainly find something that you like!

Mahalo!