Smoky Greenwell – South Louisiana Blues | Album Review

Smoky Greenwell – South Louisiana Blues

Self Release

www.smokygreenwell.com

12 tracks / 51:00

Smoky Greenwell has certainly earned the distinction of being a fixture of the New Orleans Blues scene, and in his career he has played with War, Johnny Neel of the Allman Brothers, Warren Haynes, and many more, as well as fronting his own band. He has not been shy about recording his own work either, with eleven CDs in his catalog, with his the most recent releases being last year’s amazing Live at the Old U.S. Mint and his solid new release, South Louisiana Blues.

For South Louisiana Blues, Greenwell has collaborated with some of the best musicians that the Crescent City has to offer, including co-producer, songwriting collaborator and guitarist Jack Kolb, bassist David Hyde, and Doug Belote on the skins. Guest artists include none other than keyboard master Johnny Neel, Joe Krown (also on the keys), drummers Willie Pankar and Pete Bradish, and back-up singers Lynn Drury and Dana Abbott. Smoky brings the lead vocals, his harp and a tenor saxophone to the mix for this project.

This disc was cut by David Stocker at NOLAs Audiophile Recording Studios, and it includes a dozen tracks, with five songs that were written by Smoky and/or Jack. Many of the other tunes were written by folks with connections to the Deep South, which is where the album title came from. First up in the band’s set is an original boogie, “Animal Angels” with a cool 1960s groove and sinister vocals plus plenty of sweet harp from Greenwell. You can tell he has been playing the harp for four decades! This is followed up by a swamp rockish rendition of Wilbert Harrison’s classic “Let’s Work Together” with Johnny Neel behind the piano, heavily processed guitar from Kolb, and lovely backing vocals from Drury and Abbott.

Smoky must be a fan of Cornelius Greene, a native of the Sportsman’s Paradise who you may know better as Lonesome Sundown. There are three songs from this master of swamp music: “Lonesome Lonely Blues,” “I Had a Dream Last Night,” and “I’m Glad She’s Mine.” The latter is a slick bit of rhythm and blues with Smoky’s mellow vocals and sweet saxophone, a tight guitar solo from Kolb, along with the added bonus of thumping drums from Pete Bradish and a consistent 12-bar blues riff from Neel and Hyde. This is one of the standout tracks from the disc, in my opinion – it has it all! Other interesting covers include countrified versions of Wilie Dixon’s “Two Headed Woman” and Bob Dylan’s “Dirt Road Blues.”

There is also a passel of neat instrumentals to choose from, including Cal Valentine and Wally Cox’s “Boogie Twist,” featuring cool B3 from Neel, the funky “Pick It Up,” and Jack Kolb’s “The Hunch,” which has (not surprisingly) all kinds of cool guitar stuff going on and a raunchy harmonica solo from Greenwell. The last of these is the closer, “Walking with Mr. Lee” which allows Smoky to cut loose one last time on his sax to the accompaniment of clanking beer bottles and the reverie of bar patrons.

South Louisiana Blues is a really cool release from Smoky Greenwell and his friends, and it has a lot going for it. For starters, there are the pure talent and decades of experience that make Smoky the real deal, his band mates are all consummate professionals with great chemistry, and the disc is very well produce and recorded. It has a warm and full sound, and the material is enjoyable to listen to time and again. Check it out for yourself and make sure you head over to Smoky’s website to check out his calendar; it would be awesome to catch one of his Monday night blues jams the next time you are in New Orleans!

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!

Keith Stone – The Prodigal Returns | Album Review

Keith Stone – The Prodigal Returns

Self Release

www.keithstonemusic.com

11 tracks / 50:36

I am rarely disappointed when I get new music out of New Orleans, and Keith Stone’s debut solo album, The Prodigal Returns, is no exception – this stuff is dynamite! Stone is the real deal, born and raised in the Crescent City, where he learned his craft and cut his musical teeth. After a successful stint on guitar with Willie Lockett & the Blues Krewe, Keith and his wife Cindi left town in the mid-90s so he could get his life in order and he found a place in the world where he could use his musical gifts as a ministry to help others.

But Keith and his wife could not give up on his old hometown and after Hurricane Katrina tore the city apart in 2005, they did what they could to help out. That was not enough for them, and they ended up moving back to The Big Easy a few years later to start a non-profit that recruited thousands of volunteers and raised millions of dollars to aid in the much-needed recovery. It did not take very long for Stone to renew old acquaintances and work his way back into the local music scene, and many of these friends pitched in to help out on this album. For the core band Keith handles the vocals and guitars, producer David Hyde plays the bass, Nelson Blanchard is on the drum kit (as well as backing vocals and keys), backing vocals are provided by Elaine Foster, and Lacy Blackledge and Mike Broussard play the horns. That is not all, as you will find that there are a lot more friends that stopped by the studio.

The Prodigal Returns is bookended by a pair of tracks that are the essence of New Orleans. Credit for this goes to the inclusion of the legendary Dr. John on piano, Joe Krown on organ, Bruce “Sunpie” Barnes on accordion, Doug Belote on drums, and a horn section that includes Tim Stambaugh (sousaphone), Kevin Clark (trumpet), David Phy (trombone), and Cale Pellick (saxophone). The way that “Prelude” and “Just a Closer Walk with Thee” are presented makes them timeless, and the sound is just right with the snare, accordion, and piano perfectly set in the mix. In between these two tunes there is a well-rounded selection of songs in musical styles that represent a lot of what the town has to offer.

These other nine tracks are all originals, with Stone getting writing credit on all of them except for one that Hyde penned. These songs all show mature songwriting with catchy rhythms and lyrics that show that Keith is not afraid to get personal. They are all good, and here are a few of my favorites:

-- “First Love” is a smooth and dramatic blues song with a lot of space in the bass line and tight horns from Blackledge and Broussard. Blanchard shows a lot of versatility by filling in some tasty piano and organ work as Stone wails on the guitar and belts out the vocals.

-- “Cindi Leigh” is a sweet ode to Keith’s wife, and it has a cool New Orleans feel thanks to Sunpie’s accordion, and a little frottoir (washboard) and cowbell from guest artist Andy J. Forest. As an added bonus, Broussard nails a solo on his sax and Blanchard provides vocal harmonies as needed.

-- You cannot beat a cool and jazzy instrumental, and “Buster’s Place” delivers. Stone has a different guitar tone on every track and this is one of the tastiest ones that you will find on The Prodigal Returns. It mixes well with the horns, including a crazy good trumpet solo from Lacy Blackledge.

Keith Stone has crafted a wonderful tribute to New Orleans with The Prodigal Returns, and it is a slick journey through the many types of roots and blues music that can be found in his hometown. He has proven that he is a very good singer, songwriter, and guitarist, and he not letting any grass grow under his feet as he is already working on a new project with plans for touring later this year. But for now make sure you check out his new CD, as it is a winner!

Kern Pratt – Broken Chains | Album Review

Kern Pratt – Broken Chains

Gigtime Records

www.kernpratt.com

13 tracks / 44:42

Kern Pratt has got to be one of the hardest working singers and guitarists in the blues business right now. The Mississippi Delta native has a pretty heavy gig schedule within the Magnolia State, and he plays festivals like a madman, having hit most of the ones within driving distance, and he even plays at the Mississippi Picnic each year in Central Park. This is in addition to having a history of opening up for blues heroes such as Elvin Bishop, BB King, Dr. John, Bo Diddley, Johnny Winter, Delbert McClinton, Eddie Cotton, Bernard Jenkins, Dorothy Moore, Bobby Rush, and Bobby “Blue” Bland. Some of these folks are no longer with us, and what a great honor it must me to have shared the stage with them!

Broken Chains is Kern Pratt’s new album, and he wisely chose to fill the studio with first-rate talent to back him up. The core crew includes Denise Owen on some of the lead vocals, David Hyde on bass, Nelson Blanchard and drums and keys, and Sam Brady behind the Hammond B-3. There is also a killer horn section of Lacy Blackledge, Rob Henderson, Pete Verbots, and Chris Bellleau.

This 40 minute CD (or download, if you are an iTunes person) has twelve tracks with five Pratt-penned originals and some well chosen covers. The album is bookended by a pair of cool resonator guitar Delta-style instrumentals (“Delta Mourn’” and “Broken Chains”) courtesy of guest artist and roots music master, Wes Lee. These songs help to set the mood and remind the listener where Kern is coming from.

The originals are all good, but there are a couple of standouts that should be mentioned. “Greenville Mississippi Blues” checks all of the boxes with well-placed horns, special guest Eden Brent on the piano, and some excellent slide guitar work as Pratt howls out the vocals. And “Cotton Pickin’” is a upbeat electric blues instrumental with tight integration of horns into the guitar leads. The only thing wrong with this song is that it should have been twice as long – three minutes is just not enough.

The covers are a cool bunch too, and reflect Kern’s love for all of the blues sub-genres, spanning more than half a century. The oldest of the bunch is the Mel London 1940 blues standard, “It Hurts Me Too,” which was covered by Elmore James and Junior Wells. This take on it is just vocals and acoustic guitar, with some tasty harp work courtesy of Luc Borms. Moving forward to 1969, there is “Soulshake,” which was originally recorded by Peggy Scott and Jo Jo Benson. Denise and Kern share the lead vocals on this one, which shares the bouncy feel of the original, but with the benefit of way better musicians and recording practices. But, the standout of the covers is Albert Collins’ “Lights are On, But Nobody’s Home” from his Grammy-nominated Cold Snap album (Alligator Records). Pratt tears the strings off his guitar and sings the lyrics with true feeling.

Kern Pratt did a great job with Broken Chains, and he should be proud of the work he and his friends did in the studio to bring each of the songs alive with their slick blend of blues, soul, and rock. So, head over to his website and give It a listen, and while you are at it check out his gig schedule. If you are anywhere around Mississippi before the end of the year you have to get out and see his live show!

Fo’ Reel – Heavy Water | Album Review

Fo’ Reel – Heavy Water

Self Release

www.foreelband.com

11 tracks / 53:06

Fo’ Reel bills themselves as a “New Orleans All Star Blues Funk” band, and though it sounds like hyperbole, there might just be something to their boast. Just looking over the list of personnel for their new album, Heavy Water, proves that they have a lot of powerful musicians in the line-up.

For starters, C.P. Love, the legendary Crescent City soul singer is their frontman, and a couple of Grammy winners are on the bill too: Jonny Neel behind the keyboards (Allman Brother, Gov’t Mule, and Dicky Betts) and Jon Smith on tenor sax. David Hyde takes on the bass chores, and the drums were played by Daryl Burgess or Allyn Robinson, depending on which city the recording session was in that day (New Orleans or Nashville). This ensemble is rounded out by Ward Smith on baritone saxophone, Barney Floyd on trumpet, and songwriter Rick Lawson, who provided the lead vocals on four of the tracks.

But do not forget guitarist and executive producer Mark Domizio, who is their leader and the brainchild that turned this group of journeyman musicians into a cohesive whole. David played with Dr. John’s band for 40 years, and has been a first-call guitarist on the New Orleans scene for just as long. Now that this disc is cut, he will be taking some of these guys on the road to spread their brand of blues to the hungry masses.

For a “New Orleans All Star Blues Funk” band, their selection of music is not what you would think it would be – what they play is not exactly the New Orleans Blues. Though there is an undercurrent of the NOLA vibe, their music has a smooth and soulful modern blues sound that is not loaded up with accordion, washboards, or raw production values. It is a fresh blues-based sound that incorporates elements of jazz, soul, funk, rhythm and blues, Latin beats, and even a little Texas swing. This album is as slick as hell with high-quality and seamless production, and the band cranks out eight original songs and three clever covers in just under an hour.

Heavy Water kicks off with “Breaking up Somebody’s Home,” the first of the three cover tunes. This Albert King standard differs from other versions that came before as it is more soul-based, with some incredible Hammond work from Neel, and killer horn arrangements from Smith. Love’s vocals are strong and suitably harsh and emotional for the theme of this song.

Love also takes the lead vocals on the other two covers: “Shake N Bake” and ”Just as I Am,” both of which were recorded by the late Luther Allison. The former is a slow-rolling funk masterpiece, and the latter borders on gospel. The common ground between the two is the rock-solid backline, Domizio’s stellar lead breaks, and the incredible keys of Neel.

Rick Lawson’s smooth voice brings more of a 1970s funk style to “Shake N Bake” which is an explosion of raw horns, retro synthesizer sound, and hammering snare and hi-hat. But otherwise, his vocals are used for slow-rolling blues tunes, including “Leave Your Love Alone,” “Blues,” and “Outside Love.” These latter two also feature some sublime slide work from Domizio.

As cool as all of this is, there are a few instrumentals that will really knock your socks off too. “Gate” is a jazzed-up Texas swing tribute to Clarence “Gatemouth” Brown, with some trick fingering on the guitar and razor sharp horns, including a fabulous tenor sax solo from Smith. They chose to end the set with “Tater,” a jazzy horn fest with a funky beat.

Fo’ Reel’s Heavy Water is a very good album with first-rate writing, arranging, performance and production. If you like contemporary blues or soul, this disc is a must-buy, but also consider their live show if you are looking for a fun evening of righteous music. For details of how to purchase the CD or to see their gig schedule check out their website at www.foreelband.com

Thanks for checking in!