Blues Blast Magazine Album Review: Henry Carpaneto – Voodoo Boogie

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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

Henry Carpaneto – Voodoo Boogie | Album Review

OrangeHomeRecords

www.orangehomerecords.com

12 tracks / 66:23

A long path was traveled to produce Italian pianist’s Henry Carpaneto’s debut album, Voodoo Boogie. The journey started in New Orleans after a tour with famed blues guitarist Bryan Lee when the two of them headed into the studio to lay down the keyboards and Lee’s guitars and vocals. After two years, Lee sent the tracks along to Henry in Italy where the bass, drum, and saxophone tracks were recorded. The final three tracks were finished up in London with guest artists Otis Grand on guitar and Tony Coleman on the drums. The final results are very good, with a strong set of piano-driven blues that should please most blues fans.

Henry Carpaneto is the top blues pianist in Italy and is constantly working, but his reach extends beyond the European continent to the home of the blues in the United States. He appears at major festivals and shows across America, including recent gigs at the New Orleans Jazz Festival and the Blues Memphis Awards. He has worked with a fine group of solid musicians over the years including Guitar Ray & the Gamblers, Jerry Portnoy, Lea Gilmore, Sonny Rhodes, Paul Reddick, and Big Pete Pearson.

Voodoo Boogie comes in at well over and hour and is made up of eight songs written by Lee and four neat cover tunes. The first track is the original tune “Drinking and Thinking” with a heavy beat and a sweet guitar and piano intro. Lee has a very effective tenor voice to go along with his perfect guitar phrasing, and Carpaneto bangs out a complicated honkytonk piano part throughout. All of this is set over the rock-solid beat of the house band of Andrea Tassara on drums and Pietro Martinelli on the double bass.

Henry switches to the Wurlitzer for “My Brain is Gone” which is a well-written 12-bars blues track with jazz influences. Lee knows how to build a song as well as he plays the guitar, which is no small feat, and he and Carpaneto trade solos in this mid-tempo piece that will put a smile on your face. “Angel Child” brings Paolo Maffi’s saxophone into play on the album. This slow 12-bar blues song uses the age-old theme of lost love to good effect, and hearkens back to the transition of blues to rock in the mid 1950s.

The three London tracks feature classic big band blues leader and guitarist Otis Grand and B.B.King’s drummer, Tony Coleman. There is Louis Jordan’s jump blues classic “Caldonia,” so of course Maffi’s saxes are prominently featured as well as Grand’s red-hot leads. Another fine selection is B.B King’s “Rock Me Baby” and Lee does a respectable rendition of the Beale Street bluesman’s classic vocal sound as Coleman keeps time on his hi-hat.

Just to show you that Henry has a bit more in his bag than the blues, the band tears off a quick ditty, the Latin-themed “Mambo Mamma” which might not be the most politically correct tune in the world “She’s not fat, she’s just tall…” but it certainly is a fun song! They also throw a little boogie-woogie into the mix with “Turn Down the Noise,” which provides a nice break in the heavier blues action.

The album draws to a close with one last original, “Blind Man Love,” which is five minutes of slow-tempo juke joint glory. An old-time feel is attained through Lee’s dirty guitar (which features a fabulous solo) and Carpaneto’s saloon piano sound that benefits from a strong right hand. When the song is over do not pop the disc out right away, as there is a bonus track hidden at the end that provides one last taste of Henry’s piano magic.

Henry Carpaneto’s Voodoo Boogie is a testament to the value of hard work, perseverance, and good communication. It stands together as a singular body and does not sound like a mishmash of different pieces that were stuck together, which is a real danger with projects that were spread out like this one. Henry and Bryan can be proud of the work they did here, as the result is a solid set of piano-driven blues that is worthy of your valuable listening time and a bit of your hard-earned money.

Blues Blast Magazine Album Review: Doug Otto and Hurricane Harold – Blues at Barkin’ Jack’s

Good day!

This CD review was originally published in the February 19, 2015 edition of Blues Blast Magazine. Be sure to check out the rest of the magazine at www.bluesblastmagazine.com

Doug Otto and Hurricane Harold - Blues at Barkin’ Jack’s

Self Release

10 tracks / 36:53

A lot of new blues music has to be described in terms of the other genres that have influenced its sound, for example, blues-rock, country-blues, and the old standard: rhythm and blues. There is no struggle to figure this out with Doug Otto and Hurricane Harold’s new CD, Blues at Barkin’ Jacks. This release is mostly blues at its most basic level – guitar, voice, and harmonica, and all of it is played with a remarkable brilliance. No drums, bass or keyboard were needed to achieve their goals, and the effect is really cool.

Both of these gentlemen hail from the Twin Cities, and those long cold winters in the great white north have apparently given them the opportunity to hone their chops! Doug Otto provides the guitar and vocals for this project, but he also finds plenty of work with his own bands, the Getaways and North Country Bandits, as well as sitting in with the No Accounts. Hurricane Harold Tremblay is a master harmonica man (a mentor of Curtis Blake), and co-founder of Cool Disposition. He also hosts a weekly blues show on KFAI radio in Minneapolis and leads the All-Star Revue, which features some truly fine artists from Minnesota – he is a genuine renaissance man.

Blues at Barkin’ Jacks has ten tracks that are mostly covers of wonderful vintage blues tunes, along with three originals that were written by Otto. It was recorded live in the studio with no overdubs and no more than two takes for any song. Jeremy Johnson did a wonderful job of engineering and mixing the guys’ time in the studio, and the final product has a clean sound that makes it sound like these guys are playing in your living room.

After starting off the set with a slow-driving rendition of Howlin’ Wolf’s “Asked for Water,” the duo plays the first of the three originals, “Broken Thoughts.” Otto’s writing on these songs has more of a roots and country-blues theme, and all of them are well suited to his pleasant tenor vocal range (which makes him sound a bit like Eric Clapton). His songwriting is mature, with good imagery and phrasing, which can also be found on “Heart to Heart” and “My Time is Moving Slow.” The latter gives Tremblay a chance to sing harmonies, which is a cool effect as his voice lends a unique droning effect. This is the standout track in the album, without a doubt.

The rest of the songs are straight-up Maxwell Street blues material, as can be heard from Muddy Waters’ “Long Distance Call,” which uses subtle electric guitar chording with a heavy bass beat while Harold shows off his fine feel for the harp. Otto’s guitar tone is outstanding on Skip James’ haunting classic “Hard Time Killing Floor,” and he also delivers a surprisingly good falsetto vocal performance, which is a hard thing to accomplish for most singers.

The classics continue with Lonnie Johnson’s “She’s Making Whoopie (in Hell Tonight)” which would be a hard song to write today, but in 1930 there were no political correctness police to contend with. There are also a couple of well-done Robert Johnson tunes, “Hell Hound on My Trail” and “Kind Hearted Woman,” that are delivered in a wonderfully laconic style.

Despite the good craftsmanship these gentlemen showed on the cover tunes, the originals are exceptionally special, and are the highlight of this disc. A full-length album of Otto-penned originals would surely be a good listen, and hopefully this pair will have the chance to continue their work and head back to the studio to give us a bit more of this wonderful stuff.

There is a lot to like about Blues at Barkin’ Jack’s, and Doug Otto and Hurricane Harold really delivered the goods. Their bare bones live sound is clear, and the selection of tunes that they assembled works well together. There is no mistaking this album for anything but the blues, and you should certainly give it a listen!

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.

Jeff Jensen – The River City Sessions | Album Review

Jeff Jensen – The River City Sessions

Swingsuit Records

ww.jeffjensenband.com

www.swingsuitrecords.com

12 tracks / 67:00

Jeff Jensen is one of the most energetic and engaging performers on today’s music scene, and his live shows are an amazing blend of the blues, funk, rock, and roots genres. You may know Jeff from his last release, Morose Elephant, which was an excellent album. This left coast bluesman has done wonderful work since his move to Memphis in 2011 (where he was director for Brandon Santini’s band), and since then his grueling solo tour schedule has continued unabated.

His latest disc is The River City Sessions, a live show that was recorded in December 2015 at the Ardent Studios in Memphis, Tennessee with an audience of the band’s fans in attendance. Jeff provided the guitars and vocals for this show and was joined by Bill Ruffino on bass and Robinson Bridgeforth on the skins. This club-friendly set included eight original songs and three cool covers.

After a quick intro from the famed Memphis bassman, Leo Goff, the band kicks off with a searing rendition of T-Bone Walkers’s “T-Bone Shuffle,” complete with an almost jazz-like interlude. Jeff has a tremendous vocal range that comes off as natural and relaxed, and his guitar chops are first-rate. This is pretty much one of the best live shows you will hear, as in the controlled environment it is easier to get everything at the right levels. So, the end result is a studio album with the spontaneity and audience reactions of a live show. One take!

From there they segue into an original, “Make it Through,” which is more casual with a gulf coast feel. This fun blues-rock tune highlights the tightness and talent of Ruffino and Bridgeforth’s backline. Then, “Empty Bottles” uses more light-hearted lyrics over a simple beat to show another side of the band’s ability. Jeff lays down a smooth solo, and eventually the tune flips into a full-blown rocker.

The band included a couple of instrumentals to break up the set. “JJ Boogie” starts out with the audience enthusiastically clapping along and once the band get going on this driving song it becomes hard to believe that there are only three of them on stage. Changes in dynamics keep things interesting, and there is no boring flailing on the instruments to be found here. In fact, this is the most kick-ass instrumental blues that I have heard in a long, long time. The other instrumental is “Elephant Blue” (from the Morose Elephant album), and this up-tempo piece features chords that give it an Eastern European mood. You will even hear a bass solo here, and it actually good with no gratuitous popping or slapping.

Jensen and his friends came up with a couple of other covers for the audience’s entertainment. Tom Waits’ “Hear Attack and Vine” (also covered on the Road Worn and Ragged disc) is more conventionally constructed and accessible than the original, and Jeff hollers out Waits’ horrible lyrics that expose the darkness of man while Bridgeforth hits the drums with everything he has. The group finishes up the CD with Dylan’s “All Along the Watchtower,” and after a jazzy intro they turn it into something bluesier than Bob’s version, and smoother than how Hendrix played it. Pretty much it became a Jeff Jensen song at this point, which is a good thing.

If Jeff Jensen and the band needed to find gigs, The River City Sessions would be the perfect demo and would surely find them plenty of work. But looking over their website, it appears that they are really busy with a European tour, and there are many US dates scheduled after they get home. So, you need to give it a listen for yourself and use what you hear for motivation to get off the sofa and head out to one of their shows. This could be your ticket to the Jeff Jensen experience!

JP Soars – Full Moon Night in Memphis | Album Review

JP Soars – Full Moon Night in Memphis

Self Release

www.jpsoars.com

14 tracks / 57:00

JP Soars is a seasoned guitarist, singer, and songwriter out of Florida, and his latest release Full Moon Night in Memphis is a heady piece of work. If you have not heard of him, you should have: he won the 2009 IBC in Memphis, a Blues Blast Music Award for Best New Artist Debut, and he teamed up with Damon Fowler and Victor Wainwright to form the all-star band, Southern Hospitality. This is his third solo album, and he was joined in the studio by Todd Edmunds on Bass and Chris Peet behind the drum kit. The disc comes in at nearly an hour, and includes twelve original songs and two covers.

The band kicks off their set with the title track, and there is nothing here but pure hard-rocking blues. “Full Moon Night in Memphis” is full of greasy electric slide guitar, growly vocals from JP, fat bass, sharp drums, and a little harmonica help from the ace-high harpman, Brandon Santini. Santini also sits in on “The Road Has Got Me Down,” a countrified tune with pedal steel and sassy backing vocals from Teresa James.

This track is recorded well, with a good mix and writing, which bodes well for the rest of the album. As things move along, there are no distractions in the production or lyrics to keep you from enjoying each song. Besides Santini, there are a few other guest artists sprinkled throughout the album, including Mark “Muggy Doo” Leach on the Hammond B3. He appears on the funky second track “Back to Broke” as well as on “The Back Room” and “Thorn in My Side.” The latter is a bit of a departure from the rest of the material as it has a more of a contemporary southern rock feel with the B3 setting the mood and some wonderful slide work from Soars.

The two cover tunes are pretty cool, too. T-Bone Walker’s “Mean Old World” shows that JP respects the history of blues, and also that he is creative enough to spice things up a bit where needed; he tuned this up with a slightly funkier beat to make it fit in with the rest of the material on this release. Soars brought in a few horns (Chaim Rubinov and Scott Ankrom) and a quartet of backing singers for Cab Calloway’s scandalous 1932 hit, “Reefer Man.” JP does a respectable Calloway imitation and honks along on the guitar in this high-energy song, which is one of the standout tracks on the disc

Nobody is going dispute that JP Soars is a fine guitar player, and if they did have any doubts about his talent “Lil’ Mamacita” should be enough to convince them. This acoustic instrumental is full of guitar fireworks, cool Latin groove on the drums, and a simple yet satisfying bass line. Raul Hernandez adds a little Latin percussion punch to the proceedings on this one. After this, the set draws to a close with “Missin’ Your Kissin’,” a lovely swing song that features Terry Hanck on the saxophone. Soars and Hanck are completely off the leash for this track, and they each deliver red-hot solos. What a cool way to finish things off!

Full Moon Night in Memphis from JP Soars is his finest work to date and a must buy CD for blues fans as every track is a very good listen. And if you are around south Florida any time soon check out his website as he has a few gigs scheduled before the end of year. You will have a blast, guaranteed!

Blues Blast Magazine Album Review: Barry Big B Brenner – Keep It Clean

Good day!

This CD review was originally published in the April 17, 2014 edition of Blues Blast Magazine. Be sure to check out the rest of the magazine at www.bluesblastmagazine.com

Barry Big B Brenner – Keep It Clean

Self Release

www.bigbbrenner.com

10 tracks / 35:16

In the last half of the 20th century there was a fundamental change to blues music as electric guitar, electric bass and keyboards breathed new life into this age-old genre. But, there is a still a primal allure to the purity of pre-electric blues, and this is where Barry Big B Brenner excels.

Barry Brenner grew up on the south side of Chicago where he taught himself to play the guitar and sing. Although he became more than proficient with the electric guitar, he decided that his career would be centered on a more acoustic sound. After being in bands and playing along such notable musicians as Albert King and Eric Burdon during his 30 years on the stage, he is now on his own playing a seemingly endless series of solo acoustic club gigs near his new hometown in the Verdugo Hills area of Southern California.

His third self-released CD is Keep it Clean, a collection of ten original and traditional blues and folk tunes. If there is anything you do not like about this release it is all on Barry, as he pretty much did all of the work on this disc. He took care of all of the vocals and instruments (including acoustic six-string, twelve-string and National guitars), as well as all of the production and arrangement. That being said, chances are good that you are not going to blaming Brenner for anything, as this album is a neat piece of work.

The album starts off with “Follow the Drinking Gourd,” a song that begs more research. The exact history of this song is unclear before it was first published in the 1920s, but it is rumored to have connections with the Underground Railroad. Legend has it that the gourd that is referred to is The Big Dipper constellation that slaves used to help to navigate their way to the north. It is a somber folk tune sung in Brenner’s distinctive whiskey voice and accompanied by a few layers of strummed and fingerpicked guitars.

This recording project uses overdubs that allow Barry use vocal harmonies and have more than one guitar on each track, but there is none of the usual big-label polish here. There is a vibrant feel that carries over from his live show (I have attended one of his gigs), and there is a great variation in volume and presence within each song that that adds drama and interest to tunes that have inherently simple words, as well as his amazing instrumentals.

The three instrumentals each have a unique feel, letting the listener know that Brenner is not a one-trick pony on the guitar. “Reap what You Sow” is a slow blues song with heavy National guitar, “Cochinonas” has a jaunty Latin feel and “St. Elmore’s Fire” is a folk blues. They are all very good, but the last one on the list is the standout of the instrumentals, as it has the most interesting melody and harmonies, as well as exceptional slide guitar work.

Some of the tracks are more folk-oriented, but their lyrics carry the spirit of the blues down deep in their soul. These include “The Back of His Hand,” a song that implores the listener to appreciate what they have and to remember that fortunes can change in a heartbeat -- this is not the Dwight Yoakam song, in case you wondering. The other is “Stack O’Lee,” which was a #1 hit for Lloyd Price in 1959, though the best version is the one that Mississippi John Hurt cut in 1928. The lyrics are an the intriguing story of Billy Lyons’ murder on Christmas day of 1895 by notorious St. Louis pimp “Stag” Lee Shelton. Brenner brings both of these songs to life with his pleasant voice and harmonies, showing that his guitar is not the only thing he has mastered over the last three decades of his career.

The strongest track on Keep it Clean is Blind Boy Fuller’s 1938 song “Pistol Snapper Blues,” and you may be familiar with the version that was recorded by the Irish blues guitar legend, Rory Gallagher. Barry kept a traditional country blues sound for this song, and when listening to it there is no way to tell that it was not recorded during the 1930s: it is that timeless.

The album ends on a happy note with the title track, which was a hit for Charley Jordan in the 1930s, and more recently covered by Lyle Lovett while Barry was in the process of recording Keep it Clean (bad timing, I guess). Big B’s version benefits from sweet upbeat fingerpicking and the fun lyrics that make it seem more like a good-time summer tune than the southern blues that it actually is.

Keep it Clean is a solid album, and Barry Big B Brenner did a good job of keeping this project on track and arranging a collection of well-matched roots and blues songs that can stand by themselves or work together as a whole. If you like this CD, you should check out his live act, as he has plenty of shows around So Cal, including regular gigs at South Pasadena’s Firefly Bistro for the weekly Burgers, Beer and Blues show and their Sunday Blues Brunch.

Mahalo!

Sauce Boss – 100% Pure | Album Review

Sauce Boss – 100% Pure | Album Review

Self Release

www.sauceboss.com

12 tracks / 43:07

Not too many one-man band blues albums come across my desk, so Sauce Boss’ 100% Pure really stood out when it arrived in the mail. After giving it a listen or two, I found out that it is a fun disc that has a lot to say for itself!

The Sauce Boss is Bill Wharton, and it is not just a clever nickname – he actually sells his own brand of hot sauce on his website and at his shows. But, more than this, Wharton mixes his loves of music and food together, while also giving back to his Florida community. He donates his time, talents, and gumbo to shelters to help out and lift up the spirits of those that are not as fortunate.

For 100% Pure, Wharton did all of the heavy lifting, performing all of the instrumental parts as well as handling the vocals, songwriting and production chores. The twelve tracks are a fun blend of roots and swampy Florida blues-rock, and he kicks off the set with “Zipper Bird” and right off we learn that the Sauce Boss has the tastiest guitar tone in town. He combines this fuzzy six-string with an array of percussion instruments to obtain a surprisingly full tone, and you will hear that his one-man band concept is not a gimmick – he is the real deal.

For “Marquis de Swamp” (greatest title ever) Bill uses guitar synth to achieve a dark and spooky mood as he howls the vocals with gusto. He then changes gears quickly to play the hopeful “Gonna Be All Right” which features righteous slide work and Latin-tinged rhythms. Wharton digs deep for the vocals for “Chains,” a song about being tied down by the ones we care about.

The standout track on 100% Pure is “Delta 9 Blues,” an ode to the demon weed. For this song, Bill dirties up Delta blues with heavily processed slide guitar and combines it with innovative rhythms to get a very dark effect. But the mood does not stay down for very long, as after this track he tears off “Peckerwood,” a super-funky country tune with a really catchy guitar hook.

Many of the Sauce Boss’ songs are personal, and he has a fascinating life story, starting with his childhood in the Windy City. In “Chicago Combat Zone,” as Bill rips into his resonator guitar he references the tale of his daddy being mugged and beaten. And in “Outlaw Blues” he gives an amusing narrative of his brush with the law for an unauthorized agricultural project in the Sunshine State.

There is a little bit of everything on 100% Pure from the Sauce Boss, and it is all presented with the intention of providing the listener with a good time. Check it out if you get a chance, and head over to his web site at www.sauceboss.com to check out his gig schedule, as his live show must be something to see. You will find his gumbo recipe there too!

Howard Glazer – Looking in the Mirror |Album Review

Howard Glazer – Looking in the Mirror | Album Review

Self-release through Lazy Brothers Records

www.howardglazer.com

12 tracks / 58:47

There is a lot of soul in Detroit, a city that has a hard time over the past few years, but Howard Glazer is a great representative of the Motor City as is passionate for the city as he plays his own brand blues. His efforts have been noticed and he is certainly appreciated in his homeland, having been inducted into the Michigan Blues Hall of Fame and earning the 2014 Outstanding Blues/R&B Instrumentalist at the Detroit Music Awards.

Howard’s sixth solo album, Looking in the Mirror, is a wonderful blend of blues, funk, psychedelic rock, and swamp rock. He handles the guitars and vocals, and is joined by a capable crew that includes Chris Brown on bass and Charles David Stuart behind the drum kit, with additional vocals from Maggie McCabe and Stephanie Johnson. After cranking it up, you will find an hour of quality music with twelve original tracks written by Glazer, and not a cover song in sight.

The CD kicks off with the bawdy “Midnight Postman,” a rhythm and blues song with a healthy injection of funk and some fabulous B-3 work from featured artist Larry Marek. Glazer has the guitar chores nailed with his intuitive feel for the fretboard, and the ladies do a marvelous job of backing up his tenor vocals as he throws double-entendres out like a madman.

As you get deeper into it you will find that this album keeps things lively, and a great example of this is “All I Ever Wanted,” a refreshing blend of Creedence Clearwater-inspired swamp rock, interjected with a neat chorus featuring the ladies, not to mention a classy bass and guitar bridge. This song highlights what a terrific backline Glazer has found with Brown and Stuart!

Howard’s thoughts never go too far from his hometown, as shown by the jaunty 12-bar shuffle, ”Walking in Detroit.” He trades off on the vocals with McCabe as they call out the finer parts of the city, with a little help from the tasty trumpet work of David Kocbus. But when this fun song is over, Glazer does not let you forget that Looking in the Mirror is a guitar-driven blues album. He viciously tears through the next tune the playlist, the slow-burning “Eviction Blues,” which could very well be the standout track of the CD.

A very close second place for best song on the album is “Feeling so Bad,” Howard’s tribute to the late Johnny Winter. Glazer brings out his resonator guitar, and his slide work is a real treat. This bare bones song provides another piece of the blues puzzle for this project, and with the rest of the instruments stripped away it is a great showcase for what this man can do with his guitar, and the effect is amazing.

The set closes out with “Emergency” and no matter what you were expecting, there was no way it could be as awesome as this song! This is an epic psychedelic swamp song with crazy wah-soaked guitar tone and some tasteful electric flute from guest artist Tom Schmaltz. You heard that right: electric flute! This is not shtick – it is a heavy song that digs into the woes of the once-proud industrial capital of the United States. This song exemplifies what Glazer has accomplished with this disc, as he pushes musical boundaries to their limits while still managing to keep things tasteful.

Looking in the Mirror is a fine album, and Howard Glazer should be proud of what he has done here -- there are not many better ways to spend an hour of your time! So, why don’t you head on over to www.howardglazer.com to check out his catalog and to find out if he has any shows coming up in your area?

Thanks for stopping by!

Eddy “The Chief” Clearwater – Soul Funky | Album Review

Eddy “The Chief” Clearwater – Soul Funky

Self Release through Cleartone Records

www.eddyclearwater.com

12 tracks / 75:44

Eddy “The Chief” Clearwater is a certified Chicago hero, and is certainly one of the legendary blues guitarists/singers of the last half of the 20th century. Born as Edward Harrington in pre-WWII Mississippi, he moved with his family to Alabama where he taught himself to play the guitar (as a southpaw), and he took up with a few gospel groups. But the big city lights have their allure, and he finally had to take off for the Windy City in 1950 to live with his uncle.

He started his career in Illinois washing dishes, but he worked his way into some gospel gigs and eventually fell under the mentorship of Magic Sam. By 1953 he was performing as Guitar Eddy Clearwater, and he has not let up since -- that long of a professional music career makes for true guitar hero stuff!

Well past the normal retirement age Eddy is still out gigging and recording while most folks of his era are sitting at home and trying to figure out what to do with themselves. He has figured out what he wants to do, and that is playing the blues! His latest release, Soul Funky, is a wonderful glimpse into the world of his live show, as recorded at SPACE in Evanston, Illinois on January 10, 2014.

A killer crew joined Eddy that evening, and they brought some serious muscle to what must have been a crowded stage. This included Ronnie Baker Brooks on vocals and guitar, Johnny Iguana (the Claudettes!) on the keys, Shoji Naito on guitar and blues harp, Stephen Bass behind the drum kit, David Knopf on bass, and Thomas Crivellone on guitar. Eddy, Shoji and Rick Barnes produced this 12 song disc that plays out like a regular hour-plus club set, and they made sure that it would be a neat piece of work in all respects.

The show kicks off with “They Call Me the Chief,” a catchy intro that was written by Brooks, and it is the first chance on the CD to hear The Chief’s still-incredible guitar prowess. Eddy and Ronnie are proficient songwriters, which is fortunate as these gentlemen penned 10 out of the 12 songs on this album. From there they coasted into “Hypnotized,” an original funky blues tune with burning guitars from Brooks and Clearwater and sweet Hammond work from Iguana.

“Too Old To Get Married,” was written by Brooks and is catchy enough that hearing it once is enough to get it stuck in your head for the rest of the day. It has that Check Berry sound, this time with Naito on guitar and a little Jerry Lee Lewis piano thrown in for good measure. It is all good stuff, but the highlight of this album is a hybrid presentation of “Came Up the Hard Way” and “Root to the Fruit,” which is thirteen minutes of slow-grinding blues and feel-good stomp, both with some nice harmonica parts from Shoji. It looks kind of weird on paper but works out just fine on the stage.

A couple of sweet covers can be found in this set, too. “Please Accept my Love” does not stray far from the B.B. King original, and this slow blues ballad provides a breather in what is an otherwise rocking blues set. And “Lonesome Town” is a spooky grind with reverb galore, co-written by Los Straightjacket’s Eddie Angel. There will certainly be no mistaking this for the Ricky Nelson song of the same name.

As the album draws to a close, the “Ending Midnight Groove” gives Eddy the chance to graciously thank his fellow musicians, as well as the fans in the crowd that keep him in the spotlight year after year. His love for what he does and for the folks that come out to see him play is obvious; he is a bridge to an era of the blues that should be appreciated and never forgotten.

Soul Funky is the next best thing to seeing Eddy Clearwater and his band playing out, and if you are a fan of Chicago blues you owe it to yourself to pick up a copy of this CD because you will be able to hear for yourself that after more than 60 years he is still at the top of his game. Unfortunately, his upcoming tour schedule is mostly in Europe, but if you play your cards right you will make sure you are in Evanston on January 9, as he has another gig scheduled at SPACE. Check him out for yourself!