Musical Theatre West’s Memphis | Theatre Review

Hello!

I have been a season subscriber to Musical Theatre West for a few years, and have almost always been pleased with their offerings. But, I was a little nonplussed when I saw that Memphis was on the schedule for the 2016-2017 season. Maybe it was because the other three shows in the season are all solid classic musicals, and this one seemed like the odd man out. Anyway, I saw it this past weekend and it turned out to be awesome!

Musical Theatre West has been around since 1952, when they started out as the Whittier Civic Light Opera. Their productions evolved over time, and they went from being an all-volunteer operation to producing full seasons, currently under the capable leadership and vision of Executive Director/produce Paul Garman. Their big shows are hosted by the Carpenter Performing Arts Center at Cal State Long Beach, which is a lovely venue with plenty of conveniently located parking (by the way, the price for parking went up to $7 this year). The theater still has only has two restrooms for 1000 people, in case you were wondering...

Memphis has been around for more than a decade, and it played on Broadway from 2009 to 2012, where it earned four Tony Awards, including Best Musical for 2010. The plotline is kind of based on the story of Dewey Philips, a white DJ from Memphis who was a pioneer in bringing “black” music to “white” audiences back in the 1950s. You might think that there would be lots of recycled 50s rock in this show, but surprisingly all of the major numbers are originals and they fit in well with the period that is being portrayed. Credit for this goes to David Bryan (music and lyrics) and Joe Di Pietro (book and lyrics), who put together a passel of really catchy tunes.

The plot follows the careers of Huey (a DJ and promoter) and Felicia (a singer who is on her way to the top). They enter into a mixed race relationship, with all of the accompanying tension and drama that would be expected of this type of union in the 1950s. These themes from Memphis still feel relevant, as all of these tensions are still here today, which is a shame because you think we would have learned a few things in the past 60 years.

This story is told by a cast that is mostly new to MTW, but that does not mean they are not experienced. In fact, I would have to say that Memphis features the best singing and dancing that I have seen in a show from this company. Michael Monroe Goodman (Huey) and Krystle Simmons (Felicia) both have powerful voices, and their acting was above par too. The writers also included secondary characters that were generally likeable, including Delray, Felicia’s brother (Michael A. Sheppard), Huey’s racist mom, Gladys (Julia Cardia), the station’s janitor, Bobby (Jay Donnell), and the station’s boss, Mr. Simmons (James Campbell).

The ensemble also turned in a solid performance, and they were amazing dancers who made good use of Edgar Godineaux’s choreography. Though this is the first time I had seen this show, it was immediately obvious what an important role the ensemble plays, as they do quite a lot of the singing and dancing. Their men’s costumes were not exactly inspired, but Karen St. Pierre did a wonderful job of outfitting the women, as their dresses were awesome.

Visuals for Memphis were very nice. Stephen Gifford’s sets included a pair of building pillars on the side, a bandstand that could be hidden away in the back, and a series of roll-on platforms that included a DJ booth and a bar (among other things). This was a minimalist way to present the stage, but it worked very well and everything was properly visible thanks to Eric Larson’s lighting design. Also, there were cool video elements that were included, but I am not going to spoil the effects if you happen to decide to see the show in person.

The sound was also very good. There was a small onstage band under the supervision of musical director Darryl Archibald. Unfortunately the musicians were not credited in the program, and I have no idea if they were union or not. The sound engineering was also pretty good, and with so many strong singers on stage it must have really kept the sound guys on their toes.

All of this came together well for solid performance. Musical Theatre West did well and Memphis is a worthy show with fine production values and a well-chosen cast. If you have the chance you should get out and see it before it is gone, but leave the little kids at home with a sitter. This is a long show and they will be squirming in their seats a long time before the final curtain falls (it clocks in at 2 ½ hours), not to mention a few decidedly mature scenes that you may have to awkwardly explain to them on the drive home.

If you want to see Memphis at The Carpenter Center you had better hurry as it closes this weekend. There are not many tickets left, so grab them while you can. And, be sure to check out tickets for the remaining three shows of this season: Evita, Carousel, and Mary Poppins. These are all classics, and you can’t beat the value!

Mahalo!

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!

Mississippi Bigfoot – Population Unknown | Album Review

Mississippi Bigfoot – Population Unknown

Silver Tongue Records

www.mississippibigfoot.com

9 tracks / 46:00

Mississippi Bigfoot formed in 2015, but they have not wasted any time getting moving and have already released their debut album, Population Unknown, and it is a kick! Their sound is a refreshing blend of swamp blues, rock, rockabilly, and funk that has to be heard to be believed.

The band includes Christine Vierra on lead vocals and ukulele, Johnny Holiday on lead guitar, Ashley Bishop on guitar, Cade Moore on bass, and Doug McMinn on drums and harmonica. This quintet formed the band after a show in Clarksdale, Mississippi, but most of these folks hail from the Memphis, Tennessee area. This disc is a sweet piece of work that was recorded at the famed Ardent Studios in Memphis; it includes eight originals that were written by the band and one really awesome cover.

They kick off this set with “Burn That Woman Down” a heavy does of swampy blues rock that highlights Vierra’s ultra-strong vocal abilities and plenty of smooth slide guitar work. The guys pitch in on backing vocals (“Whoa-o-o-o!”) as McMinn keeps the beat with a heavy snare. Things switch up right away with “Mighty River” which has cool uke chords from Christina and hard rocking layers of guitars from Bishop and Holiday, as well as a slick solo break. Then they throw out “Wag the Dog” a fast-driving rocker which features some righteous cigar box guitar from Bishop and harp from McMinn. This is how the whole album goes – every track is different than the rest!

A perfect example of this is “No Flesh in Outer Space” which is a funk tune that is held in place by the stellar backline of Cade and McMinn. Vierra digs deep on the vocals, and there are multiple levels of heavily processed guitars from the two guitarists. This track, with its complex sound and fun lyrics, ends up being one of my favorites in the set.

They also grabbed a really cool Albert King song for the lone cover, and “The Hunter” ends up being totally different than King’s or any of the other versions I have heard of this tune (by the way, Ike and Tina Turner’s blues version is terrific, too). Mississippi Bigfoot took this one into the Texas boogie realm, which has some rough and ready harmonica from McMinn and great solos trading back and forth between Holiday and Bishop.

”Tree Knockin’” finishes things off with a little roadhouse blues, and we get to hear a little bit about the band’s namesake. Listen closely, or you might miss something…

In a world of bands that play Muddy Waters covers and throw a Hammond on every other track, Mississippi Bigfoot stands out and Population Unknown is a fantastic way for new fans to get to know them. They are on to something here, and they have plenty of festivals and shows booked in the United States and Europe this spring. Head over to their website and see if they will be playing somewhere near you as I think their show will be quite the experience!

Blues Blast Magazine Album Review: Daunielle

Hello!

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

Daunielle – Daunielle | Album Review

Catfood Records

www.daunielle.net

www.catfoodrecords.com

10 tracks / 41:18

It is easy to forget that artists with amazing debut albums have done a lot of work earlier in their careers to get to the point where they can record their own material, and Daunielle Hill’s eponymous first CD is no exception. She has been working in the business since she was a youngster in Memphis, Tennessee, having grown up at Stax Records where her dad, William C. Brown III, was one of the legendary Mad Lads and later a recording engineer. But Daunielle (dawn-yell) was never in daddy’s shadow as she went on to become an in-demand backing singer, having appeared on countless albums (including King Solomon Burke’s latest), and toured with Huey Lewis and the News for the past four years.

Daunielle was produced by multiple Grammy-winner Jim Gaines, and his experience shows here. A group of 11 seasoned musicians from the Catfood Records label were assembled to support Daunielle’s hearty vocals, and they perform ten tracks that consist of originals, songs by some of her artist friends from the label, and a couple of fun covers that will be crowd-pleasers. Throughout this set she takes the lead, and there is no doubt that she is the one in the driver’s seat.

This album delivers modern blues with a little soul and funk thrown into the mix, and things get off to a strong start with “Runaway Train.” This song was written by Johnny Rawls, label-mate James Armstrong and bassist Bob Trenchard, and it lets Daunielle show emotion as she chastises a man who is taking the wrong path in life and who “don’t give a damn, it’s easy to tell.” This hard-hitting piece features a classy horn arrangement and some fine work on the organ by Dan Ferguson.

After worrying on “Early Grave” that a no good lover will be the end of her (likening it to musical legends who passed too soon), Daunielle treads dangerous ground by covering Etta James’ “Damn Your Eyes.” Fortunately she has the chops to pull off this awesome song from a legendary lady, and this ends up as one of the standout tracks on the album. She stays respectful of the original as she belts out the heartwrenching vocals of a woman that did not plan on falling in love again. Will McFarlane’s guitar and Ferguson’s piano provide the appropriate counterpoints to the melody as Richy Puga lays down a steady beat on the drums. Etta would approve!

The other cover is a “(Your Love Has Lifted Me) Higher and Higher” which is a lovely combination of the Jackie Wilson and Rita Coolidge versions. It is has a driving beat and features the amazing horn section of Mike Middleton on trumpet, Robert Claiborne on trombone, and saxophones by Andy Roman and Nick Flood. They are joined by Tameka “Big Baby” Goodman on backing vocals, and the result is a feel-good moment that fits in well with the rest of the material on the album.

”I Got a Voice” is refreshingly honest in this age of cookie-cutter lyrics that seem to endlessly rehash the tired topics of angst, love gone wrong, and substance abuse problems. Daunielle wrote this with Sandy Carroll to celebrate her love and support for her adopted children who have endured serious medical issues. She asserts that she is “important, don’t ignore me,” and her tone in convincing! This pop tune dances on the edge of becoming a gospel song thanks to its inspirational message and the lovely backing harmonies.

Another collaboration with Carroll is “Nobody Cared,” a soulful piece with a positive message that no matter how many times you are knocked down you can always get back up again, and to not forget that there are people out there who really care for you. Goodman provides sweet backing vocals on this one as Ferguson tinkles the ivories and the solid backline does not miss a cue. If these two songs are any indication of what Daunielle can write, she needs to pick up the pen more often and take control of her destiny.

Daunielle is not just a great debut album, it is a solid piece of art that can stand on its own. This lady has prodigious talent and the team that was put together for these recordings stood tall and delivered a likeable collection of modern blues that can be listened to over and over again. Daunielle cannot be considered a backing singer anymore: she has proven that she is a leader that will give her all and she will be a star if she can back up this release with another winner!

Mahalo!

Ghost Town Blues Band – Hard Road to Hoe | Album Review

Ghost Town Blues Band – Hard Road to Hoe |Album Review

Self Release

www.ghosttownbluesband.com

12 tracks / 39:12

Many blues bands choose a genre and sound and do not stray very far from what they have found success with in the past. But a few are willing to go outside their comfort zone and experiment with mixing genres and coming up with a new sound of their own. This is exactly what you will find with the Ghost Town Blues Band’s latest release, Hard Road to Hoe.

If you pay attention to blues news, chances are good that you have heard of this group. This Memphis-based band has been to the International Blues Challenge the past two years, making it to the finals in 2013 and earning second place in 2014. The seven-piece group has been working since 2009 and this is their third album. The songwriter/frontman is Matt Isbell, who takes care of the vocals and guitars (including cigar box guitars he makes at his company). He is joined by Preston McEwen on drums, Jeremy Powell on keys, Alex Piazza on bass, Suavo Jones on trombone, Richie Hale on sax, and Vicki Loveland with the background vocals.

Hard Road to Hoe is the correct title, and I know you are saying to yourself “Wait, that should be hard row to hoe!” But their reasoning is that they are not farmers, they are musicians who work the highways as they travel to gigs around the United States and Canada – it totally makes sense in this context. The album has a dozen tracks, and they are all originals that are straight out of Memphis with a sound that spans from raw roots to slick blues-rock, and everything in between.

They kick off this set with the title track which starts with hand percussion and an electric push broom (Isbell makes more than cigar box guitars), then morphs into a hill country rock tune with slide guitar and well-arranged horns. It is well written, and the lyrics are heavy and evoke feelings of loss. But this record is not a stone-cold bummer, from there they slide into “Big Shirley,” a boogie about a saucy lady that kicks off with Jeremy Powell doing his best imitation of The Killer on the piano. Both the piano and horns are signs of evolution for the band, as the roster has grown a bit since their last album, Darkhorse.

Guest artist Brandon Santini brings his harp to two tracks, “Tip of My Hat” with naughty double entendres and a zydeco beat, and “My Doggy.” The latter actually includes a few vocal lines from Matt’s pup, Marry, which are used to good effect, and the tight horns of Jones and Hales bring it all together in a tight package.

After a cool intro piece,“Mr. Handy Man,” the album moves along through another six songs, and there are no clunkers in the mix. After only 40 minutes (much too soon), Hard Road to Hoe draws to a close with “Road Still Drives the Same.” This song is somber with a beautiful accompaniment of slide guitar with just a touch of drums and organ. This was a clever way to bring things to an end as its theme of sad memories makes it a perfect bookend for the opener.

Even with its wide range of genres and tempos, this disc holds together well as a single piece of performance art and does not sound like a jumble of songs that were randomly stuck together. This is because the tracks are sequenced well, and the backline of McEwen and Piazza hold down the bottom end so consistently throughout. Also, the recording itself is top notch. The band went with Ken Houston (6 Grammy nominations) to record and mix the project, and his work on the 2-inch tape is nothing short of amazing.

The Ghost Town Blues band should be proud of what they accomplished with Hard Road to Hoe, and this CD is a must buy for your collection. Check them out if you get the chance!

Low Society – You Can’t Keep a Good Woman Down |Album Review

Low Society – You Can’t Keep a Good Woman Down

Icehouse Records

www.screaminblues.com

www.icehouserecords.com

12 tracks / 56:20

You can find blues in any flavor you like: Delta, Chicago style, Memphis style, jazz-influenced, blues-rock, and stuff that just defies categorization. Low Society provides the latter, pushing the limits of blues with their own high-energy rocking sound.

Low Society is fronted by the formidable Mandy Lemons who is from Houston, but made her way through New York City to finally end up in the rock and roll capital of the world: Memphis, Tennessee. The other major part of this band’s equation is Sturgis Nikides, a guitarist who was originally inspired by seeing the Beatles on the Ed Sullivan show. It sounds like he has not put his axe down since that day in 1964, as he is a masterful player in the blues-rock world, including his own brand of mind-bending slide work.

These two got together in 2008 in the Big Apple and hit it off, writing and recording and playing the first of hundreds of gigs. Eventually they moved to Memphis, where they were able to learn another way to approach the blues from one its the masters, saxophonist Dr. Herman Green. Low Society released their very good debut album, High Time, in 2011 and they have not let up, including a performance at the 2014 International Blues Challenge.

You Can’t Keep a Good Woman Down is their sophomore album, and it is truly something to behold. Sturgis and Mandy laid down a dozen tracks that include ten Nikedes/Lemons originals, and two cool covers. They were joined on this effort by a super-tight backline of Nick Dodson on bass and Mike Munn behind the drum kit. Rounding out the ensemble were Green on the sax, Rick Steff on the keys, Brian Hawkins and his blues harp, and Lee Booth with backing vocals. Nikides produced this project and the album was recorded at the venerable America Recording Studio in Memphis, with mixing done by Larry Nix (of Stax fame).

Their set kicks off with “Crammed & Jammed,” and it is obvious that this band has a good head of steam and they know there way around the hard-rocking blues block. Over the rock solid Memphis-supplied bass and drums, Nikedes slide work is vicious and Lemons’ voice is a glorious mixture of raw power and smooth phrasing, sort of like a combination of Big Mama Thornton and Shirley Bassey. I would love to use a Janis Joplin comparison, but that would be too easy!

This is followed up by the first cover, Koko Taylor’s “Voodoo Woman,” and Mandy does a bang-up job on one of her inspiration’s most iconic songs. Steff’s Hammond sets the appropriately spooky and dramatic mood, and the Dr. delivers a dump truck load of killer saxophone alongside Sturgis’ best Sonny Landreth-style playing. After these two high-intensity songs, things are dialed back a bit for “Need Yer Love.” This song is sexy as hell, and under the chanteuse is an offbeat rhythm filled in with accordion that lends a bit of Paris mixed with circus atmosphere.

The originals are all very well written, and the songwriters did not create a template to knock out ten songs that are all the same with only the words moved around. Each of their songs has a unique feel and construction so that things always stay sharp. “Son House Says” has a jazzy fusion feel to it, and the title track has a Southern rock vibe with honky-tonk piano. But the standout track is “This Heart of Mine,” which is a slow blues rock ballad that sounds like something Led Zeppelin would have recorded. Well, it would sound like that if they had a high-energy woman singing, a little background organ, and Robin Trower/Stevie Ray playing the guitar. Other than that, it is just like Led Zep…

But it was hard to pick out a favorite as all of the songs are very good – there is not a dud to be found, and they mix genres with furious abandon. Low Society sounds just as comfortable combining a hoe-down with a trip to a church for “Up in Your Grave,” or pulling out the resonator guitar and bringing in John Shaw on piano for the Memphis Minnie spiritual gem “Let Me Ride.” After almost an hour things draw to a close with “Should’ve Known Better” which brings some righteous Texas blues that is spiced up with a little sax from Dr, Green.

If you are a fan of blues or rock, you will like You Can’t Keep a Good Woman Down. Low Society hit the ball out of the park with this one, and it will be interesting to see where they go from here. So, pick up a copy of their album, and make sure you head over to their website to see if they have any gigs coming up. It will be worth your time!

Thank you!