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!

Sari Schorr – A Force of Nature | Album Review

Sari Schorr – A Force of Nature

Manhaton Records

www.sarischorr.com

www.manhatonrecords.com

12 tracks / 57:00

Sari Schorr is an amazing blues singer from Brooklyn, and I am not the only one who thinks that she has tremendous potential. In fact, legendary producer Mike Vernon (Eric Clapton, David Bowie, Fleetwood Mac, John Mayall) put his retirement on hold to oversee the construction of her debut album, A Force of Nature. This is not an overnight success story as Sari has been working for years, touring the US and Europe with esteemed artists such as Joe Louis Walker and Popa Chubby, and she was recently inducted into the New York Blues Hall of Fame.

A Force of Nature was cut in Seville, Spain and London, England, and a cadre of top-shelf musicians were called on to back up Sari. The core band is made up of Innes Sibun and Quique Bonal on guitar, Jose Mena on drums, Nani Conde on bass, and Julian Maeso behind the keyboards. The list of guest artists is equally impressive, with contributions from Walter Trout and Oli Brown on guitar, as well as the keyboards of John Baggot, Jesús Lavilla, and Dave Keyes.

There are a dozen tracks on this album, and Sari collaborated on the writing of nine of them. First up is “Ain’t Got No Money,” a guitar-heavy blues rocker that kicks off with a slick intro from Sibun. He is a heck of a blues guitarist, but even that is overshadowed when Schorr starts to sing, as her voice is powerful with a more than respectable range and an abundance of emotion. This is backed up by “Aunt Hazel,” a rock song where Sari gets to cut loose and bemoan the results of substance abuse, accompanied by the rock-solid backline of Mena and Conde. This is one of my favorite original tracks from the album, as all of the parts fit together with precision without losing the feeling of spontaneity.

Walter Trout joined in with his guitar to help cover one of his own tunes, “Work No More.” Trout recommended this song, and it is a personal message for a friend he knew who had passed away. The respectful words are an honest eulogy for a wonderful woman, and Sari does a fabulous job of delivering them with emotion. Trout wails throughout this rocking track, with a little help from Baggott on the organ and Keyes on the piano.

The other two covers are really cool too! Schorr takes a legitimate run at Huddie "Lead Belly" Ledbetter’s “Black Betty,” and delivers the goods. This track is not a fast-paced rocker like the Ram Jam or Spiderbait versions, instead starting with a bare-bones acoustic guitar accompaniment, which transforms into a powerful piece of grinding blues-rock featuring organ from John Baggott. The final cover is on the other end of the spectrum, and Sari’s soulful and bluesy interpretation of The Supreme’s 1965 Motown hit, “Stop! In the Name of Love” is like no other version you have ever heard. Rietta Austin does a lovely job with the backing vocals on this track – you can't do this song without harmonies!

As you would expect from Vernon, the production values are first-rate, and this is a very well recoded and mixed project. The balance of the instruments and vocals is perfect, and the songs are sequenced so that the listener does not ever become weary of the content. For once, I have no complaints at all!

A Force of Nature is a stellar debut from Sari Schorr, and she certainly has plans for the future. Tour dates are scheduled throughout the US and Europe, Mike Vernon has agreed to work on Schorr’s next two albums (maybe he is just semi-retired), and she is writing new material with Innes. With Sari’s talent and Mike’s experience, her future is bright indeed!

The Lucky Losers – In Any Town | Album Review

The Lucky Losers – In Any Town

Dirty Cat Records

www.theluckylosers.com

www.dirtycatrecords.com

11 tracks / 52:43

Wow, I thought the Lucky Losers’ previous album, A Winning Hand, was really good, but their latest release In Any Town, is truly amazing stuff. The San Francisco-based duo of Cathy Lemons and Phil Berkowitz has really delivered the goods this time! There are a few pieces to this puzzle that make the overall picture so pretty, as you will soon see.

Cathy and Phil have been fronting the Lucky Losers since 2014, but they are no strangers to the music business as they both have successful solo careers. Prior to this collaboration, Cathy released a few of her own album through Vizztone, including the stellar Black Crow which is marked by genuinely emotional vocal performances. Phil has also made his mark with his voice and harmonica, honing his craft to cover Chicago blues, as well as west coast swing, rhythm and blues, and country blues.

The rest of the Lucky Losers includes the killer line-up of Marvin Greene on guitar, Chris Burns on the keys, Tim Wager on bass, and Robi Bean behind the drum kit. And the final pieces of the puzzle are a fine collection of guest musicians (more on this later), and production, recording, mixing and mastering by the legendary Kid Anderson at his Greaseland Studios in San Jose, California. How could you go wrong with all of this good stuff going on?

Well, you cannot go wrong, it turns out – this 52 minutes of killer blues, with nine of the eleven tracks consisting of original music that was written by Cathy or Phil. One of these originals kicks of the set, and “So High” is upbeat and big blues rock. This tune starts off with some sharp harp work from Berkowitz, and it has a decidedly live sound with jangly guitars from Greene and Anderson, natural sounding drums from Bean, and of course a touch of Hammond B3 from Burns. This is all great, but there is also the magical interplay and vocal harmonies from Cathy and Phil that really puts this song over the top.

I mentioned earlier that there are a few guest artists that appear on this disc, and here are a few more details:

- The horn section of Michael Peloquin (sax), Mike Rose (trumpet), and Mike Rinta (trombone) was brought in for a few songs, the originals “Don’t Let ‘Em See Ya Cry” and “Blind Man in the Dark.” The latter features Terry Hanck with a killer tenor sax solo, and in case you are not familiar with him, this award-winning musician was formerly with Elvin Bishop’s band and is a longtime friend and collaborator with Kid Anderson.

- There is also guitar work from west coast blues legend and fellow Bay Area denizen, Franck Goldwasser, and his fleet fingers brings a lot to the uptempo “I Can’t Change Ya.” His staccato chords are almost like a third voice that complements the vocals of Cathy and Phil, and he tears off a screaming solo that fits in perfectly. This is a fun tune that has earned a place in my ever-expanding party mix.

”Give Me a Sign” features Memphis’ Jeff Jensen on his guitar, and he gives his wah pedal a righteous workout on this one. This song is a perfect example of what Anderson can do in the studio, as this slow-grinding blue rocker has perfectly recorded guitar, harp, and organ as well as amazing drum tone. Cathy’s vocals are processed to give an even spookier vibe, and the overall effect is magical. This is one of my favorite tracks on the album.

There is not enough space in this review to cover every song, but you probably get the picture by now. The Lucky Losers with Cathy Lemons and Phil Berkowitz have definitely figured out how to write and present the blues, and In Any Town is proof of this. This disc is a must-buy, and if you are going to be around the Bay Area be sure to head to their website to check out their gig schedule!

Josh Garrett – Honey for My Queen | Album Review

Josh Garrett – Honey for My Queen

Self Release

www.joshgarrettmusic.com

10 tracks / 43:26

Josh Garrett hails from Louisiana, and his influences from the Sportsman’s State result in a cool blend of roots, blues, and generally soulful music. He took up the guitar when he was twelve, and right he away got into songwriting. The subsequent years of practice and hard work have resulted in a series of increasingly awesome projects and the Josh Garrett Band’s fourth album, Honey for My Queen, is the best of the bunch. This disc contains a fun set of listenable and unique original music that should appeal to fans of many genres.

For this project Josh did vocals and guitar work as well as writing and arranging all ten of the songs. A fine crew of drummers and bassists joined him in the studio, and you will also hear Waylon Thibodeaux on fiddle, C.R. Gruver on the keyboards, and Clay White on the harmonica. The set starts off with the title track, and “Honey for My Queen” has a mellow Southern rock feel with lovely barroom piano from Gruver, slightly distorted harmonica from White, and a tight backline. The lyrics are a witty ode from one worker bee to his queen, and they are delivered in a pleasant tenor tone. Here are a few other highlights from the CD:

- Special guest artist James Johnson appears on “Same Boat,” and you may remember him as the guitarist for Slim Harpo back in the 1960s. James took a break from music after Harpo passed on in 1970, but he came back in the 1990s, and he contributes his voice and guitar to this soulful rhythm and blues tune.

- You will find some sweet country blues with “Goodnight, Goodnight,” which has the instrumentation stripped back to just an acoustic guitar and the harmonica. This love song uses a classic 12-bar blues base with repeated phrases to get its point across, and the guitar uses both slick fingerstyle and a bit of slide to carry the melody.

- The band also included an uptempo instrumental, “Slide in ‘G’.” This tune has a funky drum beat with popping bass, and killer Hammond B3 courtesy of Gruver. The harp and guitar are used to carry the leads (with a cool organ break midway through), and this song acts as a neat interlude midway through the album.

- “Whole Bottle of Whine” is not just a clever song title, the lyrics are witty too as they beseech a loved one to ease up on the drinking. The music is a compelling combination of blues-funk and country, complete with a generous display of tricky chicken picking on the guitar, and a fun call and response with the guys in the band.

43 minutes goes by quickly, and before you know it the disc finishes up with “Moonshine & Cigarettes.” The band gives this song the full Crescent City treatment with jazzy drums and NOLA style piano and harp, which is a great homage to Josh’s home state. The Josh Garrett Band did a fine bit of work with Honey for My Queen, with well-written songs. Check it out for yourself and make sure you head over to their website to see if they are playing near you any time soon!

Blues Blast Magazine Album Review: D.A. Foster – The Real Thing

Good day!

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

D.A. Foster – The Real Thing | Album Review

VizzTone Label Group

www.dafostermusic.com

www.vizztone.com

12 tracks / 48:45

It is appropriate that D.A. Foster titled his new album The Real Thing, because if anybody is the real thing, he is. He was the heart of The Shaboo Inn of Connecticut from 1971 to 1982, and during that time the 1000-seat venue hosted almost 3000 concerts, featuring young and upcoming acts that included the likes of Aerosmith, AC/DC, Journey, Cheap Trick, and the Police. It was like a 1980s rocker’s dream come true! But a lot of great blues acts made their appearance there too, such as John Lee Hooker, Willie Dixon, T-Bone Walker, Buddy Guy, and a probably a few hundred more. After the club closed its doors (thanks to the scourge of the disco era), a few months later it was destroyed in a fire.

But the story does not end there, as D.A. had a lot left in his tank. He started a production company and ran his own band with luminaries such as Matt “Guitar” Murphy” and Harvey Brooks. Foster brought his fine blues vocals to the table with this project to continue on with a performance career that has been brewing since 1979. Over the past 35 years, everybody under the sun has joined him onstage, including Keith Richards, Chuck Berry and Muddy Waters. You would be hard-pressed to find a better pedigree than his.

Moving forward to 2015, D.A. has cut a fine disc, The Real Thing, which has its own roster of strong personnel; all of them are first-call musicians. Besides D.A.’s vocals, there is the Grammy-winning Phantom Blues Band to contend with, including Mike Finnigan (Big Brother and the Holding Company) on the keys, Tony Braunagel (Robert Cray, and many more) behind the drum kit, Larry Fulcher on bass and Bonnie Raitt’s Johnny Lee Schell on guitar. Other Phantom alumni to be found here are Darrell Leonard (trumpet), Joe Sublett (sax), and Lenny Castro (percussion). Braunagle and Finnigan produced this effort, and it is a polished piece of work, to be sure!

The twelve tracks span classic rhythm and blues and jazz ground as well as a few lesser-known covers, starting off with Dave Steen’s “Good Man Bad Thing.” This is a straight-up funky R&B tune which is a nice intro to Foster’s soulful voice, backed by some excellent B-3 work from Finnigan, sweet backing vocals from Julie Delgado and Nita Whitaker, and horns aplenty.

Not surprisingly, there are a few tunes by Don Robey, who was one of the most prolific R&B writers of the 1950s and 1960s. “Ain’t Doing Too Bad” puts the horns in the spotlight, and Schell brings a little more funk to the party with his syncopated rhythm guitar work, as well a rocking solo. The other Robey contribution is “This Time I’m Gone for Good” which shows off more of Foster’s impressive vocal range.

For pure fun, Eddie Hinton’s “Super Lover” takes first prize. It brings a little bit of everything to the table: fun lyrics, offbeat percussion (courtesy of Castro), machine-gun horn arrangements, and seductive backing vocals. This one should definitely go into your next party mix!

A different line-up was used for three of the songs, with uber-versatile Grammy-winner Josh Sklair on guitar and the hard-working veteran David Garfield on piano. With Josh’s leads and David’s subtle chording, “We All Fall Down” ends up with more of a jazz-rock feel. Bill Withers’ 1985 ballad, “You Just Can’t Smile it Away,” puts Garfield more forward in the mix, and gives guest artist Lee Thornberg a chance to shine on a beautifully muted trumpet (or is that flugelhorn?) solo. And the band’s remake of the oft-covered “Gee Baby Ain’t I Good to You” provides room for FInnigan to take over a bit on his Hammond, lending it a gospel/roadhouse feel.

The album closes out all too soon with George Henry Jackson’s “Down Home Blues,” which is the grittiest and most traditional blues track to be found on this disc. For this one, D.A. pushes his voice into the raspy range, which is a lovely contrast with the backing vocals of Delgado and Whitaker. The backline of Braunagel and Fulcher hold tight in the pocket as this awesome songs ends things on a killer note.

If you were a fan of the good old days at The Shaboo Inn or if you just like solid rhythm and blues, D.A. Foster’s The Real Thing would certainly be a wise investment. Check it out and see for yourself!

Mahalo!

Guns N’ Roses Not in this Lifetime Tour: Live at Dodger Stadium

Howdy!

When I learned that Guns N’ Roses was going on tour with three of the original members, I was very interested in seeing what they had to offer. But, when I heard the Los Angeles stop was going to be at Dodger Stadium I lost interest pretty quickly. Dodger Stadium is a hassle to get to, huge outdoor shows rarely have very good sound, and large groups of people are usually terrible to deal with.

But, I kept getting emails about how there were still good seats available, and a few days before last week’s show I bit the bullet so I could see what it was all about, and I am glad that I did.

GNR’s Not in this Lifetime Tour brings frontman Axl Rose back together with Slash and Duff McKagan, who (to me) were the heart of the original band. The other original members, Izzy Stradlin and Steven Adler, were not included in the group for this tour. Other touring band members include drummer Frank Ferrer, guitarist Richard Fortus, and keyboardists Dizzy Reed and Melissa Reese.

I attended the first of the two Los Angeles shows, on Thursday, August 18. The tickets and website were a bit vague as to what time the show would actually start, but I arrived and got parked pretty close to the “doors open” time of 5:00PM. After getting into the stadium the concession guys told me that the warm-up band would start at 6:30 and the main act would start at 8:00. Right.

The stadium was pretty empty at 6:30 when The Cult hit the stage, and it was cool to see that they started on time. Long-time members Ian Astbury (vocals), Billy Duffy (guitar), and John Tempesta (drums) were joined by newcomers Grant Fitzpatrick (bass) and Damon Fox (keyboards). The band was able to cover their big hits, including “Fire Woman,” “She Sells Sanctuary,” and Sweet Soul Sister.” Duffy did a tight job on the guitars, and Astbury showed that he still has a good vocal range, though it seemed like he did not have the breath and stamina to carry all of the vocals; the band helped out a lot with backing vocals on the choruses for most every song. Still, it was a solid set and the Cult was a solid opener, finishing up at 7:20PM.

With the Beach Boys’ Pet Sounds as the soundtrack, the crew broke down The Cult’s equipment and prepped for Guns N’ Roses. I was curious when GNR would actually go on, as Axl is notorious for starting shows hours after their scheduled time. But, again, at 8:00PM the lights went out and the band hit the stage with “It’s So Easy,” and this cut from Appetite for Destruction was exactly what the crowd was looking for.

From there they played songs from their debut album, GNR Lies, Use Your Illusion 1 & 2, and Chinese Democracy; and with two dozen songs in the playlist this ended up being a nearly three hour set. I have heard that Axl runs hot and cold, but he was definitely on his game this evening. He was mobile on the stage, was able to hit the high notes, and got the job done. He did take breaks from time to time, but he did well. As an added bonus, he kind of looks like an older version of Cybill Shepherd nowadays.

Slash has lost nothing over the years, and he has one of the strongest left hands in the business. He did an extended solo break that included a kind of hokey rendition of the theme song from The Godfather, but it played well to the audience. He also had good rapport with Fortus, and this duo did a bang up instrumental version of Pink Floyd’s “Wish You Were here.”

Duff McKagan is a crowd favorite, and his bass work was good but was often lost in the mix. One high point of the show for me was when he took the microphone to lead the band with a rousing rendition of The Misfits’ “Attitude.” I was glad to see that he still has love for the Fender Jazz Bass Special, too!

The rest of the band was tight, with kudos to Frank Ferrer for his powerful and skillful drumming. I had a hard time hearing any of the keyboards, but Dizzy Reed and Melissa Reese were able to provide a solid job on the backing vocals.

There really were not any clunkers in the set, though the audience reaction to the songs from Chinese Democracy was tepid. This was true of “Catcher in the Rye,” which kicked off the encore, but the band made up for it with the inclusion of “Patience,” the Who’s “The Seeker,” and the closer, “Paradise City.”

All in all, this was a great show – the energy was good, the band clicked, and they did not leave out any of the hits. If you have the chance to see them, do it. This is the closest that you are going to get to seeing an 80s vintage Guns N’ Roses show. Trust me!

Mahalo!

Balkun Brothers – Balkun Brothers | Album Review

Balkun Brothers – Balkun Brothers

Dixiefrog Records

www.balkunmusic.com

12 tracks / 63:48

The Balkun Brothers out of Harford, Connecticut are a breath of fresh air in today’s music landscape with their varied influences that include artists such as Johnny Winter, Jimi Hendrix, Primus, Black Sabbath, and Led Zeppelin. Steve and Nick Balkun are young guys, but their sound is mature and the blues-rock they crank out is hard and true. They have gained a lot of notice with numerous awards to their name, have toured the world and played major festivals, and last year’s debut album, Redrova, is simply amazing.

Their eponymous second album is just as good; it was done as a duo, with Steve playing the guitar and singing the lead vocals, and Nick taking care of the drums and background vocals. The brothers wrote eleven of the dozen songs in the set, with over an hour of material for their listeners to enjoy. They got some extra special help at Serpentine Studios in Central Valley, New York, as none other than Popa Chubby recorded, produced, and mixed Balkun Bothers. You could not ask for a better mentor!

Here are a few highlights from Balkun Brothers:

- Steve and Nick start things off with “Been Drivin’” and this tune hearkens to the hammering feel of Golden Earring’s Radar Love, one of the greatest road songs ever. Steve and Nick do not waste any time showing off how much talent they have, as their work on guitar and drums is top-notch, and the vocals are strong with a nice weathering around the edges.

- They changed up the sound a bit for “Jail Bird” and brought in Dave Keyes to play the piano. This is a slow-tempo blues-rocker, and the Robby Krieger style keyboards add a little smoke to the mood. It starts with the components of a conventional blue rocker, but then it morphs into an awesome jam with an extended guitar solo over tricky drum rhythms.

- The sole cover on this album is Johnny Winter’s “Mean Town Blues” and this up-tempo romp is one of my favorite songs on the album. Nick sets up a mean drumbeat and Steve does a killer job of mimicking the guitar riffs as he howls out the lyrics. Apparently the brothers have shared the stage with Johnny before, and I cannot imagine that he would have any troubles with their interpretation of his song as is it freaking incredible.

- This disc finishes up with “Rainy Day Front Porch Blues” and with this Delta-inspired piece the brothers show that they have done their homework and have studied the classics of the blues genre. There is just a Dobro and a kick drum (plus a little rain sound effect) to accompany the sad story of a fellow who has lost his lady. Steve’s vocals are spot-on and this turns out to be is an excellent way to bring things to a close.

The Balkun Brothers are hot and it is no accident that they were named the best band in Connecticut or that they made it to the finals of the IBC. Their latest album is worth your time, and be sure to head to their website to see if they are gigging near you. Their live show comes highly recommended, and I am going to follow my own advice and see them as soon as I can!

The Mike Henderson Band – If You Think It’s Hot Here… | Album Review

The Mike Henderson Band – If You Think It’s Hot Here…

EllerSoul Records

www.mikehenderson.com

www.ellersoulrecords.com

11 tracks / 51:32

You are probably familiar with Mike Henderson’s work, even if you have not heard his name before. This three-time Grammy-nominated cat has written songs that were recorded by artists that include The Fabulous Thunderbirds, Kenny Rogers, Travis Tritt, Randy Travis, The Dixie Chicks, Trisha Yearwood, and even Adele (damn, she is popular). Or, maybe you have heard him on albums by folks such as Mark Knopfler, Albert King, Waylon Jennings, Emmylou Harris, Hank Jr., John Hiatt, Sting, Bo Diddley, Tim McGraw, Lucinda Williams, or Bob Seeger. Then there is his work with his own groups, the SteelDrivers and the Bluebloods, which is truly amazing.

If you still do not know who he is, maybe you caught him during one of the regular Monday night shows he has at Nashville’s Bluebird Café. Then you would know how tight his band is, and it would surely make you want to pick up a copy of his EllerSoul Records debut, If You Think It’s Hot Here…. Producer Kevin McKendree in Franklin, Tennessee’s Rock House studio, cut this set of hard-hitting roadhouse blues live in the studio. It is 50-minute mix of originals and covers that defines the Mike Henderson Band.

Mike took care of the lead vocals, guitar, and harmonica for this project and his band certainly meets his high standards. The roster includes McKendree on piano and B3, Michael Rhodes on bass, and Pat O’Connor behind the drum kit. First up on the track list is “I Wanta Know Why” and this original has a bit of a southern rock flavor to it. The most notable thing here is Henderson’s guitar tone -- it is full and meaty, and this sound is a major contributor to the anxious tone that the band was looking for. Mike lays down an awesome slide solo, and McKendree has a killer touch on the piano keys here, making for a solid opener.

Then there are a couple of Hound Dog Taylor covers, “Send You Back to Georgia” and “It’s Alright,” and there is no doubt that these fellows have the shuffle figured out. O’Connor is one hell of a drummer, and his timing really pulls these tunes together.

There are plenty of other extra cool covers on this album too. Muddy Waters’ “Mean Red Spider” is very catchy with nice snare work from O’Connor and a slick walking bass line from Rhodes. The classic “If I Had Possession” from Robert Johnson features (appropriately) lovely guitar work from Henderson; this song never gets old no matter how many artists cover it. Sonny Boy Williamson’s “Unseen Eye” features Chicago style guitar licks galore and very tasty barrelhouse piano from McKendree. And the traditional, “Matchbox,” is a romp that is just plain fun. There is not a dud in the bunch!

These covers are neat, but the standout song of the album is the original title track that is already a certified crowd favorite. Henderson has been playing “If You Think It’s Hot Here…” for years in his live shows, and this ode to our place in the afterlife has wonderful lyrics and a solid melody. McKendree’s piano work is very powerful, and to add a little more depth a few guest musicians were brought in: Don Underwood on guitar, as well as Chris Stapleton and Morgane Stapleton on backing vocals. This is a song that can be listened to many times without getting stale, and it might just make you think about what may be in store for you when the pearly gates close. Or not.

If You Think It’s Hot Here… has a live gig vibe with the benefit of studio refinement, and the end product is an entertaining set of roadhouse blues that is very listenable from the comfort of your own home. The originals and tributes mix well together and the Mike Henderson Band play all of them with skill and passion. Be sure to check out Mike’s web page for his gig schedule (still playing on Mondays!), and think about picking up a copy of this disc for your collection!

Blues Blast Magazine Album Review: Sidney Green Street Band - SGSB

Hello!

This CD review was originally published in the February 12, 2015 edition of Blues Blast Magazine. Be sure to check out the rest of the magazine at www.bluesblastmagazine.com

The Sidney Green Street Band – SGSB | Album Review

Self Release

www.reverbnation.com/thesidneygreenstreetband

11 tracks / 51:08

The Sidney Green Street band is promoted as a New Jersey bar band, but don’t let that description fool you into thinking they are amateurs – these guys are the real deal. But you do not have to travel to the Garden State to appreciate their brand of blues-rock, as they have recently issued their sophomore CD, SGSB.

Though they have only put out two albums, this quartet has more than enough experience to get the job done no matter where they are playing. Lance Doss (guitar and vocals) toured the world for over six years with John Cale, and guitarist Justin Jordan has over 20 years of professional experience, touring and appearing with artists as diverse as Sean Fleming, Shirley Allston Reeves and Gary US Bonds. Bassist Paul Page toured with John Cale too, and appeared with some really cool acts including Dion, Popa Chubby, Gary US Bonds, Bo Diddley, Del Shannon and Ben E. King. And rounding out the group is drummer Steve Holley whose resume includes work with Paul McCartney, Joe Cocker, and Chuck Berry to name a few.

The Sidney Green Street Band has a few things going for it that most North Jersey bar bands do not, and the first thing is original material: Lance wrote all eleven guitar-heavy tracks for this album. Another plus is a high level of musical ability, and the last piece is their take on Southern blues-rock. Apparently, Doss picked up a good dose of this from his home state of Alabama, but their vibe is still original with just a touch of Skynyrd here and there.

The band took a chance by opening the set with a slow song, “Bye, Bye, Bye,” but this burning rocker paid off for them. Jordan and Doss’ smoking hot guitars are run in stereo and Lance knocks the vocals out with his diverse style, which can be described as a rough on one side and smooth on the other -- kind of like a sheet of A-C plywood! This leads into the almost-pop “Sadie,” a play on the original Sadie Hawkins story as introduced in the Li’l Abner comic strip back in 1937 (in case you were wondering).

This change of genres is not unusual for the Sidney Green Street Band. “Some Things Ain’t Never Gonna Change” is a soft rock tune, but with hard hitting rhythm guitar work over the awesome backline of Page and Holley. It has a few unique guitar breaks, including a standalone dry solo and a heavily processed Wah pedal solo. Also, the modern boogie of “Number” is a jaw-dropping bit of guitar fun.

There are also a few standout tracks on the album that should be pointed out. The first is “Divine,” which has a catchy hook and an acoustic rock foundation. It shows mature songwriting, though it is uncertain if comparing your lady to a “good Southern Whiskey” will get you in her good graces. Doss’ voice is in fine form here with a surplus of emotion, and his harmonies with the other members are spot on. The other winner track is the country rocker, “Payin’ the Price” which is carried by its clever lyrics, an infectious rhythm guitar line, and some truly tasteful solo work.

SGSB ends with a really cool tune, “Consumer,” which has a lot going on. The rhythm section builds a sweet Boz Scaggs riff on the bottom, there is a smoking twin guitar attack on top, and a fun vocal history cuts through the middle. This track would be a good set-closer, and that is exactly what the band does with it on this disc.

The Sidney Green Street Band’s new album is a solid collection of original blues-rock with a Southern flavor. If you are a fan of heavy guitar blues with a killer beat this will be your cup of tea. And if you ever find yourself on US 46 between the Del Water Gap and NYC, make sure you stop in at the Great Neck Inn – they might just be on stage!

Mahalo!

Tweed Funk – Come Together | Album Review

Tweed Funk – Come Together

Self Release

www.tweedfunk.com

10 tracks / 39:08

Tweed Funk brings a Memphis sound to their unique blend of soul and blues, which is partly due to their frontman, Joseph “Smokey” Holman, who worked with Curtis Mayfield in the early 1970s. This Wisconsin based six-piece group formed in 2010 and a few months ago they released their fourth album, and you will find that Come Together is a sweet piece of art. These guys are doing everything they can to succeed: they have earned five Wisconsin Area Music Industry (WAMI) awards, they play all the right festivals, and they are getting great media coverage. It is all well deserved!

For this project, Holman sings the lead vocals, and he is joined by Eric Madunic on bass, J.D. Optekar on guitar, Dave Schoepke on the drums, Andrew Spadafora on sax, and Roomful of Blues’ Doug Woolverton on the trumpet. Chrissy Dzioba and Sara Moilanen contribute backing vocals on half of the tracks. All ten of the tracks on this disc are originals, and it was cut at Makin’ Sausage Music by Steve Hamilton.

Tweed Funk kicks off Come Together with “Light Up the Night,” and this is some extremely tight funk blues. From the intro the listener knows what the band is all about as the horns are popping over Madunic’s killer bass line that is perfectly in time with Schoepke’s drums. There is a lot going on here: Holman’s smooth tenor lyrics use Alice in Wonderland metaphors to spread the message of overcoming your troubles, Spadafora and Woolverton trade splendid riffs, and Dzioba and Moilanen’s backing vocals add just the right amount of soul. This is righteous stuff!

After this, the band shows that they are versatile as they run through different sounds, though the funk and the horns are never too far away. Here are a few examples:

-“Muse” has a light-hearted beat with Latin flavor, and Optekar does a stand-up job of setting the mood with his syncopated guitar chords. This is probably the best example of Smokey’s vocal style as this love song is right in his wheelhouse, both in range and style. This is the shortest song of the set, and I wish it were just a little longer!

-“Who is This” is a stone-cold funkfest, and this instrumental would be a great calling card for any of the musicians involved. Schoepke works the skins hard, and there are standout solos from Woolverton, and Spadafora.

-“Bullet” is an emotional and slow-tempo ballad with muted trumpet and reverb-soaked guitar. The message is somber, as it deals with a friend who chose to leave us too soon.

Coming in at 40 minutes long, this set goes by pretty quickly and before you know it things wrap up with “Soul Rockin’.” This is one last chance for the band to cut loose, and they build a brick house on top of Madunic and Schoepke’s foundation. Smokey’s voice is pleading as he expresses the need for some soul rockin’ from his lady. And, for one last time, the horns are off the hook and tightly hooked up -- this was a wise choice to close with.

Each new album that Tweed Funk has released has better than its predecessor, which is a tough task as their debut was pretty darned good. Come Together has solid songwriting and musicianship, and as a bonus it has a super positive vibe. This is a collection of wonderfully funky and soulful horn-driven blues, and it is a “must buy” in my book!

One last thing - on a more personal note, please keep Smokey in your thoughts as he was diagnosed with multiple myeloma after this disc debuted. The band is taking a break as he gets treatment, and will hopefully pick up again in October. Thank you for your support of him and the rest of Tweed Funk.

Chicago Blues Guide Album Review: Mississippi Heat - Warning Shot

This review was originally published in Chicago Blues Guide on November 5, 2014. Be sure to check out their website at: www.chicagobluesguide.com

Mississippi Heat - Warning Shot

Delmark Records

By Rex Bartholomew

Since 1991, Mississippi Heat has been churning out a unique brand of blues from their home base of Chicago. The band has gone through a few line-up changes over the years, but it is still led by Pierre Lacocque, a masterful harmonica player and first-rate songwriter. They have a big and fun sound, and are not afraid to record original material or bring their show to the stage. They have a heavy gigging schedule and a legion of dedicated fans that come out to see their wonderful high-energy shows.

Mississippi Heat recently released Warning Shot, their 11th album and fifth release from Chicago’s storied Delmark Records. It is a hearty serving of Chicago blues (with a few other flavors added), coming in at over an hour and containing 16 tracks. 14 of these tracks are originals that were written by the band members, with Lacocque getting credit on ten of them. There is a killer line-up of musicians for this disc, with Inetta Visor on vocals, Neal O’Hara on keys, Brian Quinn on bass, Sax Gordon on the saxophone, Kenny Smith and Andrew Thomas on drums, and Michael Dotson and Giles Corey on guitar. A true Windy City legend, Ruben Alvarez, also lends a hand with his tasty percussion work.

All of the songs on Warning Shot are very good, and the band placed one of the best up front! “Sweet Poison” has a frisky bounce right from the intro, with Pierre waging a harmonica battle against the guitar and holding his own. Then, when Inetta starts singing, this track is propelled to the next level with her throaty pipes tearing into her old man for his philandering ways and ruing that his love is still so sweet. There are high production levels to be found here, with crystal clear recording and a spot-on mix that will be found throughout the rest of the album. It is amazing that this disc only took two days to record!

“Alley Cat Boogie” is another peach of a song, a rocking boogie with hammering piano from O’Hara and Sax Gordon trading solos with Pierre. The backing vocals of Mae Koen, Diane Madison and Nanette Frank are a nice touch and make this track complete. You may also know them from their work on guitarist Giles Corey’s Stoned Soul album, which was released by Delmark earlier this year. This track is backed up with the Calypso stylings of “Come to Mama,” which includes some fun percussion work from Alvarez and is also notable change from the pell-mell boogie that came before -- Mississippi Heat never gets stuck in a rut on Warning Shot.

Guitarist Michael Dotson takes the vocals on the three tunes that he penned, and his voice is hearty and could possibly even be described as tortured. “Yeah Now Baby” has driving tempo that is held in check by the masterful backline of Quinn on bass and Thomas on drums, and “Swingy Dingy Baby” brings a little vintage swing fun into the mix. But the standout is “Evaporated Blues,” a funky Delta-tinged blues-rock song that only a guitar player could have written. Kenny Smith also wrote one of the tracks, “What Cha Say,” and we get to hear his lead vocals on this slow grinder as well as his fine work behind the drum kit. This quartet of songs fits in well with the rest of the material on this CD and provides even more variety to what is already a diverse collection of music.

The two covers are quite unexpected. The first is a fairly faithful revision of Ruth Brown’s “I Don’t Know” from 1959. This Brook Benton and Bobby Stevenson jazz song stands the test of time well, with Inetta taking the role of chanteuse and Lacocque’s harp and Corey’s lead guitar edging the tone a little towards the bluesier side of things. The other is completely out of left field: an instrumental take on Hank Williams’ “Your Cheating Heart.” Pierre plays the lead on his harmonica and Gordon blows a gloriously raunchy solo on his sax. This may be the best version of this song out there, besides Hank’s (of course)!

Finishing up the set is “Working Man,” with the entire band back on stage and Visor featured on the soulful lead vocals. This brand of fast-paced Chicago blues is a fine way to bring things to a close, as it is a fun reminder that this is where it all started for this top-shelf band.

Warning Shot is a well written and masterfully played album of new blues tunes that integrates all manner of influences to keep the listener entertained from beginning to end. Mississippi Heat delivered the goods with this record, and their live show is also a treat to see. They are gearing up for the Lucerne Blues Festival in Switzerland right now, but they will soon be heading back for plenty of shows around Chicago, and then on to other points in the US and Canada. Check out their website at www.mississippiheat.net

Chicago Blues Guide Album Review: Jarekus Singleton - Refuse to Lose

This review was originally published in Chicago Blues Guide on June 22, 2014. Be sure to check out their website at: www.chicagobluesguide.com

Jarekus Singleton - Refuse to Lose

Alligator Records

By Rex Bartholomew

As he hails from Mississippi, it would be natural to assume that Jarekus Singleton would be another in the long line of Delta bluesmen, but the scope of his music goes far beyond the borders of the Magnolia State. His original songs are blues-based, but he calls upon many genres to achieve a unique mood, including rock, jazz, funk, hip-hop, and maybe even a little country. This contemporary blues sound caught the ear of Alligator Records’ Bruce Iglauer, who helped Jarekus produce his debut album for the label, Refuse to Lose.

Though Singleton is barely 30 years old, music has been a life-long passion for him, and he started playing bass at the age of nine in his grandfather’s church. After switching to guitar and discovering his voice he fell under the spell of the blues at the age of 15. He showed impressive athletic prowess during college, but he always stuck with his music. This was fortunate for him (and us) as his basketball career was cut short in 2009 by injury, just as he had caught the eye of the NBA.

That same year, Jarekus formed his own band that self-released an album in 2011, and some of its tracks received regular airplay on satellite radio. He won the first of many blues awards in 2012, and it was only a matter of time until he signed with a label that could get his music heard across the country and around the world. His decision to work with Alligator worked out well -- Refuse to Lose is 53 minutes of exceptional art that is broken up into 12 self-penned tracks, and it is getting him the attention he deserves. Singleton takes the guitar and vocal parts for this project, and he is joined by a more than capable crew that includes James Salone on organ, Ben Sterling on bass and John “Junior” Blackmon behind the drum kit.

This set kicks off with “I Refuse to Lose” and the first impression is that this project has a very live sound. The guitar, bass, drums and organ on this blues rocker have a natural tone and blend, so that it is almost like being at a perfectly mixed blues gig. Credit for this vibrant mood goes to Pete Matthews of Nashville’s PM Music, who puts together a consistently tight product. Jarekus’ voice ranges from a spoken-word style all the way to a throaty roar, and if you listen to the words you will get to learn a bit of his life story.

Not knowing all of Singleton’s history, it is easy to assume that many of the songs are autobiographical as the lyrics are written in a very personal manner. Both “Hero” and “High Minded” sound like the voice of experience, taking to task folks that are haughty and egotistical, or possibly just too big for their britches. Also, “Crime Scene” and “Suspicion” are full of worldly wisdom that can only come from having a few relationships go sour. These subjects have been staples of the blues since day one, but Jarekus’ use of modern language and pop culture references brings his songs into the present day and makes them accessible to a new generation of listeners. He is a masterful storyteller!

In the same self-revealing vein, “Keep Pushin’” describes his motivation as well as specifics about his athletic history and the path to his new life in the blues spotlight. This hard-driving rock song uses a killer walking bass line, hammering drums and superb organ work to give it a rock feel that contrasts well with his rap-like lyrical delivery. It makes for a catchy package that results in one of the standout tracks on Refuse to Lose.

The other prize-winning tune is “Blame Game” which has a traditional 12-bars blues construction, but uses a sparse arrangement that is refreshingly different than what other artists are bringing to the table. Singleton changed things up for this song and brought in a different band to back him on this song: Ben Sterling popping out a very organic-sounding bass, Brandon Santini honking out a tasty harmonica lead and Robert “Nighthawk” Tooms playing a subdued piano accompaniment. This ends being a bare-bones shell that is decorated with Jarekus’ simple syncopated guitar chords and an all-too short solo. He really is quite a singer and guitar player, and the closer, “Come Wit Me,” arrives all too soon to end things on an upbeat note.

With its unique modern blues sound, wicked arrangements and heartfelt songwriting, Refuse to Lose is a winner in every way. Jarekus Singleton has made his own niche with his progressive sound and style, and he surely will play an important role in the future of the blues!

Blues Blast Magazine Album Review: Mike Stern and Eric Johnson – Eclectic

Hello!

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

Mike Stern and Eric Johnson – Eclectic

Concord Music Group

www.mikestern.org

www.ericjohnson.com

www.concordmusicgroup.com

12 tracks / 72:22

Two powerhouse guitarists, Mike Stern and Eric Johnson, first got together when Mike asked Eric to play a few tracks on a recording project, which led to a performance together at the Blue Note in New York City. They had such a good chemistry on this show that they could not just go their separate ways, so they recently completed a neat cooperative effort, Eclectic.

Mike Stern is a top shelf jazz guitarist and Berklee graduate who has released 16 of his own albums, six of which were nominated for Grammy Awards. His big break was in 1976 with Blood, Sweat & Tears, and since then his career in the various genres has been nothing short of impressive. He has performed and recorded with an amazing cadre of artists, including Miles Davis, Jaco Pastorius, David Sanborn, the Brecker brothers, and Bela Fleck. The list goes on and on, bit you get the point.

Eric Johnson provides the rock half of the equation, and his curriculum vitae is no less solid, with a Grammy Award and five nominations of his own. Eric took up the guitar at the age of eleven (as Beatlemania took hold of the US) and in just a few years he jammed with Johnny Winter who later remarked, “When I heard Eric, he was only 16, and I remember wishing that I could have played like that at that age.” After a four-year stint with Austin, Texas’ seminal fusion band, the Electromagnets, he went on to cut ten of his own albums. Along the way he garnered the respect of big name guitarists such as B.B. King, Billy Gibbons, and Steve Morse, and had the opportunity to tour with his fellow guitar gods Steve Vai and Joe Satriani.

Eclectic was recorded in just 3 days at Johnson’s Austin, Texas studio, with few overdubs and a decidedly live feel. It clocks in at well over an hour and serves up eleven original tracks and one kicking cover. Stern and Johnson handle the guitars (obviously) and they are joined by the rock solid backline of Anton Fig on drums (late night with David Letterman’s World’s Most Dangerous Band) and Chris Maresh, Johnson’s regular bassist. A few key guests contributed as well, and their disparate backgrounds ensure that Eclectic is not just a clever name.

Austin’s pre-eminent soul man, Malford Milligan, helps kick things off with his growly vocals on “Roll with It.” His chops are a good match for the intricate guitar work on this funk rock piece, and the backline delivers a rock steady beat without being too flashy. After this things get jazzy with “Remember,” a six-minute fusion instrumental piece that might not be terribly radio-friendly, but it is super-listenable and features a killer bass groove from Maresh, who has no trouble keeping up with Johnson and Stern.

The instrumental “Benny Man’s Blues” is a tribute to Benny Goodman, and though it has the word “blues” in the title it defies categorization. There is a blues backbone, but it is layered with distorted bluesgrass picking, jazz rhythm guitar / bass, and knockout rockabilly drumming. Things calm down a bit for “Wishing Well” which is peaceful despite its fast tempo. This is surely helped along by the sweet vocal stylings of Grammy winner Christopher Cross, Johnson’s longtime friend and fellow Texan.

Maresh’s “Bigfoot” benefits from a world music intro that features Mike’s wife, Leni Stern, on vocals and n’goni. After 90 seconds of her lovely melodies, things go all experimental electric jazz, and it is hard to believe that the band was able to put songs this complex together in just a few days and still have them sound good.

Eric is not known for being a jazz guitarist, but one of his big inspirations is Wes Montgomery, and “Tidal” is a tribute to him. He also does not forget his own musical past, as he placed an Electromagnets song, “Dry Ice,” into the mix. This high-energy fusion instrumental exercise sounds huge, and Fig’s driving snare and kick drum propel this thing into overdrive for almost seven minutes. In keeping with the eclectic theme the horn section of saxophonist John Mills, trombonist Mike Mordecai and trumpeter Andrew Johnson join in on “Hullabaloo,” the most poppy and accessible track on the disc.

The album finishes up with a fresh take on Jimi Hendrix’s “Red House” with Stern and Johnson switching off on the vocals, and it turns out that they can both sing well too. Jimi inspired these guys, and their talent makes sure it is a fitting tribute. For good measure Guy Forsythe kicks in some tasteful harmonica work, which add a new element to this blues-rock classic.

Mike Stern and Eric Johnson’s Eclectic is a spontaneous collection of very good songs that were recorded by two of the best axe men in the business. If you love guitar music with no boundaries, this is the album for you. Hopefully their collaboration will continue after this project and we will get to hear more from this dynamic duo!

Mahalo!

Various Artists – Blues for Big Walter | Album Review

Various Artists – Blues for Big Walter

EllerSoul Records

www.ellersoulrecords.com

16 tracks / 76:00

The use of harmonica in blues music owes a big debt to Big Walter Horton, who helped define the harp sound that we still hear today. Big Walter passed on back in 1981, which was way too soon, and to honor him and his contributions, Li’l Ronnie Owens (also no slouch on the harmonica) put together a cool tribute disc that includes nine harp players running down sixteen cool tracks. There is a little bit of everything on Blues for Big Walter, and recording took place on two continents over the course of three decades.

Besides Owens, on this production you will hear Kim Wilson, Mark Hummel, Bob Corritore, Sugar Ray Norcia, Steve Guyger, Mark Wenner, Kurt Crandall, and Andrew Alli. Each of these guys has a great sense of history and incredible talent, making this a very special project. As an added bonus, backing them are dozens of incredible musicians, including Anthony Geraci, Bob Welsh, Robert Lockwood Jr., Big Jon Atkinson, and many more. This was a labor of love, as the artists performed for free, and proceeds of sale go towards two fine blues charities: The Blues Foundation and the Handy Artists Relief Fund (H.A.R.T).

There are both studio and live recordings, acoustic and electric arrangements, and a lot of different sounds and feels. For example, “Easy” is covered twice here, with Mark Hummel and Andrew Alli each having a different take on it. Hummel went for a full band, while Alli kept it down to a more simple arrangement with just an acoustic guitar for accompaniment. Each version is wonderful, but variety is the spice of life and these guys deliver the goods. It is not possible to run down each of the other sixteen tracks, but a few of them really stood out for me:

”She Loves Another Man” showcases the hard-working Bob Corritore on harmonica and the late Jimmy Rogers on vocals and guitar. This is Chicago blues at its finest, and Bob’s understated harmonica work fits in perfectly. His phrasing and sense of space complement this song perfectly, which is what Hornton brought to the projects he worked on. Big Walter was the ultimate sideman!

”Sugar Ray Medley” is the showpiece of “Blues for Big Walter,” an 18-minute track that includes “That Ain’t It,” “Walter’s Boogie,” “Everybody’s Fishing,” “I Don't Get Around Much,” and “Blueberry Hill.” A lot of thought and practice went into this medley, as the individual songs blend seamlessly into each other and have an amazing balance. And, of course, Sugar Ray Norcia nails the vocals and harp parts; he is simply a joy to listen to.

Finally, the album closes up with ”Think Big,” a live version that was cut by Li’l Ronnie with Terry Garland on guitar in at the Canal Club back in 2009. Owen’s harp is crystal clear and takes a nice leading role over Garland’s acoustic guitar. It is cool to finish up with a bare-bones instrumental that features the harmonica up front for this very special compilation.

If you are a fan of blues harmonica or Chicago style blues, Blues for Big Walter is a must buy. Rumor has it that there were many more artists that were interested in participating, but there just was not enough room on the disc (it comes in at 75 minutes), so there might be a volume 2 coming up. So, keep your fingers crossed and check in with the Ellersoul website for updates.

Tas Cru – You Keep the Money | Album Review

Tas Cru – You Keep the Money

Crustee Tees Records

www.tascru.com

12 tracks / 56:25

Tas Cru’s sixth album, You Keep the Money, did really well last year as it debuted at #1 on the Roots Music Report and at #2 on the Living Blues chart. This was no anomaly as this New York-based singer, songwriter and guitarist delivered a smart package of modern blues that was well written and recorded. I think it is the best work that he has done so far, which is saying something as his other CDs are pretty good too!

I could have thrown together Tas’ biography and background for you, but what he does now is so very relevant that I want to tell everybody about it. You see, besides being a stone-cold professional bluesman he is also a stellar dude that gives a lot of himself to the world. He is a blues educator who presents his workshops to schools, hospitals and community centers. He has also recorded two blues albums just for kids, and was recognized for his work with the 2014 Blues Foundation's Keeping the Blues Alive Award for Blues Education.

Tas wrote all twelve of the songs on this record, as well as handling the lead vocals and guitars. A medium-sized crew came along to the studio to join him, including Mary Ann Casale on backing vocals and dulcimer, Bob Purdy on bass, Dave Olson and Bob Holz on drums, Dick Earl Ericksen on the harp, and keys courtesy of Chip Lampson and Guy Nirelli.

The first tune in this nearly hour-long set is the title track which is derived from a conversation that Tas Cru had with the legendary T-Model Ford. This occurred at a benefit show for T-Model, who was a little disconcerted that the band was working for free. There is a fat sound to this piece with a funky beat that features Purdy’s super-fat bass and an abundance of Hammond from Nirelli. Dick Earl Ericksen is hot on the harp and he very effectively trades riffs with Cru’s guitar.

Tas included a slow and sweet instrumental, “La Belle Poutine,” which is one of my favorite tracks on the disc. With no vocals it is easy to focus on Tas’ guitar, and it is smooth and melodic with a great touch and tone. Electric piano from Lampson and extra percussion from Ron Keck give this song a 1970s feel, and it comes out as sort of a mash-up of Robin Trower and Gary Moore. I wonder if this tune was named after a restaurant I went to in New Orleans a while back…

Another cool song is “One Bad Habit,” a cool shuffle that features lovely harmonies from Casale and Alice “Honeybea” Ericksen. The beat on this one is perfect, and it is a joy to listen to a backline is that is so tight.

The disc closes with roots and blues, and “Thinking How to Tell Me Goodbye” makes heavy use of acoustic, electric, and slide guitars. The lyrics are a nice twist on the usual break-up song, and when combined with unique (and constantly changing) arrangements of instruments, make this a song that can be listened to more than once before you figured out exactly what is going on.

You Keep the Money is a solid album from Tas Cru and you should head over to his website and give it a listen. While you are there, check out his show schedule and think about picking up a copy of his latest kid’s album for the young ones in your life. Not only will you be spreading the good news of the blues, but the proceeds go towards the Blues Hall of Fame too. How could you go wrong?

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!

Donald Ray Johnson – These Blues, the Best of Donald Ray Johnson | Album Review

Donald Ray Johnson – These Blues, the Best of Donald Ray Johnson

Self Release

www.donaldray.com

13 tracks / 59:00

Donald Ray Johnson has certainly managed to get around, and has come a long way since he was born in Bryan, Texas. As a young man he worked the cotton fields and learned how to play the drums, leading to a career that started when he was 14 with legendary blues pianist, Nat Dove. After an all expenses paid trip to Southeast Asia (courtesy of the US Navy), he returned to Southern California, where he hooked up with the blues scene again. You may know of him as a member of A Taste of Honey, which won the Best New Artist Grammy in 1979.

Johnson moved to Calgary, Alberta in 1989 and since then he has recorded six mighty fine blues albums, and his voice is just as good as his work on the traps. These Blues, the Best of Donald Ray Johnson is a compilation of nuggets from this body of work, though it must have been tough to narrow it down to only an hour of material. The thirteen tracks on this disc reveal a lot of versatility as it includes a little rhythm and blues and a touch of country, but it is mostly hard-hitting Chicago style blues. For a Canadian citizen that grew up in Texas and honed his craft in LA, he has a lot of the Windy City in him!

Nine of these tracks are originals, and he included four pretty cool covers for good measure. Donald opens the set with one of these, the Reverend Al Green’s “Ain’t No Fun to Me” which has a rock-solid backline (not surprisingly, he is a drummer after all), with plenty of harp, horns and Hammond. Johnson’s voice is a wonderfully hearty, but still smooth. This is a great tune, and all of the other tracks are just as good, which makes it hard to pick favorites, but I will give it a shot. Here are a few:

- It seems like every great bluesman has written at least one drinking song, and “Me and Jack (Daniels)” is Donald’s contribution to the community. This romp features a popping bass line, and an incredibly visual depiction of a man’s battle with the bottle. In this case the bottle always wins…

- “Always On My Mind” is one of my all-time favorite tunes, and this one provide a cool contrast to the most famous version, which was done by Willie Nelson (sorry, Elvis fans). Though this one also uses mainly country-style acoustic guitar as accompaniment, Donald’s voice is so much smoother than Willie’s that it makes this sad song new to me again.

-Johnny Taylor’s “Last Two Dollars” makes my list, as Johnson lays down some of the sexiest rhythm and blues lyrics you will ever hear. Of course, it helps that he started out with a very well written song that motors right through when played by one of the tightest bands you could put together.

- “No Guitar Blues” has plenty of guitar in it, courtesy of Michael Huston. This slow-rolling smooth blues track bemoans the fact that the blues community expects a front man to have an axe over their shoulder, and not be sitting behind a drum kit. The lyrics are witty and there is a glorious sax break and killer leads from Huston. This original song defines what Johnson is all about, so there was no way he could leave it off this “best of” compilation.

If you are not familiar with his work, These Blues, The Best of Donald Ray Johnson would be a perfect way to become familiar with his work. But be careful, after hearing it you might end up buying his other six CDs!

Blues Blast Magazine Review: All My Friends: Celebrating The Songs and Voice of Gregg Allman

Good day!

This CD review was originally published in the November 27, 2014 edition of Blues Blast Magazine. Be sure to check out the rest of the magazine at www.bluesblastmagazine.com

Various Artists -- All My Friends: Celebrating The Songs and Voice of Gregg Allman

Rounder Records

www.greggallman.com

www.rounder.com

2 CDs / 26 tracks / 2:31:54

1 DVD / 2:40:55

The Allman Brothers Band has survived its share of adversity since their first paying gig in 1969, and after 45 years they have finally called it quits and had their finals shows at New York City’s Beacon Theatre. One of the founding members, Gregg Allman, will continue on with his solo career, which is to be expected as he has quite a following of fans, including countless professional musicians.

On Friday, January 10, 2014, some of these legendary artists joined at the Fox Theatre in Atlanta, Georgia to honor Gregg and join him in song. All two-and-a-half hours of this show were captured on two CDs and a DVD, so you can experience this magical evening for yourself! All My Friends: Celebrating The Songs and Voice of Gregg Allman includes 26 songs with performances from a lengthy list of industry hard-hitters and hall-of-famers, including Warren Haynes, Derek Trucks, Susan Tedeschi, Dr. John, Eric Church, Pat Monahan, Jackson Browne, John Hiatt, Vince Gill, Martina McBride, and more! Gregg Allman joined in the celebration too, along with the rest of the Allman Brothers Band for a.

The set list is chock full of Allman goodness, with early Allman Brothers Band albums represented as well as tunes combed from Gregg’s solo catalogue. It is noteworthy that the Allman Brothers Band actually performed a few of the tunes, but they also assembled a house band to die for that played for the rest of the evening. This included Don Was on bass, Kenny Aronoff on the skins, Jack Pearson and Audley Freed on guitar, Chuck Leavell on piano, Rami Jaffee behind the Hammond, and Jimmy Hall tearing it up the harmonica. This would have been good enough, but they also brought in the McCrary Sisters on backing vocals and a killer horn section of Jim Hoke, Vinnie Ciesielski, and John Hinchey. These are all pros with centuries of combined stage experience and they made the evening enjoyable and complete.

This is a high-quality release with excellent production values, and the producer for this Rounder Records project is the one-and-only 3-time Grammy award winner Don Was. He was definitely qualified for this task, with credits that include The Rolling Stones, Bob Dylan, Willie Nelson, Roy Orbison and Neil Diamond. The sound and mix is as good as you will get with a live album, and the cinematography and editing of the DVD is crystal clear and it was put together so that fans get to see everything worth seeing.

Listening to the CDs is more challenging than the DVD as the first few times through it is difficult to envision what is happening on stage and who is actually singing – and most of the time it is not Gregg Allman. In fact, he does not even appear on stage until almost an hour in, when he joins Grammy-winning blues musician Taj Mahal on “Statesboro Blues.” But, without the visuals there is also a better of idea of who is getting the mail delivered, and there are definitely standout vocal performances. The highlight of the evening was “Midnight Rider” with Zac Brown and Gregg on lead vocals and Vince Gill backing them up on the harmonies: it induced goose bumps! Not far behind was McBride and Monahan’s duet of “Can You Fool” and the Sam Moore (of Sam & Dave) take of “Please Call Home.”

But the best part of the set is the DVD, and if you are not terribly busy you can take most of an evening to sit back and watch it. There are no special features or commentaries, but it is probably one of the better-produced concert videos that you will ever see. On the screen you get to see the mountains of amplifiers and the huge cast of musicians that made this tribute possible. This video gives a better idea of what a bang-out job that the house band does, including the powerful drumming of the indefatigable Aronoff, and the kicking yet subtle contributions of Pearson and Freed on guitar. The pedal steel work of Robert Randolph on “You Can’t Lose What You Ain’t Never Had” was a complete jaw-dropper and he did a righteous job alongside Gregg’s son, Devon Allman, on guitar. Also, the finale of “Will the Circle Be Unbroken” is very touching as all of the musicians returned to the stage one last time with Gregg kicking things off.

If you are a fan of Gregg Allman or the Allman Brothers Band, then purchasing All My Friends: Celebrating The Songs and Voice of Gregg Allman will be an easy decision. If you like Southern rock, you will certainly want to pick up a copy too. But the universal appeal of this well-produced set is that it includes work from some of the most influential artists of today, which makes adding this well-rounded music collection to your library almost irresistible, even if you are only the least bit interested in the man or the band. Check it out for yourself, and do not be surprised if you end up buying a copy too!

Mahalo!

Mike Osborn – In the Dog House | Album Review

Mike Osborn – In the Dog House

Je Gagne Records

www.michaelosbornmusic.com

11 tracks / 45:00

Few albums that I review can be classified as pure blues, as they often have elements of rock or country in them, and in Mike Osborn’s case, his In The Dog House disc has a little bit of everything in it. After moving from Illinois to Woodland, California (near Sacramento) in his early teens, Mike took up the guitar and by the time he was 16 he was playing lead guitar in a country rock band; since then he has played a bit of everything: classic rock, blues, and metal. After taking a break from gigging to take care of his children, about ten years ago he got back into the business in a serious way. The result was his killer 2009 debut album, Fire & Fury, and now his follow-up, In the Dog House.

Though Mike now lives in the San Francisco Bay area, this disc was recorded in Southern California with Grammy winner Alan Mirikitani doing the mixing, mastering, and taking on the producer role. Mirikitani also wrote seven of the tracks with his collaborator Dennis Walker; Osborn wrote three of the other songs, and John Fulbright wrote the remaining tune. Mike took care of the vocals and guitars, and he was joined by a bunch of stone-cold professionals in the studio. These folks include Johnny Griparic on bass (Slash and BB Chung King), Lee Spath on the skins (Robert Cray and Rod Stewart), and Teddy Andreadis on keyboards (everybody, including Carole King and Guns & Roses). Whew!

What these guys put together is incredible: the songs are all very well-written, musicianship is first-rate, and Osborn’s guitar work and vocals are amazing. Each song is different and cover more genres than would seem possible in a 45 minute album that actually sounds like it is a singular piece of art. They kick this diverse set off with “Love vs. Ego” a blues rocker with nice Hammond from Andreadis and hearty vocals from Mike. He says “love wins,” but I am not too sure about that…

Though In the Dog House seems to be mostly focused on love and its associated games, Osborn finds time to address two subjects other than romance on this album. One of these, “Company Graveyard,” is a hard driving boogie about a man who does not want to be tied down by the man. And “Veterans Song” is an ode to our armed forces, a pleasant rocker with neat vocal harmonies.

But the other tracks are all about love, all the way down to its most graphic level, as found in “Tied Up.” This straight up blues tune matches a raunchy guitar tone to the lyrical content, and Andreadis’ organ is amazing. Get it?

One of the standout tracks on this disc is “Jump in Your Fire,” a Texas boogie that has a lot of “La Grange” in it. Except that Osborn’s growly vocals are a bit more intelligible than you might expect from the intro. This track rocks to the highest degree, and it shows that Mike’s talent has a lot of depth.

And to provide the icing for this tasty cake, guest artist Randy Mitchell (formerly with Warren Zevon) lends his slide guitar to the John Fulbright song, “Satan & St. Paul.” Though beautifully built, this countrified ballad is stone cold bummer as Osborn dissects a romance gone horribly wrong with vocals that he grads from deep within his soul.

The set draws to a close with the title track, and again we get something just a little different and unexpected. The surf-rock inspired instrumental has a slamming beat, jangly guitars and a cool melody. It is cool that Mike got to show off his mad guitar skills one last time -- he is the real deal, for sure.

Mike Osborn’s In the Dog House is a winner from every perspective. He delivers a passionate and intelligent album that was carefully put together by one of the best in the business. I have heard his live performance is just as good, so I look forward to checking his show out for myself at my earliest convenience!

Blues Blast Magazine Album Review: Riverside Jr. – Would You, Baby?

This CD review was originally published in the October 30, 2014 edition of Blues Blast Magazine. Be sure to check out the rest of the magazine at www.bluesblastmagazine.com

Riverside Jr. – Would You, Baby?

Blueshine Records

www.riversidejr.com

www.blueshinerecords.com

11 tracks / 39:00

Solo acoustic blues brings the genre down to its most basic form, and if done well the singer and their guitar can tell a powerful story. Riverside Jr. has made just such a statement with Would You, Baby?, his debut release on the Blueshine Records label.

Riverside hails from the Netherlands, where he plays out as a solo, duo, or trio act which performs under the monikers of Riverside Jr., Big Will & the Bluesmen, or Riverside Jr. & Co., respectively. One of his partners in these endeavors is Blueshine’s founder (and killer guitarist) Peter Strujik from The Hague, who helped record and produce this album. It contains 11 roots and blues tracks, with Riverside taking the writing credit on five of them. This record had a distinctively American feel and tone -- it is obvious that Jr. has made great efforts to master the genre and make his sound as authentic as possible.

This set starts off with the traditional “Make Me a Pallet on your Floor” which has been recorded by many heavyweight artists, including Mississippi John Hurt and Bob Dylan. Though it maintains its original blues structure, it comes off as more as a folk song with clean acoustic finger picking accompanying his growly voice. This is followed by the original tune, “Ain’t that the Blues?” a song of lost love that is underscored by a slick ostinato on his resonator guitar.

It is notable that Would you, Baby? is a very well recorded disc. The vocals and guitars are balanced and all of the instrumental parts are crystal clear. Whether listening to it through speakers or headphones it is like Riverside is sitting in your living room, and every detail can be heard perfectly. His guitar playing is dynamic and percussive enough that drums and bass become unnecessary. Strujik did a fantastic job of putting together such a natural-sounding release.

Riverside’s love of classic blues recordings is shown in his inclusion of “Trouble in Mind” a tune that was written in the 1920s by Richard Jones, the fabulous jazz pianist. This could possibly be one of the slowest versions ever recorded of this tune, and its leisurely pace takes his voice to the lowest limits of its register. He was definitely not copying the Bob Wills and his Texas Playboys recording of this song! Jr. also takes a run at the granddaddy of blues songs, Robert Johnson’s “Traveling Riverside Blues,” and does not try to make it into something more than what it is – a short and bare bones blues classic.

The standout of the covers is Son House’s “Sundown” which is not a song that artists usually choose to re-do. It features terrific slide work on the resonator guitar, and Jr.’s voice is loaded with grit and emotion. If the production values were not so high, there would be no way of telling whether this was recorded today or in the 1930s; the way this Delta song is performed is as pure as the blues gets.

But his original songs are also very good, and it was easy to pick out two favorites, and possibly they are so special because they are personal to Riverside. “Let’s Ride” has some country overtones, and was inspired by a cross-country trip that Jr. took with his son across the United States a few years back. It is neat that his son, Jonah Konijnenburg contributed the 2nd guitar parts on this track, and he is quite an accomplished player too! “Olivia” is a heartfelt ode to his young daughter that plays out like a folk song, and it gets a little extra character thanks to sublime slide guitar work from Peter Strujik.

All too soon, Would You, Baby? draws to a close with the original title track, a pretty ballad with an uncomplicated structure that conveys a powerful message of love. It provides an appropriate closure to Riverside Jr.’s first release, as it maintains the consistently positive and tasteful tone that started with the first song and continued throughout the rest of the album. Riverside Jr. is the real deal, and fans of acoustic blues and roots music will not be disappointed with what they will find here!