JOHN

NEMETH
MEMPHIS
S
O
U
L
2 - Blues Music Magazine - DEC 2015
DEC 2015 - Blues Music Magazine - 3
 From all of us, to all of you,
Happy Holidays...
6 JOHN NEMETH 5 RIFFS & GROOVES
Memphis Soul From The Editor-In-Chief
by Tom Hyslop by Art Tipaldi

10 ROY ROGERS 24 DELTA JOURNEYS

Still Slidin’ Life In Hell
by Phil Reser by Roger Stolle

12 KIRK FLETCHER 26 AROUND THE WORLD

California’s In-Demand Guitarist Young And Old Blues
by Pete Sardon by Bob Margolin

14 DOUG DEMING & 28 REVIEWS

DENNIS GRUENLING Over 65 CD, DVD, And Book Reviews
Making Music Together Available At BluesMusicStore.com
by Mark Thompson
30 SAMPLER EIGHT
16 ANTHONY GOMES 15 Songs To Download
Celebrating Blues-Rock by Various Artists
by Don Wilcock
57 DAHL’S DIGS
18 SUGAR BLUE 12 Re-issue And Box Sets
No Longer Alone by Bill Dahl
by Matt MacDonald
58 Music Store
20 MIKE WELCH CDs, Box Sets, DVDs, Books, And More...
Monster Mike Grows Up by BluesMusicStore.com
by Karen Nugent
62 UPCOMING
22 ALBERT CUMMINGS Festivals, Tours, CD Releases, And Events
Workin’ Man Mark Your Calendars
by Art Tipaldi
4 COVER PHOTOGRAPHY © Mike Shea
 PUBLISHER: MojoWax Media Inc.
Been re-alphabetizing CDs for the past few months. Where do you file Lil’ Ed
PRESIDENT: Jack Sullivan and the Blues Imperials? Is it under Lil’, Ed, or Blues Imperials? Ditto Sonny Boy
EDITOR-IN-CHIEF: Art Tipaldi Williamson. Sonny Boy or Williamson?
LEGAL: Eric Hatten The best part of this seemingly impossible task has been to play records
that made an impact on my blues but with the glut of new music filling my mailbox
CONTRIBUTING EDITORS in the 21st century have become as distant to me as my old 33 and 45s. So permit
David Barrett / Michael Cote / Thomas J. Cullen III me to name check some musicians and records in no particular order from the past
Bill Dahl / Hal Horowitz / Tom Hyslop you might agree with or check out if you are new to the blues in the last decade
Larry Nager / Bill Wasserzieher / Don Wilcock and need a good fix of the blues.
~~~ • Steve James, American Primitive
COLUMNISTS • Snooky Pryor, Too Cool To Move
Bob Margolin / Roger Stolle • Snooky Pryor and Johnny Shines, Back To The Country
~~~
• Reba Russell, Buried Treasure
CONTRIBUTING WRITERS
Vincent Abbate / Grant Britt / Michael Cala • Roy Rogers, Blues On The Range
Mark Caron / Tom Clarke / Kay Cordtz • Otis Rush, Lost In The Blues
Ted Drozdowski / Robert Feuer / Rev. Keith Gordon • Spencer Bohren, Dirt Roads
Brian D. Holland / Stacy Jeffress / Chris Kerslake • Albert Collins, Live ’92-’93
Michael Kinsman / Karen Nugent / Brian M. Owens • Lightnin’ Hopkins, Complete Aladdin Recordings
Tim Parsons / Phil Reser / Nick DeRiso • Eddie Hinton, Cry And Moan
Pete Sardon / Richard Skelly/Eric Thom • Larry Garner, You Need To Live A Little
Mark Thompson /M.E. Travaglini • James Cotton, Live At Antone’s
Bill Vitka / A.J. Wachtel • Doug MacLeod, Unmarked Road
~~~ • Cephus and Wiggins, Guitar Man
CONTRIBUTING PHOTOGRAPHERS • Little Charlie and the Nightcats, Captured Live
Scott Allen / Robert Barclay / Mark Goodman • Big Jack Johnson, Live In Chicago
Les Gruseck / Aigars Lapsa / Pertti Nurmi
Joseph A. Rosen / Dusty Scott / Marilyn Stringer • Carol Fran and Clarence Hollimon, Soul Sensation
Jen Taylor / Susan Thorsen /Mike Shea • Buddy Guy and Junior Wells, Alone And Acoustic
~~~ • Frank Frost, Midnight Prowler
SUBSCRIPTION INFORMATION • Booker Laury, Nothin’ But The Blues
Web: www.bluesmusicmagazine.com • James Harman, Do Not Disturb
E-Mail: [email protected] • Omar and the Howlers, Hard Times In The Land Of Plenty
~~~ • Kelly Joe Phelps, Lead Me On
EDITORIAL QUERIES • Otis Spann, The Complete Candid Recordings
E-Mail: [email protected] • Angela Strehli, Blue And Blond
~~~ • Koko Taylor, Force Of Nature
BUSINESS AND CIRCULATION QUESTIONS • Robert Ward, Fear No Evil
E-Mail: [email protected] • Ruth Brown, Miss Rhythm
~~~
• Charles Brown, Honey Dripper
MEDIA SUBMISSIONS
Mail 2 copies to: Blues Music Magazine • John Lee “Sonny Boy” Williamson, The Bluebird Recordings 1937-38
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~~~ • Katie Webster, Two-Fisted Mama
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Blues Music Magazine welcomes articles, photo- • Carey Bell, Deep Down
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 /

JOHN NEMETH
Takin’ His Time
by Tom Hyslop
 rom his beginnings in Boise, Idaho, through a decade-long residency

F in California’s Bay Area, to his recent cross-country move to Memphis,

John Németh has been one of the blues world’s most distinctive and
determined players. A string of artistically successful recordings, including
three for Blind Pig, bracketed by four self-released albums, culminated in the
masterful Memphis Grease (Blue Corn), voted the Soul Blues Album of the
Year in 2015, a year after the singer very nearly ran the table with five wins
at the 2014 Blues Music Awards. Yet a year and a half after that triumph, the
singer almost reluctantly confides, “I feel like I’m really, really, really comin’
into my own. I’ve never felt comfortable about ever saying that before, but I
definitely feel it now.”
During a long conversation, Németh revealed a keen awareness of
how music touches the listener; showed himself to be a scholar of records
and recording techniques; discussed the chief influences on his singing
(Little Walter and Junior Wells); recalled the heaviest vocal performances he
has heard in person (by Buddy Guy and Robert Cray); and took stock of the
contemporary scene, in terms of art and commerce.

PHOTOGRAPHY © MARILYN STRINGER

 Németh refuses to exempt his own work from his making money. Blind Pig told me that stuff has to be in your

PHOTOGRAPHY © AIGARS LAPSA

unflinching standards, which demand originality in what is, face, but I sat in on the mastering sessions on my records to
in essence, traditional music, and integrity in a famously make sure they weren’t too pumped up.”
shady business. “I always wanna do the best job I can do. My “If it’s too pumped up, you’re gonna lose what I do.
philosophy on performing is, just give everything that you’ve You’ll lose the subtleties of the voice when the dynamics dies
got. You gotta sing with a hundred and ten per cent. The down, and you’ll lose the power when things just come out
singer has a lot of power to inspire people.” His restless and of nowhere and hit ya. I still make ‘em old school. In fact, I’m
enthusiastic pursuit of excellence­, and of “filthy” blues, helps probably gonna keep on makin ‘em on tape. I really like that
explain why, despite his achievements, he feels that he is only sound.” To that end, Németh proudly offers a 33 r.p.m. vinyl
now hitting his stride. edition of Memphis Grease at his shows.
Németh says developmental time on the bandstand Mindful of his new headquarters in Memphis, I
was crucial. “I have Boise suggest that Németh
to thank, definitely, for the could cut a superb
start of my career, and country soul album, and
how cool the town was. ask about discussions
It was really interesting he once had with the
growing up around there. jazz label Concord to cut
The isolation I think an album of standards.
helped me out. There “What I’m doin’ is me,
wasn’t anybody to tell and it’s so different.
me I was doin’ anything I’ve always included so
wrong. If you were many different stylistic
good at what you did, influences under the
you could make a living roots umbrella. They’re
playin’ music in Boise at kind of unusual records.
that time.” I mean, there’s soul in
“I got to play there, there’s country,
music five nights a week there’s New Orleans,
in one town, from 1993 to there’s jazz, there’s many
right around 2002, 2003. different blues influences.
The cool thing about It’s still comin’ from blues,
it is that I was playing but it’s my thing.
stone cold blues for four “If I never wrote
and five hours a night. a song and I just sang
Long shows, college other people’s material
bars, it worked out great. and worked up my own
Different culture back arrangements, I think I
then. People went to the could live on that too, and
bar, hung out, watched maybe that day will come.
some sports, and did But I have fun writin’
some dancin’. Times music. That’s a greater
have changed a lot, experiment to me, doing
that’s for sure. But I feel original material. I think
like we’re rebounding in about doing other things
a different kind of way a lot, and the answer I
right now, it feels like the keep coming up with is, I
music scene is pickin’ up want to do my own thing.”
in different places, and Németh deplores
let’s just hope it keeps a lack of originality.
rollin’ that direction.” “The number one thing that irritates me in blues, believe it or
We talked about how records today often don’t sound not, is the cuttin’ and pastin’. One thing I’d love to drive into
or feel right. “What makes music cool is all the feelings, and everybody, what will help blues grow and change and be cool
conveying the different feelings in it. If you’re singing songs for the future, is if the blues is approached exactly the same
you’ve got to understand that. I like emotionally charged music. way all the great guys approached playing blues. You weren’t
I like emotionally charged vocals. I like the gusto. I cut all my shit unless you had your own sound. So if you’re gonna be a
stuff live so the band can feel it, and the band can feel the name in the blues, you sure as hell better be able to interpret
dynamics, and we can go places.” music in your very own way. You should not be quoting the
“Part of the reason why music sounds like it does original artist, especially their signature licks. It’s not that hard
today is you have studios where nobody can see each other, to write a lick. Write a lick! If it sucks, sit at home, keep on
and the singer’s isolated, and things sound like they’re all on writin’ licks until you have cool licks of your own, and go out
their own. And the way they mix stuff these days is they make and do it.
it pop. It gets irritating; it wears you out. I don’t like listening “I was lucky. I grew up in a club scene where I could
to it. I hear a lot of blues that people want mastered that way. experiment and do things however I was gonna do ‘em. Also, I
They’re trying to mix their records like the records that are didn’t know much about the outside world and harmonica and

8 - Blues Music Magazine - DEC 2015

 stuff like that. I just kinda learned to do it a livin’ either. The thing about the music
my way. After a while trying to become a business is, there are hobbyists crossin’
songwriter and trying to come up with my into the business. There’s a new bunch of
own thing, I really understood how hard that these people every few years. Sam Myers
is, and how cool that is. That’s my feelin’ used to call ‘em glory seekers. And that’s
about it.” what these folks are. I mean, the blues
“After puttin’ in all this time, to business? Glory? These people spend
be somebody and not somebody else, all day tryin’ to get gigs and network.
or 15,000 other people in ‘my style,’ you They should be workin’ on their music.
really start having You gotta have
a respect for respect for the
somebody like B.B. music.”
King who was an “Blues would
absolute goddamn come back huge
frickin’ genius; he if people took
created his own
thing. Albert King,
he created his own
“Take time to the time to be
themselves, put
their personality
thing. It was so
good, man, wasn’t
it good?! And all
listen to the in it, and create
something
unique. Imagine
those guys, you
know, the feelin’ records, if everybody out
there had their
thing, like all the
take time to
is there. I think we
get too historical stars in the blues
about it. You listen back in the day
to those records,
write your
had their thing.
you get the gist You could hear
of how the shit’s one lick or one
supposed to feel, line in the song,
and then you put
your own feelin’
music, and you’re like,
‘That’s Muddy

take time to
on it, and come Waters.’ I’m a
up with your own fan of the music.
licks.” I can go, ‘Boom!

come up with
“There is Magic Sam, I
room to recreate know that. Otis
everything, even Rush, I know
within the genre.
It’s a feelin’, and
it’s personality.
your own thing. that.”
Németh can
instantly identify
Who are you and
what do you have
to say? If you’re
And then you’ll certain present-
day musicians
– he cites Jimmie
sayin’ somebody
else’s thing all
the time, then
really be goin’ Vaughan and
Junior Watson
– and has
you don’t have
a thing. Take the some places.” made a point of
employing unique
time to work that guitar stylists,
out. Instead of including Kid
tryin’ to book a Andersen, Bob
bunch of gigs and Welsh, Travis
tours, man, get Swanson, A.C.
your thing together. If it’s good, it’ll take you Myles, and Eliot Sowell. “They’ve taken
somewhere.” the time. Take your time, man, that’s the
“My entrance into the music theme of the interview right there. Take
business was that I wanted to have fun and your time. Everybody needs to take their
sing in a band. People started payin’ us time with everything. Take time to listen to
money to do it. I didn’t book gigs. The gigs the records, take time to write your music,
just came to me. If it’s too hard to get work take time to come up with your own thing.
and to pay the bills, you shouldn’t be doin’ And then you’ll really be goin’ some
it as a living. And you shouldn’t be tryin’ to places.”
take work from other people tryin’ to do it as

DEC 2015 - Blues Music Magazine - 9

ROY ROGERS
STILL SLIDIN’ by Phil Reser

R
oy Rogers has been pushing the parameter of traditional continued to record and to perform as a duet until Norton’s
blues for four decades, creating some of the best death in 2009. Subsequent solo studio albums by Rogers
contemporary, deep and funky slide guitar out there. have been; Slide Of Hand, Slide Zone, Rhythm And Groove,
Nominated eight times for Grammy awards and three times Pleasure & Pain, Everybody’s Angel, Slideways, and Split
for the Blues Foundation’s prestigious Blues Music Awards, Decision. Legendary Doors keyboardist Ray Manzarek
Rogers started playing the guitar at 12 years of age. As hooked up with Rogers in 2008, producing three records and
a young rock ‘n’ roller, influenced by Chuck Berry and Bo performing together over a five-year period.
Diddley, he became quickly hooked on the Delta blues. After On his latest release, Into The Wild Blue, he offers
touring the San Francisco Bay Area with several bands, he up an assortment of blues-tinged jams recorded with long time
joined John Lee Hooker’s Coast to Coast Band, which resulted bassist Steve Ehrmann, drummer Kevin Hayes, keyboardist
in the two musician’s forming a lifelong friendship. Jim Pugh, and special guests, violinist/string harp player Carlos
In 1986, Rogers left the Hooker band and struck Reyes and singer Omega Rae.
out on his own with his Delta Rhythm Kings band, releasing In the following Blues Music Magazine interview,
his debut solo album, the BMA (formerly W.C. Handy) Award Rogers talks about Into The Wild Blue.
nominated Chops Not Chaps. He followed that up with
Slidewinder, which included duets with Hooker and New Blues Music Magazine: You have four reallybeautiful and
Orleans piano legend Allen Toussaint. By 1990, Rogers slid original instrumental pieces on the album, “Dackin’,” “High
behind the controls to produce Hooker’s album, The Healer, Steppin’,” the title track, and your closing number, “Song For
and, shortly afterwards, the follow-up record Mr. Lucky, and Robert.” They are all unique. Would you say something about
then, Boom Boom and Chill Out, which all garnered Grammy each one?
nominations. He was featured on the soundtrack for the film Roy Rogers: The song “Dackin’” is a funk instrumental. I’m a
The Hot Spot that he recorded with Hooker, Miles Davis, and big fan and I’m known for doing a lot of funky stuff. I wanted
Taj Mahal. to do a song that approached that type of beat in a different
Around the same time, Rogers begin collaborating way. The emphasis is that it’s funky and you feel the pulse and
with good friend and harmonica virtuoso/vocalist Norton Buffalo switches the beat around. I thought that would be so cool to
recording the highly acclaimed R&B album in 1991. The duo do, and I came up with this great slide riff that fit perfectly. If
you listen to it closely, I have to stress the beat because the
drummer basically hits one and three and then he switches
10 - Blues Music Magazine - DEC 2015
 to two and four and then he goes back to one and three. That You Let Them Win” has a lot of musical elements that appeals
PHOTOGRAPHY © MARILYN STRINGER

defines the song. When I was a kid in high school, “Dackin’” to people; it’s kind of a world beat thing. The lyrics just came
was about if someone was really stylin’. Say they had a new out of me, it seemed like what I wanted to say, and it reflects
pair of shoes, or something else, they would have a certain my politics, which are somewhat liberal. A lot of times,
walk they did kind of showing off to be cool, but still very hip, whatever political spectrum you’re from, we get sold a bill of
and we called that “Dackin’.” I wanted to capture that feeling, in goods and when people ask me what side of the fence I’m on,
the song with the beat we created. I say, I’m for the little guy. If you want to encapsulate that song,
The tune, “High Steppin’” is straight out of New that’s what it’s about. I’m for the little guy, because the little guy
Orleans; I’ve always been a big fan of that music. I just wanted gets the shaft. BMM: What about “Got To Believe”?
to come up with a riff that captured a New Orleans kind of RR: I wanted to have an Al Green kind of old R&B tune, which
groove. That did it perfectly, and the difference between these I favor a lot; a Willie Mitchell produced sort of thing. I wanted to
two instrumentals, was funk in a New Orleans way. I wanted to give a stab at something that has that R&B feel, and I had to
present that difference; it was part of the pallet that I wanted to come up with words that reflected that. So the song is entirely
paint musically. I wrote the title cut on the piano. Believe it or based on old rhythm and blues. It just came out of me.
not, I was gifted a baby grand, 1928 Steinway piano by a fan. BMM: And “Losin’ You”? RR: That’s a rocker, the reference to
I’m not a pianist, but I was inspired by the coolness of that old age and getting older now, a lot of people haven’t been able
piano, started plucking away, and I wrote this song. I wanted to hang together in their years together, for some reason or
to have something that another, and they
sounded rather like an just have to move
orchestra that took you on. It’s reflecting
some place, like looking people that have
out at the horizon, been married for 30
anyway you might years or so and they
imagine it. I don’t like have decided to call
to define it; it’s let your it quits. I wanted
thoughts go. this song to be
And finally, designed as a rockin’
“Song For Robert” was tune because I like
written for my younger to keep the music
brother. He was 59 upbeat. I don’t really
when he died. He was want to reflect anger,
absolutely my number because I’m not that
one fan from way back. kind of guy anyway.
As a kid, I took him to BMM: And “She’s A
see Jimi Hendrix. On this Real Jaguar”?
song, I wanted to capture RR: The older
a feeling of him because woman and younger
I miss him a lot. I had a guy, a song that is
person make a wonderful whimsical and fun
comment to me after a with the lyrics and I
recent concert. He said to thought jaguar was a
me, “You know, that song different term for me
you wrote to your brother, it reminded me of my dad.” We’ve to use than cougar.
all had losses of loved ones and that’s the best compliment BMM: And “Love Is History”?
you can get for a song like that. To come up with some music RR: That’s more of an in-your-face statement, accompanied
that expresses human feelings that are common amongst us. It with a New Orleans sound. It’s another whimsical break-up
speaks for itself and I’m honored to have written it. thing. “I hope you’re happy with your man downtown,” kind of
BMM: And in the same manner, would you comment on the thing, and I’m moving on with my life.
lyrical songs on the album? We’ll start with “Last Go Around.” BMM: And how about the final song on the album, “Dark
RR: It’s a fun, whimsical song. It’s about the break-up between Angels”?
two people, a have a nice life kind of thing. I wanted it to be RR: I’ve done a lot of co-writing with Donna Johnston
light, not too heavy. I can get serious, but I’m a pretty light- throughout my career, and she wrote those lyrics. I put the
hearted guy, so something like a break-up, it’s like OK, we tried music to it. It’s about trying to get somebody back into your life
to make a go of it, I won the battle, you won the war, let’s move again. This song could produce a lot of different meanings to
on with our lives. I enjoy writing lyrically that way. people that listen to it.
BMM: How about “Don’t You Let Them Win”? BMM: Has your songwriting changed over the years?
RR: I don’t normally make statements in my music, politically RR: Any record you make, at any point in your life, you’re
or otherwise. I just felt like things around us were a perfect a different person. None of us remain the same person,
context to do that. And I made it so people would get it and it personality wise and obviously, our age and influences are
wasn’t polarizing, it’s just making a statement. I was watching constantly bombarding us. I like to think that my musical tastes
the Pope while he was visiting our country, and he expressed have expanded greatly since I first started playing and writing
things so simply and everyone gets it. I’m not the judge of songs. I listen to all kinds of music, and it’s a never-ending
things; let everyone do that for themselves. However, some story of how I change along the way.
times, you just have to make a statement. I think that “Don’t

DEC 2015 - Blues Music Magazine - 11

KIRK F
L
E
T
C
H
E
R
by Pete Sardon
 California’s In-Demand Guitarist
PHOTOGRAPHY © AIGARS LAPSA

K
irk Fletcher’s laugh comes from a joyful happy place combination of the quartet Gospel music that he was familiar
deep inside and is infectious. He was sincere when he with along with some darker thing. “That’s what done it!” he
stated, “I want to say that I really really appreciate all exclaimed.
the guys that helped me out along the way and welcomed me “I had done a bunch of gigs with Junior Watson, and he gave
into the blues community. Everyone from Al Blake to Junior me guitar lessons. He was fantastic as he would show me a
Watson to Rusty Zinn to Rick Holmstrom to Janiva Magness to few things on the guitar and then would play so many records
Lynwood Slim to Kim Wilson – all those guys. I really learned for me so I could cop a feel and get the swing. Then he would
how to play by playing with them all, and a ton more! No matter show me how to back up a harmonica player. This was just
what I do I just want to say that I appreciate what they’ve done invaluable in my music education for blues. Around 2000, I was
for me.” playing Chicago blues in a blues band with him and was asked
He got his music to join the Fabulous
righteously as he began Thunderbirds. That was
playing in church at age
eight and said his first
“It’s not how many the first real touring that
I did. God, it was great!”

notes you play,

guitar was a red and Fletcher has
black Sears acoustic of been a fixture around
nebulous musicality. He the Southern California
has preferred Fender
Telecasters as backline it’s the sound, that good area and has backed
artists such as Finis
and travel guitars and Tasby, Janiva Magness,
for roots music although
he got his start with
soulful phrasing, Lynwood Slim and was
one of Delta Groove’s

and taking your time,

an electric Squire Mannish Boys and
Stratocaster at age ten having spoken at length
and he calls the Strat his with him, his personality
“desert island guitar.”
Touring lately and playing what’s appears to be such that
he could connect well
with Joe Bonamassa on with anyone.
the Three Kings Tour,
which honored Albert,
appropriate Though he’s
been primarily the
Freddie, and B.B. King,
is what it’s about.”
go to guitarist from
has converted him to SoCal, Fletcher starting
using a Gibson Les Paul, singing about three
and he is the proud or four years ago out
owner of one of the 300 of necessity. He has
2015 Les Paul Nickys which is a Collector’s Choice of the decided to no longer be the “hired gun” and wants to move to
vaunted 1959 Les Paul. Zurich, Switzerland, to be with the love of his life and make it
Fletcher says, “This guitar has more sustain than my on his own to “get that full artist thing down.”
Fenders, especially for slow blues and shuffles. For the whole Fletcher further offers, “I’m going to take vocal
month of August we began touring on the East Coast heading lessons to learn about breathing and pitch. My whole next
to the West Coast and it was fantastic! Joe is a good friend phase will be in writing songs with Kirk Fletcher singing 10
of mine and we had great material and he is a stand-up guy songs that he wrote or in collaboration with others and I’m
and we had a lot of fun talking about guitars and players and having fun and looking forward to it. I want to try using the
meeting guys and for me it was Five Star all the way, it was guitar first with chords and melody and then write lyrics to the
almost like a vacation I had so much fun.” music. I think this technique will get me to the music faster.”
For our many musician readers, he prefers D’Addario When playing in Southern California, his go-to
strings gauges 10-46 (he feels that the lighter strings possess musicians are Travis Carlton on bass (Larry Carlton’s son)
better tone) and currently plays through a Fender Bassman and Lamar Carter on drums (he also plays for Rafael Saadiq),
amplifier, but will be obtaining a Fender Super Reverb in but he will have to assemble musicians for his band when in
Europe. His emphasis has always been on tone and he seeks Europe. “I feel successful because I can go out and play guitar
to punctuate his music accordingly with this in mind. “It’s not and play with my friends and that’s half the battle won as far
how many notes you play, it’s the sound, that good soulful as success goes. No matter how hard it gets, at the end of the
phrasing and taking your time and playing what’s appropriate is day you can go out and make people happy, that’s what it’s all
what it’s about.” about.”
He learned his craft initially from his older brother and Asked how we can get the younger generation into
then hanging out in music stores, watching other musicians, the blues, Fletcher feels that it is imperative to have good
reading Guitar Player Magazine, going to swap meets to find songs, that both the musicianship and songwriting of blues
records of music he wanted to learn. The blues hooked him in should step up a notch and that good songwriting will appeal to
a big way when he was eight when he heard Howlin’ Wolf sing a broader younger audience.
“Little Red Rooster” on KLON. It sounded to him like a
DEC 2015 - Blues Music Magazine - 13
 D0UG DENNIS
DEMING & GRUENLING
PHOTOGRAPHY © MARILYN STRINGER
by Mark Thompson

I
t is rare to encounter a blues band that for most of the event, the two guitarists tour. Mutual friends recommended an
hits the stage and never looks back, engaging in some friendly headcutting East coast harp player, Dennis Gruenling,
projecting a high level of energy that with Deming matching Ramos every step who signed on after a phone conversation
can fill the dance floor for hours. When of the way. Sharing the stage with Steve with Deming made it clear that they
that band is comprised of musicians Guyger, Kim Wilson, and Rod Piazza, shared many of the musical influences.
with exceptional talent and commitment, Gruenling left a lasting impression with After several road campaigns
the shows can be a truly memorable his horn-like harp blowing and animated supporting each other, the duo decided it
experience. Anyone who has witnessed stage presence. was time to join forces. For Deming, the
the combined efforts of guitarist Doug The genesis of the partnership partnership made sense on a number of
Deming and harmonica wizard Dennis goes back a few years. After backing a levels. “It allows us to offer the buyers and
Gruenling can attest to the sheer power of number of outstanding harp legends like their patrons a package deal with Dennis
their dynamic live performances. Lazy Lester, Kim Wilson, and the late and I each having our own fan base.
Anyone who was fortunate Gary Primich, Deming started recording From a business perspective, it allows us
enough to attend the Harpin’ For Kid under his own name with his band, the to share in the risks of touring as well as
benefit in New Jersey last year can Jewel Tones. They worked regularly in sharing the rewards if we are successful.”
bear witness to their instrumental skills. their Detroit home when they weren’t on They work together to book their
Deming went toe to toe with Kid Ramos the road. In 2007, Deming was searching tours, which put the band on the road for
for a harmonica player for an upcoming five or six months of the year, using the
14 - Blues Music Magazine - DEC 2015
M
contacts they have nurtured over the influences, and by extension, George ready, Deming wants to highlight his
course of their individual careers. “Harmonica” Smith. guitar playing so that listeners understand
For Gruenling, one key to their “I love George Smith’s approach that he has more to offer than just being

A
success is their shared musical interest. and the sound he got, especially on the guy that backs harp players. “I love
“Doug is not just a jump blues player or the chromatic. Little Walter is another the guitar players that walk the line
Chicago-style player or just a Texas blues influence. He didn’t play octaves but had between blues and jazz, cats like Tiny
Grimes, Bill Jennings, T-Bone Walker, and

K
player. He is into all of the sub-genres of a great approach to single notes intervals
blues that I am – Excello swamp blues, on the chromatic. George really pioneered my number one guy, Charlie Christian.
swing, and early rock ‘n’ roll. It is not easy playing octaves on the chromatic, which I try to honor them every night. When I
to find someone with varied tastes like write, I do my best to keep the clichés out

I
can generate an organ-like or tremolo
mine. Doug is really well-rounded in all of sound when amplified.” while focusing on a scenario, a story line
the roots music styles.” The Jewel Tones rhythm section, that I can believe in.”
That is the key for the guitarist. comprised of Andrew Gohman on upright Gruenling is also considering

N “Writing, playing, and creating legitimate

blues and roots music is the paramount
goal for me. If I couldn’t play that music, I
and Fender bass plus Devin Neel on
drums, excels at handling the variety of
tempos and styles found in the band’s
a different approach that would bring
more rock ‘n’ roll elements into the mix
along with his original compositions that

G would do something else for a living.”

Their impressive live shows are
jam-packed with plenty of musical delights
songbook. Deming is quick to point out
that their efforts are paramount to the
operation. “The styles of music we play
extend the traditions of sax players like
Red Prysock and Illinois Jacquet. His
full-bodied tone and intricate lines can
that range from rousing renditions of really require a sympathetic rhythm confuse fans at live shows, causing them
Chuck Berry tunes to covers of tough section. They have to be on the same to start looking around in an attempt to
blues from Lazy Lester and the Fabulous page with the traditional vibe that Dennis figure out where the sax player is hiding.

M Thunderbirds through T-Bone Walker to

impressive original material that is equally
compelling. Deming handles the lead
and I go for. Without the right rhythm
behind you, you feel like you are playing
with handcuffs on all night long. Andrew
When he is not touring,
Gruenling teaches harmonica through
individual sessions or group workshops.

U
vocals with a strong, clean vocal style that and Devin have been there on and off the “I mainly go over good foundational
can get gritty when the band goes down stage. We are grateful for what they have techniques like tongue-blocking and build
in the alley. brought to the band.” from there. Some classes might be on

S
One of the rare guitar players For the last three years, the a particular blues styles or one player’s
who don’t have a pathological need to duo has concentrated on their touring style, even different positions to play.” His
fire off a steady stream of notes, Deming schedule in order to build their fan base other business, BadAss Harmonica, is his

I
understands the value of space and the through their powerful live performances. outlet for selling the vintage crystal mics
emotional dynamic that it adds to his One tour saw them play 28 shows in that are near and dear to his heart.
solos. That approach was developed over 26 days. Last year found them on the An avid fisherman, Deming
road for a six-week stretch that included moved to Florida’s Gulf Coast five years

C
several decades backing singers and
harp players. A big fan of traditional jazz, a mere three days off. Two of those ago, where he enjoys steady work in local
Deming pays homage to that genre by days were spent traveling to and from a clubs with the Jewel Tones. The veteran
dropping little snippets of familiar tunes festival appearance in France. The heavy harp master, Madison Slim (Mark Koenig),
into his solos. Listeners might hear the workload is the result of many hours of joins the band in place of the Gruenling,
melody to a TV-show theme song one work trying to connect the dots as they a New Jersey resident. While he makes
minute, and then hear a passage from the move from region to region across the the most of his time at home, Deming is

T be-bop jazz classic, “Salt Peanuts,” a few

minutes later.
On the road, he plays a vintage
country. Recently they have started
working with Blue Mountain Artists to help
the band gain a foothold in the European
also understandably proud of what he and
Gruenling have accomplished over the
last few years. “We are better musicians

O Kay hollow-body guitar. When the band

shifts to some tougher shuffles, he
switches to a custom Strat. His clean,
touring market.
When it comes time to record,
the two leaders back each other with
– definitely a better band. We have
made a lot of new fans, connected with
other musicians, promoters, and blues

G fluid playing is run through a Vero

amplifier without the use of any pedals for
effects. As if to validate his work, Deming
the Jewel Tones also lending a helping
hand. Deming’s most recent effort, What’s
It Gonna Take on the VizzTone label,
societies. The amount of success we
have had in today’s shrinking economy
and the amount of positive feedback the

E was the recipient of the 2013 Blues Blast

Music Award in the Sean Costello Rising
Star category.
features his expressive vocals and fluid
guitar work with Gruenling supplying
plenty of his studied harp blowing. Rockin’
band has received has kept Dennis and
me motivated to keep pushing for further
growth.”

T
Gruenling favors vintage All Day, Gruenling’s release on Vizztone,
crystal bullet harmonica microphones puts more emphasis on the leader’s
run through a HarpKing amplifier playing with Deming once again handling

H
to complement his array of Hohner the lead vocals and guitar parts. The disc
harmonicas. The crystal microphone also includes Gruenling’s first recorded
element in conjunction with the tube lead vocal on a cover of “It Went Down

E
amp gives his sound warmth and an Easy.”
extended tonal range that is missing with Now that their touring schedule
other styles of microphones. A master of is completed for the year, both musicians
the chromatic harp, Gruenling cites Rod are preparing for their next recording

R Piazza and William Clarke as two main projects. With a batch of new songs

DEC 2015 - Blues Music Magazine - 15

A

PHOTOGRAPHY © ART TIPALDI

acoustic to heavy blues-rock.
by Don Wilcock And he does it all with a high
degree of expertise and creative
juice that cuts through whatever
prejudices the blues police may

N
have toward what constitutes
real blues.
He once spent about
six months with Chicago blues
guitarist Magic Slim on “select
dates” and a small tour as one

T
of a series of rotating guitar
players. Ground Zero proprietor
and famed actor Morgan
Freeman set up an appointment
with him to see a physiotherapist
when he played the Clarksdale
club with a crook in his neck. “He

H
whispered to my friend in her ear
and pointed at me. When we got
done, she said, ‘Morgan told me
to tell you, ‘Not bad for a white
boy.’
“If you’re Canadian and

O
white, you’re white twice,” says
Gomes who won an award for
the highest overall academic
grade point average by a history
major as an undergraduate and
did his master’s thesis on the

N
racial and cultural evolution of
blues music. “I guess I wanted to
figure out where I fit in the blues
world. So that was my journey
in discovering all those things,
but I certainly didn’t play (my
education) down.

Y GOMES
“I mentor young men and ladies
who want to play the blues,
and I tell them, ‘Get as much
education as you can. You have
to write lyrics, and you have to
say something. The more you

CELEBRATING BLUES-ROCK
can learn from formal education
and from the school of hard
knocks, the better off you’re
going to be. So, the harder you
work, the better you are.’
“I remember one of
“The blues is a wide spectrum, the early reviews: ‘Another day,
another hot shot leather pants
and all points of view or wearing guitar slinger.’ And I’m
like, ‘You know, Albert Collins
perspectives should be celebrated.” wore leather pants,’ but whatever
it takes, you know, I get it. At the
end of the day you just have to
be honest with who you are and
what you’re trying to project. I

“I
’m a white boy from Toronto who loves B.B. King and Deep Purple, and not one above think it would be a disservice to
or beyond the other,” says Anthony Gomes who has a master’s degree with honors try and look like I wore a Zoot
from University of Toronto. But he also has a mane of long hair and wears dark glasses suit and combed my hair back in
and leather pants. a slick way like I was in the ‘50s
He got a jump start on his career by winning the first annual Buddy Guy Legends because I can’t relate to that.
Best Unsigned Blues Band competition in 1998 and has six CDs to his credit that range from “I can understand,

16 - Blues Music Magazine - DEC 2015

especially in the blues, where it’s seen as about the thug life, and it’s very much
folk art in some ways and an expression dedicated to a black audience. Country
FROM 30 ROCK, SEINFELD,
of folk artistry, but sometimes that means music is definitely dedicated to a white
CURB YOUR ENTHUSIASM

Barnes
anti-big city education, but the blues is a audience. What happened to rock and
wide spectrum, and all points of view or roll? What happened to blues and its
connection to rock and roll? I see that,
BAD
perspectives should be celebrated.” News
Gomes sees music in a much
broader construct than most blues
artists, and he applies that world view to
for whatever reason, these art forms are
the ones these powers that be are really
pushing, and I think rock and roll – and
& The Brethren of Blues Band

his music, throwing out limitations and I’ll throw blues in the same category –
opening the field, waiting for his audience scares people and the powers that be
– and society as a whole – to catch up. because you used to have a guy like John
“The problem with blues, as I see it, is Lennon walking around saying the war
that it’s marketed and seen as the roots is over if you want it to be, and now you
of everything. Everything came from the don’t have that.
blues, and it has historical relevance “Now, you have very surface
to it that ties in to all other genres, and bubblegum sort of stuff. It always existed,
because of that there’s a real hesitancy to but now it dominates, and you’ve got all
change that, and it’s not as much a living, these rock guys that are trying to – Steve
“90 PROOF TRUTH”
CD/DVD
breathing thing because in order for it to Tyler or whatever – trying to penetrate
be the root of everything, it has to remain country music because that’s really the
in this 1920s to 1940 era, and that’s not only delivery device making stadium
really valid.” superstar acts.
As a person who’s seen the “If you’re blues rockin’ and you AVAILABLE NOW!
blues scene from both down in the get too melodic, it changes. It goes from
trenches and as an academic, Gomes blues-rock to corporate rock. It starts
finds some disturbing trends both in sounding a little bit more like Journey.
society and in the blues industry. “Thomas So, you have to be very careful in the
Jefferson would be thrown in jail today melodies that you choose. I read this
for saying every generation should have great interview with Jimi Hendrix where
a revolution. We’ve become passive,” he they were talking about use of feedback
says bluntly. and how Jeff Beck and Jimi were sort of
He calls his current LP Electric the two pioneers. Jimi was less melodic
Field Hollers. Field hollers were the first in than Jeff Beck, and Jimi’s comment
a long history of blues, gospel, spirituals, was, ‘Well, Jeff is English and melody is
rhythm ‘n’ blues, and rap to use a so important there. Where I come from
language of code to address social issues a blues background, and it’s more a
indirectly in order to avoid censorship feeling.’
or even murder in the case of slaves “So, I would say you have to be “I Really Like This Disc. Very Funny and
or music fans living under repressive very careful, especially if you’re straddling Clever with Top Notch Musicians.”
regimes. a line with your melody. I think lyrics are — Bill Wax.
“You may argue that rock music very important. I think they’re the most “The Blues Plate Special” WPFW
was more relevant in the ‘60s, Buffalo overlooked thing in music generally. I
“This excellent new album has been an
Springfield and Neil Young and acts like know so many artists that write great
authentic and amazing revelation.
that talking socially about society of the lyrics that they go unnoticed, and the I really like Barnes’ personal and satirical
times. So, it still follows the code to some general public sometimes doesn’t even treatments of blues classics and his
degree, but in a lot of ways society has pay attention. I guess the stronger the original’s sharp compositions are so good,
sort of been dummied down or pacified melody, the less important the lyric needs delivering a 360 degrees vision of blues,
a little but, or distracted might be the to be, and I think sometimes the more soul and American Roots Music.”
best word to say. We have 24-hour news important the lyric is, the less important — Roberto Rossi,
stations pandering to what attracts us as the melody needs to be. Leonard Cohen European Syndicated Radio Host
opposed to what enlightens us.” isn’t exactly Freddy Mercury but….”
Gomes asks the question, If the blues police are reading “With funky grooves, thunderous rhythmic
what ever happened to request lines at this, they must be ready to call out the assault and performing in his blood; the most
local radio stations now programmed dogs. “Blues-rock is the red-headed entertaining Blues Releases in Recent History.”
by national consultants. “I see more bastard child,” laments Gomes. “And — Mark Uricheck, Weekender
even at the Blues Music Awards or any Northeastern Pennsylvania’s No. 1 source for arts
and more of the polarization of art and and entertainment.
music, and it’s being pushed in a way that time I feel like they have to tolerate us
celebrates a less refined point of view because we put people in the seats. They “Bad News Barnes & The Brethren of Blues
meaning country music. I love country really feel like it’s not really blues. It’s a hit you hard. Fun & entertaining with brash
music and their great stories, but I think necessary evil, and I don’t feel that way at social commentary. Bad News Barnes you
a lot of it is about drinking beer, going to all.” will not forget.”
church, and raising hell on your tractor. In the end, it’s you, the listener, — Domenic Forcella, Blues Beat Media
“Rap music has a lot of lyrics who supports the artists by buying their
music and going to their shows.
DEC 2015 - Blues Music Magazine - 17
S SUGAR BLUE
hortly after sunset, Two more are on the way.
Sugar Blue, his family, One, due out early in 2016,
and his band climb is “very much about what’s
aboard the Fleetwood going on in America today.
Bounder parked next to a
temporary stage set up in a
small park next to the harbor.
NO LONGER It has very much to do with
current events.” The other is
quite different. “I wrote a song

WALKING ALONE
A few hours earlier, they for my little boy and he loves
had rolled in to the crowded it, and Ilaria said, ‘Well, you
and laid back Gloucester know, maybe we should do an
Blues Festival, a pleasantly by Matt MacDonald album of lullabies.’ And I was
incongruous combination of blues and the beach. Encapsulating like, ‘Okay. Why not!’ Babies just know what’s good. They don’t
this contrast, soon after arriving, Blue was jabbing his head back classify things. They just like what they like.”
and forth as he quietly scaled up and down a harmonica again The project grew. “I ended up playing some Chopin and
and again with building speed as his wife Ilaria playfully chased some Bach! You know, basically, I’m an untrained musician. Well,
their two-year-old son around the beach volleyball court. They all I mean, I haven’t studied music formally. And so I sat down with
took the stage together: Blue, Ilaria on the bass, and “Li’l Blue” – (keyboardist) Damiano and he said, ‘You can do this.’ And I’ll be
as he had been announced to the crowd – in his stroller next to damned if I couldn’t. I did.”
his mom, sporting soundproof ear guards while clapping to the Looking at the song listings from those two French
music. albums, Sonny Boy Williamson turns up frequently. Two of his
Now, the crowd gone and darkness moving in, Ilaria songs make subsequent appearances on later CDs and remain
executes a slightly precarious three-point turn on the sloping part of Blue’s repertoire. “Help Me” proved transformative the
field, bringing the RV past the shadowed stage, away from the first time he heard it. “I was like, ‘My God! What is he doing?’ I
harbor, towards the open road. mean, I played that song over and over and over and over until
It wasn’t always like this. James Whiting busking on I had every lick down. And then I cranked the record up to 78,
MacDougal Street in Greenwich Village and finding his nom de and I started working on it at that tempo.” And then he learned
musique at the top of a pile of broken 78s tossed out a window it all backwards. Listen to Blue’s first recording of “Another Man
at him for his efforts. Picking up the only one unbroken – Sidney Done Gone” to hear this: it’s played at high speed on the 365
Bechet’s “Sugar Blues” – he took it as a sign: Sidney Bechet, Marine Band that Sonny Boy so favored. It also helped Blue
Sonny Boy, Sugar Blues, Sugar Blue. Then, at the nearby Village win that Grammy. “Now, I don’t use that style all that much. But
Gate, working up the nerve to ask to sit in with Memphis Slim, sometimes when I play acoustic, I try to channel Sonny Boy as
visiting from Paris. much as I possibly can.”
It went well. They talked. A few weeks later, Blue was in In Greenwich Village, the unlit sign for the long closed
Paris too, trying his luck. Two albums, a Grammy, and a lengthy Village Gate still hangs above a brightly lit CVS on the corner of
gig with the Rolling Stones resulted. Then he and Slim talked Thompson and Bleecker, two blocks southeast of MacDougal.
again. “He suggested that I come back here and he made it Half a block farther up, Sugar Blue takes the stage at Terra
possible for me to hook up with Willie Dixon, so…” In Chicago, Blues and plays his first set to a full house, ripping through a
he met, learned from, and worked with “a plethora of wonderful, blur of electric riffs and runs as the band heats up. The nighttime
wonderful blues players.” Among them, three harp players made energy, the sound bouncing off the walls, and the closeness of
an indelible impression: Big Walter Horton, James Cotton, and everyone and everything infuse the room with a greater intensity
Junior Wells. “What they all taught me was: don’t try to sound than in Gloucester and, at one point, Blue does something that
like me. Try to sound like you.” he didn’t do there: he puts his harp mic aside to play off the
Back before the Internet was big, Sugar Blue was hard microphone stand. The extended solo that followed was, to a
to find. He was known by reputation, but difficult to hear unless knowledgeable listener, a life affirming recognition: the kind
one happened to be where he was. There were those two fabled somebody might experience noticing a subtle but pleasing
French albums, his fine work as a sideman with Willie Dixon and resemblance between family relations. It wasn’t so much a
others, and his song defining accompaniment on “Miss You,” but channeling as a natural expression of elusive lessons well
it wasn’t until the early nineties, and Blue Blazes, that his jaw absorbed: go ahead and learn those licks every way you can:
dropping playing was fully unleashed and accessible to a wider just make sure that you sound like you.
listening public. Its follow up, In Your Eyes, went much further, Sugar Blue sounds like nobody else.
balancing his playing with his writing and creating an eclectic, Out on Bleecker Street, Ilaria wedges some gear into
highly original blues sound. And then, in much the same way as the storage compartment as Blue wisely steps back.
he had appeared, Blue became hard to find again. “Off to Philly now?”
“When I expatriated for the second time, it was to save “We’ll stay in Queens tonight. The baby’s with the
my life, basically, because I had to get away from the drugs.” nanny.”
It was in Switzerland that he began turning himself around. By “James, right?”
the time he and Ilaria met in Italy, he had finally gotten back to “James Michael Blue Neel Whiting.”
writing and she suggested that he start recording again. “I was Ilaria takes the wheel and Rico, CJ, and Damiano
like, ‘Recording? I don’t know. So she sort of talked me into hastily get aboard. It’s been a long trip. Blue chuckles, “Man, I’m
it. I’ve got to say that she is my muse. She has been so very getting too old for this!” And then he climbs on, too.
important in all of the things that I’ve done since we met.” They It wasn’t always like this. But I get the very distinct
moved back to Chicago and, after a 12-year hiatus, Code Blue impression that it’s all good.
was released in 2007 on his Beeble Music label. The Fleetwood Bounder slowly rolls down Bleecker
Since Code Blue, two more CDs have followed. Street, away from the old Village Gate and MacDougal, towards
Queens, then Philly, then home.
18 - Blues Music Magazine - DEC 2015
 “Big Walter Horton, James Cotton, and
Junior Wells all taught me to sound like me.”
PHOTOGRAPHY © PERTTI NURMI
MIKE
WELCH

D
ecades before it became a “thing” throughout the country, receiving seven He left the Bluetones around
to see a youngster playing blues, 2015 Blues Music Award nominations for 2003 to start the new, more rock-
Mike Welch – at age 11 – was their latest CD, Living Tear to Tear. oriented Monster Mike Welch Band. (The
astounding audiences in the Boston area This is Welch’s second run with “Monster” moniker was bestowed on
at the original House of Blues. Now 36, the Bluetones, and it’s a wiser, more him early on by Dan Aykroyd.) The band
after finessing his way through several complex Monster Mike in the band. Welch did songs written by Welch that were
PHOTOGRAPHY © MARILYN STRINGER

bands, including his own, Welch is even first became a Bluetone in 2001, following influenced by the Beatles, Elvis Costello,
more impressive as the talented lead in the footsteps of guitar luminaries such and D’Angelo, styles that didn’t fit into the
guitarist for Sugar Ray and the Bluetones as Ronnie Earl and Kid Bangham. It Bluetones.
– a band he has loved since the age was somewhat uncomfortable at first, he After a few years, they
of 13, and one that has gone through acknowledged, because his predecessors disbanded, and Welch faced a period
several incarnations since formed by had performed many songs in the band’s of uncertainty until he was contacted by
singer-harpist Sugar Ray Norcia in the repertoire for years. Also, it was his first DixieFrog Records in France, who wanted
late 1970s. extended period as a sideman after years a straight blues record. The live studio
The Bluetones have gone fronting bands. album produced, Cryin’ Hey!, is now
through several incarnations since they “I had to figure out where my Welch’s favorite under his own name. It
were formed by singer-harpist Sugar Ray own voice on the guitar would fit in, and I included Nick Moss, plus bassist Mudcat
Norcia in the late 1970s. Today, this New think I played pretty well back then, but it Ward and keyboardist Anthony Geraci
England fixture is finding appreciation was sometimes awkward,” Welch said.
20 - Blues Music Magazine - DEC 2015
Monster
from the Bluetones and Warren Grant, to chronic ear infections as a child. He
who’d been the drummer in the Monster had several sets of tubes placed into
Mike Welch Band. his eardrums, resulting in some nerve
“I feel like I needed to do both damage. Needless to say, playing music
of those things – exploring different at stage volume for nearly 30 years hasn’t

Mike
directions and coming back to the blues helped, although he’s used ear protection
on my own terms – before I was ready to religiously for 20 years. His wife,
rejoin the Bluetones. I rejoined in 2006 Jeannette, is a coordinator for a deaf and
or 2007, and I know who I am as a guitar hard of hearing agency and an American
player and where I fit in now,” he said. Sign Language interpreter, and she has
Welch, who grew up in helped him find access to support and

Grows
Lexington, Mass., began playing guitar at hearing aids.
age eight, following the lead of an older “Most musicians aren’t aware
cousin who was into playing Beatles’ that there are options out there for them,
songs. That led to an exploration of his and I’m hoping that my being publicly
father’s record collection, which along outspoken about my own loss might help
with some Hendrix, Dylan, and Stones, other musicians in my position,” he said.
had a few blues albums. With too many guitarist
“John Lennon’s voice was influences to list, Welch feels the two
the first thing I remember affecting looming large right now are Otis Rush,
me emotionally in the way the blues with his sobbing bent strings and wide
eventually would,” Welch said. “I was vibrato, and B.B. King’s lyricism and
always the kind of kid who wanted to phrasing. “Both of those guys played
know more about what I was hearing, so pretty much the same way they sang, and
between reading interviews, liner notes, I’m always trying to play like a singer, he
and songwriting credits, I was inevitably said.
drawn to the blues. Welch played a blue Stratocaster
by Karen Nugent “It’s funny, around the time through his teens and early twenties, but
I started touring and recording as a says he has gotten to the point where
teenager in the 1990s, there was a whole his own voice and tone come through on
wave of players roughly my age playing almost anything. As a result, he plays a
blues and blues-based music. There’s few different guitars based on what feels
something in that music that seems to comfortable and inspiring in the moment.
speak to a certain kind of kid. I know He’s enjoying playing a Gibson 335,
for me, the directness and intensity Telecaster, and a Gretsch these days, all
of emotional expression in the blues modified to varying degrees to make them
appealed to the confused, weird little boy

“This
more comfortable for him.
I was. It was almost as if this mysterious Welch, who says he does his
music contained the answers to all of best playing as a foil for a good voice,
my burning existential questions. My has collaborated with many great singers,

mysterious relationship to and understanding of the

music is different now, but it still stems
from that emotional reaction I had early
including Shemekia Copeland when both
were teens, and more recently. They have
a special musical connection, he said, in

music
on.” that they seem to be able to get inside
However, before any career in one another’s heads onstage.
music was contemplated, Welch’s parents “I think she was the singer
had a few things to say. Actually, it was

contained the
that made me realize how much I loved
a deal, one he had to adhere to or else interacting with great singers,” he said.
forget about setting foot on a stage. His Norcia is one of his favorite singers of
parents agreed to support his music all time, and one of the closest musical

answers to all career as long as Welch went to school

every day, made it out of high school with
grades and test scores good enough
partnerships he’s had.
“I can’t imagine a more perfect
situation for the way I play,” Welch said.

of my burning
to get into college, did not drink or use “He’s simultaneously the warmest singer
drugs, and did not become what a “self I know and one of the rawest bluesmen,
important jerk.” and I feel like he’s finally getting his due
Today, Welch, married and the as one of the world’s best harp players,

existential father of an 11-year-old, believes those

stipulations are the reason he’s stayed
sane. He’s also a gentleman, well liked
too.”
“My role in the Bluetones is a
guitar player’s dream. It’s a constantly

questions.” by nearly all he meets, and quite well

spoken. But it wasn’t always easy. Welch
has suffered from hearing loss since
shifting conversation in the moment,
and no one is a faceless sideman. The
Bluetones are just as much of a creative,
before he even picked up a guitar, due expressive outlet for my guitar playing as
my own bands and records ever were.”
DEC 2015 - Blues Music Magazine - 21
T
he formula is always the same: life
experiences + the ability to share
those emotions through the music
you sing or play = blues. The corollary is the
more you experience, the better your blues.
Today, Western New England guitarist Albert
Cummings is working his way to become
one of the hottest blues guitarists across the
country.
Cummings will readily admit that
without Stevie Ray Vaughan’s influence, he
might still be playing a bluegrass banjo or
building houses. His father was a guitarist
and building contractor. As a rebellious
12-year-old, Cummings settled on bluegrass
and the five-string banjo as his instrument of
choice. Until he heard Stevie.
Five years later, he was given tapes
of Texas Flood and his world stopped. “I
compared what I heard him doing to what
my father played,” says Cummings, “and I
didn’t believe he was real. I thought it was
impossible for anyone to sound like that on
one guitar.”
Soon afterward, while in college
in Boston, Cummings witnessed the truth.
“Seeing him live was mind-blowing. He was
doing amazing things like throwing his guitar
on the floor, playing it behind his head and
back, and playing the songs at the same
time. I walked out of the Orpheum Theater
thinking that now I really wanted to play
guitar.”
But construction was the family
business, and it also called to Cummings.
“I’m a fourth generation builder. When I was
19, I went in as a partner with my father in
the construction business in Williamstown,
Mass. I was so involved in building my
business that I didn’t even play my guitar. Six
PHOTOGRAPHY © MIKE SHEA

years later, after he’d had a stroke, I started

my own company.”
During those years, music was just
a fun activity for Cummings. His time was
spent working building houses and collecting
life’s experiences. When he was 27,
Cummings picked up a guitar at a friend’s
wedding and played a Chuck Berry song
and that rekindled the musical fire. Next, he
started jammin’ with another guitarist once
a week. After a year, that eventually led to
forming an SRV-styled trio.
In 1998 he walked into a Northeast
Blues Society open jam and won the right
to compete in the Blues Foundation’s 1999
International Blues Challenge in Memphis.
A few years later, Cummings
found himself opening for Double Trouble,
Vaughan’s storied rhythm section, at a show
in Troy, NY. What happened next is the

WORKIN’ MAN
stuff of movies. Bassist Tommy Shannon
and drummer Chris Layton took a liking to
Cummings and offered to produce his debut
record in Austin, Texas.
by Art Tipaldi
22 - Blues Music Magazine - DEC 2015
A
That first, nerve-wracking recording So who survived the YouTube
experience led to his 2003 debut From The auditions? Mike Finnigan, Reggie McBride, and
Heart. “Playing with them is a humbling Tony Braunagel. “I’ve played with B.B. King and
experience. To be standing with their support Double Trouble, so I really don’t get intimidated
is tremendous. We’ll play certain songs like any more. Mike is presently Bonnie Raitt’s
“Voodoo Chile” and Tommy’ll do the stuff that keyboard player. He was Joe Cocker and Crosby,
I was woodsheddin’ off of. When I hear that

LC
Stills, and Nash, Taj Mahal, and he played with
live, I realize that I’m playing with Tommy Hendrix on Electric Ladyland. He’s one of the
Shannon. But you can’t even think of it most gifted keyboard players in the world, a
because if you’re thinkin’, you’re stinkin’. At genius of a guy. Then Reggie McBride (bass) and
the end of the night is when I can sit back Tony Braunagel (drums) come in. Reggie plays
and enjoy the experience.” with Stevie Wonder and Keb’ Mo’, and Tony’s
That record was the foundation to played with Robert Cray, Taj, and Eric Burdon
Cummings’ blues-rock career. He was signed and everyone else.

BU
to Blind Pig records and released three “I had all the songs done, but I’d never
CDs, True To Yourself (2004), Working Man played them before. The way we set up was that
(2006), and his live Feel So Good (2008). I would be in the control room with David behind
In 2012, Cummings released his critically me, and these three guys were in the other room.
acclaimed No Regrets, which debuted at That way they could isolate my vocals.
Number One on the iTunes Blues Chart and “We took the first song and started
Number Five on the Billboard Blues Chart. messing around a bit and all of a sudden they’d

EM
All four records were expertly produced by say, ‘OK, we got it. Let’s go.’ That was the way it
Jim Gaines and featured Gaines’ Memphis happened on every song. No rehearsal, just four
musicians. guys who didn’t now each other and went into the
Those recordings opened the eyes studio and joined through music. That’s what I
of the blues world to this late-blooming love about music, the spontaneity of the creation.
talent. He was tabbed to open for B.B. King “The songs really didn’t change much
nearly two dozen times, and expanded his from my demo tape, except the guys would add

RM
audience by opening for the likes of Johnny little things to them. It was like I took a lump of
Winter and Buddy Guy. During that breakout coal in and they all got their little polishing things
decade, he began to find bookings from out and they turned them into diamonds. The
blues clubs and festivals throughout North birth of these songs is captured on this record.
America. There were some conversations about each
Cummings’ current record, song. Everybody would find a part or a location
Someone Like You on Blind Pig, is both a where they could compliment the song, and that’s
bold new step in his career and, at the same how it would come alive. That’s the most exciting

T I
time, contains the classic elements of the part for me, each song was born right there.”
blues that Cummings embraces. Once home, Cummings took his songs
“I thought I’d try something totally that were born in the studio with an all-star band
different on this record. I love Jim Gaines; of hired musicians and shared them with his road
he’s been a personal friend for years. When band to be played each night. “They are starting
I told Jim I wanted to try something different, to evolve. Those babies are starting to get their
he told me to go ahead. I never worked with personalities as they continue to grow. It’s always

N
David Z, and it was a totally new experience. gonna be a different vibe. That’s what keeps me
“Jim pushes you in a silent way. He on my toes. I like to let it take me where it takes
extracts things from you that you didn’t know me.”
you had. With me, he’d say, ‘Don’t worry if “It’s all about the mood of the song. Just
you mess up, we’ll redo it.’ like an actor plays a part based on the character.
“David told me, ‘We’re gonna do The song is its own entity. Double Trouble taught
this live.’ I thought sure; we’ll record it live me to always find the pulse in the song, that’s
and then fix it. He said, ‘No, we’re gonna

G
what you gotta start with. Once you get the pulse,
do the whole thing live.’ This was gonna be then you’re alive and you let it go.”
David’s approach. My best performances are It’s taken more than a decade, but
when I’m under pressure, like the pressure of the blues world is realizing that Cummings has
recording my live record in 2008.” something important to say as both songwriter
So in the middle of one of New and guitarist. In August, Someone Like You
England’s most brutal winters, Cummings debuted at Number Two on the Billboard Blues
boarded a plane for David Z’s home turf, Chart. “This album finally answers the question,

S
L.A., and his stable of musicians. In today’s ‘Who is Albert Cummings.’ It’s got a good variety;
connected world, Cummings sorted through it’s not straight down one road. If you want to
YouTube clips before he flew and chose his know what I sound like, it’s this album. I wanted
supporting cast. “I had no idea who I picked. to send this message out for years. I can finally
I showed up at the West Hollywood studio say this is straight up, honest me.”
and didn’t know really who they were.”

DEC 2015 - Blues Music Magazine - 23

 delta journeys
Story and photos by Roger Stolle

Life In Hell Another anecdote along these lines comes from the
press, right around the time I started visiting Clarksdale as a
blues fan. At a 1995 Chamber of Commerce meeting where
This past October, I was asked to give a lecture on “Blues the subject of blues came up for discussion, the then-chairman
Entrepreneurism and Mississippi’s Creative Economy” as part of the local tourism commission shouted, “Nobody is going to
of Delta State University’s ongoing International Blues Project come to Clarksdale, Mississippi, to hear a black man play the
and that week’s International Conference on the Blues. Delta guitar!”
State is in nearby Cleveland, Mississippi – home of the Delta I’ll just get this out of the way and say that the
Center for Culture & “hell” woman, “ain’t” man, and
Learning, Delta Music “chairman” were all older, white,
Institute, and the first Lucious Spiller
and in no way fans of the blues
Grammy Museum or the culture that gave birth
outside of L.A. – but my to the art form. As the then-
presentation was at the commissioner of my ward – an
historic Cutrer Mansion older white man, by the way
in Clarksdale, where I – told me later, “A lot of things
live and work. in this town would be solved
For readers with about a dozen funerals.”
who may not know, Translation? We need new
after several years of generations with new blood and
visiting, I moved to the new ideas to solve old problems.
heart of blues country He said it as the kind of joke
thirteen and a half that’s so serious it stays with you
years ago with a main in your heart because you know
mission to “organize and it’s not untrue.
promote the blues from
within” and a secondary HEY, HEY, THE BLUES IS ALL
mission to help revive an RIGHT
increasingly ghost-town
downtown. As an early Blues is a positive force that
blues entrepreneur in runs deep in popular music. It
the Delta, I can tell you is also not just another genre
that nobody was coining on Sirius/XM. It is the voice of a
phrases like “Blues black Southern culture that was
Entrepreneurism” or “Mississippi’s Creative Economy” back once allowed to speak only in the shadows of juke joints or the
then. Sunday morning sunshine of church (where heavenly names
To give you an idea of the state of things in 2002, one were substituted for “baby”).
older local woman I met my first month here almost fell over The progress I’ve seen in just the last decade here
when I told her I had moved to here instead of away from here. is phenomenal. We keep moving forward and gaining speed,
After she picked her jaw up off the floor, the only words she bridging the gaps. I say “we” because in today’s Mississippi
could growl at me were, “Why’d you move to HELL?!” Delta, it is a combined force of young and old, transplanted and
native, black and white. Simply put, music unites. It has the
MOVING TO HELL FOR PAST AND FUTURE power to put people of diverse backgrounds in the same room
at the same time and put smiles on their faces.
So, why did I move to “hell” – or at least The Crossroads True blues comes from a culture. It’s connected.
that may get you there? As I wrote in my 2011 book, Hidden Every time the music is acknowledged through markers,
History of Mississippi Blues (The History Press): “I moved to awards, museums, films, festivals, etc., then the culture is also
Clarksdale to circle the wagons, to mount a defense, to help acknowledged and celebrated. “Blues Tourism” is “Cultural
the last generation of cotton-farming, mule-driving, juke-joint Tourism.” And successful tourism efforts result in an even
playing bluesmen deeply inhale the final breath of this amazing bigger “we.”
tradition we call Delta blues. My idea was to help other like- Aside from positive social gains, blues efforts here
minded individuals and entities organize and promote this benefit music fans, musicians, clubs, juke joints, museums,
uniquely American art form from within – and by all means hotels, restaurants, and blues or otherwise tourism-related
necessary.” businesses – plus those directly involved with tourism
Shortly after the hell-raising experience, I attended agencies, arts entities, and blues societies. Local and state
a local City Hall board meeting. During the public comment sale taxes also receive a boost. In Clarksdale, the effects of
section, an older gentleman stood up and declared, “The blues blues promotion have helped fill empty buildings and led
ain’t gonna save our town!” before going on to complain about
the attention increasingly given to blues in Clarksdale.
24 - Blues Music Magazine - DEC 2015
 Mississippi I had in my head. The culture there
hadn’t been chopped up and homogenized and made
into something plastic. It was still alive.”
In my book, that’s the biggest compliment
our little Bluestown, USA, could ever receive.

EXPERIENCE THE “CLARKSDALE COMEBACK”

Experience Clarksdale for yourself. We have live

blues seven nights a week, around a dozen festivals,
two blues-related museums, and plenty of interesting
overnight accommodations. Information at www.
clarksdaletourism.com, www.visitclarksdale.com,
www.msbluestrail.org, and www.cathead.biz.

“KEEPING
IT
REAL”
Elmo Williams
In
BluesTown
dozens of visitors to actually move here over the past decade
to be part of the renaissance.
For me, that is what Mississippi’s blues-fueled
Creative Economy is all about – historical recognition, business
growth, race relations and amazing music.
Christone ‘Kingfish’ Ingram
A CASE FOR “AUTHENTICITY” IN TODAY’S DETA

In my aforementioned lecture on “Blues

Entrepreneurism and Mississippi’s Creative
Economy,” I took considerable space to talk about
authenticity. Like Coke, we’re selling the Real Thing
here – blues in the land where it was born.
“Authenticity” has always been important
me, so I’m always interested to hear thoughts on
the subject. In his TED Talk, business consultant/
author Joseph Pine said, “We view things that have
a particular place in the world as being authentic –
they’re rooted, they’re grounded.”
Where I am sitting, that couldn’t be more
true. After all, Clarksdale’s Ground Zero Blues Club
was so-named because we are at ground zero for
the music and culture. The City of Clarksdale’s
quasi-official tagline is “Keeping It Real!” for a
reason. It means that we are trying to keep an air
of authenticity about us. We know why people visit
here. They want to walk into the pages of a history
book and have an Alan Lomax moment.
To this end, we’ve been pretty successful
so far. In the National Geographic book My Favorite
Place On Earth, blues-infused rocker Jack White of
the White Stripes writes, “Clarksdale was the

DEC 2015 - Blues Music Magazine - 25

 around the world
by Bob Margolin why he fired Mud. This legendary, venerable bluesman

Young And Old Blues patiently explained to me, “Muddy was getting all the women.”
That’s not the word he used, but “women” conveys what he
meant.
I wrote a song called “Young And Old Blues” for my new album,
I went back to Muddy’s dressing room and told him,
My Road. It’s a lighthearted swing through my experiences
“I just met Big Joe. He said he fired you.” Muddy laughed,
from when I was 20 and it surprised me that 44-year-old B.B.
“That’s right, I was getting all the women.” It’s gratifying that
King was not too decrepit to play. The song runs through
Muddy learned “Baby Please Don’t Go” from Big Joe, and I
stories of my own aging, with one recently where a musician
learned it from Muddy. Sometimes before I play it today, I tell
I hadn’t seen for a while says, “Bob, is that you? I didnt know
the story. The song is still carried on though none of us gets
you were still alive, you look like your own grandpa!”
all the women anymore. But I do play the song with younger
I wrote my stories in a form that would work well in
musicians, sharing it with a fourth and sometimes even a fifth
song. I raised serious questions, but just wanted my audience
generation past Big Joe. Some of the teenagers who play it
to rock and smile. The questions and observations and stories
with me may be alive in 2103, 200 years after Big Joe was
that didn’t get into the song remain, and I hope you’ll still rock
born. Blues music conquers time and I enjoy and appreciate
and smile as we consider them together.
being in the middle of it.
All you need to enjoy
Big Joe seemed ancient to me
blues music is to know it feels
when he was in his 70s and I
good or moves you. When
was in my 20s. By 2011, I had
I first heard it on a college
been onstage with Pinetop
radio station when I was in
Perkins who was 97 then.
high school, I was taken and
Now, I’m 66. When my mother
shaken. It would not have
was my age, she told me,
surprised me then to see 50
“I feel like the same person
years into the future to today
inside, but I wonder who that
and find I live my life around
old lady in the mirror is.”
loving and playing that music.
I remember taking a
Today’s Blues World, a useful
shower in a hotel room,
expression for a commercially
getting ready to go to a
small but spiritually powerful
recording session. Naked, I
“club,” is a sweet home.
noticed myself in the mirror
If we were hanging
and realized “I’m not a kid
out, probably at some blues
anymore.” I had aged. I
event where I was playing, I’d
sighed at the inevitable and
be deeply interested to know
resolved to do my best for as
what you feel. It’s the same
long as my body and spirit
and different for each of us,
could hold up. I was only 27,
I’m sure. Here are more of my
on my way to record the “Hard
stories of young and old blues.
Again” album with Muddy
I’m just the right age,
and Johnny Winter. With
born in 1949, to have met
39 more years of stage and
and played with a generation
recording experience, I think I
of musicians that were born
can entertain and play music
100 years ago, like Muddy
better than I ever have, but
and Pinetop Perkins. I even
I don’t look like I did in1976.
met one of Muddy’s mentors,
No matter how I dress or
Big Joe Williams, who was
carry myself, I think most of
born in 1903. In the mid-
the audience looks at me and
1970s, he was still performing,
before they think about the
and Muddy’s band was on
music I’m about to play, they
a festival with him. I had a
think “old guy” and whatever
backstage pass, so I went
that means to them fromtheir
into his dressing room to
thank him for the great blues “Big Joe Williams, 1976. Photo credit: Bob Margolin individual ages and attitudes.
I know Muddy understood this
he had given us for so long.
too. I remember staying at his
And I introduced myself and mentioned that I played guitar for
house in 1973 and Muddy looked at a blues book with a photo
Muddy.
of him in it from 35 years before. Muddy sighed, “I sure was
“Mmm, Muddy. I fired Muddy,” Big Joe scowled. That
a pretty m.f.” Judging music and musicians with our eyes is
might have been in Mississippi, maybe even in the 1930s. I
something most of us, I too, do unconsciously and naturally.
replied that Muddy was a good guitar player and asked Joe
26 - Blues Music Magazine - DEC 2015
The Last Waltz, 1976 with Garth Hudson, Rick Danko, Muddy Waters, Bob Margolin, Paul Butterfield.
Photo Credit: Martin Scorcese
Entertainers, or at least those who manage and teen-ager who leads a band or sits in with older players is
promote them, are very conscious about “image.” And let’s face going to have an advantage with the audience too. You got a
it, an entertainer has a big advantage if he or she is sexually problem with that? I don’t. That’s just the way it is.
attractive. Right or wrong, that’s the way it is. Yet there are I am often asked in interviews if the blues will die
many blues musicians of now that the older generations, the originators, creators, and
legends, have passed on. My
all ages and genders who 2015 Pinetop Perkins Foundation Master Class. Photo credit:
perspective of playing with
might not be considered courtesy of Pinetop Perkins Foundation
conventionally “hot,” but them, today’s players, and
do very well if their music tomorrow’s as well makes
and ability to entertain is me a good person to ask. I’m
powerful. That happens happy to report that I often
in the soulful little blues meet young players with the
world, not so much with the same passion for playing
more commercial genres. blues that I saw in Muddy
Style is always helpful, Waters and Big Joe Williams.
but substance is important They live to do it. Some
too. Sometimes older and will carry on the tradition
experienced musicians my strictly, some will use blues
age tell me they resent that as a foundation for their own
younger or sexier musicians creative contribution. I meet
are more in demand by these musicians at gigs,
promoters. They’re not workshops, and especially in
wrong, but it is over- the master class workshops
simplifying and there are help by the Pinetop Perkins
too many exceptions to say Foundation in Clarksdale,
that success is a beauty contest. Old, overweight musicians Mississippi, every summer. In Clarksdale, We can feel the
who may not dress flashy nor inspire lust are some of our most ghosts of Muddy, John Lee, and other Delta blues musicians
successful. I’ll just say, in my observation, that the sexually hot who were born there. And I feel the spirits of young people
ones do have an advantage. I’ll add that a child or young finding blues in their spirits at the crossroads.

DEC 2015 - Blues Music Magazine - 27

BETH HART
60 CD Reviews roots/rock solo career all the while. The key Blasters – sans
Better Than Home sax man Steve Berlin who’s wholeheartedly in Los Lobos –
Provogue toured a bit in the early 2000s, but it wasn’t until 2013 that the
Better Than Home marks brothers reunited in the studio.
a couple of firsts for Beth The impetus for Common Ground was Phil’s sudden
Hart. One is she has new brush with the hereafter, resulting from, of all things, an
producers after having Kevin abscessed tooth. That rockin’ folk/blues foray focused on the
Shirley produce her last three songs of Big Bill Broonzy, an inspiration and hero to the Alvin’s
solo efforts. Hart explains since their youth. The album’s artistic and critical success, and
the other: “This record is the the tour that followed, prompted the brothers to keep it up.
first time in my life I feel – if Thank God they saw the light and buried the hatchet.
I were to pass on – that I’ve Lost Time, like Common Ground, highlights the
expressed the heart of my perfect melding of Phil’s wholly unique, but Big Joe Turner-
truth.” This is a personal influenced voice and Dave’s spitfire guitar within a snappy little
album exploring her life, band. And it’s better. And this time around, there’s more of
relationships, and feelings and their sound – yes, Blasters-like – permeating the exceedingly
expresses those in a more mainstream popular music setting. well-chosen covers throughout. Opening with a forceful blast
Strings, horns, and background vocals are present on many through Oscar Brown, Jr.’s “Mister Kicks,” the Alvin’s set a high
cuts. Some newer fans may be a bit surprised to hear her in standard, and almost never disappoint. The traditional “World’s
this aural atmosphere; especially those who are more familiar In A Bad Condition” rumbles like a locomotive, old words sung
with her work with Jeff Beck and Joe Bonamassa. by the brothers, separately and in duet, worth a fortune today.
Most songs are mid-tempo and soft ballads. Lyrically, Phil’s performance alone within the soft-shoe blues of Big Joe
her explorations of love seem to need to be forged first by Turner’s “Cherry Red Blues” alone makes the album. All these
sadness, anger, or darkness. “Mechanical Heart” is an ode years haven’t diminished his incredible timbre a bit. Dave sings
to her husband, “Tell Her You Belong To Me” is a demanding the traditional “Rattlesnakin’ Daddy,” his dusty, rootsy persona
statement to her father and another song is to her mother. The and rip-roaring guitar solos driving the band, and eliciting
mellow mood of these are balanced with the slightly more up- fantastic harmonica blowing from Phil. Another Turner gem,
tempo Memphis soul of “Might As Well Smile” and “The Mood the freewheeling “Hide And Seek,” could be vintage Blasters;
I’m In”. it’s amazing how the years melt away here. The classic “In
As usual, Hart conveys the emotion of the songs with New Orleans (Rising Sun Blues)” would have benefitted from
her usual passion and stirring voice, but the delivery is mostly a harder arrangement, almost like the one employed on “Sit
quietly intimate. If there is concern that she’s lost some fire Down Baby,” the Willie Dixon barn-burner two songs later. All
amid this introspection, the guitar heavy “Trouble” puts that to in all, these Alvin Brothers belong together. More of this purely
rest. It’s a double barreled, bad girl song where she spits out American music, please.
the line, “I ain’t your bitch or your baby, don’t make me trash – Tom Clarke
-----------------------------
this place.” The album closer, “Mama This One’s For You,” EDDIE COTTON
is to her mother. The song, with just Hart’s voice and piano,
One At A Time
is excellent. It makes you wonder what a Beth Hart acoustic
album might sound like. Dechamp Records
With Better Than Home, Beth Hart is passionately Eddie Cotton’s may be a
following her inner vision. It’s hard to expect more of a talented, minister’s son, but for his own
creative, singer/songwriter exploring her art. Her next album musical ministry, the sermon
will likely tell us more. is soul. His sophomore effort
– Mark Caron for Grady Champion’s label,
----------------------------- Dechamp Records, has the
DAVE ALVIN AND PHIL ALVIN Mississippi native delivering
Lost Time funk saturated blues painted
Yep Roc with a thick coating of soul.
Up until recently, brothers Cotton pulls some serious
Dave and Phil Alvin hadn’t strings on the opener, “One At
played together regularly A Time,” his fiery stinging lead
since Dave exited their demonstrating why he’s the
original, classic band the 2015 International Blues Challenge band winner.
Blasters 30 years ago Cotton pays homage to his home state on
amongst legendary, heavy- “Mississippi,” declaring “there’s no place I’d rather be/ if you
duty feuding. Phil kept the get a chance, come visit me,” touting it as the birthplace of the
Blasters alive and well, but it blues and southern hospitality. He’s got some pointy Albert
was rarely as spirited without King licks poking holes in the melody while the band conducts
Dave, who’s sustained a a state spelling lesson on the chorus. The guitarist pulls out his
highly-regarded B.B. King lick catalog for the autobiographical “Hard Race To

28 - Blues Music Magazine - DEC 2015 - Visit www.BluesMusicStore.com - CDs, DVDs, And More...
Win,” recalling his daddy’s teachings about trusting in the Lord, song several times in a row and still want to hear it again.
tempering that message with some self-help advice: “always A fellow writer who had been on October’s Legendary
do the best you can/ if you fall get back up again, ‘cause the Rhythm & Blues Cruise emailed me that Fiona Boyes was the
race against time/is a hard race to win.” musical highlight of the cruise. Pick up Box & Dice please, and
Cotton seems comfortable in a wide array of vocal you’ll see why.
and guitar styles. “Catch I Wanted” recalls Al Green’s Hi – Pete Sardon
Records/Memphis soul sessions, a funk loaded thumper
reeking with gospel soul, Cotton nailing Green’s falsetto -----------------------------
perfectly. He comps Curtis Mayfield’s mellow soul crooning on SHEMEKIA COPELAND
“Dead End Street,” a young man’s urban coming of age tale. Outskirts Of Love
“There was no Twitter, didn’t have time to tweet,” Cotton sings, Alligator
but he did find time to explore the joys of young womanhood: For her seventh album,
“She showed me life could be so sweet/in the back seat of a Shemekia Copeland returns
car on a dead end street.” to Alligator Records, which
All the songs are originals, but Cotton’s melodies released her first four discs
show he’s well acquainted with the soul greats of the past. and introduced her to the
Tyrone Davis is obviously the model for “Ego At Your Door,” a blues world. But the singer
tune that could be inserted without a ripple in Davis’ catalog brings along with her the
right alongside “Turning Point” or “Can I Change My Mind.” producer who helmed the two
Even though there’s considerable homage paid here to a albums she recorded while
variety of artists, Cotton still remains his own man, channeling she was away at Telarc.
the spirits of the great ones without stealing their souls. On Outskirts Of Love,
– Grant Britt guitarist and songwriter
----------------------------- Oliver Wood helps Copeland
explore the links between blues, rock, soul, and country,
FIONA BOYES
pushing Copeland to explore the full range of her voice and
Box & Dice expressive powers. Wood provides the perfect sonic template
Reference Recordings for Copeland, keeping the production uncluttered with a Stax-
It is uncertain whether Joseph style sound anchored by guitar, bass, drums and keyboards
Haydn or Leopold Mozart and occasional flourishes like horns and background vocals.
wrote the “Toy Symphony” While the 12-track disc is comprised mainly of outside
in 1820 which used items material, the three originals Wood co-wrote with collaborator
such as a ratchet, cuckoo, John Hahn carry the same brand of undeniable spark that led
nightingale, and drum. the team to choose the covers that make up most of the rest.
Fiona Boyes, after having a The title track, which kicks off the album, is a full-throttle rocker
baker’s dozen of recordings in the spirit of the Rolling Stones with Copeland showing off
in her Aussie tucker bag, has those powerful pipes. “Crossbone Beach” (featuring steel guitar
created something unusually ace Robert Randolph) gives the singer the chance to show off
special in her 2015 Box & her storytelling skills, spinning a tale of menace and danger.
Dice CD as she uses both Copeland gets to do the same on the tongue-in-cheek “Drivin’
four- and six-string cigar box Out of Nashville,” which pronounces that “country music
guitars, an insanely rare (one of two in existence) baritone ain’t nothing but the blues with a twang.” It’s a delight to hear
National ResoLectric guitar and is accompanied with items Copeland with pedal steel guitar trailing her vocal line and that
such as a frattoir (metal washboard), double bass, drum, chunka-chunka Johnny Cash-style driving the rhythm.
congas, a pocket full of loose coins, chains, and horse shoes. Copeland pays tribute to her father, guitarist/singer
The listener is drawn in instantly from the first Boyes’ Johnny “Clyde” Copeland, with a version of “Devil’s Hand” that
penned cut entitled “Juke Joint On Moses Lane” with virtuoso brings her back to her blues roots. She gets an assist from ZZ
baritone guitar finger picking, slide, and sparse drumming. Top guitarist Billy Gibbons for that band’s classic “Jesus Just
Her vocal range melds well with this lower voiced guitar and Left Chicago,” and invokes the power of Aretha Franklin in the
after a few bars, the sounds are seamless. Of the eleven cuts gospel-laced “I Feel A Sin Coming On,” one of the strongest
on this 44 minute CD, eight are by Boyes with Howlin’ Wolf’s vocal performances on the album. Other highlights include
“Smokestack Lightning,” J.C. Johnson’s “Black Mountain Jesse Winchester’s “Isn’t That So” and John Fogerty’s “Long
Blues,” and Magic Sam’s “Easy Baby” completing the song list. As I Can See The Light.” All in all, Copeland sings along the
Anyone who is lucky enough to have listened to outskirts of the blues but never leaves the heart of the city.
this will clearly understand why Fiona Boyes copped the – Michael Cote
International Blues Challenge in 2003 as a solo act and had
been nominated for Blues Music Awards four years in a row.
The outstanding cut is track five: “Louisiana.” Foregoing two
strings by playing a four-string cigar box guitar, the cadence is
haunting, the slide otherworldly and the lyrics memorable. One
could very easily listen to this

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 SAMPLER EIGHT
Visit the Members Area at Blues Music Magazine to download all
these amazing songs. SAMPLER UPDATE: You asked for it, and we
listened! It’s now easier then ever to download these songs as either a zip fle,
or as individual tracks! Congratulations and thanks to all the artists appearing
on sampler eight.
1. Andy Poxon - “Next To You” from the album Must Be Crazy on EllerSoul Records
2. Andy Santana & the West Coast PlayBoys - “You Small Like Cookies” from the album Watch
Your Step on Delta Groove Music
3. Guy Davis - “Kokomo Kidd” from the album Kokomo Kidd on M.C. Records
4. Chris O’Leary - “Letters From Home” from the album Gonna Die Tryin’ on American
Showplace Music
5. The Ragpicker String Band - “By Your Side” from album The Ragpicker String Band on Yellow
Dog Records
6. Henry Gray/Bob Corritore Sessions - “Boogie Woogie Ball” from the album Blues Won’t Let
Me Take My Rest on Delta Groove Records
7. The Jimmys - “I Wonder” from the album Hot Dish on Brown Cow Productions
8. Kevin Selfe - “Fixed It Til It’s Broke” from the album Buy My Soul Back on VizzTone Label
Group
9. Fiona Boyes - “Louisiana” from the album Box & Dice on Blue Empress Records/ Reference
Recordings
10. Dave Weld & The Imperial Flames - “Take Me Back” from the album Slip Into A Dream on
Delmark Records
11. Jonn Del Toro Richardson - “ Tall Pretty Baby” from the album Tengo Blues on The Bear In
The Chair Productions
12. Deb Callahan - “Slow As Molasses, Sweet As Honey” from the album Sweet Soul on Blue Pearl
Records
13. TC Carr & Bolts of Blue - “Good To Be Loved” from the album TC Carr & Bolts Of Blue – self-
released
14. Ben Rice Trio - “Ida Mae” from the album Live @ The Purple Fox Loft – self-released
15. The California Honeydrops “Cry Baby Blues” from the album A River’s invitation on Lefse
Records
30 - Blues Music Magazine - DEC 2015
WALTER TROUT parents, the great actors Ruby Dee and Ossie Davis. With that
Battle Scars background, Davis has learned the essentials of storytelling
Provogue Records through word and music.
Here’s the CliffsNotes version With tuba and banjo drivin’ the story, the title cut
of the Walter Trout saga: the opens the record. In 2015, Davis heard stories of Elmer or
beloved blues-rock guitarist Edward Kidd, aka the Kokomo Kidd, from the early part of
was to spend much of 2014 the 20th century. Peck Wallace told Davis of this real life
taking a victory lap in honor Washington D.C., coal man cum bootlegger to the White
of the 25th anniversary of his House and Congress. In song, Davis becomes Wallace telling
solo career. Instead, he was his story as contraband procurer from Prohibition moonshine
fighting like hell just to exist gathering to modern hacking into e-mail to discover a
before and after his life-saving lawmaker’s personal foibles.
liver transplant. Before illness Davis shows off his harmonica chops on “Like
had sidelined him in late 2013, Sonny Did,” a bare-bones tribute to Sonny Terry, complete
he recorded The Blues Came with Terry’s trademark harmonica whoops and swells. Davis’
Callin’, a powerful 12-song old time clawhammer picked banjo perfectly accents his
celebration of life in the face acoustic harmonica and Terry’s story. Other Davis’ originals
of mortality. After much struggle, pain, and prayer, the guitarist include “Maybe I’ll Go,” a finger picked love song in the vein
has come out the other side a wiser, but no less determined of Mississippi John Hurt, “Blackberry Kisses,” “Wish I Hadn’t
man. Stayed Away So Long,” Davis’ minor key lament of times
After shaking off the ring rust by getting back on stage missed while on the road, and the raucous “Have You Ever
and doing what he loves best, Trout took a new batch of songs Loved Two Woman (But You Couldn’t Make Up Your Mind),
into the studio and recorded Battle Scars. No less potent a set a country blues-styled tale of every travelin’ blues man’s
than The Blues Came Callin’, the new album doesn’t stray far dilemma. It features Italian harp master Fabrizio Poggi’s
from the familiar, guitar-driven blues-rock blueprint that Trout acoustic harp a la the Sonnys, Terry and Williamson.
has followed for a couple of decades. What is new here is that Davis’ other harmonica guest is Charlie Musselwhite
Trout, unlike Robert Johnson, has shaken the hellhounds from on the blues chestnut, “Little Red Rooster.” Here, they honor
his trail for a second chance at life. the Chicago blues ensemble approach made famous in the
Battle Scars opens with the incredible “Almost Gone,” 1950s with Professor Louie (who stars on keys throughout)
as haunting a song as any Delta bluesman ever imagined. adding Spann-like piano accents and John Platania doing his
Fueled by Trout’s dark, mesmerizing fretwork – which runs best Muddy slide to Musselwhite’s storied harp. Other covers,
like the river Styx beneath his somber vocals – this is the recorded in typical Davis fashion, include Dylan’s “Lay Lady
lyrical moment of truth, the singer full of regret but icily staring Lay,” Donavan’s “Wear Your Love Like Heaven,” Tommy
down the Reaper. The dramatic, tragic “Omaha” offers another Johnson’s “Cool Drink Of Water,” featuring Chris James’
jackhammer performance, as stark as a dark alleyway, but is country mandolin, and Memphis Minnie’s oft-recorded “Bumble
balanced by Trout with “Please Take Me Home,” a beautiful, Bee Blues.”
heartfelt ballad for his wife, who stood by his side during the Like every Guy Davis record, Kokomo Kidd is a
entire ordeal. shining example of cultural understandings passed along to a
By the time the guitarist gets to the acoustic “Gonna larger audience. Davis’ mastery of weaving bits of stories and
Live Again,” the listener has taken an emotional roller-coaster moods into unassuming folk narratives continues to grow.
ride with this underrated songwriter, the song’s fluid melody – Art Tipaldi
and melancholy guitar strum a declaration of a bittersweet -----------------------------
sort of optimism. Battle Scars is Trout’s Inferno, a tale of JOHN MAYALL
redemption and rebirth that doesn’t shy away from reality but
Find A Way To Care
rings loudly with hope. It’s also the best album, in all facets,
that Trout has ever recorded. Here’s to another 25 years!
Forty Below Records
Here’s something I find hard
– Rev. Keith A. Gordon
to believe, British blues
legend John Mayall hasn’t
----------------------------- been inducted into the Blues
GUY DAVIS
Hall of Fame. Nor has he
Kokomo Kidd been honored for any of his
M. C. Records classic albums – not even the
Listening to Guy Davis tell essential Blues Breakers With
his tales is like walking down Eric Clapton. Best I can tell,
a country road through Mayall has never received
the history of the Southern a single W.C. Handy/Blues
experience. This Renaissance Music Award nomination,
blues man comes to the stage either. All of this represents
influenced by all forms of art an egregious oversight in the mind of this humble critic.
from blues musicians like Mayall deserves institutional recognition, if only for providing
Mississippi John Hurt and a launching pad for the talents of artists like Clapton, Peter
Taj Mahal to writers like Zora Green, Mick Taylor, Walter Trout, Coco Montoya, and many
Neale Hurston to his others.

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 I doubt that Mr. Mayall spends too much time sings “Matchbox” (the liner notes don’t say), which is not to be
considering these things; he’s too damn busy building an confused with the Carl Perkins song. This one’s Ike Turner’s.
unassailable legacy in the blues. Over the course of a career “Rollin’ Stone” is a nice fit here, given its composer, Muddy
spanning six decades, Mayall has released about 60 albums Waters, and the long-time association Mark Wenner has
plumbing the depths of blues, blues-rock, jazz-blues-fusion, had with key members of Muddy’s most recent bands, Bob
and beyond. Since disbanding the Bluesbreakers in 2008, Margolin and Pinetop Perkins foremost among them. “Rooster
Mayall has toured regularly with a talented band featuring Blues” by Lightnin’ Slim (neé Otis Hicks) and Jerry West is
guitarist Rocky Athas, bassist Greg Rzab, and drummer Jay faithful to Slim’s Excello release yet it still bears the hallmark
Davenport. It’s with this road-tested crew that Mayall recorded of a Nighthawks treatment: colorful, gruff vocals framed by
last year’s stellar A Special Life, quickly following up that succinct, copasetic instrumentation, especially Wenner’s harp.
critically-acclaimed slab ‘o wax with the inspired Find A Way To Other tunes herein showcase guitarist Paul Bell’s and bassist
Care. Johnny Castle’s voices. (Castle, whose had his own bands and
At 81 years old, Mayall still finds ways to make was a member of Bill Kirchen’s Too Much Fun has a history
the blues interesting, whether delivering the occasional with the Nighthawks, but it’s only in recent years that he’s
original song or breathing new vitality into deep cuts like Don become a fixture, replacing Jan Zukowski.) Bell is the latest of
Robey’s “Mother In Law Blues” and Muddy Water’s “Long a long line of great Nighthawks’ guitarists, lineage that includes
Distance Call.” The former is provided a jaunty Chicago- Jimmy Thackery, Paul Kanaras, and many one-and-done’ers.
style arrangement replete with juke-joint piano and mewling Highlights include Tom Waits’ “Down In The Hole,” which the
harmonica while the latter is an old-school heartbreaker Nighthawks performed as the theme song for the HBO series
featuring Athas’s enthusiastic guitar play. Lightnin’ Hopkins’ “I The Wire; and “Walkin’ After Midnight,” popularized by the late,
Feel So Bad” is a revved-up church revival with blasting horns Patsy Cline.
and flinty keyboards. It’s not all antiques here, though – a This, by my count the 28th Nighthawks release,
cover of Matt Schofield’s timely “War We Wage” is provided furthers a great and proud reputation.
somber relevance and hot git licks, while Mayall’s title track is – M.E. Travaglini
a lively confessional with jumpin’ horns, subtle fretwork, and a -----------------------------
solid rhythmic background. A blues traditionalist at heart and DAVE ALVIN
a gambler by nature, Find A Way To Care proves that John Live In Long Beach 1997
Mayall still has a few musical tricks up his sleeve. Rock Beat
– Rev. Keith A. Gordon This disc would be more
accurately titled Dave Alvin
----------------------------- and Gatemouth Brown, Billy
THE NIGHTHAWKS Boy Arnold, and Joe Louis
Back Porch Party Walker, as that was the lineup
EllerSoul Records for a “Blues Unplugged” show
Bo Diddley nailed it: “You can’t that a public radio station
judge a book by looking at the KLON-FM hosted 18 years
cover.” Which doesn’t mean ago in Long Beach, Calif. I
we don’t. For instance, James did publicity for the station
Thurber and E.B. White knew then and was backstage
that people would pick up “Is within earshot of Dave Alvin
Sex Necessary?” just because beforehand as he worried he
of the title. And so we have was going to tank in front the hardcore blues audience filling
Back Porch Party. Even truth the posh, 1,000-seat, tiered amphitheater. “Why’d I ever agree
in advertising types would to this?” he asked.
agree that this disc sounds Alvin had agreed, of course, because of a life-song
just like the title emblazoned obsession with the blues, which have influenced his work with
across its cover implies. It the Blasters, the punk band X, and his solo career. Still, he was
does indeed sound like an informal party on someone’s back unknown to many in the audience, and, well, Gatemouth did
porch, it offers unamplified blues and pop that was recorded have a reputation for telling people what-for if they didn’t meet
in a Richmond studio before an enthusiastic audience. The expectations.
12-track playlist reprises intimate and compelling send-ups But as Alvin in those days liked to quote Hunter
of some songs you will know and some originals created by Thompson, “When the going gets weird, the weird turn pro,”
the Nighthawks various contributing members. “Guard My that’s what he did, going on stage and winning over the crowd
Heart” is one of these. A Mark Wenner composition by the with a set mixing traditional blues with original compositions.
‘Hawks frontman and nonpareil harp player from the band’s He opened with “Barn Burning” from his recent King Of
get-go some 40-plus years ago, he hits all the right notes in California album and then worked through Whistlin’ Alex
this tidy little stroller. “Rock This House,” which opens the Moore’s “West Texas Woman Blues,” Big Bill Broonzy’s “How
disc, is among the judiciously selected cover tunes. The lyrics You Want It Done,” Big Joe Turner’s “Chains Of Love,” and
also establish the ground rules for this release: “Won’t you wrapped to strong applause with his song about a dead man
come on down/let me tell you what I got, house rockin’ music/ who is “never comin’ back” in a “Long White Cadillac.”
everybody’s talkin about.” Triumph achieved, Alvin then stuck around to back
I’m guessing it’s guitarist Paul Bell or maybe drummer Arnold on the latter’s classic “I Wish You Would” and support
Mark Stutso (Pete Ragusa’s replacement) who Gatemouth as the latter fiddled at breakneck speed through
“San Antonio Rose,” “Wabash Cannonball,” “Jolie Blon,”

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“Jambalaya,” and a “Beer Barrel Polka” unlike any Lawrence DUKE ROBILLARD
Welk ever played. The three artists, as well as Joe Louis The Acoustic Blues & Roots Of Duke Robillard
Walker, then jammed out a 12-bar impromptu called “Long
Stony Plain Records
Beach Blues” and closed with “It’s A Long Way Home.”
This release shows another
This live recording clocks in at 63 fast minutes for
side of Duke Robillard.
the 14 songs that Alvin played solo or as a backing musician,
Internationally known for
captured in near perfect amphitheater sound. The only flaw is
his incredible electric guitar
that there was another hour to the actual show, but perhaps
playing, this CD is all acoustic
that will surface someday too. The voice introducing each
record and features Robillard
performer and cheerleading the audience, by the way, is Gary
using beautiful sounding
“Wagman” Wagner, still hosting a public radio blues show
instruments from the 1920s
18 years later out of Long Beach. That’s also his ear, just his
to the 1950s, which is very
ear, sticking in the album’s cover photo of Alvin, Arnold, and
fitting since all the songs were
Gatemouth.
picked honoring many of the
–Bill Wasserzieher
pioneers of true American
----------------------------- music. Robillard’s choices
OTIS TAYLOR
include drastically different covers of works by Big Bill Broonzy,
Hey Joe Opus/Red Meat Jimmy Rogers, W.C. Handy, Tampa Red, and Sleepy John
Trance Blues Festival Records Estes. All the melodies are from that period except a cover
Veteran bluesman Otis Taylor of “Evangeline,” a Robbie Robertson tune associated with
has forged a distinctive career Emmylou Harris.
by defying expectations. And all the music is country blues with swing blues
When a legion of blues and traditional blues mixed in. My picks are the country blues
guitarists tried to channel the take on “Evangeline,” with Sunny Crownover, whose beautiful
ghost of Stevie Ray Vaughan, voice is well suited to this finger-picking classic. For swing
Taylor began playing the blues, check out “Santa Claus Blues,” with Maria Muldaur
banjo (and well, I might add). taking command of the song. Robillard’s traditional blues
While many contemporary “Take A Little Walk With Me” is one of two live cuts featuring
bluesmen and women sought an on-stage duet with Matt McCabe whose playing echoes
to take an existing form – Otis Spann. The other live track is one of Robillard’s most
Chicago, Delta, Hill Country popular compositions, “I’m Gonna Buy Me A Dog (To Take The
blues, Memphis soul, et al – Place Of You). Legendary harpist Jerry Portnoy is typically
and claim it for themselves, Taylor created his own unique style magnificent here bending single notes as he plays flawlessly.
and called it “trance blues.” It could be argued that Taylor has From start to finish, Robillard showcases his great
done more to expand the sonic palette of the blues than any talent on acoustic guitar, Dobro, mandolin, tenor harp, ukulele,
other modern artist; you just never know what he’s going to do and the Cumbus, a Turkish string instrument. From the opening
next. finger picking beauty of Stephan Foster’s “Old Kentucky Home”
Taylor’s Hey Joe Opus/Red Meat is the follow-up to the ending 46 second “Ukulele Swing,” Robillard’s latest
to 2013’s acclaimed My World Is Gone, a conceptual song work is very likeable.
cycle recorded in collaboration with Native American guitarist – A.J. Wachtel
Mato Nanji of Indigenous. Hey Joe Opus/Red Meat takes
the old-school concept album a step further, offering songs -----------------------------
that “explore the decisions that we make and how they effect TOMMY CASTRO
us” [sic], tying together the vocal tracks with mesmerizing Method To My Madness
instrumentals. Breathing new life into the ancient garage-rock Alligator Records
tune like nobody since Jimi Hendrix, Taylor imbues “Hey Joe” When Tommy Castro pared
with an uneasy malevolence, his anguished vocals punctuated down his band for last
by guest Warren Haynes’ shimmering fretwork and Anne year’s The Devil You Know,
Harris’ eerie, howling violin. assembling a smaller crew
Taylor uses “Hey Joe” as an artistic foundation for in the Painkillers that could
the album, returning to the song later, but first segueing into double as lean, mean touring
the exhilarating instrumental “Sunday Morning” (reprised twice band, you’d have thought from
later). With Taylor, Haynes, and Taylor Scott swapping guitar the criticism thrown at the guy
lines, the rest of the band fills in the corners with a breathtaking that he was engaged in some
display of musicianship. The transgender tale “Peggy Lee” sort of evil Mr. Burns plot to
tackles the uncertainty of gender issues with intelligence and a block out the sun. Truth is, the
gentle Piedmont blues vibe that features David Moore’s nimble economics of carrying a full
banjo and Bill Nershi’s gorgeous acoustic guitar, while a seven- outfit on the road had become
minute reprise of “Hey Joe” features Langhorne Slim on vocals costly, and Castro stripped his sound down to its bare roots for
for an entirely different take. The urgent “Cold At Midnight” The Devil You Know, which garnered Castro’s usual heaping of
benefits from Ron Miles’ haunting cornet, the strident final critical accolades nevertheless.
reprise of “Sunday Morning” sounding judgmental by contrast.
It’s a wild musical ride, to be sure, but Otis Taylor’s Hey Joe
Opus/Red Meat is worth the price of admission.
– Rev. Keith A. Gordon
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 With Method To My Madness, Castro further cuts to “Hump In Your Back,” you can see the lascivious smile of
his sound to the bone, keeping only the raw blues, rock, and Bobby Rush through his vocals and unique harmonica style.
soul influences that he originally brought with him when he Harmon’s rendition of Hooker’s “I’m Bad Like Jesse James”
first signed up for this cockamamie business three decades boils up a cauldron of revenge with a myriad of background
ago. Eschewing the guest stars that appeared on The Devil voices that vaults this version of the song into record-setting
You Know, Castro fronts a simple four-piece Painkillers that heights.
includes bassist Randy McDonald, keyboardist Michael If you’ve ever seen the tall handsome Harmon live
Emerson, and drummer Bowen Brown, with spare percussion you need to buy this CD. If you’ve never seen him, you still
by engineer Ari Rios and background vocals courtesy of need to buy this CD! Right Man Right Now is a jewel for any
Amber Morris. As a result, Method To My Madness is the most blues lover’s library.
dynamic and entertaining collection that Castro has delivered – Pete Sardon
to date, the album recorded live in the studio and featuring ten -----------------------------
original or co-written tunes (and a pair of great covers). IGOR PRADO BAND
“Common Ground” displays a funky undercurrent and the Delta Groove All Stars
beneath Castro’s blustery, Stax-styled soul vocals, his guitar
Way Down South
ringing as true as Steve Cropper’s, while his slick fretwork
on the title track showcases a definite Memphis influence.
Delta Groove
Sensational Brazilian guitarist
Castro’s gritty vocals on “Died And Gone To Heaven” remind of
Igor Prado is back leading
British blues-eyed soul legend Frankie Miller so much so that
his tight and versatile band
it could be a tribute, Castro kicking out a powerful, emotional
(brother Yuri on drums, and
performance. The more traditional, Chicago blues-styled “Two
bassist Rodrigo Mantovoni)
Hearts” swings with reckless aplomb, but with the otherworldly
through a solid set of 11
“Ride,” Castro spins a clever, mythological tale set to a
old school nuggets and two
claustrophobic swamp-blues soundtrack. A heartfelt cover of
originals. The impressive cast
B.B. King’s “Bad Luck” is played straight and features some of
includes vocalists Kim Wilson
Castro’s lightest and most effervescent fretwork on the album,
(two tracks), the late Lynwood
reminding the listener what this blues thing is all about in the
Slim, to whom the album
first place.
is dedicated (two tracks),
– Rev. Keith A. Gordon
Sugaray Rayford (two tracks),
----------------------------- and Mud Morganfield; harpists/vocalists Rod Piazza, Mitch
ZAC HARMON Kashmar, Omar Coleman, and Wallace Coleman; pianists
Right Man Right Now Honey Piazza, Ari Borger, and Donny Nichilio; guitarists
Blind Pig Records Mike Welch and Junior Watson; harpists Ivan Marcio and
Right Man Right Now could the recently departed Delta Groove owner Randy Chortkoff;
have gotten its inspiration organist Raphael Wressing; and saxophonist Denilson Martins.
from Zac Harmon being in the Igor Prado handles the vocals (with growing
right place at the right time. confidence) on two soul shots: Junior Walker’s funky dance
His Mississippi roots exposed floor anthem “Shake & Fingerpop” and a duet with soul man
him to neighbors steeped in J.J. Jackson on Joe Tex’s loping “You Got What It Takes.” The
the blues, he encountered tunes represent the blues’ related genres with Chicago blues,
many performing artists there, jump blues, Nawlins R&B, swamp blues, and Sixties soul.
and by 16 was playing with There is one acoustic number, Omar Coleman’s “Trying To Do
Sam Myers and then Z.Z. Hill. Right.”
After moving to Los Angeles, This immensely enjoyable CD is filled with intelligent
Harmon and his band won the musicianship and soulful vocals, thus making it difficult to
International Blues Challenge cherry pick favorites; nonetheless, my favorite, the longest
in 2004 for the Best Unsigned Band and in 2006 won the Blues track (at six minutes), is a rollicking version of Elmore James’
Music Award for the Best New Artist Debut of his The Blues “Talk To Me Baby” featuring the Piazzas. Two more Chicago
According to Zachariah. blues are also quite noteworthy: the lesser known Chess
Right Man Right Now features some stellar guest classics “She’s Got It” (Muddy Waters) with Mud Morganfield
artists like Anson Funderburgh, Bobby Rush, Lucky Peterson, and “What Have I Done” (Jimmy Rogers) with Mitch Kashmar.
and Mike Finnigan. His songwriting is quite enjoyable and Igor Prado possesses the qualities of some my
Harmon penned/co-penned nine of the eleven songs with favorite living guitarists like Duke Robillard, Little Charlie Baty,
the other two credited to John Lee Hooker and Little Milton. Kid Andersen, Dave Gonzales, Junior Watson, and Ronnie
“Raising Hell” kicks off the CD and Harmon’s tight band of Cory Earl. Like them, Prado plays with inventiveness, wit, passion,
Lacey on keyboards, Cedric Goodman on drums and Buthel knowledge, and dazzling virtuosity. If you are not hip to this
on bass keep a tight backbeat that allows Harmon’s guitar to South American blues phenom, Way Down South is the perfect
expressively soar and punctuate his lyrics. This is a beautifully album to start your immersion.
engineered CD and there isn’t one extraneous note or sound – Thomas J. Cullen III
in any song and Harmon’s pleasant voice can convey a range
of emotions. There are also credits for 11 other musicians, -----------------------------
including the fabulous left handed guitarist, Greg Wright. If you
close your eyes while listening

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ROBBEN FORD GARY CLARK Jr.
Into The Sun The Story Of Sonny Boy Slim
Provogue Warner Brothers Records
Robben Ford was so When the 21st century’s first
impressive in his late teens bona fide guitar hero – Gary
in his hometown Northern Clark Jr. – released his 2012
California family blues band major label debut, Blak and
that Charlie Musselwhite Blu, blues purists howled in
– eight years his senior – grief. Hand-picked by Eric
employed him, forging a Clapton himself to carry the
lifelong friendship. Ford torch, Clark’s debut was
quickly moved on to play with deemed “too slickly produced”
the great Jimmy Witherspoon and/or “too commercial” to
and then settled into smooth represent real blues music.
sax man Tom Scott’s L.A. Never mind the fact that the
Express. There he supported, guitarist had already plumbed
and immersed himself in the likes of George Harrison and Joni the depths of the blues over the course of four previous indie
Mitchell. By 1976, he’d co-founded the jazz-fusion group the LPs.
Yellowjackets and also put out the first of his now over 20 solo Touring in support of last year’s scorching Live album,
albums. Clark picked up oodles of new fans, including many old-school
Ford’s multi-faceted expertise pervades his output listeners that shed their preconceived notions of what the blues
more and more lately. Into The Sun once again confounds should be and just enjoyed the jams. With his second Warner
even the avid fan trying to predict what it might sound like. Brothers studio album, The Story Of Sonny Boy Slim, Clark
That’s a great thing. Arising with the cautious sway of “Rose once again defies expectations…the guitarist isn’t the next
Of Sharon,” Ford, his first-rate bandmates, and several special Jimi Hendrix, or even the long-awaited savior of the blues, but
guests begin a long series of highly unique and very tasty rather a visionary artist following his muse through whatever
grooves. And right off, his glowing way with a guitar and his roads it may take him down. To be honest, the album’s
soulful tenor singing voice make huge impressions. “Howlin’ At throwback musical vibe owes a debt of gratitude to Hendrix,
The Moon” quickly rocks the proceedings up funky and dirty, Arthur Lee, and Sly Stone as Clark gets his soul groove on in
Ford and the band fascinating in such a common realm. But is a big way. Throw in a modest hip-hop influence in the album’s
it in fact so common? With so many lines the caliber of “She infectious percussion, and Clark has covered all the bases.
raised the stakes and then left the room,” Ford again and again Although tunes like “Grinder” offer enough imaginative
proves himself an atypical lyricist, definitely with more than a guitar pyrotechnics to satisfy the blues-rock fan, more esoteric
few “women” issues on his mind. fare like “Star” reminds of 1990s-era Prince. “Cold Blooded” is
Keb’ Mo’ goes back and forth singing with him amid a stoned soul groove, its dark lyrics concealed by funky horns
the New Orleans jazz gumbo of “Justified,” all about packing and scraps of stellar fretwork, while “Wings” cleverly mixes
up and walking, sick of her ways. When Warren Haynes hard times-styled lyrics with drums ‘n’ bass rhythms. Clark
jabs through the strut of the tricky “High Heels And Throwing gets down to business with the blustery “Shake,” a rocker that
Things” – a very cool space for these master players to play would have sounded comfortably at home on a Yardbirds LP
in – the matter turns inward. “Too weak for wars he could never while “Can’t Sleep” displays some serious 1980s strut that
win with high heels and throwing things” about sums it up evokes Morris Day and the Time. Gary Clark Jr.’s The Story
for the guy. “Cause Of War” smashes head-on musically and Of Sonny Boy Slim isn’t, strictly speaking, a blues album – at
metaphorically into the havoc caused by a certain lady. Sonny least not as your grand-pappy would recognize it. Instead, it’s
Landreth steps out of his skin on “So Long 4 U,” an infectious, an entertaining, masterful, fluid collection of blues, soul, and
ringing call and response highlighting the shedding of the funk guaranteed to send traditionalists into an apoplectic frenzy
ultimate kind of problem. while the rest of us dance to the music.
Everywhere throughout all of this, Robben Ford plays – Rev. Keith A. Gordon
guitar with the kind of facility and tone they write books about.
This is the blues bended without reservation, and with the wink -----------------------------
of an eye. The uncommon variety and riveting performances
make Into The Sun one of the most entertaining albums of the
year – blues-themed or otherwise.
– Tom Clarke
----------------------------- Read The Daily
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SUGARAY RAYFORD Danielle everything she knew while growing up. Being exposed
Southside to music that ranged from the Everly Brothers to the B-52s,
Delta Groove was an education that paid off handsomely for the gifted singer.
Blues fans everywhere should For Wolf Den, Nicole joins forces with famed
be thankful to Buddy Lane & New Orleans musician Anders Osborne to co-write songs,
The Texas Twisters for turning play guitar, and produce the project. The outcome is an
Sugaray Rayford onto the extraordinary collection of contemporary blues, funky R&B,
blues, as they’d let him sit and swampy bayou numbers all bolstered by Nicole’s powerful,
in when he’d sneak across soul-drenched voice.
the street from his security Nicole is an exceptional singer whose vocal range
job. Having become burned and abilities appear limitless from track to track. She can grind
out from singing and playing like Koko Taylor (“Wolf Den”), croon sweetly like Bonnie Raitt
gospel for 18 years, he’d (“Take It All” and “Just Give Me Tonight”), wail like Aretha
joined the military for 15 years Franklin (“Didn’t Do You No Good”), or belt it out like the great
and was out of music. Blues Etta James (“Fade Away”). In fact, Nicole covers the song “I
was something new for him, Feel Like Breakin’ Up Somebody’s Home” made famous by
and boy did he embrace it! her idol, James, with rousing enthusiasm, paying homage to
A fortuitous introduction from the late Rand Chortkoff not only Lady Etta, but the song’s sinful sentiment as well.
of Delta Groove Records to the Mannish Boys has led to Joined by Osborne on guitar, Mike “Shinetop” Sedovic
multiple Blues Music Award nominations and international on keyboards, Stanton Moore (of Galactic) on drums, and
acclaim and adulation. Not many singers leave it all on Luther Dickinson (North Mississippi Allstars; Black Crowes;
stage like Rayford. His new CD Southside captures his silky Phil Lesh) on guitar, Nicole’s bass playing is up for the task
smooth groove and charisma; and he and his drumhead tight, too as she leads this first-rate lineup of musicians on her
crackerjack band showcase many sides of the blues. stunning debut, Wolf Den, into the annals of blues-rock history.
Rayford wrote all of the material on the CD with his Outstanding!
bassist and bandleader Ralph Carter, who teams with drummer – Brian M. Owens
Lavell Jones to provide a rock solid foundation to build the -----------------------------
songs on. From the back porch, acoustic, fun stylings of “Take RIP LEE PRYOR
It To The Bank”, to the funky grooves of “All I Think About,” Nobody But Me
and the sinewy punchiness of “Live To Love Again” the band Electro-Fi
is on fire. Veteran axe slinger Gino Matteo provides a variety Rip Lee Pryor, the son of
of colorful textures and tones throughout to complement celebrated harp player
Rayford’s singing. Snooky Pryor, has come back
Anyone who has ever seen Rayford’s live knows what around to carrying on the
a commanding presence he is live at 6’5”, and that feeling family legacy. He left music
translates to the CD. This is a man and his band having BIG for a full time job and when he
fun! His horn section of Gary Bivona, Allan Walker, and Leo reached retirement, he caught
Doubecki drive the music, and you’ll find your neck, feet, and the gambling disease only
legs following along. Today’s ills are addressed in “Call Off The to be brought up short by a
Mission” without being overbearing. Songs like “Miss Thang” cancer diagnosis. Winning the
and “Take Away These Blues” up the funk quotient, and fellow battle against both opponents,
bluesmen from his native Texas like Stevie Ray Vaughan, Pryor is committed to making
Albert Collins, Freddie King, and Lightnin’ Hopkins are honored music like he did with his
in “Texas Bluesman.” This CD is one that should be added to father back in the day.
everyone’s collection. The twelve tracks are presented with Pryor on
– Charlie Frazier guitar, vocals, and harmonica. The sparse accompaniment
----------------------------- consists of Alec Fraser on bass and Bucky Berger on drums
DANIELLE NICOLE and percussions. There is nothing fancy here – the music is
Wolf Den elemental, tailor-made for a juke joint on a Saturday night.
Concord Records Pryor makes good use of his rough-edged voice on “Shake
Former singer-songwriter- Your Boogie,” one of his father’s best-known tunes, answering
bassist for Trampled Under himself with some feisty harp licks. An original, “Lonesome,”
Foot, Danielle Nicole (which features more of his down home harp over the steady “lump”
featured Nicole’s brothers, pattern he plays on guitar.
Nick Schnebelen on “Nobody But Me” and “I Got My Eyes On You”
vocals and guitar and Kris feature faster strumming as the Pryor never uses the guitar
Schnebelen on drums) steps for anything more than rhythm. Pryor delivers another strong
out on her own for this stellar vocal on “You Gotta Move,” an Elmore James tune with
Concord Records debut another minimal guitar part. Covers of “Pitch A Boogie Woogie”
entitled, Wolf Den. and “One Way Out” have plenty of spirited harp blowing
Nicole comes from a long emphasizing feel over technique. “Stuck On Stupid” is an
line of talented singers. Her infectious stomper with Pryor washing his hands of a wayward
grandmother, Evelyn Skinner, woman while Rice Miller’s “Keep Our Business To Yourself” is
was a big band singer while her mother, Lisa Swedlund, taught another mid-paced boogie with plenty of wailing harp.

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Lacking boisterous guitars and screaming vocals, this release THE KENTUCKY HEADHUNTERS WITH JOHNNIE
will face a challenge in getting attention. That’s unfortunate JOHNSON
because Rip Lee Pryor puts more blues in one song than Meet Me In Blues Land
many artists have in a whole disc. It’s raw and unfiltered – and Alligator
sounds just fine. The story goes like this: The
– Mark Thompson Kentucky Headhunters, one
----------------------------- of America’s best rock ‘n’ roll
RONNIE EARL bands from the country side
Father’s Day of life, met the great Johnnie
Stony Plain Johnson, Chuck Berry’s
Boston-based Ronnie rollicking pianist, at a Grammy
Earl, winner of the Blues Awards party in 1992. Instant
Foundation’s 2014 Blues buddies, they right away
Music Award for Best recorded and released That’ll
Guitarist, is once again Work to all kinds of deserved
augmented by his excellent acclaim. Ten years later, they
band, the Broadcasters, and made it work again, and even
joined by top vocalists Diane better. But that second album they cut went unheard – until
Blue and Michael Ledbetter now.
for on this superb CD. The Meet Me In Bluesland is an amazing rock, boogie,
authentic West side Chicago and blues record that comes off as fresh as it no doubt did, and
sound echoes throughout the would have to the public, in 2002. That mark of timelessness
record, with two Otis Rush makes it all the more a sin that it sat on a shelf for ten years.
songs and another two by Magic Sam. Then there’s a B.B. Southern rock to some degree permeates the proceedings,
King song and a side trip to New Orleans for a Fats Domino from the staggering, headstrong opener, “Stumblin’,” to the
tune. harder, still jaunty closer they call “Superman Blues.” That
What more needs to be said? Only that Earl’s perception has as much to do with Headhunter Greg Martin’s
guitar work is strong, emotional, and treats us to his always- stinging slide guitar as it does the overall groove. Martin’s
recognizable crisp dynamics and pure talent. The 13-track a marvel, and an obvious Duane Allman disciple. Listen as
record also pulls at the heartstrings because, as the title he slides the rails to up to Heaven on “Fast Train,” dueling
indicates, it was made as a tribute to Earl’s father, Akos with Rock and Roll Hall of Famer Johnson’s rippling genius.
Horvath, with whom he apparently had a strained relationship. Although Johnson left this earth in 2005, his hearty, whirling
It was repaired at the end, fittingly enough, on Father’s Day. A melodies will live on in barrels of fun like that, and of course all
touching tribute in the liner notes say, in part, “Don’t ever give the Berry numbers he brightened. In fact, we get one here. As
up on your family, and don’t quit until the miracle happens.” executed by the Headhunters and Johnson, “Little Queenie”
Father’s Day is perfected by the addition of vocals gets a coat of sweet molasses, but it never slows her down, or
(Earl doesn’t sing and many of his songs are instrumentals) diminishes, her rocking impact.
and a horn section (Mario Perrett, tenor sax and Scott Shetler, Self-produced by the Kentucky Headhunters, the
baritone sax) not heard on Earl records for decades. Besides album comes off very solid, and very live. Just as all great
Earl on guitar, the Broadcasters are Lorne Entress on drums, rock and roll does. The beautiful gospel singing at the tail end
Dave Limina on keys, and Jim Mouradian on bass. Diane Blue, of the otherwise raucous “Party In Heaven” really speaks to
a Boston-based singer and harp player whose earlier work what these guys are all about. Authenticity rings nonstop in the
with Earl caused a sensation, shows off some deep, sultry music the Kentucky Headhunters made with Johnnie Johnson.
vocals, especially on Magic Sam’s “What Have I Done Wrong” Glad they got to do it twice, and that we all get to hear it all,
on which she sounds like Aretha Franklin. Her sexy vocals finally.
are complimented by those of Michael Ledbetter (If that name – Tom Clarke
sounds familiar, he is distantly related to THAT Ledbetter, aka -----------------------------
Leadbelly.), the Chicago-based lead singer of the Nick Moss GREGG ALLMAN
Band. Ledbetter sounds like Otis Rush on the opener “It Takes Live; Back To Macon, GA
Time,” (Earl kills it on guitar,) and on “Right Place, Wrong Rounder
Time.” Since The Allman Brothers
The lone instrumental, a jazzy number called Band have ostensibly called it
“Moanin’,” by Bobby Timmons, is a highlight of the record. It a day (actually some 16,000
has overtones of blues, and it’s danceable. The eight-minute of them), Gregg Allman
title track shows up about halfway through the album, and jumped on the opportunity
as expected, has some deep lyrics expressing the power of to focus on his solo career.
love and forgiveness. Earl has three originals on the record, Live: Back To Macon, GA
including the swingy, happy “Higher Love,” with deep B-3 was recorded in January,
tones by Limina and sharp guitar solos, and the funky “Follow 2014, four days after Allman
Your Heart.” Earl’s version of Magic Sam’s “All Your Love” is was feted with oomph and
slow and mellow with again, some fine piano by Limina. Being elegance at the all-star All
a spiritual man, Earl ends the disc with the Gospel classic, My Friends concert, and nine
“Precious Lord.” months prior to the Brothers’
– Karen Nugent grand finale. Leading up to it all was the overwhelming acclaim
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 My Cross To Bear, Allman’s recently published memoirs. When Bridges lives the blues, his voice and Gibson awaken
This deluxe double CD and DVD package exhibits memories of B.B. circa his Live At The Regal days. When
without a doubt the best solo band he’s ever fronted, a funky, Bridges mixes soul into his set, his warm tenor calls to mind an
horn-imbued nine-piece he’d been honing to perfection the era when Cooke’s music was the soundtrack to our days.
previous five years. Several striking new arrangements wash On this, his eighth CD, Bridges gives fans 13 originals
over the room as they play a long set of Gregg Allman and and two covers showcasing a diversity of styles from big city
Allman Brothers classics and more. But from the eternal blues to nostalgic soul to even country western twang and
“Midnight Rider” to the lovely and underappreciated “Queen Of WWII big band swing on “Along The Navajo Trail.” The opening
Hearts,” and from Muddy Waters’ jaunty “Can’t Be Satisfied” to song, “One More Time,” features Bridges’ velvety vocals
Ray Charles’ gently weeping “Brightest Smile In Town,” Gregg and answering horns which deliver his soul take on hand
Allman’s unmistakable vocal inflections, bed-of-soul B-3, and holding and rekindling one’s love. Fans of Sam Cooke should
acoustic guitar strumming stand out and lead the way. especially like Bridges’ elevated voice at the three-minute
Has any other blond man ever made an old black mark. With soulful harmonies and more punctuating horns on
blues song his own the way Allman has with Blind Willie the gorgeous ballad “End Of Time,” Bridges offers more Cooke
McTell’s “Statesboro Blues?” That signature warhorse kicks the soul. His sparse cover of “Lost And Lookin’,” from Cooke’s
show off and into high gear. Even the somewhat trivial “I’m No 1963 Night Beat record, is as downcast and forlorn as Cooke’s
Angel” grows full-bodied wings and flies at this show. Allman original take.
sings a melting pot of Southern soul, muddy blues, and rock King’s influences show up in Bridges’ confessional
‘n’ roll in a voice that age, scars, and more than a few demons ballad, “Change Your Name.” So close to the King, one almost
on his shoulders have actually enhanced. He sounds clear, expects to see Bridges shakin’ his hips and finger pointin’
inspired, and simply wonderful. Scott Sharrard slips right into as he delivers the eviction notice. Musically his King-styled
the Allman guitar dynasty with sharp lick after slick slide in guitar vibrato bounces over, under, sideways, and down. On
distinctive and fitting fashion. Listen as he runs circles around “Love You In Every Way,” Bridges knows to make a guitar
the pumping brass in the New Orleans-inspired take on “Don’t statement and then let his horns answer. The autobiographical
Keep Me Wonderin’,” and as he whips his own “Love Like “I Can’t Stand It” features Bridges vocalizes the modern blues
Kerosene” – which Allman growls out with hunger – into a fiery musician’s lament, that he or she cannot get regular gigs in
frenzy. one’s hometown. Because Bridges musical life has taken him
The beauty of “Melissa” envelops as it always has, around the world, he has songs about his adopted hometown,
especially so, given Jay Collins’ beautiful flute solo. With “Long Way From San Antone,” his Pacific loves, “Take Me
“Whipping Post,” the band shreds a lover’s dejection with the Back To Perth,” and his love of flying the world to share his
strength of a rhythm and blues militia. Gregg Allman and his music around the world, “Thrist For Air.”
band do not play Southern rock. But they do make real, vibrant With pinpoint songwriting, supple vocals, and guitar
music born of a man from the South who knows how to rock playing deeply rooted in the voicings of the Masters, Bridges
and roll smoothly with the best of them. again shows why he is one of the finest triple threats in the
DVD extras include revealing interview clips with blues. This is easily one of the best of the year.
Allman and the band, which also features Booker T. & – Art Tipaldi
the M.G.’s drummer Steve Potts, Allman Brothers Band
-----------------------------
DELTA MOON
percussionist Marc Quinones, former Warren Haynes bassist
Ron Johnson, jazz pianist Ben Stivers, and horn players Art Low Down
Edmaiston and Dennis Marion. Additionally, two bonus blues, Jumping Jack Records
the classy “Stormy Monday” and countrified “Floating Bridge,” Formed by singer, songwriter,
complete the package, although I’d have preferred them placed and multi-instrumentalist
properly in the context of the show. Regardless, the entire affair Tom Gray and guitarist
offers the feel of “being there,” and flows very impressively. Mark Johnson, Delta Moon
Gregg Allman’s created himself a new landmark. won the International Blues
– Tom Clarke Challenge in 2003, and
----------------------------- they’ve since released ten
EUGENE HIDEAWAY BRIDGES critically acclaimed studio
Hold On A Little Bit Longer and live albums. Low Down
Armadillo is the latest in a string of
The ear-splitting buzz in the artfully-crafted roots ‘n’
national press (including blues collections, and the
the last issue of Blues follow-up to the band’s 2012
Music Magazine) and social album Black Cat Oil. With nine Gray originals or co-writes and
media outlets is about Leon three choice covers, Low Down takes the next step towards
Bridges and his Sam Cooke cementing Delta Moon’s legacy as one of America’s best roots-
awakening. Nice, but there’s rock outfits.
another Bridges who has The band’s basic sound doesn’t vary much from
been delivering original music album to album – it’s all a heady musical gumbo of rock, blues,
in that same vein for years. and soul with heavy Delta influences. Gray simply adds a few
Meet Eugene Hideaway new ingredients to the stew each time around, such as with
Bridges. Born in 1963, “Afterglow,” which mixes New Orleans-styled marching band
Bridges is a combination of a drums with drawled, gruff vocals and stinging blues guitar.
young and powerful B.B. King meets the soulful Sam Cooke. Gray’s rough-hewn vocals growl and snarl their way through
“Mean Streak,” mixing a bit of Memphis soul with a Southern
38 - Blues Music Magazine - DEC 2015 - Visit www.BluesMusicStore.com - CDs, DVDs, And More...
 rock vibe, while the up-tempo “Open All Night” blends CHICAGO BLUES ALL-STARS
1970s-era rock with exotic percussion. The Tom Waits-penned Exactly Like This
title track is dirtied up with some Mississippi mud, Gray’s Azure Music
serpentine lap steel adding a welcome twang to the song’s This CD is the Godzilla of
foot-shuffling arrangement. blues albums. Not the 1950s
An inspired cover of Dylan’s “Down In The Flood” Godzilla featuring a guy in a
is provided the full Delta treatment with a groove so languid rubber suit, but the new and
that you can feel the kudzu hanging from every word. Gray’s improved 21st century Godzilla
interpretation of Skip James’ classic “Hard Time Killing with digital special effects that
Floor Blues” is both faithful to the traditional, yet so radically overwhelm with their glossy,
adventuresome that it’s hard to know where to start. The larger than life impact.
original’s hypnotizing guitar line is slowed down and enhanced, In other words, this
provided a Piedmont blues similarity while a weeping album is monolithic
background guitar enhances Gray’s breathless vocals. It’s a and overpowering in its
phenomenal performance of a familiar and frequently recorded presentation, lacking the
song, but Delta Moon manages to imbue James’ original kind of intimate heartfelt soul
take with additional pathos and menace. As shown by Low that permeates the original works of artists like Junior Wells
Down, it’s Delta Moon’s ability to connect with a song’s heart (“Snatch It Back And Hold It”), B.B. King (“Rock Me Baby”),
– whether an original composition or a cover – that puts them Rufus Thomas (“Walking The Dog”), and Koko Taylor (“Wang
in a league with better-known fellow travelers like Watermelon Dang Doodle”), all of whom it covers with gusto and bravura.
Slim and the Workers and the Nighthawks. Like the new and improved Godzilla, this product –
– Rev. Keith A. Gordon and I use the word “product” with all its negative implications
----------------------------- intended – was created by committee with too many cooks in
TED DROZDOWSKI
the kitchen. Mind you, this album’s liner notes are supplied by
Love & Life not just one respected Chicago blues journalist, but two, Scott
Dolly Sez Woof Dirks – who also plays harp – and Bill Dahl, both rightfully
This is the band’s sixth release renowned for their long history in the field. After all, if one good
and it is a perfect product to journalist can describe this CD, two should be twice as good.
showcase their unique blend And the musicians include such heavy hitters of
of psychedelic garage blues- “Killer” Ray Allison on guitar and vocals, Roosevelt “Mad
rock. From the opening cut to Hatter” Purify on keyboards, and introducing Anji Brooks on
the last, the songs drip with fat vocals, but the LP is engineered by Danny Leake for Urban
guitars, effects, and distortions. Guerilla Engineers. Urban Guerilla Engineers indeed.
In fact, on some of the tunes One of the things that separates good blues from
there are as many as seven decent rock and roll is that good blues knows the importance
additional guitar tracks layered of the spaces between the notes, the breathing room to
into the mix. Ted Drozdowski let the vocals release the inner emotions of the singer in a
is at the wheel and the catharsis that bleeds real blood. This album is a big band
Scissormen are Sean Zywick bludgeon where the plethora of talent gets lost in a tsunami
and Pete Pulkrabek, with additional musicians Matt Snow on that threatens to drown the listener. While its Godzilla bold,
drums, Marshall Dunn and Robert McClain Jr. on bass, and Paul big band presentation may attract an audience that grew
Brown on Hammond B-3 contributing their impressive on various up on Chicago and Blood, Sweat, and Tears, and its bow to
recordings. Drozdowski was a protégé of Mississippi Country contemporary soul influences is duly noted, hearing “Hoodoo
blues legend R.L. Burnside, who toured with Jon Spencer in the Man Blues” on steroids leaves this listener cold.
late ‘90s and gained massive crossover appeal from the punk – Don Wilcock
and garage rock scenes. And you can hear his iconic influence in
every measure. -----------------------------
Drozdowski wrote all the songs except for his brilliant THE TEXAS HORNS
cover of Muddy’s “I Can’t Be Satisfied,” where he turns Waters’ Blues Gotta Holda Me
emotional lament into a fascinating and sparse duet with only VizzTone Records
drums, vocals, and his electric one string fiddle bow. You’ve Hasn’t the Lone Star state
never heard Muddy covered quite like this before. I also dig his produced more than its share
tribute to his mentor “R.L. Burnside (Sleight Return),” a funky of acclaimed saxophonists
psychedelic blues melody with a cool groove and a ton of wild either born or raised there?
backwards guitars. “Watermelon Kid,” about Watermelon Slim, David “Fathead” Newman,
and other psychedelic blues standouts. “Lived To Tell,” “The Grady Gaines, Buddy Tate,
River,” and “Unwanted Man” let Drozdowski turn his instrument King Curtis, the recently
into a creative wall of sound. My favorite cut is “Let’s Go To departed Ornette Coleman
Memphis” sung by the late great Mighty Sam McClain, whose and Bobby Keys. Now add
unmatched Stax/Volt vocal passion takes the audio excitement Mark “Kaz” Kazanoff. His
produced to an even higher level. On a historical note, McClain birthplace is in New England,
died in June, and this may his last guest appearance on any CD but he’s established his
ever. For best enjoyment, fasten your seatbelts, turn this music musical base in Austin. And
up to eleven, and take a trip. in reality, Kaz is the Texas Horns – his tastes, his experience,
– A.J. Wachtel and h
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is Austin musician friends. It’s the musical sum of what he’s Shoals, Alabama, with noted producer Tom Hambridge (Buddy
gleaned over the course of his migration to Texas by way of Guy, George Thorogood) at the board, RSB gets a little help
Chicago. This remarkable musician, producer, composer, and on Don’t Look Back from friends and family like Jimmy Hall
arranger has mastered blues music of and for the ages. With and Ivan Neville. Although the band still pursues its trademark
this release, he certainly demonstrates that he isn’t slowing musical gumbo of blues, soul, and funk, the addition of Walker
down at all. and Vaughan allow them to turbo-charge the RSB sound with
This release includes six originals and one Texas some blues-rock electricity.
Horn collaborative number among familiar and time-tested The album-opening “I Wanna Be Free” is a perfect
material forged by others ranging from Earl King to a couple example – although Allman and Zito were capable of a bit
of Mayfields. The Texas Horns present a listening experience of houserockin’, RSB v2.0 kicks out the jams with a brutish
that circumscribes much of what we think of as ensemble ferocity. With the three frontmen (Neville, Walker, and
blues, jump, swing, soul, and suave included. As befitting a Vaughan) sharing vocals, the guitarists flex their muscles with
talent who has produced as well as performed with the likes some devastating fretwork while the rhythm guys shape the
of Marcia Ball (who guests here), Big Joe Maher, and Bobby song’s concrete foundation. Don’t think for a minute that the
Parker, Kaz leans heavily on his own sensibilities. What an ear band has lost its musical diversity, though witness the title track
he must have. “Soul Stroll” (one of the originals) is a swinging which, after a shimmering intro, evolves into an elegant mix
instrumental shuffle that could have come out of the Stax of blues and rock with country fringe while “Better Half” is an
studio. “Kick Me Again” is another instrumental (credited to old-school soul heartbreaker. Hambridge’s “Hard Blues” allows
the Horns’ John Mills, who is Kaz’ sax mate) that has the band the band to showcase its fret burning guitarists and Neville’s
performing the soulful melodic lines, in sync, as one. Great “Bayou Baby” relies on a deep groove to support its New
sound; great chart. Orleans-inspired mojo.
“You’re Driving Me Crazy,” on the other hand, has its With Don’t Look Back, Royal Southern Brotherhood
provenance in a Broadway musical comedy, “Smiles” (Adele doesn’t stray from the well-trodden path so much as blaze their
and Edie Foy sang it to Guy Lombardo’s accompaniment). This own fresh trail. Meet the new RSB – as good as, if not better,
one is as smooth a number as one would hope to hear should than the old RSB.
you drop into the Stork Club, circa 1952, the year after Ava – Rev. Keith A. Gordon
Gardner sang it in the film by the same name. There are also a
-----------------------------
couple of Mayfield compositions here: “People Get Ready” by
D.A. FOSTER
Curtis Mayfield, which one should think needs no introduction;
and “Lost Mind,” by Percy Mayfield, which may. At least, it
The Real Thing
did for me. (I will forever associate it with Mose Allison, who VizzTone
began singing it around 1958.) The evergreen jump standard To call vocalist, arranger and
“Caldonia” by Fleecie Moore (and popularized by Louis Jordan) bandleader D.A. Foster an
enthralls as it always does. The Memphis sound saturates interpreter of other people’s
another original, “Home Cookin’,” a savory number steeped in songs doesn’t do him justice.
Nick Connolly’s Hammond B-3 sauce. Finally, “Spanky’s Twist” His recent album, The Real
ends this session with just what its name implies: a playful little Thing, is a radio-ready
twist. It’s fun listening as is everything on this disc. powerhouse, and there’s
– M.E. Travaglini hardly a weak track on the
disc. A full band accompanies
----------------------------- him with a horn section
ROYAL SOUTHERN BROTHERHOOD throughout and the results are
Don’t Look Back stellar.
Ruf Records For his debut for the
For any other band, losing prolific, busy Boston-based VizzTone label, Foster tackles
musicians and songwriters good songs by good songwriters. Some are familiar and others
the caliber of Devon Allman are obscure, but he is in fine voice throughout and adds his
and Mike Zito would be cause own twists to the tunes we’re already familiar with, like Don
enough to pack it in and call Roby’s “Ain’t Doin’ Too Bad,” and Charles Calhoun’s “Smack
it a day. For roots ‘n’ blues Dab In The Middle.” He and the full backing band, which
supergroup Royal Southern includes players like pianist Mike Finnigan, guitarists Johnny
Brotherhood, however – led Lee Schell and Josh Sklair as well as saxophonist Joe Sublett,
by a bona fide legend in the also tackle songs of more recent vintage, like Bill Withers’
form of Cyril Neville – you “You Just Can’t Smile It Away,” and Dave Steen’s “We All Fall
simply plug in a couple of Down.”
talented young flamethrowers Ably produced by Tony Braunagel, who also plays
like guitarists Bart Walker and drums, keyboardist Finnigan is credited as co-producer while
Tyrone Vaughan (son of Jimmie, nephew of Stevie Ray), and the whole thing is executive produced by Foster himself and
you keep on chooglin’. his Shaboo Productions LLC. Blues fans from the Northeast
With Walker and Vaughan joining Neville, bassist may be familiar with the Shaboo Inn, a blues club/roadhouse
Charlie Wooten, and drummer Yonrico Scott in a reshuffled that was located in Willimantic, CT. for many years. Foster ran
Royal Southern Brotherhood line-up, Don’t Look Back, the the fabled Shaboo Inn from 1971 to 1982, a thousand capacity
band’s third studio album, displays all the hallmarks of a brand club that was a regular tour stop for people like Willie Dixon,
new start. Recorded at the legendary Fame Studios in Muscle Buddy Guy, and John Lee Hooker, as well as then-up-and-
coming rock acts like Aerosmith, Cheap Trick, the Police, and
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AC/DC. MITCH WOODS
The Real Thing is a fine debut from a great vocalist Jammin’ on the High Cs
and bandleader for a healthy label, VizzTone. I’ll bet there’s lots VIZZTONE
more to come from Foster and his various bands. The closest I’ve come to
– Richard Skelly taking a blues cruise was the
----------------------------- time I inadvertently took a
JAY STOLLMAN Featuring Debbie Davies booze cruise from Helsinki to
Room For One More Stockholm on an icebreaker.
Number 7 Records I just wanted to see what a
Jay Stollman sings and nighttime trip across the Baltic
Debbie Davies stings. Great Sea in winter would be like, but
vocals and a tight band are it turned out to be less of an
the main attractions on this adventure and more of a very
Connecticut group’s latest long eight hours of listening
release. Stollman convincingly to Nordics yell, fight and toss
goes from gruff and growling their cookies outside my cabin
to passionate and powerful, door. There is no tax on alcohol at sea, so heavy-duty drinkers
while Davies’ impressive take the ship from one port to the other and don’t bother to
ability to make her guitar sing disembark.
the blues combine to make Certainly Mitch Woods seems to be having a great
this a very enjoyable listen. time on his new live album, cut aboard the Legendary Rhythm
The music is a mix of shuffles, & Blues Cruise during a Caribbean excursion in January 2015.
more traditional and slower tempo blues ballads, up-tempo In his liner notes, Woods says he’s been shipping out on this
R&B covers, and originals. The vocalist is at his croaking, annual voyage since 2002.
snarling, and grumbling best on the opening shuffle “Ride ‘Till On his latest trip he’s in good company with Billy
I’m Satisfied,” and the classic “I’d Rather Drink Muddy Water.” Branch, Tommy Castro, Papa Chubby, Dwayne Dopsie, Coco
Both songs featuring Davies’ ripping Albert Collins-like leads. Montoya, Lucky Peterson, Victor Wainwright, and various
Stollman shows his more ardent side on “Tumble” and “Love members of Roomful of Blues. Apparently they managed three
Me & Leave Me,” co-written by Stollman and bassist Scott days of nearly non-stop jamming. Woods says that he’s been
Spray. Spray was previously in Johnny Winter’s last band. known to play his regular sets, retire for the evening, and then
On all the cuts, the guitar work is first rate and really wander back down in his pajamas to play again before sunrise.
showcases Davies’ sizzling and creative chops. And you just Sounds like serious fun.
can’t help notice how good this electric ensemble is. Check Jammin’ on the High Cs clocks in at about 70 minutes
out “Another Night To Cry” or “Can’t Slow Down” or “Pucker Up spread across 13 songs and four spoken interludes, with
Buttercup” as these cats really tear down the walls with their the guests joining Woods on most of the numbers. Perfect
powerful arrangements and performances. I really like their musicianship slips on occasion, but most of the playing is spot-
covers of Johnny Winter’s “Tired Of Tryin’,” which they turn into on, especially Woods at his keyboards. Plus the man’s a good
a harp song and play much more bluesy than Winter’s version. storyteller.
Chuck Berry’s “Back To Memphis” is a real bar-room romp The songs tend to be vintage: Roomful backs Woods
with Davies doing Chuck, and their take on Sam Cooke’s civil on “Big Mamou,” Wainwright and Julia Magness help out on
rights anthem from the ‘60s, “A Change Is Gonna Come” has “Tain’t Nobody’s Bizness,” Castro rips it up on “Rip It Up,”
the musicians turn his gospel spiritualism into a slow Memphis Branch and Montoya put some extra bounce in “Boom Boom,”
blues-burner. Really good music from a really good band. and Lucky Peterson and Roomful take “Bright Lights Big City”
Check it out. to wide blue ocean. There’s also an unusual pairing of “Wine
– A.J. Wachtel Spo Dee O Dee” with a spoken bit called “Friends Of Bill W.” As
that’s how I often sign things rather than with my long-winded
last name, I guess I’d be among pals on a future blues cruise.
– Bill W(asserzieher)

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ANTHONY GERACI AMY BLACK
Fifty Shades Of Blue The Muscle Shoals Sessions
Delta Groove Self-released
In light of its recent pop Start with a snappy telecaster,
culture popularity, you have groove in the sultry vocal, add
to wonder why it took so long horns, and you have a recipe
for one of our creative blues for aural pleasure that opens
songwriters to pen a tune with Sam Cooke’s “Bring It On
called “Fifty Shades Of Blue”? Home To Me” by Amy Black
Thanks to Boston-based in her homage to the Muscle
piano ace Anthony Geraci that Shoals recording studio.
neglected topic has now been Although she currently lives
covered. The T-Bone Walker- in Boston, she was Alabama
styled romp features Boston’s bound to return to her family’s
“Evil Gal” Michelle Wilson original roots not far from the
and Sugar Ray Norcia tradin’ Muscle Shoals Studios.
bedroom teases about blindfolds and handcuffs while Mike The Muscle Shoals Sessions is her third recording,
Welch’s guitar and Geraci’s piano add unrestrained musical and she nails this one perfectly. My wife and I spent a day
punches. cleaning out our garage and listened to it for eight hours over
Along with Ron Levy, David Maxwell, Al Copley, and and over and never got tired of her well sung and arranged
Bruce Katz, Geraci is one of the fine keyboard players who music. Backed by Muscle Shoals notables like Spooner
thrived in the New England blues scene back in the 1970s. Oldham on organ, Will Kimbrough on guitars, Lex Price on
In fact, Geraci was the first to play keys with Ronnie Earl’s bass, the Muscle Shoals horn section, and Ann and Regina
Broadcasters and Sugar Ray Norcia’s Bluetones. Today he still McCrary on background vocals, Black takes their well honed
mans the 88s with the Bluetones as they tour the world, and he talents and locks into such diverse tunes as Dylan’s “You’ve
also handles solo gigs throughout New England. The Boston Got To Serve Somebody,” Mississippi Fred McDowell’s “You’ve
Blues All-Stars are a who’s who of New England musical talent. Got To Move,” and an inspirational “Starting All Over Again.”
Bluetone band mate Welch handles all the guitar chores, while The 12 songs on the CD also include two penned
Norcia (harmonica), Washington, Darrell Nulisch (harmonica), by Amy Black: “Get To Me” and “Woman On Fire,” which also
and Toni Lynn Washington share vocal duties. Marty Richards would be an apt title for this CD as Black most certainly burns
and Bluetone Neil Gouvin divide drums while Mudcat Ward, through a part of her soul as she delivers such classic songs
another original Bluetone, excels on bass. as “You Better Move On,” “Tighten Up,” and “Watch Dog” in her
Among its baker’s dozen originals, the album’s other own inimitable style. The only way to improve this CD would
standouts include “Heard That Tutwiler Whistle Blow” and have been to have recorded another 12 classic songs to make
“Blues For David Maxwell.” The former is Geraci’s nod to it a double album!
Otis Spann and the blues history of Tutwiler, the place where If your library lacks a great CD to groove and sway
W.C. Handy says he first heard the blues. In this tune, Norcia to while you’re doing other things, Amy Black’s The Muscle
sings of the Great Migration, strange fruit, and backbreaking Shoals Sessions would be the perfect soundtrack for that
Delta days. Musically, all Bluetones are on deck as Norcia’s purpose.
harmonica takes on the gritty, electric style that was birthed – Pete Sardon
when the music migrated to Northern cities. -----------------------------
The latter tune honors David Maxwell, Boston’s piano KIM SIMMONDS & SAVOY BROWN
master, who lost his battle with cancer in February 2015. Here, The Devil To Pay
Geraci also invokes the ghost of Spann, whom Maxwell studied Ruf Records
with before Spann’s death in 1969, and Welch squeezes After a half-century spent
emotional in this meditative requiem. Midway through, the “treading the boards,” Savoy
blues crosses into the jazz realm with Norcia adding an eerie Brown has become a British
Native American wooden flute. blues institution. Formed by
Throughout these 13 tunes, Geraci proves himself guitarist Kim Simmonds in
a wonderful songwriter who touches on the many genres of 1966 as part of the blues-rock
American music. “Don’t Keep Me Waiting” and “Your Turn boom that included Taste,
To Cry” are reminiscent of 40’s jazz standards, “Too Late Free, and Gary Moore’s Skid
For Coffee” honors the Western waltz traditions, and “In The Row, Savoy Brown quickly
Quicksand, Again” is an instrumental carved from Freddie found a lasting identity in
King’s early 1960s work. Start to finish, a magnificent record. Simmonds’ fluid guitar lines.
– Art Tipaldi Commercially successful and
----------------------------- critically-acclaimed 1970s-era
albums like Looking In and Hellbound Train helped introduce
many a teenaged punter to the blues idiom.
Eternally led by Simmonds, Savoy Brown has kept
the flame of guitar-driven blues-rock burning bright long after
many of their contemporaries have gone home. While the band
E-mail: [email protected] stumbled a bit during the 1990s, releasing a string of albums
featuring more chaff than wheat, they’ve more
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than made up for it over the past decade with solid LPs like Reba Russell’s “Superblues,” a litany of 21st century super
Voodoo Moon and Goin’ To The Delta. Savoy Brown’s The blues troubles. On “Rudy’s Blues,” Blue pays tribute to Rudy
Devil To Pay is their 10th since 2000 and, like most of their Williams, the trumpet playin’ doorman who ushered patrons
efforts since the new millennium, it’s a mixed bag, musically. into the King’s Palace on Beale for decades. Dedrick Davis
Fronting, essentially, the same road-tested band since 2009 handles the trumpet that honors the “Mayor of Beale Street.”
– minus vocalist Joe Whiting – the trio of Simmonds, bassist Though Earl guests on three songs, it’s the soulful
Pat DeSalvo, and drummer Garnet Grimm is a dynamic blues- guitar and vocal duet he and Blue perform on the CD closer,
rock bar band capable of putting on a heck of a live show; on “800 Miles.” As Earl pinpoints emotions on his strings, Blue
record, results may vary. arrives at vocalizations that perfectly compliment. Or maybe it’s
The Devil To Pay is a mish-mash of blues styles, the other way around.
from the jazz-flecked slow-burn of “Ain’t Got Nobody” and the As the consummate pro dealing out her personal
Chicago-flavored vamp of “Bad Weather Brewing” to the twang brand of entertainment every night, Barbara Blue does what
‘n’ bang title track or the blustery, heavy blues of “Evil Eye.” she does best, that is to give herself up to the service of each
The band’s instrumental mastery allows them to pull off these song. This CD, like many of her others, is solid proof that she
varying hues easily, but the sticking point is Simmonds’ vocal has learned her lessons well – if you put the song first, the
skills, or lack thereof. On some songs – like the boogieing audiences will follow.
“Oh Rosa” or the Texas blues romp “I’ve Been Drinking” – – Art Tipaldi
Simmonds’ raging fretwork overshadows weak vocals, but -----------------------------
on other performances, the strain is evident. Simmonds’ ROOT DOCTOR FEATURING FREDDIE
guitar playing is beyond reproach, remaining as inventive and
CUNNINGHAM
electrifying as ever, but he needs a bona fide singer like Chris
Youlden or Dave Walker that allows him to just play guitar. This
New Attitude
shortcoming makes The Devil To Pay an entertaining blues- Self-released
rock disc that could have been so much more. New Attitude is the fifth
– Rev. Keith A. Gordon release for this Lansing,
Michigan quintet fronted
----------------------------- by the engaging Freddie
BARBARA BLUE Cunningham, a Mississippi
Memphis Blue native whose sonorous vocals
Big Blue Records are comparable to Latimore,
You do the math. Eighteen Big Llou Johnson, and the
years, five nights a week, two late Artie “Blues Boy” White.
shows. No wonder Barbara The band is comprised of
Blue was honored in May keyboardist Mike Skory,
of 2015 with a musical note drummer Rob Gardner,
on Beale Street outside guitarist Bill Malone, and
her musical home, Silky bassist James Williams. They are a tight and versatile unit with
O’Sullivans. As Blue told her a rich sound and are equally adept at blues, funk, and soul.
adoring crowd, “Why tour There are nine band originals and one cover, Denise LaSalle’s
when I can sing at Silky’s soul-blues standard “Somebody Else Is Steppin’ In.”
and see a different audience Except for the zydeco stomper “Louisiana Bound”
every night.” Recorded in (with accordion by guest Mike Lynch), the originals are divided
Willie Mitchell’s storied Royal evenly between blues and soul. Soul is represented by the
Studios and produced and engineered by Mitchell’s son Boo brawny shuffle-bump suggestive of Otis Clay “The Other Way,”
Mitchell, Memphis Blue, her tenth record, is a baker’s dozen the deep ballad “Baby, You’re Bad,” the breezy hip-swayer
tribute to the musicians who are an important part of Memphis’ “Bring It Back,” and some social commentary funk with “Land
musical traditions. of the Free” (“...land of the free is the land of the lost”), a
Blue knows how important it is to utilize the right mash-up of the Meters and Marvin Gaye. Four different blues
musicians and songs. Her band spotlights Memphis icons: the complete the set: “Rear View Sight,” a pounding blues-bounce
Rev. Charles Hodges (B-3), Leroy Hodges (bass), Lester Snell about moving on from love gone bad, “Pay The Rent,” a slow
(Wurlitzer), Steve Potts (drums), the Royal Horns, and special blues jeremiad, “Set Me Free,” rollicking Nawlins R&B, and the
guests Bobby Rush (harmonica), and Ronnie Earl (guitar). funky “You’re Gonna Lose,” a coolly delivered admonition by
Likewise, Blue’s choice of songs are arranged and a seasoned ladies man. There are ample solos by Skory and
charted with an underlying Memphis soul burger grease. Jay Malone throughout but it is the warm, nuanced, and confident
McShann’s “Hands Off” opens with a vocals and Royal Horns vocals of Cunningham that carry the album. Soul-blues fans
soul stew. Koko Taylor growled this warning, Blue smoothes it will find much to enjoy with Root Doctor, a fine band deserving
out, relying more on the horns to blast. On the Porter, Hayes of greater recognition.
and Cropper tune, “Love Is After Me,” Blue adds elements of – Thomas J. Cullen III
Stax soul, circa 1960s. Blue turns Ann Peebles’ “I’m Gonna
Tear Your Playhouse Down” into a succinct, mid-tempo burner. -----------------------------
She presides over the lyrics with a style developed from
thousands of nights of musical storytelling. While “Memphis
Stomp” provides Blue and the band the perfect vehicle to honor
Papa Willie.
Her blues treats include adding Rush’s harp on
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MY BABY Johnson’s able fretwork on guitar and slide and
Shamanaid raspy, blues-rock vocals are front and center, supported by
Embrace Recordings keyboards adding colorful and moody fills and a well-oiled
Helped in no small part by a rhythm section. Johnson’s interpretation of Dylan’s “Meet Me
tour of big theaters as show In The Morning” is a denser version with plenty of space for
openers for Seasick Steve Johnson to showcase his smoking slide and Hart to provide
plus a number of gigs at this dark background rhythms. “So Glad You’re Mine” gets an R&B
year’s Glastonbury Festival, groove with hints of the The Rascals. The slower rhythm allows
My Baby are finding their Johnson to showcase a restrained, more melodic guitar touch.
way to a growing audience in “Long Way Back To New Orleans” has Johnson sharing slithery
Europe. The band’s Facebook slide work with Landreth who works the intricate rhythm slide
page lists their genres as that became a signature sound for John Hiatt in the ‘80s-‘90s.
Delta, Trance, Louisiana, Dub, The mid-tempo “Glass Ceiling” has a funky descending guitar
Indie, and funk and that’s riff supported by smoky organ. “Meet Me In The Bottom”
just about spot on, although takes the song initially recorded by Howlin’ Wolf into full out
psychedelic is surprisingly blues-rock trajectory with Johnson’s passionate slide backed
missing. The trance may not be quite as intense as Otis Taylor, by Hart. The surprise cut is “The Hucklebuck,” a 1949 R&B
the voodoo isn’t as deep or menacing as Dr. John, and the hit by sax player Paul Williams. Johnson’s guitar recreates
Delta grooves don’t have the rawness of R.L. Burnside, but My and modernizes the sax lead without losing the swing of the
Baby combine a whole bunch of influences to great effect on original. “Set The World On Fire” is the most emotionally
Shamanaid, their second release and the follow-up to Loves charged song of the group with Johnson singing and playing
Voodoo!, the band’s impressive debut. his story of a very low point in his own past.
My Baby’s default setting is undoubtedly Delta. The Johnson may not have the world flaming quite yet, but
three-piece band, sister and brother Cato and Joost van Dyck his fire burns brighter with this release.
and Daniel Johnston, surely the finest joint venture between – Mark Caron
the Netherlands and New Zealand, for the most part keep it
-----------------------------
simple. It’s all about sparse percussive rhythms, persistent and LEO “BUD” WELCH
hypnotic guitar riffs, a timely slide lick in just the right place, I Don’t Prefer No Blues
Cato’s voice anywhere on the scale from sultry soul singer to Big Legal Mess
wailing banshee via otherworldly and gospel, and lets go from Deceptively simple, the
there. words and beats of Leo “Bud”
The grooviness of the band’s live shows is Welch are real to the point
represented by opener “Seeing Red,” “Uprising,” the first single of being transformative. The
to be taken from the album, the nagging “Remedy,” and the contradictory title to his album,
hypnotic “6X2.” But it’s much more varied than that. “The Doors I Don’ Prefer No Blues, is
Of Your Mind” is a beautiful acoustic soulful ballad, “Mary a phrase Welch’s preacher
Malone” would not be out of place on a country record, and allegedly responded with
“Panggajo” could be straight from the desert. when Welch told the preacher
Shamanaid works as a blues record for those that he was making a blues
want their blues to meet defined criteria. But this record has a album. Might it be a takeoff on
reach way beyond the blues cognoscenti. This is a very fine Mississippi Fred McDowell’s
crossover album from one of the most exciting new bands I Do Not Play No Rock ‘n’
around. Roll, too, given its raw nature? Perhaps. In any event, Welch
– Chris Kerslake----------------------------- obviously sure damn well does prefer these blues.
BRENT JOHNSON These are vibrating, reiterating, hard as nails blues.
He comes off like a shaman, the good and the evil mixed into
Set The World On Fire
entertainment of the highest authenticity. One can practically
Justin Time see the glinting white dust angels loosed from the juke walls
New Orleans blues/rock as Welch and his crackerjack band thunder through “I Don’t
guitarist Brent Johnson Know Her Name,” as secular a sex-driven frenzy as any blues
describes himself as “always that side of the South, and one classic notion in so many
a guitar slinger.” Johnson’s that classify this music. That little number follows “Girl In The
more recent background Holler,” all primal syncopation and power, simultaneously
includes 10 years with New rocking and hypnotizing the listener. Welch and his mates
Orleans’ legendary Bryan practically deconstruct St. Louis Jimmy’s iconic blues “Goin’
Lee’s Blues Power Band. Down Slow,” and rebuild it from the dirt on up, scratching
On his debut Set The World and dragging it with distorted voice and guitars to Mississippi
On Fire, his guitar slinging is blues heaven. The ascendant scraping of guitar inside the
joined by Alvin Youngblood rush of “Cadillac Baby” creates a true blues a yin and yang.
Hart on three tracks and slide Couple that with Welch’s broken-pipes, gushing emotion, and
wizard Sonny Landreth on well, your blood will be pumping, as intended. Beautiful and
one. Most of the songs are self-penned by Johnson, but he unflinching, this is an album of natural roll and tumble blues by
also interprets songs by Bob Dylan, Howlin’ Wolf, Albert King, an 82-year-old, flailing and jitterbugging like a kid.
and Paul Williams. – Tom Clarke

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MIKE HENDERSON SLAM ALLEN
If You Think It’s Hot Here Feel These Blues
EllerSoul Records American Showplace Music
Mike Henderson’s latest is Guitarist and singer-
another finely crafted and songwriter Harrison “Slam”
performed collection of songs Allen made a name for himself
that testify to his skill and art. playing blues clubs in and
He began receiving critical around New York City in the
notice around the time of his early 1980’s and since then,
move from his native Missouri he has taken his act on the
to Nashville in the mid-1980s, road to places like Sweden,
then in his 30s. There he Israel and Spain. Raised in a
became a session musician music loving family, he got his
celebrated for his slide guitar start playing with his brothers
expertise, and sought out in the Allen Brothers soul
by many an established band and more recently spent
act. His own songs have been covered and performed by about a decade touring with Austin-based harmonica master
the likes of The Fabulous Thunderbirds (“Powerful Stuff”), James Cotton. He recorded and co-wrote songs with Cotton
Adele (“If It Hadn’t Been For Love”), and The Dixie Chicks for his 2011 Grammy-nominated comeback album, “Giant.” On
(“Hello Mr. Heartache”). He began recording with his own Feel These Blues, he’s accompanied by good people like New
band, The Bluebloods, in the mid-1990s, when he created a Jersey-based keyboardist John Ginty, as well as bassist Jeff
much-respected if somewhat overlooked album, First Blood Anderson and drummer Dan Fadel.
in 1996. Many bottlenecks later, Henderson has brought forth Feel These Blues is a collection of Allen’s originals,
a splendid record that furthers his reputation as a Hound Dog save the closing track, where he offers up a blues-influenced
Taylor-style guitarist and an Elvin Bishop or Peter Wolf sort of take on Prince’s hit, “Purple Rain.” Fans of blues guitar by
field-shouting singer. people like the late Hubert Sumlin and the soul-blues vocals
“I Wanna Know Why” starts the listener out in the of the late Otis Redding will find much to latch onto with “Feel
manner anyone familiar with Mike Henderson’s oeuvre might. These Blues,” as Allen’s guitar playing is alternately fiery and
It’s a forceful tune, heavy on the percussive piano chords raucous and subtle and quiet, depending on the needs of the
furnished by Kevin McKendree at its bottom and grace particular tune. The title track and tracks like “The Blues Is
note tinkling at the top of the keyboard, that accompany Back,” “Baby Please Don’t You Go,” and “35 Miles Outside Of
Henderson’s spoken and shouted vocal. Its tempo is Memphis” are as radio-ready as they come, and his take on
deliberate, machine-like. Then, almost three-quarters of the “Purple Rain” is more soulful and subtle than the original, so it
way through, here comes Henderson’s rolling, growling, sliding should serve to make blues fans out of people who didn’t know
guitar, building in intensity until its sudden end. The balanced they were blues fans.
arrangement seems a natural fit for the lyrics. – Richard Skelly
The pace quickens with “Send You Back To Georgia,” -----------------------------
a Hound Dog Taylor and Johnnie Mae Matthews’ song treated TROND OLSEN
here as a piano pounder that builds to Henderson’s scorching, Mercy
soaring slide work, racing up and down the fret board to the
Toneland
end. Bandmates Michael Rhodes (bass) and Pat O’Connor
Norwegian singer/songwriter/
(drums) furnish the infectious pulse.
guitarist Trond Olsen is a
The title track, “If You Think It’s Hot Here,” a
name new to me. For his
Henderson composition, is a latter day lesson in contemporary
second album, which he co-
corporate morality. McKendree’s piano is melodic, giving way
produced, Olsen recruited
to a crescendo of a guitar solo, both mournful and regretful in
his friend and former John
tone, but with a determined finish, just like a sinner confessing
Mayall guitarist Buddy
and at the same time pledging better behavior. “You cooked
Whittington as a special guest
the books with the crooks on the hooks/Then y’all tee off at
for two numbers. Olsen is
three/just like there was no such thing as eternity/you catch the
backed on the first ten tracks
heat ‘cause you’re standing mighty close to the stove” goes the
by bassist Frank Hovland,
verse. Appropriately, the refrain is angelically backed by female
drummer Morten Bergstrom,
voices as Henderson sings “If you think it’s hot here just wait ‘til
and keyboardist Lars
those pearly gates close.”
Hammersland; backing vocalists appear on six tracks. The set
Henderson shows he knows “hot.” It’s this record.
closer, “You’ll Be Around,” is a subdued love song performed
– M.E. Travaglini
acoustically. The lone cover is a duet with Whittington on
----------------------------- Robert Johnson’s “Come On In My Kitchen,” which opens the
album, and is performed as a jagged Diddleyesque thumper.
Whittington also takes the piercing guitar solo on the blues
ballad “Morning Blues.” The originals are, for the most part,
reminiscent of classic Southern rock (an amalgam of Allman
Brothers, Wet Willie, and Little Feat) with discernible blues
influences throughout; the tunes range from the swamp grinder
E-mail: [email protected]
title track to the crunchy funk of “Real Deal” to ebullient rockers
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like “Call My Number” and “Sammy’s” (a tribute to his favorite DADDY MACK BLUES BAND
nightclub). A Bluesman Looks At Seventy
As a guitarist Olsen is more into tone and precision Inside Sounds
than speed; he is a versatile vocalist with a limited range and Daddy Mack’s seventh album
sings in English without affectation or vestige of his native since 2000 is a bristling set
tongue. The band is tight and versatile with special kudos to of fourteen originals (penned
keyboardist Hammersland for his serpentine electric piano by co-producers Eddie Dattel
and stout organ cushion. This Norwegian import will be of and Wally Ford) which are not
most interest to fans of classic Southern rock as well as Buddy as existentially introspective
Whittington completists. as the title implies. The
– Thomas J. Cullen III Memphis-based Mack Orr’s
----------------------------- snarling metallic licks and
BILLY WALTON gritty sonorous vocals evoke
Wish For What You Want those of Albert King, his chief
VizzTone inspiration, on many tunes.
In the last 12-14 years since Half the tunes are on the
making his professional debut funky side and intended for fun and frolic like “Champagne
at clubs in Atlantic City and Fantasy,” “She Loves Money,” “Fix It When I Can,” and,
Asbury Park, southern Jersey “Gamblin’ House Blues.” Shuffles, slow blues, a boogie, a soul
Shore guitarist, singer, and ballad, and an instrumental round out the program.
songwriter Billy Walton has Confidence and concupiscence are heartily injected
been both motivated and into the slow baked blues “I Like Fishin’” and the jocund plea
determined. An exceptionally for a one night stand “You Don’t Have To Love Me.” The
talented guitarist, he’s been unsparing combination of bad luck, hard times, and lost love
motivated, and enthused are addressed in the jeremiads “Red, White, Blue, and Green”
enough, to take every little gig and “Pocketful Of Blues.” The band (drummer “Fast” Eddie
that’s come his way in some Lester and the Bonner brothers, bassist Harold, and rhythm
obscure shot and beer joints guitarist James, who both played with Mack in the Fieldstones)
in the middle of nowhere in southern New Jersey, and he’s is complemented on various tracks by various organists,
been determined enough to press on and find a wider audience guitarists, background vocalists, and a horn section (on two
for his unique brand of blues and blues-rock. songs).
In the last decade he and his band mates have gone Those fans unfamiliar with the Daddy Mack Blues
on numerous British tours, selling CD’s across the pond and Band, who have been together for 20 years, can start with this
developing a larger audience for their style of blues-rock, which winning album. Soul-blues fans, Albert King fans, and fans of
seems to be more in favor right now in Great Britain than it is in virile, hard-edged guitar blues like Magic Slim, will find much to
the U.S. enjoy as well on Daddy Mack’s best album to date.
After releasing a slew of self-produced albums, albeit, – Thomas J. Cullen III
recorded in good studios in and around Asbury Park, on Wish
For What You Want for the Boston-based VizzTone Records, -----------------------------
Walton and his band mates take the plunge and enlist the DIANE BLUE
help of producer Tony Braunagel, who ably pushes them in Blues In My Soul
new directions. Southside Johnny Lyon contributes harmonica Regina Royale Records
on one track, “Blues Comes A Knockin’,” as Lyon was one of Boston-based Diane Blue,
Walton’s earliest supporters. a popular vocalist and harp
Straight-ahead blues purists will find plenty to latch player, is joined by fellow
onto here, as Walton’s venom-tipped guitar solos and soul- Bay Staters Ronnie Earl and
filled vocals are showcased well on tracks like “Mountain,” Toni Lynn Washington, and a
“Blues Comes A Knockin’,” and “Worried Blues.” What’s more, few more of Beantown’s best
an on-the-mark cover of a Doc Pomus/Willy Deville’s “Just To musicians on an album that
Walk That Little Girl Home” shows us that important side of the drips with emotion – blues,
band that advances the blues tradition. soul, R&B, and a hint of
– Richard J. Skelly Gospel.
----------------------------- The 13 tracks on Blues
In My Soul contains five
originals, including the opener,
“That’s What They Call The Blues,” one of the best on the disc.
It showcases guitarist Earl, whose whopping talent can emote
Is It Time To Renew? Visit: at both ends of the spectrum. Here he’s lively and happy.
Another hit is the final track, “Jump For Joy” by the late queen
BluesMusicMagazine.com of the blues, Koko Taylor. It’s got terrific horn by Johnny “Blue
Horn” Moriconi, and great Hammond B-3 by Dave Limina, one
For Specials Today!!! of the members of Earl’s band, The Broadcasters, who finesse
the backups. Limina shines again on keyboards on “Nothing
You Can Do” a Bobby Womack energetic, 70s soul tune.

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 Toni Lynn Washington, a tremendous nationally- their sets. This album demonstrates just how farAdegbalola
known vocalist in her own right, sings backup on four songs, has come as a singer-songwriter and performer, as she breaks
including the Jimmy Reed-like “I Love Your Loving Ways,” and new ground in contemporary blues with smart songs that we
“Someday Soon,” a Diane Blue original that’s joyful, danceable, can all relate to in 2015. Her frank, thorough, and witty liner
and fun. It’s made even better by Moriconi, Scott Shetler on notes inside the CD are an added bonus.
sax, and Diane Blue’s harp playing, with a super solo and – Richard Skelly
snappy lyrics.
Moriconi and Limina get down on “Soulville,” a fast
and funky one written by Titus Turner and reminiscent of Tina -----------------------------
and Ike in their heyday. “Day And Night” is another funkster JAY WILLIE BLUES BAND
with Limina hitting the B-3 heights again. Blue sounds a lot like Rumblin’ and Slidin’
Aretha Franklin on “Today I Sing The Blues” a slow blues on Zoho Roots
which Earl turns on the emotion and gives you the chills. Earl The music this great band
is in the spotlight again in “I Can’t Shake You,” another Diane plays is Chicago blues-
Blue original. It’s slow and sexy with Earl perfectly echoing rock; and includes all the
the heartache in the lyrics. “Cry Daddy” is a sad Gospel-like passion in blues and all the
personal story about the loss of Blue’s mother, and her father’s power, intensity, and sweat
reaction to it. one would expect from the
Diane Blue, who competed in the 2011 International rock side of that equation.
Blues Challenge in Memphis and advanced past the first To summarize in a nutshell:
round, has a powerful delivery and a captivating stage these artists are based in
presence. Either with her own band, or singing alongside Connecticut, this is their 3rd
Ronnie Earl – she is on his latest album, Father’s Day, which release, 2nd on Zoho Roots
makes her the first female member of the Broadcasters – Records: and it showcases a
Diane is a top notch entertainer and talented musician. group of top level musicians
– Karen Nugent who are well-versed in the style of music they play; and who
----------------------------- mean everything they say onstage, and in the studio, with a
GAYE ADEGBALOLA AND THE WILD RUTZ vengeance. Translation: they’re not just playing the notes. In
Is It Still Good To Ya? fact, you can hear what I mean when listening to the four songs
that were recorded live at The Newtown Arts Festival in Sept.
Hot Toddy Music
2013. Trust me, live or in the studio, this is a New England
Known to most of us for her
band to keep your eyes and ears on.
years with Saffire, the Uppity
Included in the 14 cuts are covers and originals
Blues Women, [1984-2009,]
that all clearly illustrate the influences of Johnny Winter,
former Virginia State Teacher
Elvin Bishop, and Leslie West on Jay Willie’s guitar playing.
of the Year Gaye Adegbalola
Drummer Bobby T. Torello was the powerful pounder in Johnny
continues to prove, with
Winter’s terrific trio during the ‘80s, and the experience and
Is it Still Good To Ya? just
expertise he brings to the group are quite impressive. Listen to
why she’s one of the most
his song “Rotten Person” and you will hear what I am talking
inventive, creative songwriters
about. Bob Callahan on guitar and vocals and Steve Clarke on
anywhere in contemporary
bass just kick ass as the rhythm section backing up Jay Willie’s
blues today.
fantastic Johnny Winter-influenced slide guitar playing,
Adegbalola penned all
Other highlights on this release are: Suzanne
the songs on the album
Vick’s vocals on the Edgar Winter/White Trash saxman Jerry
with her new band, the Wild Rutz. Is It Still Good To Ya?
LeCroix’s “Fly Away” where a female soulfully singing the lyrics
includes “These Blues Are Mine,” a co-write with her son,
changes everything. Blues harpist extraordinaire Jason Ricci’s
Juno Lumumba Pitchford. Continuing in the Saffire tradition
playing on the tune just blows me away. He is also incredible
of throwing some humor into their live shows as well as their
on the classic covers of Link Wray’s “Rumble,” blues classics
albums, she includes funny tunes like “The Dog Was Here
“Key To The Highway” and “It Hurts Me Too,” and the two Jay
First,” as well as consciousness-raising tunes like “The Skittles
Willie Blues Band originals, “The Leetch” and “Caballo.” Fun
Blues” about trigger happy policemen in Virginia and other
Fact: The latter title means “horse” in Spanish and is also slang
parts of the country. With the Wild Rutz, two other fine African-
for heroin. The song is a commentary on drugs in the music
American women vocalists and one Hispanic, Gloria Jackson,
industry, so there is a message behind the madness too. The
Tanyah Dadze and Marta Fuentes accompany her. Their sound
live performance, with Ron Stahl on drums and Teddy Yakush
on various tracks is reminiscent of the innovative folk and
on sax, gives a real workout to Steven Stills and Buffalo
spirituals group, Sweet Honey in the Rock.
Springfield’s “For What It’s Worth” too. Play this CD loud!
Years ago, Adegbalola told me at the Philadelphia
– A.J. Wachtel
Folk Festival, where Saffire was booked a number of times,
“We’re just historians.” That was in the early days of Saffire
when the trio was first starting to find its national footing
among folk and blues festival audiences. In those days, Saffire Have You Listened To
performed mostly songs written by classic bluesmen and
women and threw a few originals into
MojoWax Radio?
www.MojoWaxRadio.com
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JEFF TURMES musical guests, Roosevelt Purifoy on organ, Marques Carroll
Wreckage on trumpet and horn arrangements, tenor saxophonist Chris
JT Music Neal, and baritone sax man Aaron Getsug, Burns unleashes
This could be one of those a fist full of covers by folks like Billy Flynn, Percy Mayfield,
“sideman steps out” reviews. Eddie Burns, King/Lieber/Stoller, Walter Jacobs, Lowman
For more 25 years, Jeff Pauling, Abner Reed, Goree Carter, John A. Cameron, Larry O.
Turmes has spent time Williams, and Melvin R. London on his latest Delmark Records
backing scores of established release, It Ain’t Right.
musicians – ranging from Burns and company really shine on the two steppin’
his early days with James swagger of “Crazy, Crazy, Crazy,” the jump & jive of “Rock
Harman to his present long- Awhile,” the uptown swing of “Surrounded,” the album’s
term gig with Mavis Staples, raucous title track “It Ain’t Right,” the pleading “Will I Ever Find
but he’s also been writing, Somebody,” and the gospel borne “Wade In The Water.” Good
recording, and releasing time music guaranteed to satisfy your soul.
excellent albums on his own – Brian M. Owens
since the 1990s. So let’s -----------------------------
just say he’s a musician who can pretty much do everything. JOSH HOYER AND THE SHADOWBOXERS
Wreckage is the latest example. Living By The Minute
Turmes sings and plays guitar, saxophone, and Silver Street
clarinet on this 44-minute disc. He also wrote the dozen songs From Omaha, Nebraska,
and co-produced with Peter Malick, the latter a musician whose come the Shadowboxers
career goes back to apprenticeships with Otis Spann and John led by singer/songwriter/
Lee Hooker. Together they’ve come up with a solid successor keyboardist Josh Hoyer,
to Turmes’ fine Every Day’s My Lucky Day; The Distance You who formed the band in
Can Travel; Five Horses, Four Riders; and It Takes One To 2012. The band, guitarist
Know One with Janiva Magness. Benny Kushner, bassist
Many of the songs on Wreckage may have their origin Joshua Bargar, drummer/
in one man’s private calamities, but Turmes puts them out percussionist Justin G.
there so they ring true for most people. “Live This Down” nails Jones, saxophonist Mike
the soul-wracking public embarrassment of having good-love- Dee, trombonist Tommy
gone-bad, and “I Don’t Have A Fucking Clue” pretty much says Van Den Berg, and flautist
it all about how things go wrong, while “Sugar” is one of the Brian Morrow, is mellifluously
finest heart-break songs since Sinatra pronounced, “So, set complemented by backing vocalists Hanna Bendler, Kim
‘em up, Joe. I got a little story you oughta know.” Moser, and Megan Spain. It is a tight, polished, wall-of-
But Turmes is careful to balance the material on sound unit that sounds larger than six pieces due to Hoyer’s
Wreckage. Even the “down” songs tend to be up-tempo. For expansive arrangements and impeccable production.
instance, the opener, “Rickety Men,” is propelled by the searing Hoyer’s ten originals are mainly inspired by late
slide he coaxes out of a ‘61 Guild electric guitar with a chuck of Sixties and early Seventies soul with ample jazz and rock
its back missing. “I’m Not A Doctor” rocks just as hard, but the flourishes. The well arranged tunes had me thinking at times of
album’s core message, if that’s not an unnecessary reduction, Tower of Power, Mandrill, Average White Band, and Chicago.
is best summed up on ballad “My Heart Goes Out” with the The tradition of social awareness in soul music that traces back
lyrical phrase “the road of life is lined with shiny wreckage.” to James Brown, Marvin Gaye, Curtis Mayfield, and the Staple
Backing Turmes are drummers Steve Mugalian (ex- Singers (among others) also inspired Hoyer: “Misfit Children,”
Mighty Flyers) and Butch Norton, bassists Gregory Boaz (Dave “Over The City,” “Blood And Bone,” and the title track focus
Alvin Band) and Paul Eckman (D.J. Bonebrake Trio), and Lee on the ills of poverty, abuse, injustice, crime, and violence. In
Thornburg (Joe Bonamassa, Ringo Starr) on additional brass. addition to his throaty tenor vocals, Hoyer contributes organ,
– Bill Wasserzieher clavinet, piano (acoustic and electric), and baritone sax.
----------------------------- His most cathartic vocal performance is the deep
JIMMY BURNS ballad “The First One,” suggestive of Otis Redding, James
It Ain’t Right Carr, and Solomon Burke. Hoyer summons the listener to the
Delmark dance floor with the slightly disco-tinged rump wriggler “Let it
With a voice that drips with Out” and pleads his case for more quality time to a hesitant
mournful soul, Chicago lover with the strutting “Real Time.” Overall, a fine album of
based singer-guitarist Jimmy contemporary soul music deserving of a wide audience.
Burns brought the Mojo of – Thomas J. Cullen III
Mississippi with him when -----------------------------
he relocated to Chicago at

Have You Read Any

age 12. Featuring a core
band of top shelf bluesmen
that include guitarist Anthony Music News Lately?
Palmer, pianist Sumito
“Ariyo” Ariyoshi, bassist Greg www.TheBluesWire.com
McDaniel, and drummer
Bryant “T” Parker along with
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KELLY RICHEY the set closer “Florida Blues,” is an original. The only cover that
Live At The Blue Wisp comes from a less familiar source is Milwaukee harp legend
Sweet Lucy Jim Liban’s Muddyesque title track. Eight of the covers come
If you like guitar-driven blues- from Chicago masters like Muddy Waters, Jimmy Reed, Eddie
rock with lots of feedback, Boyd, Floyd Jones, Eddie Taylor, Willie Mabon, Jimmy Rogers,
extended jamming, and and Billy Boy Arnold. Kudos to Slim for spotlighting lesser know
distortion, the Kelly Richey gems like Boyd’s boogie about the police’s sudden arrival
Band’s recent live release is “Blue Coat Man,” Mabon’s stop-time shuffle “Would You Baby,”
for you. You’ll hear echoes and Jimmy Reed’s “New Leaf” replete with piercing high end
of Jeff Beck, Stevie Ray harp jabs. Slim reaches down South for Slim Harpo’s bawdy
Vaughan, and Rod Price swamp-blues jangler “Bread Maker Baby,” Roy Brown/Fat’s
on Richey’s album, yet, Domino’s bouncy “Let The Four Winds Blow,” and Tarheel
the guitarist, singer and Slim’s rockabilly and blues mash up “Wild Cat Tamer.” A robust
songwriter is from Cincinnati, exercise in old school mastery with dazzling harp, understated,
where the Blue Wisp is straight forward vocals, and sparkling support with ample
located. Richey took her solos, the album’s title is a bit misleading. It’s way better than
inspiration from folk singer Ani DiFranco and started her own close...I give it four cigars out of five.
record label, Sweet Lucy Records, in 1994. – Thomas J. Cullen III
She plys her craft all over the Midwest and parts of -----------------------------
Canada, having started playing guitar as a 15-year old. She’s NEVER THE BRIDE
accompanied by just a bass player, Freekbass, and drummer, Jealousy
Big Bamn, and midway through this album, it becomes Lock, Stock, & Barrel Records
apparent they’ve been touring with her for a long time. Unlike The album of covers “we’ve
many live recordings, this one is exceptionally well engineered always wanted to record”
and produced. However, with the inclusion of an ambience or “that take us back to our
mike, one gets the sense that she’s playing before a small roots” can go one of two
audience at the Blue Wisp, and so it goes in much of the blues ways. For every release like
world. Eric Clapton’s near perfect
There’s an apt description on her website that From The Cradle, an object
encapsulates what she’s all about: “Stevie Ray Vaughan lesson in striking the right
trapped in a woman’s body with Janis Joplin screaming to get balance between staying true
out.” Standout tracks include “Everybody Needs A Change” to the songs whilst producing
“Workin’ Hard Woman,” and “Sister’s Got A Problem,” which new versions right up there
clocks in at 12 minutes, so it may find favor with radio DJ’s who with the classic cuts, there
need to go foraging around the record library or are otherwise are any number of uninspiring
unprepared for the rest of their show. Richey wisely chooses tired old recordings that usually end up drawing from the
to close the album with an 11-minute track, an original called same list of predictable standards. British rock and blues band
“Risin’ Sun” – as opposed to the standard “House Of The Never The Bride don’t let this deter them though and go even
Rising Sun” – that must have left the Blue Wisp without a roof. beyond the usual well trodden claims by boldly promising that
– Richard Skelly Jealousy, their latest release, is “an album of eclectic covers,
----------------------------- freshly realised and rebirthed.”
MADISON SLIM A glance at the track listing certainly ticks the first
Close... But No Cigar box with a song selection that covers the whole spectrum from
Self released “Me And Bobby McGee” through to AC/DC’s “It’s A Long Way
Harmonica ace Madison To The Top.” In between is a healthy amount of blues and
Slim (Mark Koenig) left the soul influenced material starting with a funky “Cocaine” as
Midwest after establishing the album opener. The Animals are well represented through
his credentials with Sam “Don’t Let Me Be Misunderstood” and “We Gotta Get Out Of
Lay, Jimmy Rogers, and the This Place,” the Stones provide “Sympathy For The Devil,” and
Legendary Blues Band (post there is the ubiquitous “Baby Please Don’t Go,” quite likely a
Jerry Portnoy). He moved nod to Them, making up a mini-homage to the British blues
to Florida and hooked up explosion.
with guitarist/producer Doug Jealousy also meets the claims of rebirthing.
Deming and his band the These are for the most part big arrangements, and need to
Jewel Tones. Deming has be to come anywhere close to doing justice to singer Nikki
considerable experience Lambourn’s voice. Roger Daltrey rates the Bristol, UK-born
playing and recording with singer as being the best female rock singer since Janis Joplin.
harmonica players; Lazy Lester and Dennis Gruenling are two Whilst that’s a statement that is going to generate healthy
notable examples. Slim recorded his solo debut in Sarasota debate there is no doubt that Lambourn has a one of the most
with a stalwart cast of seasoned old school players that distinctive voices on the circuit, and that alone is a reason to
includes guitarist Billy Flynn, saxophonist Terry Hanck, pianist check out an album that delivers on its claims.
Barrelhouse Chuck, and the Jewel Tones rhythm section of – Chris Kerslake
bassist Andrew Gohman and drummer Devin Neel. -----------------------------
Of the 13 tracks, only the instrumental slow blues,
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BOB STROGER & KENNY “BEEDY EYES” SMITH
Keepin’ It Together There are welcome surprises like Mississippi John
Big Eye Records Hurt’s lilting “Creole Belle” (accompanied only by Kirk Steel’s
Inspired by their contribution accordion), Leroy Carr’s exultant “Memphis Town,” and Blind
to the 2011 Grammy winning Willie McTell’s ragtime bounce “Baby It Must Be Love.” Two
album Joined At The Hip originals are homages: the title track, a mid-tempo shuffle,
by Pinetop Perkins and and the tale of “Blind Willie” (McTell), one of Collins’ major
Willie “Big Eyes” Smith, this inspirations and the only solo performance, more old timey and
delightful dozen of Chicago folk than blues. “Hungry, Broke, And Blue” is a timeless lament
blues (all originals except of hard times evocative of Hank Williams and Woody Guthrie.
for Willie Smith’s wry tale Collins performs on acoustic guitar throughout; his picking
of senior citizen love, “Old is nimble and intricate. His flexible, straight-forward vocals
Woman Sweetheart”) does an are well suited to his diverse set list. The mellow eclecticism
excellent job of keeping the of Going Back to Clarksdale will appeal to fans of pre-WW II
old school blues flame burning blues and music Americana.
with clarity and conciseness. – Thomas J. Cullen III
Fans expect nothing less from such veteran musicians whose -----------------------------
pedigrees link them to numerous legends. JeCONTE
Anchored by one of the best rhythm sections in the Down By The Bayou
blues, the supporting cast of Windy City stalwarts includes Red Parlor Records
harmonica wizards Jerry Portnoy and Joe Filisko, guitarists San Francisco Bay Area
Billy Flynn, Frank Krawkowski, and Kevin Iles, bassist Brian bluesman JeConte is a bit
Leach, keyboardist Barrelhouse Chuck (Goering), and of a mystery – even his
saxophonist Sam Burkhardt. (Unfortunately, the liner notes own website doesn’t offer
do not indicate who is taking the guitar and harmonica solos.) much information beyond
Stroger and Smith share the vocals. They are capable but the immediate – but the
limited vocalists with styles that greatly contrast: Stroger’s talented singer/songwriter
vocals are dark and sonorous while Smith’s are lighter and has explored music on
drier. Nonetheless, the sharp, versatile ensemble playing is several continents, including
the star here. The tunes include several slow blues, shuffles Europe and Africa, and his
of various tempos, a funky twist-grinder (“What Cha Say”), a unique sound is a gumbo pot
Jimmy Reed-styled loper (“Sweet So Sweet”), and a lilting soul bubbling over with a heady
stroller (“Love and Affection”). brew of West Coast and New
I most enjoyed the bedrock piano playing of Orleans blues styles and West African musical influences.
Barrelhouse Chuck which evoked his legendary mentor JeConte sojourned to the Louisiana swamplands to record
Sunnyland Slim; for a change of pace, organ replaces piano on Down By The Bayou, the follow-up to his acclaimed 2013
Willie Smith’s “Old Woman Sweetheart.” Nothing fancy here: release Mali Blues, hooking up with producer and guitarist
just old school Chicago blues the way this fan likes ‘em – crisp, Anders Osborne for a lively set of Cajun-fried, swamp-blues
clean, and on the beam. tunes.
– Thomas J. Cullen III Recording at Dockside Studios in Maurice, Louisiana,
----------------------------- with Osborne at the helm, JeConte is backed by a crackerjack
SUGARCANE COLLINS band of veterans, including guitarists Matty Cohen and Chris
Going Back to Clarksdale Haugen, drummer Wally Ingram, and bassist Carl Dufrene,
Self-released who has worked with Osborne, Tab Benoit, and Mike Zito,
The year 2015 marked this among others. Kicking off with the title track, JeConte’s soulful
Australian singer/songwriter/ vocals are joined by Osborne’s subtle slidework above a sly,
guitarist’s 35th year in the shuffling rhythm. It’s the sort of laid-back, Southern rock/blues
music business, 60th birthday, fusion that Osborne and Damon Fowler have built a career
and the release of his fifth around and JeConte slides into this sort of traditional fatback
album, a collection of eight groove effortlessly.
favorite standards and three The remainder of Down By The Bayou follows a
originals. Produced and similar engaging musical blueprint. “Evermore” offers more
arranged by Collins, the tracks New Orleans grease along with cavernous reverb, showcasing
were recorded in Clarksdale, JeConte’s not inconsiderable harp skills, and the exotic “Mother
New Orleans, and Cairns, Africa” reminds of Corey Harris in its nod to the continent
Queensland. Chestnuts like and rhythmic melody. The powerful “Stuck In The Mud” is a
“Sitting On Top Of Yhe World,” near-perfect welding of vintage late-60s blues-rock and John
“St. James Infirmary Blues,” “Walking Blues,” “Trouble In Mind,” Campbell-style dark mojo swamp-blues, with howling vocals
and “Flip, Flop, And Fly” may be too familiar for some fans. and buzzing guitars riding alongside menacing percussion
However, several tunes are interpreted in a jazz vein, most while the zydeco-flavored “Everything” benefits from JeConte’s
notably “Flip, Flop, And Fly,” swinging organ jazz with a horn inspired harp playing.
section, quite different from the rollicking brawn of Big Joe Osborne’s subtle production places the spotlight
Turner’s original, and “St. James Infirmary,” trad jazz with a firmly on JeConte’s ability as an expressive singer, his vocals
clarinet added to the horn section for some Dixieland flavor. reminiscent of Little Feat’s Lowell George, while Anders’
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considerable six-string skills draw inspired contributions from ARLEN ROTH
the assembled musicians. When all is said and done, Down Slide Guitar Summit
By The Bayou is a rock solid collection of roots ‘n’ blues Aquinnah
that should appeal to any dyed-in-the-wool fan of blues and Christmas comes early for
Americana music. fans of slide guitar as this
– Rev. Keith A. Gordon lethal collision of like-minded
----------------------------- talents pay tribute to past
WILDCAT O’HALLORAN heroes while lighting fresh
Midnight Service Call fires all their own. A pet
Self-released project for less-than-prolific,
Wildcat O’Halloran and his guitar giant Roth – quite
crew is the party blues band possibly the reason he’s flown
of Western Massachusetts, well under the radar for far too
and the new CD proves it. long – this may well return him
The witty, comical lyrics and to prominence as a guitarist’s
madcap stories complement guitarist.
O’Halloran’s exemplary Issuing a raft of quiet, yet influential, releases over
Tampa Red-like guitar the last 50 years, Roth further distinguished himself as an
playing, along with some instructional guru with his Hot Licks videos and best-selling
commendable harp by fellow books, when not playing sideman to Paul Simon, Danny
Bay Stater Ottomatic Slim, Gatton, or Pete Seeger. His instrumental prowess bubbles over
and excellent sax by Emily the top in the esteemed company of guests Johnny Winter
“Dr. Luscious” Duff. (“Rocket 88”), Sonny Landreth (“Sonny Skies”), David Lindley
Nearly every tune on the 12-track disc is fun, (“Her Mind Is Gone”), and Cindy Cashdollar (“Steel Guitar
starting with “Double Dating At The Divorce Court,” an Rag” and “Stranger On The Shore”). Dedicated to Johnny (this
amusing account of two couples trading spouses (for good, was his final studio session), Roth clearly praises the slide’s
not swingers) and ending – you guessed it, double dating. importance within the scheme of modern music demonstrating
You’ll laugh again when the danceable title track shows up its power with each magical interaction – as producer/drummer
a few songs later. It has O’Halloran’s patented sexy-voiced Tom Hambridge serves up crystalline production.
female rapper talking to him on the phone (some people More rock than anything more specific, elements of
find this annoying, others love it.) This time, in a parody of a rock ‘n’ roll, country, and blues permeate the material, an array
heating emergency on a cold New England winter night, the of guest-penned originals and re-formulated classics. Too
girl (WMUA’s Katie Wright) calls Wildcat, who is working the many high-powered highlights to single out, the best surprises
overnight shift at a boiler company. She describes various, come from the slightly lesser known purveyors. Jack Pearson’s
sexual double entendre problems that he can surely fix as long barn-burning opener, “Do What’s Right,” starts the party off with
as her ex-Marine boyfriend (who is upstairs cleaning his AK47) a vicious double-slide offensive, while the disc’s strongest track
doesn’t find out. In between the conversation snippets, there (and least likely to pull off successfully) falls to the under-sung
are some nice long guitar and harp solos. Lee Roy Parnell, as he and Roth revitalize Lowell George’s
The song “97 Percent” is especially poignant these “Dixie Chicken” for a new audience.
days. It’s about a survey which says just three percent of The duo of Roth and Jimmy Vivino on “Poor Boy
Americans list blues as their favorite music. Hence, Wildcat’s Blues” yields a feral assault while Roth and Parnell’s charge
assertion that 97 percent of us “think the blues suck.” He goes on Robert Johnson’s “Dust My Broom” leaves no options for
to admonish bands who learn “three chords that most anyone lint’s survival. Despite surprisingly subdued performances from
can play (even while drunk), leave the arrangements to luck, Rick Vito and Greg Martin, the opportunity to bear witness to
and show up late with a pick up band.” the chemistry between Roth and Winter’s dueling slide work –
There are a few serious songs on the record. and that between Roth and Landreth – is worth the admission.
O’Halloran is fantastic on the slow, emotion-ridden guitar on The tone-friendly blend of lap steel to slide provides texture to
“Sweet Little Angel,” as is Ms. Duff on her sax solo. The band, die for, thanks to Cashdollar and Lindley, yet it’s the resonant
with help from female backup singers, does a reasonable job beauty expressed through Roth and Martin’s gentle command
on “Don’t Let Me Misunderstood,” the ‘65s hit by Eric Burdon over “Amazing Grace” that lifts this summit to even higher
and the Animals. ground. Having emerged from the other side of a debilitating
A live O’Halloran Band performance usually involves family disaster, it’s good to see Roth’s return-to-form,
crazy antics such as Wildcat doing the atop-the-bar walk while celebrating his mastery over what he does so well.
playing slide, a la J.B. Hutto, the fetching “Harp Girls” rapping, – Eric G. Thom
and various other fun stuff, but this record captures the spirit of
all that, and will make you chuckle.
– Karen Nugent Listen To All The CDs
Reviewed At
www.MojoWaxRadio.com
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EMPIRE ROOTS BAND DAVID VEST
Music From The Film Harlem Street Singer Roadhouse Revelation
Acoustic Sessions Cordova Bay
The 2014 film Harlem Street The title for this release is
Singer celebrates the life and dead-on in its assessment of
music of the Reverend Gary David Vest. The “revelation”
Davis (1896-1972), the blind is that someone this good is
Baptist minister who had a virtual unknown despite a
a profound and pervasive career spanning five decades,
influence on the post-WW II including a four years as the
folk and blues movements. co-leader of the Paul Delay
Davis was a native of the Band. The “roadhouse”
Piedmont region in South phrase is an apt description
Carolina. In 1940 he moved of his musical stew that melds
from Durham, NC to New York blues, country and other roots
City where he lived until his music.
death. His rollicking piano starts the disc off in fine form,
Featured in the film is the Empire Roots Band, a storming through “Freight Train Rolling.” Guitarist Teddy
quartet of veteran NYC blues artists: vocalist Bill Sims, Jr., Leonard tears it up on “Stand Your Ground,” making it sound
pianist Dave Keyes, bassist Brian Glassman, and guitarist like a lost Lou Reed classic. Vest reminisces about his
Woody Mann, one of Rev. Davis’ many students (a short list boyhood Alabama home on “Streetcar” before taking us to the
includes Dave Van Ronk, Roy Book Binder, David Bromberg, honky-tonk on “Gone Too Far,” his warm voice reciting the tale
and Stefan Grossman). The album presents the film’s unedited of love lost.
takes and previously unreleased tracks. Davis was a finger- The rhythm section of Gary Kendall on bass and
picking 12-string guitar genius and his music was a blend Mike Fitzpatrick on drums excels on a cover of Hank William’s
of Piedmont blues, spirituals, and traditional folk. The music “Ramblin’ Man” featuring some mournful slide guitar licks from
herein is divided between blues and spirituals with both better- Leonard. The other cover, “Crooked Politician,” is a song Vest
known (e.g., “Keep Your Lamps Trimmed And Burning,” “Mean wrote with DeLay with a jaunty bounce doesn’t hide the pair’s
Old World,” “Hesitation,” and “Twelve Gates To The City”) as scathing assessment of the political class.
well as less familiar tunes like “Search My Heart” and “Trying Other highlights include the frantic boogie-woogie
To Get Home.” The performances are warm, heartfelt, and on instrumental, “Santa Fe Steamer” and “You Came Through,”
the mellow side but always uplifting as befitting the edifying a touching tribute to everyone who ever gave Vest a helping
aspects of the spirituals. hand. “That Happened To Me” is the blues personified as the
Co-producer Woody Mann’s deft 12-string is a singer relates his experiences on the downside of life.
refreshing treat and we hear the master through him. Hopefully, Recorded live at a house concert, “Heart Full Of Rock
this delightful collection will inspire fans to seek out the vast And Roll” offers a succinct summary of what Vest is all about, “I
oeuvre of the legendary Rev. Gary Davis and to be on the got a mind full of trouble, and a heart full of rock ‘n’ roll. Nothin’
lookout for Harlem Street Singer. but the blues ever satisfied my soul.” David Vest has put
– Thomas J. Cullen III together a standout release that is guaranteed to spend plenty
of time in your CD player. Heartily recommended!
– Mark Thompson

Blues Hands By Joseph A. Rosen

Joseph A. Rosen’s 30-plus years of adventure in blues
and music photography. Featured artists include
B.B. King, Gary Clark Jr., Buddy Guy, Al Green,
Willie King, Susan Tedeschi, Derek Trucks,
The Blind Boys of Alabama, and James Brown.
photog
The book holds rich treasures for lovers of music, photog-
raphy, and the human form. With powerful imagery, as
well as anecdotes and biographical information, Blues
Hands tells a story of human experience.

Now Available
www.BluesMusicStore.com
Schiffer Publishing - Amazon.com
Major Booksellers

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DVD & BOOK Reviews
JOE BONAMASSA Bonamassa’s original material here frequently pales in
Muddy Wolf At Red Rocks comparison, but “The Ballad Of John Henry” stands tall with a
J & R Adventures muscular, thunderous performance.
Depending on whom you’re talking – Rev. Keith A. Gordon
with, Joe Bonamassa is either -----------------------------
the savior of the blues, bringing JOE BONAMASSA
hundreds of thousands of new fans Live At Radio City Music Hall
to the music, or else he’s the worst J & R Adventures
thing that ever happened to the Presented as a deluxe, two-
genre. Although opinions on the disc CD/DVD set, with gorgeous
matter are pretty strong on either packaging and a very cool 40-page
side of the argument, I suspect square-bound booklet brimming
that the truth lies somewhere over with color photos and credits,
in the middle. Bonamassa is a Bonamassa’s Live At Radio City
preternaturally talented guitarist Music Hall again shows that no
who made his bones as a teenaged other artist in any musical genre
prodigy opening for no less stellar an authority than B.B. King. delivers better value for their fans,
Prolific to a fault, Bonamassa’s rapidly-growing back catalog and the care that goes into the
and rigorous touring schedule deliver what the fans want, and presentation of every J.B. release is
what they want, it seems, is more Bonamassa. astounding. True, it wouldn’t hold up
That’s not to say that the still-young guitarist doesn’t to scrutiny if the music wasn’t great,
have his faults. After 15 years and a dozen studio albums, and the set captured by Live At Radio City Music Hall is primo
Bonamassa is still developing his voice as a songwriter Joe B, the audio portion kicking up a dust-storm with a molten
(although he made great strides with Different Shades Of 13-song performance of material from his last few albums while
Blue). Working all these years with producer Kevin Shirley the DVD offers extra songs and the backstage stuff beloved by
has been beneficial for both, and it’s produced an easily the hardcore fan.
identifiable “Bonamassa” sound. It’s also robbed the guitarist of Bonamassa fulfills another dream, performing on the
opportunity – the chance to work with other talented producers, Radio City Music Hall stage, and he put together as rowdy and
to expose himself to new ideas. I can’t help but wonder what impressive a set as you’ll find. Opening with a free-wheeling
might be created if Joe worked with, say, Tom Hambridge reading of Waters’ “I Can’t Be Satisfied,” this red-hot take is
behind the board. preferable to that found on the tribute album. Bonamassa’s
Bonamassa’s Muddy Wolf At Red Rocks was a “One Less Cross To Bear” hits the audience like a hurricane,
Kevin Shirley idea, an arty, conceptual experiment created the guitarist’s scorching fretwork pumped up by a full horn
to benefit the Keeping the Blues Alive Foundation. The section. The bleak “Dust Bowl” benefits from Bonamassa’s
concept is deceptively simple – the guitarist introduces his fraught vocals and Delta-dirty acoustic guitar while “Hidden
young audience to the two pillars of contemporary blues, Charms” is a jaunty, Chicago-styled romp with personality for
Muddy Waters and Howlin’ Wolf with a set comprised in equal days. All in all, Bonamassa ups his game again with Live At
portions of songs popularized by the two bluesmen and those Radio City Music Hall, he and his band delivering a sizzling,
by Bonamassa. Recorded live at the historic Red Rocks livewire set certain to satisfy the faithful. Like it or not, Joe
Amphitheatre in Colorado, some performances incorporate Bonamassa is the face of the blues these days, the guitarist
old voice recordings of the legendary bluesmen. Bonamassa acknowledging the past while building a new tradition.
fleshed out his regular touring band here with the talents of – Rev. Keith A. Gordon
guitarist Kirk Fletcher and harp player Mike Henderson. -----------------------------
As a concept album, Muddy Wolf At Red Rocks MUDDY WATERS AND FRIENDS
performs fairly well, falling short in some instances, exceeding Soundstage: Blues Summit In Chicago, 1974
expectations in others. Using a portion of Muddy’s original
Legacy Recordings
“Tiger In Your Tank” to introduce the song offers too bright a
In July 1974, Muddy Waters was
contrast with Bonamassa’s performance by comparison. On
chosen to host the inaugural
the other hand, “You Shook Me” provides a great showcase for
episode of Soundstage, the beloved
Bonamassa’s powerhouse guitar style, while “My Home Is On
live concert series broadcast by
The Delta” receives a reverent but electrifying treatment.
PBS stations around the country
Howlin’ Wolf’s songs seem a more comfortable fit,
for 13 subsequent seasons. Waters
and while Bonamassa’s soulful vocals are no match for the
was the first in a long run of talented
Wolf’s primal howl, the young bluesman acquits himself well.
performers to appear on the
A bludgeoning take on “Spoonful” is mesmerizing, while the
acclaimed TV show, and he brought
classic “Killing Floor” crackles with energy. Wolf’s spoken word
some friends with
treatise on the blues introduces “Evil (Is Going On),” the song’s
fair-to-middlin’ arrangement salvaged by Henderson’s wailing
harp and Bonamassa’s jagged guitar licks.

54 - Blues Music Magazine - DEC 2015 - Visit www.BluesMusicStore.com - CDs, DVDs, And More...
him, resulting in what the producers called a “Blues Summit In These pictures capture the moment when a musician’s inner
Chicago.” The King of Chicago Blues brought along his Queen, emotion meets the musical notes which ultimately touches the
the phenomenal Koko Taylor, and a full suite of acolytes and hearts of audiences.
admirers, including Junior Wells, Michael Bloomfield, Johnny The aged fingers of Perkins, Honeyboy Edwards, LC
Winter, Buddy Miles, and Dr. John, among others. Ulmer, Eddie Shaw, Louisiana Red, B.B. King, and “Scrap Iron”
After a solid performance of Waters’ “Blow Wind Robinson tell stories of hard working Delta days. While artists
Blow” that’s interrupted by introductions, the show gets down like Lil’ Ed Williams, Rory Block, Kenny Neal, Roy Rogers,
to business with a sizzling take on “Long Distance Call.” Muddy Lazy Lester, and others have mature hands that illustrate the
is in fine voice, belting out the lyrics with perfect timing and effects of enduring a lifetime of rigorous road travel.
emotion, accompanied by Wells’ icy harp and Bloomfield’s Whether Rosen’s subjects’ hands are framed by
twangy guitar licks, with Pinetop Perkins banging the piano tattoos or embellished with sparkling jewelry or slide, each set
keys. Singer/songwriter Nick Gravenites joins Wells on his of appendages is as unique as the music the subject creates.
signature “Messin’ With The Kid,” the pair ripping the roof off One can almost anticipate the notes Derek Trucks is about to
the sucker with an energetic performance, Bloomfield’s wiry play. Ditto the sustain of Chuck Campbell’s Sacred Steel guitar
solos underlining a smiling Wells’ lively vocals. or the vibrato B.B. King is about to broadcast.
Waters returns to the stage for a raucous read on It’s not only about hands on strings. There is a
his “Mannish Boy,” the band delivering a white-hot groove for captivating joy Rosen captures in the hands of vocalists like Al
Waters to croon above while Winter and Bloomfield swap licks. Green, James Brown, Irma Thomas, Maxine Brown, the Blind
Taylor is joined by Willie Dixon for a romp through “Wang Dang Boys of Alabama, and Mavis Staples.
Doodle,” guitarist Phil Guy receiving a well-deserved spotlight And there are the instruments. Though the hands are
while Koko outshines her male colleagues with an electrifying the focal point, the weathered instruments are the co-stars.
performance. With his usual modesty, Johnny Winter Neal’s battered Telecaster, Susan Tedeschi’s and Allman’s
introduces “Walking Through The Park,” leading the band on autographed axes, Smokin’ Joe Kubek’s white Strat, Richie
a livewire cover of the Buddy Guy tune featuring three dueling Havens’ curley strings, Allen Toussaint’s regal piano, and so
guitarists and Wells’ raging harp play. many more simply complete the visual story.
An extended take on Waters’ “Got My Mojo Workin’” Each artist also has a small blurb which gives a brief
literally has the audience on its feet as everybody hits the biography and identifies where and when each photo was
stage. Wells offers a freight-train solo, Winter lays down a taken. Finally, Rosen accompanied Bluzapalooza’s tour of
finger-blistering lead, and Pinetop hammers the keys alongside Iraq and Kuwait in 2008. His picture of Shemekia Copeland is
Dr. John. There are other solid performances here, ten in all for from that experience. As Copeland sings, she is surrounded
this first Soundstage release, the DVD a definite “must have” by the joyous hands of U.S. soldiers on break from the horrors
for any old-school Chicago blues fan. of war. Appropriately, this is the only picture in the book, which
– Rev. Keith A. Gordon captures the joy of fans who adore the fruits of the blues. This
is a welcome addition to every blues fan’s collection.
[Full disclosure: Joe Rosen is a contributing photographer to
Blues Music Magazine and his pictures have been a major part
of each issue.]
– Art Tipaldi
-----------------------------
100 Authentic Blues Harmonica Licks
----------------------------- by Steve Cohen
Blues Hands Hal Leonard $16.99
by Joseph A. Rosen A ten-hole diatonic
Schiffer Publishing $30 harmonica has 20 notes:
Years ago, when writing one with a blow out and
about Pinetop Perkins, another by drawing in
I wrote, “I’ve heard that the note. Blues players,
the eyes are the windows however, get a lot more
to the soul. With Pinetop than just 20 notes by
Perkins, I believe it’s his “bending” on the inhaled
hands that light the way, notes to take the note
speaking volumes about down by a ¼, ½ , 1 and
his life and telling as 1 ½ step. The same
much about the man as technique can be applied
the man himself.” by “overblowing” the note
With the to obtain the same amount of step changes.
publication of Blues
Hands, award-winning photographer Joe Rosen has immersed
himself and his art into that concept to explore the life and
music of 95 blues luminaries. From legends like B.B. King, Taj
Mahal, Buddy Guy, Koko Taylor, and others to newcomers like
Devon Allman, and Samantha Fish, Rosen’s cropped images
capture so very much more than just hands on instruments. E-mail: [email protected]

Visit www.BluesMusicStore.com - CDs, DVDs, And More - DEC 2015 - Blues Music Magazine - 55
 Harmonicas were popular during WWII and were quite The Amazing Jimmi Mayes: Sideman To The Stars
inexpensive. I bought my first Hohner Marine Band harmonicas by Jimmi Mayes with V.C. Speek
in 1966 for about $5 each to replicate the folk sounds of Dylan, University Press of Mississippi $30.00
Donovan, and Eric Anderson. Today, Marine Band harmonicas Drummer Jimmi Mayes was born in
cost about $37 and more professional models can cost well Jackson, Mississippi in 1942. After
over $100 each. Considering there are 12 basic keys to choose high school he was mentored in
from, a great set of harmonicas will set you back over a grand. Chicago by Fred Below and Sam
Steve Cohen has taken 74 pages to guide the student Lay. In 1961 he joined Little Walter
through many of the common harmonica sounds and phrasings for a year and then went on to
that are easily recognizable to the blues fan. If you don’t read work with numerous blues and soul
music (as many professional musicians don’t) his notation legends. Here’s a short list: Little
systems showing which of the ten holes to blow or draw during Walter, Jimmy Reed, Robert Junior
a lick are fairly straightforward and easy to learn. If you have Lockwood, Earl Hooker, Junior Wells,
some difficulty in transforming these silent markings into usable Pinetop Perkins, Willie Smith, James
sounds, he includes a CD that not only includes all 100 licks, Brown, and Tommy Hunt (former
but also offers just the guitar accompaniment after the lick so member of the Flamingos, best
that you can sound like Steve Cohen on your own. remembered for his 1961 hit “Human”). Jimi Hendrix was one
There are all in the key of C, so you only need to buy of his best friends; they were roommates when they traveled
one harmonica to follow the book. If you have ever considered with Joey Dee & the Starlighters (of “Peppermint Twist” fame)
trying to play blues harmonica, this very reasonably priced in the mid-Sixties. Mayes remained with Joey Dee after
book could get you started. Hendrix left to join Curtis Knight & the Squires on his way to
– Pete Sardon becoming a legend.
----------------------------- Several chapters chronicle his friendship with Hendrix;
these will be of particular interest to Hendrix devotees. For
an autobiography that commences with “Compared to most,
I’ve lived an unusual life, lived in a lot of places, and loved a
lot of beautiful women. I’ve been drummer behind some of
the greatest musicians and musical groups in history” this
E-mail: [email protected] is a relatively short book at 175 pages (with 32 photos and
two discographies included). Mayes’ affable, unaffected, and
candid style makes for an easy, enjoyable, and informative
read.
– Thomas J. Cullen III

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DAHL’S DIGS
With his singularly nasal vocal delivery,
concise, melodic harmonica wails, and
(the Latin-tinged “Rambler’s Blues” is
stunning) and works its way back to 1941.
by Bill Dahl
a brilliant version of “Packin’
Up” featuring Williams fronting Clara
atmospheric bayou ambiance, Slim Harpo Red led a splendid studio Ward’s Famous Ward Singers in 1957 at
embodied south Louisiana swamp blues. band during his latter days on Victor: the Newport Jazz Festival’s first gospel
Bear Family’s spectacular five-CD boxed Little Johnnie Jones expertly rolled the segment and a “Swing Low Sweet
set Buzzin’ The Blues – The Complete ivories while bassist Ransom Knowling Chariot” done a few days later with the
Slim Harpo is the ultimate tribute to the and drummer Odie Payne, Jr. kept same group both capturing her at her
harpist’s legacy, gathering everything he the bottom tight on “She’s Dynamite,” fieriest.
ever cut for Excello Records from 1957 “Pretty Baby Blues,” and “Midnight Joe Ruffino’s New Orleans-
to 1970 plus his renegade ‘61 session Boogie.” Powerhouse pianist Big Maceo based Ric and Ron logos are receiving
for Imperial and two live sets from the Merriweather, Red’s primary accompanist the deluxe reissue treatment from Ace.
same year at a National Guard Armory in in 1942, was on the date that gave us Baby I’m Wise – The Complete Ric
Mobile, Alabama, that occupies the entire the double-entendre ditties “Let Me Play Singles 1959-1962 boasts all 22 masters
fifth disc (sound quality here is rough, but With Your Poodle” and “She Want To Sell Eddie Bo waxed for Ric, and they’re a hip,
it’s historically invaluable). That adds up My Monkey.” In-depth liner notes by Jim horn-leavened lot imbued with Crescent
to 142 tracks in all. O’Neal and marvelous sound make this City charm. The pianist grooves through
Guitarists Rudolph Richard and package a must. “Tell It Like It Is,” “I Got To Know,” and
James Johnson, drummer Sammy K. Concord Music’s Directly From the irresistible dance workout “Check Mr.
Brown, and percussionist Lazy Lester My Heart: The Best Of The Specialty Popeye,” which almost hit nationally for
were among the key sidemen laying & Vee-Jay Years slices a three-CD him.
down deep grooves behind Harpo. His swath through the blistering catalog of They called Johnny Adams
Excello debut, coupling a stinging “I’m A Little Richard, devoting two discs to his “the Tan Canary” around the Big Easy
King Bee” and the spicy “I’ve Got Love If seminal 1955-1957 exploits on Art Rupe’s for good reason: his mellifluous pipes
You Want It,” was produced by J.D. Miller Specialty logo and a third to his mid-‘60s were tailor-made for elegant balladry.
in Crowley, La., and proved a regional Vee-Jay output. With the killer rockers Two dozen stunners that Adams waxed
seller, opening the floodgates for a steady “Tutti Frutti,” “Long Tall Sally,” “Slippin’ for Ruffino comprise Ace’s I Won’t Cry
stream of releases. The country-tinged And Slidin’,” “Ready Teddy,” and “I Got It” – The Complete Ric & Ron Singles
“Raining In My Heart” hit nationally in powered by the peerless house band at 1959-1964, led by the title item and an
‘61, and Harpo’s funky “Baby Scratch My Cosimo Matassa’s New Orleans studio impassioned Mac Rebennack-co-penned
Back” topped the R&B hit parade in ‘66. (tenor saxist Lee Allen and drummer Earl “A Losing Battle,” Adams’ only national
The Miller hookup evaporated Palmer were its linchpins) and most of the hit for the label. In The Same Old Way
shortly thereafter, Slim waxing later rest featuring Richard’s own Upsetters, – The Complete Ric, Ron And Sho-Biz
sessions in Memphis with the Hi label’s the flamboyant piano pounder with the Recordings pairs 16 gems by big-voiced
rhythm section as well as in Nashville, flammable pipes was as wild as rock and Tommy Ridgley spanning 1960-63,
Muscle Shoals, Los Angeles, and Baton roll’s initial onslaught dared get. notably his deeply stirring “Should I Ever
Rouge; some of his later stuff edges Several of Richard’s Specialty Love Again,” a gliding “Let’s Try And
into melodic, inviting soul. All the rarities obscurities are marred here by Talk It Over,” and the churning “The Girl
that squeaked out over the years on female backing singers (and in the From Kooka Monga,” with six 1960-61
various Harpo CDs are aboard Buzzin’ case of “Chicken Little Baby,” added charmers by Bobby Mitchell at the end.
The Blues, and the accompanying 12 instrumentation) overdubbed after Chicago’s Chess label
x 12 hardcover book, boasting a huge, Richard temporarily retired. The Vee- established a bountiful relationship with
meticulously researched essay by reissue Jay sides ranged from a slow blues Rick Hall’s Muscle Shoals studio facilities
producer Martin Hawkins, numerous treatment of Fats Domino’s “Going Home during the late ‘60s; a combination
photos, and a complete discography, is Tomorrow” with Sugarcane Harris on surveyed compellingly on Kent’s 24-song
state of the art. If only every blues legend electric violin and a rocking “Groovy Little comp Reaching Out – Chess Records
received the same lavish treatment. Suzy” to the spine-chilling soul sender “I At Fame Studios. Etta James, Laura
Too often overlooked by Chicago Don’t Know What You’ve Got But It’s Got Lee, Irma Thomas, and Mitty Collier all
blues enthusiasts, Hudson “Tampa Me” with a then-unknown Jimi Hendrix on made the Alabama trek to cut with Fame’s
Red” Whittaker was one of the genre’s lead axe. stellar house band, Collier represented
foremost pioneers, deftly spanning A force of sanctified nature, by two fine unissued sides. Lee Weber’s
the pre-war and post-war eras with his Marion Williams was one of the gospel grooving “Party Time,” three tough
elegant slide guitar work and raucous world’s undisputed queens, a major cuts by Maurice & Mac, and three
kazoo blowing. Compiled by John Broven, influence on Aretha Franklin as well as instrumentals by saxman Charles
Ace’s two-CD Dynamite! The Unsung Little Richard with her stratospheric wails. Chalmers also grace the CD.
King Of The Blues concentrates on Although Shanachie’s 26-song Packin’ The One-derful! Collection:
Red’s all-too-seldom anthologized Up: The Best of Marion Williams M-Pac! Records is the third installment in
later years on RCA Victor, its 50 tracks concentrates mainly on her latter-day Secret Stash’s examination of the Leaner
arranged in reverse chronological order. spiritual exploits (1974-1993), she hadn’t brothers’ Chicago labels, a 24-song
The set commences in 1953 with a killer lost a thing vocally in her more mature extravaganza full of aggressive soul by
session featuring Big Walter Horton’s years, rattling the pew rafters time and Harold Burrage (his ‘65 hit “Got To Find A
mile-wide harmonica blasts again with her thrilling pipes. There’s also Way” is here in extended form),

Visit www.BluesMusicStore.com - CDs, DVDs, And More - DEC 2015 - Blues Music Magazine - 57
 Willie Parker, Maurice Dollison (aka Cash
McCall), and Stacy Johnson, whose
“I Stand Alone” sports a killer groove.
They’re alongside sophisticated sides by
Benny Turner (Freddy King’s bass-playing
brother) and sultry Dorothy Prince, vocal
group action from the Ringleaders and
Accents, Bobby Davis’ rocker “Damper
Down,” and tough blues by Andrew Tibbs
and Big Daddy Simpson. Ten unissued
titles include Burrage’s hard-hitting “Bad
Situation” and “Mountain Of Soul.”
L.A. soul chanteuse Bettye

"He's one of the

Swann made the Muscle Shoals trek
too. It was one of several studio stops

best I ever heard"

she made during her 1972-76 stint at
Atlantic Records. Swann’s Fame sides,
co-produced by Hall, rate with the
- Dickey Betts highlights of Real Gone Music’s 23-song
The Complete Atlantic Recordings,
but so does the stuff she waxed in
Philly, Nashville, and Chicago. “Victim
Of A Broken Heart,” one of the Fame
standouts, was a sizable hit for her
in ‘72. Unreleased renditions of Elvis’
“Suspicious Minds,” Bobby Charles’
“The Jealous Kind,” and the Isley
Brothers’ “This Old Heart Of Mine” (vastly
slowed down) make the disc even more
appealing.
The father and son team of
Johnny and Shuggie Otis was behind

2016
Stone Down Blues, Guitar Slim Green’s
last musical statement in 1970 for the
Bihari brothers’ Kent logo, playing all of
Suncoast Blues Society Slim’s backup themselves. Back out on
British BGP, it’s a downhome affair by
IBC Challenge Winner the L.A. axeman, who began recording in
1948. Green endorses peace on a defiant
“This War Ain’t Right” and takes “Bumble
Bee Blues” and “My Little Angel Child”
at a similarly languid pace. The stinging
opener “Shake ‘Em Up” (with delicious
guitar from Shuggie), “5th Street Alley
Boogie,” and a ragged-but-right “Big Fine
Thing” with Shuggie on harp pick up the
pace.
It’s a natural pairing: two classic
live albums capturing soul revues at their
most electrifying. Apollo Saturday Night
and Saturday Night At The Uptown
were both issued by Atlantic in 1964; now
Real Gone brings them together on one
CD. On the November 16, 1963 Apollo bill
were Otis Redding, a boisterous Rufus
For More Info & Booking Thomas, Ben E. King, Doris Troy, the
Coasters, and the Falcons, backed by
Please Visit: sax supremo King Curtis’ orchestra. The
card at Philly’s Uptown was just as mind-
www.TCCARR.com boggling with Wilson Pickett, Barbara
Lynn, the Drifters, the Vibrations, the
Or E-mail: Carltons, Patti LaBelle & the Bluebelles,
[email protected] and Patti & the Emblems.

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 Presents The Blues Music Store
Sharing America’s National Music

The Blues
Bonnie Raitt Dig In Deep
Release Date Feb. 26
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CD as a bonus at:
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B.B. King 5 CD Box Set

Complete Singles 1949-1962
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 Presents The Blues Music Store
Sharing America’s National Music

The Blues
Elmore James
2 CD Set Releases 12/11
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Down Home Blues

4 CD Set Releases 12/11
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 Presents The Blues Music Store
Sharing America’s National Music

The Blues
Muddy Waters And
Friends - DVD
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as a bonus at:
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2016 Blues Calendar

PLUS 20 Song CD
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 UPCOMING EVENTS

F F
E E
S S
T T
I I
V V
A A
L L
S S

- -

T T
O O
U U
R R
S S

- -

C C
D D

R R
E E
L L
E E
A A
S S
E E
S S

62 - Blues Music Magazine - DEC 2015

 UPCOMING EVENTS

F F
E & THE CHAIN SMOKIN’ ALTAR BOYS E
S "Bloody Excellent" Hugh Laurie S
T "Best in the Midwest" Johnny Rawls T
I "Classic Chicago Blues" Ray Stiles, Blues on Stage I
"These guys are really good" Bruce Iglauer, Alligator Records
V "Standing ovation at Buddy Guy's Legends" Joanna Gray V
A “They are very, very good. That’s why I keep having them back” Buddy Guy A
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 UPCOMING EVENTS

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Available Now
www.BluesMusicStore.com
20 Song CD Included
64 - Blues Music Magazine - DEC 2015
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 EUGENE
EUGENE
HIDEAWAY
HIDEAWAY
BRIDGES
BRIDGES

HOLD ON
A LITTLE BIT LONGER

Seven times Blues Music Award nominee

Eugene Hideaway Bridges is back with his new CD
Featuring:
OTTO WILLIAMS - Bassist
BOBBY BARANOWSKI - Drums & Cymbals
CLAYTON DOLEY - Hammond B3 Organ & Piano
JOHN MILLS - Tenor, Alto & Baritone Sax
KEVIN FLATT - Trumpet
JON BLONDELL – Trombone
Special Guest MICKY MOODY
Slide guitar on ‘HOLD ON A LITTLE BIT LONGER’

HOLD ON A LITTLE BIT LONGER Now booking for

is released in memory of 2015 & 2016
Othineil Bridges, Sr. ‘Hideaway Slim’
[email protected]
Preacher and Bluesman
8th February 1938 to 27th January 2015 www.bluearmadillo.com

66- Blues Music Magazine - DEC 2015

DEC 2015 - Blues Music Magazine - 67