Blues Reviews
Oct/Nov 2018
Frank
Bey
Back In Business (The Nashville Sessions)
Nola Blue Records nola-blue.com
frankbeymusic.com
Frank Bey has been in the business of blues for most of his life. The
son of a Gospel singer he began his singing career at the age of four,
was the opening act with the Otis Redding Soul Revue at age 17 and had
a record deal with James Brown that went bad, causing Frank to quit singing
for 17 years. He returned to the stage in 1996, has had multiple Blues
Music Award nominations for Soul Blues Artist of the Year and Soul Blues
Album in 2014 and 2016 and with his newest recording Frank proves he is
“Back In Business.” This Nashville session is produced, mixed
and mastered by the award-winning Tom Hambridge, half of the songs are
written by Hambridge and Richard Fleming, the others are written by former
Bey band members Jeff Monjack & Kevin Frieson. The core band is Tom
Hambridge drums and backing vocals, Rob McNelly guitar, Marty Sammon keyboards,
Tommy MacDonald or Adam Nitti bass, Wendy Moten adding some background
vocals with Julio on trumpet, and Max Abrams saxophone. As a bookend to
this CD, a documentary of Frank Bey’s life and musical career called
"When You Ask Me How I Feel" is also under production.
“Back In Business” grabs you right from the start with his
direct spoken intro, the driving shuffle, aggressive guitar, Frank’s
voice just gets better as the song progresses and certainly proves that
Frank Bey is back. Other Hambridge tunes continue Bey’s autobiographical
story with the “Gun-Toting Preacher” about his older brother,
a strong Georgia man against a blast of horns and a near fusion-like guitar.
Slowing to a strongly-voiced tale of crime and manual labor, Bey’s
gonna “Take It Back To Georgia” with a guitar that shifts
from shimmering to a tough bite. The tender ballad “The Half Of
It” has the sound of Bey’s former boss Otis Redding while
“Blame Mother Nature” starts out with gentle keyboards and
vocal then horns bolster the song and the guitar comes on strong as Bey
blasts out above it all then with rolling piano and guitar lines Frank’s
powerhouse vocal barrels through “Better Look Out.” The songs
of Jeff Monjack & Kevin Frieson commence with Frank’s deep vocals
on the ribald “Cookie Jar” with distorted guitar and horn
line sounding like bees buzzing, then his smooth baritone leads a quiet
piano and bass in a gentle ballad with “Ain’t No Reason.”
Sam McClain’s “Where You Been So Long” could be from
a recent Buddy Guy recording - the keys getting a chance to stand out
against guitar and horns and then goes old school on Frieson’s “Yesterday’s
Dream” laying it down that “the blues is just a feeling.”
With Frank Bey’s newest CD he really is “Back In Business”
and business is good!—Roger & Margaret White
Alastair
Greene
Live From The 805
Rip Cat Records ripcatrecords.com alastairgreene.com
Alastair Greene lives for the music. Inspired by his grandfather Chico
Alvarez, a trumpeter with the Stan Kenton Orchestra, he received a scholarship
to the Berklee College of Music, was a long time sideman on the Delta
Groove label, started the Alastair Greene Band in 1997 and spending most
of the last decade rocking the Alan Parsons Project. What better way to
present that life in music then with a double CD release, “Live
From The 805,” recorded on his home turf in Santa Barbara, Cali,
area code 805. Recorded March, 2018 with a whopping twenty tracks, all
but four are originals, several of them on previous recordings. This amazing
night of rocking blues is just Greene on vocals and guitar, Jim Rankin
on bass and backing vocals with Austin Beede on drums.
The first set blasts off over the cheers of the crowd with “The
Sweetest Honey” the music is fast and strong with Greene’s
vocal adding that touch of sweetness. “Big Bad Wolf” is more
restrained then his gruff and muscular studio take till you’re dragged
away by his blazing guitar solo attack and on “Trouble at Your Door”
the vocals remind us of a young Al Kooper. A Stevie Ray rhythm of “3
Bullets” gives way to a shotgun spatter of notes while “Say
What You Want” shuffles into a hand jive-like rhythm with a slide
guitar. Greene has his own take on Amos Milburn’s “Lawdy Mama”
and Albert King’s “Love So Strong” with a bit of Albert’s
characteristic wail on the solo. Finishing that first set Greene warns
that the natural born queen of “Lucky 13” is just a nightmare
waiting to happen with some jaw dropping licks. The crowd is unabated
as Disc 2 starts a rocky ride as Greene’s grind of guitar pushes
us towards the promised land on “Dream Train.” Then the bass
starts out like “Love Is A Burning Flame” then “T’other
Way” shifts to a more modern country sound. “Love You So Bad”
has a fat monster bad ass tone and a heavy reverb on Reed’s “Big
Boss Man” turns it into Greene’s Manalishi. “Rain Stomp”
has gusts of slippery slide that continue on “Shoe On The Other
Foot” reaching new highs then letting bass and drums solo before
dipping back in. Finishing the set with “Walking In Circles”
a boogie that lets Alastair swing his slide around like Elmore to the
crowd’s delight.
Alastair Greene is the consummate professional and with “Live From
The 805” he gave a hometown audience more than they expected and
produced some good rockin’ blues. —Roger & Margaret White
Keith
Stone with Red Gravy
Blues With A Taste Of New Orleans
redgravynola.com
The recipe for the ultimate New Orleans band would be the blend of seasoned
musicians with a hometown sound steeped in tradition, savory rhythms and
a large dollop of originality to give them their unique blend. Keith Stone
and Red Gravy bring all that to the table and more with ten original tracks
on their new CD “Blues With A Taste Of New Orleans.” Formed
barely one year ago Red Gravy represented New Orleans at the IBCs in Memphis
and has been ripping it up at clubs and festivals around the world. Their
new CD is getting traction on independent radio stations and is on the
top of the charts of Louisiana Roots Music. These long time New Orleans
musicians include Keith Stone on vocals and guitar, Tom Worrell producer,
musical arranger, finessing the keys and backing vocals with drummer Eddie
Christmas and bassist Kennan Shaw keeping it tight. Adding some zest on
a few tracks is Brent Johnson on slide guitar and Jimmy Carpenter blowing
some sax.
The full-throated vocals of Stone define the opener, “Ain’t
That The Blues,” with the Gravy’s organ and drums maintaining
a steady rolling simmer then slipping in some burning slide, you can smell
the funk as Keith cries “Love Done Put Me Down” as the keys
pop to the top while the guitar maintains the solid groove and Stone declares,
“You Ain’t Got Nothing” with sax and guitar adding color
and texture. The essence of New Orleans comes through as Stone praises
the delights of his mama’s “Red Gravy” (any tomato-based
sauce) and the band blends it all together, each adding some spice. A
mellow piano and jazzy guitar set up the torch song “Crazy In Love
With You” and B3 simmers under the surface as Stone’s heartfelt
vocals with a sorrowful sax solo give it its soul, and the band slips
into a delicate sway as Stone dreams of his “Blue Eyed Angel.”
With a sultry, near-whispered vocal “Hard To Have The Blues”
builds with biting guitar and robust vocals then slips into the groove
of “Don’t Count Me Out” and a splash of fat snare and
peppered with funk it’s “Time To Move On.” Finally,
digging deep into their pool of talent they declare there must be “Something
In The Water” to “give the music that beat and have them dancing
in the street” as Red Gravy oozes with New Orleans charm.
Playing original music their way while holding on to the undeniable sound
of New Orleans is the right recipe for Keith Stone with Red Gravy’s
“Blues With A Taste Of New Orleans,” it’s all good.—Roger
& Margaret White
Duca
Belintani
How Long
www.ducabelintani.com.br
Blues has become a truly universal language and has spread around the
world from its southern roots through European Blues and Jazz tours of
the ‘60’s it’s taken hold, touching lives and thriving
as the sound heard abroad by local players took up the blues crusade,
spreading it globally. Which brings us to Duca Belintani of Sao Paulo,
Brazil; for Southern Blues you don’t get much further south than
Brazil. He’s split the recordings between California and Sao Paulo,
English and Portuguese, originals and what he calls “rescue classics”
or covers and with Duca’s latest CD “How Long,” his
journey takes him deep into the blues and beyond. Duca Belintani’s
guitar and vocals are augmented by an all Brazilian band featuring Benigno
Sobral on baixo low or bass, Ulisses de Hora on bateria or drums, Ricardo
Seaffi on gaita bagpipes or harmonica, Adriano Grineburg piano, Vinas
Peixoto on berimau and caixa drum.
The title tune is a rescue, Leroy Carr’s “How Long”
- Duca’s deeply accented vocal loudly whispering over the fluid
guitar lines and the tapping rhythm. “Baby Please Don’t Go”
is given a ZZ Top-like take on this classic, his gruff vocal growling
out the lyric in sharp bursts to match the guitar lines and the “Louisiana
Blues” with heavy hill country rhythm and a South American cigar
box guitar grinds along as the lyrics are growled out in English and Portuguese.
A strutting rhythm drives the guitar as Duca chants “Hey Hey”
on this Bill Broonzy number and the final “rescue” is Arthur
Crudup’s “Mean Old Frisco” done as a shuffling instrumental
trio. Moving into Belintani originals he gives them a personal touch on
“My Babe, My Car and My Guitar” all giving him the blues then
with a swampy metronomic rhythm and the haunting vocals of “I’m
Going Down In Mississippi” a harp accenting both vocals and guitar
before shifting to the peppy “Jumping Boy Blues.” With piano
and harp leading the jaunty “To Sabendo” Duca’s vocals
have a softer, more lyrical lilt when sung in his native language and
finishing with an instrumental “Rota 145” features just Duca’s
guitar and his rhythm section and a shining example of his mastery of
guitar.
As blues continues to spread far and wide, Duca Belintani’s “How
Long” confirms it ain’t the locality that matters but the
feeling you put into your blues.—Roger & Margaret White
Prof.
Harold Boggs (And Lula Reed)
Lord Give Me Strength--Early Recordings 1952-1964
Gospel Friend CD
www.gospelfriend,com
Often overlooked, except for his musical connection with bewitching thrush
Lula Reed, gospel pioneer Prof. Harold Boggs' vocal, pianistic and songwriting
talents could have carried him as far as contemporaries like Alex Bradford
or James Cleveland but, according to liners author Opal Louis Nations,
Boggs chose fulfillment over flamboyance and inspiration over indulgence.
The charismatic Boggs had a scattered recording career before landing
up at Nashboro Records in Nashville in the mid 1950s, eventually releasing
ten LPs from 1966's Lord, Give Me Strength to 1977's questioning Did You
Ever Have The Buts? This 28 track project focuses on Boggs' earlier years
when he was with Cincinnati's King Records--briefly recording with eventual
R&B singer Lula Reed singing lead (on "Heavenly Road" and
"My Mother's Prayer," with "a finesse never bettered during
the Golden Age of Gospel," as Nations puts it) and with organist
Deacon Warner Buxton (four titles here, highlighted by Boggs originals
"After Running This Race" and "I Want To Live Right")
as well as vigorously accompanied by a varying vocal group of Boggs Specials
singers, who traveled widely nine months of the year--singing in churches,
schools and auditoriums from Ohio down to Florida. Favorites include such
uplifting, mid-1950s efforts as "Help Me Jesus," "When
The Spirit Of The Lord Comes" and "Inside The Beautiful Gate."
Quoting Nations once more: "Harold's style of singing and delivery
grew more urgent and sanctified over the years. The tough and gruff sensational
approach replaced the calmer, more sedate recordings of the 1950s. Even
Harold had to keep up with the times." My personal favorite album
is 1972's God Is Soul Food, where we have the Boggs Singers in their roughest,
feistiest predilection." Further note-worthies from the disc under
consideration begin with Boggs’ original version of his later secularized
song "That's Where It's At" (the Sims Twins, Sam Cooke) from
1963 (on Don Robey's Song Bird label), Boggs' original rendition of "Lord,
Give Me Strength" from 1958 (that later turned up on the flip-side
of Eric Clapton's 1974 single "I Shot The Sheriff" as "Give
Me Strength") and lively, inspired protestations such as "What's
Happening Christians" and "Doing All The Good He Can."
Likewise, you can't go wrong with any of Boggs' ten Nashboro albums (1966-1977)
if you can find them. Another inspired project from my Swedish friend
Per Notini.—Gary von Tersch
Hadden
Sayers
Dopamine Machine and Acoustic Dopamine
Self-released 2018
Veteran Texas bluesman Hadden Sayers has already established his credentials
via eight previous albums, collaboration with revered roots and blues
comrade Ruthie Foster, and appearances on the Legendary Rhythm & Blues
Cruises. He is a prolific songwriter as well as guitarslinger, as evidenced
by the past nomination of his tune "Back to the Blues" (with
Foster) for a Blues Music Award as Song of the Year.
What we have here is a double shot of a double shot. After finishing recording
"Dopamine Machine," Sayers relates that he felt moved to revisit
the entire set list of eleven original tracks "with only his 1952
Gibson acoustic and weathered tenor to reinterpret the songs as solo pieces."
Instead of his bandmates, he is accompanied on the acoustic outing only
by Jim Ed Cobbs on percussion.
Why do I say to double shots? First, obviously, the differing, intriguing
interpretations of the same songs, in band mode and solo. Second, it wouldn't
surprise me if there were a few cups of multi-caffeinated cappuccino in
the studio during both sessions, because the zip and zest factor is high.
On "Dopamine Machine," the first three tracks speed off on heavy
crunching guitar riffs that never let up; is this a heavy metal album?
We slow down pleasingly on "Blood Red Coupe Deville," one of
the notable tracks of both sets, and Sayers delivers some juicy single
note bars of lead guitar. Tempo is still controlled on "Waiting Wanting,"
Sayers dueting on vocal with Foster (her sole appearance on both sets).
"Good Good Girl," one of several songs allegedly written for
Hadden's son, shifts gears with a funk vibe and some wah-wah pedal.
After three more heavy metal-like tracks, we get the pleasing "Gravity,"
ostensibly about aging, although its ambiguous lyrics could as easily
be interpreted as dealing with aviating, or aspiring to astronaut status;
consistent with the metaphor, Sayers sends his tenor briefly into falsetto
range. The band set concludes with "Backbreaker," more rocking
speed metal with relentless bass and drums.
Surprisingly, the acoustic set isn't all that different in approach! Of
course, there are no bass, organ, and drums, but Sayers again depends
almost entirely on guitar chords rather than the single note forays at
which he is equally adept. "Blood Red Coupe" is again a highlight
of the set. The decreased intensity of the acoustic set exposes more prominently
the repetitious riffs of many of the songs. Similarly, lyrics are often
repetitive as well in the hands of a musician who has proven in the past
to be a skilled wordsmith. It's a matter of taste; that repetitiousness
may seem to the listener either as a compelling groove or a distracting
rut.— Steve Daniels
Ray
Bonneville
At King Electric
Stonefly Records 2018
Since winning the Blues Foundation's Blues Music Award in 2012 in the
solo/duo category, Ray Bonneville has only further enhanced his credentials
as one of the most talented and tasteful bluesmen anywhere. His ninth
album cements that reputation.
Accompanied on most of the eleven tracks only by pianist Richie Lawrence
and percussionist Andre Bohren, Bonneville eschews the accompanying bass
and second guitar present in his previous albums. The result is a set
of spare and exquisitely crafted tunes, all burnished by Ray's irresistible
throaty baritone vocals. His songs, all original, relate tales of love,
loss, and lament in a languorous style which belies the well-honed craft
put into them.
Of the standouts among these eleven gems, the opener, "Waiting on
the Night," introduces the delightful interplay between Bonneville
on acoustic guitar and his two musical cohorts which persists throughout
the set. Another notable is "South of the Blues," definitely
reminiscent of a J.J. Cale song, and it's followed shortly by "Codeine,"
a slow, atmospheric number which affords Bonneville the opportunity to
shine on electric guitar.
"Papachulalay," aided by Lawrence on accordion, reveals the
influence of New Orleans, where Bonneville lived for a half decade before
establishing his current residence in Austin, Texas. No slouch on harmonica,
Ray exhibits that aptitude on "Forever Gone," the penultimate
track, and the set ends with the brief instrumental "Riverside Drive,"
with more gorgeous electric guitar.
Every song is noteworthy and the musicians meld deliciously; egotism is
absent and understatement is made into artistry, as if J.J. Cale had found
a new religion, blues. I'm going to be playing this album repeatedly.—Steve
Daniels
Mark
Hummel
Harpbreaker
Electro-Fi 2018
As prolific as he is proficient, blues harmonica maestro Mark Hummel presents,
in his latest release, a full hour of instrumental blues, fronted by himself
on "Mississippi saxophone." The tracks are culled from sessions
spanning 2004 to 2018. Before listening I was skeptical; a few years ago
I reviewed an all instrumental album by a European harp player who shall
remain unnamed, and called it "harmonica elevator music." Not
this one, though.
Hummel avoids the trap of monotony with a spiffy combination of expertise
and a variety of tempos and moods. The expertise is not his alone; the
diverse groupings include a stellar roster of guitarists: Charlie Baty,
Rusty Zinn, Anson Funderburgh, Kid Andersen, Billy Flynn, and (a player
previously unfamiliar to me) Charles Wheal. Among the other musicians,
June Core and Marty Dodson distinguish themselves on drums, RW Grigsby
on bass, and Bob Welsh on keyboards. Hummel composed three of the thirteen
tunes, and arranged another, a nifty rendition of the classic "See
See Rider"; among the remaining covers are tracks by Muddy Waters
and Little Walter Jacobs.
In fact, one of the best tracks is a melding of two Littles: Walter, composer
of the tune "Crazy Legs," with Little Charlie Baty dealing out
sizzling lead guitar licks. Since departing as leader of the Nightcats
(the West Coast, not Washington, DC band of that name), Baty has given
freer rein to his jazz proclivities, but on this track he sticks to a
blues motif.
We do get some jazz sensibility on the following cut, "Senor Blues,"
written by jazz pianist Horace Silver and memorably covered previously
by Taj Mahal. With Rusty Zinn taking over the guitar duty and pianist
Chris Burns making one of his several excellent contributions, the mid-tempo
track is enhanced even further by the addition of trumpeter Lech Wierzynski
and saxophonist Johnny Bones of the Oakland band the California Honeydrops.
Right after that, Core and Grigsby deal out a gritty groove on the Hummel
composition "Ready, Steady, Stroll!" while Zinn and Burns do
their thing adroitly.
The entire set is energized from bar one of the opener, "Harpoventilatin',"
an uptempo number with Welsh tickling the keys delightfully. We get slow
tunes, we get fast tunes, we get "Walkin' with Mr. Lee," written
by the late saxophonist Lee Allen, Hummel's artful harmonica renderings
deftly replacing saxophone. We get ace guitarist Flynn burnishing the
two most recently recorded tracks, spare outings accompanied only by Hummel,
Dave Eagle on percussion and Aaron Hammerman on piano. And…we get
Hummel's take on "Cristo Redentor," composed by Duke Pearson
and identified strongly for decades now with Charlie Musselwhite's interpretation.
It's graced by scintillating guitar work by Andersen and more masterful
harmonica by Hummel, whose tone, slightly thinner than Musselwhite's,
lends the tune an even more plaintive feel. —Steve Daniels
Stanley
Turrentine
Sugar/Gilberto With Turrentine/Salt
Song
BGO CD-1345
Bluesy jazz tenor saxophonist Stanley Turrentine was born in Pittsburgh's
Hill District into a musical family--his father was a saxophonist with
Al Cooper's Savoy Sultans while his mother played stride piano. Under
the spell of the spellbinding Illinois Jacquet, he began his storied career
in the 1950s touring most notably with the rhythm & blues bands of
Earl Bostic and Lowell Fulson. After leaving the military in 1959, he
joined drummer Max Roach's high-flying unit and by the 1960s was working
in a blues-rooted soul-jazz format with organists Jimmy Smith and Turrentine's
wife for a while, Shirley Scott, while recording extensively for Blue
Note. In the early 1970s, he signed with Creed Taylor's CTI label and
began favoring the more stylistically broad "jazz fusion" approach--his
initial release, Sugar, proved to be one of his biggest commercial successes
and a notable recording for the label. This 2-CD project reissues his
first three projects for CTI with a sprinkling of bonus and alternate
takes. On Sugar, Turrentine is joined by the likes of Freddie Hubbard,
George Benson and Ron Carter on four bristling, spontaneity-flavored songs--highlighted
by a fourteen minute reworking of John Coltrane's "Impressions."
Gilberto With Turrentine sympathetically links the sensual Brazilian samba
and bossa nova vocalist Astrud Gilberto with Turrentine, Eumir Deodato,
Toots Thielemans, Ron Carter and Airto Moreira on gems such as the derivative
"Vera Cruz," "Brazilian Tapestry," "Zazueira,"
and "Poniteo" along with erotic revisions of Burt Bacharach's
"Wanting Things" and Stephen Stills' "To A Flame."
Turrentine's third CTI effort, Salt Song adds the likes of Eric Gale,
Billy Cobham, Hubert Laws and a Deodato-arranged orchestra to proceedings
and is a showcase for Turrentine's resolutely soulful sound, particularly
on vivid covers of Freddie Hubbard's "Gibraltar," Milton Nascimento's
title song and his own "Storm." "Mr. T" at the top
of his game.—Gary von Tersch
Damon
Fowler
The Whiskey Bayou Session
Whiskey Bayou Records 2018
Fowler, a Florida native and multi-award-winning string maestro, has been
dividing his time for the last several years between projects with his
own group and outings with Southern Hospitality, comprised of Fowler,
fellow guitar maven J.P. Soars, and keyboard whiz Victor Wainwright. For
his last release, 2014's "Sounds of Home," Fowler established
a fruitful relationship with Louisiana bluesman Tab Benoit, who produced
the album and co-wrote many of its songs. The collaboration continues
on Benoit's new label, and it's a doozy.
The set is essentially a trio digging into an olio of eleven tunes ranging
from blues to country to boogie to stroll. Bass is handled by Todd Edmunds
and drums by Justin Headley, apparently new bandmates. Both are superb,
providing flawless support without undue flash; their chemistry is augmented
by the crisp, pristine production values of the CD which allow their contributions
to be heard clearly. On top is Fowler, whose Telecaster, lap steel, and
slide leads are biting or lyrical, as suits the song, and consistently
inventive. His slightly reedy and raspy singing is appealing as well.
After two original, somewhat funky opening tracks, the trio delivers a
cover of Johnny Nash's "Hold Me Tight," Fowler's twangy guitar
instilling a distinctly country music flavor. For blues lovers, the following
two cuts provide twelve bar comfort: "Up the Line" is a cover
of a Little Walter song, with a scintillating guitar solo, and "Ain't
Gonna Rock with You No More" has Fowler dispensing some Duane Allman
slide guitar licks in a rendition influenced by and worthy of the Allman
Brothers Band.
Unleashing some musical whiplash, the group segues into its version of
the devotional "A Closer Walk with Thee," with Fowler waxing
lyrical on lap steel. Some-time drummer Benoit then reveals his affinity
for rhythm with an infectious boogie beat as second guitarist on "Pour
Me," which precedes "Holiday," the album's longest track
at over five minutes of upbeat danceable shuffle. Next comes "Running
Out of Time," with a subtle, intriguing underlying Bo Diddley rhythm.
Another abrupt transition is represented by the slow "Candy,"
a moving family reminiscence anchored by Benoit this time with acoustic
guitar. The set closes with "Florida Baby," the aforementioned
stroll, the languid, back-porch vibe featuring Fowler evoking strains
of Hawaiian slack key guitar.
Variety, virtuousity, and vivacity, this album has it all.—Steve
Daniels
Scott
Sharrard
Saving Grace
We Save Music LLC scottsharrard.com wesavemusic.com
Scott Sharrard has gained notoriety with a resume including a ten-year
run as guitarist and musical director of the Gregg Allman Band. He cites
his guitarist, singer-songwriter father as his inspiration and the encouragement
from the legendary Ahmet Ertegun of Atlantic Records. Scott explains,
“He told me to get it all together: writing, singing, producing,
playing, arranging.” Taking that advice to heart brings us to “Saving
Grace,” Scott’s fifth release, where he handles vocals, guitar,
songwriting and produced with Scott Bomar and Charles A Martinez. Tracks
were split between two classic soul studios, Electraphonic Recordings
in Memphis, Tennessee with the Hi Rhythm Section: Howard Grimes or Steve
Potts drums, Leroy Hodges bass and Charles Hodges B3 organ and FAME Studios
in Muscle Shoals, Alabama with it’s Swampers: Chad Gamble drums,
David Hood bass and Spooner Oldham Wurlitzer piano with Eric Finland and
Al Gamble on addition keyboards, Moses Patrou percussion, Susan Marshall
and PIE backing vocals and a horn section of Marc Franklin trumpet, Art
Edmaiston tenor sax and Kirk Smothers bari sax.
Starting with the Hi Rhythm set, his guitar screaming over a funky beat,
full-blown horns and slick sax solo as Scott testifies to the “High
Cost Of Loving You” then easing into the easy shuffle of “Angeline,”
guitar and keys serving the rhythm as horns punch in. The smooth vocals
suggest the soulful side of Boz Scaggs on “Words Can’t Say,”
leaving you speechless till the mood overcomes you and you join the chorus
singing along. The horns blast a rhythm like Eddie Floyd’s “6456789”
with organ holding it all together while guitar cuts in and Scott pleads
for “Sweet Compromise” then the guitar pokes and jabs as Scott
begs “Tell The Truth.” With a classic soulful sound, organ
and guitar interludes, catchy chorus and hand claps Scott declares he’s
a “Sentimental Fool.” Set two features the Swampers with the
only cover “Faith To Arise” by Terry Reid, the airy effortless
vocals and slide floating above then dipping in for a biting edge, bringing
to mind Duane Allman’s work at that same studio with Wilson Pickett
and Aretha. The title track has a gentle organ building in strength as
guitar weeps and Scott’s heartfelt lyrics reflect his “Saving
Grace” while the groove of “She Can’t Wait” has
a guitar figure like “Turn Back The Hands Of Time” before
the slide cuts through, mixing bell-like tones with grinding bite then
countered by angelic backup singing on “Keep Me In Your Heart.”
The last song written by Greg Allman and Scott was “Everything A
Good Man Needs” with Taj Mahal’s deeper vocals giving a Little
Feat edge against the slide.
With his mastery of the style, striking guitar licks, passionate songwriting
and warm soulful vocals his newest release, “Saving Grace,”
Scott Sharrard has found himself a winning combination. —Roger &
Margaret White
Barry
Goldberg
In The Groove
Sunset Blvd. Records CD
Blues journeyman Barry Goldberg began playing piano in the Windy City
in the late 1950s, sharing the stage with the likes of Muddy Waters, Otis
Rush and Buddy Guy at the city's hopping South Side clubs. In 1965, he
performed with Bob Dylan on his controversial amplified set at the Newport
Folk Festival after being conscripted by Michael Bloomfield, with whom
he had occasionally played with the Paul Butterfield Blues Band. Still
quite active, this is his first solo project in nearly twenty years and
he views it as an homage to the artists and records that heavily influenced
him in his formative years--when he grew up listening to late-night radio
over WGES and WVON. Tellingly, it's an all instrumental set except for
the opening number, "Guess I Had Enough Of You," that has a
guest vocal by jazz great Les "Compared To What" McCann that
focuses on the current, extremely dullard resident at 1600 Pennsylvania
Avenue. Along with five new songs, keyboard whiz Goldberg and company
revisit memory-laden vintage instrumentals by the Cylones (a rabble-rousing"Bullwhip
Rock"), Milt Buckner (the bluesy "Mighty Low"), Doc Bagby
(a lowdown "Dumplin's"), Johnny & The Hurricanes (an easy-rocking
"Lazy"), Sil Austin (an in-the-groove "Slow Walk")
the Wailers (a Delphian, piano-tinkling "Tall Cool One") and
Lead Belly's "Alberta," here done Snooks Eaglin-style. Among
the new tunes, standouts are "The Mighty Mezz," a tribute to
Chicago's "reed and weed" man (as liners author Gene Sculatti
puts it), a steamy "Ghosts In My Basement" (with French guitar
phenom Nawfel Hermi) and a pneumatic portrait of his wife titled "West
Side Girl." Well worth tracking down.—Gary von Tersch
Amanda
Fish
Free
Vizztone 2018
No cultural desert by any means, Kansas City has a long history of producing
notable blues performers. Just from the mid-twentieth-century, think pianist
and bandleader Jay McShann, "shouter" Big Joe Turner, singer
Julia Lee, and boogie woogie pianist Pete Johnson. Our own decade sports
the likes of Trampled Under Foot (now ostensibly defunct), Moreland and
Arbuckle, and singer-guitarist Samantha Fish. Samantha's older sister,
Amanda, released her debut album, "Down in the Dirt," in 2015.
In her sophomore effort she has returned with a vengeance, relinquishing
not only her soil-covered visage on the cover of the first CD, but also
any hesitation to flaunt her vocal strengths.
Her consistent collaborator on the dozen tracks here is percussionist
Glen James; Fish herself provides the bass portion of the rhythm section.
Six different guitarists augment Fish's own intermittent guitar efforts,
most frequently Dave Hays and Coyote Bill. Fish also reveals her talent
on piano, although not prominently until the final, title track, and she
plays a little mandolin as well. Sara Morgan lends harmonious back-up
singing, and harmonica appears only once, but nicely, wielded by Richard
Rosenblatt on the uptempo boogie number "Not Again."
What has changed since Amanda's first album is both vocal and stylistic
emphasis. "Down in the Dirt" had raucous rock at times, but
also contained some funk and country. This set of originals, in contrast,
maintains an almost constant intensity. There are shifts in tempo, including
several slow tracks in which Fish deploys some smooth crooning (and those
are the tracks where Chris Hazelton on organ shines most brightly), but
mostly she lets loose with an unstinting sonic ferocity, embellished with
vocal tics and curlicues. The only contemporary woman singer I can compare
her with, albeit with a less mannered approach, is Hurricane Ruth (LaMaster).
In terms of past singers, none other than Janis Joplin comes to mind;
in fact, the track "Don't Mean a Thing" sounds much like Joplin's
version of "Ball and Chain" from the classic psychedelic 1968
album "Cheap Thrills" by Big Brother and the Holding Company.
The result: an album that is decidedly more rock than blues. This is not
an album conducive to nursing a glass of wine or sipping a cup of tea,
but Amanda Fish has firmly placed her marker in the blues rock world.—Steve
Daniels
Dennis
Herrera
You Stole My Heart
Prescott Kabin Records 2018
The perfect sweet spot between raunchy bar-band and languid back porch
blues: that's the locus of Dennis Herrera's third release. Born and still
residing in San Jose, California, singer-guitarist Herrera here leads
a diverse group of skilled cohorts on eleven original songs. You may be
unfamiliar with many of these players - perhaps with the exception of
Bill Stuve, former bassist for Rod Piazza and the Mighty Flyers - but
don't doubt that these guys can bring it…and they do.
The set is anchored by the omnipresence of Herrera and co-producer Rich
Wenzel, who plays keyboards throughout, switching from piano to organ
when the former is assumed by equally adept Sid Morris. Bass and percussion
are shared more than competently, and special kudos to Jack Sanford and
Jeff Jorgenson, who both shine on saxophone. Denis Depoitre lends harmonica
stylings to the opening title track, a blues rocker, and also to "Backed-up,"
a lament about…traffic congestion, not often the subject of a blues
song.
Neither is golf a common subject, but we do get "Fore," whose
concern is indeed that game apparently beloved of Herrera. Other songs
seemingly also reference his past experiences, including one of my favorites
of the set, "Recovery," which is a jazzy number about healing
from addiction that excels with a syncopated rhythm section and really
nice piano and sax solos. If you are familiar with "The Ghetto,"
a haunting tune from the 1970s oeuvre of Mark-Almond, it will sound similar.
The jazzy blues mode persists in the following track, "You Can Name
It," the set's only instrumental. Here Herrera sends out a few icy
guitar notes - is Albert Collins still alive? - but quickly waxes more
restrained and lyrical. In fact, that's a good description of his playing
throughout the album. He stays mainly with single notes, eschews barrages
of notes, and honors his songs rather than flaunting his six-stringed
instrument. On "Look Out" though, during some tasty interplay
with Sanford on sax, Herrera does do some guitar "chicken-plucking,"
a la two James Johnsons: Slim Harpo's guitar player from the 1950s-1960s,
and contemporary "Super Chikan."
Regarding Herrera's vocals: his slighty raspy baritone has limited range
but he uses it well, often in a talking blues style that can sound much
like Elvin Bishop. His song lyrics are unpretentious but vivid, honest,
and engaging. My only cavil with this album is that the liner notes have
a few misspellings. Other than that: good stuff!—Steve Daniels
A
Rhythm & Blues Chronology
Volume 6: 1938-39
Various Artists
Rhythm & Blues Records RABDB 047 (4 CDs)
Prior to 1949 the American record industry had marketed all Black Music--blues,
jazz, jive and sacred--under the sweeping phrase, race music. After the
end of World War II, an increasing sensitivity to bigotry and racism generated
the necessity of a new term, derived from Billboard's re-naming of the
genre (thanks to Jerry Wexler) Best Selling Retail Rhythm And Blues Records.
Volume Six in this outstanding series of generously timed, multi-disc
projects examines the various elements of 1930s music, particularly down
home country blues, urban city blues, piano-based boogie woogie and swing
jazz, also including country and pop, that congealed and coalesced into
Rhythm & Blues. CD one kicks off with Tommy McClennan's vibrant "Bottle
It Up And Go" and Count Basie's big-band blowout "Swinging The
Blues" and continues with the likes of Big Bill Broonzy (who has
the "Sad Pencil Blues") the irrepressible Tampa Red (who has
that "Hellish Old Feeling") and the Harlem Hamfats--who tipsily
have the "Bartender Blues." Further ear-ticklers feature the
likes of Harry James and his Boogie Woogie Trio, Sleepy John Estes (a
marvelous, invigorating "New Someday Blues," the Golden Gate
Jubilee Quartet and Slim & Slam, just to cite a few. Disc two opens
with Lil Johnson's enigmatic "Stavin' Chain" and Cab Calloway's
rambunctious "Pluckin' The Blues" and rambles on with Buster
Bennett and Washboard Sam paying homage to their favorite brand of moonshine
on "Block And Tackle," Blue Lu Barker warning "Don't You
Make Me High," a couple slices of mesmerizing western swing by both
Bob Wills & His Texas Playboys ("Keep Knocking") and Cliff
Bruner's Texas Wanderers ("Kangaroo Blues") and closes with
an impassioned two-part sermon about "The Racket Train" by Rev.
J.M. Gates and members of his congregation. Disc three opens with an ear-bending
pop version of "Way Down Yonder In New Orleans” by The Charioteers
and Billie Holiday's trance-like testimonial "Fine And Mellow"
followed by 25 like-minded worthies--including Bill Gaither's pessimistic
"Mean Old World To Live In," Johnny Temple's lived-in assessment
of "Jelly Roll Bert," an inspired version of "Floyd's Guitar
Blues" by Andy Kirk and his Twelve Clouds Of Joy, Big Joe Turner's
classic shouter "Roll 'Em Pete," with Pete Johnson on piano--whose
own rip-roaring "Barrelhouse Breakdown" is also here. CD four
opens with Georgia White's tale of woe "Beggin' My Daddy" and
Ella Fitzgerald (with Chick Webb's Orchestra) singing her jazzed-up rendition
of the nursery rhyme "A-Tisket A-Tasket" and proceeds to raise
the roof with numbers like Kokomo Arnold's eerie "Midnight Blues,"
Lovin' Sam Theard's Coasters-like "Spo-Dee-Oh-Dee," Sidney Bechet's
exotic "Jungle Drums," an exceedingly, moodily turbulent "Blues
With Helen" courtesy of Helen Humes, ever-frantic Louis Jordan relating
the tale of "Doug The Jitterbug" (They threw him out of school/
because all he learned was "Tiger Rag") only to close out with
Basie's Bad Boys and Jimmy Rushing waving out the train window about "Going
To Chicago." An accompanying 20 page booklet is packed with label
shots and liners that are an excellent invitation to the groundbreaking
music. Well worth tracking down.—Gary von Tersch
Soul
Don"t Worry: Black Gospel During The Civil Rights Era 1953-1967
Various Artists
Narro Way Records Pn-1602
www.gospelfriend.com
Prefacing the fact-packed, image-laden thirty-page booklet that accompanies
this invigorating, civil rights-themed 2CD project are these more-relevant-now-than-ever
lines from 1963 by the Georgia-based Sensational Linsey Singers: "This
could be a better world in which we live in/ If we could only forget the
color of our own skin." Amen. As producer/ liners author Per Notini
puts it, "Although gospel songs had been sold in sheet music form
since the 1930s, it was not until the 1950s that Black gospel was mentioned
as a music style with a recognized market value." Notini perceptively
continues: "When possible, the record producer purposely steered
the artist's choice of songs and style of performance to achieve a commercial,
catchy sound such as "the walking rhythm" of the Pilgrim Travelers
or "the folk gospel" of the Staples Singers and the R&B
infused style of the Mighty Clouds of Joy and the Violinaires." The
47 artists presented here veer from the unaffected and unpolished to the
urbane and refined in a variety of musical styles that have elements of
ragtime, rhythm & blues, blues, rap, jazz, rock 'n roll, doo-wop and
Western art music in their delivery. Likewise, all types of ensembles
appear including male quartets, female groups, mixed groups, soloists
as well as choirs. As Notini further notes: "The program mixes storefront
groups with artists fit for the concert stage." Disc one begins with
Inez Andrews, who matriculated from Albertina Walker's famous Caravans
to form her own group in the early 1960s, with her ardent "Sing A
Song" and closes with the legendary Mahalia Jackson's reflective,
doo-wop tinged "Consider Me," accompanied by her Melody Echoes
quartet and a bluesy guitarist. Along the way, arresting performances
abound--from the Caravans (with James Cleveland and Albertina Walker)
with the traditional "Steal Away" and the Drinkard Singers (with
Cissy Houston) on the standard "You Can't Make Me Doubt Him"
to Tampa, Florida's Little Junior & the Butler-Aires with their heartfelt
commentary on JFK's assassination titled "Jackie, Don't You Weep"
and South Carolina's Friendly Four quartet--with their urgently lively
"What Is Freedom." Disc two continues with social topics to
the fore as the Ramparts (with "Scatman" Crothers on lead vocal),
tell the tragic tale of "The Death Of Emmett Till" while the
obscure Southern Bells weigh in with their accusatory original "Viet
Nam," Richmond, California's Melody Kings offer the tempest-tossed
"I'm Going To Walk Through The Streets," Ohio's Trumpets Of
Joy transfix with their grief-stricken "The News That Shook The World"
and Alabama's Professor Charles Taylor with his dynamic "I Woke Up
This Morning." Other favorites feature Clara Ward ("Peace Be
Still"), the Staple Singers (Standing At The Bedside Of A Neighbor"),
Sister O.M. Terrell ("The Gambling Man") and James Lowe's "The
Lord Will Make A Way Somehow." Amen.—Gary von Tersch
Book
On
The Fly!: Hobo Literature And Songs,
1879-1941
Edited by Iain McIntyre
PM Press
www.pmpress.org
The first omnibus of its kind, this hefty tome documents the lost voices
and inventive artifices of Hobohemia. From the 1870s until Pearl Harbor,
millions of Americans, for a variety of reasons, departed their homes
to hop freight trains that enabled them to travel long distances--frequently
to an expected job, often to points unknown. Converging in skid rows,
congregating around campfires and harvesting the country's crops, these
ramblers were a distinct departure from conformist America--complete with
a style of living that had its own hangouts, vocabulary and cultural,
sexual and moral standards. On The Fly! compiles dozens of stories, illustrations
and photos, songs, poems, lyrics and articles produced exclusively by
hobos that, taken together, conjure a sort of insider history of the subculture's
highs and lows. Inventive tales of train hopping, political disturbances
and often ingenious scams sit alongside whimsical and satirical songs,
penetrating reportage and one-of-a-kind insights into the on-the-road
lives of the women and men who traversed America seeking survival and
adventure. From emblematic figures such as labor martyr Joe Hill and socialist
storyteller Jack London through to spearheading blues and country musicians
and often anonymous correspondents for the likes of the Hobo News and
the Hobos Hornbook the reader is in a heady world where hobos, tramps,
radicals and bums gather in jungles, boxcars and flop houses and where
bindlestiffs, gandy dancers and timber beasts roam the rails once more.
With few of the original journals, literature and verse remaining in print
this informative project, assisted by a glossary of hobo colloquial terms
and a wide variety of illustrations and photos provides an exhaustive
as well as entertaining guide to the life and times of a uniquely American
icon. Highly recommended!—Gary von Tersch
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