JIMMY REED
Ain’t That Lovin’ You Baby
SPV/ Blue 95792 CD

RAY CHARLES
The Soul Of A Man
SPV/ Blue 95802 CD
www.spv.de

Jimmy Reed should hopefully need no introduction – but just in case he does, this CD is the perfect way to make the acquaintance of the Mississippi born bluesman whose records are instantly recognisable, almost universally popular (he was still selling to the African-American audience when you couldn’t give blues records away) and highly influential. There are plenty of his most famous numbers, played over his famous boogie-based ‘Jimmy Reed beat’ and sung in his lazy drawl, punctuated by his high register rack harp. The price is cheap too. What more could you want?

The Ray Charles CD is another winner in this reissue series. ‘Brother Ray’, a-k-a ‘The Genius’, is a little overlooked by blues enthusiasts these days, probably because from the early sixties onwards his records ceased by and large to have any real relevance to the blues scene. This set predates his change of musical direction and finds him recording for Swing Time and Atlantic; in the later case churning out memorable bluesy hit after memorable bluesy hit, and with his gospel drenched voice changing the sound of popular music forever. Glorious music indeed.

Two excellent and varied sets from important artists who should be well represented on your shelves. If they are not, rectify that now with these releases.

----- Norman Darwen

CHICAGO BLUES REUNION
Buried Alive In The Blues
Out The Box Records exclusively distributed by
Eagle Vision EE 39139-9

Buried Alive In The Blues is a celebration of the first generation of white musicians who openly embraced the blues. They were accepted and included to the point of performing with their black heroes and establishing the first integrated blues band. The generation is now approaching or has already entered their senior years. Like your favorite grandparents, they have a valuable history that deserves to be told and heard. Chicago Blues Reunion’s members have led interconnected professional lives for the past five decades. Nick Gravenites (vocals/guitar) wrote Buried Alive In The Blues for Janis Joplin and Born In Chicago – the signature song of The Paul Butterfield Blues Band featuring Sam Lay (vocals/drums). Butterfield’s guitarist, Mike Bloomfield later joined The Electric Flag, which included Barry Goldberg (keyboards) and Gravenites. Tracy Nelson (vocals) was a fixture on Chicago’s 1960s folk and blues scenes before she founded Mother Earth. Harvey Mandel (guitar), a Bloomfield protégé, was part of Canned Heat and John Mayall’s Bluesbreakers. Corky Siegel (harmonica/vocals) has been a Chicago fixture from his years with Siegel-Schwall. Joining them are Gary Mallabar (drums), Rick Reed (bass), and Zach Wagner (guitar).

Appearing aged and not well preserved, Gravenites states, “We have a history”, while the youthful looking, gray-haired Siegel adds, “We are part of each other’s lives”. In a nutshell, they took black blues out of the black Chicago clubs and introduced it to the world beginning in the city’s north side. This stylishly packaged DVD/CD combo includes a bountiful 32 page booklet loaded with archival photos. The 80-minute DVD presents six live performances (these plus eight more are included on the hour-long CD), but it also exposes interviews with band members, and Buddy Guy, as well as archival video, and a photo gallery with many never before seen photographs. Especially cherishing is the footage of Electric Flag at Newport and film clips from an early ’70s Soundstage PBS TV show featuring Muddy Waters, Jr. Wells, and Gravenites. The praise-filled interviews have been visually edited to have a retro look. Overall, the DVD unfolds like a well-written special feature in your favorite blues magazine.

Recorded in stereo on October 15, 2004, at FitzGerald’s in Berwyn, Illinois, Gravenites performs while seated throughout. On Born In Chicago Mandel’s guitar screeches as it is yanked in the background. The title track contains a relaxed groove that is welcoming and familiar. At times, as on this song, the tiny stage makes it a challenge for the camera operators to maintain a non-obstructed view. Walk Away exhibits the warbling vibrato vocals of Nelson. During the song, you can tell Siegel loves the performance. This image echoes his interview exclamation, “We love the blues”. The deepest blues emerges on Left Handed Soul. Here, the electric piano is audacious, while the organ is haunting. The keyboards punch out and make Slim Harpo’s Miss You Like The Devil a rock’n shuffle while Nelson’s vocals command enthusiasm.  Drinkin’ Wine is an out right fun song that jumps and rocks at the same time. Delbert McClinton’s I Need All The Help I Can Get contains the best rhythm and a dose of funk. Death Of Muddy Waters is traditional electric blues performed in honor of its ultimate purveyor. Mandel’s wicked guitar is showcased on Snake while Lay kicks out incomparable vocals on a medley of classic rock ‘n’ roll. Additionally, you’ll hear boogie rock and psychedelic blues-rock.

Gravenites’ vocals aren’t strong; Mandel’s heavy guitar is outlandish, while Goldberg’s keys are scintillating. The title of the virtuous group is a bit misleading since Muddy Waters, Howlin’ Wolf, Lil’ Ed, and Carl Weathersby are golden era and modern day artists that come to mind when you think of Chicago Blues. It is doubtful the artists who comprise this super group would land near the top of an exhaustive Chicago Blues listing. The fact remains; they were actively part of the Chicago Blues scene and were mentored by its golden era prophets. After watching the DVD, you walk away with nothing but respect and admiration for these artists. They achieved what no one had done before them and, thankfully, some of them have persevered so a new generation can enjoy them and hear their worthy story.

----- Tim Holek

JW-JONES
Kissing In 29 Days
NorthernBlues NBM0035

JW-Jones believes in living life to the fullest. This comes across in the delightful music on his fourth CD, which can best be described as ’30s/’40s big band swing meets ’50s rock ‘n’ roll. “I hope people hear that I am taking music from that great era, and that I’m breathing new life into it,” explains Jones. Listening to Kissing in 29 Days will transport you to another time while keeping a portion of you in the present. The 14 songs – including three covers – are primarily about love and relationships. Throughout, you’ll hear jumping, jazzy blues, jitterbug jaunts, cool instrumentals, and blues shuffles.

The featured instruments are Jones’ expansive guitar and Brain James’ tooting tenor saxophone. Each of these two 20 somethings interplay with each other as if they’ve been performing together for 20 years. It’s bewildering to learn they have been together for less than five years and Jones has only been playing guitar for a little more than ten years. Although his guitar talent is superior, Jones also handles lead vocals.

The long standing NorthernBlues artist has matured the most among the label’s roster. No wonder he is getting excellent and respected guests to appear on his discs. This time, it’s the distinguished sax player David “Fathead” Newman who guests on three songs. The celebrated Texan is well known for his multi-year association with Ray Charles. There was no better choice than Newman to guest on Charles’ Hallelujah I Love Her So. Though it’s repetitive, Little Milton’s Hey Girl! contains a catchy groove and lively horns which incite dancing. Got Me Chasin’ exposes Frank Scanga’s skillful harp, which does not shriek.

His youthful looks may cause some to dismiss or refute him, but make no mistake – this man is musically mature for his age. The self-produced disc contains a rich sound that accentuates the full horn section, drums, and guitar. JW-Jones has the guitar flair of swing masters from the past and a group of supporting musicians, who are developing into a world class band. Jones’ core group is comprised of Nathan Morris (bass), Artie Makris (drums), and Geoff Daye (keyboards). The six-member Wind-Chill Factor Horns are a definite highlight. Young Jay-Dub is an earnest contender for this sub-genre’s crown. All he needs is an urbane vocalist to elevate him and enrich his music to a higher level.

----- Tim Holek

RANDY McALLISTER
Flying High While Staying Low Down
Freedom First Records
www.randymcallister.com

I first encountered the music of Randy McAllister some year back when he was recording for JSP Records. My initial reaction was “Wow – this guy is different”, and that opinion has not altered since!

Randy is a Texas singer/ harmonica player and drummer, who excels at what he does but who is even better as a totally original songwriter. This is a kind of ‘Best Of…’ CD, drawing from his releases ‘Dope Slap Soup’ (five tracks), ‘Temporary Fixes’ (six) and ‘From A Little Left Of Center’ (five); those titles should alert you to the fact that this is no ordinary artist, but just in case check out the names of some of these songs – ‘That Chicken You’re Fixin’, ‘Baptist Church Van’, ‘Man Who Went For Cigarettes’, to name just three. That means there are no ‘Sweet Home Chicago’ retreads here. Randy sings extremely well and can be either deeply soulful in a Delbert McClinton kind of way, very bluesy or out and out rocking, and the arrangements are certainly varied to match. ‘The Girl Ain’t Right’ makes for a raw sounding blues opener, leading into the pop-rock, vaguely Doug Sahm-ish ‘Clear My Head’, whilst ‘Take Me Out Of New Orleans’ is a churning blues.
Moving on, there is the almost zydeco sound of ‘Stronger Vice/ Better Hobby’, the piano accompanied ‘Wandering Shepard’ (sic) which recalls the old folksong ‘Wayfaring Stranger’, and the slippery closer which falls between rock, blues and country. Along the way we also touch bases with sixties and seventies soul music and even perhaps a little JJ Cale.

Remember the names mentioned here because they are all pretty classy; remember too though that like those more renowned artists, Randy McAllister is classy and original.

----- Norman Darwen

DAN KLARSKOV
Blues At Dexter
Clearwood Records 0601
www.klarskov.net

Tone – one of the key words to describe this set. Danish guitarist Dan has a wonderful tone, very much like T-Bone Walker, and he also has T-Bone’s aptitude for light and shade, and a strong sense of how to play one note just right rather than the scatter-gun approach of many others these days. This is a CD and DVD, and musically it concentrates on the sound of T-Bone and his disciples, plus a foray into Rock and Roll ‘ with Whoo Wee’, a detour to New Orleans on ‘Jealous Woman’, a little bit of Crusaders & BB styled funk with ‘The Blues Is A Feeling’, and some of that classic Bobby Bland styled sixties soul-blues with Wayne Bennett on guitar courtesy of ‘Last Two Dollars’. Not bad, eh? The DVD provides visual images to go with many of the tracks of the live album, but it also includes the eight minutes long ‘Blues Man’, which is very much in the fashion of Buddy Guy in a Chicago blues club four decades or so ago. There are also some fine extras on the DVD including two numbers from the Langelandsfestival in 2000, a couple of short, less conventional tracks from studio sessions, some backstage footage and a photo gallery.

Yes, I am impressed with this. Besides being an excellent guitarist, Dan is a also fine singer – there is a trace of an accent but nothing to mar anyone’s enjoyment, and his band, including two saxmen and a trombonist, an organist plus a pianist over the in the pocket rhythm section, is outstanding. Certainly a release to check out if you enjoy European blues.

----- Norman Darwen

VARIOUS ARTISTS
Blues Guitar Killers
Wolf 120.104 CD
www.wolfrec.com

Every now and then, writing a review is not at all like doing work. If the CD is as enjoyable as this one, it is pure pleasure to review it. Almost all of the artists on this CD, and some of the songs, first introduced me to the blues many years ago. As a result, I fell in love with the genre – especially Chicago blues guitar. However, don’t expect this CD to only showcase guitar. Acclaimed supporting musicians such as Abb Locke, Willie Kent, and Tim Taylor do their part to ensure the songs sound fine. When the guitar is in the spotlight, don’t expect it to be played in a wicked or extended style. These clever guitarists know a complete song matters more than noisy guitar wanking. Throughout, you can expect to hear electric Chicago blues as only one cut is acoustic. These recordings were made between 1956 and 2000, with the majority being cut after 1988. Though the bulk of songs were recorded for Wolf albums/CDs, some have been released under license from other labels.

Magic Slim is in no rush on Spider In My Stew where the music takes its sweet time to unfold. When you hear Slim laughing, you can sense him grinning from ear to ear. His vocal chords have been scratched with sandpaper and his abrasive guitar solo says more than one that includes an excessive amount of notes. With the guitar and arrangement sounding like 1950’s Chuck Berry, Eddie Clearwater’s original 2x9 is a treat. Lurrie Bell is the pride of Chicago’s current blues scene. The feeling displayed in his dramatic guitar playing and singing will show you why. There is a sense of rural ness in Johnny B. Moore’s urban blues. Yes his Lookin’ Good becomes repetitive, but it provides a hypnotizing effect. It’s a damn shame his stroke has kept him from regularly performing. John Primer’s embracing vocals, vivacious guitar, and instinctive arrangement on Smile In Your Face creates one of his best songs. Phil Guy has been challenged to capture his live effervescence on disc. Here, he teams with one of his best ensembles and torments with piercing guitar notes. Eddie Taylor Jr.’s Worried About My Baby is the exact type of blues I fell in love with. Unfortunately, not many artists perform this style any longer as most of today’s blues is too far removed from its roots.

The substandard songs chosen to represent Michael Coleman and Otis Rush do not fit well on this contemporary collection. Coleman’s version of the over recorded Mustang Sally is sappy – though his rhythm guitar is impressive on the Primer track. Given all the other artists are from Chicago, the inclusion of Fort Worth, Texas’ U.P. Wilson is peculiar. It would have been better if none of these songs had already appeared on other Wolf compilations. Still, this 14-song sampler is a must-have since it illustrates today’s Chicago blues artists are still a vibrant force. Chicago’s gangsters chose the Tommy gun as their preferred weapon, but modern day Chicago could easily be held hostage by these six-string gunners. You’ll be absorbed by this music. After all, this is the blues.

----- Tim Holek

Thanks are due to Fred James for his patience and persistence. I look forward to hearing more from him on this little-known and under-researched outpost of the blues.

----- Norman Darwen

DANNY BROOKS
Soulsville - Rock This House
HIS House HHRDB 003

The music of Danny Brooks is an extension of his self-acknowledged mentors Hank Williams, Solomon Burke, Otis Redding, Taj Mahal, Blind Boys of Alabama, and John Lee Hooker. In fact, any of these foot-stomping, hand-clapping, Stax/Muscle Shoals-rooted songs could have easily been hits for any of those legends. Brooks is a Canadian singer, songwriter, guitarist, harmonicist who Brownie McGhee once complemented by saying, “Son fo' a white boy, you sho' nuff gotta suntan on the inside.” The sound of Memphis soul comes alive throughout this 55-minute disc. What are its 13 original songs about? Like a loving and caring parent, Brooks, a former substance abuser, doesn’t want his listeners to make the same mistakes as he has made. The songs bear inspirational lyrics and some are solidly rooted in Christian theology. As example, the title track is a proclamation of Brooks’ faith and what it has done for him. The man simply wants to testify about what he has found.

Perhaps due to Brooks’ own life experiences, the songs have a common theme about losing everything and then finding everything. The best illustration of this can be found on the beautiful ballad You’ll Find A Way. Lyrically, the rootsy Can’t Keep A Good Man Down For Long is similar to George Harrison’s Horse To The Water. Brooks’ song features a catchy beat, rock ‘n’ soul rhythm, surging keyboards, soulful lead vocals, and the authoritative backing vocals of Amoy Levy. I strongly believe Brooks has a hit on his hands with Good Love Is Hard To Find. The rhythm is moving and the lyrics hit home. The song reveals something we all know deep inside but seldom that time to recognize. When good music and thought-provoking lyrics come together to create a jubilant song, it can move you to tears. This is one of those songs.

No single instrument or solo stands out on this second installment in Brooks’ Soulsville Trilogy. It’s the songs, which at times create a revival atmosphere, and their messages that you’ll remember. Like Souled Out ‘n Sanctified, Rock This House was produced by Richard Bell, features The Rockin’ Revelators (an amazing group of 15 musicians and vocalists) as Danny’s backing band, and contains a multi-page liner booklet with photos and song lyrics. The biggest difference is the addition of a punchy horn section. Unlike Delbert McClinton, Brooks’ vocals aren’t consistently gruff and soulful. At times, they wheeze yet they are always intense. Some listeners may shy away or even get turned off by some lyrics that reveal a deeply convicted man, e.g., Down On My Knees. Yet, after listening to this CD, you realize you don’t have to face life’s challenges alone. On Rock This House Danny Brooks is all about being part of a solution instead of a problem.

----- Tim Holek

THE BUICKS
"THE BUICKS"
TELETONE RECORDS

There are some who would call a twenty year old Buick a "Classic". Based on that theory, what would you call a band that's known as the "BUICKS" that have been together for twenty years?  Well, give a listen to their self titled disc called "THE BUICKS" and you'll be calling them a "Classic" as well.
The band that the Philadelphia Inquirer called "the best rhythm and blues act in the region" prides themselves on playing a mix of blues, soul, funk and rock and "THE BUICKS" contains twelve very hot tracks - of which ten are originals - to attest to that.
The opening track, one of the originals titled "TWO BARE HANDS", immediately impressed me.  The vocals and background vocals were right on and every member in the band was featured in this hot and funky number.  The lyrics are all about what one person has done with his two bare hands, and it's a lot.  However, the one thing he didn't do with just his two bare hands is put this excellent project together. That took lots of help.
The motor that makes up these classic BUICKS consists of: JOE BORGHI on rhythm guitars and backup vocals; MIKE REINIG on saxophone, lead and backup vocals; LARRY SPURRIER on drums and percussion; RON BOGDON on bass; JAY LA BOY on lead guitar, lead and backup vocals; GUY STASIK on lead vocals and harmonica. Other optional parts include: JOE LA SORTE on rhythm and lead guitar; OSCAR on accordion; GLEN BICKEL on Hammond B3 Organ; ANTHONY KING, KIM KING and LORIE PANNULA on backup vocals.

 "STAYIN IN TONIGHT", another original, is one of those slow, soft, sexy ballads.  You know, the kinda track that jams a usually underused dance floor.  With the two main ingredients in a song of this type being smooth, soulful vocals and slow, sultry saxophone, GUY and MIKE nail their parts.  On this one even the lyrics are sexy.  Grab your lady, set the stereo on replay and .......................

On any given night, in any given venue, any given band will ultimately get around to saying "THE MORE YOU DRINK (THE BETTER WE SOUND)".  Well, the BUICKS took that theory to the next level and actually made a song out of it - a hilarious song at that.  In spite of a rockin' rhythm section, sharp harp playing and some hot lead guitar licks, the lyrics highlight this one.  The song takes an unhappy listener of an absolutely horrible band on an alcohol fueled journey that starts with him booing the band and ends with him joining the band. 

Got Funk? "WHAT GOES AROUND COMES AROUND" is full of it. This hot number will have you "pickin' up the pieces" on the dance floor as flashbacks of the Average White Band have your body writhing uncontrollably. No need to pass out any individual praise here - everyone is tightly in the pocket.

There's absolutely no doubt in my mind that"CATCH MY BREATH" would put a big smile on Chuck Berry's face. This hot rockin' number, very reminiscent of his style, is quite appropriately named.  After recording this one, I'm sure the whole band needed to catch their breath. The BUICKS were in passing gear on this all out high speed jam. 

I highly recommend you jump into your Skylark, Electra, LeSabre or whatever it is you drive and cruise on down to your local record store for a copy of "THE BUICKS". Or better yet, go to www.thebuicks.com and tell them "Blewzzman said this disc rocks and I'm here to buy one". 

----- PETER "BLEWZZMAN" LAURO

CARL SLACK
"TURNING THE WORM"
CARL SLACK MUSIC

Intriguing, is probably the best word to describe the effect that "TURNING THE WORM" had on me.  Generally, non traditional styles of blues such as this simply don't excite me. Yet, something about this disc has me uncharacteristically impressed.

"TURNING THE WORM" consists of nine CARL SLACK originals that combine a perfect blend of folk, country, southern rock and blues.  Mastering those styles not only shows a musicians versatility, but it opens up a lot of doors - possibly providing a bit of job security as well.  Be it a 'Coffee House', a 'Juke Joint' or a 'Honky Tonk' - put CARL SLACK on the stage and a good time will be had by all.  None were given, but if I had to guess as to who some of CARL'S inspirations were, Bob Dylan, Tom Waits, Jimmy Buffet and Delbert McClinton are just a few of the names that would come to my mind.

Joining CARL SLACK on vocals, acoustic, electric and slide guitars, harmonica and percussion are: MIKE LOVELADY on drums; DAVE ROMERO on bass and background vocals; CHAD LITTLE on guitar and background vocals; JARVIS HOLLOWAY on fiddle.

On "PONYBOY", the opening track, it took me hearing him sing all of the first sentence to fall in love with this young man's voice.  Then I heard his harp playing and immediately knew the rest of this disc was going to be an absolute treat.  And indeed it was.
"ANOTHER HOMESICK TUNE" features great fiddlin' by Jarvis.  This southern rock blues track would feel right at home on just about any Allman Brothers disc.

"STONE'S THROW FROM MEXICO" features some of the best rhythm the disc has to offer.

"DANCE ACROSS TEXAS" is top notch country blues.  As with all of CARL'S songs, it tells a true and interesting story.  Once again, JARVIS'S fiddle along with CARL'S singing highlight this one.

On "TURNING THE WORM", I found it a bit difficult to get into too much detail about any one particular song and believe it or not, I mean that from a positive point of view.  Reason being is that if you're looking for three minute harp solos, songs that are full of blazing guitar licks and drummers beating their brains out, you just won't find it here.  What you will find on this disc, is five very talented musicians, working as one, to sound as good as they possibly can - and easily achieving that goal.

My gut feeling tells me that on this project, CARL SLACK may have actually gone through a bit of a learning experience.  What I mean by that is, as good as "TURNING THE WORM" is, I'm thinking we've got a lot more yet to hear from him.

Check CARL out at www.carlslack.com and - you know the drill, tell him the Blewzzman sent ya.

----- PETER "BLEWZZMAN" LAURO

TAKE ME TO JAMAICA – The Story of Jamaican Mento
Various Artists
Pressure Sounds 51
www.pressure.co.uk

DIP & FALL BACK – Dr. Kinsey To Haile Selassie
Various Artists
Trojan TJDDD313
www.trojanrecords.com

Mento is a Jamaican folk form which flourished on record on the island briefly in the fifties, though it had been popular for decades prior to being recorded. It was quickly supplanted by the advent of Jamaican rhythm & blues, ska, and eventually reggae of course, but the roots run deep and it can still be heard today – though it is much more difficult to find. Played on banjo, guitar, maracas or hand-drums and ‘rumba box’ (a home-made instrument to provide a bass sound), plus other instruments such as cane fife or bamboo saxophone, and once it became urbanised, such ‘legitimate’ instruments as piano and sax, it was initially a rural dance form that can at times be closely related to calypso, though it is undoubtedly a Jamaican form mixing African and European influences. At its best it has a gleeful freewheeling approach – think of something like the Memphis Jug Band, or better still, the Harlem Hamfats, though with a Caribbean lilt. The lyrics are often witty and source material includes folk tunes, local gossip, commentary on national and international affairs, and remarks on other types of affairs – the double entendre is perhaps the best-known lyric concern! The subtitle of the Trojan collection captures the range rather nicely.

The Pressure Sounds set gathers together some very early material recorded and released on 78s between 1951 and 1958 by the likes of Hubert Porter, Lord Tickler, Alerth Bedasse, Boysie Grant and others, and is a sheer delight from start to finish; there are occasional distant echoes of themes from the American mainland, particularly but not exclusively jazz. This is excellent listening, and with outstanding packaging. The Trojan collection is a double CD with a wider scope. The first disc covers fifties material, again from 78s, by the likes of Lord Lebby (who also recorded some fine R’n’B, including the occasionally reissued cover of Louis Jordan’s ‘Caldonia’ – though he is in strictly mento mode here), Marie Bryant (jazz singer and daughter of Apollo Theater MC Willie Bryant), Lord Lasher, and Chin’s Calypso Quintet. Once again this makes for some very entertaining music. The second CD of the compilation moves us timewise into the sixties, demonstrating the way the music adapted to the changes in musical taste on the island or how it was subsumed into the new styles. Some of this later material has a very strong Calypso influence and a few performers had more than one eye on the relatively lucrative tourist market. This disc is still worth a listen however, particularly for those who want to examine how the tradition changes.

If you are looking for something a little different, then take a listen to mento. Try it - or preferably both CDs - you might like it!

----- Norman Darwen

RICHARD RAY FARRELL
Acoustic Roots
Blue Beet 100002
www.richardrayfarrell.com

This is an excellent solo CD of mostly pre-war blues from Richard, who was born in Niagara Falls, New York in 1956. He went on to spend many years based in Europe, working with many older bluesmen – among them Frank Frost, R. L. Burnside and Louisiana Red. Since moving back to the States in 2001, Richard has been working steadily and releasing some excellent music on his own Blue Beet label – this CD shows how good he can be.

Richard works his way through the music that has influenced him, his age and interest revealed by the covers he has chosen – Mississippi John Hurt, Bukka White, Blind Boy Fuller, and Blind Blake are pretty much what you might expect, but how about R.C. Smith? You’d have to have been buying Arhoolie albums in the sixties or seventies… Richard is equally adept at both raggy fingerpicking and powerful slide guitar; he also plays rack harp occasionally, and ‘John Henry’ is a solo harmonica workout; his vocals sound totally authentic throughout, meaning that if you enjoy the sound of masterfully played rural blues (without any extraneous or unnecessary flash!), you should check this out.

----- Norman Darwen

RON THOMPSON
RESONATOR
32/20 Records

TUNES: Doin’ It; I Got To Find Her; I’m Just Falling; Broken Hearted Love Affair; Come Back Baby; Oh Bye Bye; Sugar Ain’t Sweet No More; Traveling Riverside Blues; When Your Lover Is Gone; 99 Highway; Room For One More Sinner; Prayer For The 21^st Century

The multi-talented Ron Thompson has been playing music since the early ‘70s. He traveled with John Lee Hooker as band leader for seven years, and now plays with his band, The Resistors, as well as performing as a solo act. He has received many awards and accolades, including two Bay
Area Music Awards, the Bammies.

On this CD, Ron emphasizes his slower, more somber acoustic side. Ron shows off his ability to write songs, as he does with eleven of the thirteen tracks, play several musical instruments solo, and then mix them all together to make this CD. This is quite a feat in itself! He plays regular and slide vintage 1932 Dobro guitar, mandolin, harmonica, and piano equally as well, and also sings. He arranged and performed two songs, “Come Back Baby,” and Traveling Riverside Blues,” which were written by other composers. Many of the songs are in the Delta blues style and are ballads about lost love affairs. Two highlights of the album are his boogie numbers. He opens with an exciting performance of “Doin’ ‘It, which adds a new twist to the Delta style. His piano work particularly shines on the fast “Oh Bye Bye” tune. His only instrumental, “Prayer For The 21^st Century,” has a very Eastern sitar-like sound, even though there is no sitar.

Two songs from the CD, “Oh Bye Bye,” and “Sugar Ain’t Sweet No More,” can be heard online at Ron’s Electronic Press Kit on the Audio Link:
http://www.sonicbids.com/RonThompsonHisResistors. Also Ron’sJanuary television appearance on the “Bruce Latimer TV Show,” can be viewed on the webcast:
http://www.visualwebcaster.com/event.asp?id=37323 for ninety days, For further information about this CD, refer to Ron’s website: http://www.rtblues.com. Check out this welll-done, all-solo acoustic album by Ron Thompson.Just keep in mind that this CD reflects only a small part of Ron’s talent and style of music.

----- MARIA BAINER

MIKE SPONZA & THE CENTRAL EUROPEAN BLUES CONVENTION
Live In Italy
(own label)
www.mikesponza.com

Following on from 2005’s artistically successful ‘Kakanic Blues’ CD, this DVD translates the idea to a live festival format – and it works just as well. Italian guitarist, bandleader, and singer Mike is backed by regulars Michele Bonivento on organ and piano, and drummer Moreno Buttinar, plus several guests emphasising the central European ethos – and the phenomenal Southern Californian born guitarist Carl Verheyen.

There is a brief interview in which Mike details the background to this project, but the main part of this DVD is a 48 minutes long open air show from the Barcolana Festival in the beautiful setting of Trieste, Italy – and it’s raining. It’s good to see that England does not have a monopoly on torrential downpours! The audience seem to be enjoying the music under their umbrellas though, and so they should. This is modern blues that just oozes class. Mike and his colleagues create a distinctive sound, jazzy and cool, powerful and subtle, which draws the listener in whether the song is a midtempo funky strut such as the cover of, would you believe, Muddy Waters’ ’19 Years Old’ or the drastic reworking of Duke Ellington’s ‘C-Jam Blues’, to name just two examples.

Carl Verheyen demonstrates his versatility and prowess right across the spectrum of styles on four numbers, Austrian Dieter Themel shows just what a fine singer he is on two, Budapest harpman Matyas Pribojszki impresses on his couple of tracks, Bosko Petrovic adds an unusual but effective Lionel Hampton/ Johnny Otis flavour to three songs with his vibraphone, and Primoz Grasic adds wonderfully jazzy guitar to a trio of numbers, whilst Mike and the core band keep a fine and mellow groove throughout.

This is distinctive and individual music that deserves to be widely (seen and) heard. If you are still not convinced, try to hear just what the band does with John Mayall’s ‘Little Girl’. It keeps the flavour of the original, is instantly recognisable to anyone who knows Mayall’s version, but doesn’t really sound like anything else around on the blues scene at the moment. Yes, I’m impressed.

----- Norman Darwen

This review has been complimentary written for your newsletter/CD reviews by Peter "Blewzzman" Lauro, a contributing writer for BLUESWAX and the Blues Editor at www.Mary4Music.com where you can read many more CD and live show reviews, view lots of blues photographs and find an abundance of blues material. I can be reached at Blewzzman@aol.com

JUNIOR WELLS
Live At Theresa’s 1975
Delmark DE-787

For most of their 2006 blues releases, Delmark dug back into their vaults. This essential disc completes a hat trick that began with Otis Rush’s All You Love I Miss Loving and Magic Slim/Joe Carter’s That Ain’t Right. Like the Rush CD, Live At Theresa’s was recorded by Ken Rasek, and some of it was originally broadcast on Chicago’s WXRT radio station. Live At Theresa’s may be the best of the three as it shows the friendly and neighborly atmosphere of a 1970s Chicago ghetto blues club being held at the helm by its commander.

The dignified CD is a testimony to a time when blues was a neighborhood institution played by people who had grown up together. The music was created as a means to free them of their pain. Bruce Iglauer recalls, “(Theresa’s) had wood paneling on the wall, beer signs, and Christmas tinsel wrapped around the overhead pipes 12 months a year.” There wasn’t a bandstand or a PA system for the featured entertainment, who performed Friday to Monday. It was only a dollar to get in and the drinks were cheap. During Wells’ occupancy at Theresa’s Hole, the club owner herself hired and paid the sidemen, so they weren’t officially his band. These recordings were made January 10 and 13, 1975. On these two winter evenings the hired help included Phil Guy guitar, Byther Smith guitar, Sammy Lawhorn guitar, Earnest Johnson bass, Vince Chapelle drums, and Levi Warren drums.

Live At Theresa’s is gritty and slick at the same time. It presents traditional electric Chicago blues at its finest. What other art form unashamedly describes life via lyrics like (“If you love your woman / you love her with a thrill / because ifin’ you don’t / some other man will”). Not much of the background noise has been filtered out. In fact, you can hear the patrons in the background during the songs. All of Wells’ in-between song banter has been left in too. It displays his charismatic interaction with his audience at the intimate 40-person capacity club. The camaraderie is paramount, and is best displayed via an impromptu Happy Birthday played in honor of Marc PoKempner’s “borning day”. For those who have followed Wells for years, these songs are like a homecoming. Many of them came from his current album at the time – Delmark’s On Tap. The weaving guitars of Guy and Smith interlock notes on Little By Little. Smith’s smooth vocals are given the lead on Help The Poor while he continues to play single and succinct guitar notes. Not surprisingly Juke features the greatest amount of Wells’ harp which rolls you down the street like a garbage can tossed about in the wind. Guy slashes his strings on Scratch My Back, and sounds like brother Buddy on the rockin’ What My Mama Told Me. The latter is a highlight due to the guitar solos and harp solo. Snatch It Back And Hold It gets an ultra funky rendition courtesy of Phil. Throughout, Junior is in his element and having a great time as on the mellow paced Goin’ Down Slow where he admits, “You’ll have to excuse me coz I’m drunk.”

Hoodoo Man Blues, by Junior Wells, was the first album to capture the live Chicago blues band sound in the studio. If released in 1975, Live At Theresa’s might have been the first live album to accurately capture the live Chicago blues band sound in a club. Like Steve Tomashefsky’s liner notes and Marc PoKempner’s photographs, the CD reveals both the music and the culture. Though it doesn’t contain Wells’ best vocals and the audio isn’t up to today’s standard, Live At Theresa’s is everything a blues CD is supposed to be. Its analog album sound is raw, edgy, and unpolished. Combined together, it’s the sweetest sound you’ll hear because it’s all about an experience that cannot be replicated.

----- Tim Holek

THE HOLMES BROTHERS
State Of Grace
Alligator ALCD 4912

On their first CD in three years, New York City’s Holmes Brothers sound similar in style, format, and content to their prior Alligator release Simple Truths. This is due, in part, to Craig Street’s encore role as producer. Other similarities include the same rough and gritty sound (on some songs) as well as delving into the songbook of Hank Williams. However, this time an extra helping of Americana is thrown into the mix. As well, there is a country feel in the music due to four covers by country & western songwriters.

You’ll hear rootsy sounds, bluesy shuffles, redemptive fulfilling lullabies, and acoustic stomps. Topics addressed via intense lyrics include how couples can drift apart after spending many years together and being haunted by past loves. The Brothers share lead vocal duties throughout the 55-minute disc. As with their previous releases, the vocal harmonies are touching and renewing. Sherman Holmes (bass) has a deep and firm baritone voice. Wendell Holmes (guitar) has a surly voice, but it is warm and friendly. For me, Popsy Dixon (drums) has the best vocals. They tremble like a stone pillar rocked by a gospel choir on Three Gray Walls. Later, they strike your conscience on God Will.

     Smiling Face Hiding A Weeping Heart is a would have, should have, could have, tale of woe about a bridge that all couples must cross sooner or later. On Close The Door, the vocals harmonize as much as the acoustic strings. It’s an amazing combination of the animate and inanimate being in accord. With Glenn Patscha’s accordion and Larry Campbell’s fiddle, Creedance Clearwater Revival’s classic Bad Moon Rising is transformed into a foot-pounding piece of Americana. Patscha also contributes inspiring piano, organ, guitar, and songwriting. He is the secret ingredient behind the album. The Canadian-born artist is a member of Ollabelle – other members of the band contribute backing vocals on the album – and has long been active in the New Orleans music scene. The Holmeses have been preaching about Peace, Love, and Understanding for years. Their completely re-arranged version of the Nick Lowe written Elvis Costello hit is calm, and it could motivate world leaders into action. Another completely reworked hit is Cheap Trick’s I Want You To Want Me. The rhythm has been changed to be deeply romantic, respectful, and loving. Catherine Russell – who has previously recorded with the group – adds fiery backing vocals to Gasoline Drawers. On I Can’t Help It If I’m Still In Love With You, Rosanne Cash and Wendell perform a lovely vocal duet. Equally as pleasant is Campbell’s mandolin. The band’s good friend Joan Osborne proves to be an adept lead vocalist on Those Memories Of You. Likewise, Levon Helm shows his vocals are still strong on I’ve Just Seen The Rock Of Ages.

State Of Grace once again proves The Holmes Brothers to be an American institution. The easily-likable songs and richly-textured vocal harmonies will appeal to fans of many musical styles. This album should show up in the number one spot on several charts.

----- Tim Holek

THE SAUCECATS
Havin’ Fun
No label No number

The Saucecats are Frankenmuth, Michigan’s fun and friendly roots band. The gifted group is comprised of eight extremely talented multi-instrumentalists. The core cats responsible for the eclectic music include Maureen Lee (accordion/keyboards), Dave McGregor (fiddle/guitar), Nick Vermis (drums/harmonica), Kim Braeutigam (bass), and Perry English (rubboard/percussion). Since recording their debut Some Like It Hot, the band has a new brass section. The reedmen are Zucko (sax/guitar) and Kelly Hengy (trombone/percussion) while Mike Clark adds B-3 organ.

Many of the songs on this second independent release are staples from their live repertoire. The catchy rhythm of Early In The Mornin’ ensures you won’t stand or sit still. On it, the horns are given a chance to blast while the trombone rumbles, the harmonica reverberates, and the congas clank. It features a clever arrangement, but the vocals are shrill and harsh. An agitation that most of us have experienced is expressed on Mother In Law. Thanks to the rhythm pattern’s change, honking sax, and bellowing trombone, the song becomes romantic and classy. The do wop background vocals are reminiscent of Bowser from Sha Na Na. Yet ironically, and perhaps purposefully, the track becomes as annoying as in-laws. With a mix of zydeco and rock ‘n’ roll, On A Night Like This is totally grooving. The credits aren’t clear on who sings which songs, but they reveal that many band members contribute vocals. Some of the singers are better than others. The lead vocals on Summertime try to emulate Louis Armstrong, but the vocalists don’t do justice to this classic Gershwin song. Oh, What A Day, an original number, doesn’t fit the style of the rest of the songs on the CD. The melody is a country hoedown combined with a waltz and a polka. The lyrics – told from a parent’s point-of-view – tell about a day in the life of raising kids. Although All Along The Watchtower has been over-recorded, you’ll enjoy the timing, beat, and reggae rhythm on this version.

Like the opening original track Let’s All Go, The Saucecats are drowned in a New Orleans tradition. You won’t be surprised to learn their motto is, “we will play for gumbo.” This sophomore release confirms The Saucecats possess proliferate talent. However, the energy and frolic from their stage party hasn’t transitioned to the studio. With more guidance and originality, The Saucecats will have their recipe perfected.

----- Tim Holek

Dwayne Dopsie & The Zydeco Hellraisers
Traveling Man
Sound Of New Orleans Records 1069

Dwayne Dopsie, der jüngste Sohn der Zydeco-Legende Rockin´ Dopsie Sr. hat in den letzten Jahren mit seinem virtuosen „over the top“ Akkordeonspiel schon für sehr viel Aufmerksamkeit in der Zydeco-Szene gesorgt.
Jetzt meldet er sich mit seinem bis dato wahrscheinlich besten Werk zurück.
Im Laufe der Jahre hat er eine Band zusammengestellt, die nicht nur durch die Besetzung, sondern auch durch ihre hohe musikalische Qualität an die  „Zydeco Twisters“ seines Vaters erinnert.

Diese besteht aus den Brüdern Ronnie Sam (wbd), Calvin Sam (drums), Glenn Sam (bass) (früher beim Bruder Leon Sam & The Sam Brothers tätig), Chad Welling (g) und Curnis Andrux (sax).
Geboten wird ein guter Mix aus Zydeco Two-Steps, Boogies, Blues & Reggae und fast jedes Stück bietet zudem lange Saxophon – und Gitarrensoli.
Aber im Mittelpunkt ist stets Dwaynes Gesang und sein außergewöhliches „Triple-row“ - Akkordeonspiel – da wird die Quetschen mit ultraschnellen Läufen, Wechselbalgexzessen und urblusigen Riffs auf äußerste gefordert.
Man kann nur hoffen, dass diese Band bald auch in Europa zu hören sein wird.
Bis dahin kann man sich mit dieser CD den Akkordeonsound Louisianas ins Wohnzimmer holen.
Anmerkung: Wie bei vielen anderen Zydeco-Neuveröffentlichungen ist auch diese CD leider  nur schwer zu beziehen. Eine Möglichkeit ist www.louisianamusicfactory.com oder gleich bei  www.dwaynedopsie.com

----- Jan Eckerl