2009, Vol.3
AUGUST, SEPTEMBER, OCTOBER
Artist: Dave Riley & Bob Corritore
Title: Lucky To Be Living
Label: Blue Witch Records BWR106
For more information go to: www.bluewitchrecords.com
www.daverileybluesman.com
www.bobcorritore.com
This is the second album from Dave & Bob, two bluesmen who have discovered their lifelong love of the blues by travelling their separate and winding roads through life meeting, learning, playing with a good number of Blues Legends. When their paths eventually crossed it was the blues that which they love so much and which has also occupied most of their lives became the kernel of an idea to form a partnership to continue to recording and performing the old style Delta and Chicago blues.
This album is not only a refreshing and vibrant slice of finger snapping and toetapping music; it is also a remembrance and tribute to Sam Carr, Frank Frost, John Weston and Fred James; unfortunately only Sam Carr is still with us to appreciate this offering. The ten numbers featured here are a mixture of lovingly reworked Frank Frost numbers, such as; “Jelly Roll king,” “The Things You Do,” and “Ride With Your Daddy Tonight,” coupled with wonderful sounding standards, “Lucky To Be Living,” John Weston’s “Sharecropper Blues” and Fred James’s “Automobile.” Each number delivers its imbued zest for life, fun, and frolics so much so that “Back Down The Dirt Road “is the uncut and mischievously funny rehearsal version.
The guest musicians backing Dave; guitar, vocals and Bob; harmonica, are; Henry Gray. Piano, Chris James; guitar, Dave ”Yahni” Riley Jr. Patrick Rynn; bass, Tom Coulson, Eddie Kobek and Frank Rossi; drums. Together they create a relaxingly languorous, lazy and laidback feel whilst at the same time relentlessly urging you on to roll back the carpet and let those feet fly! It goes without saying, though, I suppose I should say, that Bobs’ harmonica is impeccably spot on throughout and backed with Dave’s raunchy and equally sublime guitarwork, they together, seamlessly create an endearingly timeless sound.
Well worth the Shilling!
----- Brian Harman
Artist: Dennis Jones
Title: Pleasure & Pain
Label: Blue Rock Records
For more information go to www.dennisjonescentral.com
or www.cdbaby.com
There is a single significant fact emerging from the number of burgeoning blues guitar players of today; it is the unlikely fact that their first exposure to the blues is from any number of rock bands from the sixties rather than from the original bluesmasters from the delta region or in fact any other region; so, with this in mind it should not come as any surprise that Dennis’s early influences are from the likes of; The Rolling Stones, The Who, Bob Dylan, Santana and guitarists such as Jimi Hendrix, Johnny Winter and Jimmy Page; only later in his musical education did he become aware and fully appreciative of such blues artists as; the three Kings B.B. Albert and Freddie along with the sublime soulness of Al Green and the ultimate funkmachine James Brown.
In his home town of Baltimore, Maryland Dennis grew up pounding the drums, but as usual the lure of the guitar was too strong and he was playing guitar by the age of thirteen and within two years he began playing in a local band. Between the years nineteen seventy-seven and nineteen eighty he was serving in the army and whilst stationed in Germany he continued his learning curve by featuring in a number of bands that performed for his fellow army buddies. Later in nineteen eighty-five in his new home of Los Angeles he fronted a band named Blackhead which created an esoteric musical mixture of Led Zeppelin and Funkadelic, although industry attention was raised little else was. In the nineties Dennis formed the Dennis Jones band and he focused on his present style, twenty-first century blues; a cunning mixture of hard edged rock drumming infused with the guitar playing subtleties of the blues entwined with an ever so soulful horn section that not only swings but rocks as well. Although the guitar sound can at times seem a little heavy and pyrotechnic it is nonetheless an integral ingredient in this exciting and seriously swinging and toetapping variation of the blues.
Helping Dennis who takes lead vocals and guitars, is Michael Turner; drums, Tony Ruiz; bass, horns are supplied by; Jimmy Z; baritone, tenor saxophone and harmonica, Lee Thornburg; trumpet and trombone. All eleven numbers on the album are written by Dennis.
Well worth a spin.
Recommended!
----- Brian Harman
This review has been complimentary written for your newsletter by Peter "Blewzzman" Lauro, a contributing writer for BLUESWAX, BluesART 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
Rev. Marv Ward
"Love Like You Never Been Burned"
I'm not exactly sure if the word "Reverend" is a title acquired through ordainment or if it's just a common nickname that he, as many other blues musicians, chose to use. Regardless of the origin, I do know that listening to Rev. Marv Ward sing his original, message filled songs will make you feel good.....real good!
On "Love Like You Never Been Burned", The Reverend, on electric & acoustic guitar, percussion and vocals, is joined by: Mike Wainscott on acoustic guitar; James Boyce on bass & slide guitar; Tom "T-Bird" Toglio on drums; Willie Lyles on Hammond organ; Jim "Wallstreet" Coullard and Mike Fore on harmonica; Treavor Michael on dobro; Cam Mullikan on mandolin; John Miranda on saxophone; Patty Ficklin, Susan Mullikan and Abby Brown on backup vocals.
The words that make up the title track are just a portion of the advice that the song gives. Ya see, if you really want to get through life's strife, then......you gotta work like you don't need the money, be happy with the karma you've earned, you gotta dance like nobody's watching and "Love Like You Never been Burned". Now that's a mouthful. Between the very advisable lyrics, the intensity with which they're sung, the funky rhythm and the rippin' sax riffs, I'm thinking I just heard this years song of the year.
If misery indeed loves company, then the Reverend's got lots of it, as he experiences these "Hard Times". You're not the only one they're killin', Rev. This one features a great rhythm groove with hot harp and guitar leads by Jim and Marv.
The only cover on the disc is "The Cuckoo". It's a traditional English folk song that has been covered by many musicians in several different styles, and this is one of the best renditions I've ever heard. Thankfully it is one of the discs longest tracks, because unfortunately, it's the only track which features Cam and his masterful mandolin playing. The 90 second instrumental intro, which features the melding of the mandolin, the dobro and the acoustic guitars, is hypnotizing. Additionally, Rev. Marv nails it on the vocals. By far one of the discs best.
On this track, Rev. Marv's figured out how to "Chase These Blues Away", and his philosophy makes it sound real easy. Dobro and acoustic guitars, along with great harp work from Mike, highlight this Piedmont blues style number.
The final message the Reverend shares with us all is that when "Love Is Calling", it might be a very good idea if you're listening. Highlighting this one is great backup vocals, steady Hammond work throughout, and more wonderful and inspiring lyrics.
Other tracks on "Love Like You Never Been Burned", a gospel and soulful combination of Delta and Piedmont blues, include: "Ole Mule", "Railroad Gal", "It's Just You", "Unabashed Carnivore" and "On Down The Road".
Now that you're done reading about it, you really ought to listen to it. You can do that by going to www.marvward.com/ to pick up a copy. Make sure you tell him the Blewzzman sends his regards.
----- Peter "Blewzzman" Lauro
Blues Editor @ www.Mary4Music.com
TOMMY CASTRO
Hard Believer
Alligator ALCD 4931
www.alligator.com
This is singer/ guitarist and Bay Area bandleader Tommy’s twelfth album, but his first for Alligator, and it features him doing just what he does best – soul drenched singing, blues steeped playing and an overlay of old-time rock and roll (try ‘Make It Back To Memphis’ for the latter). Lend an ear to the title track for an exquisite vintage soul ballad, or the following track ‘Monkey’s Paradise’ for a slab of good old steaming rhythm & blues. ‘Backup Plan’ should come on the ‘b’ side of Duke or Goldwax 45 from the late sixties (and that is a massive compliment in my book!) whilst the Bob Dylan composition ‘Gotta Serve Somebody’ is transformed into a gritty five minutes of tough, bluesy funk, followed by some swaggering though credit-crunch themed rock ‘n’ roll. ‘The Trouble With Soul’ is a strange, jazz-inflected, nondescript piece that makes for a curious closer, but fans of true rhythm & blues will certainly enjoy ‘My Babe’, Tommy’s rollicking rendition of the Righteous Brothers’ hit from 1963.
Having written that this is more of the same from Tommy, I have to state that is not strictly accurate; though many of the musicians are from Tommy’s tried, tested and trusted road band, the production is big and loud (and often brassy!) and suits Mr Castro like a glove. As such, this is highly recommended and if you don’t already know Tommy’s music, be sure to investigate this release!
----- Norman Darwen
CHOCOLATE THUNDER
Ear Candy
Own label
www.cthunder.com
Now how did I miss this lady’s debut CD? I’m really regretting it, as this, her second album, is a real winner. Linda Rodney – to use her real name – is from Greenville, South Carolina, and grew up singing in church and listening to everyone from gospel legend Shirley Caesar and soul diva Patti LaBelle to Muddy Waters and Aretha Franklin. All those influences can be heard on this CD, a richly diverse – though always southern-rooted – album with plenty of excellent modern blues numbers and backed by a bunch of red-hot musicians. ‘The Other Side Of Memphis’ is a classic soul-blues number (and a self-composition, as are all 12 tracks) which has already attracted plenty of attention and airplay.
Then there is ‘Love Caused It’, which is a tough, bass-driven hunk of tough blues/ rock/ funk with a big, sassy vocal, the very jazzy blues of ‘My Georgia Pine’, and the lilting southern soul approach of ‘Just Gotta Tell Ya’. What the heck, there’s not a weak track here! Shemekia Copeland is probably the nearest equivalent on the modern blues scene and we know how revered she is. Chocolate Thunder The Southern Wonder should be up there alongside her, on this evidence, at least – and she has done it on her own.
----- Norman Darwen
TRIBO DE JAH
Refazendo
Som Libre/ LGK 1153-2
www.tribodejah.com.br
This Brazilian six piece is an out-and-out reggae outfit but with strong blues leanings often quite noticeable (and they have recorded some very bluesy material in the past). For some good examples, check out this new CD which has 14 numbers, many of which contain soaring guitar breaks in the vein of American blues guitarist Don Kinsey's work with Bob Marley in the late seventies. There are other elements too which sometimes reference the music of the American mainland, as for example the Stax styled horn-work, or the occasional soul flavoured introductions.
----- Norman Darwen
SONNY RHODES
I'm Back Again
Feelin' Good 007
www.feelingoodproductions.com
Sonny should hopefully need no introduction, this Texas-born, long-time Bay Area based singer and guitarist being one of the last of those bluesmen who learned their craft the traditional way, and whose playing and singing is still deeply roted in the soil of the Lone Star State.
You can find no better example than the autobiographical 'Smithville Texas', present of course on this wonderful CD. The album title itself refers to Sonny's recent health problems, of which there is not a trace here; he powers through an excellent set of modern tracks, playing mostly lap-steel in his own individual way (though one which has already spawned several followers) ande singing in a gritty, down-home manner, and backed by an Italian trio who do a remarkable job. Also helping out – though perhaps that does not adequately describe what they do – are American harmonica aces Brian Templeton (three tracks), Johnny Sansome, and R. J. Mischo (four apiece), who contribute massively to this album's success.
Packaging too is excellent, with fine notes by Blues Art's own Brian Harman. This set has already attracted rave reviews elsewhere – here is another!
----- Norman Darwen
SHUGGIE OTIS
Shuggie's Boogie - Shuggie Otis Plays The Blues
SPV/ Blue 306422 CD
www.spv.de
When Shuggie began recording back in the late sixties, he was only in his early teens - but as the opener, '12.15 Slow Goonbash Blues' - recorded with rock star Al Kooper - reveals, he was already a mature blues guitarist, albeit one who, like many of his contemporaries, needed to exercise more discipline. 'Shuggie's Old Time Slide Boogie' was also from the Kooper-produced debut album, and though the title is self-descriptive, the track also manages to invoke Taj Mahal. The bulk of this CD draws on 'Here Comes Shuggie Otis' and although 'Oxford Gray' nods towards the psychedelic blues, others are rather more straightforward; the storming 'Shuggie's Boogie' has long been a favourite of mine, and on 'The Hawks' he draws on Freddy King for inspiration. The collection also features Shuggie working as a member of his father Johnny Otis's band, and two tracks feature Sugarcane Harris on vocals, and three tracks from Shuggie's 1971 release 'Freedom Flight'.
Overall, this album hints at what the enigmatic Shuggie could have become, had he not become a rather reclusive and elusive figure. Even now, in Blues terms, he would still be counted as a younger artist - and he would no doubt be welcomed back into the fold with open arms; certainly by anyone who has heard this fine compilation.
----- Norman Darwen
PHILIP SAYCE
Peace Machine
Provogue PRD 7525 2
www.provoguerecords.com
How do people come to the blues? Few people seem to find the music directly, most often, over the last few decades, I would guess, discovering it through listening to rock. In which case, this is just the kind of release to point them in the right direction. Young Philip is an axe slinger par excellence, having worked with Jeff Healey, rap-rocker Uncle Kracker, and singer/songwriter Melissa Etheridge. Here he performs some muscular, out-and-out rock, and just when I was wondering where the blues was, along he comes with some strongly Hendrix influenced playing and arrangements on track 3, ‘Slipaway’. The most Hendrix inflected track – and also the bluesiest number of the set – is the eleven minutes long title song, a slow number a little reminiscent of the long version of ‘Voodoo Chile’; Philip even essays a few licks on the wah-wah pedal to underline the connection. The bonus number ‘Arianrhod’ is more of a Hendrix styled freak-out, with some truly awesome playing, which then leads into a tough acoustic reprise of the title track. It is worth noting too that Sayce’s lyrics are sometimes akin to Jimi’s more mystical vein.
This is far too rocky for the purists of course, but it is just the kind of thing that may inspire someone to investigate just where this bluesy stuff gets its inspiration from. It may be a few years old – issued in Japan in 2006 - but if you like rock too, then chances are you’ll love this.
----- Norman Darwen
PAUL KARAPIPERIS
Fifteen Raindrops In An Ocean Of Blues Tales
Shelter (no issue number)
www.smallbluestrap.gr
“Greek blues” usually refers to rembetika but here we can take it literally. Paul is a multi-intrumentalist, predominantly on guitar and harmonica on these fifteen tracks, all of which are blues-based at least, with a strong influence in places from Robert Johnson. Most of the music is acoustic, though there is some use of electric guitar. Rather than being blues pure and simple though, many numbers are more akin to tone poems, with Paul's frequently dramatic voice used to full effect. The overall effect is very melancholy and certainly interesting!
----- Norman DarwenKEZIAH JONES
Nigerian Funk EP
Because Music – download only
www.keziahjones.com
Many years ago I saw a London gig where a young newcomer called Keziah Jones turned in a fine set of what he termed ‘blufunk’, sandwiched between the duo of Satan & Adam and Bo Diddley. He is now older and based in Brooklyn, New York, but still as eclectic as ever, referencing his Nigerian roots with this five track, twenty-two minutes long release. He cites Jimi Hendrix and Fela Kuti as his primary influences, though ‘Nigerian Wood’, a stripped-down slab of tough Afro-funk, obliquely references The Beatles too. The hard-core funk groove continues throughout, with some bluesy guitar cropping up in places, but the solo ‘International Area Boy’ recalls Hendrix in his ‘Hear My Train A-Coming’ mode – at least in the guitar work. It does not seem to be coincidence that much of this set was recorded at New York’s Electric Lady Studios.......
----- Norman Darwen
THE IDLE HANDS
All Night Sinnin'
Bone Idle TIH06
www.the-idle-hands.co.uk
This is a very welcome release, not only because it is a while since we have had anything new from this English four-piece but also because these guys know what they want to do and do it so well – and that is to create the sound of classic British blues-rock. The opener “I Ain’t Broken”, sets the scene, with its fierce guitar lines from Dave Robinson, exemplary vocals from Phil Allen and pounding rhythm section of bassist Jamie Burns and new drummer Paul Heydon, before moving into the strutting “The Stroll”, which to my ears recalls Free from circa 1970 – as do several other tracks here. As Free was always one of the more soulful and imaginative blues-rock outfits, that’s no bad thing at all! Elsewhere there are discernible influences from the likes of Led Zeppelin (listen to the guitar work on the closing “A Friend Like You” for a good example) and Rory Gallagher, some fine occasional use of acoustic guitar, and plenty of requisite swagger and attitude. ‘Things Move On’ will appeal to those of us whose memories are longer than a decade or two, whilst “Testify” is an interesting re-write of biblical and Homeric stories set to power-chords, and shows an original mind at work! But then, all 13 tracks reveal a strongly rooted band who have found their niche and have become masters of it. Strongly recommended to all those who like the UK sound.
----- Norman Darwen
EMIL & THE ECSTATICS
Bit By Bit
Naked Productions NP016
www.ecstatics.se
This Swedish four-piece impressed me a couple of years ago with their material on the CeePeeVee label, and this follow-up finds them working in a bluesy, rootsy groove (try the raw, Elmore James styled closer , with several detours into rocking rompers soulful southern sounds, and even a little smooth, organ-led soul-jazz. Leader Emil Arvidsson has a fine voice and is equally adept on guitar, whilst keyboards man Johan Bendrik supports him beautifully and bassist Mats Hammarlof and drummer Tom Steffensen lay down appropriate rhythms.
All the songs are originals (good ones too) and the several instrumentals are varied and vastly entertaining - and that description really covers the whole album from this top-notch band.
----- Norman Darwen
VARIOUS ARTISTS
3rd Annual Delta Groove All-Star Revue - Live At Ground Zero Vol. 1
Delta Groove DGPCD131
3rd Annual Delta Groove All-Star Revue - Live At Ground Zero Vol. 2
Delta Groove DGPCD132
www.deltagroovemusic.com
California-based Delta Groove is one of the foremost labels for the modern blues. Many Delta Groove artists have been nominated for awards, and so Randy Chortkoff has tended to organise label showcases nearby; in 2008, the Blues Music Awards ceremony was at Tunica Mississippi, so these two CDs present that year's Delta Groove showcase, appropriately enough, in the heart of the Delta at Ground Zero, movie star Morgan Freeman's blues club in Clarksdale, Mississippi.
It must have been quite an event too - certainly on aural evidence it is mightily impressive! I could just list the participants, but these 21 tracks (11 on the first volume, 10 on the second) really do present the best of the modern approach. Here you encounter a true blues legend like the great Phillip Walker who has two tracks, relative veterans like the extremely talented Jackie Payne & Steve Edmondson (their version of Muddy’ ‘She’s Nineteen Years Old’ and their own ‘Overnight Sensation’ are for my money the best performances here), the collective personnel of inter-generational outfit The Mannish Boys (who feature Johnny Dyer, Finis Tasby, Kirk “Eli” Fletcher, Kid Ramos and Bobby Jones as frontmen!), great guitarists such as Junior Watson and the aforementioned Kid Ramos, fabulous grooving sounds from Los Fabulocos (three tracks), and new blood in the powerhouse and very impressive Jason Ricci, The Insomniacs, and Mike Zito. The largely up tempo performances are at times outstanding and never less than first-class. The love and care that goes into the 'standard' Delta Groove release is fully in evidence here and so, once again, here are a couple of sets of modern blues that are required listening for the lover of the contemporary approach.
----- Norman Darwen
KIM WILSON
Tigerman/ That’s Life
Retroworld FLOATM6012
JAMES COTTON
Mighty Long Time
Retroworld FLOATM6017
www.fwrecords.co.uk
Two of the great of the modern blues under consideration here; both have formidable reputations as harmonica players, and these two sets (both formerly hard-to-find) originate from the Antone’s label in the nineties. Kim’s double CD unites two albums, ‘Tigerman’ from 1993 and ‘That’s Life’ from the4 following year. The first was Kim’s debut solo album, away from The Fabulous Thunderbirds with whom he made his reputation; he is not too far away though, as backing musicians include Preston Hubbard, Fran Christina, Duke Robillard and Gene Taylor (all members of the T-Birds at one time or another, among many others including Junior Watson, Derek O’Brien, Rusty Zinn and the veteran Clarence Holliman on guitars. Most of the material is borrowed, with only three Wilson originals. This is a fine, confident set of mainly vintage blues brought up-to-date for the early nineties, extremely well-sung and played and generally free from rock pretensions. Similarly, seven of the 11 tracks of ‘That’s Life’ are covers, and most of the same musicians appear as on the preceding release. Though the second album includes a little more soul-inflected material, it presents overal the same kind of approach as on its predecessor and, like that earlier release, is also well worth hearing. The two complement each other well and this set is required listening to understand the modern blues sound.
The James Cotton release is a stone blues set and reunites the former Muddy Waters sideman with guitarist Luther Tucker and pianist Pinetop Perkins; Jimmie Vaughn, Matt Murphy, the great Wayne Bennett And Hubert Sumlin are among the other musicians. Cotton even goes back to his roots with remakes of ‘Straighten Up Baby’ and ‘Hold Me In Your Arms’, the first recordings he made in the early fifties. Given his recent health problems, it is also good to note that here James sings in a strong, throaty voice. The sound is classic Chicago, with the blues-rock leanings that James has exhibited in his music since the sixties turned into the seventies replaces by tributes to the likes of Howling Wolf and both Sonny Boy Williamsons – and as such, this comes highly recommended.
----- Norman Darwen
ANA POPOVIC
Blind For Love
Eclecto Groove EGRCD507
www.eclectogroove.com
Ana has certainly taken the blues world by storm since this Serbian-born singer/ guitarist/ band-leader burst onto the scene around the turn of the millennium. She certainly moved up yet another level when she signed with the American label Delta Groove in 2007 – and be it noted that this success it not down to her looks. Just listen to this CD if you don't believe me (though the sleeve does convert into a poster.....)
The Eclecto Groove subsidiary label was really created to accommodate Ana's diverse approach, but this is indeed the sound of the modern blues. Ana's voice can be teasingly sweet, sultry or powerfully assertive by turns, her playing is controlled and muscular, and the songs themselves are unfailingly interesting. The music they are wrapped in may contain elements of rock, funk, soul or even a little jazz, but they are at the very least built on a blues bedrock – and Ana can and does play the blues pure and simple. Backing is courtesy of her touring band and a couple of members of label-mates The Phantom Blues Band.
For my money this is Ana's best CD so far. The lady has definitely got what it takes.....
----- Norman Darwen
ALEX GOMEZ
Love Sex And Drugs
(Own label) AGCD012008
www.alexgomez.biz
Solo singer and guitarist Alex purveys 'alt.blues' – that's 'alt.' as in alternative, and purists should move swiftly on to the next review right now. Admittedly, Alex's music is clearly in the direct bloodline of the likes of Joe Hill Louis, Howling Wolf and Mississippi Fred McDowell, but I suspect those worthies may have taken umbrage at the raw, over-amplified and totally distorted ferocity of his free-form attack, both musically and vocally.
The lyrics too, are for a generation that has grown up accustomed to the 'Parental advisory' stickers on the front of hip-hop albums. This is most definitely the blues as a young man's (or woman's) music, reclaiming it from the older generation with whom it is all too frequently associated these days. You don't have to like it – but this will ultimately lead a younger audience to the blues.
----- Norman Darwen
This review has been complimentary written for your newsletter by Peter "Blewzzman" Lauro, a contributing writer for BLUESWAX, BluesART 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
"I'm All Yours"
Bluestopia Records
Rick Welter is one cool and very smooth bluesman. Looking at the places he's called home, one must wonder if those characteristics could have been geographically acquired? He's a former New Yorker - that, of course would speak for the coolness, who's lived in Chicago - probably where he honed his blues skills, who now lives on the west coast - explaining his smoothness. Now although his picture on the discs cover represents an expression similar to when "The Fonz" looked in the mirror on "Happy Days", my description is referring to his music. "I'm All Yours" is cool, smooth, blues - musically and vocally - from beginning to end.
Along with Rick, on Guitar & Vocals, the rest of the cast on "I'm All Yours" are: Tom Royer on Drums & Back-up Vocals; John Neish on Bass & Back-up Vocals; Steve Lindsay, also on Bass; Jim Wallace on Harmonica; Bradley Scott on Percussion; Dave Keefer on Back-up Vocals.
Put on your dancin' shoes when "Come On" comes on. There'll be no sitting still for this one. It's a fast one, beat and time wise, that will have you swingin'. Tom and John will provide you with all the rhythm you'll need for that. A nice 60 second guitar lead in the middle of this three minute track is another highlight.
"I'm Sold On You", one of several Rick Welter originals, is a real smoothie. Along with Rick's soulful vocals, this one is highlighted by a great rhythm groove led by Tom and very sharp harp leads by Jim. Too bad he's only on two cuts.
"In The Wee Wee Hours", is a hot one that might have you thinkin' Chuck Berry. It's just one of those kind of songs, musically and lyrically.
"It Just Ain't Right" is another of my favorites. Partly because it's the other track which features Jim, the very talented harp player, as well as some of Rick's fanciest, tone changing, guitar work.
If your life's a little hectic and you just don't have the time for a tropical vacation, then you need a little "Mexicali Hipshake". Start off by fixing yourself any kind of rum drink (leaving off the straw umbrella is OK), then put this track on loud and walk out to your backyard. In no time at all you'll be looking for something to limbo under. This fun instrumental is all about great guitar and percussion work.
Other tracks on "I'm All Yours" include: "Fairchild", "I Had A Talk With My Baby", "Goin' Uptown", "I'm All Yours", "The Grind", "My Love Is Strong", "Rockin' Man" and "I'm Gonna Forget About You".
What I found interesting about this CD is, that when it was over, I realized that although I hadn't heard a track that compelled me to hit replay, I still wound up replaying the whole disc several times. As I said earlier, "I'm All Yours" is cool, smooth, blues - musically and vocally - from beginning to end.
Picking up a copy of "I'm All Yours" is as easy as going to www.bluestopia.com, and stopping by www.myspace.com/rickwelterband will allow you to say hello to Rick. Of course you'll tell him that the Blewzzman, another cool new Yorker, sent ya.
----- Peter "Blewzzman" Lauro
Blues Editor @ www.Mary4Music.com
Artist: Shawn Pittman
Title: Movin’ & Groovin’
Label: Feelin’ Good Records 009
For more information go to: www.feelingoodproductions.com
& www.shawnpittman.com
Shawn is one of many guitarists that have realised that they have needed to move to the right place to be available for the right time and this Texas influenced player has been moving from his home in the Norman area, just outside of Oklahoma City in that direction since the age of seventeen, when he moved to Dallas in nineteen ninety-one with his aunt and uncle. Once there, he found out where the cool players were performing and he proceeded to spend as much time as he could watching and being in the company of revered artists such as; Hash Brown, Tutu Jones, Jim Schuler and Andrew “Junior Boy” Jones. After playing in a number of bands he found himself in a band called The Holy Moelliers for a period of three years, the band featured the soon to be famous Jason Moellier, drummer of The Fabulous Thunderbirds.
Moving to Austin, Texas in nineteen ninety-nine he settled there to continue his ever rising career, in two thousand and one Shawn released his third album, the previous two were for the now expired Minnesota based label Cannonball. Subsequently he has released three more albums and the personnel involved in their making reads like a mini who’s who of Texan blues guitarists, artists of such stature as Chris Layton, Tommy Shannon, Preston Hubbard, Jason and John Moellier; these are but a few of the many outstanding musicians who have worked with Shawn in the past.
At this juncture I would like to point out that for those of us who are not familiar with Shawn’s career; Norman Darwen’s excellent sleeve notes are an invaluable guide.
This collection of eighteen numbers which feature Shawn on lead guitar and vocals throughout, is absolutely jam packed with serous Texan guitar slinging that hits the bullseye every time, the solid rhythm section lays the foundation for a compulsively fascinating, hypnotising and sometimes omnipresent bass which relentlessly marches on crunching away any opposition leaving the way open for the sweetly articulate guitar slinging of Shawn. Whether he is playing a loose limbed toe-tapping shuffle or a fast moving groover; his unmistakable passion is clearly evident, particularly so when he is playing a soul searching slow blues.
Shawn eloquently displays his knack for choosing the right interpretation of the music he plays; as displayed with the suitably ragged, rough edged version of Hound Dog Taylor’s’ “Gimme Back My Wig;” to the very mellow feeling imbued by his heartfelt and sensitively rendered slide on “That First Drink.”
Shawn’s natural talents are extremely well highlighted by this collection and we can but only look forward to hearing more musical gems!
If you like Texas Blues, then you are certainly in for an aural treat.
----- Brian Harman
Artist: AZ Kenny Tsak & 56 Deluxe
Title: Like I Do
Label: AZ Kenny Tsak
For more information go to: www.56deluxe.com
or www.myspace.com/azkennytsak56deluxeband
At the age of eleven Kenny was already playing the drums, but the eternal fascination with the guitar inevitability got the better of him and he encouraged other guitarists in the band to teach him the basics; once he had mastered the fundamentals of playing, there was no stopping him. He continued to play and perform in the Washington D.C. area right through the seventies until he was forced to hang up his guitar in nineteen eighty-one to focus on a day job. Twenty-four years later in two thousand and five his situation had changed to such a degree that he contacted his friend and fellow bandmate, bass player Avery T. Horton Jr, and together they formed 56 Deluxe. From their base in Florida they have; over the years toured extensively along the east coast, as well as appearing at venues in Washington and Arizona.
This debut has a confident mixture of surly brooding rocking blues with more than a hint of southern funky country, based in a modern day roadhouse or a hard working blue collar bar setting.
The eleven numbers feature only two covers Willie Dixon’s “I Just Wanna’ Make Love to You” and Robert ‘Chick’ Willis’ “Stoop Down Baby.” Joining Kenny; who provides vocals and guitars, is Avery T. Horton Jr.; bass, James Holt; keyboards, Frank Perez; tenor saxophone and Andy “G”; drums.
The featured saxophone delivers a harsh stabbing, jabbing, staccato sound, which at times can penetrate through to the bone, this, combined with the sharp, open and highly evocative blues laced guitar work displayed by Kenny provides for a highly charged evocative musical platform; more than enough to start the toes tapping. Their succinct melding of both rock and a wonderfully drawling country style is topped off by the judicious use of confident and sometimes swaggering foot stomping ‘honky tonk’ styled barrelhouse sounding keyboards. Overall their music straddles a wide spectrum and every one is certainly guaranteed a good time.
Very Interesting!
----- Brian Harman
Artist: J.P. Soars
Title: Back of My Mind
Label: Soars High Productions
For more information go to: www.jpsoars.com
or www.myspace.com/jpsoars
I would venture to say that J.P. has a far from limited musical knowledge and vocabulary (as some people may imagine) for a man who has spent a good number of years playing in various ‘Death Metal’ bands; his first influences were; Jimi Hendrix, and Stevie Ray Vaughan then moving on to ‘T’ Bone Walker, Albert King, Johnny ‘guitar’ Watson, Muddy Waters and Guitar Slim, he then progressed onto listening to such jazz giants as Django Reinhardt and Wes Montgomery and also a favourite is the iconic bandleader Louis Jordan.
He was born in California but his family soon moved to Arkansas, aged sixteen he moved to South Florida in nineteen eighty-five where he still resides today. A key factor to J.P.’s musical conversion to the world of blues and jazz was on a trip to Memphis where he met country blues singer Jessie Mae Hemphill and one of the early cigar box guitar innovators John Lowe.
Since two thousand and five J.P. has concentrated all his musical energies on performing the blues with verve and gusto, he also has a passion for performing the classic material that Django Reinhardt recorded in the thirties and forties.
The collection of twelve numbers here are as diverse as you could imagine; from the first number onwards we are moving at speed with an aggressive J.P. biopic shuffle, threading their way through this number are some tasty sharp edged swinging guitar flurries. The jaunty “twenty nine ways” is a wonderful mixture of driving piano and bass backed with warming horns. As the music pours out of the speakers you are comfortably enveloped in a cocoon of rough ’n’ tumble blues that bask in a glow of richly played but, understated sweet jazz tinged swing guitar that elevates the music to a higher level. J.P. possesses a voice that would strip paint off a wall, but, here it sounds sweet and melodic, he plays guitars and is backed by Chris Peet; drums, A.J. Kelly, Gary Rimmington; upright and electric bass, Terry Hank; saxophone, Billy Burns; harmonica, Greg Kingsolver; piano, and John Epstien; Hammond organ.
The whole album has a late forties early fifties period feel, rich in atmosphere and sound that grabs you by the throat and wont let go, until you succumb to its rough but, genuine charms.
Very much worth a listen!
Brian Harman.
----- Brian Harman
Artist: Missy Andersen
Title: Missy Andersen
Label: Main Squeeze Records MS1201
For more information go to: www.missyadersen.com
or www.myspace.com/missyandersenlive
Unknowingly, Missy took her first steps towards her chosen career at the age of six when her mother entered her for a singing contest; in an effort, to increase her chances, she was enrolled onto a course of singing lessons; unfortunately, the contest was cancelled and so were her lessons. Even so, at that tender age Missy was not deterred, for she continued to sing whenever she had the opportunity. Missy was born in Detroit, but her family moved to queens, New York when she was quite young and so spent her childhood in the musical melting pot that was New York. Her parents’ choice in music in around the home added to the many musical influences that abounded in that city by including in their record collection such music as soul, blues R&B, jazz and gospel.
The type of number that attracted Missy’s’ attention was not always the most obviously catchy or chart related or even necessarily easy to sing. Each number had to have an underlying emotional resonance or deep felt meaning in the lyrics; such artists that intrigued and interested her ranged from the likes of; Gladys Knight, Aretha Franklin, The Staple Singers and James Brown through to Dinah Washington Sarah Vaughan and Billie Holiday which ultimately led her on to O.V. Wright, James Carr, Ann Peebles and Irma Thomas.
This wide and varied combination of types and styles would ultimately shape the complex and fascinating vocal and musical style that Missy would later present on her debut album. Although her first foray into the business was in her teens as a Rapper and having a single entitled “Be For Real” released under the name of Denyce ”Flip” Isaac.
The single made a few waves but most importantly it led to her gaining a spot as a backing singer for Cissy Houston, which then led to her becoming a full time singer, providing lead vocals for a good number of local bands.
In the nineties Missy moved to San Diego and around this time she was introduced to local bluesman Earl Thomas, also she became aware of the Juke Joint Jezebelles a vocal group that specialised in gospel, blues and soul, she was soon invited to become one of the original members of this quartet.
After having successfully provided backing vocals with The Juke Joint Jezebelles for Earl Thomas at many concerts and festivals across America and Europe over a number of years, Missy decided to strike out and for a while fronted the San Diego band Tell Mama; but ultimately she has begun a solo career with this album and my what a blast furnace of sound and texture it is; subtly combining emotionally charged blues with a deeply mined vein of southern soul that is buoyant with a succulent horn section backed by an insistent but yet subdued rhythm section which has an interweaving, snaking and biting Hammond organ that surfaces only to ease your soul.. Heines’ amazingly deft and understated guitar work teases and pleases throughout.
Memories of Atlantic, Stax, Hi, and possibly goldwax abound but, they are only memories, for this is music that is only inspired by that which was and builds upon those foundations and takes the music to another level, Missy does not dwell in the past recreating perfect copies of the old, she is forming new types and styles even if they are very familiar.
There are stunning versions of; O.V. Wrights “Ace of Spades” Anne Peebles “I Can’t Stand the Rain” and Don Nix’s “Same Old Blues” amongst the riveting eight numbers found on this album, I must mention one delightful slowburning toe-tapper which is the marvellous “Stand up and Dance” a treat for the ears.
Missys’ vocals can be described as a combination of Mavis Staples, Irma Thomas, and Anne Peebles with a hint of Etta James. Missy is backed by her husband Heine Andersen; guitars, Asmus Jensen; drums, Soren Bojgaard; bass and Jeppe Juul; Hammond organ the exemplary horn section is provided by; Robbie Smith; trumpet, Bob Mathes; saxophones, Paul Cougill; Wurlitzer and Nathan James; dobro slide.
This is a richly sweet, but short album, but no less wonderful for that. Excellent!
----- Brian Harman
Artist: The Insomniacs
Title: At Least I’m Not With You
Label: Delta Groove Music DGPCD130
For more information go to www.insomniacsblues.com
or www.deltagroovemusic.com
This is the second offering from the Insomniacs since their debut in two thousand and seven; subsequently they have incessantly toured the West Coast and Midwest regions; during this time spent on the road the band have honed and finely tuned their musical skills until they have become as smooth and sharp as the finest cut throat around! In October two thousand and eight the band were brought into the studios to record this album, two days later they emerged with a fully completed collection of numbers that are simply a treat to the ears, superbly crafted with an irresistible toe-tapping atmosphere.
The thirteeen numbers range from earthy fast moving shuffles to swinging jump tunes that have you bounding round the front room, when you do slow down it is only to listen to the emotive harp playing from Mitch Kashmar who is featured on the fine slow bluesburner “Hoodoo Man.” The rich country inflective from the pedal steel guitar that is supplied by Joel Patterson on “Broke and Lonely” eloquently displays a resonating downhome feeling. Elsewhere on the album we are treated to some wonderful raucous fifties R & B plus a little gem of a fast moving surfer number entitled “Angry Surfer.” Throughout the album their swinging guitars effortlessly mesh with the classy B3 Hammond and scintillating saxophone backed with some very jaunty, keyboard rattling piano playing.
If you like swinging blues, this is definitely for you!
Brian Harman.
----- Brian Harman
SAFFIRE THE UPPITY BLUES WOMEN
HAVIN’ THE LAST WORD
Alligator Records, #2009
SONGS:
Going Down To The River; Nothin’ In Your House; Kitchen Man; Somebody’s Gotta Give; Bald Headed Blues; Since You Been Gone; Blue Lullaby; Travelin’ At The Speed of Love; I Can Be Bad All By Myself; Too Much Butt; Haste Makes Waste; Locked Up; Walkin’ Home To You; Bald Eagle; I’m Growing Older; The Bad Times
CONTENT:
It is hard to believe that the sassy group, Saffire, The Uppity Blues Women, have been performing and recording together for 25 years. It was just like yesterday. Nevertheless, this album is their final time together as a group. This three very popular, acoustic group have decided that it is time to pursue their own individual interests.
All three have a lot to say in this album, with ten out of sixteen songs being their own creations, or co-written with others. They still have the spunky, rollicking, acoustic blues that they had in the beginning. They have developed new, exciting levels of talent in all their years together. Ann Rabson continues to play piano and guitar. Gaye Adegbalola has expanded her horizons and now plays guitar,slide guitar, and harmonica. Andra Faye, who has been with the two for 16 years, plays mandolin, fiddle, bass,and guitar. All three sing individually and harmonize together beautifully. They are a seasoned group that have received kudos worldwide. They have released seven previous Alligator albums.
This CD is an exciting and energizing album. The big variety of musical styles is amazing and attention-keeping and very representative of the group. From the rollicking songs like “Going Down To The River” to lilting, soulful tunes like“The Bad Times,” there is lot in-between. In songs like “Bald-Headed Blues,” they play a delta type of rhythm, and then contrast that with Gaye belting out her blues. Each song takes on a different flavor. There’s the very soulful, deep lullaby, “Blue Lullaby,”that Andra wrote and sings so beautifully. Then there are songs with the bouncy, boogie piano-playing that Ann has mastered. There are even more changing moods in this excellent album. Check it out!!! It is a great album where the 25 years of these three UPPITY BLUES WOMEN have melded together as one in their songs, arrangements, and actions. They are a very unique, highly entertaining group of unusual women. It has been a pleasure to follow their music from beginning to end.
----- Maria Bainer
This review has been complimentary written for your newsletter by Peter "Blewzzman" Lauro, a contributing writer for BLUESWAX, BluesART 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
Jeff Dale and the South Woodlawners
"Blues From The South Side of My Soul"
Pro Sho Bidness / R.B.I. Media
Peter "Blewzzman" Lauro ? July 2009It's been twenty years since Jeff Dale's had anything to do with the music scene. Coincidently.....or not, it's also been twenty years since he's done anything at all. It seems that his disappearance, in 1988, still remains a mystery today. From the looks of the photo inside the discs jacket, my guess is that he - to use a phrase from 'The Godfather' - "went to the mattresses".....capiche? However, all that matters now is he's back.....man is he back!
Similar to where most of the blues in his home city of Chicago come from, Jeff's blues also come from the south side.....the south side of his soul. Hence, the disc, "Blues From The South Side of My Soul", featuring eleven Jeff Dale originals of which most are serious Chicago style blues with some not so serious lyrics.
The South Woodlawners are made up of: Jeff Dale on Guitars & Vocals; Rich "Darth" Hyland on Guitar, Organ & Percussion; Clark "Sparky" Pardee and Robert Von Goeben on Drums; Geoff "Jeff" Mohan and Jeff Stone on Harmonica; Mark "20 Mill" Brown and Derek Phillips on Piano; Georgic Avenesian, Lightnin' Dan Sonenfeld and Ron Hagadone on Guitar; Ken "Stormy" Monday on Bluesoon (a blues bassoon); Anitra Castleberry on Background Vocals; Jim Jedeikin on Saxophone; Peter Kashmer on Bass; Lee Loughnane on Trumpet.
Quite simply, the title track, "Blues From The South Side of My Soul", is an ass kicker. Jeff Dales vocals are rough, tough and gruff and his guitar leads are ferocious. Geoff's amazing yet eerie sounding harp leads sound like they're leading you down some dark alley where you'll get even more of an ass kickin' - from the rhythm section.
If you're lookin' for the hottest southern lovin' you need to get some "Alabama Lovin'". That's where Jeff knows a hottie "who's body is a temple for five days a week, but on the weekend it becomes a fun house ride". Every father's nightmare! This whole track, highlighted by the fierce horn section and sharp background vocals, is like a fun house ride.
If "You Don't Know Nothin' About Chicago", maybe you need to give this track a listen. That's when you'll find out what really makes this famous city tick. You'll also hear some great harp from Jeff Stone, great lead guitar from Dan Sonenfeld and absolutely beautiful background vocals from Anitra.
I don't think I've heard of a better reason for using reverse psychology than the way it's used on this track. It's Jeff's way of explaining why a pretty, young lady may not find him, the old man that he is, too appealing........she's just not ready for a "Grown Ass Man". Good thinking Jeff. On this one, the smoking guitar leads are courtesy of Rich.
It's been a real long time since I've had to use any pick up lines, but even if I had to, I don't think telling my prey that "I'd Hit It", would quite be the one I'd use. I just can't see that one working. What does work is the way Jeff gets nasty with his guitar and vocals on this, another down and dirty smoker. Great Jimmy Reed type harp by Geoff also highlight this one.
When you need servicing, there's nothing like having a big gas......big gas...... "Big Gas Station" up ahead. However, it's not Jeff's car he's looking to get serviced and it's not gas he's looking to fill up on. At two minutes long, this fast paced smoker is about 4 minutes too short. This is rockin' blues at it's finest, featuring Mark and Jim tearing it up on piano and sax, with Peter and Clark ripping it up on rhythm.
You can, and I recommend you do, check out the band by going to www.jeffdaleblues.com. While you're there, you'll be able to purchase the disc, tell him the Blewzzman sends his regards and possibly figure out..........oh never mind, some thing are just better not knowing.
----- Peter "Blewzzman" Lauro
This review has been complimentary written for your newsletter by Peter "Blewzzman" Lauro, a contributing writer for BLUESWAX, BluesART 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
Cee Cee James
"Low Down Where The Snakes Crawl"
FWG Records
Some of you may know of her as Cee Cee James, some of you may know of her as Christina Fasano - her real name, and some of you may know of her as "The Funky White Girl" - the nickname associated with her as a result of an earlier R&B release. On the other hand, some of you may not know of her at all, and if that's the case, you need to change that because this gal can sing the blues.
"Low Down Where The Snakes Crawl" consists of eleven low down and dirty Cee Cee originals. Joining her, on the Vocals & Percussion, are: Rob Andrews on Rhythm & Slide Guitar; David Malony on Drums & Percussion; Don Mohler on Bass; and James Howard on Lead Guitar. Special guests for this project include: Bongoman Bennett on Percussion; Rick Jones on Bass; Jerry Lyle on Lead & Rhythm Guitar; Terry Nelson and Larry Neubauer on Keyboards; and Michael Wilde on Harmonica.
As I prepare to tell you a bit about some of the songs, I'm faced with the extremely difficult task of avoiding redundancy. Ya see, Cee Cee has me so impressed with her incredible vocal prowess, that it could easily happen. Therefore, should I sound like I'm being a bit over complimentary, keep this in mind - she deserves it.
As I listen to the title track, I've become sure of two things. One is that you can't get any lower than "Low Down Where The Snakes Crawl" and the other is that I'm listening to a voice that the rest of the world needs to hear. The emotion that Cee Cee put into this song, her unbelievable range and scratchy, sultry style of singing, had me shaking my head in total amazement. It wasn't until the fifth or sixth listen that I realized what a good job the rest of the band had done. I'm sure this will be the discs best track.....I just can't imagine it getting any better than this.
On "Love Makes Change", you not only get to hear this amazing voice on the lead vocals, but you get to here Cee Cee do her own backup and harmonizing as well. I'm not even getting into how good that sounded or I'll forget about the rest of the band again. This one also features a good rhythm groove and great lead and rhythm guitar work out of James and Rob.
Speaking of rhythm, some of the discs best can be heard on "Desert Blues". Most of this track is highlighted by fierce drum & percussion leads by David. Of course, the vocals are........oh, you already know what I'm going to say.
"Make It To The Other Side" is an interesting track. It's a hard drivin' shuffle featuring spiritual lyrics with Gospel sounding vocals - hand claps and all. If you can imagine Canned Heat doing Gospel music, you'll have an idea of what this one is like. Great keyboard work from Terry on this one.
Ya think Cee Cee knows what to expect when she tells her man "I'll Ask The Questions, You Tell The Lies"? Obviously she's been there, done that. This is a cute, fast paced, honky tonk, sing-a-long type song featuring great piano playing from Larry.
As the saying, "you can't judge a book by it's cover", goes, everything isn't quite as peaceful and content as it may appear in that house behind the "White Picket Fence". Just ask Cee Cee, she'll tell you, and when she does, it will be with lots of sass. Her sixty second, vocally challenging, tirade at the end of the track pretty much says it all. This one features some of the discs better lead guitar work from James and more good rhythm from David, and this time Rick on bass.
Love done wrong, wrong love done or "Done Love Wrong" are three words - that not matter how they're arranged - just don't go well together. No matter how you lay them out, they'll always add up to a heartbreak.....just ask Cee Cee. With the guys in a very mellow groove behind her, this ballad is all about the vocals. The painful and emotional vocals. With her soulful, Joplin like growls, moans and whispers, Cee Cee is masterful and hypnotic on this one.
Other tracks on "Low Down Where The Snakes Crawl" include: "Black Raven", "Roll Me Over", "Watermelon Lucy" and "Spirit Of The Shaman".
Here we are with pretty much half the year still ahead of us, and I'm thinking I may have just listened to the 2009 Blewzzy Award winning disc. That translates to this - you've got to go to www.ceeceejames.com and pick up a copy. Trust me when I say it - once you listen, you'll have discovered the woman that the blues world will soon be marveling over - Cee Cee James. By the way, make sure you tell her the Blewzzman sent you.
----- Peter "Blewzzman" Lauro
This review has been complimentary written for your newsletter by Peter "Blewzzman" Lauro, a contributing writer for BLUESWAX, BluesART 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
The Bravuras
"Jerry's Blues"
Mark Records
While I'm sitting here listening to "Jerry's Blues", and reading the attached band information, what I'm hearing isn't quite jelling with what I'm reading. My ears are telling me I'm listening to one hell of a top notch blues band, yet their credentials include the likes of playing at the local Elk's Club and American Legion Post. I get all that.....trust me, I do. And as a member of the American Legion, I appreciate it as well. However, I'm baffled that I'm not seeing places like the Chenango Blues Festival, the New York State Blues Festival, the Mohawk Blues Festival and other top notch venues and clubs on their resume'. C'mon New York, wake up and smell the coffee........better yet, wake up and hear the blues - "Jerry's Blues".
The Bravuras consist of John "J. Bones" Puccio on Lead Vocals, John P. "Huff"ord Sr. on Guitar, Harmonica & Vocals, Felix Mayer on Guitar, George Mort on Bass and Mike Donaghue on Drums. Featured guest on keyboards include John Valby on Piano and Bob Volkman on Organ. They bill themselves as a "traditional old school blues band featuring powerful vocals and guitar", and that's exactly what I'm hearing. The disc consists of thirteen tracks with several band originals.
The band immediately starts living up to their billing on the opening track, "Crawlin' Kingsnake". It opens with a great guitar lead followed by equally great, slow and soulful vocals, with the rhythm guys settled in a nice groove behind it all. Excellent first impression.
It's obvious that J. Bones has, and most likely on more than one occasion, woken up with bullfrogs on his mind. His gritty interpretation of "Bullfrog Blues" will attest to that. This one's highlighted by some awesome drum and harp work by Mike and Huff.
"I've Got A Mind" is another straight up blues smoker. The sobering lyrics are magnified by J. Bones solemn vocal style and they're brought to life by the fierce guitar leads. Meanwhile, it's all held together by Bob's steady and prominent organ.
"I Can Tell" that this band knows how to get funky when it wants to. Just one listen to this fast, furious and funk filled track and you'll be able to tell as well. Of course this one is all about George and his bass and Mike and his kit.
Although just about every blues band has claimed to have the "Key To The Highway", I must admit I've never quite heard the song done this way. The Bravuras slowed it down some, countrified it a bit, added some paddle wheel boat style of piano and created a beautiful sound. Nice job guys.
"Dogs On Me" is definitely for the movers and the shakers. This smoker has to fill the dance floor at live shows. It's also a reason that the minds behind The Bravuras might want to think about making John a permanent fixture in the band. He totally tears it up on piano and runs away with this one.
The disc closes out with one of it's best, "Jerry's Blues", the title track. One of my many reasons for liking this one so much is that the vocals, which J. Bones nails, are sung in the style of one of my all time favorite vocalists - the very soulful Darrell Nulisch. It also features some of the disc's best guitar and rhythm work, with Mike working the cymbals with absolute precision. The mournful lyrics on this original track are an obvious, and worthy, tribute to a departed and deeply missed friend - Jerry.
Make the band happy, and yourself as well, by grabbing a copy of "Jerry's Blues". You can contact them at www.myspace.com/thebravuras. Please make sure you tell them that Blewzzman, a fellow Nu Yawker, sends his regards.
----- Peter "Blewzzman" Lauro
BluesArt-Journal - is an electronic publication. Worldcopyright © 1998-2009 BluesArtStudio, BluesLife, USA - AUSTRIA.
All rights reserved. Made with Macintosh
