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BLUESCARAVAN.COM SALES & MARKETING USA: IRA LESLIE | [email protected] PUBLICITIY USA: JILL KETTLES | [email protected] RUFRECORDS.DE FEATURES DEPARTMENTS CONTENTS 6 5 RIFF & GROOVES JULY 2016 Perfect Harmony From The Editor-In-Chief by Brian M. Owens by Art Tipaldi

12 ROYAL SOUTHERN 26 DELTA JOURNEYS BROTHERHOOD 14 Years Of Cat Head Passing Of The Torch by Roger Stolle by Art Tipaldi 28 AROUND THE WORLD 16 THE NIGHTHAWKS The Last Waltzes 44 Years On The Road by by Don Wilcock 30 BLUES STORE 18 NICK MOSS BAND CD, DVD, and Box Sets Brothers In Blues by Blues Music Magazine by Matt MacDonald 38 REVIEWS 20 MORELAND & ARBUCKLE CDs and DVD Reviews Fire & Energy by M. E. Travaglini 62 BLUES ALIVE The 37th Blues Music Awards 22 DION Photo Gallery Bronx Soul by Don Wilcock 61 BLUES NEWS Stony Plain, Alligator, & Bear 24 CHRIS JAMES & PATRICK RYNN 64 MUSIC SAMPLER TEN Worthy Contributors 16 Songs To Download by Michael Kinsman by Various Artist

COVER PHOTOGRAPHY © COURTESY OF TEDESCHI TRUCKS BAND ART & POSTERS © JEFF WOODS - ZEN DRAGON GALLERY CONTENTS JULY 2016

ver hear a musician tell about the effect we the crowd have on 1-855-USBLUES the performance? Usually it centers on a transfer of energy from PUBLISHER: MojoWax Media Inc. Emusician to crowd and back to musician. And when it’s intense PRESIDENT & DESIGN: Jack Sullivan and palpable, it can carry the musician into never explored musical EDITOR-IN-CHIEF: Art Tipaldi landscapes. It’s the same reason why musicians love all those “live-in-the- LEGAL: Eric Hatten studio” recordings. Energy in the moment. In those very intimate periods of time, the musician never holds CONTRIBUTING EDITORS up a cell phone to capture the moment. Because he or she knows that’s a Michael Cote / Thomas J. Cullen III /Bill Dahl feeling that cannot be digitalized. Hal Horowitz / Tom Hyslop /Larry Nager Whether you’re at a sporting event, a music festival, a tiny Brian M. Owens / Bill Wasserzieher / Don Wilcock blues bar, or any family gathering, everyone’s holding up a cell phone to ~~~ YouTube the moments. Watch the election primaries and all you see in COLUMNISTS front of each candidate is a flock of hand held, cell cameras. Sometimes Bob Margolin / Roger Stolle there are even artsy thinkers using their cameras to take videos of ~~~ cameras taking video. It’s all meant to upload and share with the world in CONTRIBUTING WRITERS the hopes of “going viral” or to relive the occasion at some later date. Vincent Abbate / Grant Britt / Michael Cala Mark Caron / Tom Clarke / Kay Cordtz Problem is, the moment is only the moment. The explosive Ted Drozdowski / Robert Feuer / Rev. Keith Gordon excitement of a touchdown catch, game-winning shot, walk-off win, last Stacy Jeffress / Chris Kerslake second goal, or hole-in-one cannot be re-felt on a tiny computer screen Michael Kinsman / Matt MacDonald / Karen Nugent in the comfort of your home. And sharing it with friends only loses the Tim Parsons / Phil Reser / Nick DeRiso overwhelming communal response to that split second. And it especially Pete Sardon / Richard Skelly/Eric Thom hurts when you have to explain what the feeling was like being there. Mark Thompson /M.E. Travaglini Same is true for those explosive flashes at a blues show. Bill Vitka / A.J. Wachtel Nothing compares to the shared experience of the moment when ~~~ Shemekia Copeland walks a club or festival sharing “Ghetto Child” with no CONTRIBUTING PHOTOGRAPHERS microphone. Remember seeing Rod Piazza walk a bar blasting his harp to Scott Allen / Robert Barclay / Les Gruseck “Southern Lady.” Or feeling the roar of an audience joining Aigars Lapsa / Pertti Nurmi / Rick Lewis on “Phenomenal Woman.” Or the shared tears when sang Joseph A. Rosen / Dusty Scott / Marilyn Stringer “When Hearts Grow Cold.” Jen Taylor / Susan Thorsen /Mike Shea / Laura Carbone / Dick Waterman Did you see Beth Hart at her 2014 ~~~ performance? Those were magical moments of shared ecstasy that were SUBSCRIPTION INFORMATION captured on the Blues Foundation’s DVD of the event. Great watching, but Web: www.bluesmusicmagazine.com it can never replace the collective joy that was heavenly during those 10 E-Mail: [email protected] exquisite minutes. ~~~ There are hundreds and hundreds of those shared incidents EDITORIAL QUERIES we’ve all been fortunate to behold. Like you, the reader, I have screamed E-Mail: [email protected] in joy with 50 to 10,000 fans at a note or lick in a blues club or enormous ~~~ festival. Through the years, I have wiped many tears as singers have laid BUSINESS AND CIRCULATION QUESTIONS bare the deepest reaches of their souls and connected with audiences. E-Mail: [email protected] I have seen last second, game winners and cheered and cried as ~~~ handicapped marathoners crossed the finish line in . None of my MEDIA SUBMISSIONS Mail 2 copies to: Blues Music Magazine thousands of photos bring back the electricity of the original moment. P.O. Box 1446, Bradenton, FL 34206 Those photos do, however, come with what the poet William ~~~ Wordsworth referred to in his “Tintern Abbey” poem: “When the wild ADVERTISING ecstasies shall be matured into a sober pleasure.” A place where the Web: www.bluesmusicmagazine.com memory offers “healing thoughts” and soothes in its own way. E-Mail: [email protected] That’s why you and I flip through photos from blues shows ~~~ decades ago. The excitement might have diminished, but the comfort of Blues Music Magazine welcomes articles, photo- the event still remains. Or why a song from our youth brings back a flood graphs, and any material about the blues suitable of sustaining memories. for publication. Blues Music Magazine assumes no I’m not suggesting that we put video-type cameras away; I’m responsibility for unsolicited manuscripts, photo- simply suggesting that in this social media driven world, we find a way graphs, or illustrations. Material may be edited at the to live in that present, split second moment more than look to live our discretion of the editors. To be credited and reimbursed, all submissions must be properly days digitally. To participate in the shared experience of the moment is a marked with name, address, telephone number, and spontaneous joy that can never be replicated. e-mail of author/photographer/artist. Payment for unsolicited material is at the discretion of the “Let the music keep our spirits high.” publisher. All material becomes the property of: Art Tipaldi Editor-In-Chief Blues Music Magazine © 2016 MojoWax Media, Inc. Blues Music Magazine is published quarterly by MojoWax Media,Inc., 1806 7th Avenue West, Bradenton, FL 34205. Periodicals postage is paid at Bradenton,FL and at additional mailing offices. Subscription rates (for 4 issues) are: U.S.— $20/year, Canada &Mexico — $30/year, Overseas — $30/year. U.S.funds only, cash, check on a U.S.bank, or IMO, Visa/MC/AmEx/Discover accepted. Allow six to eight weeks for change of address and new subscriptions to begin. If you need help concerning your subscription, e-mail [email protected] or write to the business address Blues Music Magazine, P.O.Box 1446, Bradenton, FL 34206. POSTMASTER: Send address changes to Blues Music Magazine, P.O.Box 1446, Bradenton, FL 34206. Toll Free: 1-855-USBLUES Tedeschi

by Brian M. Owens

erek Trucks and BLUES MUSIC MAGAZINE: How is the try to vary up the set list from night to night had burgeoning music careers tour going? especially if you’re in the same place. We Dbefore they met. These days, as see a lot of familiar faces from one night husband and wife and the principals : Good man. We just did to the next. We try to make every show, behind The Tedeschi Trucks Band, they’re a handful of runs where we were doing hopefully, quite a bit different. charting new musical territory that melds multiple nights in theaters. We did There’s a lot to choose from. blues, R&B, soul, and while creating the Theater for a few nights There’s all the records we’ve done an alluring blues-based pheromone that’s and the Keswick outside of Philly, the with this band, then we dig a little in to hard to resist. Their latest , Let Warner in D.C., and then three nights at Susan’s back catalog, and the same Me Get By, finds the couple surrounded the Ryman. It was fun. We hadn’t done with my group. We did that Mad Dogs by ten of the most powerhouse young that many multi-night stands in different & Englishmen thing early in the year, musicians of our time. Collectively, this places before. so there was a bunch of tunes from that band displays not only their songwriting show that are fun to play. savvy in the studio, but their preeminent BMM: Were you playing strictly musical prowess, night after night, stage material from the new album, Let Me BMM: What was the initial reason for after stage. Get By or a mix? starting the Tedeschi Trucks Band? I caught up with Derek and Susan just before was leaving on a tour Derek Trucks: A mix of everything. We Derek Trucks: I guess from the time of Europe, and they talked about their played almost every song on the record I met Susan, I had it in the back of my new album, , and why this over the course of the three nights. We mind that it would be great to form a band exciting collection of players is firing on all with her. Then it was kind of timing too. cylinders. Trucks P E H Band R A F R E M C O T N Y

PHOTOGRAPHY © COURTESY OF TEDESCHI TRUCKS BAND

When we were first together, we were so Derek Trucks: Oh no. My solo band was time in the year. Between my solo group, deep in to our own things at that point, on the road close to three hundred days the Clapton thing (at the time), the Allman and we were learning how to be married before I joined the Allman Brothers, and Brothers, two kids, and a marriage, it was and have kids. We weren’t even thinking when I was with the Allman Brothers we a lot of stuff to juggle. I really wanted to about adding to that (laughs). were filling every possible space. We’ve get down to just one or two groups full A good eight or ten years into always just been kinda road dogs and time. our relationship, I was at the point where that’s what you do. I was trying to step away from the Allman BMM: At that point, how long had you Brothers and trying to get down to just BMM: Without getting in to the details been in ? one thing. I was of the mindset that when of it, were there rumblings back then I did that, I was going to start something of The Allman Brothers disbanding? Derek Trucks: I think at that point fresh – even aside from my band. I told it was ten years. I ended up staying Susan that’s what I was thinking of doing, Derek Trucks: I think it was really just another five, so it ended up being fifteen and she was in to it. I was going to make me, and it wasn’t necessarily being all total. I felt like when we did the 40th a move one way or the other and do that unhappy in it. I’m just cut from that Anniversary, musically there was some something else. cloth that if you’re not moving forward amazing stuff, but a lot of that was the and doing new things and writing new guests. There were some amazing BMM: So it didn’t have anything to do material and it’s not inspiring you, then shows at that Beacon Theater run. We with staying busy in between Allman you have to shake it up. I think it was had , Levon Helm, and Taj Brothers’ tours? that, plus for me, there was only so much Mahal come in. In a lot of ways, I felt like JULY 2016 - Blues Music Magazine - 7 we wouldn’t top that again. good making that record. There was a lot another thing entirely. It found a home. As I said earlier, I’m of that of excitement inside the band. It was a The first time we played it with Kofi mindset where you want things to end new group with a lot of great chemistry. [Burbridge] and the rhythm section, it great. I felt like this is a good time to step The studio was just starting to hum and finished itself. away. But I get it, for the other guys, I working with Jim Scott was great. There wouldn’t leave something that I started were a handful of songs on that record BMM: It was obvious that you and and went forever with. It’s Susan had a clear idea a different mentality for for this group. How the original members, but did you handpick the for me, I was fully aware members for the band? that no matter how many shows I did or how many Derek Trucks: It was years I played with them, years of seeing these it’s not your baby. players perform. I They were in the remember seeing J.J. Hall of Fame Johnson (drums) playing before I ever stepped on in a trio with Gary Clark, stage with them (laughs). Jr. They were opening You don’t get that twisted shows for my solo band in your head. You’re happy seven or eight years ago. to be a part of it, and it’s I remember thinking, “That an honor. In a lot of ways, drummer is bad-ass!” I thought we brought it Doyle Bramhall had talked back to at least the level about J.J. too because he of musical respect it had at had played with him. Kebbi one point. That band went Williams (saxophone) is through a lot of changes somebody that Susan and ups and downs. I think and I had both been fans it ended on an extremely of in and around . high note. That part you’re So yeah, certain people proud of, but it was always you play with you put in Duane’s band and then the back of your head Dickie’s band and then and if the opportunity ever something else. comes up, you think, I’d love to see what happens. BMM: You and Warren When we first started, [Haynes] really buoyed we played with a lot of the act and brought it different people. We back to life. I can see how definitely had a feel and that 40th Anniversary a thing in mind, but you show would affect you realize that you can’t force that way. it. It doesn’t work if you’re just doing it on paper Derek Trucks: Absolutely, (laughs). You have to get and you know that deep people in a room together. down there’s a finite window when you that I think are really going to stand up. I We did a lot of open rehearsals and just can really kick the door down and get think when you’re making a record, that’s having people down at the studio. Just things done. At this point, I’ve been on the secret ingredient. jam sessions where you’re writing and the road for 25-26 years. You become a seeing where it goes. We played with a veteran at a young age doing it. I knew BMM: Were you writing with Susan lot of different people and there were a lot I wanted to start a new project with leading up to Revelator? How did the of great things that happened, but when full energy, and you wonder how long songs come together for the record? you get the right collection of people, it’s you’re going to have the full energy to do instant. The light bulb goes on. everything it takes to do it. With Susan Derek Trucks: It was a mix of things. and with me, there’s name recognition, Some of them were the band in the BMM: You’ve managed to keep a big PHOTOGRAPHY © RICK LEWIS but starting a band from the ground up, studio coming up with things on the fly. core lineup together since 2010. That’s you still have to make it happen. You There were a few that had been around no small feat. What’s your secret? want to make sure you hit that with a full for a little while, but never really found a tank of gas (laughs). home. “Midnight In Harlem” was a tune Derek Trucks: There’s been a little bit of that brought the sketches change over, and that’s just the nature of BMM: When you came out in 2011 of to my solo band. We had tried it, and it any band. But yeah, it’s in a really strong with Revelator, you turned everything just didn’t mesh yet. place at the moment. We work hard and upside down with that album. That When we first got in the studio we gig a lot. The reason you do that is record was unbelievable. to write with this band, Mike and I sat because that’s how you keep a band down, and I had the pattern that together. You’re not going to keep twelve Derek Trucks: Cool man. It felt really starts the tune. Immediately it became people on stage on the road if you’re too 8 - Blues Music Magazine - JULY 2016 Have A Question? Call 1- 855 - USBLUES scattered and sporadic. Also, the music Everything was written here in the studio BMM: Did you play your Gibson SG gets better the more you play. There is a with the band and recorded here. In the for most of the songs? tipping point there that if you’re grinding past, Susan and I worked with outside it too hard, you can lose a little steam, writers, which was great, but it was Derek Trucks: Yeah, same guitar and but you don’t learn to trust each other really something for the band to write the setup generally. and the E.S.P. doesn’t come out if you songs. There was a feeling through this don’t gig. It’s a working band that way. whole session that it was a band record. BMM: I heard soul, R&B, funk, and The musician’s there now, J.J. Johnson, influences. You really Tyler Greenwell, , and Tim BMM: You produced Let Me Get By. mixed it up on this record. Did that Lefebvre, those four together, it’s special. Was it your first time producing? just happen organically or did you Every night on stage, something have a plan in mind? happens where you have those moments Derek Trucks: With this band, it was the where you say, “We’re lucky to be in a first time that it was just me. For the first Derek Trucks: There was a sentiment band with that (laughs).” It’s the same two, I co-produced them with Jim Scott. that we were going to be more open with the singers now. Mike and experimental this time [Mattison], Mark [Rivers], and around. At no point were Alecia [Chakour] made it go we thinking about how long from two background singers a tune was or what format to a small choir. It feels like it would fit into. We were this massive vocal section. just going to let this record The section is in a really be what it was. Whatever great place now too. It’s just direction it goes, we’re just a different feel when you going to record it. have the right personalities in If anything, we were place. trying to represent what the group does live a little BMM: What was the more honestly as far as all sentiment going into the the different places that it new album, Let Me Get By? goes. In the course of a two It feels different than the or two and a half-hour show, other two records. this band hits on a lot of different things. We wanted Derek Trucks: It was me to represent that, but it really stepping away from the was the tunes. It was the Allman Brothers. It was songs that everyone wrote. our first time away from a major label. We were really BMM: When you come in between labels when we in with a song idea, how made the record. It was just does the process work total freedom in the studio. It for you to make the songs was the band getting together come to life? before a little tour trying to get some tunes together, and Derek Trucks: All different it immediately turned in to ways. Really it comes down a songwriting session. The to me and Susan and Mike beauty of being out there, Mattison writing the lyrics. rehearsing in a studio is you The three of us wrote the can throw up a few mics and bulk of the lyrics on the all of a sudden you’re making record. We all contribute in a record. different ways.

BMM: Really? It was like BMM: What was it like that? I definitely wanted to go into the first few playing with Eric Clapton at his records and have somebody else around Crossroads Festival? Derek Trucks: Yeah. It was very relaxed so it didn’t feel like I was taking the same ART & POSTERS © JEFF WOODS that way when we started making it. role as my solo band. Five years into the Derek Trucks: I was on the road with him There was no schedule. We just kinda band, everybody has their roles, and it for about a year before we did the first eased in to it. We started listening back was time to do it that way. We know the Crossroads with him. In some ways, the to things and then it dawned on us, “Oh, studio now. We know what the band is first Crossroads I did was the end of me we’re making a record.” Everybody in the capable of. I’ve been around Susan long touring with him. It was cool because it band got excited, and any time off that enough to know when there’s more that was a bit of a reunion. I was done touring we had scheduled, people were looking you can get out of her vocally. Unless with him and the Crossroads happened a to get back down here. We turned all that you’re around all the time, you’re just not month or two later. I think we’ve done two into band songwriting and recording. going to fully know. So it was time to self- since, three total, and it’s always The big difference this time produce it. In a lot of ways, it was me and around was, we did it all in house. the band self-producing. JULY 2016 - Blues Music Magazine - 9 amazing the collection of people he has fire that day. It was awesome. When I BMM to Susan Tedeschi: You have showing up and getting hang time with first started playing, those early Johnny come such a long way since playing him. He’s a great guy. Winter records were in heavy rotation. It local clubs in . Did you was a mix of getting to be on stage with ever think you’d be where you are BMM: Is that how you met Doyle one of your idols, but also seeing a guy now? [Bramhall] or did you know him who is maybe under-appreciated and before? getting to the end of his road, but really Susan Tedeschi: I don’t know really. I light it up. I was a student, but there was don’t think I would be doing all the stuff Derek that I’ve Trucks: I’m done, that’s pretty sure for sure. that’s how I I thought met him. He I would had worked be on the on one of road, I just Susan’s didn’t know records in what before. capacity. Eric was talking about BMM: Early bringing in a on, what third guitar was it that player, Doyle made you threw my want to name in to put the the hat, and Tedeschi Eric reached Trucks out. In a lot of Band ways, I owe together? that gig to Doyle. Susan He’s Tedeschi: the one that For one, a first turned great idea is Eric on to our to play with stuff. The first time I really met and hung also a lot of pride watching him whip ass the best people possible. I’ve always with Doyle was also the first time I hung (laughs). That was a highlight for sure. wanted to play with Derek. He’s one of with Eric, which was on the J.J. Cale the best guitar players out there. Music sessions, The Road To Escondido. That BMM: When you were a kid, did you wise, we have a lot in common, and was a pretty fateful recording session ever think you’d be where you are there’s a lot of little things he does that (laughs). today musically? Playing with the I like and that have opened my eyes Allmans, being married to Susan and to a whole other side of music – Indian BMM: You got thrown right in to that playing around the world? classical, Pakistani Qawwali music, and one. – things like that. Honestly, Derek Trucks: No. We talk about that I just wanted to be with him more and Derek Trucks: Yeah. Billy Preston was a lot, me and Susan. You have to pinch see him. We were like ships in the night on that session too. It was over the top. yourself sometimes. My dad was a all the time. His bus would go in one roofer, and my mom was working part direction, and mine in the other. Having BMM: As an accomplished slide time at an elementary school. Lights children and raising the kids, I felt like I player, what was it like playing with were getting cut on and off. It was an was going one way with the kids, and he the late ? awesome upbringing (laughs). We would was somewhere else. So part of the plan go out to blues clubs on weekends, and was to do a band together so we could all Derek Trucks: Johnny was great. I it was an amazing thing, but you never see each other more. remember being eleven or twelve and thought you’d be traveling the world playing a show in Gainesville, , at playing music the way we are, like flying BMM: Revelator had a very the Florida Theater. We opened a show my dad over to the Royal Albert Hall for progressive feel to it where Let Me ART & POSTERS © JEFF WOODS for Johnny, and I remember looking side those Clapton shows. Get By is distinctly different. What stage and seeing Johnny there checking Some of the real legit hangs was your sentiment going in to this out the set. He was super sweet, and I that we had with B.B. King, me and album? got to hang with him afterwards. I had Susan and our kids, or with Les him sign my guitar. I didn’t really see him Paul, it’s just things you would never Susan Tedeschi: I think doing it all in a lot after that. imagine. You’re never arrogant enough house and not having a bunch of people When we had a chance to to think they would happen to you telling us what to do. It was nice to see see him again at Crossroads, it was (laughs). It’s been a pretty insane run. how a record came together organically awesome. To see him in front of a crowd with this group without really trying. We like that and just throw down, he was on didn’t really try hard other than just 10 - Blues Music Magazine - JULY 2016 Have A Question? Call 1- 855 - USBLUES trying to write songs, having a good time Sophia on to “Jolene,” which is a song BMM: Has radio latched on to that and also stretching out a bit more and that Dolly Parton had done. They were song? showing what the band does live. watching a video, and her guitar player I also really wanted Mike at the time was playing a fingerpick style. Susan Tedeschi: Oh yeah. “Anyhow” [Mattison] to be singing some lead Derek thought that was really cool. So he has been #1 or #2 on four different because he used to be Derek’s main took a different chord, learned the picking formats of radio. It’s been on AAA and singer, and he also had his own band, style from watching the video, and came Americana radio. It’s even been on the . He’s an amazing singer. up with the chords for “Anyhow.” Then Billboard Top 200 since it came out. He’s one of my favorite singers out there. Mike, Derek, and I sat down and said, It’s doing better than any of our other I just think it helps to show people what “What are we going to do with this song?” records, solo or combined. the band really is. To have him singing We had an outline, but we really lead on some songs is nice. didn’t have a melody or lyrics yet. So we BMM: This album is a broader It’s such a diverse band that sat down and put some ideas and verses sounding record. I hear New Orleans, can really do anything. I love that this is together. The “Anyhow” ideas kinda I hear funk, I hear R&B, I hear old the first time we didn’t soul. You guys really get together with other captured all of them . We just without pigeonholing got within the band. Kofi you in to any one helped with “Let Me Get genre. By,” and Tim [Lefebvre] had a lot of great ideas Susan Tedeschi: Well, on some of the songs. thank you. The thing His bass playing alone that’s so hard about this really helped define band is putting us in a some of the songs. And box. People want to we even have having stick us in a category, J.J. write a song. It but they don’t know was really cool to see how. I say, “What about everybody have more just a music category?” of a hand in it. BMM: “Don’t Know BMM: It makes What It Means” was everybody feel a part really funky and of something bigger featured a sing-along than themselves. chorus that was very cool. Susan Tedeschi: Absolutely. I’ve heard Susan Tedeschi: That the guys say that. song is such a fun They feel like they’re party tune and so much more involved and fun to play. People more a part of it. That’s just start dancing right important. If you’re out away because Tim there doing this all the Lefebvre’s bass line time, you want your on that is so funky. It’s guys to feel a part of it. amazing. He did such a great job on that. BMM: Since 2010, That song came along you’ve kept a large from J.J. Johnson, our core of your band drummer. He said, “I members intact have this melody.” He and that’s a big got together with Kofi achievement. You’ve really managed came out. I was just saying thoughts that to put some chords behind it. Then, Mike to keep things together. came to my mind. That’s how the chorus and I came up with a couple of different came out. The lyrics for the verses came scenarios for the chorus. We wrote a PHOTOGRAPHY © RICK LEWIS Susan Tedeschi: Amazingly, they want out sitting down with Mike and Derek. bunch of lyrics, presented them to J.J., to be here. We want them here and they We really wrote it out and tried to think of and asked him what he thought. He said, want to be here. We’re all having a good some cool imagery while leaving it up to “Cool. It sounds great.” time. the interpretation of the listener to decide When we recorded it, we went what it is actually about. It can have a few in and made sure that we had all the BMM: I really dug the tune “Anyhow.” different meanings, but really at the end basic tracks and that the rhythm section What was the genesis of that song? of the day, it’s about going in and out of was really happening. Then we said, good and bad relationships and learning “Why don’t we get everybody to sing on Susan Tedeschi: That song came out from life and realizing there are certain it?” We had everybody in the band pretty when Derek was messing around on the people that you would do anything for. much singing. Everybody is on it. It’s a guitar. He was turning our daughter communal thing. We’re all clapping and JULY 2016 - Blues Music Magazine - 11 having a great time. I love that tune. Susan Tedeschi: Yes, Mike is singing BMM: Before we close tell us a good It’s been really fun to play, and I like it lead on that. Mike wrote most of that. B.B. King story. because I get to play some guitar on it. Derek and I helped him a little bit, but Mike wrote a big chunk of that. I loved Susan Tedeschi: Oh man, there are BMM: You added Alecia Chakour on that we put strings on that too. That so many. One time we were on the background vocals along with Mark sounds really cool, and it was something road, and my band was opening for him and Mike. That really expanded your new for us. in Switzerland at the Montreaux vocals didn’t it? Festival. He said, “Susan, I want you to BMM: Then you went in to this wild sit in with me tonight. Do you want to Susan Tedeschi: It really has and live solo instrumental ending, where it come out?” I said, “Sure, okay.” So I’m especially because we added her after quiets down and then gets right back standing side stage at the end of the night the fact. We made the record, and then in your face with a George Harrison and he says, “My favorite guitar player in we put her on as we were finishing it up. vibe on the next track, “Hear Me.” the world is here tonight, and I’m going She wasn’t in it from the beginning of the How did you develop the segue in to to have him come out.” I knew it wasn’t making of the record, but she really adds “Hear Me?” me so I’m looking around to see who’s a lot. on the side of the stage, and it’s George Now it sounds like we have a Susan Tedeschi: Yeah, that’s a beautiful Benson. I knew that was one of B.B.’s real choir behind us because she has song. That one is interesting. Originally, favorite guitar players. So he says, “I’m a really beautiful, powerful voice. She’s it was just Derek and Doyle playing two going to invite some friends out. George, a very talented musician. She can play acoustics together. Then we built tracks Susan...” I was, Holy shit, I’m going out all sorts of instruments. Alecia is a huge around that by adding bass and drums. on stage with George Benson and B.B. upgrade for us. It’s also great having King? I can die now. When I got out more women in the band, having her and BMM: When I hear you sing you there, I looked and he had George Duke Elizabeth Lea now. It’s really awesome. remind me of . You’re on piano. I thought, “What is happening?” They’re both super sweet girls who know right there with Bonnie. That was a life moment for me where I how to be on the road and know how to had to pinch myself the entire time. B.B. be around twenty men. That really helps, Susan Tedeschi: I always get, “How do is just one of those guys. He was always and it really balances it out a bit. It’s you sound like and Bonnie down to earth, and he always made you nice to be in a band with so many great Raitt?” When I was younger, I use to feel completely comfortable. musicians. Everybody’s listening to each do the Janis thing a little more, but then Years later, B.B. was playing Royal other, and to have a few women in there I went from Janis and learned about Albert Hall, and they asked if Derek and now, it’s really great for me. I’m not the and and I would sit in and play. They had other only woman anymore, so I enjoy it. developed in a different way. guests and B.B. was up there. They were Honestly, Bonnie, I can see that. Her trying to produce it a certain way. They BMM: Who sings lead on the song, birthday is the day before mine. She’s were telling him what songs to do and “Right On Time?” exactly twenty-one years older than me. how to do the show and that just didn’t We both have a lot of similar influences. work for B.B. He had to do it at his pace. Susan Tedeschi: That’s Mike singing We both loved all the old blues guys, He liked to talk to the audience and do lead, and then I sing it as a duet with and they were really sweet and some the songs that he was feeling. So Derek him on the second verse. That’s one of how loved us back. We do have a lot in said, “B, just do what you do.” my favorite tracks on the record. I was common and I just adore her. She is a He had met Derek a bunch of going to write with Derek and Mike that sweet, sweet woman. times at that point, but had never heard day, but they had already started on the him play. So we’re up on stage watching song. They were in a room in our house BMM: Are you still playing your B.B. and I ran back to do something in jamming and making stuff up. They Fender Telecaster? the dressing room. I heard Derek yelling sounded great. I was just going to leave for me, “Come up here, he’s calling for them to it. They wrote that beautiful song Susan Tedeschi: I do. I play a Telecaster, us.” It was 45 minutes earlier than we in just a couple of hours. but I also play a Strat. I play my birth were supposed to be on stage. I think he year Strat. Derek bought it for me for my just got nervous and wanted us up there. BMM: I couldn’t help but hear that birthday a couple of years ago. He said, So Derek gets me and we’re up whole New Orleans vibe with the “What do you want?” I said, “I want my there with B.B. He starts telling stories horns in there. birth year Strat. A 1970 with a rosewood and he’s really comfortable now and we neck.” He got it for me. It’s beautiful, and start playing together. We did “You Are Susan Tedeschi: Yeah, yeah, and you I love it and play it every day. The original My Sunshine” and then he had Derek should hear Elizabeth and Ephraim play Telecaster that I use to play all the time, play. The first time he heard him he that live. It sounds so great. It’s great to I’ve taken off the road. I don’t want all basically almost screamed. He said, “Oh see the horn section getting along so well the signatures to come off because it my goodness. People do you hear that? and being really productive lately. The has and B.B. King and That’s what guitar is supposed to sound three of them really work well together, they’re all gone now. I’m sentimental like. That’s how you tell a story.” He was and they’re not afraid to keeping working about that. hearing Derek for the first time playing at it. It’s an exciting band. live with him at Royal Albert Hall. He was BMM: That’s a museum piece now. so enamored with him. He said, “Now I BMM: “Crying Over You” and then the know why Susan married you. I would “Swamp Raga” thing is completely Susan Tedeschi: It is. It’s got my whole marry you too.” He loved him from then wild. Does Mike sing lead on that life on there. on. song? 12 - Blues Music Magazine - JULY 2016 Have A Question? Call 1- 855 - USBLUES

Royal Southern Brotherhood

by Art Tipaldi THE PASSING OF THE TORCH

ince its birth in 2012, the Royal Changes in essential personal would in January 2014 and got an e-mail from Southern Brotherhood’s success doom most bands, not this one. This them asking if I was interested. I planned Shas been focused on its virtuoso current incarnation features founding from January to October, then went on musical performances and tough, members and . the October 2014 Legendary Rhythm & meaningful songs. The bar has been The double guitar attack centers around Blues Cruise with the band. Mike and I elevated with a fresh band make-up and Bart Walker, who replaced in split the sets. He would play the majority the release of The New Gospel. October 2014, and Tyrone Vaughan, who of the first set, and I would play some at The last story I wrote about replaced in April 2015, the end. As the cruise progressed, we the Royal Southern Brotherhood while the rhythm section is centered by swapped roles, and I’d play the majority (RSB) ended with founding member the band’s new bassist Darryl Phillips, of the set and he sat in at the end. That Cyril Neville comparing the band to a who replaced Charlie Wooten in January was the passing of the torch.” satisfying gumbo. He noted that the right 2016. A little more than a year later roux makes soup into gumbo. Now in In this age of social media, and Vaughan, son of , 2016, with three new members, Neville band vacancies are not posted on replaced Devon Allman. “It was timing. At explains the current success of this Fabebook or advertised for in Billboard: first it was to get together and write with current incarnation. “I always make the “Guitarist Wanted for Established World Cyril Neville. That’s a name that goes gumbo analogy that as long as the roux Touring Band. Must have outrageous right back to when I was a kid. We had of the gumbo is correct, the rest of the chops.” Rather it is decidedly old school, Meters’ records in the house from the ingredients don’t matter because the either through word of mouth or personal get go. They were coming out to the Sub roux is what makes the gumbo.” relationships. Creek Saloon where my parents were What is the roux of the RSB? In 2014, as Zito was looking to hanging out in the old days. Another “It’s the songs,” Neville continues. “There focus on his solo career, the talk centered important connection was that Art Neville is the musical content, the lyrical content, around Nashville guitarist Walker. “I wrote ‘Six Strings Down’ when Stevie and in the middle of that is your intent, opened for them when they played their went down. It was on my dad’s first solo what you feel your purpose is. Whatever very first gate at the Rockin’ Bowl in New record after Stevie died. the configuration was, as far as the Orleans in January 2012,” said Walker. “They were looking for another men making the music and playing the “At that point I had won the Albert King guitar player, and I was looking for songs, the mission of the band has never Most Promising Guitarist Award at the something. I went to and sat in changed.” 2012 International Blues Challenge in with them. I learned a couple of songs What has changed over these Memphis. Cyril gave me, and he said be ready to four years is the band’s personal. “I’d just come off a cruise ship come up and sit in.” 14 - Blues Music Magazine - JULY 2016 Have A Question? Call 1- 855 - USBLUES Walker remembers that night is when it’s really cool,” says Walker. plays was just solid. Bart and I looked at with a smile. “Cyril kept calling him ‘neph,’ “The fun part of playing together is that each other with smiles. He processes the like he was his nephew. ‘My little ‘neph you become each other. I’ll start playing information, and he understands Tyrone’s gonna sit in.’ So we all thought like him, and Tyrone will start stretching the role of our instrument as a foundation this little black dud was gonna sit in, and himself out. That’s when you really start player. He’s solid. He already gets it he shows up.” to become musical brothers.” before I even say it.” That’s the main focus of the From there, The Royal Gospel band’s roux, to become musical brothers. came to life. For the band’s legions “It’s a blessing when it comes to making of fans around the world, this CD transitions that you can find people who represents the birth of a bold new Royal fit perfectly and you weren’t even looking Southern Brotherhood, a band not afraid for them,” says Neville. “It’s like Bart and to speak its mind with timely songs Tyrone were hiding in plain sight. So whose messages reflect the world this there is no break in the forward motion. band sees every day. This reminds me of the Neville Brothers “The title, The Royal Gospel, because even though things kept addresses some of the subject matter changing, the gumbo stayed the same. in the songs,” says Neville. “The whole “Whatever the configuration record is geared towards making a joyful was, as far as the men making the music noise, but while we’re partying, we still and playing the songs, the mission of need to be thinking about what’s going the band has never changed. The proof on around us. It covers what we’ve seen was that on the first day we recorded in our travels over the last few years, and four really hip songs together. The whole what we’ve lived personally as citizens of atmosphere in the studio was to make the world. We have one song, ‘Stand Up,’ Imagine replacing not one, but two each song stand on its own so that where the basic music is Gospel revival . For Vaughan and Walker, the fit with an everybody stand up, church feel, was immediate. They agree it happened but the subject matter is about today.” during the recording of the first song In addition to “Stand Up,” songs for 2015’s critically acclaimed Don’t like “I’ve Seen Enough To Know,” “Land Look Back. Now after sharing the stage Of Broken Hearts,” “Hooked On Plastic,” touring over the world for well over 100 “Can’t Waste Time,” “Coming Home,” dates and recording the current record, “Everybody Pays Some Dues,” or Pop The Gospel Truth, Walker and Vaughan Staple’s “I Wonder Why” are songs have a total appreciation of each other’s written or chosen to voice the Royal strengths. In fact, they’ll even finish each Southern Brotherhood’s concerned other’s riffs and sentences. social activism. “We both have this ability to “That’s what’s always been make you forget about the most amazing when this new record is played from the true about the blues. It’s always been guitar solo the other one just played,” beginning to the end there are no fillers.” about storytelling about actual things says Vaughan. “I can play the solo of my The studio experience came life and die tomorrow happy and Bart’s with a new set of challenges; it was the gonna make you forget about it within introduction of new bassist Darrel Phillips the first couple of bars. Then he’ll do to the band. Phillips is from Austin and something amazing, and …” has been a friend of Vaughan’s for over “He’ll strangle it,” says Walker. 20 years. He was also a member of Sister “We have the ability to pass things back- 7 contributing on three records during a and-forth like Pippen and Jordan. I can ten year run. be in the middle of a thing and just give “It was probably most interesting a nod and everybody’s still looking at me, because I hadn’t met these guys yet, and but the sound’s coming from over there.” my first job was to make a record,” says “I play a blues-rock style. That Phillips. “We walked in not really knowing fits and works in this band. But if you what we were gonna do. I was getting want to stretch the spectrum of music, songs the night before. We get there and Bart can cover so much ground,” says within a few bars, there’s the song.” Vaughan. “The kid can play all styles. Adding a different voice on bass It’s incredible to see him give what every can play havoc with the longtime rhythm song needs every time.” section of Neville and Scott. “I’ve always “What I really love about this said that a bass player and drummer that actually happened to people,” says band,” says Walker, “is that I get to step are the bottom brothers,” laughs Scott. Neville. out, and I get to do me, but I also get to “In my career, I’ve been blessed to have “The whole mystic of the band step back and make Tyrone and Cyril played with a lot of really good, solid bass and the whole spirit of the band is now sound better when they do their thing. players. I like a real solid foundation, bigger then even the five guys who are in That’s my job, to get out-of-the-way and simple, four-string fat, traditional James the band now,” says Scott. “So we have make them sound as awesome as I can Jamerson sound. to make sure that everything we do from make them sound. “We get in the studio, and he this point on has the integrity and spirit of

ALL PHOTOGRAPHY © ART TIPALDI ART © PHOTOGRAPHY ALL “When your DNA starts meshing pulls out a six-string. The first thing he the band.” JULY 2016 - Blues Music Magazine - 15 by Don Wilcock The Nighthawks 44 Years On The Road ow is Nighthawks band leader up a wonderfully aggressive and scrappy these other people telling me, ‘You gotta Mark Wenner going to know when mongrel bite that handles everything do original songs, and you can’t just do Hit’s time to quit? from standards to those old songs that everybody’s sung “I’ll probably fall over before raucous . Their most recent CD before.’ All these industry rules that were (that happens),” he says with more truth Back Porch Party includes ’s being imposed basically on a traditional than sarcasm. country classic “Walking After Midnight” form that I always thought the whole idea For most of its 44 years The right next to ’s “Matchbox,” was you’re carrying on a tradition. Muddy Nighthawks have been together they’ve Muddy Waters’ “Rollin’ Stone,” and five Waters was singing PHOTOGRAPHY © MARILYN STRINGER been called “the world’s best bar band.” originals. Wenner chuckles that after songs, you know? It’s like it changed it Their alumni include such illustrious 44 years the record company now calls a little bit, but he’s imitating. He goes blues artists as , Jimmy the group “legendary,” and their publicist “Kind Hearted Woman,” and he goes up Thackery, and Jimmy Hall. Their current refers to their sound as “seminal roots to falsetto just like Robert Johnson did. lineup includes bass player Johnny music.” Wenner simply labels what they “I listen to people who say, ‘You Castle originally from a DC ‘60s band do as blues and roots rock. gotta spend $100,000 to get an album called Crank and guitarist Paul Bell, both In 2011 they won their first Blues that people are going to listen to and with the group for 12 years, and Jimmy Music Award for Last Train To Bluesville, you gotta overdub and multi-track and Thackery alumnus drummer Mark Stutso an album of blues classics recorded in blah,blah, blah.’ So, Bill Wax (at Sirius/ for seven. two hours at the Sirius/XM studios in XM Bluesville channel) heard that we Long known for their hybrid Washington, DC. “It was a bizarre fluke,” were doing this. So we come in and sound and dismissed by blues police the says Wenner, “dealing with the powers plug in a couple of these songs, and we world over, they have consistently served that be and the blues police and all walked in there at 11 in the morning, and 16 - Blues Music Magazine - JULY 2016 Have A Question? Call 1- 855 - USBLUES by 1 o’clock we had cut the whole album. “Now, I’ve got this little Korean that kicks “The name actually came into We just kept going. It was like no one my ass twice a week, and then when I’m my full consciousness because I had a said stop. I don’t know if in the back of on the road I do pushups in my room, ‘58 VW bus. It wasn’t a bus. It was a truck, my head I knew I was going to try and do all kinds of stuff. People say, ‘Oh, you’re had no windows. It was painted flat green that or not, but I had a bunch of songs I in great shape.’ This is true of a lot of with flat black fogging and was sitting wanted to try. people that have that kind of surgery. I’m under a street light, and my buddy says, Their underrated follow-up, really good with my diet, and now I sneak ‘Ah, there it is, the Nighthawk,’ and the 444, their first under their own label off to Five Guys once in a while. I like it. big light bulb lit up. I was searching for a Eller Soul, is eclectic and good timey You know?” name for the band. We’d actually played a timeless. “And of course with Back Porch Unlike so many rock bands gig under the name Magic Duck and the we pushed the parameters even more.” that continue for years, but become Blue Goose. We were calling our drummer Released in 2015, Back Porch Party performing juke boxes resurrecting their Magic Duck at the time. Obviously that was done acoustic in front of a group greatest hits from decades ago, Wenner wasn’t a permanent name. of 20 friends. “There’s something about has methodically built the Nighthawks’ “Then I started calling myself The just showing off in front of people and name with an ever changing cadre of Nighthawk for a short period of time. friends and being in the performance musicians who have strengthened the I actually have a card that says The mode rather than the studio mode,” says band’s repertoire from mostly covers to Nighthawk, , blues, and Wenner. These three prove that a viable recording band whose originals beyond or something. It has no phone the band has graduated from bar band to are often as good or better than their number because I was living out of my a consummate professional unit that can classic blues and rock covers. The name car at the time, but I remember we were do whatever they want and to hell with itself now is a valuable cache. doing the let’s name the band discussion the blues police. The Art Institute of Chicago one day, and I said, ‘Well, what about the So, will they know when it’s time describes Edward Hopper’s 1942 Nighthawks,’ just throwing it out there. to quit? What a stupid question. Have painting Nighthawks as being “inspired They’re going, ‘Oh, you asshole. You you ever known a seminal blues road by a restaurant on ’s Greenwich know, what an egotist,’ and then, ‘Oh, warrior to turn in his gun and holster? yeah, it’ll work.’ Oh, ok, and there we That said, Wenner came precariously were.” close to “falling over” in 2012. “We were The logo of a bird in flight is humping the gear across this parking lot,” almost as striking to blues fans as the Wenner recalls, “and I just sat down and Harley Davidson logo is to bikers. “We I go, (simulated heavy breathing). Paul had an earlier logo on the cover of Rock said, ‘Are you alright?’ ‘Oh, yeah. I’ll be ‘n Roll (1974) that my old girlfriend did. fine. I’m just catching my breath.’ There She’s actually selling shirts with that old were plenty of red flags that no one was logo on it now, but the (logo) started to really seeing, especially me.” look like a run over chicken. That wasn’t Wenner ended up having a five- the image we were looking for. So there way heart bypass. It barely slowed him was a graphic artist around. She was I down. “In a month I was out sitting in with think the girlfriend of the guy from Adelphi my own band. They were out playing with Records (The Nighthawks’ first label). Tommy Lepson as the Tommyhawks, “We just sort of threw the ball in and I started showing up and sitting in in her court and said, ‘Give us a logo.’ And a month and in six months I went back to Avenue where two streets meet, but the she came up with this really cool logo that work. image – with its carefully constructed I have tattooed on me with wings curved “I remember we were playing composition and lack of narrative – down on either side which I thought was this parking lot out at the Harley shop out has a timeless, universal quality that pretty cool, and it actually makes a better in the sun, and I said, ‘Oh, this might be transcends its particular locale.” While tattoo, but, No, no. The wings should be a tough one.’ And I hired an extra guy, a Mark Wenner says it’s purely coincidence up. So the poor girl drew it about four friend of mine, to play second guitar and that his band has the same name as different ways with the wings up, and then be able to jump in and do some material this iconic painting, the description of we picked one, but it obviously seems to in case I needed to sit down, and he was this stark, gritty painting could be used work. You’ll see them no matter where

LOGO © COURTESY OF THE NIGHTHAWKS the one that got woozy. ‘I don’t feel good.’ to describe the band The Nighthawks. you go. There they are. And my t-shirt guy I said, ‘Well, you’re not wearing a hat, Wenner says he did not take the name goes, ‘Everybody else I do, they have a you dumb shit.’ We were playing out in from that painting. shirt for every season. I have to recut your the parking lot on Memorial Day, and he “The name of the band was just stencil every once in a while because they didn’t drink enough water, but I couldn’t a great name. I mean there was a little got worn out.’” wait to play again.” bit of the fact that had So, time to quit? No, no, no. “We Liver disease didn’t stop used it and that scored us a big influence were playing with Hubert Sumlin a bunch Howlin’Wolf. Muddy Waters died with his with Muddy and Pinetop. When Muddy when he was dragging that oxygen thing boots on, and B.B. King and sang on “Open All Night:” “they have a around. He’d get up out of his chair and both continued performing with diabetes. beautiful name, they are the Nighthawks,” tangle his own oxygen cord up. ‘Why don’t If anything, Wenner says he’s stronger he didn’t say we were any good. We (just) you just stay home, dude?’ But he didn’t than before the operation. “I’ve got better have a great name. (Robert) Nighthawk want to stay home. He wanted to play.” vocal range, more harp power. I had no was a great influence on Muddy. Muddy That’s the blues. idea how fucked up I was. I apparently admired Nighthawk, a slightly previous had a heart attack that I missed. Might generation and certainly an incredible have slept through it or something. slide player. JULY 2016 - Blues Music Magazine - 17 Nick Moss Band

Brothers In Blues...

ick Moss’ twelfth release, From because that’s where I come from. in there and I said, “No, no, no, man. The Root To The Fruit, is an Each one of these guys has a different Just go to town. Just go gospel, man.” Nambitious, 27 track, double length background. And he goes, “Okay, man! I got effort a year in the making that ranges And then there’s Michael you now!” And the very next take, he from the traditional blues that fills Disc Ledbetter, whose life was opera for eight killed it. I sat there in the control booth, 1 (The Root) to the wide ranging Disc solid years before he seriously got into and I looked at my engineer and I’m like, 2 (The Fruit). The idea of the album, the blues. After sitting in with the Kilborn “Holy shit, man! Now I’ve got to hire this according to Moss, is “to show how the Alley Blues Band one night, he was guy.” because I’ll never be able to do this blues goes hand in hand with almost all approached by Kate Moss (Nick’s wife), live because I wouldn’t want to because it modern styles of music, because modern who offered to get him up on-stage with sounds too good now and I can’t do that. and contemporary music sprang from the her husband the next night at Rosa’s He’s definitely a strong enough vocalist blues.” Lounge. to have his own opinions about things, Moss, a veteran guitarist/ but he’s also a smart enough young man bassist who, in his early days on the Michael Ledbetter: He let me sit in with to take suggestion and take direction. scene, worked closely with many of him on-stage, and we built a friendship Since then, Ledbetter has the greats – most notably Willie “Big from there. For about a year, he was steadily moved from the background. Eyes” Smith , and Jimmy trying to get me jobs with other bands, but On 2014’s Time Ain’t Free and this latest Rogers – has been expanding his style nobody was biting, really, just because I release, he splits the lead vocals with over the last years and albums. Beyond was kind of an unknown person. So, I Moss and, in addition to writing songs, that, at this point in his career, he is now ended up doing some background vocals also plays excellent rhythm guitar, wholeheartedly taking on the role for his on his album Here I Am. something he’s surprisingly new at. band that Smith, Scott, and Rogers once played for him: that of blues mentor. Nick Moss: We were slowly becoming Michael Ledbetter: I was nervous. Very friends then. He was hanging around in nervous. You know, my first gig with Nick Nick Moss: With this album, my goal the studio and just kind of watching things was Fest, so it’s the lion’s was to take this young group of guys that and I said, “Hey, man. You want to sing den, pretty much. And I had to learn Here I have now in my band who I have been some background vocals for me?” The I Am in probably about a week and a grooming for the last couple of years to first song that we did was a song called half. Nick and I ended up finding out that learn how to play blues correctly, play “It’ll Turn Around” which is my favorite we only lived about two miles from each blues with passion, and play it and give song on the record. On the first pass, he other, so I would go over to his house – it the justice and the respect it deserves was kind of nervous and I walked he gave me his entire collection of blues 18 - Blues Music Magazine - JULY 2016 Have A Question? Call 1- 855 - USBLUES to see what Taylor [Streiff] the piano Moss stops, as he often does, to talk player is doing so I can play something to the audience. He announces that he underneath. Or when I hear Nick [Fane] will be joining them so that he, too, can walking a bass line, I’m thinking, “Oh, I’m appreciate the band as a spectator. gonna play something in between what Unslinging his guitar, he steps down into he’s playing there. Or I’m answering and takes a nearby seat at Michael’s vocals.” an empty table and watches the rest of the group, with Ledbetter singing, power Michael Ledbetter: Since I’ve been in their way through the last few tunes of the the band, he has my voice, which is more night. like a blues voice, but it’s a soul voice with some gospel in there as well. He’s able to Nick Moss: It baffles me sometimes. bring in some more styles that he wasn’t We’re out here playing, and some nights able to before because I don’t think he we play to a full house, and some nights really had a vocalist like myself. So, the we play to a half empty house, and it songs on the new album, like “Breathe baffles me sometimes, when we play to Easy,” we were able to write that together empty seats, when I’ve got a guy like him and it’s a soul ballad. He didn’t do a lot of next to me. I’ve had some great musicians those before. throughout the years play with me, but the band that I have now, is one of the funnest music. And I’d say, “How do you play bands I’ve ever played with. It baffles me this? and how do you play that?” He’d because I want, like, fuckin’ thousands of show me, and we’d go over it, over and people to hear what these guys are doing. over and over again. I’d go home, and I Not just for myself but for these guys would just not stop because I knew that because they deserve it. You know, what I was going to be on-stage with this guy you saw tonight, man, we had a pretty on a regular basis. So I better not mess good crowd. It wasn’t a great crowd, but this up. it was pretty good. But, I know bands that In the small Connecticut town would see a crowd like that and just lay of Collinsville, the band plays to a two- down. But these guys would never do thirds capacity audience. On the road that. These guys would never lay down. for about a week, they’re making their The gear is loaded, hotel rooms way through the Northeast. On the are checked into, calls home are made, bandstand, Moss frequently glances late night fast food is eaten. Another night, around, following what’s happening another town, another road, another around him as these songs become room, another gig. This time around, living, breathing organisms different from Carnegie Hall isn’t on the tour schedule. the recordings, different from the night But, when it gets right down to it, it doesn’t before in Londonderry, NH, different really matter. from what will be played the next night in Burlington, VT.

Nick Moss: The one thing that I definitely learned – especially in Chicago blues – In February, Moss and is when it’s played right and it’s played Ledbetter were invited to participate in correctly, there is almost a chaos, like the Leadbelly concert tribute in New a chaotic feel, where it almost sounds York City. There, they performed “How like the piano player’s soloing over the Long” and “C.C. Rider” while once more guitar player and the harmonica player’s answering the question: How do you get soloing over the piano player. But when to Carnegie Hall? it’s being done correctly, and you hear it, they’re completely just dancing and Michael Ledbetter: Practice! Practice! interweaving in and out of each other Practice! (laughing) Oh, man. It was and staying out of each other’s way. And another kind of beast. It really was. ALL PHOTOGRAPHY © RICK LEWIS that’s the beauty of that music is learning Something that made it really, really nerve how to use your ears and complement wracking was right before we went on- what the guy next to you is doing. There’s stage, the promoter grabbed me by the definitely a communication going on on- shoulder and said, (low, serious voice) stage with good bands. And you know “There are no more seats.” (laughs), when you’re seeing a good band when and I didn’t know that it was a sold out you can hear the conversation going on show. They were turning people back at between the musicians. the door. So it was nerve wracking, but I don’t know if you noticed, but it was more fun. In comparison, I’d say I I’m constantly turning towards the guys was definitely more nervous at Chicago in the band and giving little directions Blues Fest. here and there. Or I’m turning to listen Late in the Collinsville gig, JULY 2016 - Blues Music Magazine - 19 ere are some clown questions one shouldn’t ask Mssrs. Moreland M Hand Arbuckle: “How’s Oz?” They’re from Kansas, get it? Or “Where’s your bass player?” They almost never perform live with one. But “When’s the O new record coming out?” is one they like answering: It’s out! As of May 6, on . “Because was a massive influence on us,” R and the fact that he was ’s first act on that label, they’re “really excited to be working with them. There’s a special place in our hearts for Alligator. E We feel good about working with Bruce.” Dustin Arbuckle and Aaron Moreland have earned it, having played together for about 14 years after meeting L at an open mic. Initially, they were an acoustic duo. “We very much began as a straight-up guitar, harmonica blues act,” relates the thick- A bearded Arbuckle, the more loquacious and, at 34 years of age, younger of the two. Moreland, seven years his senior, also bearded, seems quieter, reflective, N FIRE befitting the holder of three college degrees. “We eventually started playing electric. Our first electric band actually D had a bass player and a drummer. We called ourselves the Kingsnakes” – not to be confused with the multitude of other bands who adopt reptilian monikers. we’ve focused on developing the songs a will come up with some sort of guitar Funk, soul, and heavy rock were in the little bit more as well. In our earlier days, riff. Then we’ll start jamming on &that; mix along with traditional blues. “We kind we had a very ‘write it and rip it’ kind of from there, I’ll write some lyrics. A good of worked a little bit jam-oriented.” They attitude.” example of the process on this record went to the lineup they have now – guitar, would be ‘Mount Comfort.’ It’s a tune harmonica, drums – in late 2005. “Now,” Arbuckle continues, “we that I actually had to write. The lyrics , Mississippi Fred definitely spend a lot more time refining and the melody line to the verses were McDowell, and Charley Patton were the songs both musically and lyrically. rolling around in my head for months. some of the blues lions whose approach Our songs have more parts to them now. When we finally could get together and M&A honors. “We were really heavily Before, [you’d hear] a lot of ‘trancy’ one- start working on writing some tunes, I focused on the Mississippi blues sound chord, North Mississippi Hill Country just sang it to the guys in a rehearsal. and the early Chicago kind of blues, blues stuff. If you listen to the songs from They listened to where the melody was Howlin’ Wolf, , and [the new release] Promised Land Or Bust going, figured out what key I was in, electrified versions of Charley Patton or our last one, 7 Cities, you’ll definitely and the song was built around the vocal and Mississippi Fred McDowell. We still hear songs that are more arranged. line. Which does not happen very often. do play a lot of that. You don’t really need We’ve made an effort to have choruses And ‘Take Me With You (When You Go),’ a bass if your guitar player has the right and a defined hook, the sort of things Kendall [Newby, the drummer] actually approach, the right style. Thing was, we that go beyond the energy of the song, had the idea for the main guitar riff in the couldn’t find a bass player that was really beyond the vibe of the song. verse. Then Aaron and I collaborated ALL PHOTOGRAPHY © MARILYN STRINGER interested in playing that music. When “We’ve really made a strong on the lyrics and the tricky outro. But for we parted ways with our last one, it was, effort, especially on these last couple the most part, Aaron comes up with the ‘Well, you know, let’s just forge on.’ The of records, to make sure our songs musical framework for the songs, and I Jellyroll Kings did it. Ten years later, are really well crafted. And we feel like end up writing most of the lyrics.” we’re still doing it.” we’ve accomplished that. Hopefully, our audience will say the same thing (and) But what about the bass? And evolving? they’ll dig the new stuff as much as we They do record with bass But they are ever open to “new do.” players. Live, Arbuckle mans the bass things” musically, Arbuckle reminds. on a few songs, like the new release’s “As we moved forward, we’ve grown How does that happen for you, “Take Me With You (When You Go),” individually and collectively as musicians songwriting? “Woman Down In Arkansas,” and “When [and] we’ve been able to incorporate “It can vary from song to song,” The Lights Are Burning Low.” “I’ll just play more of our influences” into their own Arbuckle offers. “Most of the time, Aaron those three pieces live. I’m still a better style. “With each record we’ve done, 20 - Blues Music Magazine - JULY 2016 Have A Question? Call 1- 855 - USBLUES play regular guitar more than cigar box. A If you would come see a live show, if it was an hour show, I’d probably get out the cigar box guitar maybe four or five times.” R As for the brand of cigar, “I have very little input into that,” Aaron explains. “My friend, who makes them for me, built one quite some time ago. He’s B built me five or six since. The box does make a difference. Some sound better than others, like the wood on certain regular guitars. They have to be wooden U [boxes], though. He made me one out of a Cojimar box, which is a really pretty one with no paper on it. A lot of them are covered with labels like that, but it didn’t C sound as good. It was harsher. “Not sure what the magic is to it, but the box does matter. Partagas [cigar box] is one of my real good ones. Punch K as well.” Ironically, happily, “No, not at all,” he replies when asked if he smokes cigars. “Tobacco makes me sick. If I were to put tobacco into my body, I’d be if not L throwing up, feeling like total crap within 30 seconds.”

Besides your extensive touring, ENERGY E stateside and overseas, how do you get your music out there? by M.E. Travaglini “The biggest thing it seems is to get songs is to get your songs licensed,” says Arbuckle. It could be in movies, or harmonica player than I am a bass it’s not something I’ve gravitated to as TV show, or commercials, but that seems &player,” he laughs. “Playing bass and much as the diatonic harp. That isn’t to to be how the biggest hits out there singing at the same time is, frankly, say there would be no application for it become hits.” And they have had some very difficult. There’s not a lot of Paul in our music because I think there could success with that. “A few years ago,” McCartneys out there.” be.” Arbuckle recalls, “there was an episode Blessed with a voice evocative of ‘Sons Of Anarchy’ that had one of of Geoff Muldaur’s and John Nemeth’s, What about Aaron and his guitars? our tunes in it. So that’s probably the Arbuckle sings lead. He says the Muldaur Without having to employ a biggest thing [that’s happened] as far as comparison actually has been made by bass guitarist on a regular basis, “Aaron licensing. That was ‘18 Counties.’ From others. “Which is funny because I never was freer to do more things. He plays our Flood record. It was a pretty big deal. listened to the guy when I started. I’ve finger style, no pick, so he can thump It’s nice to see the royalties keep come heard John [Nemeth] several times. We out a bass line while he’s taking care of in. Not a ton of money,” he laughs, “but know each other. Again, it’s not a situation melody lines,” Arbuckle says. “I’ve always it’s helpful.” where I heard him when I was coming up thought Aaron’s guitar style was unique or anything like that. It’s just interesting and really cool. Now he’s able to focus on So how do you regard Moreland & that we have similar approaches. We’re a different part of his guitar playing; [like] Arbuckle these days? probably both influenced by some of the single-string lead guitar in a way that he “In a lot of ways, we kind of think same guys. I think John is one of the best hasn’t been able to for the past several of ourselves as a roots band, because singers, certainly one of my favorites years. So he has really evolved in a way we have elements of a lot of varieties on the modern blues scene. He’s really that’s really fun to see and to hear. On of music in what we do,” says Arbuckle. outstanding.” the new record, you definitely hear him They embrace “really heavy traditional doing some killer lead guitar work.” blues influences” but country, old-school What about that harp playing? In performance, “Aaron usually rock, and modern rock elements as well. Dustin plays Joe Spiers has the cigar box and two other six- “Fire and energy were really a big part of customized Hohner Marine Band or string guitars,” says his partner. “He’ll what we did,” Dustin laughs. “And they Special Play harps. But “I don’t play have some standard tunings, some open still are.” Endless, renewable energy, it much chromatic. I’ve experimented with G, some open D, so he can swap out seems. it; it’s something I need to work on in the without having to re-tune.” interest of becoming a better harp player. Moreland says he plays an ------I love ’s chromatic playing, assortment of guitars, mostly Gibsons. and is great. There are a lot On the new release, “I play a cigar box of great chromatic players out there, but guitar on ‘Mean And Evil,’ he relates. “I E-mail: [email protected] JULY 2016 - Blues Music Magazine - 21 B R O N X D I S O O U N

by Don Wilcock PHOTOGRAPHY © JOSEPH A. ROSEN L ion admits to being shocked when he he was an old timer, so he was making her Dion is still haunted by his narrowly went to CBGB’s, ground zero for the do Jolson songs, and had me do Jolson missing death in the fatal plane crash that Dpunk movement in the ‘70s. “I started songs. The piano was right near the door, killed Buddy Holly in 1959. Although he talking to guys that were songwriters, and I was doing ‘Drip Drop’ and ‘Ruby Baby,’ won the coin toss to take the private plane and….” He hesitates. “Then you get with and John Hammond (Columbia’s star A&R to Clear Lake, Iowa, that day, Dion could people from the ‘50s, and they look at you man and father to John Hammond, the not justify the $35 charge for the flight. The like you’re a teen idol.” blues singer) called me in his office, and he lyrics in “Visionary Heart” are the words of And he was. Hits like “The said, ‘You have a flair for the blues,’ and he Buddy Holly channeled from one of Dion’s Wanderer,” “Runaround Sue,” and gave me some Furry Lewis and Leroy Carr “conversations” with his deceased fellow “Teenager In Love” put him on tour Buddy records, Then he showed me the Robert teen idol. In the song he quotes Buddy Holly Holly, and when Lou Reed inducted him Johnson album, and he said, ‘This thing saying: “Our dreams might not mean much into the Rock and Roll Hall of Fame in sold 25,000 albums by word of mouth.’ He to the world/But they mean the world to us/ 1989, he uncommonly gushed, “Dion could was smiling from ear to ear. I went. ‘Wow!’ They’ll take it to the children/On a road cold do all the turns, stretch those syllables so Meanwhile I’d just sold a million records and long/They’ll take us all to sleep each effortlessly, soar so high he could reach with ‘Ruby Baby.’” night/With an old Hank Williams song.” the sky and dance there among the stars Today, Dion has a huge four- Dion’s dad would take his young forever. What a voice – that had absorbed by-five-foot painting he made of Robert son to museums and point out to him the and transmogrified all these influences into Johnson hanging in his den. Most people difference between Salvadore Dali whom his own soul, as the wine turns into blood, a see Robert Johnson as a mythic folk he referred to as a “draftsman” and Van voice that stood on its own remarkably and character who sold his soul to the devil at Gogh, the impressionist. “He couldn’t wait to unmistakably from New York – Bronx Soul. the crossroads. Dion’s painting portrays get the paint on the canvas. He’d squeeze It was the kind of voice you never forget.” him as a multi-dimensional real person, it out of the tubes because he wanted to Dion recorded his first blues album, rather than a caricature – an issue Dion capture something. When it comes like Bronx In Blue, in 2006, half a century after knows a lot about first-hand. And the communicating a lyric, I love impressionists. his first rock and roll hits. “I cut it in two days, crossroads are represented as a Christian I always have.” and when I was driving home, I put it in my cross as much as they are the blues As a veteran music journalist I truck and I’m listening to it, and I’m saying, highway intersection. always look for artists who carry a thread ‘Oh, my God! This is who I am. This is it. “I wanted to paint something – a continuity from my childhood through to This stuff comes right from the center of it. because the legacy was that this guy sold old age. It doesn’t have to reflect a prescient I don’t have to think about this, you know?’ his soul to the devil, and I’m thinking, well, maturity, but a fundamental life theme And I love music like that.” the song doesn’t say that. The song says, song. Dion does that. He is fundamentally If the blues police couldn’t get ‘I fell down on my knees. I asked the Lord, the same person at 76 that he was at beyond his image as an aging teen novelty, help me if you please.’ five. Dylan has said of him: “In his voice “Bronx Poem” on Dion’s third blues CD “I said, ‘God never walked away he tells the untold story in the seemingly Tank Full Of Blues nailed him as the real from anybody that needed help. Never!’ secret language. How else do you explain deal. “I look at the blues as the naked cry of It’s impossibility. It’s impossible. Closed the soulfulness of ‘Teenager In Love?’ An the human heart, longing to be in union with case.’ So, I said, ‘I’m gonna do a painting unknowing ear would say it’s a song about God,” he says today after releasing New that resonates with that song.’ So, I drew youthful claptrap, but it’s not, not any more York Is My Home. This new album is so the crossroads, and I made it the cross, than Tampa Red’s ‘Let Me Play With Your eclectic that it highlights his 60-year musical and the city, and I in some ethereal way Poodle’ is not about dogs. You can hear it evolution from mentor Lightnin’ Hopkins’ put some roots guys playing and in his haunted voice – street corner hokum “Katie Mae” and the doo-wop of “I Ain’t For horn and sax and just scenes from the sure, but also barrelhouse blues, the honky- It” to the title cut, a love ballad for The Big Mississippi. There’s a whole bunch of stuff tonk world – even the most sophisticated Apple recorded with . there. It’s a mixed medium thing.” crooner in the most articulate way – it’s all “These (blues) guys I just love. It Like Buddy Holly, Dion was an there to put a spell on you.” fascinates me the way they write, especially anomaly in that he wrote his own songs Dion is consistently honest. “I’ve Lightnin’ Hopkins: ‘I try to give that woman at a time when other young singers like always loved music where you could feel everything in the world she needs. She Elvis, Ricky Nelson, and Bobby Darin were the person behind the music. You know walks around like she has oil wells in her groomed to deliver songs written for them. there’s a person there. And to me, that’s like back yard. You never hear that girl whining Also, from the start, Dion had a style that an extra verse to every song somebody else about these times being hard. ‘Come on! turned doo wop phrasing into an art that sang. If somebody else sang it, it wouldn’t Come on! Where are you gonna get a was as heavily nuanced as the scatting of do anything, but from that person, you could freakin’ lyric like that? My God!” his jazz forbearers Ella Fitzgerald and Cab hear something.” Dion was the first genuine rocker Calloway. Dion thought John Hammond was to sign with in 1963. It “Visionary Heart” on New York crazy extolling the virtues of an artist who took the behemoth label almost a decade to Is My Home is written from the point of only sold 25,000 albums to his own millions. realize that rock and roll wasn’t just an indie view of a deceased Buddy Holly speaking After he heard Robert Johnson, however, he fad, and he was the artist that made them to Dion’s listeners from heaven. Dion, a got it. “I always say I’ve met a few geniuses blink. He had a million-selling hit with them devout Catholic, was told by a priest in in my life. I never met him, but my definition in “Ruby, Baby” and ultimately walked away Italy that his “relationship” with the dead, of a genius is someone in a particular field from a long term contract with the label that specifically his father, could continue in (who makes) the difference between what in the ‘60s was huge money. “conversations” after he’d passed. It helped they’re doing and what everyone else is “When I was recording for Dion who had a contentious relationship doing, and there’s definitely a distance with Columbia (circa 1963), I was sitting on a with his dad come to peace about his Robert Johnson and his contemporaries. piano stool with Aretha Franklin. We were internal struggle with unresolved paternal There’s something very special about what both being produced by Bob Mersey, and issues. he did.” JULY 2016 - Blues Music Magazine - 23 Chris James & usicians who wait around for inner circle of Chicago blues, but that bass and told him to learn it and come their big break often are left just also undermined their ability to be an back next week. He was now the band’s Msitting around. Guitarist-singer independent band. bass player. He eventually took up guitar, Chris James and bassist Patrick Rynn Music always intrigued James. studied jazz, and made his way back to were having none of that as they sought, At the age of 4, he would hear music on the blues. He was playing a small club in 1990, to become part of Chicago’s the radio or television and go over to his in San Diego when het met bluesman blues scene. mother’s piano and start playing it note Bobby Rush, who was playing across the “We were practicing all day, for note. Music was cherished in his San street. every day, and going out every single Diego home. His grandparents used to “He told me that if I really night to hear or play music,” says Rynn, jitterbug to the Joe Liggins band at a wanted to play blues, I needed to go to a Toledo, Ohio, native who met James nearby club and the family’s collection of Chicago,” James says, adding that he shortly after arriving in Chicago. “Chris 78s by , King Cole Trio, and needed no further encouragement. was very intent that we play the music others were stored respectfully in their Rynn came to music from a the right way, and that meant some hard- dining room liquor cabinet. different direction. Trained as a classical core and intense practicing. He took me At the age of nine, he’d heard bass player, he’d purchased a cassette from a very raw blues musician to one Bo Diddley’s “Before You Accuse Me,” tape on a whim at a University of Toledo that really understood the bookstore sale that music.” rocked his world. As soon The two shared as he heard the opening a passion that sprouted of “Dust My Broom,” he from the development of knew that Elmore James electric Chicago blues was onto something more from the 1950s. From exciting than any music the outset, they were he’d heard. intent of building on that He went on to play tradition. They came from some harmonica and different backgrounds. then bass for veteran James, a San Diegan, bluesmen Art and Roman was a wunderkind student Griswold in Toledo, but it of jazz and blues. Rynn was a chance opportunity was a classically trained to play bass behind bassist who happened harmonica player Junior upon blues and found his Wells that instilled in him passion. new confidence. On chilly Chicago “That night really nights, they would go changed my life,” Rynn to jams or blues clubs, says. “Junior invited me hoping for the opportunity to Chicago to be his to play with more guest at the Chicago experienced bluesmen Blues Festival two weeks and hone their knowledge later, and I jumped at the of the music. They played chance.” His Chicago with and learned from trip reinforced his idea to Junior, , move to Chicago. Johnny Littlejohn, and Once there, he made Dave and Louis Myers among others. which had a dramatic impact on him. By the rounds of nighttime jams, working ALL PHOTOGRAPHY © MARILYN STRINGER Eventually they would hook 11 he was playing blues on piano. About days at Guitar Center where he was the up with the touring bands of that time, he heard a BBC documentary only person who had an interest in the and Jody Williams, hold down a weekly that featured Muddy Waters doing “I Just blues. One afternoon, he was called to gig at Kingston Mines, and establish Want To Make Love To You.” the phone and while on it he heard some themselves as one of the most vibrant “It had Little Walter playing fierce blues being played just a few feet Chicago blues bands today with a string chromatic harmonica,” James recalls. away. of four successful CDs. Their latest CD, “I didn’t even now what a chromatic “I told the caller, I had to go and Trouble Don’t Last was released in 2015 harmonica was, but I went out of my hung up on him,” Rynn says. “I heard the on VizzTone. mind over the sound of it and said ‘OK, I best, most authentic down-home country Their simple goal has always want to be a harmonica player.’” blues that I’d only heard on record. When been to be worthy contributors to the At 13, he joined San Diego he saw the guitarist, his jaw dropped. legacy of blues, but that hasn’t always bluesman Tomcat Courtney’s band as a “It was Chris,” he says. “We’d been a easy road. They knew that being harmonica player. When the band’s bass crossed paths a couple of times in sidemen was their ticket into the player quit, Courtney handed him a 24 - Blues Music Magazine - JULY 2016 Have A Question? Call 1- 855 - USBLUES & Patrick Rynn clubs, and I don’t think either of us liked Sam Lay, the drummer and signer who He’ll bring the music down to whisper the other very much. But this changed already had spent nearly four decades and then just explode. He’d trust us to everything.” working with the cream of Chicago’s know what he was doing. The pair began comparing blues royalty: Howlin’ Wolf, Little Walter, “Wolf taught Sam how to be a notes, listening and talking music for Willie Dixon, and Muddy Waters. He professional. He was 25 years older than hours. James was more musically snapped to attention when he heard the Sam, and now Sam was teaching us, sophisticated, so when they first sat two young men on the bandstand. and we were 25 years younger than him. down to play it was more like a teacher- “I knew immediately that I There’s a direct connection there.” student relationship. By this time, Rynn wanted these guys in my band,” Lay After four years, harmonica had ideas of becoming a blues guitarist, recalls. “It was obvious they knew what player Rob Stone joined the band, but when he played for James, James they were doing.” and he’d spend the next 20 years remarked that he played guitar like a Weeks later, Lay called James collaborating with James and Rynn. bass player. and offered them a gig. James told Rynn Finally settled back in Chicago in 1995, “I said, ‘That’s because I’m a they had four hours to get ready for a James and Rynn landed a weekly gig bass player,’” Rynn recalls. week trip to Atlanta, and they were ready at Kingston Mines. Pioneering guitarist The two became inseparable. when Lay pulled up in his station wagon. Jody Williams began to stop in and play Spending as much time as with them. In 2001, he they could together, they would take them on the sat in with musicians, got road with him. a few sideman gigs, and “I can’t remember toiled away the afternoons anything they couldn’t playing the blues. do,” says Williams, a “Chicago blues member of the Blues is the art of ensemble Hall of Fame. “They were playing,” James says. “It very serious and did their goes back to the Aces, who homework. I’d get back if really were the architects I could.” of the modern blues band. Again they were If you don’t respect that, delayed in pursuit of their you’re on shaky ground.” ultimate goal. It wasn’t Brothers Dave until 2008 when their and Louis Myers founded Stop An Think About It CD the Aces with Junior was released that they Wells in the early 1950s, felt they had hit paydirt. later adding Fred Below “Our goal is to play on drums. It became good music,” James known for being able says. “We wanted to to seamlessly back any reach the point that we Chicago bluesman. could play with anyone. “This music is We wanted to play with very important to me,” them for the first time, and James continues. “Every you wouldn’t even know kind of modern music we it was the first time. Not have now comes from the everyone can do that, but blues, and I wanted to that’s always been what make sure that if I played it, I was being “They were great to play with,” we wanted to do. I think we have reached respectful to the music. It was never Lay recalls. “I didn’t have to teach them that point.” about just playing solos; it was about anything. They were ready for anything how a band works together. That’s the I wanted to do, and that’s a very difficult ------way it’s always been in Chicago.” thing to find in young musicians. In fact, Several months into their I’m sure they taught me as much as I did Chicago stay, they attended a tribute them.” to harp great Little Walter at Rosa’s Their one-week trip became nightclub. Standouts such as the Myers five years of road gigs with Lay. James brothers, , Sunnyland credits Lay with teaching him to be a Slim, and David “Honeyboy” Edwards professional and offering him the chance were commanding the bandstand. But to hone his skills as a front man. In each the old-timers invited James and Rynn to night’s set, Lay and James would share set in as the night grew long. vocal duties. One of those in attendance was “Sam was the king of dynamics. JULY 2016 - Blues Music Magazine - 25 delta journeys by Roger Stolle quantities every year. Vinyl? Well, we streaming increased by a stunning 54% 14 Years Of Cat Head still called that category “LPs” or just according to Nielson. Meanwhile, CD n July 24th, my Cat Head Delta plain “records,” but regardless of the sales dropped (another) 15% and even Blues & Folk Art store in downtown nomenclature, few customers were paid digital downloads dropped 13%. OClarksdale, Mississippi, buying and fewer labels were pressing Vinyl sales increased by 50% but still celebrated 14 years of serving the blues them. only made up 6% of total physical music. world. During that time, I’ve welcomed The CD was still king, but the Vinyl’s “comeback” is still early to judge. hundreds of thousands of blues fans and crown had already cracked. MP3s were Some articles have already suggested a tourists to “Mississippi’s Blues Store.” said to be the future, though a battle slowdown in vinyl’s sales potential, but it Now, as then, Cat Head’s was raging regarding free versus paid is conceivable that the rise of vinyl may in mission is not “to sell merchandise” downloads. In fact, around the time I some small way bring more young fans per se, though it to blues and roots does need to sell music genres as enough to both they seek to build survive and fund its a diverse record various film, music, collection. writing, and festival Anecdotally, projects. No, the I can tell you that Cat Head mission many (if not most) is still to “organize of my recent vinyl and promote the customers at Cat blues from within.” Head are what I In other words, would call “young.” pull together the According to blues scene here Digital Music News enough that we earlier this year, can then promote millennials are it to the universe in actually 60% more such a meaningful likely to buy vinyl way that the world records than the will visit – allowing general population. us to deliver on Whereas younger the promise of a shoppers used to “Mississippi blues often walk out of experience.” Cat Head with a If you T-shirt instead of a doubt Clarksdale’s “obsolete” CD, now, ability to provide they may well walk such an experience, out with a T-shirt please check out and a vinyl record – my Music Calendar one that I personally web page at www. recommended from cathead.biz which my store’s already features 7 nights of live blues every curated collection, week. (Today’s re-vigorated Clarksdale opened my Cat Head store, the cost of one that may well lead to a lifelong love also has two blues museums, a dozen multiple lawsuits bankrupted the major of blues. festival and plenty of interesting places offender of the era – the original Napster Still, at Cat Head, the main ALL PHOTOGRAPHY © ROGER STOLLE to eat, shop and stay.) That’s the positive (which had around 80 million registered gateway to new blues fans is still the change I’ve seen in the past 14 years. users at its peak). very portable, durable, and relatively But what about the music industry itself? Outspoken entertainer Jay Z affordable CD. That’s how most of my What kind of change have we seen would later sum it up this way: “People customers add blues to their collections. there? [Insert soap box here, y’all.] really feel like music is free but will pay $6 for water.” He said this, of course, at BUT HOW DO I PLAY MY NEW BLUES the launch of a new subscription service THE RISE AND FALL OF PHYSICAL CD? – the next “new way” of retailing music Half of our day-to-day tourist customers PRODUCT. When I opened my doors in 2002, the – where you essentially rent songs for a in Clarksdale may be music fans – hence music industry was a vastly different listen but don’t own them. their musical road-trip through our region landscape than it is today. Remember To give you an idea of the – but are new to blues. cassettes and VHS videotapes? People growth in streaming versus buying music, “If I were going to buy one blues were still buying them, though in smaller between 2013 and 2014, CD, what should I get?” or “What’s 26 - Blues Music Magazine - JULY 2016 Have A Question? Call 1- 855 - USBLUES your favorite blues CD?” are common, don’t own any blues CDs – yet. If they a foot pedal to play back various pre- everyday questions at Cat Head. If I don’t pick one up on their road-trip recorded rhythms and riffs as he sang answer correctly, we might add one through the American Music Triangle, and played guitar over the top. Then, more long-time blues fan to the mix – then they may not – ever. just last year, for a big “Christmas Blues one who will support live shows and buy Show” held at our historic auditorium in recordings for years to come. He or she HOW ELSE HAS TECHNOLOGY Clarksdale, Mississippi, three of the six may even hand down the passion to a AFFECTED BLUES? soul-blues acts sang over backing tracks The 1990s saw the rise with no band in sight. (The worst thing of Pro Tools (allowing was that 90% of the audience actually recording engineers to seemed to prefer this karaoked-blues cut ‘n paste notes), and over the actual live bands that performed. the 2000s saw the rise of Crazy.) Auto-Tune (allowing them to “fix” a singer’s pitch). At WHAT’S THE MESSAGE HERE? the same time, TV shows Let’s not let the Musical Industrial like American Idol and its Complex control what we consume or imitators began trumpeting how we consume it. musical perfection over A lot has changed over the past feeling and cultural 14 years, and a lot more will change connection. over the next 14. My hope is that we all Think this isn’t continue to support live and recorded disturbing for blues fans? blues music, especially the indie label and What if icons from Charley culturally-connected variety. That means Patton to , we all need to pay cover charges (with no complaints) and buy what product our budgets allow, preferably at our friendly neighborhood record store or directly from the artist at a show. And always tip, tip, tip the band! Oh, and remember that every next generation. If I answer wrong, time you play an album at a party, then it may be the only blues CD every time you buy someone a gift, they ever buy. every time you post something on The challenge? If they social media, it is an opportunity to don’t have a way to play a CD on introduce someone else to the blues. their once-in-a-lifetime road-trip Become a Doctor of Bluesology. through Mississippi blues country Thanks for an amazing 14 years or a way to add it to their iTunes of blues adventures at Cat Head when they get home, then they store. Here’s to the future. Long live may never even ask the question. the blues. Yup. As if normal free market pressures weren’t enough, I am now seeing blues tourists who want to buy a blues CD, but don’t because the rental car they picked up in Memphis or New Orleans doesn’t have a CD player, or their new MacBook Air doesn’t have a Howlin’ Wolf to Jimi disc drive. (Rental companies are trying Hendrix weren’t judged to save a nickel. Apple is trying to force “perfect enough” as iTunes sales.) singers to make records? It may well be that a lack of Imagine not having interest in the CD itself won’t be the final their music. Imagine not nail in the coffin for the compact disc. It having the musicians may be a lack of some way to play it. their recordings You may say, “Yeah, but that customer influenced. can still stream it, right?” Sure, if they are Then, imagine already interested in blues and already seeing them live, in- know which blues release to get. concert – except they’re I view a record store like I view a really not. Think it can’t doctor’s office. You go there to hear from happen in the world of an expert who will prescribe something blues? to make your life better. As a Doctor Well, it can. of Bluesology (or minimally, a Nurse A couple years ago in Practitioner), I can tell you that a large Memphis, I judged a blues challenge percentage of my visiting customers where one of the solo competitors used JULY 2016 - Blues Music Magazine - 27 around the world by Bob Margolin 1976. I learned years later that Muddy At the original concert and the was almost cut from the show but Levon big hotel jam after, I noticed the famous The Lasting Waltzes fought for him and prevailed. Muddy musicians who loved blues music hung t’s both a time twist and a victory over brought me and Pinetop again, but on out together. They were nice to me time to perform in the original Last our song only one camera was rolling, because I was with Muddy and had IWaltz concert in 1976 and then in zooming in and out. Because I was brought a cool blues guitar and they must the 2016 tribute concert in New Orleans standing next to Muddy, I was in every have liked what they heard me play. At during Jazzfest. Forty years, same music, frame. Pinetop was heard but not seen. about 7 am after everyone jammed and different players except me. Generations From the night of the concert on, Muddy’s partied all night, I started to leave but Bob of music lovers appreciate the Martin kick-ass performance of “Mannish Boy” is Dylan appeared and said, “I thought we Scorsese concert film of The Band, five considered a highlight if not show-stealer. were going to play together.” I stayed. We geniuses who were magical 1976 — Robbie Robertson, Muddy Waters, Bob Margolin, and Paul Butterfield together, and their famous and talented friends. The music is so powerful that live tribute shows draw large audiences. My story of the original concert and the latest epic tribute.is not just “Bob around rock stars.” There is a flowing undercurrent of blues feeling and blues music in me and my Last Waltz experience, then and now. In 1975 bluesman Paul Butterfield and Levon Helm from The Band produced the Muddy Waters Woodstock Album. It was Muddy’s last album for Chess Records and won a Grammy. There was no blues category then — it won for “Ethnic and .” Muddy brought me on guitar and Pinetop Perkins on piano from his road band to give him a familiar foundation to combine with Levon’s musician choices. In hindsight, The power of blues music performed had Levon on drums, Dr. John on piano, the album has its own down home mojo, strongly by one of its legends shown Ron Wood on bass, Paul Butterfield a Levon trademark, and should be brightly along with The Band’s and their on harp, and me and Eric Clapton on other guests’ more well-known songs. guitars. Dylan sang Robert Johnson appreciated along with the albums Muddy ALL PHOTOGRAPHY © COURTESY OF BOB MARGOLIN did with Johnny Winter the next few years. Because this is Muddy’s most songs in his signature vocal style. It ‘70s road story: Muddy visible performance ever, it’s considered certainly was an honor to jam on blues recorded Hard Again in October 1976. a career peak for him. It did indeed with these accomplished musicians. I I asked producer Johnny Winter if he showcase Muddy’s aggressive, sex- snuck a look at them watching me play a knew Eric Clapton. I knew Delta Blues charged singing. But Muddy’s ultimate solo. I fully appreciated it in the moment. icon Robert Johnson was important electric was not in “Mannish At 27, I thought my whole Last in both their lives, mine and Muddy’s Boy” or the other concert-only song, Waltz experience was once-in-a-lifetime. too. Johnny said he didn’t know Eric “Caledonia.” That song featured shared On two smaller tributes a few years ago, but a few years before, someone with vocals with Pinetop, Garth Hudson on and again recently, I found that it wasn’t. a British accent called him and said he accordion and guitar solos by me and As one of the surviving musicians who was Eric. Johnny didn’t believe it and Robbie Robertson. The Last Waltz film was in the original concert and film, I was hung up. The next month I met Eric at is my most visible performance too, invited to participate in the 2016 concert the Last Waltz and told him Muddy had regardless of anything I did with Muddy at the Saenger Theater in New Orleans. just recorded with Johnny. Eric said he or in my solo career since 1980 or my One night sold out in minutes and a had tried to call Johnny once but Johnny new album that’s doing well today. I’m not second show was added. As Muddy didn’t believe it was him and hung up. complaining, just laughing and shaking sang in his 1950 song “Louisiana Blues,” Levon invited Muddy to appear my head. That’s showbiz. That’s also the “Let’s go back to New Orleans, boys!” at The Last Waltz concert in November blues. 28 - Blues Music Magazine - JULY 2016 Have A Question? Call 1- 855 - USBLUES And Little Walter answered, “Aw take me musicians — again. You can’t get that witcha man when you go!” Time twists. with an iPhone. I stayed four more hours to savor this until I began to fall The musical directors of the 2016 Last asleep from exhaustion. At the theater Waltz were right for the job: guitarist/ the next day, sound check was a final singer Warren Haynes and producer/ run-through with tweaks. Unlike the multi-instrumentalist Don Was. They original concert, the musicians had

Terence Higgins, Don Was, Warren Haynes, Bob, Jamey Johnson, Michael McDonald

My Road brings a fresh focus for Margolin both musically and lyrically. assembled a stellar band and guests: teleprompters and discreet iPads for star Jamey Johnson, lyrics and . Frankly, it was My Road reveals who I am keyboard wizard , iconic an advantage for me to perform a song I today, musically and very singer Michael McDonald, Lukas Nelson had played with and without Muddy since singing one night, Smoky Greenwell 1973. Muddy’s 1976 Last Waltz “Mannish personally. Each song takes on blues harp. Also featured were New Boy” was strong but I had seen him do a surprising turn from the Orleans legends George Porter Jr. on even more lively performances of it at others and my previous bass, Ivan and Cyril Neville, Terence our gigs. In 2016 I took inspiration from Higgins on drums, and Bonerama those. Nobody could reproduce Muddy’s music. founder Mark Mullins led a horn section voice or personal power, he took those playing charts that wrote with him. But I could deliver my best with My Road is my ride through for the original concert. It was big fun the great big band and the audience in to play and hang out with my old friend the moment. We got the crowd on its feet modern challenges, the Dave Malone from The Radiators. both nights. I sincerely thank Muddy, the ironies and lessons of They had rehearsed the 1976 and 2016 musicians and a New aging, achieving true love, complex songs from the original Last Orleans turnout that was ready to rock. Waltz and when I arrived the day Aj Gross, promoter of the Big Blues mourning, my band’s before the first show, they were close to Bender, shot a video of my Friday night distinctive signature sound, ready. I was to lead and sing Muddy’s performance that captured the spirit and a childhood epiphany, my “Mannish Boy” and it only took one got a few thousand views on Facebook brief run-through to prepare for that before the second night even started. seven years in Muddy simple song which depends on attitude Might I get to be a “Mannish Boy” again Waters’ band, and and a spirited band to be powerful. at the Bender? exploring the darkest sides I also shared vocals and guitars with Warren on “Further On Up The At the New Orleans Waltz, of life with friends who have Road,” a Bobby Blue Bland classic that I realized I am now five years older been there.” Eric Clapton had performed with The than Muddy was when he played at Band in 1976. As I packed my guitar the original show. My road now is to after I rehearsed, something stopped write and perform new songs from my www.BobMargolin.com me from leaving as sure as own life along with older original songs kept me from leaving the after-show and favorites that I love to cover. It’s an jam in 1976. I had the opportunity to honor and pleasure to play my version of listen to today’s great players going Muddy’s music sometimes, for myself, for over this music that means so much to an audience, and because Muddy would me. I love the Last Waltz music for itself. want me to. At the 2016 Last Waltz, all of Though I had traveled hard from this was in my heart, my blues, and my home and went right to the rehearsal, I performance. was entranced to hear these songs done live right in front of me by great JULY 2016 - Blues Music Magazine - 29 Blues Music Store Bonus Issue With Every Purchase! CALL TOLL FREE: 1-855-US BLUES Order Form Included On Page 34 Shipping Only $2.95 USA - $7.95 International

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JULY 2016 - Blues Music Magazine - 37 CD Reviews VARIOUS ARTISTS jazzier than his current work, revealing his love for a fabled American art form 40 Years Of Stony Plain a different facet of Walker’s talent into a cause first, and a livelihood second. by placing him in a big band setting. When , the Guitarist ’s talents are other illustrious Chicago-based blues unparalleled, his cover of ’s label that Iglauer then worked for, “It Takes Time” ratcheting up the blues wouldn’t fund a recording of Hound Dog with vocals by Michael Ledbetter. Maria Taylor & the Houserockers, Iglauer did. Muldaur’s take on the traditional “Soul Perhaps Delmark owner Of Man” is a powerful duet with the thought Taylor’s raucous, teeth-rattling, great , and Long John Baldry’s slide guitar-based music was too rock cover of Leadbelly’s “Midnight Special” ‘n’ roll? Well, to Iglauer’s ears it was the is a treasure. The late ’s bottled essence of some of the most reading of Hoagy Carmichael’s “Hong intense stuff that went down in the Windy Kong Blues” is a curious mix of ragtime City’s West Side neighborhood clubs. He and Asian flavors featuring his elegant felt the world needed to be able to pop fretwork, while Jim Byrne’s “Wrapped the cork on it and drink in its liberating elebrating a milestone anniversary Up, Tied Up” allows his soulful vocals to rhythms. So, he bet the farm (actually the Cthis year, Canada’s Stony Plain soar above a jazzy, big band romp. rented inner-city flat) on Taylor and took Records has released 40 Years Of Disc three offers a dozen rare, to the road hawking his infectious music Stony Plain, a budget-priced three-disc previously unreleased tracks from Duke from the trunk of a car. set offering up a heady stew of roots Robillard, , , Bob That Taylor album marked the ‘n’ blues music. The album’s CDs are Carpenter, and the Mississippi Sheiks’ 1971 birth of Alligator Records. Iglauer arranged by theme, disc one focusing on Sam Chatmon. Robillard and band’s had nerves of steel back then, and he singers and songwriters. The 16 tracks livewire instrumental cover of Amy still does, not only surviving in a music offer an eclectic smorgasbord of talented Winehouse’s “Rehab” re-frames it as industry that eats its own, but challenging tunesmiths and songsters, including classic Stax soul, while Muldaur’s cover it and winning, for an astounding near- performances by such diverse Canadian of Memphis Minnie’s “In My Girlish Days” half century. He learned to take risks, and and American artists as , Corb is smooth as silk. The album ends with roll with the changes, like any successful Lund, Eric Bibb, , and Rodney Walter ‘Shakey’ Horton’s icy “Shakey’s business owner. Where another label Crowell. Linden’s album-opening “No Edmonton Blues,” a blues instrumental may remain strictly, admirably linear, More Cheap Wine” is a gem, a slice of so bleak it’ll send shivers down your Alligator zigzags inside, outside, and blue-eyed soul akin to . spine. Four decades of great music flies around the box, recording artists such as Celtic folk band Spirit of the by in a few hours while playing 40 Years JJ Grey & Mofro, who use the blues as West deliver a joyful ditty in “The Crawl,” Of Stony Plain, a fine collection of roots a base to jump into the funky end of the a tale of a raucous night on the town, ‘n’ blues from the visionary Stony Plains Southern swampy pool. And while ’s live “Where Will Records. Lee Rocker, originally of the Stray Cats, I Be” displays the full measure of her – Rev. Keith A. Gordon who still slaps a bass fiddle and rocks magical, charismatic vocals. ------with glee. They’re both here on Alligator’s lived in Canada during the late 1980s, VARIOUS ARTISTS highly entertaining 45th Anniversary recording two albums for Stony Plain; Alligator Records 45th Anniversary Collection along with his “Louis Riel” is a wonderful mix of Tex- Alligator Records dragging a thick, psych-infused New Mex and Zydeco styles. Stony Plain has Orleans groove, and Kansas’ Moreland done right well with guitar pickers and a & Arbuckle on a rubbery heartland blues- pair of songs – “That’s All Right (Mama)” rocker. and “Flying Home” – justify the label’s But among the almost 300 faith. The former is a stellar performance Alligator albums, there’s plenty of real- by the all-star combo of guitarists James deal, from both the old-school and the Burton, , , and new bloods. Early Alligator-nurtured David Wilcox, the latter showcases the artists Albert Collins, Son Seals, Luther “New Guitar Summit” of Jay Geils, Duke Allison, and Lil’ Ed & The Blues Imperials Robillard, and swinging sizzle and blaze; Carey and Lurrie through “Flying Home,” a breezy Lionel Bell light up the parlor; and Shemekia Hampton classic. Copeland, Toronzo Cannon, and Selwyn Disc two’s 19 tracks spotlight Birchwood carry the torch. The Holmes blues, R&B, and jazz, featuring a wealth right-eyed and bushy-haired sixty- Brothers take it to the church; a latter- of talent including Ruthie Foster, Paul Beight year-old Bruce Iglauer may be day swings slow Reddick, Billy Boy Arnold, , the truest bluesman in the . and toughly; and Marcia Ball entertains and Kenny “Blues Boss” Wayne. Joe And he doesn’t write songs, sing, or play and amuses while seriously tickling the Louis Walker’s “Eyes Like A Cat” is much a single note. Iglauer’s in the business of ivories, Gulf Coast style. jazzier than his current work, revealing a the blues. Long a resident of Chicago, the Other special moments arrive different facet of Walker’s much blues’ northern mecca, he’s channeled via the great barreling 38 - Blues Music Magazine - JULY 2016 Have A Question? Call 1- 855 - USBLUES down the tracks with the also-great on the ballsy “The Comin’ Round Is Going Instead of calling out to legions of name Darrell Nulisch singing, a scorcher from Through,” a direct message aimed at fat- musical guests, Staples then added the sadly departed hulk of a blues man, cat/wannabe politicos. Her vocal range her distinguished touring band as the Michael “Iron Man” Burks, and a preview seems a bit more limited these days – she confident backbone throughout. The of the should-be legendary soul singer sounds raspier at times, especially on result, as the title suggests, is a collection and harp player ’s new the opening “Unintended Consequence of joyous songs that are as uplifting as album. Of course, no Alligator collection of Love” – but by the second song, “Need they are revealing. would be complete without an explosion You Tonight,” she is delivering prime “Take Us Back” opens the by Hound Dog Taylor and his barroom Raitt material, a fair amount of it either disc featuring all the classic elements wrecking crew. Pick any place to hit play self-written or collaborations. of a Mavis Staples’ – Rick among the 37 songs on these two CD’s If there’s nothing as definitive Holmstrom’s dark, tremolo guitar, Donny and always find variety, flair, and hunger. as her classic cover of ’s Gerrard and Vicki Randle’s sympathetic Alligator always delivers the excitement “Love Me Like a Man,” there are some background vocals, and the dense of discovery with these collections. After close ones. “I Knew” and “All Alone With rhythm section of Jeff Turmes (bass) all, that’s Mr. Iglauer’s cause. Bring Something To Say” seem radio-ready and Stephen Hodges (drums) – wrapped the artists and/or their estates wider for regular airplay, along with her rave- around her advice to appreciate life in the recognition and prosperity while bringing up of the Cesar Rosas/ moment. The same band, with producer the fans all kinds of music they can tune “Shakin’ Shakin’ Shakes.” Raitt Ward donning an acoustic guitar, follows genuinely rock the house with. ends the 12-track, 52-minute disc with Staples on Harper’s “Love And Trust.” – Tom Clarke something of a departure, a slow number At 76 years old, Staples continues to ------about busted relationships called “The vocalize elegant emotions. Her plush BONNIE RAITT Ones We Couldn’t Be.” She plays piano delivery of “If It’s A Light” and “Dedicated” Dig In Deep accompanied only by a subtle use of perfectly illustrate. Redwing strings. It’s one of her own compositions Staples’ rocks the disc with and as good a goodbye song as you are “High Note” and funky soul on the horn likely to hear. laden “Tomorrow.” Never one to stray too – Bill Wasserzieher far from her Civil Rights roots, Staples’ powerful “Action” recalls the dark times ------in a segregated South and shines a light MAVIS STAPLES on the faith needed to set freedom in Livin’ On A High Note motion in the times leading up to the Civil Anti-Records Rights Movement. Later, Staples and Gerrard address today’s conflicts with on target rhetorical questions on “History, Now.” On Nick Cave’s “Jesus, Lay Down Beside Me,” Gerrard and Randle offer the congregational responses to Staples’ t’s good to see Bonnie Raitt topping delicate calls. The CD closes with “MLK Ialbum sales charts with Dig In Deep, Song,” its most poignant track. Ward took even if the charts are Billboard’s the words of Dr. King, added only his “minor” ones for blues and folk. She acoustic guitar and Staples’ weathered also deserves gratitude for providing a voice testifyin’ to Dr. King’s words of a real musical moment with the B.B. King peaceful humanity. One need only hear tribute amid all the rap/hip-hop posturing the elegant class Mavis Staples brings that filled three hours of the Grammy to every syllable she vocalizes to realize Awards show. Raitt still knows how to here are few voices in the world what the music of heaven must sound fire-up the high burners after 46 years in Tcompelling enough to turn heads. like. the music biz. Mavis Staples has that voice. Born in – Art Tipaldi Dig In Deep is her 17th album the church, raised in a family rooted in since she debuted in 1970. Raitt’s early the blues of the Delta, matured in the ------releases for Warner-Reprise settled Civil Rights movement, and broadcast the question, once and for all, whether nationally by , Staples is a young woman, and a pale one with the voice of a people. As a teen, she freckles at that, could rock the house displayed a deeply elegant voice that on slide guitar instead of following the conveyed her earnest testimony. Today, Joni Mitchell/Judy Collins/Joan Baez that voice has developed a throaty rasp folksinger route. Raitt made serious that channels inspiration even in Staples’ guitar noise. And she proved she had quietist hum. serious staying power. When Warner For this CD, Staples chooses dropped her for diminished sales, she a dozen songs written specifically for roared back with her best-selling album Staples by some of contemporary ever, Nick Of Time, moving five million music’s brightest names, , copies on Capitol. Nick Cave, Neko Case, Justin Vernon, This new release isn’t the Benjamin Booker, tune-Yards, Valerie fireball thatNick was, but Raitt still has all June, Charity Rose Thielen, and M. her instrumental chops intact, especially Ward, who also produced the record. JULY 2016 - Blues Music Magazine - 39 Tedeschi Trucks Band rocker, “Anyhow,” but steadfast purpose Blues Music Magazine readers. They are Let Me Get By as well. Weighty issues in the lyrics are adroitly backed by harmonica ace and Fantasy offset by light touches, from determination producer Little Mike (Markowitz), and in the infectious, organ pumped title his fellow New Yorkers, guitarist Tony O song, to togetherness in “Hear Me,” Melio, bassist Brad Vickers, and drummer which absolutely defines contemporary Mike Anderson. Perkins toured on soul. Despite the inspirations, originality occasion with Little Mike after he left the prevails. But, anyone who’s seen . Subsequently, band perform knows that covering their Little Mike produced Perkins’ first solo heroes with zest constitutes a big part of album (After Hours) on Blind Pig in 1988. their show. There is a genuine level of Those who shelled out the comfort and familiarity that shines extra five bucks for the Deluxe Edition throughout the proceedings as everyone got their money’s worth by the inclusion seems to be enjoying themselves. of three songs from the band’s 2015 Perkins is the featured vocalist on seven residency at New York’s Beacon Theater. of the ten tunes. Rogers doesn’t join ver since The Allman Brothers Band Tedeschi especially tears it up during the band until the fourth song. He is the Eretired, guitarist Derek Trucks for the their blistering take on Bobby “Blue” featured vocalist on only “Big Boss Man,” first time gave his all to Tedeschi Trucks Bland’s “I Pity The Fool.” Reenergizing and his originals “All In My Sleep” and Band, and it really shows. Well before the the soul revue music of Joe Cocker’s “The Last Time,” but does trade licks close of 2015, my mind was made up that Mad Dogs & Englishmen and Delaney and solos with Melio and Perkins for Let Me Get By would take best album in & Bonnie (Bramlett) and Friends has the rest of the set. Perkins, for the most several possible 2016 contests. When become custom for TTB. The Delaney part, seems to be in charge, leading the of the powerfully exquisite & Bonnie offshoot, Eric Clapton’s Derek band through up-tempo finger-snappers “In Every Heart” quiets the room, you & The Dominos, befits their program like his exuberant original “For You My can’t help but kick the whole thing right particularly well, especially given Trucks Love”, ’s signature tune back up again. One after another, songs was named for that band. The Dominos’ “Kidney Stew,” some early rock with galvanize the room with adventure, yet freewheeling “Keep On Growing” is spot- “High Heel Sneakers,” and “Pinetop’s so very effortlessly please the ear. on and wonderful live rock and roll. Also Boogie Woogie” (attributed here to Something new seems to among the bonus tracks, ’s Perkins but originally recorded in 1928 jump out in each, every time. It may be “Oh You Pretty Thing,” recorded just prior by the mysterious and tragic Pinetop a typically extraordinary Derek Trucks’ to the legendary artist’s death, comes off Smith). Perkins detours to the dark side guitar solo that materializes in the most at once dainty and muscular, if not eerie. on “Goin’ Down Slow” (mistitled as “Had subtle of ways. Or, an inflection by his Someone from their camp once told me My Fun”). It’s a loose and amiable scene wife, Susan Tedeschi, who perfectly that Derek and Susan considered calling with Perkins and Rogers providing intros, balances the grit and the grace when it their band Swamp Family. Cartoon commentaries, and some bantering. comes to soul and blues singing (she’s overtones and stylistic limitations aside, There is ample soloing by Perkins, also a damn fine guitar shredder). But, the handle would have been appropriate. Rogers, Tony O, and Little Mike. Kudos it could also be a crafty turn of phrase, But make no mistake – Tedeschi and especially to Little Mike for his soulful or one of the matchless vocal harmonies Trucks lead the way. I urge any fan of harp playing. Whether warbling like and blasts of brass. Possibly just the way great music to follow them. Sonny Boy II or slashing like Little Walter, a rhythm turns. This, their third studio – Tom Clarke it is one of the album’s selling points, set, flawlessly documents the TTB sound ------especially for harmonica fans. – fomented by so many commanding PINETOP PERKINS AND JIMMY – Thomas J. Cullen III sounds of the past. A dozen strong, this ROGERS WITH LITTLE MIKE AND livewire outfit cut the album in the room THE TORNADOES ------at Swamp Raga, the feel of it thriving Genuine Blues Legends MIGHTY SAM McCLAIN AND KNUT with love and cross-cultural camaraderie, ELROB Records REIERSRUD not to mention the Jacksonville marsh Tears Of The World that the Trucks family studio sits at the ACT edge of. Check the chorus of frogs at the outset of the mystical instrumental named for the locale (fans of the old Derek Trucks Band will love this piece), and the handclapping at the coda of the dramatic R&B tune, “Right On Time.” They’re charmingly natural signs of life and togetherness. Plenty of jamming made the cut, with the -led interlude in the otherwise swing of “I Want More,” standing out. Tedeschi sounds the most at ecorded live in front of an enthusiastic ease, and yet potent, than she ever Raudience at the Grand Auditorium in has, fully developed now into one of the Ellsworth, Maine, in May, 1988, these ighty Sam McClain was both a premier vocalists of our time. There’s particular GBLs need no introduction to Mtraditionalist and an innovator – one whimsy and big hooks in the opening of the last few progenitors of pure, 40 - Blues Music Magazine - JULY 2016 Have A Question? Call 1- 855 - USBLUES red-clay (who cut his first soul introspection and testification, with Of A Man” is a splendid launch for this 11- R&B chart hit in the mid-‘60s) and a McClain offering the latter in soaring, full- song, 42-minute collection. Same holds musical fusionist who pursued his own throttle form. true for Lucinda Williams’ contributions, visionary blend of blues, soul, R&B, funk, We’re likely to be hearing one works well, the other not quite so. But and gospel within the singer-’s more from McClain, since he left two wholeheartedly satisfying are Tedeschi- art. Shamefully underappreciated and unreleased albums behind. But for now, Trucks’ “Keep Your Lamp Trimmed And unrewarded with a BMA, McClain died Tears Of The World serves as a winning, Burning,” the Cowboy Junkies’ “Jesus from cancer and its complications in June autobiographical memoriam of the depth Is Coming Soon,” which counterpoints 2015, despite the imagination, scope, and power of his art. Margo Timmins’ vocal with a sampling of and volume of his work. – Ted Drozdowski Blind Willie’s own voice), a typically fine This album, as much a ------Blind Boys of Alabama interpretation of celebration of friendship as a freethinking VARIOUS ARTISTS “Mother’s Children Have A Hard Time,” soul-blues gem, was his final collaboration God Don’t Never Change: The Songs a sweeting reading of “Bye And Bye with Norwegian producer/guitarist/ Of Blind Willie Johnson I’m Going To See The King” from North songwriter Knut Reiersrud. Also ignored Alligator Mississippian Dickinson accompanied by in the current round of BMA nominations, Otha Turner’s descendants on fife and it recently won the Spellemannprisen – drum, and in the biggest surprise: A solo Norway’s version of a Grammy – for best performance of “Let Your Light Shine On blues album of 2015. Me” by former Lone Justice singer Marie McClain and Reiersrud met and McKee, multi-tracking herself on guitar, bonded during their work on the brilliant piano, organ, and percussion. It alone is 2010 album Scent Of Reunion: Love worth the price. Duets Across Civilizations, featuring – Bill Wasserzieher McClain and Iranian vocalist Mahsa ------Vahdat. The cross-cultural intelligence KEB’ MO’ of the project telegraphs itself, and the Live That Hot Pink Blues Album music’s raw beauty spoke volumes. Kind Of Blue Music Tears Of The World is a more straightforward but equally untempered tribute album, a good one at least, is affair. McClain and Reiersrud, who is A a boon to all. A deserving artist gets an exceptional blues guitarist with a celebrated, the (s) for whom large vocabulary of tones, riffs, and he or she labored has an opportunity to compositional twists that freely borrow reissue back catalog, the musicians who hues of classic country and pop music, contribute are able to align themselves head for the soul along three routes. with someone they presumably respect Some selections revisit McClain’s and maybe they reach new listeners who catalog of past recordings. His new like what they hear and will then buy rendition of Carlene Carter’s “Too Proud” the contributing artists’ own recordings. takes on bright new flourishes, including The only drawback is that the supply of Reiersrud’s church-informed slide guitar those worthy of being celebrated is about and chiming bells, but is powered by tapped out. Or to put it another way, I ince we first met in May of 1994, I the same simmering emotions he stopped counting tributes Shave seen Keb’ Mo’ perform as a solo summoned in his first recording of the after the first six – and that was in the guitarist, in a duo, with a full band, and, for full-blooded, diary-like tale. New tunes, previous century. the past three years, in this multi-talented like the Reiersrud co-writes “Apples But a new one honoring Blind quartet. Whatever the arrangement, Keb’ (Don’t Fall Far From The Tree)” and Willie Johnson deserves to be celebrated. has always satisfied his legions of fans “Jewels” flash back to the golden era Put together by Jeffrey Gaskill and with a smart mixture of older favorites of soul, when giants of songwriting like released by Alligator, God Don’t Never and current trendy originals. Jerry Ragovoy and Dan Penn seemingly Change brings together widely diverse Culled from a variety of venues tossed off brilliant tunes for the likes artists to perform the songs of gospel/ during Keb’s 2015 tour, the two-disc of Howard Tate, Aretha Franklin, and blues singer who was born in Pendleton, set includes 16 songs and almost 80 . They’re actually that good Texas, in 1897, and died a four-hour minutes of tunes accurately capturing – and smartly buoyed by Reiersrud’s drive away in Beaumont, Texas, in 1945. the most recent Keb’ Mo’ live experience. crafty arrangements, including horns and Offering covers of his songs are, in the Supporting him is his crack touring female backing voices. order they appear, Tom Waits, Lucinda unit of Casey Wasner (drums), Stan The third route takes some Williams, Susan Tedeschi and Derek Sargeant (bass), and Michael B. Hicks intriguing twists in the pursuit of Trucks, Cowboy Junkies, Blind Boys (keyboards). There is also the Nashville chestnuts. Joe Foreman’s obscure 1968 of Alabama, Sinead O’Connor, Luther String Orchestra septet supporting “Please Mr. Foreman” gets a predictably Dickinson with the Rising Star Fife & Keb’ on the three songs chosen from beefy retro treatment, but the magic Drum Band, Maria McKee, Rickie Lee Nashville. The instrumental depth offered happens – as it often did in McClain’s Jones, and Waits and Williams each by the orchestra on “Life Is Beautiful,” own albums – when surprises arrive. coming back for second appearances. “Come On Back,” and “More Than One The biggest is McClain’s and Reiersrud’s Do all the tracks work? Darn Way Home” uplifts these originals into duet reworking of the 1956 Doris Day hit near. Anvil-like percussion doesn’t newfound reflections. “Que Sera, Sera.” The sweet-but-dark help Waits’ mumble-growl of “John The Keb’ reprises three tunes from pop confection becomes a triumph of Revelator,” but his version of “The Soul his eponymous 1994 debut. He opens JULY 2016 - Blues Music Magazine - 41 with “Tell Everybody I Know” and moves aural journey from Detroit to Portland, n blues terms, Texas meets to “She Just Wants To Dance,” a crowd Oregon, and you will be pleasantly ICalifornia meets Chicago. That’s pleaser for over 20 years of touring. He rewarded with 11 original Salgado tunes how frontman describes ends with the beautifully written “City that are capped off with Johnny “Guitar” his collaboration with fellow blues Boy,” the minor key lament of every city Watson’s “Hook Me Up” to complete heavyweights Little Charlie Baty, Anson dweller. As a simple duet between Keb’s the dozen cuts. You will be listening to Funderburgh, Wes Starr, and R.W. guitar and Hicks’ lush piano, it’s easy to a soulful singer, songwriter, and harp Grigsby. With that much talent in the feel empathy for every person’s search player who has earned BMA awards for studio, one of two things might be a for a home where freedom is prized. In Soul Blues Artist of the Year in 2010, likely outcome: they might step all over between, the images Keb’ summons on 2012, and 2013. He also received the each other or they might put together a “Henry,” written in tribute to Henry St. BMA as B.B. King Entertainer of the smooth and polished album of the music Clair Fredericks, aka Taj Mahal, recall Year in 2013 as well! Any of our readers they’ve been pleasing listeners with for a rural South when African-Americans who have had the pleasure to see him many years. sharecropped and the blues was in the perform live can attest to the validity of The answer can be heard air. these achievements. in the first two tracks. Clarence Playing in this stripped down Salgado also had a hand in “Gatemouth” Brown’s “Midnight Hour” quartet gives Keb’ the opportunity to the horn arrangements and assembled starts things off with Hummel singing challenge himself as the band’s sole a group of fine musicians that included but laying out on harmonica to give guitarist. As such, his solos have Johnny Lee Schell and Terry Robb on Baty and Funderburgh some space to developed into coherent colorings that guitars, on organ, Tony allow their contrasting guitar styles to amplify each song’s mood or theme. Braunagel on drums, and a dozen others be heard next to each other and also to Case in point, the eight and a half who contributed on various tunes. establish themselves for the remaining minutes of “Dangerous Mood.” Three The beat on the songs should thirteen tracks. The second tune, Billy minutes after Keb’s slow blues opening have you moving with Salgado’s groove. Boy Arnold’s “Here’s My Picture,” starts solo, he finesses a two-minute, single One outstanding cut, “Healing Love,” and finishes as a percussive rumba string solo that reinforces the song’s hot exhibits Salgado’s plea and subsequent while seamlessly sliding into a shuffle attitude. salvation of love with the meter, rhythm, for Hummel’s midpoint harp solo as Jim Three songs from his 2014 and passionate vocal that should make Pugh’s piano jangles over, under, and Grammy-nominated, Blues Music Award Van Morrision envious. The songs around. They’re all tight and loose at the winning BluesAmericana record are the appear autobiographical and Salgado’s same time and this doesn’t change as honky tonk “The Old Me Better,” his emphasis on certain words and phrases they put together this blues concoction. funky “The Worst Is Yet To Come,” and include the listener in his inner circle. He Within the context of the his blues-meets-church “Somebody Hurt has so adroitly distilled the best of the group, everyone shines; if any of these You.” Don’t miss his six minute take on Motown soul, horn punctuations, and musicians and regional styles are “The Door,” where each band member is swinging grooves with his own brand that appealing, then this album should be, given the opportunity to sing the chorus. makes this CD so listenable. There is too. Hummel himself brings four songs Because his lyrics create an even a satisfying reggae beat in the tune to the party; among them, he touches immediate singer-listener bond in each “Simple Enough.” down in Texas with “Lucky Kewpie Doll” of his songs, Keb’ has his finger firmly on Another gem is a lovely duet and closes things out with the dirge the psychic pulse of these modern times. between Salgado and singer Danielle like “End Of The World”. Along with his These live songs will reach people in that Schnebelen in the slow, soulful “Is There originals, R.W. Grigsby’s financial crash same way. Something I Should Know,” one of the lament “Detroit Blues” sounds about as – Art Tipaldi longest cuts on the CD. If you are a fan in structure and content ------of Curtis Salgado, this is an essential as a non-Jimmy Reed tune can sound. CURTIS SALGADO and worthy addition to your library. If you Hummel also revisits “ Slop,” The Beautiful Lowdown aren’t familiar with Salgado’s work, this is a tune from 1994’s Feel Like Rockin’. Alligator Records a great record to start. Listening to both back to back, this – Pete Sardon latest rendition, sporting a horn section, ------sounds richer and freer and launches him into a compact, whoop-ass MARK HUMMEL’S GOLDEN STATE harmonica solo near its end. Contrasting LONE STAR REVUE with these styles are other more toned Golden State Lone Star Blues Revue down tracks such as Mose Allison’s Electro-Fi Records “Stop This World,” in which Starr’s brush work and Pugh’s understated organ frame the call and response between Hummel’s chromatic soloing and Funderburgh’s guitar fills. Pick any track on this CD and similar observations can be made. oody Allen crafted a wonderful Texas meets California meets Wmovie about a in Chicago. In blues terms, maybe not so his Sweet & Lowdown film, but Curtis easy to bring off cleanly. Evidence to the Salgado has outshone Allen in his contrary submitted and received. uplifting latest Alligator release, The – Matt MacDonald Beautiful Lowdown. Take a 2,388 mile 42 - Blues Music Magazine - JULY 2016 Have A Question? Call 1- 855 - USBLUES TINSLEY ELLIS the heart as well as the soul, one gig at Gibbons, but here it transcends the Red Clay Soul a time. blues-rock genre, blazing keyboards Heartfixer Music – Grant Britt and foot-shuffling percussion providing ------a high-energy counterpoint to Gibbons’ BILLY GIBBONS AND THE BFG’S scorching guitar. Gibbons expands his Perfectamundo musical palette on Perfectamundo, Concord Records allowing his guitar greater freedom to soar while exploring different tones and textures with his lyrics and singing. As such, Perfectamundo is an engaging, and entertaining – if surprising – solo debut from the legendary blues-rock guitarist. – Rev. Keith A. Gordon ------NICK MOSS ed Clay Soul is an almost perfect From The Root To The Fruit Rdescription of what Tinsley Ellis has Blue Bella Records been doing his whole career. Almost perfect though, because on cuts like the opener, “All I Think About,” Ellis’ scalding or nearly half a century, Billy Gibbons guitar takes it out of soul and drops it Fhas fronted ZZ Top, that ‘little ol’ band right in rock and roll’s lap. It sounds like from Texas.’ If only for acclaimed albums from the Mad Dogs and like , , and Englishmen days. That’s not Russell on Deguello, Gibbons’ place in the big book the keys though, it’s Kevin McKendree, of blues-rock history would be assured. longtime stalwart of Delbert McClinton’s So why, this late in his career, would stellar road band, and producer or co/ Gibbons deem it necessary to record a producer of every studio record Ellis has solo album like Perfectamundo? Gibbons done since ‘97’s Fire It Up. “I ain’t much, has often brought his fascination with but I’m all I think about,” Ellis bellows other genres of music to experiments in Russell’s voice, tearing off chunks of with his longtime band, and he’s been n the Boy Scouts you are taught that redhot licks, style. interested in Latin and Afro-Cuban music Imoss is found on the north side of Delbert McClinton’s not guesting for some time, once studying percussion a tree. In the blues, you can find the on this release, but it sure sounds like with Mambo legend Tito Puente. sounds of the Nick Moss Band all over him singing on “Givin’ You Up,” a tune Dominated by Afro-Cuban the South side of Chicago! In his latest Ellis wrote over a decade ago with the rhythms and other Latin music generous 27-song, double CD, From Wood Brothers’ Oliver Wood on guitar influences,Perfectamundo was recorded The Root To The Fruit, Moss wrote and vocals. The melody pays homage to provide Gibbons with a way to get his 16 of the songs and his talented blues to Delbert’s “Givin’ It Up For Your Love” groove on without being kneecapped by vocalist, Michael Ledbetter, penned nine as well. But there’s nothing wrong with a the obvious restrictions of playing with a with Elmore James’ “Long Tall Woman” Delbert tribute tune, especially when it’s trio. Gibbons put together a multi-cultural and the traditional “Serves Me Right” done as well as Ellis does, punctuated band, The BFG’s, for this ‘solo debut,’ completing the song list. by some fine laid back harp by Ellis as allowing him to flesh out his trademark CD 1 is titled Roots and each well as some jangly -esque sound, providing room for the guitarist to of the 14 songs seems to snag a perfect guitar spurring it on and McKendree explore fresh creative turf. ZZ Top fans rendering of the various Chicago blues tinkling along the spaces. picking up a copy of Perfectamundo sounds that were so prevalent in the Ellis incorporates ’s expecting a reprise of “La Grange” or ‘50s and ‘60s. Moss’ guitar is versatile mellow soul sound on “Anything But Go” “Sharp Dressed Man” are going to be and provides the right blues punch with some ‘70s style soul guitar. “Party Of surprised – not kindly, perhaps – by to accentuate the lyrics. On the title One” gets down to the wee hour blues, Gibbons’ solo experiment. But Gibbons’ track, “From The Root To The Fruit,” he last set, peering bleary-eyed through a bold, ballsy fusion of sultry rhythms and also provides the vocals as well as a veil of cigarette smoke to see if there’s his blues roots works more often than not very good harmonica accompaniment. anybody still left in the club. “Paging Mr. here, the five-piece band and Gibbons’ Vocalist Ledbetter also plays rhythm Bitter, party of one,” Ellis calls out, but Latin influences serving as a blank guitar on some songs and guest artist there’s no reply, only the lonely echo of canvas on which the guitarist can paint blows harp on “The Woman his guitar off the walls of the empty room. as he wishes. I Love.” Other Moss bandmates include Since his debut in ‘81 with The album-opening cover of Nick Fane playing bass with aplomb, harpist Chicago Bob Nelson as The ’s “Got Love If You Want It” Taylor Streiff on keys, and Patrick Seals Heartfixers, Ellis has put out 19 albums of is a perfect example of the experiment on drums. I did not want the first CD soul-soaked blues dug out of the Georgia done right, Gibbons’ breathless, subdued to end as its pure South Side Chicago clay he calls home. Now the only thing vocals complimented by colorful rhythms sound had me wishing it were even left of the Heartfxers is his record label and his own spicy fretwork. A bawdy longer than its 53 minutes. of the same name, and the soul that Ellis story-song, “Pickin’ Up Chicks On The second CD (77 minutes) carries with him, dispensing remedies for Dowling Street” is the sort of thing that titled Fruits took a different turn and really one would expect from vintage showed the versatility of Ledbetter’s JULY 2016 - Blues Music Magazine - 43 soulful vocals and the tightness of the mid-tempo riff, vaguely bringing to mind Wenner, Sugar Ray Norcia, Mark Nick Moss Band. Guest guitarist David the Allman Brothers. The album’s closing Hummel, Steve Guyger, Li’l Ronnie Hildago from added his mark track, “Somehow,” also acoustic but not Owens, Kurt Crandall, Andrew Alli, and on “Free Will.” More than half of the quite as promising, makes me wonder if , the last on decades-old songs are over five minutes in length with Castiglia tapped into his days as a social recordings with and Robert the longest cut, “Serves Me Right (Space worker to help it along. The change of Lockwood, Jr. The profits from sales are Jam)” clocking in just under ten minutes. pace that he offers with both of these is said to go to the Blues Foundation and The Nick Moss Band is really welcome. its Hart Fund, which assists musicians in tight and exudes a timelessness that will Where everything on Big Dog financial distress. make this double CD a blues favorite really seems to come together is on Most of the playing on Blues even twenty years from now. Nick’s wife, “Where The Devil Makes His Deals.” For Big Walter is predictably solid. Some Kate Moss, designed the packaging, and Throughout the album, there are of the harp-sters echo Big Walter’s style the interesting cover by Pat Moriarity recurring elements that work just fine – in their own manner of playing; others appears to in the style of R. Crumb. Let’s Castiglia’s electric guitar, rough singing, are just being themselves. My own taste see, two CDs of great blues that will play and written lyrics, Mike Zito’s guitar and leans toward Mark Wenner’s work on for over two hours – what’s not to like? backing vocals, Lewis Stephens’ organ, “Worried Life” and “Walking By Myself,” – Pete Sardon and Johnny Sansone’s harp playing on Steve Guyger’s versions of “If It Ain’t Me” ------a couple of tracks – but it’s on this tune (supported by a Finnish ensemble) and ALBERT CASTIGLIA that all of these jell to form a song of “Little Boy Blue” (backed by just guitarist Big Dog compelling imagery and dark thoughts Rich Yescalis), and album producer Li’l wrapped in a swampy, rhythmic drive. Ronnie Owens’ “We’re Gonna Move To So, with this album, Albert Kansas City,” “Need My Baby,” and his Castiglia doesn’t have to worry: he’s still album-closing live version of “Think Big” that hard driving guitarist. But he’s one from a 2009 show. who also has some pretty cool things to Also Sugar Ray Norica and his say. Bluetones clock in with an 18:47 medley – Matt MacDonald that takes listeners through “That Ain’t It,” ------“Walter’s Boogie,” “Everybody’s Fishing,” VARIOUS ARTISTS “I Don’t Get Around Much,” and finishes Blues For Big Walter with “Blueberry Hill.” Talk about a tour de Eller Soul force, one harp man honoring another. – Bill Wasserzieher ------MIGHTY MIKE SCHERMER t first glance, Albert Castiglia comes Blues In Good Hands Aacross as the hard driving electric VizzTone blues guitarist: lots of licks, lots of loud, lots of gritty vocals blasted right at you. On this album, his seventh release, there’s definitely a good amount of that happening, but that’s not all. Of the eleven tracks on Big Dog, six are either written or co-written by him and they prove to be some of its strongest. Looking at the track listings, he Walters, Little and Big, were the “Get Your Ass In The Van” and “What The Tharmonica kings of Chicago back Hell Was I Thinking” first brought a grin in the day. People tend to talk about to my face with the hope that they would Little Walter Jacobs more now, mostly somehow live up to their titles. Happily, because his recordings for Chess have they both do, with the first using an always been available, but Big Walter eteran guitarist/vocalist Mike Elmore James guitar riff and low-fi sound Horton also has his advocates, despite VSchermer relocated to Austin from to deliver an amped up Delta feel while his recordings being harder to find. Some Northern California in 2009 and has been the second’s lyrics express sentiments authorities, including the late Willie Dixon, touring regularly with Marcia Ball since. shared and uttered throughout history think Big Walter was the better artist, Even though this is his sixth album, he by the huddled masses of the ill advised the one with the fatter tone and able to has been nominated for a 2016 BMA in and hung over. While these tunes safely hang onto a single note longer. Dixon, the Best New Artist category. On this fall into the category of what might be in various interviews, even claimed that self-produced baker’s dozen of originals, expected from Castiglia, he also breaks Big Walter taught Little Walter reed tricks Schermer aptly demonstrates that he is up Big Dog with a couple of acoustic and filled in for him in the studio when the one mighty fine songwriter, one whom flavored songs that are more ofa diminutive one didn’t have the right stuff. other artists may want to consider noticeable departure from the rest of what Maybe, maybe not. covering (as did his friend he does here. Although “Let’s Make Love Long story short, Big Walter, with the splendid “My Big Sister’s Radio”). In The Morning” might look like another who died in 1981, is the honored subject Schermer’s main influences aggressively titled tune, it doesn’t sound of a new, 16-song collection featuring a are Nawlins R&B, , and that way at all, with its lyrics of promise variety of more recent harp players. The Chicago blues with some jazz, reggae, and shared escape, combined with its lineup features Kim Wilson, Mark and funk in the mix. His vocals are clear 44 - Blues Music Magazine - JULY 2016 Have A Question? Call 1- 855 - USBLUES and confident with a tinge of twangy Milteau is pure synchronicity. Milteau’s has since spent decades in the trenches, grittiness while his wiry guitar playing Hohner provide a range of playing every blues joint, dive bar, and is crisp, stinging, and uncluttered. The sounds from regular, lower tuned and smoky club willing to book his dynamic rollicking “Baby Don’t Stop” and “Barkin’ accordion-like tremolo harps that seem stage show. Up The Wrong Tree” (with Marcia Ball to be drawn from inside the deep well of Beard has recorded sporadically on piano), and the slinky “Most People” songs that reside in Bibb’s head. In fact, through the years, but albums like and “Hear You Call Him Baby” affirm his the closing song, “Swimming In A River Of 2001’s Born To Play The Blues and affinity for infectious Louisiana music. Songs,” sums up Bibb’s inspiration and 2005’s Live Wire have won him fans Favorites among the blues tunes are purpose in life – a most beautiful song like Tommy Castro and , the Jimmy Reed-like jangler with weary that gets better with each repeated listen. two guys that know a thing or two about vocals “Wait-On-Me Woman” and the Bo Other standouts include: “The Midnight the blues. Whatever momentum Beard Diddley meets Slim Harpo thumper “Take Special,” “Goodnight, Irene” (the number had achieved during the decade hit a My Hand”; both tunes feature Greg Izor’s one song in America the year after Lead wall, though, when the guitarist suffered raucous harmonica. Belly’s passing and the year before Bibb’s a mini-stroke that left him partially The title track is an birth), “The House Of The Rising Sun,” paralyzed. Relearning the guitar, Beard’s autobiographical country-soul ballad and “Bring A Little Water, Sylvie,” with its “comeback” album, Eye Of The Witch, that pays homage to Albert Collins, interplay between the high capoed guitar released on his own independent Destin Hubert Sumlin, and Jr. Walker. The and lower registered harp. Records label, showcases the enormous rhythm section of drummer Paul Revelli Bibb’s voice is both resonant artistry of a man whose hard-won and bassist Steve Ehrmann perform and authoritative with excellent experience has caused him to fall in love on most of the tracks; other musicians enunciation and Milteau punctuates and with blues music all over again. are drummer Damien Llanes, bassists accentuates each song with harmonica Beard dollops spoonfuls of funk Johnny Bradley and Keith McArthur, phrasing that should make most harp and soul into his traditional blues sound and keyboardists Austin Delone and players quiver with delight. In 1964 on Eye Of The Witch, a mix evident from Tony Stead. Special guests include John Lead Belly’s Midnight Special LP was the first notes of the album-opening “Let Nemeth on harmonica, Tommy Castro frequently on my hi-fi and to hear these The Chips Fall.” Building on a deep on guitar, saxophonists Terry Hanck songs revitalized and brought to life by groove wide enough to drive a semi-truck and Nancy Wright, the aforementioned Bibb and Milteau was well worth the half- through, Beard’s incendiary fretwork Ms. Ball, and background vocalists century wait. pushes the backing rhythm to swing and Carolyn Wonderland, Angela Strehli, Grab your friends, an adult the horns to sing. Beard’s original “Older Vicki Randle, and Shelly King. Blues In beverage (if you are so inclined), and Fool” mixes blues and rock while evoking Good Hands is a well-crafted exemplar a comfortable chair and share this a memory of the Delta. Sharing vocals of soulful eclecticism with broad appeal. historical and pleasant recording with with his dad Joe, Mr. Beard – Thomas J. Cullen III them. I guarantee that they too will want provides a gruff, powerful counterpoint ------to purchase their own copy of Lead to his son’s warm, smokier vocals. The ERIC BIBB AND J.J. MILTEAU Belly’s Gold. It will be a memorable hour Chicago-styled “I’m Free” reminds of Lead Belly’s Gold well spent. , with icy blasts of horn and a Stony Plain Records – Pete Sardon Windy City swing. Beard’s deft fretwork ------throughout Eye Of The Witch is only CHRIS BEARD half the story, his soulful vocals imbuing Eye Of The Witch the album with an energy and electricity Destin Records absent a majority of modern blues music. Chris Beard is a bluesman worth your while to discover. – Rev. Keith A. Gordon ------SHAUN MURPHY It Won’t Stop Raining Vision Wall Records

ust shy of an hour in length, this CD Jby singer/songwriter/guitarist Eric Bibb and French harmonica player extraordinaire J.J. Milteau treats the wise purchaser to 11 live songs from inger, songwriter, and guitarist the Sunset, a Paris Jazz Club. Cuts 12- SChris Beard is a second generation 16 are from the studio and are just as bluesman. The son of the great, listenable. Taking diamonds from Lead underrated Joe Beard, the young Belly’s oeuvre, Bibb polishes them to a musician grew up in Rochester, New brilliant sparkle with the able virtuosity of York, in the long shadow of legendary J.J. Milteau’s harmonica, Larry Crockett’s Delta bluesman Son House. Beard first drums and percussion, Gilles Michel’s picked up a guitar at age five and, inspired haun Murphy has a long history of bass lines, and back-up vocals by Big by friends of his father like Matt “Guitar” Smaking great music and is the heir Daddy Wilson and Michael Robinson. Murphy and Buddy Guy, was fronting his apparent to female blues icons Big Mama The interplay between Bibb and own R&B bands as a teenager. Beard Thornton, , and Etta JULY 2016 - Blues Music Magazine - 45 James by virtue of her impressive range, Despite an origin scattered across times, Memory teamed with veteran guitarist/ delightful delivery, and powerful vocals. locales, and players – nearly 30 other singer/songwriter JJ Appleton who She is one of the best blue-eyed soul/ musicians are credited – the album has a produced this 11 song set of eight R&B divas around today and It Won’t cohesiveness that comes with Gray and originals and three covers. Stop Raining is the proof. Totaling 12 Corritore’s singular approach. They are augmented by tracks and containing mostly funky R&B This is traditional Chicago blues bassists Neil Heidler (four tracks) and tunes, Murphy slows it down a notch played with style and grace but nothing (five tracks). Comparisons for a few cuts. On every measure of fancy; it would have sounded at home in to & Brownie McGhee, every song killer vocals, great guitars, a tiny bar 60 years ago. From the get-go, Cephas & Wiggins, and Ball & Sultan Memphis-inspired organ, and a driving there’s a party vibe to these tracks, with come to mind on this mix of Delta and rhythm section showcase just how Gray kicking off the set with the Grant Piedmont styles with some swamp and special Ms. Murphy’s talents really are. Jones “Let’s Get High,” his boogie blues folk flourishes. Deft picking, jangling For funkiness check out the piano driving the rhythm while Corritore chords, and sinuous slide combine with opening song “Spreadin’ The News,” adds a playful solo. “Blues Won’t Let Me wailing and chugging harmonica to “Happy With The One I Got Now,” Take My Rest,” from which the album produce an intricate yet fluid sound. Fans “Running Out Of Town,” “Price Of Love,” derives part of its lengthy title, is slow- hoping for Ricci’s signature hair-on-fire “Hey Baby (Don’t You Remember Me),” grooving shuffle that features guitarists fulminations are in for a surprise. Ricci’s “I Hate The Blues (But The Blues Sure Bob Margolin and Johnny Rapp. It’s one energy and exuberance abound; his Seems To Love Me),” and the closing of two Gray originals featured here (the creative fire burns brightly and breezily cut “Fool For You.” She screams. She other being “I’m Gonna Miss You”). but never to the point of conflagration. wails. She preaches. She broods. She While Gray leads the band Favorite Appleton originals are remembers. on most of these tracks, he takes a the Elmore James-evocative “Leaning More traditional and slower backseat to other singers on a handful of Blues” and “At The Wheel Again,” a tracks like her cover of Denise LaSalle’s songs that feature such blues notables traveling blues about a “devil’s pawn 1995 “Your Husband Is Cheatin’ On as Robert Lockwood, Jr. (“Ramblin On singing an angel song.” Appleton’s lilting Us,” “That’s How A Woman Loves,” and My Mind”), John Brim (“That Ain’t Right”), tenor is more suggestive of folk music “Need Your Love So Bad” are Memphis (“Worried Life Blues”), than deep blues. Ricci contributed a soul blues at it’s best. For real passion Tail Dragger (“Boogie Woogie Ball”), new version of his previously recorded and power listen to “It Won’t Stop and Dave Riley (“Ride With Your Daddy introspection “New Man,” the haunting Raining,” Backing Ms. Murphy on her Tonight”). The 90-plus-year-old pianist “Demon Lover,” and a limber-lunged eighth release are Kenne Cramer and keeps some mighty fine company. As tour de force instrumental “Jason Solo.” Shawn Starski on guitars, John Marcus the title of this album suggests, we’ll He also sings ’ “Black playing bass, Larry Van Loon and John probably hear from more of those friends Limousine,” one of two surprising covers, Wallum on keys, and Tom Del Rossi on the next batch. the other being Gary U.S. Bonds’ “It Ain’t pounding. They are tight, play very well – Michael Cote No Use”; Blind Willie Johnson’s immortal together, and perfectly match Murphy’s ------“Nobody’s Fault but Mine” is the third stunning vocals and delivery. Passion JJ APPLETON & JASON RICCI cover. Ricci fans will want this as will fans and power the way it should be done by Dirty Memory of vibrant acoustic blues. a stupendous songstress. Old Boy Network – Thomas J. Cullen III – A.J.Wachtel ------JORDAN PATTERSON AND BOB CORRITORE The Back On Track Recording Project Blues Won’t Let Me Take My Rest Flaming Cheese Records Delta Groove

hen harmonica wizard Jason Ricci Wburst onto the national scene around the turn of the century (with Big Al & the Heavyweights), harmonica fans were introduced to one of the fieriest and romoters take note: Jordan Patterson ianist Henry Gray spent 12 years most adventurous players of the last 20 Pis back! In 1996, Jordan Patterson Pperforming with Howlin’ Wolf, years. After he left Big Al, Ricci formed released his debut CD on JSP Records. beginning in 1956. But the Louisiana New Blood and then Mooncat. He was That record featured an energetic native’s relationship with harmonica in the national spotlight in 2015 for his harmonica player and vocalist steeped player Bob Corritore spans nearly twice guest appearance on Johnny Winter’s in traditional blues. The blues world as long. This 14-track compilation collects Grammy winning Step Back album and quickly took note and Patterson soon performances from a dozen sessions for his performance at the induction of moved from his Canadian home to the recorded over the past two decades, with the Paul Butterfield Blues Band into the bustling D.C. blues scene. He roomed only four songs not previously released. Rock and Roll Hall of Fame. For Dirty with Nighthawks’ guitarist Pete Kanaras 46 - Blues Music Magazine - JULY 2016 Have A Question? Call 1- 855 - USBLUES and Doug Jay, and he hung out with HONEY ISLAND SWAMP BAND and some striking guitar, all weaving Mark Wenner. But it was his association Demolition Day together an insightful reflection on life’s with Bobby Parker that became a turning Ruf everyday challenges. “Medicated” sets point in Patterson’s career. off into retro rock ‘n’ soul territory about Touring around the world and a guy that likes to be that way to ponder opening for many of the biggest acts in his ex, and how he screwed it all up and the blues exacted a toll and Patterson wants it all back. “Through Another Day” walked away to become a concert should give any Chris Stapleton song promoter and artist tour management a rough but right run for its money, and working with Britney Spears, Jack White, the insistent beat and NOLA brass in the Coldplay, Diana Krall, the Black Crows folky “Katie” make her completely unique and many others. and irresistible. But “Devil’s Den,” written But in 2014 the blues again by Mule with New Orleans mainstay reached out to Patterson. This current John Mooney, is a real standout. That record Patterson explores the delicate spooky acoustic-based blues should be balance between contemporary and up for some awards by year’s end for its traditional blues. On the opening tune, isplaced Louisianans Honey Island expert arrangement about the various “Favourite Boy,” Patterson’s sonic palate DSwamp Band made a fantastic ways people struggle between good and creates the edgy tension one expects in fourth album in 2013, folding inspirations temptation. A solid vision permeates this the finest blues-rock. Just when you think like the Radiators, Little Feat, The ultra-fine album. They state at the top of the record will be outrageous, over the Allman Brothers Band, The Band, and their online bio, “Meet the Honey Island top music, Patterson expertly delivers even, into their own Swamp Band.” Take that advice! the follow-up, “Can We Fall In Love Gulf Coast concoction. But that was – Tom Clarke Again,” an evocative, soul-style ballad nothing compared to this. In each way ------that easily could become this decade’s Cane Sugar impressed, Demolition Day BRAD VICKERS & HIS first dance tune at upcoming weddings. will blow you away. Produced in New VESTAPOLITANS Patterson’s “You’re My Girl” is more pop Orleans by the North Mississippi Allstars’ That’s What They Say then blues, however “Living Without Your , the album celebrates ManHat Tone Love” features a funkified arrangement the group’s ten years’ worth of growth by supporting Patterson’s hard-edged leaps and bounds. pleas. Songs like “Don’t Take Me Down” Although formed and still based and “Play My Song” give Patterson the in San Francisco after Katrina damn near opportunity to show-off the harp chops literally blew the five not-yet band mates that turned heads 20 years ago. Deep halfway across the country, the spirit of and expressive, Patterson’s chops inject their New Orleans heritage remains fixed an ultra modern flair. His lowdown “If in the grooves. But never so much as to You’d Help Me Please” is the record’s prevent a little Haight-Ashbury among all darkest Chicago-styled blues. Guitarists kinds of other things to shine through. Darryl Romphf and Bobby Thompson In fact, with the very first guitar riffing replicate the double guitar styles of the and piano rolling in the opener “How Do Allman Brothers while Patterson draws You Feel,” it’s the Rolling Stones that low-tones. “Heartbreaker” follows a come to mind, not the rolling Mississippi. n their fifth album veteran NYC similar style, ABB guitars leading into The album plays incredibly well to the Osinger/songwriter/guitarist Brad Patterson’s melodic harp treatments. considerable strengths of Chris Mule Vickers and His Vestapolitans (drummer I saw Patterson perform at and Aaron Wilkinson, each a principal Bill Rankin and bassist/fiddler/songwriter/ the 2014 Tremblant International Blues songwriter and singer. No one tune by vocalist Margey Peters) continue their Festival in Mont Tremblant and was either even remotely sounds like the one mastery of roots music on this esoteric blown away with his original songs, before, but they all flow seamlessly. set of 13 originals and two covers. Less professional band arrangements, The band, Mule and Wilkinson than half the tunes are blues. Two covers soulful vocals, and a harmonica style on guitars, mandolin and harmonica, with open the album, Tampa Red’s “Seminole born of blues masters, but thoroughly bassist Sam Price, drummer Garland Blues,” a mid-tempo lament about the contemporized into an individual artistic Paul, and keys player Trevor Brooks, Florida railroad line that took his lover expression. With this record, Patterson plays as if joined at the hips. A full horn away featuring a Vickers’ breezy slide is poised to re-establish himself as an section and other guests flesh out the solo, and Leadbelly’s slow drag amalgam important voice in the modern blues songs when appropriate. Even that of swamp and folk, reminiscent of John genre. seemingly lighthearted opener grows Mooney, “Don’t You Love Your Daddy – Art Tipaldi into something big and soulful and damn No More” with Dixieland jazz flourishes ------near dramatic. But the album really gets provided by clarinetist Jim Davis. going with “Head High Water Blues,” a Their affinity for Nawlins R&B is narrative that drags the depths of lasting further explored on the rollicking tribute psychological scars about the big storm. to home cooking with Peters’ cleverly Not an easy thing to do with all the good worded “Mama’s Cookin’,” suggestive tries out there about that universally- of Marcia Ball, and the bouncy “The known, but only individually-understood Secret,” evocative of Fats Domino, Huey E-mail: [email protected] topic. The mournful opening to “No Easy Smith, and Lloyd Price; both tunes are Way” gives way to a fluid, panicky melody seasoned by the sax section of Jim Davis JULY 2016 - Blues Music Magazine -47 and Matt Cowan who are also heard – usually darkly so – and are good for a to associate the Burnsides with their on the Chuck Berry-meets-the Blasters chuckle and a finger pop. de facto extended family – other great mash-up “Another Lonesome Road.” Two highlights, however, fall performers including The remaining tunes include forays into into another category. As soon as I saw , T-Model Ford, and old timey, bluegrass, traditional country, the song list, I went for the title track. It Asie Payton to , folk with several tunes featuring banjo, did not disappoint. Loosely based on a , and musical Hill Country fiddle, and/or mandolin; there’s even story Bisharat heard while visiting Brazil, progenitor, the fife and drum master some a capella gospel with “Fightin’ (In this minor tune, with its Spanish guitars, . The Name Of Lord).” acoustic chromatic, and downtrodden Cedric and Garry Burnside have Vickers is an accomplished bravado lyrics, jumps out. It’s one of the played together before, in the Burnside and versatile guitarist as evidenced by standouts on the album because of its Exploration and Widespread Panic. Now the diverse music herein. Vocally, his unusual arrangement and sound. This Cedric and Garry are back together in a overall style is dry, laconic, and unforced, can also be said for the last, but no less hot mix with superb Hill Country guitarist and thus well-suited for the older styles, outstanding track. “Justice In My Time” Trent Ayers, and their latest release is which gently roll along at a leisurely is done with only vocals, chromatic, and part of a multi-album series known as pace. Devoid of generic blues-rock bass. Although played at a slow tempo, the Burnside Project. This CD has been bombast and werewolf-in-heat vocals, Bisharat demonstrates outstanding harp Grammy-nominated and copped a 2016 That’s What They Say is a refreshingly fills and breath control reminiscent of Blues Music Award for Traditional Blues mature change of pace and audio treat some of Sonny Boy Williamson’s work. Album. Descendants Of Hill Country is for big-eared fans. And, to top it all off, he lays down an both a tribute to Hill County antecedents – Thomas J. Cullen III outstanding, perfectly timed solo. including R.L. and Junior Kimbrough, ------Bisharat gets his moniker and also an excellent showcase for the BIG HARP GEORGE for a reason: throughout the album, amazingly consistent talent these three Wash My Horse In Champagne he is indeed wielding that big crow. men represent. Blues Mountain Records Surprisingly, however, he isn’t flashy with Hill Country music is often it. Although he splits evenly between known for its strong percussion, amping up and going off the mic, his monochromatic vocals, and minimal but playing is economical. On a couple of insistent guitar work. That’s why those tunes, his harp completely lays out and who listen to older Hill Country invariably the 16-hole workout, “Size Matters,” use the word “hypnotic” when describing although excellent, isn’t over the top. the prominent percussion, minimalist This style, along with his writing and get- arrangements, and simple vocals. the-job done vocals, is very refreshing, The opening track, “Born With entertaining, and intriguing. Although it It,” fits nicely into that niche, worked took awhile for Big Harp George to arrive, over by Cedric’s insistent and dynamic it’s great to be able to hear him now. drumming, and Ayers’ simple but – Matt MacDonald distinctive string work. By the time the ------band moves into the third track, “Front his is George Bisharat’s second CEDRIC BURNSIDE PROJECT Porch,” they’ve added harmony vocals Trelease, and it presents thirteen Descendants Of Hill Country and chord changes that let you know that originals that, once again, feature his Self-released this isn’t your father’s Hill Country. The chromatic harp playing while touching next track, “Don’t Shoot The Dice,” is a on a number of relatively atypical blues raucous piece that opens with some on- topics. mike SOT banter and, again, the band Well-deserved nickname decides to continue the harmony singing notwithstanding, Bisharat’s songwriting that began in the last track and that is the main strength of this album. A repeats further uphill. relative latecomer to the blues music “Tell Me What I’m Gonna Do,” scene, he’s lived some and brings his with its tight 4/4 time and plaintive vocals, experiences to the table with him when backed by Ayers and Garry Burnside he sits down to write. Yes, there’s a hammering chords and driving bass tune about getting run over in a bad against Cedric’s percussion, is one of relationship, but almost every other track the more emblematic pieces that almost deals with other no less important and defines the band’s intent. emotional subjects. “I Wasn’t Ready” and he name Burnside in Holly Springs, The rest of the tunes on this “Light From Darkness” have their origins TMS, conjures up not only the great 13 track CD follow rhythmically and in family tragedies, while “Home Stretch” Mississippi Hill Country bluesman vocally in the footsteps of what came and its promise of lifestyle changes is R.L. Burnside, but also the rest of the before. While there is a certain “sound” the musical result of some health news family, smoking guitarist and R.L.’s son that follows through – one might call it of his own. “What’s Big?” serves as an Duwayne Burnside, drummer/multi- a leitmotif – each track has distinctive answer to this question for his son. instrumentalist Cedric Burnside (R.L.’s lyrics by Cedric, and a guitar-bass-drum Although lacking histrionics, these very grandson), and drummer/vocalist/ ensemble that tells us this is the next personal songs succeed musically. Aside guitarist Garry Burnside (Cedric’s uncle). generation of Hill Country blues, which from that, however, all is not necessarily At the same time, when thinking Hill has a bit more rock infused into it while serious. Some tunes here, often in the Country, it’s not unusual for fans of this maintaining a strong blues sound. West Coast style, are humorous often mesmerizing regional music While there is a slight veering 48 - Blues Music Magazine - JULY 2016 Have A Question? Call 1- 855 - USBLUES off from the “traditional” Hill style, the CD predecessor Eric Clapton’s fretwork to Moment,” is a love song with elements is firmly planted in the genre, and under pacify the “Clapton-Is-God” fans, as well of the mariachi bands that Richardson the influence of three superb musicians, as playing his deeper, moodier take on learned from his grandmother. tells us that no musical genre can grow the blues. Either way, he’s brilliant, with Funderburgh adds his guitar if it doesn’t change. These guys pulled a McVie and Fleetwood equally solid. to two rocking tracks, “Get Me Back To fine change-up on this album, and it’s a But no bones about it, Mayall’s Texas” and “Tall Pretty Baby,” which offer CD worth owning. in the spotlight on nearly all of this healthy doses of Richardson’s gorgeous – Michael Cala volume’s 13 tracks, totaling about 73 guitar tone and tasty playing. “Triple ------minutes. But it’s fascinating to hear the Lindig” allows the guitarist to exercise JOHN MAYALL’S BLUESBREAKERS embryonic Fleetwood Mac backing him, some jazz sensibilities while “Here She Live in 1967 – Volume Two and typical of Mayall in his long career Comes” packs a jaunty strut and cutting Forty Below he gives them room to move behind his guitar licks. The Texas Horns frame voice, organ, and harmonica. Green Richardson’s expressive vocal on “Can’t even steps to the front for his early self- Run From Love,” then join the rhythm composed instrumental “Greeny.” section to create a darker mood “Tell Me If you are a fan of early Mayall Do You Love Me.” or of ’s Fleetwood Mac, this Richardson reveals his tender and its preceding volume are essential side on the ballad “This I Know” before listening, as is Mayall and Green’s one finishing with the title cut, an instrumental full album together, the classic A Hard that allows him plenty of space for Road. one final showcase of his prodigious – Bill Wasserzieher guitar skills. By then, it is clear the IBC ------judges knew what they were doing in JONN DEL TORO RICHARDSON 2005. Richardson has put together a Tengo Blues striking collection that comes highly hen I put together a Top-10 list for VizzTone recommended! WBlues Music Magazine last year, I – Mark Thompson had nine new albums and one previously ------unreleased vault collection, the latter JULIE RHODES being a live sampling of John Mayall in Bound To Meet The Devil 1967 backed by what would become the Self-release core of Fleetwood Mac in its hard-core blues days. In a review of that album for this magazine, I noted, “For recordings nearly a half-century old – ones captured when a tape recorder was still a new- fangled thing – their sound is more than acceptable. Listeners can hear just how good Green was so early and how firm a foundation the McVie-Fleetwood pairing t the 2005 International Blues could provide.” AChallenge, guitarist Jonn Del Toro Now comes a second volume, Richardson received the Albert King and it’s just as good in terms of material Award, which honors the most promising and maybe is bit better in that the vintage player at the annual event. Over the past sound seems slightly more consistent. decade, he has recorded and toured t helps for a new artist (musician, actor, It’s Mayall and the lads (they were each with the great mandolin player Rich Iwriter, whatever) to have an interesting a bit more than 20 at the time, with John DelGrosso as well as fellow Albert King backstory – literally a tale to tell, whether a dozen years older) playing at various Award winner Sean Carney, and Diunna the teller is the artist or someone touting London haunts – the Marquee, Klook’s Greenleaf. For the first release under his him or her. A good backstory gets an Kleek, the Ram Jam Club – in the spring own name, the guitarist enlisted Anson artist out of the pact of wannabes and of that long-gone year. Lyndon Johnson Funderburgh as producer along with a gives publicists, writers, deejays, etc., was the U.S. President, Harold Wilson veteran band including Wes Starr on something to spout when introducing the British PM, and Vietnam the black drums, Nick Connoly on keyboards, and said new artist. hole of the decade. Nathan Rowe on upright and electric And singer Julie Rhodes has a Songs on Volume Two include bass. pretty good story. A little over two years a what’s-what of the material that drew The opening track, “Behind The ago, when she was still dishing scoops so many young Brits to American blues. Curtain,” places Richardson’s plaintive at a New England ice cream parlor, she Titles include Sonny Boy Williamson II’s vocal and fluid guitar work over backing attended a show and, from the audience, “Your Funeral And My Trial,” B.B. King’s from the Texas Horns – Mark “Kaz” started singing along with headliner “Sweet Little Angel,” J.B. Lenoir’s “Talk Kazanoff and John Mills on saxophone Jonah Tolchin, an Americana artist on To Your Daughter,” T-Bone Walker’s with Adalberto “Al” Gomez on trumpet. the Yep Roc label. He liked what he “Stormy Monday,” Otis Rush’s “Double From there the music flows through heard, they talked after the show, and Trouble,” and even the Lionel Hampton- several hardy shuffles as Richardson he encouraged her to start writing songs. Dan Burley gem “Ridin’ On The L&N.” pays tribute to his guitar on “I’m Her Man,” Now he’s co-produced Rhodes’ debut Green at the time was still playing in a followed by more impressive fretwork on album, Bound To Meet The Devil. Also hybrid fashion, recreating Bluesbreakers “Love If You Want It.” Another tune, “The he probably helped line up some JULY 2016 - Blues Music Magazine - 49 of the formidable talent on the 11-song, the quietest whisper to a thunderous that goes beyond excellent with the fiddle 40-minute disc, which includes Muscle volley, are so tightly constructed that he skills of these two performers. Shoals legend Spooner Oldham, fiddler always strikes a chord in your soul, and Both Lousianian Doucet and , and pedal steel-man Greg his warm vocal delivery compliments San Franciscan Rigney are seasoned Leisz among the credited side musicians. what he plays. Cajun fiddlers with Doucet fronting the So what’s Rhodes sound The record kicks into his group BeauSoleil, which won a Grammy like? She has a big voice, somewhere shufflin’ gear with “Blues & My Baby,” an for Best Cajun Music, and Rigney between raspy and brassy, the sort of earthy, Texas styled organ-guitar shuffle. leading his group Flambeau in all things throaty sound that works well against The meaty organ chordal riffs are Carney Cajun and Zydeco. While Rigney favors Danny Roaman’s hard-edged electric playing his rhythm track through a Leslie. an incredible sounding violin from 1879, guitar. Tracy Nelson comes to mind as The title cut cleverly addresses the old Doucet’s custom made violins from just an antecedent, along , Angela school likes of we aging boomers. Set in a last century seem to match his tone. Strehli, and the other white female saxy, “Shotgun” groove, Carney cleverly Backing them are Danny Caron on blues singers who used to record for name checks, MapQuest, Twitter, electric and acoutic guitars, Caroline ’s label. What’s especially Google, Wikipedia, Blackberries, SMS, Dahl on lively piano, and Brent Rampone impressive is Rhodes’ phrasing as a Bluetooth, and Iphones. Then, right on on the lively Cajun two-step drumming. vocalist. She’s spot-on on every track, cue, “Let Me In” follows with energetic, Six other musicians lend their skills to without a hint of novice jitters. twangy, old school, rock ‘n’ roll. Carney’s keep things moving. To understand the Rhodes’ songwriting also seems grinding, slow blues “Wrong Side Blues” fever pitch of some of these songs, the mature for someone just starting. There’s features Carney’s T-Bone Walker-styled artists issue a disclaimer at the end of not a throwaway in the 10 listed songs riffs that answer his fast driving, out of the liner notes: “No musical instruments and one hidden track. “Collector Man” control, love metaphor. Like a Ronnie Earl were harmed during the production of and “Skyscraper Blues” seem especially or Duke Robillard, Carney knows exactly this album, but not for the lack of trying.” mature, both tracks getting airtime on how to build a devastating slow blues The title song has these twin various Sirius/XM channels. She’s also guitar solo. “Brent’s Groove” follows with fiddlers playing so closely that you wish brave enough to start a live performance a Ronnie Earl-styled instrumental where the song would last twice as long. Of the on Public Radio’s Beale Street Caravan Carney’s guitar and Carney’s Leslie 13 cuts, seven have Doucet’s touch with with a cover of Son House’s “Grinning In organ rhythm guitar tracks joust back Rigney taking four others with two J.J. Your Face” (show is archived at http:// and forth. Cale songs, “Last Will And Testament” bealestreetcaravan.com). The cover shot Sean Carney is at the forefront and “Call Me The Breeze,” with Louis on Bound To Meet The Devil shows her of an energetic new crop of musicians Jordan’s “Early In The Morning” holding a shovel. You’ll probably dig her. who have done their late night homework completing the songwriting. – Bill Wasserzieher and have a lot to offer. Like recent IBC Although the various songs are ------standouts Zac Harmon, JP Soars, Fiona infectious, it is on the instrumentals that SEAN CARNEY Boyes, Eden Brent, , highlight the seasoned stringed craft of Throwback Eddie Cotton, Mr. Sipp, Trampled Under these two great musicians. There is a Nite Owlz Records Foot, Jonn Del Toro Richardson, Selwyn synchronicity and bounce to their fiddling Birchwood, and Jarekus Singleton, that brings a smile of joy to your face as Carney, live or on disc, is part of an it is so melodic. If you lack any Cajun/ exciting time for the blues. Creolo/Zydeco CDs in your collection, – Art Tipaldi Cajun Fandango would be a good place ------to start. MICHAEL DOUCET AND TOM RIGNEY – Pete Sardon Cajun Fandango ------Parhelion Records NIGEL HALL Ladies & Gentlemen...Nigel Hall Feel Music

n 2007, Sean Carney won first place Iat the International Blues Challenge in Memphis, and Carney himself walked off with the Albert King Award for the best guitarist of the weekend. Since then, Carney has been a relentless touring musician here and abroad, has released numerous CDs under his own name, and has authored five volumes of his Blues “Fandango” is a lively couples dance For A Cure studio jam sessions which A from Spain, but violinists Michael raises money for cancer research and Doucet and Tom Rigney have morphed 015 was an outstanding year for male screening throughout his home state of it into a Cajun version that utilizes the 2soul singers with excellent releases Ohio. French/Cajun language in many of the by Wee Willie Walker, Leon Bridges, Throughout these 12 originals, songs. Once you hit “play” on this CD, Johnny Rawls, Otis Clay & Billy Price, Carney displays a very intelligent and you will find yourself tapping your feet Jackie Payne, and the Bey-Paule Band. concise style of playing. His solos, from and swaying to the lively Cajun swing With this auspicious debut, fans can add 50 - Blues Music Magazine - JULY 2016 Have A Question? Call 1- 855 - USBLUES singer/songwriter/keyboardist Nigel Hall of “Gentrification Blues” to the fading MORELAND & ARBUCKLE to the list. Born in 1981, Hall, a native of chorus and violin of “Hold Up The Light,” Promised Land Or Bust Washington, D.C., is now based in New this debut from the Bay Area singer/ Alligator Records Orleans and has worked as a sideman songwriter is a very strong effort. for Warren Haynes and (among The overriding theme of My others). Blue Soul is Blues Provocateur #1: There are five originals and five relationships and their many foibles. covers. The covers are indicative Hall’s Not including “Ball And Chain,” half a main inspiration: seventies and early dozen of the tracks here deal with this eighties that co-mingled funk, subject, running the gamut of romantic jazz, and pop. Only Latimore’s “Let’s ups, downs, and in-betweens. If, in fact, Straighten It Out” and Denise LaSalle’s these songs were put into a particular “I Can’t Stand The Rain” are perennially order and played straight through, they familiar. The other covers are welcome might make a decent storyboard for a surprises: percolating funk-sway with the major melodrama and/or a week’s worth Isley Brothers “Lay Away” (featuring Ivan of lively Jerry Springer episodes. All are Neville on organ and “Ahmir “?uestlove” sung in a very take charge kind of way, he hard charging Moreland & Thompson on drums), an exuberant Sly mixing blues, funk, and soul, with two TArbuckle band is moving along a Stone-like dance floor summons penned highlights being the ultra self-assured noteworthy career arc. Some 14 years by jazz vibraphonist Roy Ayers, “Try, Try, and ultra catchy “I Can’t Keep” and “He since its inception, the (now) three-piece Try,” and a duet with Alecia Chakour (of Wouldn’t Let Go” with its confidential ensemble has ascended into top tier the Warren Haynes and Tedeschi Trucks yet mundane complaint morphing, very territory with this new, exciting release. Bands) on Stanley Clarke & George unexpectedly, into an equal parts contrite Beginning with the very first track, a hip- Duke’s lilting funk-glider “I Just Want and self-justifying confession. shaker called “Take Me With You (When To Love You.” The originals “Gimme A My Blue Soul doesn’t just spend You Go),” they scorch a path to the last Sign” and “Never Gonna Let You Go” are time maneuvering this minefield. Social one “Why’d She Have To Go (And Let crooning Motown-styled strollers redolent awareness is also sprinkled into the first Me Down). However lengthy in title, no of Raphael Saadiq, the contemporary half of the album. These songs deal with song outlasts listener interest, song- “old school” soul music master Hall is both the very small (the minor – unless craft being the hallmark of their recent most comparable to. There are two silky you live there – neighborhood tensions material. ballads “Too Sweet” and “Call On Me” of gentrification) as well as the very large Taste is another. Their own that showcase Hall’s elastic vocal range ideas of “Born To Die,” which ponders compositions are interspersed with those and a mix of reggae and funk with “Don’t an unequal society where death is the of others they admire, great pacing being Change For Me.” great leveler. Their in-your-face delivery the result. “Woman Down In Arkansas, Drummer/percussionist Adam – given their subject matter and points of ”was written by the late Lee McBee, Deitch and guitarist/bassist/producer view – sounds just about right. friend and front man for and Eric Krasno support Hall throughout and The promo sheet for this album the Crawl. It throbs along in a loping way, are augmented by a horn section and begins with this disclaimer: “She did not Arbuckle’s yearning vocal and sinuous backing vocalists on various tunes. The start singing in the church choir!!!!!!” harp carrying the melody wrapped in album’s only flaw is that it could use a That may be the case, but Terrie Odabi a low-down aural tapestry. Another few more tunes. Otherwise, fans of the definitely has a church voice that is the contributor, Michael Hosty, provides aforementioned singers will find much to connecting thread for My Blue Soul. As “Hannah,” a dark tale about someone enjoy about Nigel Hall. secular in content as most of the songs who’s put a woman with that name – Thomas J. Cullen III here are, this feeling is strengthened by deep into the ground beneath an olive ------her three backing vocalists, appearing on tree. Moreland’s gritty slide-guitar runs TERRIE ODABI eight tracks, and by the organ/clavinet/ conjure the audio equivalent of a dank, My Blue Soul Fender Rhodes which is prevalent dark grave. Ryan Taylor, another friend Self-released throughout. For this reason, it’s very who has his own band in the area satisfying that the CD concludes – and (Oil Boom), furnished “Long Did I Hide achieves some degree of resolution – It.” Its protagonist hides his sorrow and with the uplifting and outright gospel misery at being, well, himself; the song’s sounding “Hold Up The Light.” They energy belies the sentiment. Another of say there’s no second chance at a first Taylor’s, “Why’d She Have to Go (and impression; Terrie Odabi has made the Let Me Down)?” invokes a Little Willie most of hers. John “Fever”-ish style rhythm and bass – Matt MacDonald intro as it becomes a hybrid jazzy-R&B ------tune. A great hook and guest pianist Scott Williams help with that. The three-piece Moreland & Arbuckle core is augmented by a few other guest musicians, including bassist Mark Foley, who in daily life is errie Odabi’s first album, My Blue Professor of Double Bass at Wichita TSoul, contains 13 tracks, a dozen of State University. His bass, an instrument which are originals (Big Mama Thronton’s largely abandoned by M&A on stage, is “Ball And Chain” being the only cover). on six tunes here. From the building hand drums and calls Throughout, Dustin Arbuckle JULY 2016 - Blues Music Magazine - 51 and Aaron Moreland find a place appearance, adding a dose of his brawny “Crazy Little Johnny” could have been between joy and pathos with beguiling tenor saxophone. written for a John Hiatt album with its songs and adroit performances — vocal “Diving Duck Blues” and instrumental hook and yric about a and instrumental. Drummer Kendall “Looking For Love” are from a 2013 gig in misfit who just never quite got through Newby displays a nuanced touch that Milwaukee with Rickun on harp. The latter childhood. We Both Lose” sounds most keeps the harp/vocalist Arbuckle and cut is a Raven original that closes the like the subdudes here, a song dissecting the imaginative guitarist Moreland show with Moore’s pounding piano solo a breakup. Malone’s voice – rich, mellow, on the pleasing array of beats heard and Raven’s gutsy playing. Throughout clear – coupled with his nuanced delivery here, notably the opener, for which he various dates and line-ups, Rev. Raven and phrasing is perfect. contributed the riff. If these guys come to and the Altar Boys consistently hit The familiar throbbing your hometown, go and hear them. In listeners with an infectious version of introduction to the final track is “Big the meantime, Promised Land will satisfy. blues music that continues to make them Brother,” one of ’s seminal – M.E. Travaglini a fan favorite in the upper Midwest and hits. Despite the different instrumentation ------beyond. (slide guitar for harmonica; guitar for REVEREND RAVEN & THE CHAIN – Mark Thompson keyboards), Malone’s rendition is faithful SMOKIN’ ALTAR BOYS ------to Wonder’s politically charged message, Live At The Big Bull TOMMY MALONE mimicking Stevie’s intonation. Especially Nevermore Records Poor Boy that. M.C. Records I admit to being over the moon when it comes to the subdudes. Malone is emphatically central to that enterprise. Happily, this disc shows him in an altered but no less winning pose. The songs on Poor Boy are compelling, sophisticated, and superbly performed – the formula for a winning release; and that’s what Tommy Malone has here. Different, indeed. – M.E. Travaglini ------MARK NOMAD he band with the best name in the #9 Tbusiness opens with its veteran f the subdudes is the only way you Blue Star Records rhythm section of PT Pedersen on bass Iknow Tommy Malone, Poor Boy will and Bobby Lee Sellers on drums setting a surprise. He even said as much in a brief driving pace on the opening instrumental, encounter following a subdudes show: “Hot And Heavy,” allowing Danny Moore “It’s different.” Maybe so, but thankfully, to give the Hammond organ a wild ride Malone is still smack dab in the middle before Westside Andy Linderman on of the American roots music vein with the harmonica blows the house down. Not to eleven songs here, all but one a Tommy be overshadowed, Rev. Raven fans the Malone creation (or co-creation). fires with a guitar segment full of dynamic Have a listen to “Pretty Girls” interludes. with a rhythmic bass intro establishing Other tracks from the 2014 Big focus for his poesy : “Pretty pearls on a Bull Festival in Wausau, WI., include Southern girl/handed down from another the rapid shuffle “Walking To Chicago,” world/picture a woman from the South featuring some of Moore’s fine piano .... pretty pearls of wisdom spoken .... n Western Massachusetts based playing. A downhearted Raven original, they’re only pretty pearls.” Longing? Obluesman Mark Nomad’s latest “Your Didn’t Even Say Goodbye,” finds Heartbreak? Autobiographical? Dunno, offering, entitled #9 (signifying his ninth Linderman using his harp to exorcise the but delicious images. “All Dressed Up,” CD release), the journeyman singer- despair. Sellers takes over the vocal on on the other hand, is just hilarious. After a songwriter-slide guitarist shifts between an extended version of “She’s Nineteen harmonica and slide guitar intro, Malone his Gibson electrics and his acoustic Years Old,” then the band tears through sings of a hard-working “southern boy in resonator guitar to bring you a gritty, “My Life,” a tribute to Raven’s wife with a union suit/all dressed up/got nowhere to pumped up album of bone shakin’ blues Moore once again displaying the piano go/put my jammies on.” The protagonist’s rockers and plaintive acoustic anthems. skills he once used to back . destination? He’s going to bed. Now, Opening the album with the roar Tracks from the 2012 festival “Bumblebee” doesn’t need explication of his for the electrically charge include Benny Rickun on harmonica. with it’s buzzy bumblebee of a slide “Shrine,” Nomad conjures “Hawaiian Boogie” highlights Raven’s guitar. Malone sings he’s “a bumblebee/ heroes like Hendrix, Trout, and Frank cutting slide work and Rickun’s full, fat you can’t run from me/‘cause I’m hard Marino for a true rock ‘n’ roll foot stomper. harp tone. The leader cries out his blues to see” and advises, “keep your distance “It’s Time” finds Nomad rockin’ his on “Stomping & Shouting,” which lives up from drunks like me.” There’s the . backporch with contemporary sentiment to its name through the band’s rough and Malone’s excellent imagery fueled by his acoustic slide playing and tumble rendition. Another high point is shows in this line from “Mineral Girl”: buzzing harmonica work. “Give Your a funky take on Bobby Rush’s “Chicken “Diamond eyes and a coal black soul” is Love 2 Me” sets Nomad back in the Heads.” Big Al Groth makes his lone how he describes the woman in question. electric realm exploring the age-old 52 - Blues Music Magazine - JULY 2016 Have A Question? Call 1- 855 - USBLUES question of love while building a musical CD. It is a set of mostly romantic, record this solid slab of old school hook that just won’t quit. tender love songs with added doses Chicago blues comprised of eight covers Nomad then unveils one of of passionate heartbreak, swing, and and three originals. Performing on guitar the most prolific acoustic pieces of his lighthearted fun. and on harmonica (two tracks), Burgin is career, “DADGAD” resplendent in tone, Shewell started out singing in a backed by a quartet of Northern California vibe, and beauty. This is a must-hear country band, but there is no twang here. stalwarts: harpist Aki Kumar, bassist listening experience for aficionados of Her stint as a country singer may explain Vance Ehlers, drummer June Core solo acoustic guitar and one of the finest her gift for conveying subtle emotion in (currently with ), and songs Nomad has ever penned. Then her voice. She wrote or co-wrote nine engineer Kid Andersen on guitar (and just when you think it couldn’t get any of the CD’s ten songs. Whether singing probably organ on a few tracks). better, Nomad hands over a swingin’ about heartbreak, sex, love, or joy, Years of playing the clubs with jump blues called “What’s A Man To Do?” Shewell’s performances are compelling the likes of Jimmy Burns, Sam Lay, Tail that cooks from start to finish. You don’t and convincing. This is not a singer Dragger, and Jimmie Lee Robinson’s Ice want to miss this one. applying her particular vocal style to a Cream Men, as well as fronting his own By this time you realize that collection of songs. These songs spring bands, led to Burgin’s vast repertoire as #9 is an album of significant stature. directly from her heart and soul. evidenced by his choice of mainly less “Look Over Yonders Wall” pays tribute The set opens with “Fall,” an familiar covers (except for “House Of to electric slide masters like Muddy upbeat track about falling in love. Next The Rising Sun,” performed as a jazz Waters and Johnny Winter that set a up is the heaviest and most powerful instrumental, and Otis Rush’s seminal precedent for all who would follow in their song on the CD, “Suck It Up.” It begins soul-blues “Homework,” which was footsteps. This number will rock you to with a melancholy Shewell singing over popularized by J. Geils Band). your soul. The introspective, acoustic acoustic slide guitar about her broken Burgin is a capable and borne “My Clouds Have Denim Linings” heart. Once the band kicks in with a heavy versatile vocalist with a dry, laid-back will remind listeners of Jimmy Page’s beat, Shewell’s singing is powerful and approach and a limited range. The most groundbreaking guitar work on the reminiscent of Etta James’ best songs. surprising covers are Hip Linkchain’s seminal Led Zeppelin III album. Nomad For blues purists, “Suck It Up” will be the funky twister “Cold Chills” and Robert releases an electric fury on “Valley Of stand out track on this CD. “Breathe In,” Lockwood Jr.’s shuffling “The Western Tears” complete with searing slide guitar “Boy Like You,” “Simple,” and “Relax To Horizon” with slight echos of “Dust work and an infectious hook before Sleep” are all slower tempo songs which My Broom.” His originals are the set- ending the album with a reserved blues- display Shewell’s exceptional songwriting opening shuffle “Love Me Like I Want It” rock burner. On “We Gotta Live Together” skills and the complexity of her voice. suggestive of , an homage Nomad suggests the possibility of “living “Afraid Of The Dark” swings hard and to the lesser known harmonica ace together” with his lady. Again Nomad showcases Shewell’s pure vocal power. (aka “One Arm does what he does best, displaying his The CD ends with a jazzy version of Tom John”) who was a long time Maxwell blistering prowess on the electric slide Waits’ “I Wish I Was In New Orleans.” Street performer, and a frenetic rumba- guitar while unequivocally burning the I had the pleasure of hearing rock instrumental “Havana Rock” that song into your psyche. Shewell perform live this past April. She features Kumar’s brawniest harp playing. Fans of Mark Nomad will be maintained the subtlety of her voice Kumar’s mellow chromatic provides a satisfied with #9 while new listeners will while adding weight and power. She lush cushion for Burgin’s pin-prick fills have something stirring to discover. closed with a moving solo version of on T-Bone Walker’s loping “She’s A Hit.” – Brian M. Owens Leonard Cohen’s “Hallelujah.” For blues Unpretentious old school Chicago blues ------fans who can appreciate a singer whose are in good hands with Johnny Burgin. ERYN SHEWELL voice conveys delicate beauty, emotional – Thomas J. Cullen III Eryn Shewell depth, and bursts of power, Eryn Shewell ------Rewbie Music is your gal. TOO SLIM AND THE TAILDRAGGERS – Raymond T. Proetto Blood Moon ------Underworld Records ROCKIN’ JOHNNY BURGIN Greetings From Greaseland, California West Tone

ow for something completely Ndifferent. A blues singer with an impressive vocal range, the talent to im Langford, aka Too Slim, is a prolific express emotional nuance, and the Tsinger/guitarist/songwriter, releasing power to belt it out with authority! Eryn 20 albums over the past 30 years. In that Shewell’s singing style can be described hicago-based Mississippi native time, Langford has sold over 100,000 as simply beautiful with power to spare. CJohnny Burgin traveled to Kid records and received a Blues Music This is definitely not a traditional blues Andersen’s Greaseland Studios to Award nomination for Rock Blues Album JULY 2016 - Blues Music Magazine - 53 of the Year with Joe Bonamassa, George In The Sky, in 2012; followed it with elta bluesman T-Model Ford. Cru Thorogood, and Warren Haynes in 2012. his acclaimed sophomore effort Dand his band, the Tortured Souls, had That’s great company! Temptation in 2014; and toured Europe signed on to work at a fundraiser to help Langford is one of those with the 2014 Blues Caravan. As shown the ailing bluesman pay his bills. Cru told dedicated musicians who continue to by What’s It Gonna Be, his third album, Ford he was grateful but that the band remain true to his inspirations. And this Jones is part of a generation of youthful should keep the earnings: “Tonight, just cat can play! He is a monster country British fretburners like Oli Brown and show me the love. You keep the money.” blues rocker who is influenced by Joanne Shaw Taylor that are influenced In the liner notes, the guitarist, Lightnin’ Hopkins, Freddie King, Duane more by Joe Bonamassa and Walter singer, and songwriter dedicates his Allman, and Robin Trower. In fact, Trout than they are by the ghost of Stevie sixth the album to all blues artists, throughout all the songs you can hear Ray Vaughan. acknowledging that most struggle to the effects driven Trower blues-rock The album-opening title track keep enough “sugar in the bowl” to sound everywhere. Check out the high “What’s It Gonna Be” is a fierce power- earn a living. You Keep The Money energy, growling guitar in “Good Guys trio blues-rock romper-stomper with makes good on the spirit the title track Win,” “Letter,” “Dream,” “Twisted Rails,” wiry fretwork, driving rhythms, and and album opener promises, delivering and the title track “Blood Moon.” percussive percussion that sounds like a dozen original contemporary blues With cool effects and guitar a turbocharged cross between Leslie songs with traces of R&B and country, tones, blues rockers “Get Your Goin’ West’s Mountain and Bonamassa’s Black including the slow-burning minor-key Out On,” “Gypsy,” and “My Body” are Country Communion. Jones’ original blues of “A Month Of Sundays,” the club- like Alvin Lee and Ten Years After meets “Don’t Need No Reason” throws in a friendly party song “Half The Time” (as Pink Floyd. Most of Blood Moon features few rockabilly licks riding high atop a sly, in drunk half the time), and the mellow screaming guitar solos set to memorable funky rhythmic groove while the rollicking after-hours guitar instrumental “La Belle music that was mostly recorded live to “Evil” sounds like SRV playing Muddy Poutine,” which recalls Carlos Santana. studio. And you can hear the difference. Waters playing Tampa Red, Chicago Cru and his band mates get There is an excitement and spontaneity blues as viewed through the prism of funky on “Heart Trouble,” augmented by that is close to being physical. You can decades of British blues-rock tradition. background singers Mary Ann Casale almost hear and feel the thousands Jones wrote nine of the eleven and Alice “Honeybea” Erickson, who of fans in an arena clamoring for the tunes on What’s It Gonna Be, and he’s are featured on several cuts on the encore. A couple of the cuts are over a fair lyricist still developing an ear for album. He’s more somber on “A Little seven minutes long, which add to this storytelling. “Don’t Look Back,” a duet More TIme,” a gospel-flavored song that shared festival experience. Langford with the talented Sandi Thom, is a mix of salutes “the legendary aging bluesman writes the material, and is joined in the blues and soul, Jones’ breathless vocals and women still gracing our world with band by Jeff “Shakey” Fowlkes on drums and subtle fretwork blending nicely with their music and tireless artistry,” Cru says and vocals and Robert Kearns playing Thom’s gospel-tinged vox. A duet with in the song notes. Guy Nirelli’s organ, a bass and adding his backing vocals. This Dana Fuchs on Bad Company’s “Can’t constant on the album, provides a strong CD is what you would expect from Too Get Enough” lacks the instrumental counterpoint to Cru’s lead guitar fills, the Slim And The Taildraggers: strong, high- spark that would send it over the top, vocal and instrumental lines interweaving energy rock with a deep blues foundation. but a cover of Leadbelly’s classic “Good in a graceful call and response. “I’m here Great stuff! Morning Blues,” with the legend’s today, ain’t going away; I still got things I – A.J. Wachtel spoken-word intro, shows Jones’ ability want to say,” Cru sings. ------to channel the spirit of his predecessors, The good-time vibe returns on LAURENCE JONES the performance a muscular tour de “One Bad Habit,” a light-hearted shuffle What’s It Gonna Be force of soulful vocals, stinging guitars, and on “Bringing Out The Beast,” a Ruf Records and hypnotic percussion. A rock-solid deep-groove romp that displays Cru’s collection of guitar-driven blues-rock, prowess on acoustic guitar. Both feature Laurence Jones’ proves his mettle Dick Earl Ericksen on harmonica. On with What’s It Gonna Be, delivering an “Take Me Back To Tulsa” Cru salutes the album that should appeal even to finicky road, NASCAR, the Highway American blues fans. Patrol, and J.J. Cale all in high style. – Rev. Keith A. Gordon On album closer “Thinking How To Tell ------Me Goodbye” Cru brings a bluegrass TAS CRU touch to the album, ending the set with a You Keep The Money high-energy breakup song amped up by Crustee Tees harmonica and acoustic slide. – Michael Cote

uitarist Laurence Jones is one of a ------Ghandful of young talents that have revived a moribund British blues scene with their vision, vitality, and creativity. Two-time winner of the British Blues Award for “Young Artist of the Year,” the twenty-something-year-old Jones has accomplished a lot in a short period of E-mail: [email protected] time – he released his debut, Thunder 54 - Blues Music Magazine - JULY 2016 Have A Question? Call 1- 855 - USBLUES TASHA TAYLOR Honey For The Biscuit Ruf Records

he saying that the “apple doesn’t fall Tfar from the tree” comes into play with LIVE a description of Tasha Taylor, daughter of the fabulous Stax soul singer Johnnie Taylor. Her voice is silky and easy on the DOUBLE ALBUM ears, and her songwriting skills match. She is also an actress and, having spent much her childhood on her dad’s tour bus, is a consummate seasoned performer. This is her third CD and is an enjoyable listen. “Family Tree” says it all as it intones, “We’re all swinging around this family tree!” with Keb’ Mo’ lending his guitar talents to this cut. She wrote ten of the 13 songs, co-wrote the other three, and also produced this CD. Singer/ songwriter/actress Taylor plays guitar and percussion and has added other notable guest talents such as lap steel Have a little PINK extraordinaire Robert Randolph on “Little Miss Suzie,” on guitar and vocals on “Leave That Dog Alone,” and finally Tommy Castro on vocals on with your BLUES “Same Old Thing.” Nine additional musicians help fill out the sound and the horn section offers just enough accompaniment to transport the listener back to the best times of sweet and tender soul music. Her sultry song, “One And Only” makes the listeners wish that she was singing it to them. Her “All I Need” (is a man like you, babe) captures her emotive soulful singing at its best. Just the right amount of horns, complementary drumming, pitch perfect phrasing, and lead and backing vocals make this an exemplary cut. She can also rock out a bit on “How Available Now! Long” with a more urgent beat. The CD package features the lyrics of all the songs. If you are in that special space with someone and want a soundtrack for lovely sensual music, Tasha Taylor’s Honey For The Biscuit is the right recipe. Enjoy! kebmo.com – Pete Sardon ------JULY 2016 - Blues Music Magazine - 55 TONY JOE WHITE middle of nowhere. A spare band helps Rain Crow bring these songs fully to life. Seventy- Yep Roc three years old and he makes an album as great as this? Tony Joe White is very vital royalty. – Tom Clarke ------VAN WILKS 21st Century Blues Texas 51 Records

rudge and slosh through a boondocks Tbog in midday sun and you’ll still need to sprout armor and sport a tail to be as swampy as Tony Joe White. Tony Joe makes that kind of blues music, cooked in the Mississippi hills but served steaming hot in the bayou. Sly and sinister narratives; grooves as thick as he title of this disc says it all, because mire; a murky, riveting singing voice; and Tit sure ain’t 20th century blues. Some exquisitely-picked and scraped guitar. All might say it’s not blues at all, with the White’s signatures. And all the fixin’s for exception of the third track, “Golddigger” one hell of an album, once again. a rocking mid-tempo shuffle with a good White grew up on a Louisiana heavy rhythm section. But Van Wilks, cotton farm, so there’s that in his blood. out of Austin, succeeds in making the He debuted in 1967 at age 24, and two album pretty darn good with his masterful years later scored with “Polk Salad musicianship on guitar, a common Annie.” “Rainy Night In Georgia,” made golden thread that holds together this great by Brook Benton, turned White diverse collection of what he describes into a revered songwriter. But this as “his blues.” absolute American music icon never Wilks also nicely handles the hit the big-time on his own, despite an vocals, with an assist from Grammy embarrassment of superb albums over winner Christopher Cross on “Drive the many years. Maybe that’s the way By Lover,” a song co-written with Billy he’s always wanted it, though. Do things Gibbons, and by Austin fixture Malford real, in his own time, and then fade into Milligan on “She Makes Me Crazy.” The the mist for a while again. 12 tracks, Wilks’ first studio recording These nine new songs, in 10 years, are all originals. One of including a couple co-written with his the more interesting is a six-minute wife, Leanne, and one with buddy Billy gem called “There’s A Sin In There Bob Thornton, are as strong as any he’s Somewhere,” which sounds like it could put to tape, and they’re all wrapped up be on the twang side of the street, but in that one-of-a-kind mesmerizing music is actually an old-timey bluesy number. It of his. “Hoochie Woman” sets the tone. even starts (and ends) with the scratchy Vivid scenes of a magic queen fill the sound of an old vinyl record and a dobro room, sashaying to her Smoochie Man, for a few lines until you are blown away and to her own bottomless, sweat- by Wilks’ entrance on loud, fast guitar. dappled self just the same. White’s guitar There’s a tremendous solo, slide and right off captivates. It calls to mind his all, after the bridge, which happily is good friend Mark Knopfler, who got as repeated a few times. It’s rockin. The much from White in the beginning as lyrics (by Wilks, with Lisa North and Dana he did from Dylan and J.J. Cale. “Rain Farmer) do speak of sin, the devil, saving Crow” swoops down from the heavens, grace, and all that, making the song even a shadowy thing, but offering a sense of more appealing without becoming too hope for a hardscrabble livelihood, while religious. hushed soul and undying love sheathes The title track, a rocker, features “Right Back In The Fire,” White soloing so a good amount of more first-rate slide very sweetly to the sentiment. Then, “The guitar and speaks to all of the bad stuff Middle Of Nowhere” and “Conjure Child” going on in the world. (“I’m sittin’ here, completely encapsulate the unique views my head in my hands/Contemplating the about pals and kinfolk in, well, the news/It’s more than a man can stand, 56 - Blues Music Magazine - JULY 2016 Have A Question? Call 1- 855 - USBLUES these 21st century blues.”) “She Makes Roy Roberts, Theodis Ealey, and the original), and Catherine Russell. Me Crazy,” featuring Milligan and written aforementioned Travis Haddix, will The six gents who furnish the by Cross, is another fast country-rocker discover a kindred artist in Reggie Wayne instrumentation all deserve a nod: group with yet another cool guitar solo by Wilks. Morris, an artist well-deserving of greater founder Dave Downer (guitars), Mark The disc might be “new blues.” Whatever recognition. Fornek (drums), Mike Bielecki (tenor you want to call it, most of the songs hold – Thomas J. Cullen III sax), Justin Keirans (baritone sax), and the listener’s attention by the sheer, often ------Lou Marini (upright bass). Together they romantic, feel of Wilks’ guitar. That flair is THE RHYTHM ROCKETS remind listeners of a style that comes and particularly notable on the last song, an She Swings Blue Volume 2: After goes over the decades, but thankfully eerie Spanish love song which begins as Hours never disappears. The Rockets embody a seemingly slow instrumental – with a Brother Raccoon Records the spirit of such vintage bands as Jimmy hint of the Delta – until the preternatural Lunceford, Duke Ellington, Louis Prima, spoken voice of the “Mexican angel” joins , and Artie Shaw. Also in. It’s quite unusual and worth a listen. such jump blues giants as , – Karen Nugent Jay McShann, and Lionel Hampton. ------The Chicago-based Rhythm REGGIE WAYNE MORRIS Rockets (with the collaboration of noted Don’t Bring Me No Daylight music writer Bill Dahl), breathe life Blue Jay Sound back into what has been known as the Chicago swing style. This disc is titled Volume 2. So there’s a Volume 1 out. If this reviewer has the opportunity, he’d eagerly give that one a listen, too. – M.E. Travaglini t takes but a moment listening to After ------IHours for listeners to slide into the TOMMY McCOY 1940s when “swing” style music loomed 25 Year Retrospect over the American music horizon; Earwig Music and the 1950s when its practitioners performed (and recorded) much of this material in smaller, more economically viable, ensembles. This assemblage of t’s hard to believe that this veteran excellent musicians and their sublime IBaltimore-based guitarist last released female vocalist, Nicole Kestler – all new an album 15 years ago. His latest album, to these ears – have joyously revived only his third, contains 11 originals, ten that era’s sound. by co-producer Gerald “Gypsy” Robinson The Rockets had me at the first and Morris; the lone exception is the mid- track, “Mean And Evil Blues,” associated tempo Southern soul of “Sign My Check,” with the late Dinah Washington. It’s a jeremiad infused with weariness and arranged to maximize the Rockets’ resignation, penned by Ceophus Palmer. individual talents. Another Dinah Shuffles of various tempos and Washington cover, “Duck Before You efore this most recent powerhouse hooks are the dominant grooves here. Drown,” shows up later. Something of a Bof a double-CD was released by The shuffles range from classic Chicago blues grinder, it cues dancers to hug one Earwig Records, blues guitarist Tommy styles like the title track to seventies- another just a wee bit tighter. Vocalist McCoy had been recording for 23 years, styled Memphis shuffle bumps with “Son Kestler reveals the sultry side of her whish translates into seven mostly self- Of A Blues Fan,” a tune many readers bandstand persona while the musicians produced killer albums featuring his of this magazine will identify with. Also undergird her simmering vocal gyrations. smoking guitar work, compositional in the mix are two soul ballads (“Ball & As one might anticipate, “Let’s Rock genius, and ensemble playing with some Chain” and “Meet Me”), a reggae-gospel A While” has a toe in the early 1950s. of the best American blues musicians hybrid (“God Loves You”), and a slinky Co-composed by Frank Haywood over nearly a quarter century. slice of salacious Bobby Rush-styled funk and Ernest Monroe Tucker, it owes its McCoy was a child prodigy, (“Oooo Weee”). Morris claims B.B. King notoriety to pianist Amos Milburn, for starting and playing in bands when and Jimi Hendrix as primary influences; whom it was a minor hit. Also impressive he was still in grammar school. When however, there’s a plethora of piercing are the Rockets’ take on Nat King Cole’s the disco craze exploded in the late Albert Collins-like licks here as well. His rendition of Ollie Jones’ “Send For Me” Seventies, and musical opportunities straight forward declamatory vocals are and Peggy Lee’s and David Barbour’s shrank, McCoy decided to move from at times suggestive of soul-blues giants (her band leader husband) “You Was his native Ohio to Florida, where he like Z.Z. Hill, Artie “Blues Boy” White, and Right, Baby.” has since flourished. He was for a long Travis Haddix but not as sonorous. Throughout the dozen glorious time a respected “musician’s musician” Solid support is provided by audio re-castings here, Kestler’s vocals who broke through to a public thirsty for several different drummers, bassists, evoke such vintage chanteuses as his brand of eclectic Southern-inflected and keyboardists from the Maryland/ Anita O’Day and June Christy but also blues starting with 1993’s More Than Washington, D.C., scene. Soul-blues a handful of contemporary artists like You’ll Ever Know with Greg Allman Band fans who like the guitar front and center Lavay Smith (of the “Skillet Lickers”), alumni. Two years later, he teamed with in the manner of Johnny Rawls, Laurel Massé (a Manhattan Transfer the late ’s Double JULY 2016 - Blues Music Magazine - 57 Trouble rhythm section – drummer Chris of any venue wise enough to book him. and keyboardists Karen Caruthers Layton and bassist Tommy Shannon – Over the 30 tracks presented here, (piano), Lucky Peterson and Tim Heding on Love N Money. In 2002, McCoy really from the aforementioned “The King Is (Hammond B-3). broke out with the first-rate blues album Gone,” and “Lay My Demons Down,” to – Michael Cala he wrote and recorded Lay My Demons “Spanish Moon,” “Angels Serenade,” and ------Down with Hammond B-3 keyboardist “Late In The Lonely Night,” what strikes SHARI PUORTO Lucky Peterson. In that year, he also the listener are his songwriting, vocal My Obsession recorded Angels Serenade featuring and instrumental control, and seamless Music musical heroes Levon Helm and Garth ensemble playing. Hudson from The Band. While it’s relatively easy to “get” A few years later, McCoy McCoy’s Southern sensibility, at the recorded the well-received Kickin’ The same time, he is difficult to label. That’s Blues with pianist Commander Cody. because he’s willing to take chances as In 2011, I had the musical pleasure of he lets us know that he’s not satisfied reviewing the unforgettable Late In The fitting into a regional niche. Instead, Lonely Night, a recording about which he plays more like a jazz guitarist than I wrote, “Fans of blues rock – and of straight-up generic southern blues- McCoy – will find musical sensibilities rocker, meaning you hear very little on Late that he shares with southerners that’s predictable or easy to anticipate. like Gov’t Mule or the Allman Brothers.” “Where’s he going now?” you might ask I also wrote “[McCoy is] willing to take at the end of one track and the beginning chances on material and musical attack of another. dynamic singer/songwriter, Los – sometimes frontal, sometimes more This opus will take lots of A Angeles based Shari Puorto has elliptical so that you have to listen listening to absorb McCoy’s artistic assembled a who’s who of musical talent carefully to hear what’s going on.” range and fine ensemble playing on for her latest CD, My Obsession. Who Playing the 25 Year Retrospect every track. In addition to the great guest wouldn’t want Mike Finnigan backing straight through (recommended) presents artists, McCoy has been working over them on B-3 organ and piano? How the artist as he matures from a very good these many years with power players about Jimmy Vivino on lead guitar? Tony young guitarist to a seasoned player in that include, among others, rhythm aces Braunagel on drums? Others include the Southern blues-rock tradition. As a Al Razz and Rob McDowell on bass, Pug Johnny Lee Schell, Steve Fister, and live performer, he is worthy Baker and Dave Reinhardt on drums, Johnny Hawthorn on guitars and even 58 - Blues Music Magazine - JULY 2016 Have A Question? Call 1- 855 - USBLUES contributes his keyboard Tommy Z has been a Buffalo revved up boogie along this highway. expertise on one song. There are still institution nearly as long as he’s been The Ohio-based band that borrowed the nine other musicians listed in the liner able to hold a guitar. A 2007 inductee Buick’s nickname is led by Brian Peters notes that contributed to this recording! into the Buffalo Music Hall of Fame, on strong vocals and wailing harp, with Puorto co-produced this CD, co-wrote the talented fretburner has performed solid backing from guitarist Jeffrey Allen the first 11 songs, and closes the album with legends like Buddy Guy, Johnny and keyboardist John Sipher, who really out with a lovely version of “When A Man Winter, and Pinetop Perkins; he’s also impresses on “Bust That Boogie,” a fast Loves A Woman.” composed music for film and TV, hosted danceable number. Several of the songs There seems to be a womanly a regular local blues music radio show, begin with an interesting percussion intro, theme throughout the songs of lost and even recorded with notoriously handled nicely by drummer D’Arco Smith. love in “It’s A Damn Shame,” the joy of cranky Deep Purple frontman Ian Gillan. Peters said he likes to begin songs like performing in “Workin’ The Room,” and The self-produced Blizzard Of Blues is that, to set the tempo and feeling for the a bounding rendering of the Puorto/ Z’s fourth full-length studio LP, the title story he is about to tell. Goldberg song of “Better Left Unsaid.” a sly nod to his West New York roots, Like a well-oiled General Motors The slick song “Six Months Sober” has and a fine follow-up to 2013’s acclaimed vehicle, the record goes from zero to 60 the great tag line: “Six months sober! No Sometimes. right out of the gate with “Tired Of Your longer addicted to you!” Fans of blues-rock guitar will Excuses,” a hip jump tune highlighted The title song, “My Obsession,” find a lot to like on Blizzard Of Blues, by Peters’ tremendous harp prowess. is about her love of shoes and Puorto is beginning with the Chicago-styled The band is obviously influenced by pictured on the tri-fold CD cover sporting “Lovergirl,” which offers Z’s swinging Little Walter, T Bone Walker, and Junior a brace of stylish footwear – one even licks and Jeremy Keyes’ raging Watson. The energy continues in the next has butterflies! “Old Silo Road” is a truly harpwork. “Going To A Party” is a freight- track, “Just The Blues” which, as the name lovely song by Puorto and Goldberg in train rolling down the tracks, a future fan implies, is genuine, brooding, pounding which Schell’s guitar sounds absolutely fave with a relentless rhythm, cheeky blues. The lyrics, with powerful vocals by creamy. “Turned To Stone” features lyrics, and screaming fretwork. The jazzy Peters, are about real-life problems such Hawthorn on lap steel, and his sound instrumental “Bags Of Cool” displays a as paying the mortgage. It’s one of the would make David Lindley jealous. different facet of Z’s talents, while the title best songs on the disc. There’s a side trip This is a delightful outing that track is a muscular rocker with crashing to New Orleans on the third track, “Good covers a variety of moods and musical percussion and flurries of six-string notes Music,” an ode to all genres but with a styles and is easy on the ears. If you that approximate a WNY snowstorm. The NOLA beat. aren’t familiar with Shari Puorto’s work, haunting “Miracle” evokes memories of The car slows down about her My Obsession is a good place to the late Jeff Healey with soulful vocals, halfway through the record with a few start. You will love her voice. gentle lyrics, and nuanced guitar playing ballads – there’s a love song, “Love – Pete Sardon while a cover of the Muddy Waters tune Is Enough,” the Gospel-like “Healing ------“My Eyes (Keep Me In Trouble)” is a Power,” and a five-minute gem called TOMMY Z sizzling, lusty tribute to the Chicago blues “Hungry Man” about a homeless guy who Blizzard Of Blues legend. With Blizzard of Blues, Tommy refuses a handout, preferring instead to Self-released Z has honored Buffalo’s rich musical pray. We accelerate again for “If Your tradition with a creative, satisfying blend Love Has Fallin’,” a shuffle with a good of rock and blues guaranteed to raise bass solo by Steve Perakis, and “Hard To your roof. Find” a funky number. – Rev. Keith A. Gordon The last song, “Electric Rooster,” ------a jazzy instrumental, is also one of the best DEUCE ‘N A QUARTER ones on the disc. Peters told me the title Take The Journey derives from a name he concocted for his BOLT Records alarm clock, so the song was written with the hook being the day-by-day annoying alarm. It features each member of the band soloing, with each solo representing another day of the week (a five day work week), beginning and ending with the or decades, Buffalo, New York, was drums. It’s a fast but smooth ride. Fa musical hotbed. As the factories – Karen Nugent hummed 24/7, the Nickel City was alive with the sound of blues, soul, and rock ------‘n’ roll. Jazz crept in on the fringes, and guitar-strumming folkies could be found around town. As the Rust Belt city’s population dwindled through the years, though, so too did the sound of music. ’m told “Deuce ‘n a quarter” refers to Still, pockets of joyful noise exist to this Ithe dimensions of a 1959 Buick Electra: day, and talented Buffalo artists like funk 225 inches in length. It was a big car and legend Rick James, bluesman Lucky Take The Journey is a big CD. Peterson, and singer-songwriters Ani The 12 tracks are all originals DiFranco and Willie Nile have all made ranging from jump blues to old timey great music. sounding Gospel, with some funk and JULY 2016 - Blues Music Magazine - 59 JANE LEE HOOKER fronted by Janis Joplin. backing Athens’ mighty bellows as No B! There’s plenty of familiar this vehicle thunders along. Muddy’s Ruf stuff here, but its been blown up and “Mannish Boy” is much sexier with pumped full of rock and roll bluster. Athens’ sultry moans replacing Mr. Even the old spiritual “Wade In The Waters’ boastful proclamations. Water” gets a facelift, transforming It may be blasphemy, but it sure it into an electric powerhouse that sounds good. Muddy gets a sexier would electrocute anybody foolish translation on “Champagne And enough to go near the water with this Reefer,” but its still low down and version plugged in. dirty, and mighty satisfyin’, too. The group and the project Anybody who goes up is no novelty act. The women are all against Howlin’ Wolf usually gets skilled musicians, and although the their ass handed to ‘em. The Wolf’s sound is rough and raw, it’s spot-on, take on Willie Dixon’s “Shake For including a cover of Johnny Winter’s Me” has never been equaled, and ohn Lee may have liked the look “Mean Town Blues.” Jane Lee’s these ladies have the gumption not Jof the band that bears a version version is faster and harder, but the to attempt it, but just have some of his name, but Jane Lee Hooker’s twin guitars capture all the power and raucous fun with a version that keeps sound most likely would have given fire of the original, Athens sounding gaining in tempo and intensity till the the old feller a heart attack. There like her tonsils are wrapped in barbed willow tree’s about to topple over ain’t no aw-haw-haw-haw going on wire. The ladies are fearless when from the shakin’ and rockin’ going on, here, it’s balls to the wall rock ‘n’ it comes to covers, tackling iconic including a thumpedy drum solo that roll. Former Nashville Pussy bassist compositions by blues legends. Ray shakes it to its roots. As advertised, Tracy Almazan and Helldorado vet Charles timeless classic “I Believe there’s no b here; it’s just raw and Tina T-Bone Gorin lead the twin To My Soul” gets punched up quite raucous rock, a hell of a lot of fun. guitar attack of this all female band, a bit, a far cry from Charles’ gospel- – Grant Britt and with vocals from Dana “Danger” drenched, jazz-tinged blues lament; Atkins, pull off a sound like Led Zep fat, ballsy, rock and roll chords Order Today - Call Toll Free Janis: Little Girl Blue 1-855-US BLUES the Big Brother and the Holding Special Edition DVD 105 minutes Company Band and her shot to fame Plus 30 bonus minutes occurred when she her Film Rise Studios amazing talent at the Monterrey Pop hen visiting the Rock and Roll Festival. Janis thrived in getting her WHall of Fame in Cleveland, the audiences up and dancing. When exit to the men’s room had a large nude she sold out the Royal Albert Hall in photo of Janis. I think this statement England (Dylan had done it earlier and says it all after viewing Janis: Little Girl she wanted to make sure she did too.), Blue directed by Amy J. Berg. As you it was the first time that this venerable watch this DVD, you get an intimate venue had the audience on their feet. look at a girl/woman who was never The film then takes the viewer really accepted throughout her life but through the different iterations of her was blessed with an otherworldly gift of back up band from the original Big vocal talent. Brother and the Holding Company She was less than popular in who were dismissed once manager high school and hung with “the losers” Albert Grossman cherry-picked her one of whom had some blues records, from their band and assembled first which gave Janis her first exposure to the Kosmic Blues Band and then the the women blues singers. She sang in Full Tilt Boogie Band. Sadly, you know a church choir so singing blues was a the story ends with Janis’ struggle with perfect fit for her mood and purpose in drugs and alcohol. life. When she went back for her tenth The quote that summed up high school reunion, now famous as Janis the best was, “She made love her Cheap Thrills album had sold over to ten thousand fans during her shows a million copies, her visit was caught but always went home alone.” Janis: She found acceptance with the on film as she was asked insensitive Little Girl Blue is a must see for any Haight-Ashbury music scene and had questions. I found myself screaming at lover of Janis Joplin’s music and the a short relationship with PigPen (Ron this scene: “Just leave her alone!” The companion CD would be well worth the McKernan) from the and most poignant question asked was, “Did investment as it offers her recordings in was also good friends with Joe McDonald you go to the prom?” and shereplied chronological order. of Country Joe and the Fish. Promoter Chet softly, honestly, and movingly, “Nobody – Pete Sardon asked me.” Helms recruited her as a vocalist with Blues News Stony Plain Alligator Records Bear Family and MVD

lligator Records was founded in ear Family Records, the German ased in Edmonton, Canada, Stony the in 1971 when Bruce Iglauer independent record label Plain Records was founded by Acould not convince Delmark’s Bspecializing in reissues of archival BHolger Petersen 40 years ago. Bob Koester to record Hound Dog country, rock ‘n’ roll, rhythm & blues, As Canada’s oldest independent blues Taylor. Iglauer took his meager savings, blues, folk, and soul music, will have label, Stony Plain has released over 400 recorded Taylor in all his raucous glory, exclusive distribution in the U.S. (for the records of both Canadian and American and took to the road peddling this first time) via MVD Entertainment Group. blues and roots artists like Amos Garrett, infectious music. Historically, Bear Family material has Long John Baldry, David Wilcox, Jeff had only limited availability in the U.S., Healey, Kenny “Blues Boss” Wayne, From those inauspicious stocked at Ernest Tubb Record Shops Downchild, Duke Robillard, Ronnie Earl, beginnings, running the label from his and through mail order sources. With the Rory Block, Eric Bibb, , apartment and selling the record from MVD deal in place, Bear Family box sets Billy Boy Arnold, MonkeyJunk, and Maria the trunk of his car, Iglauer has released will be widely available in the U.S. Muldaur. almost 300 records which have garnered The label has been in existence three Grammy Awards, over 41 Grammy since 1975, founded by collector Richard In addition, Petersen has nominations, and well over 100 Blues Weize. Bear Family’s oldest recording released music by legends like Music Awards. From blues luminaries like archives date back to 1896, but a great , Jay McShann, Jimmy Koko Taylor, Albert Collins, Son Seals, deal of their releases contains material Witherspoon, and . As a , James Cotton, Johnny from the 1960s and ‘70s. The label has testament to the quality of its recordings, Winter, Lonnie Brooks, , and become known for its extravagant box Stony Plain has six Grammy nominations Charlie Musselwhite to talented standard sets and the company describes itself as well as many Blues Music Award bearers like Marcia Ball, Shemekia as “a collector’s record label” due to its nominations with over a dozen wins. Copeland, Tommy Castro, Rick Estrin primary business, which is reissuing rare Since its inception at Petersen’s kitchen & the Nightcats, Lil’ Ed and the Blues recordings in CD format in small amounts. table, label has garnered 11 Juno Awards Imperials, Saffire, the Uppity Blues “With joining the MVD and 20 from the Women, and Roomful of Blues, Alligator Entertainment Group of labels, Bear Canadian music industry. has continued to be label blues fans can Family is making the next step,” said trust. Detlev Hoegen of Bear Family Records. This small, independent “While as a record label we are preserving label, which emphasizes quality over With its exciting new crop of the past, with MVD as our distribution quantity, provides its artists with a stable talent like , Toronzo partner we are meeting the challenges of business environment. At the center of Cannon, Jarekus Singleton, and today’s global market.” this consistency is the tone set by its Moreland and Arbuckle, the label is “We are so proud to be working dedicated founder, Holger Petersen, poised to take its house rockin’ mantra closely with Detlev and his team, and who, 40 years later, continues to believe into the future. “I want to keep bringing especially proud to be affiliated with such that good music always finds its market. the blues and roots music to new fans a strong brand as Bear Family.” said Ed and getting them as excited about the Seaman, COO of MVD Entertainment music as I am,” says Iglauer. Group. “This opens new doors for our growing business and allows MVD to expand further into the high end music collector’s market.” JULY 2016 - Blues Music Magazine - 61 V I S I T

B L U E S . O R Gaye Adegbalola, Gloria Jackson, Marta Fuentes & Tanyah Dadze Cotton Terrie Odabi - Lisa Mann G

F O R

M O

Ruthie Foster Joe Louis Walker R E

I N F O

Doug MacLeod Rick Estrin 62 - Blues Music Magazine - JULY 2016 Have A Question? Call 1- 855 - USBLUES Cedric Burnside Tinsley Ellis

Kidd Andersen Wee Willie Walker Guy Davis

Beth Hart Duke Robillard Barbara Ballin Newman SAMPLER TEN

Visit the Members Area at the Blues Music Magazine’s website to download all these amazing songs. Click on issue ten’s cover. This will open the web page where you can download all the following songs. Congratulations and thanks to all the artists appearing on sampler ten. 2016 International Blues Challenge Finalists

1. The Delgado Brothers - “If I Don’t Get Home” from the album Let’s Get Back on Mocombo Records. 2. Sonny Moorman - “You Made All My Blues” from the album You Made All My Blues on Atlas Records. 3. Bobby Blackhat - “Come Home Blues” from the album Accidental Blues on GEM Recording & Production. 4. Ben Hunter & Joe Seamons- “Beale St. Mess Around” from the album The North Wind & The Sun an independent release. 5. Tee Dee Young - “Bye Bye Baby” from the album Born With The Blues on LIR Records. 6. Trey Johnson & Jason Willmon - “Low & Behold” from the album Trey Johnson & Jason Willmon an independent release. 7. Hector Anchondo Band - “Turns Out” from the album Young Guns an independent release. 8. Micah Kesselring - “Ice & Snow” from the album Cabin Fever Blues an independent release. 9. The Paul DesLauriers Band - “Up In The Air” from the album Relentless an independent release. 10. The Dave Muskett Acoustic Blues Band - “Handyman Blues” from the album Recorded Live At The Slippery Noodle Inn an independent release. 11. The Norman Jackson Band - “Norman’s Blues’” from the album Child Support And Alimony an independent release. 12. Bing Futch - “The Flip Side” from the album Unresolved Blues on J.O.B. Entertainment. 13. Rob Lumbard - “Fool Me” from the album Blues In A Bottle on Lumbard Music.

64 - Blues Music Magazine - JULY 2016 Have A Question? Call 1- 855 - USBLUES PENNSYLVANIA BLUES FESTIVAL produced by Michael Cloeren Productions September 16-18, 2016 Split Rock Resort, Lake Harmony

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Ronnie Earl & ters The Broadcas

Kenny Neal

The Campbell Brothers Guy Da vis & The Boston Blues Allstars, Mike Wheeler Band with s/g Jimmy Burns & Peaches Staten Toronzo Cannon, Zac Harman, Harrison Kennedy Andy T Nick Nixon Band, Gaye Adegbalola & The Wild Rutz Mikey Juniors Blues Revue Slam Allen, Blackburn , Beareather Reddy,

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JULY 2016 - Blues Music Magazine - 65 Bob Margolin My Road

NIck Schnebelen Band Live at Knuckleheads

Dennis Gruenling Ready Or Not

Katy Guillen & the Girls Heavy Days

The Terry Hanck Band From Roadhouse to Your House - LIVE!

Little Boys Blue Tennissippi

Nancy Wright PlayDate!

VizzTone.com 66 - Blues Music Magazine - JULY 2016 Have A Question? Call 1- 855 - USBLUES Bob Margolin My Road

NIck Schnebelen Band Live at Knuckleheads

Dennis Gruenling Ready Or Not

Katy Guillen & the Girls Heavy Days

The Terry Hanck Band From Roadhouse to Your House - LIVE!

Little Boys Blue Tennissippi

Nancy Wright PlayDate!

VizzTone.comJULY 2016 - Blues Music Magazine - 67