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Blues Music Online Weekly Edition

TINSLEY ELLIS - Around Memphis - Little Charlie Baty - Nine CD Reviews

BLUES MUSIC ONLINE - March 18, 2020 - Issue 6 Table Of Contents 6 Enjoying The Ride By Marc Lipkin -

10 TINSLEY ELLIS Red Clay Soul Man Originally Published January 2017 By Grant Britt

14 LITTLE CHARLIE BATY In Memoriam By Art Tipaldi - Thomas Cullen III

16 AROUND MEMPHIS Pandemic Effects

18 CD REVIEWS By Various Writers

29 Blues Music Store CDs Onsale

COVER PHOTOGRAPHY © MARILYN STRINGER TOC PHOTOGRAPHY © MARILYN STRINGER TOC PHOTOGRAPHY © MARILYN STRINGER Tinsley Ellis Enjoying The Ride

By Marc Lipkin - Alligator Records

ver since he first hit the road 40 years shuffles, and it all sounds great.” The ago, blues-rock virtuoso, soulful Sun-Times says, “It’s hard to overstate the Evocalist and prolific songwriter Tinsley raw power of his music.” Ellis has grown his worldwide audience one Ellis considers his new , Ice scorching performance at a time. Armed with Cream In Hell, the most raw-sounding, guitar- blazing, every-note-matters guitar skills and drenched album of his career. Recorded scores of instantly memorable original songs, in Nashville and produced by Ellis and his Ellis has traveled enough miles, he says, “to longtime co-producer Kevin McKendree get to the moon and back six times.” He’s (John Hiatt, Delbert McClinton), Ice Cream released 17 previous solo , and has In Hell is a cathartic blast of blues-rock earned his place at the top of the blues-rock power. Though inspired by all three Kings world. When asked if he’d consider himself a (B.B., Albert and Freddie), as well by Carlos “blue-collar” bluesman, Ellis, in his trademark Santana, and others, Ice wit, quips, “No. I’m part of the no-collar Cream In Hell is pure, unadulterated Tinsley crowd.” His imaginative songs tell stories of Ellis. The 11 Ellis originals range from the nod common, shared experiences in uncommon to Stax-era , Last One To Know, ways, all fueled by his high-octane, to the -flavored Everything And infectious, hard-rocking guitar playing. Live, Everyone to the Hound Dog Taylor-esqe Ellis has captivated and amazed fans in all romp Sit Tight Mama before ending with 50 , as well as in Canada, all the hair-raising, slow-burning ballad, Your across Europe, Australia and South America. Love’s Like Heroin. Throughout the album, Vintage Guitar says, “He delivers blistering Ellis’ deeply emotional, lyrical guitar solos blues-rock, soul romps, minor-key blues, perfectly match his fervent vocals.

PHOTOGRAPHY © MARILYN STRINGER “Rugged, burning and riveting...Tinsley Ellis is a powerful and commanding presence, both on guitar and as a gruff, full-throated vocalist. He’s the hardest- working man in blues-rock... It’s impossible to not enjoy the ride.” –Blues Music Magazine On Ice Cream In Hell, says Ellis, toured with Alligator label mates Tommy “there’s more guitar than ever.” His main Castro and Coco Montoya. Additionally, axe during recording was his cherry red Ellis shared stages with late blues legends ES-345 reissue. One of only including , , 200 made in 2018, it instantly became Elllis’ , , Son Seals, Koko go-to guitar. In addition, he used his 1959 Taylor, and many others. But Fender Stratocaster, 1967 Gibson ES-345, no matter where or with whom he performs, 1973 Deluxe, 1983 Gibson Ellis always plays with grit, soul and unbridled Moderne and his 1969 Martin D-35. Rolling passion. Stone says Ellis plays “feral blues guitar... Born in in 1957, Ellis was non-stop gigging has sharpened his six-string raised in southern Florida. He acquired his to a razor’s edge...his eloquence dazzles... first guitar at age seven, soon after seeing he achieves pyrotechnics that rival early Jeff The Beatles perform on the Ed Sullivan Beck and .” Show. He took to it instantly, developing and In addition to his legions of fans, sharpening his skills as he grew up. Ellis Ellis is also revered by his fellow guitarists, discovered the blues through the back door with famous friends including , of bands like , , Oliver Wood, Jonny Lang, , Cream and , the Tedeschi Trucks Band, Gov’t as well as Southern rockers like The Allman Mule, and members of Brothers. One night in 1972, he and a friend calling on him to sit in and jam. He’s recently were listening to Al Kooper and Michael

PHOTOGRAPHY © JIM HARTZELL Bloomfield’s Super Session record when his In the early 2000s, Ellis released albums friend’s older brother told them if they liked on Capricorn Records and on Telarc before that, they should really go see B.B. King, returning to Alligator in 2005 with Live– who was in town that week. Highwayman, which captured the fifth-gear Tinsley and his friends went to the energy of his barn-burning live show. He Saturday afternoon performance, sitting followed it with two more incendiary studio transfixed in the front row. When B.B. broke releases, 2007’s Moment Of Truth and a string on his guitar, Lucille, he changed 2009’s Speak No Evil. He self-released four it without missing a beat, and handed the successful albums on his own Heartfixer broken string to Ellis. After the show, B.B. label before coming back home to Alligator came out and talked with fans, mesmerizing in 2018, releasing the fan favorite Winning Tinsley with his warmth and kindness. Hand. The album debuted at #1 on the Billboard Blues Chart and earned a Blues Tinsley’s fate was now sealed; he had to Music Award (BMA) nomination for Album become a blues guitarist. He saw Howlin’ Of The Year. Ellis was simultaneously Wolf, and every other blues nominated for a BMA for Artist artist who came through town, always sitting Of The Year and for a Living Blues Readers up front, always waiting to meet the artists, Award for Blues Artist Of The Year. Atlanta’s take photos, and get autographs. To this day, Stomp & Stammer magazine went all in, he still has B.B.’s string. saying, “Tinsley Ellis is ’s finest Less than three years later, Ellis, blues picker. Ellis tells great stories through already an accomplished teenaged well-written lyrics and heavy doses of guitar musician, left Florida and moved to Atlanta. virtuosity. He captures a level of authenticity He soon joined a hard-driving local blues that should inspire more than just his fellow band, the Alley Cats. In 1981, along with blues players. Americana artists and garage veteran blues singer and harpist Chicago rockers could learn a thing or two from these Bob Nelson, Tinsley formed The Heartfixers, songs.” a group that would become Atlanta’s top- Over the course of his career, Ellis drawing blues band. After cutting a few has featured a number of guests on his Heartfixers albums for the Landslide label, solo albums. He’s recorded with Peter Ellis was ready to head out on his own. Buck (R.E.M.), guitarist Derek Trucks (who, Georgia Blue, Tinsley’s first Alligator at age 14, made his recording debut with release, hit the unprepared public by surprise Tinsley) and keyboardist in 1988. The Chicago Tribune said, “Tinsley (The Rolling Stones). He in turn has made guest appearances on albums by The Ellis torches with molten fretwork. Ellis takes Allman Brothers, Gov’t Mule, Colonel Bruce classic, Southern blues-rock workouts and Hampton and others. Producers Eddy Offord jolts them to new life with a torrid ax barrage.” (John Lennon, Yoko Ono, Yes) and even the His next four releases—1989’s Fanning legendary (The Allman Brothers, The Flames, 1992’s Trouble Time, 1994’s Ray Charles) helped Ellis hone his studio Storm Warning (his song A Quitter Never sound. Wins, a highlight from Storm Warning, was “A musician never got famous staying recorded by Jonny Lang, selling almost two home,” says Ellis, who continues to perform million copies), and 1997’s Fire It Up further over 150 nights a year. Now, with Ice Cream grew his legend as well as his audience. In Hell, Tinsley Ellis will again hit the highway, Features and reviews ran in , bringing his roof-raising, road-tested music to The Chicago Tribune, The Washington Post, fans wherever they may be. “I’ve seen it all,” The Los Angeles Times, The Globe, the Atlanta native says of his four decades and in many other national and regional on the road. “And a lot of my audience has publications. been along for the entire time. It’s not always easy. But the payoff is the music. That’s the ice cream.” - BMM Tinsley Ellis Red Clay Soul Man By Grant Britt Originally Published July 2017

PHOTOGRAPHY © JOSEPH A. ROSEN insley Ellis is a road dawg, a guitar Son House. We did 10 shows, me and gypsy wandering the world spreading him with and the Fabulous Tthe gospel of soulful, rockin’ blues. Thunderbirds and Jody Williams all over Born in Atlanta, Ellis grew up in South Florida America. Rode in a bus, kicked back on the but came back to go to college in Atlanta and tour bus, had bunks and everything and Bob never left. Starting out in 1977 with the Alley and I said ,‘We’d better savor this, cause it’s Cats, then teaming up with harpist Chicago back in the vans we go in a coupla weeks.’” Bob Nelson in 1981 as The Heartfixers, Ellis Ellis has high praise for Carpenter, soul-soaked blues and stinging Strat work ( and the Drivers, Walter has filled 19 albums with blistering blues- “Wolfman” Washington, Eric Lindell, and rock. Mike Zito and Ellis made the Wheel) also a living from an touring with Ellis East Coast loop in ‘98. “One of that carried him the greatest sax from Atlanta players on the through North circuit. I really Carolina, often thought when playing at the Bobby Keys died, Rhinoceros club he had a shot, or in Greensboro. even the big man He wasn’t there with Springsteen, the night in ‘85 ‘cause he plays when Bruce that kind of sax, not Springsteen a lot of scales or stopped after a anything, just a lot coliseum gig on of honkin’ tenor.” his Born in the But one of the USA tour and most impressive played “Hang encounters Ellis On Sloopy” and ever had was “Stand by Me” with with Stevie Ray the Del Fuegos. Vaughan when But he did strike they both were just up a friendship starting out. “He and working came through in relationship with ‘79 the first time a couple of Greensboro-based musicians, and played a show at the Capri Theater in former Muddy Waters sideman Buckhead with Bill Sheffield’s band, the XL’s, and saxophonist Jimmy Carpenter. that was Double Trouble, sat in with us in ‘81 “THE blues guy there is Bob Margolin,” when I was in the Heartfixers,” Ellis says. says Ellis, who has known Margolin since “We’d never seen anything like Stevie Ray the late ‘70s. “We did that Blues at the Vaughan before. We were still in a period of Crossroads tour (in 2013), and he was my Southern Rock, Dickie Betts and people like mentor, sharing stuff he had learned from that with their Les Pauls and long hair and Muddy and stuff he had learned with buckskins, and here comes Stevie Ray, he’s all pimped out

COVER PHOTOGRAPHY © FRANK ZERBST and playing a Stratocaster, that was pretty They’re irreplaceable. Like a stock car would unheard of, other guys playing Les Pauls at be. So many modifications, and then you the time, and he just blew our minds.” take the modification away, you restore it to Vaughan did several shows and sat stock, then you modify it again, Right now in, but the last time he came back and played it’s pretty much restored to stock, but that’s at the Downtown Cafe, they only made $35 subject to change.” dollars for the night. “Slept on our floor, had Over the years, Ellis’ sound has no money,” Ellis recalls. “They were spozed remained pretty much the same, fiery blues to play there two nights, and they just said, backed with soulful vocals. But during his ‘The hell with this,’ and went back to Austin.” Alligator Records tenure, he wanted a But he did leave Ellis with a souvenir change-up and label head he still treasures and uses. “He got up on wasn’t agreeable. “There’s a James Taylor stage and played my Strat through my Super in me just dying to get out,” Ellis chuckles. Reverb. I still to this day play that same “They wanted me to be Hound Dog Taylor, guitar, that same amp, among other , not James.” The split from Alligator resulted other amps, but I tour with that equipment, from an idea Ellis had in 2012 to do an and I never changed the settings after he sat instrumental album, 2013’s Get It. Alligator in. I could tell you the settings....” he says, was skeptical, so Ellis started his own label.” with a dramatic pause for effect, “but then I’d He jokes that his own label was skeptical too, have to kill you. People who come out and but he figured if the album failed he could see me play, they get close enough, they blame it on the fact it was instrumental. But can read the settings on my super reverb.” it didn’t fail, leading to three more releases, Ellis wasn’t the only guitarist influenced including his latest, Red Clay Soul. by Vaughan’s passage through Atlanta. “The The title is such a perfect description Vaughan brothers came through Atlanta in of what Ellis does you wonder why he hasn’t the late ‘70s, and all the Les Paul players labeled it as such before. “We don’t name went out and bought Stratocasters. Pretty albums and then make ‘em, we make ‘em interesting phenomenon. And the price went and then name ‘em,” Ellis says. “We’re through the roof on ‘em too. In the late ‘70s, listening to some of the songs, and our co- that ‘59 Strat I play was $700 bucks. That producer, keyboardist Kevin McKendree, was all the money I had.” (Delbert McClinton, Brian Setzer) said, ‘Man, Ellis’ assets have increased somewhat this stuff has a seriously Southern vibe.’ So since then, but his Strat and a ‘60s ES-345 I thought we don’t want to call it seriously are still his go-to instruments on the road Southern, but we want it to have that kind and in the studio. “That’s the kind of guitar of feel. So red clay, that’s the geographic that Freddie King and B.B. King made a lot description of it, and hopefully soul is the of their recordings on,” he says of his vintage musical description.” Gibson. “Between those two guitars, I can McKendree has been on every Ellis get pretty much all the sounds I want for a studio album since ‘97’s Fire It Up. “There’s blues or a blues- rock show.” never been another musician I’ve met They’re not just pretty toys to hang on whose playing suits me better,” Ellis says. the wall or look at under glass. “I’m always The pianist stirs up a bit of ‘70s nostalgia dragging these things all over the country,” on the opening cut, “All I Think About,” Ellis says. “I record and tour with ‘em. I don’t sounding like Leon Russell on his Mad Dogs leave ‘em at home. They go with me and and Englishmen period. “Finally I’m talking they stay with me. If I didn’t have those two to a writer who recognizes that,” he laughs. guitars, seriously, I would just hang it up. “That’s exactly where it’s from, the era when “Incendiary...Scalding guitar and banshee solos. Ellis mixes soul and fire.” –Premier Guitar

“I love Tinsley; he’s a national treasure.” - Joe Bonamassa

Leon Russell was producing Freddie King, start looking like the audience’s parents, so Texas Cannonball (Shelter, 1972.) Leon musicianship becomes more important.” Russell’s one of my favorite song writers, He also puts a premium on and it was about time I got busted on that apprenticeship. “Seems like lately, people one.” have been bursting on the scene looking He says McKendree’s is “not like teenage underwear models in the quite rockabilly, kind of an amped-up Ray blues world and that’s a disturbing trend, Charles sound, and Kevin nails it, he always because I’m rarely entertained by virgins. I knows with my recordings when I want him want somebody that’s gone through some to do that, which is pretty much all the time.” shit, gotten locked up, divorced, some real The tune Ellis wrote with Oliver Wood life experiences. And so I’m more apt to be some ten years ago, “Giving It Up,” sounds entertained by the Bonnie Raitts of the world, like a tribute to Delbert McClinton. “I definitely people who have been knocked around by did a little Delbert-style harmonica playing the industry.” on it, which is a nice harmonica style, sort of And once again, Stevie Ray’s a ,” Ellis says. influence looms large. “Lord knows we could “I’ve never really been an innovator, use another Stevie Ray Vaughan. When the but I’m not a copycat either,” Ellis says. “Pop planets converge like they did with him, it’s culture is driven by two things, driven by a remarkable thing,” Ellis says. “He held the youth, driven by image, so I’m pretty much door open for us in ‘83, and the rest of us just screwed then. I really always wanted to say walked in behind him. So we need another that in an interview.” Ellis says that if you dude like that or woman like that. We gotta don’t make it in your 20s in the pop music have these young people doing it, but by world, then you better bring something to the same token, its gotta be an old sound the table like songwriting because rock and and have that old sound early. We’re always roll is for young, long-haired skinny people. looking, so many blues musicians, but so “When you start looking regular, then you few bluesmen.” -BMM PHOTOGRAPHY © ART TIPALDI hen Charlie Baty suddenly passed I get together with people and play traditional away two weeks ago, the music , and I’m on the road with Mark Hummel’s Wworld lost one of our most inventive, Golden State Lone Star Blues Revue. For fearless, most respected, and professional me, music is life and the more I learn about guitarist on the scene. In the world of blues music, the more it spills over into my life.” guitar, Little Charlie was always about Little Charlie’s constant inquiry into expanding the music and instrument he the traditional art of all music became a loved. primary life mission. As such, he told me that That systematic approach to study he studies every piece of music with a sense all phases of the guitar was what set Baty of wonder and discovery. “I can go through in a class above most. Every musician has a piece of art or genius like a only a small window in time to do what he or Charlie Parker solo and there’s always can. Throughout his life, Charlie was able something new I can get out of it each time I to expand that window a little bit. When we revisit it. My goal is to someday leave one of talked at length over a decade ago, here are those kinds of pieces of art behind.” some of his thoughts. Charlie Baty certainly left us hundreds “The longer I play, the more time of those pieces of musical art to remember is required just to keep up with what I’m him by. - Art Tipaldi learning. The longer I spend multi-hour days practicing, the more epiphanies of musical knowledge I can have. I’ve been working on bop, Django gypsy jazz, and bluesy swing for years, and I’m now at the point where it ike many fans I am deeply saddened seems to make sense to me. by Little Charlie’s death. I knew him as “When you’re playing a guitar you La fan, friend, and one of the greatest can see shapes that recur. I’m seeing more guitarists of all time. Bucks County Blues shapes on the guitar. I’m able to hear things Society had the honor of presenting Little I couldn’t hear before. When I’m home, I play Charlie & the Nightcats’ first Philadelphia different songs with different people which area performance in 1988 at one of our makes me think in a different way. These are “Blue Tuesdays” at Jasper’s in Levittown. the things that have been clicking with me BCBS has had a special connection with and helping me to play better background the band as they performed for BCBS eight and solos. more times including two R&B Picnics; his “If I’m going for a swing or jazz or last performance for BCBS was the 2007 acoustic blues sound of a Halloween show. or Robert Lockwood, Jr., I prefer to use the Last time I saw Charlie he was touring acoustic guitar. I tend to practice that more, with Mark Hummel. We had meaningful so I feel more comfortable playing that. conversations over those years, mostly When it comes to getting a biting sound like about music, but also about life, love, loss, Albert Collins or the string bending of Buddy and the hardships of the road. My late father Guy, I need to have the Fender. I’ve learned was a major jazz fan and was hip to Charlie the great guitar players get their sound no Christian, Django Reinhardt, and T-Bone matter what guitar they play out of.” Walker. I heard these important influences When we talked four years ago, of Charlie’s at a very early age and my Charlie told me, “I’ve realized that the knowledge of their music impressed Charlie. reason I was put on this planet was to play Little Charlie was my favorite guitarist. music. I’ve got so many irons in the fire. I’ve I will always fondly remember Charlie’s been getting together with a group of people immense virtuosity in playing blues, jazz, playing gypsy jazz that I call the Little Charlie swing, surf, rockabilly, and R&B, but most Caravan, I’ve got a group I get together with of all his dazzling extended solos that were and play Brazilian music, I’ve got the organ inventive, playful, and always tasteful. trio with Loronzo Farrell and J Hansen, - Thomas J. Cullen lll Around Memphis

he Blues Music Magazine retail Happening Around Memphis: Tlocation in downtown Memphis Thursday March 12, 2020. All other As of 2:30 PM CT on Monday, March operations are business as usual. 16, 2020, these are the known attractions curbing operations: The BluesMusicStore.com is up and running, shipping for all orders Memphis Brooks Museum of Art - continues daily, production of the April Closed until March 30. issue is complete and the issue is scheduled to Backbeat Tours arrive in April. - Limiting tours to less than 20 Our people (less team members than half normal are working capacity), to from home and ensure that will continue those who do working from take a tour home until have plenty of further notice. room to spread We will update out (for "social any future info distance"). weekly online regarding any upcoming changes if necessary. We City Tastings Tours - All tours wish all our members good health suspended until further notice. and best wishes. We hope you will continue to support Blues Music, Blues Crosstown Arts - Offices, galleries, Musicians, and Blues Music Magazine ArtBar, Cafe and shared art making during this unprecedented emergency space closed until further notice. and we thank you for all your amazing support! W here The Blues Is Hip!

Earnestine & Hazel's - Closed until that will be ready in the next few days. further notice. Memphis International Raceway - Memphis Zoo - The zoo remains Test-and-tunes will remain as open, but all indoor exhibits are closed. scheduled for now, but the 34th annual Super Chevy Show has been National Civil Rights Museum - postponed and rescheduled to Sept. Closed until further notice. 25-27 Memphis Public Libraries - All Old Dominick locations will Distillery - close on 3/18 Temporarily until further suspending all notice. All distillery tours programs and The Bar at and outreach Old Dominick events will also be have been temporarily canceled and closed postponed.

Dixon Gallery & Gardens - Closing 3/17 until 3/30. Stax Museum of American - Closing 3/18 until further Children's Museum of Memphis - notice. Closing 3/17 until further notice.

The Art Project - Closing until further American Queen Steamboat notice, and developing take home Company - Immediately suspending craft kits complete with instructions operations across all ships and will and supplies (with a delivery option) resume service on April 12. NEW CD RELEASES - CLICK ANY REVIEWED CD COVER TO ORDER TODAY

ROOMFUL OF BLUES BAND In A Roomful of Blues Still Cookin’ Alligator VizzTone his band is as Tdependable – and ssembled by Taj predictable – as Coca AMahal in 1993 to Cola and Colonel record Dancin’ The Sander’s Fried Chicken. Blues, this band has Like Coca Cola, they have been in business ever become a long-standing since, recording and brand name trusted for touring with him (picking their consistency with up two Grammys in the their fan base. You know process) and on its own every album is going to while making a name for itself around the world. feature well-crafted horn arrangements on songs built Individually, its members – Tony Braunagel (drums), on a base of swing, jump, and R&B sounds of the Mike Finnigan (keys, vocals), Larry Fulcher (bass, late ‘40s and early ‘50s. And, like Colonel Sander's vocals), Johnny Lee Schell (guitar, vocals), Joe Fried Chicken, they may tweak the recipe now and Sublett (sax), and Les Lovitt (trumpet) – boast an then, but they’ve never changed that brand name to impressive list of credits, having backed everyone ROB like The Colonel did to KFC. Nor do they have from to Otis Rush to to the a single recognizable “character” whose individual Rolling Stones to . image makes it easy for journalists like me to write Listening to Still Cookin’, this comes as no about as a figure head the way say Mark Wenner is surprise. The essence of a great band – even more with The Nighthawks. than each player’s command of his instrument – is Yes, Chris Vachon has been the producer and its ensemble nature. At its best, it’s like ESP: solos guitar player for 30 years, but for a band that’s been never seem contrived or misplaced, fills don’t step on recording and touring for more than half a century, each other, and everyone stops, starts, rises, falls, released 21 albums including this one, and whose and moves as one cohesive unit. alumni include such seminal guitar masters as Ronnie This is how the Phantom Blues Band sounds Earl and Duke Robillard, Vachon comes across on each of this album’s 12 tracks (seven of which like the new kid on the block. The longest tenured were co-written by its members) as it mixes the member of the group is tenor and alto sax player Rich horn section and chorus fueled (“Don’t Fight It,” Lataille who joined the group as a teenager in 1970. “Stop Runnin’,” “Just In Case”) with the piano driven The rest of the band has been filled out by an ever- (“Blues How They Linger,” “Better But Not Good,” changing cadre of more than 40 musicians. “Bad Blood”) and the more eclectic (the mambo band All that said, there is a lot new and significant styled “Tequila Con Yerba,” and the Caribbean horn about this release. It’s their first album of new material sounding “Shine On”). in nine years, and nine of the cuts are originals, It’s tight and polished to a mirror gleam, as eight of which were written or co-written by Vachon. one might expect from a band of this pedigree and Predictably, the other four songs include “What Can caliber, and the ensemble quality that brings its Do” co-written by Don Robey, founder of the ‘50s R&B musicianship to such a high level carries over to the Duke/Peacock label and “Too Much Boogie” by the vocals, which are divided three ways – between the prolific Doc Pomus, best known for his Elvis Presley bluesy Finnigan, the country-ish Schell, and Fulcher hits. (who, with only one full lead, doesn’t really have Of the new songs, “She Quit Me” and “We’d the chance to establish himself) – and feature a fair Have A Love Sublime” stand out. The first is a amount of chorus backing. Each of these singers has surprisingly contemporary sounding soul song with a unique style, as well as a musical relationship with great smoky sax solos. The second is a cruising the band that – mixed together as these songs are – groover that would fit nicely into the soundtrack of might be difficult for the listener to establish, identify American Graffiti. Vachon’s production throughout with, and fully appreciate. is extraordinary. Never does this eight-piece band If you’re looking for a good listening time sound busy, and the horn arrangements are as brought to you by a razor sharp group who are having original and as important a defining element of each a blast doing their thing, then the Phantom Blues song as guitars are on most blues albums. Band is definitely still cookin’. – Don Wilcock – Matthew MacDonald Booking Contact: Tina Terry Agency RUF 1277 RUF 1279 RUF 1278 Phone: 336-255-7109 11. July Rockland, ME North Atlantic Festival [email protected] 17. July Winthrop, WA Rhythm & Blues Festival 18. July Winthrop, WA Rhythm & Blues Festival 14. Aug Thornton, NH White Mountain Boogie N Blues 15. Aug Thornton, NH White Mountain Boogie N Blues www.ampeddistribution.com 18. Oct Aberdeen, NC The Roosters Wife 25. Oct – 1. Nov The Legendary Rhythm & Blues Cruise #35 www.rufrecords.de NEW CD RELEASES - CLICK ANY REVIEWED CD COVER TO ORDER TODAY

JEREMIAH JOHNSON KING SOLOMON HICKS Heavens To Betsy Ruf Records Provogue ing Solomon Hicks f you are looking for up- Krockets out of the Itempo tunes and blues chute with his debut ballads you can relate CD filled with clean, to, sung with a powerful crisp guitar bursts and voice and mixed with a direction fueled by his blazing chords, driving energy. He doesn’t waste guitar and funky horns, time letting us know he this is the album has arrived. The 24-year- you’ve been waiting old native of Harlem is for. Jeremiah Johnson quite obviously a great talent, although one that still is a well-known St. Louis bandleader, and with this needs to establish his identity in the blues world. release he gets back to his blues-based Southern Hicks shows up with some impressive credentials. rock roots. He’s like The Black Crowes meets The He picked up guitar at the age of six, and his mother Allman Brothers. took it upon herself to expose and educate him about Check out the double leads in “Tornado,” one African-American musical culture. He attended that of 11 songs Johnson wrote or co-wrote. I really like Harlem School of Arts and the Harlem Center for the the sax and the wah-wah on the opening track “White Performing Arts and emerged with broad exposure Lightning,” with lyrics about a struggling Southern to jazz, blues classical, gospel, R&B, and . farmer. The other trad blues ballads, “Ecstacy” and His debut album is blues, but it also has “Long Way Home,” are authentic with believable gospel and jazz influences flowing through songs. vocals and growling guitar licks. Johnson sings and It’s modern blues, often played under the influence of plays the guitars. Frank Bauer blows the sax and sings backing vocals. Tony Anthonis is on bass, Benet Robert Cray’s antiseptic spell and filled with youthful Schaeffer pounds, Rick Steff plays keyboards, and inspiration. Here, he gives us his interesting take on former Devon Allman band member Tony Antonelli Sonny Boy Williamson’s “Help Me” and leaves no contributes percussion and sings backing vocals. doubt that he’s reinvented this blues chestnut with Johnson on guitar dueling with Bauer on sax his searing guitar. He also offers up an instrumental is the main focus in the band, and their playing around version of Gary Wright’s 1975 hit “Love Is Alive.” He and off each other drives the music and makes this converts Blood, Sweat & Tears’ soulful “I Love You a great CD. Check them pushing each other on the More Than You Will Ever Know” into a jazz-leaning bar room band beauty “Showdown,” the country- workout that Carlos Santana might have employed flavored “Leo Stone,” a song about his newborn son, as well. the hard driving “Soul Crush,” “Forever And A Day,” The most fully realized of his original songs “Castles In The Air,” the salute to the joy of driving is “Have Mercy On Me,” a fast-forward gospel on U.S. highways, “American Steel,” and the closing number and two instrumentals, “421 South Main” cut “Preacher’s Daughter.” “Born Under A Bad Sign” and “Riverside Drive.” His stated goal is not to is the only cover on this release and features a cool sound traditional, but to make people feel like they rivalry between the funky horns and his six-stringed are in a juke joint listening to what the blues sounds instrument. like today, with his own spin on it. Stacking Hicks Johnson’s guitar playing style mixes crashing up against 24-year-olds, he is a standout musician. and sometimes ominous guitar chords with rural But he no longer is a student competitor in the world blues country picking resulting in music I fell in love of blues. He’s competing with older musicians with with the first time I heard it. Johnson notes in the much wider exposure to the music and experience accompanying P.R. sheet, “I want this record to be playing it. something you’ll want to crank up when you’re with The true test is ahead. Will Hicks identify your friends and celebrating life. I want people to himself as a voice of the blues with his own spin, or throw this record on the stereo and get a kick in the will he find a contented spot rekindling the tried and ass.” Hey, Jeremiah: ‘Mission accomplished!’ true? – A.J. Wachtel – Michael Kinsman

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ANDREW ALLI RYAN PERRY Hard Workin’ Man High Risk, Low Reward EllerSoul Records Ruf Records lues fans may be ith age comes Bunfamiliar with the Wmaturity and name Andrew Alli. Some with maturity comes may recall his appearance confidence. When we last on EllerSoul Records 2016 saw Ryan Perry, he was tribute to Big Walter Horton. the teen frontman of the Certainly there are more Mississippi family band, Homemade Jamz. Their blues fans excited by Alli’s last CD, Mississippi Hill artistry after hearing him Country in 2013, featured on the recent Legendary a dozen originals penned Rhythm & Blues Cruise in by Perry. In the ensuing years, the siblings have an acoustic duo with Grammy-nominated Jontavious grown up and branched into new ventures. For Ryan Willis. Perry, it continues to be music and cars. So for these With the release of his first album, Alli five years, life and its uncertainties have given Perry undoubtedly will be garnering plenty of attention for much to ponder and write. his gripping vocals and exemplary harmonica playing. His debut CD, recorded in December 2019 The main lessons that Alli learned from studying Big on Ruf Records, includes eight originals and three Walter Horton’s style was the importance of tone and to covers. The CD opens with four originals. On “Ain’t always remember that less is more. Those facets of his Afraid To Eat Alone,” Perry shows off his furious work come to light on Horton’s instrumental, “Walter’s guitar riffs, while “Homesick” follows with Southern Sun,” generating a flowing, unamplified melodic California transplant Perry yearning for a return flight stream brimming with energy. He takes on the Little to the modest gifts of his Tupelo home to recenter Walter legacy on “One More Chance,” his tenor voice his soul. After two relatively upbeat offerings, “Pride” pleading for a woman’s attention, then launching into slows the groove to a languid pace, with Roger Inniss’ a solo sequence that has tone to spare. He recognizes bass overpowering the arrangement and Perry trading another harp great, making every note count on a cover his gritty voice for unvarying gloss. Thankfully, Perry of George “Harmonica” Smith’s song, “Good Things.” recovers nicely with “A Heart I Didn’t Break,” where his guitar is more assertive in augmenting the lyrical The remaining nine original tracks make it clear message. Later, “Changing Blues” offers a stripped that Alli is also a talented songwriter. The title track finds down look at how the genre has changed. Perry’s him using fat-toned harp licks to punctuate his testimony moody conclusion is that as long as it “makes me feel on his desire to please. “30 Long Years” is a masterful fine…I got room to grow.” slow blues with a mournful vocal and cutting guitar from The title cut has Perry returning to the Hill Danny Michel and Jon Aktinson, who also plays bass Country rhythms he previously explored. Here, with throughout. The pace picks up on “Texas Woman,” a grit and commitment, Perry’s voice is at its best. His sprightly jaunt with more exemplary harp blowing, with jammy, distorted guitar and coarse voice offer a look Carl Sonny Leyland’s arresting piano runs filling out the at what Perry can become in this genre. The closing arrangement. Alli admits to being wrong on “So Long,” original, “Hard Times,” follows a similar Hill Country giving way to a taut before taking his harp on lament of today’s underclass. a brief but exciting excursion. For covers, Perry chooses B.B. King’s “Why I “Going Down South” shuffles along with more Sing The Blues,” Wilson Blount’s “Oh No,” and Willie captivating guitar and harp interplay while “Easy Going Dixon’s “Evil Is Going On.” The King tune has Perry Man” is a swinging jump blues with Alli’s powerful blowing affirming his right to the blues; on “Oh No,” Perry contrasting nicely with his smooth vocal delivery. Devin uses a Tinsley Ellis-styled, slow blues arrangement Neel and Buddy Honeycutt are the drummers of record, sounding like “A Quitter Never Wins”; and on Dixon’s lacking track by track credit. Alli breaks out his chromatic tune, Perry and his trio turn the reading into a Hendrix, for “Chrom-A-Thick,” giving the big harp a memorable machine gunning frenzy. workout. The instrumental “AA Boogie” is taken at a The smoking muffler, LED guitars might be gone, but Ryan Perry has come to discover, as rapid pace, while “Walkin’ Down” takes a more laid-back a musician, he needs no gimmicks. His guitar and approach, but both offer further evidence that Andrew writing chops are as good as ever. With a few tentative Alli will be a force to be reckoned with on harmonica vocal efforts, my only recommendation is to find the in the years ahead. It is great to see another younger same vocal power in the studio that Perry possesses blues artist showing his love and respect for the blues in live settings. traditions on this disc that comes highly recommended! – Art Tipaldi – Mark Thompson

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11 GUYS QUARTET WATERMELON SLIM Small Blues And Grooves Traveling Man VizzTone Northern Blues generation ago during mong his insights into the ‘80s, The 11th Athe human psyche, A William Shakespeare Hour Blues Band was proffered that “All the one of the top Boston world’s a stage/And all the blues groups performing men and women merely regularly on the New players.” It’s clear from that England circuit. Their first statement that Bill S. never album was titled Hot Time met any real bluesmen. In The City Tonight and William Homans III, aka was released in 1985 on Watermelon Slim, is living Tone Cool Records. More recently, but more than a evidence of that. decade ago, they went into the studio to lay down While actors make an appearance in every profession – even the music business – they just don’t these all instrumental, all live tracks. No screaming last long in the blues. Blues music has a way of stripping solos, just 14 band written songs showcasing their performers naked, to be judged exclusively on their ability remarkable chemistry and tremendous talents. After to bare their souls through their music. Actors do not pass considering all possibilities for the past decade or so, this blues litmus. they picked up the eight track master from collecting Watermelon Slim is genuine in every musical dust on one of the band member’s closet floors and performance he gives, but that is particularly evident in decided to release their old music to the world. his solo performances. Traveling Man is a collection of There are traditional blues and up-tempo more than 90 minutes of Slim alone stage, with only his blues and R&B songs on this collection of inspiring quavering voice, stinging and sliding guitar, and bold-faced and impressive tunes. Nothing new, just a tight group harmonica to relay his feelings. Culled from 2016 shows at The Depot in Norman, Okla., and The Blue Door in of friends in their heyday doing what they do best, City, the music is deceptively disarming. Slim’s making good music. Paul Lenart (guitar), Bill “Coach” unabashed courage fills this double-CD as he reveals Mather (bass), Chuck Purro (drums), and Rosy what’s under his weathered skin. Rosenblatt front and center on harp. Rosy’s style is Much of his music comes out of his life experiences more James Cotton//James of trying to find a job he could live with. As it turns out, Montgomery than Jerry Portnoy, with a lot of chords truck driving was Slim’s longest occupation and one of his and notes and huffing and puffing rather than holding life’s true romances. He loves the road and a fistful of his one note and bending it for ten measures. songs here spring from his lonely hours driving, whether For slower Chicago inspired blues check it is paying the cost for an overweight load or trying to out “Sleepless,” “Down And Dirty,” “Doggin’ It,” and wish away the last 300 miles of route or simply his adroit popping and breathing that replicate the airbrakes of his “Midnight Streetcar.” For shuffles listen to these truck coming to a halt. There is no faking that. stellar songs, the opening melody “Road Trippin’” is He even pays homage to the hard travels and lives pretty much a cover of Freddie King’s “Hideaway.” of other bluesmen through Mississippi Fred McDowell’s But it’s now a very cool harp song instead of a guitar “Highway 61 Blues” and “Frisco Line,” Muddy Waters’ “Two driven one. “Amateurs Imitate, Professionals Steal” Trains Running,” Howlin’ Wolf’s “Smokestack Lighting,” and has been attributed to Pablo Picasso, one of the most the traditional “John Henry.” All are informed by the bumps original artists of all time. Picasso would have loved and speed traps on Slim’s own roadways. Through all of this version. Hear the passion in the harp interacting his travels, he’s managed to create a musical sub-genre with the other instruments on “Jackrabbit,” “Four on his own, witnessed by his song “Truck Driving Songs Maypops,” “Swing Low,” “Speakeasy Serenade,” Never Go Out Of Style.” Slim’s also pulled out some his favorites from past albums, notably “Jimmy Bell,” “Devil’s “Hey Daddio,” and the closing cut, “Swamp Ride.” Cadillac,” and “Archetypal Blues.” But his stark and raw These cats still play together as a group from vocals on songs such as “Blues Holler” and “Last Blues” time to time on the local scene. The familiarity and catch Slim pondering his own mortality. In the former song, intuition heard on this CD is the icing on the cake. he proclaims, “I believe it might be time for them to put You don’t have to know that they’ve been in a group me on the shelf/Well I’ll die just like I lived harder than old together forever to appreciate the fantastic feel that death himself.” comes across on every note they play. This is a great No acting here. This is music from the depths. rocking blues release that I really dig and so will you. – Michael Kinsman – A.J. Wachtel NOLA BLUE RECORDS

"I can’t believe how seamlessly Bey synthesizes so many styles of music, keeping them recognizable while also maintaining a singular personal voice. It feels a bit early to be talking about best albums of 2020, but I’m ready to commit to Bey.” Written and produced by Jim - Steven Ovadia, American Blues Scene Koeppel for his friend and mentor, the late Cash McCall, this posthumously-released single is a musical buried treasure.

“Who Sang It First” is an homage to the legendary blues musicians who have strongly inuenced today’s music. Don't miss the new video, now available on YouTube!

BLUE HEART RECORDS

"This woman has a voice that is strong and sultry, yet compellingly vulnerable 19 year-old Charlie Bedford is no stranger to the blues ... this is one of those recordings I nd community, having performed in the IBC Youth myself going back to on a regular basis. Showcase in 2017, 2018 and 2019. Mentored by some Bixler is an accomplished guitarist, a of the biggest names in Australian blues, Charlie powerful vocalist, and one hell of a assures us he is "Good To Go" with the release of his songwriter. debut originals album, a fresh mix of 12 tunes. - Re ections In Blue www.nola-blue.com Promotion/Publicity ALSO ON NOLA BLUE:

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VICTOR WAINWRIGHT & THE TRAIN Memphis Loud Ruf Records

rammy Award nomination in hand, Victor GWainwright is ready for another journey through his musical vision, aided by his superb band, The Train, and a host of friends from the Memphis community. The cover makes it clear that they are coming at you with locomotive force, offering an invitation to climb on board and join the party! Through 13 original songs, Wainwright showcases his deep understanding of American roots music. His partner in crime, co-producer Dave Gross, creates a dazzling sonic landscape, painstakingly built by adding layers of vocal and instrumental accompaniment, details that come to light with each listen. Wainwright gets the trip off to rousing start with “Mississippi,” belting out what he loves about life in the Magnolia State, with Pat Harrington shining on guitar. The Train keeps the pace up on “Walk The Walk,” as Wainwright delivers an exuberant tribute to his parents. The title track serves notice that the party is commencing, Memphis based and proud of it. The propulsive force generated by Billy Dean (drums) and Terrence Grayson (bass) is magnified by the mighty blasts from Mark Early (sax) and Doug Woolverton (trumpet) while Wainwright delivers a message of musical salvation with gospel-like fervor. He extols the virtue of self-expression as the path to happiness on “Sing,” which plays out like a quirky stroll down Bourbon Street. “My Dog Riley” is a buoyant tribute to Wainwright’s best friend, with plenty of rollicking piano runs from the leader. The down-home feel on “South End Of A North Bound Mule” is a perfect backdrop for Wainwright’s amusing take on life’s twists and turns, highlighted by the fine guitar interchange between Harrington and auxiliary Train member Greg Gumpel. Wainwright’s touching portrayal of a man struggling with heartbreak, “Disappear,” is one of the disc’s highlights, as Gross surrounds him with a intricate backing that rivals the finest Brian Wilson productions. “Golden Rule” rolls along with a “Time Is Tight”-style groove, the horns swelling behind the leader’s urgent petition for love and understanding in a fractured world. That theme continues in “America,” a solemn discourse on the strife enveloping our nation, with Wainwright reflecting, “I think we might be losing our minds.” Monster Mike Welch adds to the tension with a searing guitar solo, while also making another appearance on “Recovery,” a rocking track that finishes with Early trying to blow the house down. The closing number, “Reconcile,” came from Wainwright’s contemplation on the deaths of Robin Williams and Anthony Bourdain. The arrangement steadily builds as Wainwright pours out the pain and heartache, seeking solace through his music, then Harrington bares his soul with a scorching guitar soliloquy. An unlisted bonus track, “History Of Boogie,” finds Wainwright treating listeners to a brief history on the roots of boogie piano. Track by track, Victor Wainwright and The Train will captivate you with soaring vocals, stunning arrangements, and top-notch musicianship. Get ready to punch your ticket for Memphis Loud! – Mark Thompson RISING STARS • SEASONED VETERANS BADASS DEBUTS • WORLD-CLASS BLUES

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