Buddy GDamnUYRight... JONNYLANG Q&A SAMANTHA FISH HOMEMADE JAMZ JAREKUS SINGLETON

JOHNNY WINTER MICHAEL BLOOMFIELD Reissues Reviewed

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NUMBER THREE 4 BUDDY GUY Best In Town by Robert Feuer 3 RIFFS & GROOVES From The Editor-In-Chief 8 TOM HAMBRIDGE Producing Buddy Guy 20 DELTA JOURNEYS “Catching Up” by Art Tipaldi 22 AROUND THE WORLD 10 SAMANTHA FISH “Blues Inspiration, Now And Tomorrow” Kansas City Bomber 24 Q&A with Jonny Lang by Vincent Abbate 26 BLUES ALIVE! 13 THE HOMEMADE JAMZ Lonnie Brooks 80th Birthday Bash BLUES BAND Harpin’ For Kid Ramos Benefit It’s A Family Affair 28 REVIEWS by Michael Cala New Releases Box Sets 17 JAREKUS SINGLETON Film Files Trading Hoops For The Blues 62 DOWN THE ROAD by Art Tipaldi 63 SAMPLER 3 64 IN THE NEWS TONY KUTTER © PHOTOGRAPHY PHOTOGRAPHY

PHONE TOLL-FREE 866-702-7778 E-MAIL [email protected] WEB bluesmusicmagazine.com PUBLISHER: MojoWax Media, Inc. PRESIDENT: Jack Sullivan “As the sun goes down and the shadows fall, EDITOR-IN-CHIEF: Art Tipaldi on theWestside of Chicago, the blues has come to call.” CUSTOMER SERVICE: Kyle Morris GRAPHIC DESIGN: Andrew Miller Though the temperatures in Memphis during January’s 30th International Blues Challenge were in the 20s with wind chills cutting to below zero, the music on Beale CONTRIBUTING EDITORS David Barrett / Michael Cote / ?omas J. Cullen III Street was hotter then ever. Over 250 bands, solo/duo, and youth acts participated Bill Dahl / Hal Horowitz / Tom Hyslop in this exciting weeklong showcase of the blues in 20 Beale Street clubs. In addition Larry Nager / Bill Wasserzieher / Don Wilcock to a plethora of international musicians, the five-day event also featured 24 youth COLUMNISTS bands from around the around the U.S. and the world. Bob Margolin / Roger Stolle Add to that the ever-increasing number of Blues Music Award nominees who CONTRIBUTING WRITERS travel to Memphis each winter, the proliferation of morning and afternoon show- Vincent Abbate / Grant Britt / Michael Cala cases (how about John Nemeth and the Bo-Keys performing at 11a.m. one morn- Mark Caron / Tom Clarke / Kay Cordtz ing), and the after hours jams now sprouting in many of the Beale clubs and there Ted Drozdowski / Robert Feuer / Rev. Keith Gordon was enough spirited music to satisfy every blue taste. Tim Holek / Brian D. Holland / Stacy Je@ress Chris Kerslake / Michael Kinsman / Karen Nugent Here are some numbers to ponder. Every act that played competed within its Brian Owens / Tim Parsons / Bob Putignano local affiliated blues organization. If each affiliate had pool of five to ten bands to Tony Del Ray / Phil Reser / Nick DeRiso choose from (Some organizations like the Connecticut Blues Society and the Boston Richard Skelly / Eric ?om / M.E. Travaglini Blues Society have month long competitions to determine their respective band and Bill Vitka / Eric Wrisley solo/duo winners.) that means there were perhaps over 2,000 bands and solo/duo CONTRIBUTING PHOTOGRAPHERS blues musicians from around the world looking to showcase their musical visions. Scott Allen / Robert Barclay / Mark Goodman And since original songs are heartily encouraged, every act played at least four orig- Les Gruseck / Aigars Lapsa / Doug Richard Joseph A. Rosen / Dusty Scott / Marilyn Stringer inal tunes in its 25-minute set. More math means there were nearly 1,000 original Jen Taylor / Susan ?orsen blues songs showcased on Beale. The final competition on Saturday is a blues lover’s dream: seven hours of SUBSCRIPTION INFORMATION stunning world-class performances by nine band finalists and eight solo/duo acts. Phone Toll-Free: 866-702-7778 Even though some may argue that music is an art and not a competition, the week is Web: www.bluesmusicmagazine.com ultimately a perfect time to showcase your music in front of the industry. E-Mail: [email protected] I know of many festival promoters who wander Beale looking for a unique EDITORIAL QUERIES artist to unveil to their audiences. I heard one such promoter rave about booking a E-Mail: [email protected] band that did not make the finals for his festival. Other festival promoters, club BUSINESS AND CIRCULATION QUESTIONS owners, journalists, and radio hosts were connecting with musicians over barbeque E-Mail: [email protected] or Gus’ fried chicken to discuss a future relationship. MEDIA SUBMISSIONS Here’s proof of the value of being in the moment. One talented Mississippi Mail 2 copies to: Blues Music Magazine band that has competed the last four years and not made he finals was signed by P.O. Box 1446, Bradenton, FL 34206 Alligator Records and should have its debut release ready by May. You can read ADVERTISING about Jarekus Singleton’s journey from gospel church to Division One basketball Phone Toll-Free: 888-565-0554 point guard to energetic singer and guitarist in this issue. Web: www.bluesmusicmagazine.com E-Mail: [email protected] Along with Singleton, the IBC band winners in 2013 and 2014 are offering proof that younger African-Americans are embracing this uniquely American art form. Selwyn Birchwood (2013) and Mr. Sipp (2014) have demonstrated a passionate love of this music by adding fresh and original lyrical insights and musical concepts. Like the revered Masters who have come before, these current takes, which blend the best of the past with the innovations of contemporary music all portends well as we Blues Music Magazine welcomes articles, photographs, and any material about the blues suitable for publication. Please direct ponder the future of this music. queries to [email protected]. Blues Music Magazine assumes no responsibility for unsolicited manuscripts, “Let the music keep our spirits high.” photographs, or illustrations. Material may be edited at the discretion of the editors. To be credited and reimbursed, all submissions must be properly marked with name, address, Art Tipaldi, Editor-In-Chief telephone number, and e-mail of author/photographer/artist. Payment for unsolicited material is at the discretion of the publisher. All material becomes the property of Blues Music Magazine. Blues Music Magazine © 2014 MojoWax Media, Inc.

Blues Music Magazine is published bimonthly by MojoWax Media,Inc., 1001 11th AvenueWest, Bradenton, FL 34205. Periodicals postage is paid at Bradenton,FL and at additional mailing offices. Subscription rates (for 6 issues) are: U.S. — $35/year, Canada&Mexico — $40/year, Overseas — $50/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 call 866-702-7778 Monday through Friday between 9 a.m. and 5 p.m. EST, 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.

Blues Music Magazine 3 Guy recalls 1967, when, after driving a tow truck for Buddy12 hours during a Chicago blizzard, he went DICK WATERMAN DICK

© to a gig where his guitar would earn him a dollar, if anything at all. “I loved it so well. I wasn’t in it for the money. It was the love of music,” he says in a phone interview. That love began during the Louisiana PHOTOGRAPHY PHOTOGRAPHY JUNIOR WELLS, BUDDY GUY – 1970 childhood of George Guy, nicknamed Buddy by his family, “from day one,” he says, pet names being part of Southern tradition. His sharecropper parents had third grade educations. “People didn’t want you to have an education because you could figure out how to get away from there,” Guy says. He received his grade school learning in an old three-classroom Baptist church, but upon graduation the only high school available was in Baton Rouge, Buddy 65 miles away. When his mother had a stroke “that was the end of that. There was no future.” The family couldn’t afford a radio. Not many people had access to a guitar. GUY Guy’s only exposure to one was at Christmas, when a guitarist would come to BEST his father’s house. Guy loved the sound. “I wanted to do something a country kid DICK WATERMAN DICK didn’t do,” he says. “I started messin’ with © IN a rubber band.” Eventually, he constructed a two-stringed instrument from household TOWN objects, including his mother’s hairpins. While picking cotton his dad told him, PHOTOGRAPHY PHOTOGRAPHY DUSTER BENNETT, BUDDY GUY, by Robert Feuer “Don’t be the best in town, be the best until ERIC CLAPTON – 1969 the best comes around,” which Guy used to form a lyric on the song “Best In Town” from his latest multi-nominated Blues Music Award release, his only double album, Rhythm & Blues. Talking about his family, he says, “I get support from them more than anybody.” Guy lost his brother, Phil, another blues guitarist, and the youngest member of the family, five years ago, now referring to it as “God’s will.” “I had a God- gifted talent,” Guy says, “but I didn’t ever think I was gonna be successful. I didn’t learn nothin’ from the

BRIAN SMITH BRIAN book, and nothin’ from school. I got it from © someone else,” he says, talking about “copping licks” from the great guitar PHOTOGRAPHY PHOTOGRAPHY EDDIE BOYD, BUDDY GUY, FRED BELOW – 1965 4 Blues Music Magazine players of that era. Remembering an experience seeing master slide player Earl Hooker perform, he says, “I took my slide out of my pocket and gave it to him, ‘cause I ain’t never gonna be able to do that.” But he did. Jimi Hendrix followed him around with a reel-to-reel tape recorder and once cancelled one of his own perfor- mances to see Guy, who was also playing in New York. “I didn’t know who the hell he was,” Guy says. Eventually, during Hendrix’s last few years, they had conver- sations, and jammed together on stage. During the 1960s heyday of blues- rock, Guy connected with popular players like Eric Clapton and Jeff Beck. He says he doesn’t know why. “I was just makin’ records behind Muddy. I didn’t have no hit records.” People like Clapton and Beck, both of whom he got to know personally, were listening to Guy’s guitar behind the major blues artists of the time. “I was just havin’ fun in the studio with those guys and that blessing came to me from above somewhere.” Neither can Guy explain his longevity in a field that has harbored some of the world’s greatest guitar players, going back over a century. When asked for advice from less experienced guitarists, he says, “Just keep playin’. If you give up you ain’t got a chance to win.” His accomplishments include six Grammys, 33 Blues Music Awards (the most ever received by a single artist), induction into the Rock & Roll Hall of Fame, celebrated at the 2013 Kennedy Center Honors, and the Presidential National Medal of Arts. Rolling Stone magazine lists him at Number 23 among all-time great guitarists. But, he says, he never let that go to his head. “People look at you like you’re supernatural. I’m not like that. I cook for myself, I drive for myself. I was blessed to be a successful guitar player, but I’m still the little boy who used to pick cotton from MARK GOODMAN MARK

sunup to sundown and didn’t know who © Muddy Waters was until I was 17.” PHOTOGRAPHY PHOTOGRAPHY

Blues Music Magazine 5 Sixty years later, Guy isn’t done yet. Motivating much of what he does now is what he calls “just keepin’ them blues alive,” something he talked about with Waters, whom he visited two weeks before his death. Guy feels that the blues tradition is being lost. “This music has something to do with all kinds of music you hear today, but it needs some young ones to come along to wake them up and let them know.” Like Quinn Sullivan. This feeling explains his promotion of the 14-year-old guitar prodigy. “He’s amazing. Nothing can hold him back unless they don’t play him,” Guy says. He met Sullivan at a concert in the boy’s hometown of New Bedford, Massachusetts. As Guy tells it, Sullivan, only seven at the time, walked in with a guitar. Guy asked him if he could play, and after getting an affirmative response, invited him onstage. “He played so well. He could play Hendrix, Clapton, and B.B. King. He didn’t get that from school. He’s one of the best blues guitarists around, a genius, a natural.” Guy brought Sullivan to the Eric KUTTER TONY © Clapton’s Crossroads Guitar Festival in New York’s Madison Square Garden last April, 2013, and says the first thing Clapton, founder and also part of that lineup, said, was “Who in the hell is that?” [You can see PHOTOGRAPHY Sullivan performing “Damn Right I Got The Blues” with Guy and Robert Randolph on the DVD of the Crossroads concert.] AL PEREIRA AL © PHOTOGRAPHY PHOTOGRAPHY 6 Blues Music Magazine QUINN SULLIVAN, TIM AUSTIN, BUDDY GUY, AND RICK HALL

Guy’s feelings about the current status the site of one of the blues world’s drink as much, partly due to fears of of blues music run deep. “It’s very scary,” most famous jams, the concert video getting a DUI, partly due to increased he says. “You don’t see it on big TV and Checkerboard Lounge, Live Chicago 1981 drug use. Smoking prohibitions are also a radio stations. Hopefully, one day, even if I that includes Guy, Waters, Junior Wells, hindrance. don’t live to see it, these big FM radio and the Rolling Stones. “All the blues clubs Buddy Guy eventually figured a way stations will play some Muddy Waters or were disappearing throughout the world. out of Louisiana, leaving on a country road Howlin’ Wolf once or twice a week. You Myself, Clapton, the Beatles, were all that led to Chicago, New York, Paris, don’t get that no more. You can take a discovered in a small blues club,” he says. Washington, from that Baptist schoolhouse Muddy Waters song and give it to a hip-hop “That’s the way word gets around, and to the peak of blues stardom. He’s had an guy, and they would put language in there then the music gets around.” The Checker- honorary doctorate from Louisiana State that’s more foul than what we were singing, board lasted until 1983, when, he claims, University bestowed upon him, which is and they will play that on the radio, but they “greedy” people who thought they could particularly gratifying because, as a youth, won’t play Muddy’s version of it.” run it better than him took over when he he worked there as a utility man, doing Guy’s recent release of Rhythm & was out of town. “whatever they asked me to do.” He was Blues, including studio collaborations with Six years later, Guy opened another so shy then that, after being hired as a younger artists like Kid Rock, Keith Urban, club, Legends, which he lost when the guitar player for the first time, he says he Gary Clark, Jr., and Beth Hart, is a reaction building was sold and he got thrown out. turned his back on the audience, while to this. The exposure to young kids might Legends reopened in 2010 in a building he singing. familiarize them with his own music, and owns. “They can’t run me away no more,” Discussing the doctorate, Guy says, keep blues alive a little longer, he says. he says. Its location in downtown Chicago “Tears came out of my eyes when I heard That’s what Guy is all about, going attracts tourists from the big hotels, but, he that. Who am I? I didn’t get an education. back to Chicago’s Checkerboard Lounge, says, keeping blues clubs open is more They said ‘But look where you went. The which he opened in 1972, later becoming problematic than in the past. People don’t record speaks for itself.’” Tom Hambridge 2008, Buddy Guy enlisted the help of drummer, songwriter, Producing and producer Tom Hambridge to work together on a new by Art Tipaldi Inrecord. The result of this first time collaboration was Skin Deep, Buddy Guy a Grammy-nominated record that signaled the start of their partnership. Since that record, “I had a record deal on Artemis Records,” Guy and Hambridge have worked together on said Hambridge, “and was out on tour open- four other records including Guy’s 2010 ing 15 shows for Buddy. He always arrived Grammy winning record, Living Proof, and this after the opening act. One night he came to year’s double record, Rhythm & Blues. the show early and listened to about half of Hambridge is no production novice my set. I’m walking off the stage, and his jumping to the major leagues. Since 1998, he’s manager says, ‘Buddy wants to see you.’ produced Grammy-nominated records for So I’m thinking I’m off the tour. Susan Tedeschi, (Just Won’t Burn, 1998) and “Instead Buddy says, ‘I heard your set. Johnny Winter (I’m A Bluesman, 2004), along Why were you doing those Johnny Winter with George Thorogood’s 2120 South Michigan and Susan Tedeschi songs?’ I told him that I Ave. record, Joe Louis Walker’s Hellfire, James don’t do covers, those were all my songs. So courtesy of HAMBRIDGE TOM Cotton’s 2014 Grammy-nominated Cotton he says, ‘You gotta write some songs for me.’ Mouth Man, and both records by 14-year-old “Later he asked, ‘If you were to make a Quinn Sullivan. record for me, what kind of record would you

His songs have appeared on everything PHOTOGRAPHY make?’ I told him that I would make a record he’s produced, his own records, and albums by where he would feel every word he sang. ZZ Top, Eric Burdon, Colin Linden, Marcia Ball, Delbert Whether it’s a fun song or a song about life, every lyric would be McClinton, Taylor Hicks, Billy Ray Cyrus, Janiva Magness, about him. And I’d have him playin’ like he plays on stage, loud Shemekia Copeland, and many, many others. and proud.” So how does a drummer born in Buffalo and educated at the Guy must have been intrigued because when it was time for Berklee College of Music in Boston get the call to sit at the a new record, Hambridge got the call to produce. “I’m not a pro- controls with Guy? ducer who looks at his record collection and picks out 12 songs

8 Blues Music Magazine Asked about the use of technology in understand it. “Whenever we go play, music, and whether something is lost in there’s lots of smiling faces. If you listen to terms of rapport or soul, Guy says, “It me play, I’m not gonna drive nothin’ down doesn’t make you lose anything,” but adds, your throat about me on that farm in “People don’t buy albums anymore, they Louisiana and what a hard time I had. I’m download. That’s the times we’re living in gonna play something to make you tap now, and there’s nothing we can do about your feet.” it. Everything from music down to everyday Guy was honored in a performance at life is being rushed.” the White House for President Obama in Guy has lived a large slice of American 2012. “Coming from pickin’ cotton in a history. “I liked it the way it was,” he says. cotton sack to pickin’ guitar in the White “We had a raggedy car that they didn’t House. What else can you ask for?” he never have to take the key out of the igni- says. When Guy arrived at the White tion. My mother never had a lock on her House he was told that, since Obama is front door until she died. You didn’t have from Chicago, he might be persuaded to the violence we got now with the guns and join a chorus of the blues classic “Sweet drugs. The system has so changed. Kids Home Chicago.” “It was one of the most don’t listen to parents. The whole world has exciting moments of my life, to have the MARILYN STRINGER MARILYN

© got a problem, mostly about religion, people Commander in Chief say “Come on baby, telling others what to do. We would just say don’t you wanna go.” ‘live and let live.’” Of all his honors, Guy says, “The He disagrees with people who say White House is the one I never dreamed of.

PHOTOGRAPHY PHOTOGRAPHY the blues is too sad, claiming they don’t This is gonna carry me the rest of my life.”

he thinks it would be cool to have Buddy Guy record. I want to “Buddy said he cried listening to the rough of ‘Skin Deep.’ I create a new Buddy Guy album, not make a record where Buddy’s told him that I was taking a chance with that song because it’s emo- covering songs other people recorded 20 or 30 years ago. tional and a ballad, and I wasn’t sure if the record company would “Buddy asked how would we find the songs, and I told him like it and he said, ‘I want you to do what you’re doing. I trust you.’” that we were gonna write them. Then he asked how we’d start, and That was the magic moment when Hambridge felt that Guy I told him we start by talking. ‘I’ll ride the bus with you and we’ll accepted the direction and trusted his new partner. “He’s said to talk; that’s how I get my ideas of me that he trusts me and whatever I how you say things, how you feel do. I’ll start to tell him my approach about things, and the rhythm and and he’ll just say, “Tom, I trust you.” cadence of how you speak.’ I was That makes me work harder. It just writing things down as we makes me do my homework or try talked that I later turned into and write a better song that will songs. Now he’s singing words knock his socks off.” about his life that have meaning It is probably no coincidence to him, not some words he was that at the same time of these just handed as he walked into the critically acclaimed records, Guy’s studio. courtesy of HAMBRIDGE TOM public stature skyrocketed in 2012 “He’ll say some beautiful through his current biography, lines that he doesn’t think pertain When I Left Home, My Story, his

to the song we’re working on, but PHOTOGRAPHY White House appearance, and his it makes perfect sense for the song 2012 Kennedy Center honors. From because it adds another angle. I asked him where he lived and he his producer’s chair, Hambridge explains Guy’s current career said, ‘I live out in the woods.’ I thought that’s the first line of a song.” acceleration. Guy’s song “Skin Deep” illustrates Hambridge’s song crafting “Buddy’s on top of his game. He’s like Peyton Manning setting process. “Buddy was telling me a story about his mama telling him records and outplaying everybody. He feels that this is a very creative that his beauty was only skin deep. In the next week, I got together time in his career. Every record out does the previous one, charting with Gary Nicholson and said, ‘We’ve gotta write a song called higher then he’s ever charted, and the awards are coming to him. ‘Skin Deep’ that means something deeper than his mother’s mean- “A lot of artists go in the studio at this point in their lives, and ing. Now when he sings it, he closes his eyes and delivers every they have nothing new to bring to the table. They’re just getting word like he’s lived it. That’s what chokes me up, to be a small part something out that they can merchandise. This is not what Buddy of this song that can change the world. Guy is doing.”

Blues Music Magazine 9 Samantha FKISHANSAS CITY BOMBER

by Vincent Abbate

you witness Samantha Fish live, whether it’s the first Whentime or the tenth, it’s impossible not to be wooed by her presence. The long legs, short dresses, and hourglass figure are surely attention-getters – but that’s not it. Her vigorous attacks on the strings of her signature model guitar surely play a part, as does the sinewy voice with which she carries a song. But there’s more to it than that. The blonde-haired phenom radiates warmth and – in her finest moments – shows off an artistic force that seems impossible and almost unfair given her age and relatively short, quick path to the upper reaches of the blues world. At 25, the hardworking native of Kansas City, Missouri, has already circum- navigated the globe and stood toe-to-toe with the masters of the genre. Last summer, during a concert in her hometown, Buddy Guy – part of her musical education just a few years ago – called her onstage for an impromptu jam. “It was really special. I was on cloud nine for about six weeks,” she recalls, still somewhat in awe of the experi- ence. Lending a typically incendiary solo to Junior Wells’ “Little By Little,” she did what she does on a nightly basis, quickly turning the Chicago legend’s initial skepticism into gushing praise. “When this kind of shit happens,” announced Guy from the stage, beaming to his worshippers in the audience, “I’ll play all night!” Fish discovered the blues during a youth she calls turbulent. A vulnerable SCOTT ALLEN/VIVIDPIX

© teenager in desperate need of a sanctuary, she found one at Knuckleheads Saloon, a rough-and-tumble live venue that has PHOTOGRAPHY PHOTOGRAPHY 10 Blues Music Magazine become a prime Midwest address Zito aimed to spotlight: Fish can for both local and touring bands most definitely sing and play the over the past decade. “I’d go guitar. But perhaps most impor- there, and I’d feel comfortable, feel tantly, from the beginning she has at home,” she remembers. At first, boasted songwriting chops of a she’d simply tag along with her quality that’s rare among blues- dad during their scheduled time based artists, regardless of age. together. “I’d go out with him on Stylistically, Runaway offered school nights and that was excit- enough swampy grit to satisfy hard- ing. Being able to tell my friends: core blues fans while also making hey, I was out at a bar last night.” clear Fish would not be a slave to But after watching the topflight the genre. players passing through and Black Wind Howlin’, released in diligently studying everyone from September 2013, pushes the enve- Son House to Stevie Ray lope even further. Once again, there Vaughan, she gradually became is a firm blues core in place that an active participant onstage. would defy any listener to say Fish “Up to that point it was me is not a blues artist – even if she and my guitar in my bedroom. It doesn’t necessarily view herself as seemed like a pipe dream to go STRINGER MARILYN one. Yet this time, Fish unshackles © out and make a living doing it. But more of her rock ‘n’ roll soul, making what really made me fall in love for an edgier, more abrasive sound. with music was getting to see it She also delves unabashedly into performed live in front of me.” her country roots on a pair of cuts, Knuckleheads owner Frank Hicks PHOTOGRAPHY including one, “Last September,” and soundman Pete Saiger played that didn’t exactly have Thomas Ruf an equally important role in her develop- looking for a new face for his yearly Blues dancing the Texas two-step. “He called and ment. “Because they gave me my start. Caravan tour, Fish’s name entered the con- told me he didn’t like it. But he gave me the They really fought for me to get up onstage versation. At that point, she’d never played freedom to put it on there. ‘It’s your record.’ with those national acts. Now that I’m on outside the Midwest and had a lone live CD That’s what I like about Thomas.” the other side of it, I’m like: Oh my God, to her credit. The German blues impresario Her collaborators this time included those poor musicians! I feel like I annoyed knew right away he was onto something. not only Zito, who again produced and them in some way.” “Sam is extremely self-confident and con- played second guitar, but a pair of his col- One of the artists who mentored her stantly wants to learn and get better,” says leagues from Royal Southern Brotherhood, was singer and guitarist Mike Zito, who has Ruf, echoing Zito’s sentiments. “And she drummer Yonrico Scott and bassist Charlie since become Fish’s producer of choice. writes really good songs.” Wooton. The new constellation required “We would have her sit in with my band Before the year was out, Fish would Fish to assert herself among players older almost every time we came to K.C.,” recalls record the well-received Girls With Guitars and more experienced than herself – a Zito of their first encounters. “Whatever she with her tourmates Cassie Taylor and Dani challenging process made easier by the lacked in ability, she made up for in desire, Wilde. When 2011 rolled around, Ruf put pastoral surroundings of the Dockside Stu- and she got better every time we saw her.” her front and center on that year’s Blues dio in Maurice, Louisiana. “There’s some- Zito is currently tasting success as a solo Caravan. A whirlwind ensued unlike any- thing so calming about it,” she reflects. artist and as a core member of the New thing she’d ever experienced. “It feels “You’re surrounded by beautiful bayou Orleans-based Royal Southern Brother- like you’ve lived five years in five weeks,” scenery, which was more inspiring than hood. But he has a long, hard road behind she says of the touring she’s been doing anything. I felt more focused. It’s just a him, so he appreciates the dedication he ever since. great place to make music.” sees in his young charge. During a short break from the road Zito came into the sessions deter- “She’s a true student of the music and early in 2011, she re-entered the studio to mined to take Fish’s budding career one the guitar. She knows what she needs to make her first full-length solo album, Run- step further. “We were ready to make a work on and doesn’t waste any time. She away. Mike Zito, who’d already been at the statement,” he says. “She is so strong now gets right on it and the next time you see helm for Girls With Guitars, recalls the sim- after the past few years of constant touring. her, she’s jumped that hurdle and she’s on ple approach they took to Fish’s solo debut. Her voice is loud and controlled, and her another level.” The difference between “I remember telling her: We just need to guitar playing is aggressive and solid.” good, better, and best, Zito believes, is make a good strong record. Let’s let every- A moment later, he grins and adds: “She’s something most musicians fail to grasp. one see that you can sing, play guitar, and still sweet and cute, but she’s also in your Not so with Fish. “It’s her greatest talent. that you have your own songs and stories to face and not holding back.” She has self-awareness, and she works tell. Little did we know she’d win the Blues Their shared commitment to the her ass off.” Music Award for Best New Artist Debut!” project led to a constructive if somewhat Hard workers get noticed. So in 2010, The overwhelming success of combative creative atmosphere. “I’m stub- when Thomas Ruf of Ruf Records was Runaway hinged on precisely the factors born with my ideas and he’s very direct,”

Blues Music Magazine 11 says Fish of her producer. “There were a the road constantly on both sides of the couple of things I maybe didn’t agree with Atlantic, including a pair of European tours at the time. But now, looking back, I see with Royal Southern Brotherhood. As her that he was absolutely right.” She admits popularity has increased, the local gigs to being a perfectionist who needs some- have grown scarcer. Nevertheless, she one to put up a stop sign every now and rang in the year 2014 in a place she knows then. “Otherwise I’d sit there and redo my intimately: onstage at Knuckleheads guitar parts for hours. That’s why produc- Saloon. ers are there.” Eventually, she let go and “That’s kind of my feel-good, at-home opened herself up to Zito’s input. “I trust gig. We do it because I grew up in that juke him, even if he’s giving me a hard time.” joint.” From working musicians who taught Fish’s ability to stand her ground her the tricks of the trade to the barflies musically while also taking advantage of who have cheered her each step of the the collective know-how of Zito, Wooton, way – since breaking through internation- and Scott ultimately resulted in a well- ally, she’s always been careful to credit the rounded mix of blues, rock, and country. environment that spawned her. At the same time, Black Wind Howlin’ Now, whenever she takes the stage in crackles throughout with raw, unbridled ROSEN A. JOSEPH her hometown, it’s a chance for her to kick © tension. Perhaps the best example: the off her shoes, reconnect, and reflect upon nearly seven-minute title track, highlighted the journey thus far. “I love the fans in in its second half by Fish’s emotion- Kansas City. I love the clubs in Kansas charged, precipice-defying guitar solo. City. And it is nice to come home.” She PHOTOGRAPHY PHOTOGRAPHY “I remember we recorded that straight vehemently rejects the “local hero” label; a through, and that was probably our second word, she says, that should be reserved for or third take. We hit record and just went for I’m proud of that song because it was a true firefighters and others who put their life on it.” In other words, there was no safety net. snap shot of a live trio recording.” the line. “So I don’t know what they would “I think that’s where the energy and intensity Since Black Wind Howlin’ was call me,” she shrugs. “But it’s nice to have comes from. It’s honest and edgy that way. released last September, Fish has been on a place that can call you their own.”

12 Blues Music Magazine THE HOMEMADE JAMZ BLUES BAND

It’s a ART TIPALDI ART Family ©

Affair PHOTOGRAPHY

by Michael Cala

age 21, Ryan Perry has a subtle sense of humor that manifests blues performers, many of whom are amazed by the trio’s chops at in the tone of his voice and in what he says. He’s very pleased the cumulative age of 54. Atthat his family band – probably one of the world’s youngest blues Sister Taya, too, is a big fan of festivals because it helps her bands with a paradoxically long performing history – is doing so well. drumming: “It’s constant learning when we are on the road. When He’s also glad – if reticent to admit – that young women are starting other drummers are playing, I always try my hardest to learn from to notice him onstage, and that some them. I would love to sit with Cedric older musicians display a tinge of Burnside and have him show me envy at his young band’s rocketing some stuff. I took lessons when I first success. started, but I’ve been learning by ear Conversely, “there are a lot of ever since.” places we can’t play because of our Together with younger brother age, though,” says Ryan. He notes Kyle, who is now 19, on bass, and that despite universal raves, the sister Taya, an unbelievable 14 and Homemade Jamz Blues Band a fine drummer, Ryan has toured the (HJBB) has been turned away from world, won blues performance awards, some blues clubs, in particular, which and is riding the crest of fame with the significantly limits the trio’s musical band’s eponymous fourth album, dedi- bandwidth – at least for now. cated to the Mississippi Hill Country “That’s why the festivals and blues tradition. Currently, the CD is blues cruises are so cool. They like to going into repeat pressings as demand book us and we love to play them.” swells for an album influenced by the

Ryan also observes that it’s instructive STRINGER MARILYN likes of R.L. Burnside and Junior Kim- and fun [at festivals and on the Leg- © brough, and yet leavened with a rock endary Rhythm & Blues Cruise] to be undercurrent that suggests the band’s able to mingle with older, seasoned other musical influences. PHOTOGRAPHY PHOTOGRAPHY Blues Music Magazine 13 Nevertheless, all three agree that playing Hill Country blues Renaud and the band’s mom, Tricia, realized Ryan’s special has been a creative challenge. Says Ryan, “Hill Country blues is talent and started him on formal lessons with area guitar teachers. absolutely the hardest style to learn. We tried to copy a song by However, for Ryan, these teachers were not what he felt he needed, Willie King in that style for our first album. Though we got it note for because they were offering typical “guitar study” exercises. note, we couldn’t do it.” “I just wasn’t there,” laughs Ryan, who notes that Renaud Kyle interjects, “But we found out that it’s not just the music, asked friend and local blues guitarist James Harris to work with him you’ve got to feel it. When I’m playing bass in this style, it’s never on developing his blues chops. “That worked a whole lot better,” the same. I can go wherever I feel.” says Ryan, who was studying the blues work of the Kings (Albert, Keeping rhythm is probably the most difficult, according to Freddie, and B.B.) and his early hero, Stevie Ray Vaughan. Taya. “I had to learn that playing this Hill Country style, the beat has After hearing Ryan playing little gigs at parties at age eight, and to be real tight. Kyle and I have to stick real tight. I gotta hit those playing so well, Kyle also caught blues fever, but was unsure of his drums, but I’ve gotta stay in good tempo.” instrument. He recalls that, “I thought maybe I could learn piano, but When he was growing up and friends were listening to hip-hop there were too many keys and they all looked the same. One night I or the Jackson 5, Ryan was treating his musical taste buds to the was watching an old video of Willie Dixon and my dad bought me a four-string bass. I started lis- tening to the bass line on his CDs and later that night, I had a little groove going.” After migrating to bass, Kyle devel- oped a bluesy style that coordinated well with Ryan’s distinctive blues guitar style. The duo’s first stop was an audition, accompanied by a house drummer, at the famed Ground Zero Blues club, booked by Robert Stolle, who was stunned by what he heard and gave the band a slot that went over well. When, subsequently, the drummer didn’t work out, little sister Taya, just seven – and who’d been playing tam- bourine – begged for a MARILYN STRINGER MARILYN

© chance to sit in. “[Ryan and Kyle] were practicing one night, using a drum machine, and I asked them if I could

PHOTOGRAPHY PHOTOGRAPHY play drums with them. Because I listened to them practice every night, I basi- work of Stevie Ray Vaughan, Jimi Hendrix, B.B. King, Santana, and cally knew the songs. They told me no, I got mad, and I told Mom the Eagles. His exposure to this music, and the more or less formal and Dad. They got involved and by the end of the night, I was play- lessons he ultimately received, are due in large measure to the ing drums with them on every song.” band’s father, Renaud Perry, a lifelong blues music fan and a huge Taya did so well that, to everyone’s delight, she became the influence on his children’s musical career. rocking second half of the rhythm section. Today, Taya is an excel- Ryan was seven years old when the blues bug bit him. “It all lent drummer and frequently responsible for memorizing tunes the began in Germany,” says Ryan, whose father was dispatched to band plays, as well as for composition. Baumholder after a tour of military duty in Korea. Renaud brought At this point, one has to ask how such young minds grab onto a back with him a Stratocaster copy he had hoped to learn to play musical form traditionally associated with older people, performing while in Korea but never did. songs with lyrics full of longing and lost love and the very adult emo- “Dad unpacked his stuff and there was this guitar. It was as if a tions most blues conjure. Some might attribute it to genes, others to light went on just seeing it. A week or so later I was playing tunes, natural ability nurtured by Renaud and their mom Tricia, who man- accompanying TV commercials, just getting the feel.” ages the band. When the family moved from Germany to their present home in As the band was developing its repertoire, Renaud had been Tupelo, Mississippi, Ryan, inspired by Renaud’s blues CDs and his its lyricist and occasional harp player, something that stopped after own musical investigations, took up the blues with renewed passion. the parents divorced. The split evokes some wistfulness from Ryan, “I listened a lot to B.B. and Albert King, blues-rock, anything that who notes nevertheless that the band reassigned roles in Renaud’s resonated with what was in my head musically,” he notes. musical absence.

14 Blues Music Magazine Currently, Ryan is the primary lyricist, assisted by Kyle, while Taya has become a force on the composing side. Ryan notes that the band does not read music. However, that hasn’t stopped the trio, from writing and recording some fine songs. “We don’t know keys all that well,” says Ryan. We play around the scales a little bit until we find what’s comfortable. Then we hit hard,” he laughs. One question that comes up is, how does a family band maintain a balance at once professional and familial? Ryan doesn’t hesitate to note that Renaud, who remains close to his children, has always instilled a strong sense of ethics and profes- sionalism in them. (In characterizing the siblings, Ryan calls Kyle the rebellious one, Taya the quiet one, and Ryan – well, Ryan prefers not to characterize himself just yet.) HJBB’s professionalism led to placing second out of 157 acts in the Blues Foundation’s International Blues Challenge in 2007. Ryan laughingly recalls, “We didn’t know anything abut the IBC. We thought it was some contest in a hotel lobby in Memphis. We got to our hotel, and we saw all these older guys with beat up guitar cases with stickers that looked like they’d traveled the world. Taya had Wheelies on and she was skating around the lobby.” Nevertheless, one of the judges was so impressed that he signed them to the prestigious Northern Blues Music label, for which they recorded their first two albums. They are arguably the youngest band ever to sign with a major label. Album number three, The Game, is an intricate mix of Missis- sippi and Chicago blues styles, with a drive provided by Renaud’s impressive harp playing and a stronger emphasis on percussion. This CD leads naturally into album number four, Mississippi Hill Country, a self-released tribute to Mississippi Hill Country blues, and funded by Kickstarter contributions. However, if you didn’t know this was a “tribute” album by a young present-day band, you’d swear it was an original piece of work coming out of Holly Springs and appearing on the Fat Possum label some 10 or 15 years ago. However, the drive and grit on this 13-song CD give it a contemporary energy that bears repeat listening – something that appears to be happening as more buyers keep hitting up CD Baby for copies of the 2013 album. The band plays approximately 35 gigs a year – not counting foreign tours. Of gigs played thus far, Ryan answered about which have been the best band experiences. “By far,” he says, “we really enjoy playing Canada. We get a great reception there, like when we play the Edmonton Blues Festival or the Harvest Festival. We’re also really well received on the West Coast, and we’re starting to book into the Northeast and Midwest.” The band now has a professional agency, Piedmont Talent, doing their booking in the future. As the band begins work on album number five, Ryan is asked about the challenges he sees ahead. Writing is one. “It was very difficult writing Mississippi Hill Country without dad’s help. This next album will be written with me doing the lyrics in place of dad, and me, Kyle and Taya coming up with the songs. It’s going to be hard.” He pauses. “But doable.” Hard or not, there’s no doubt the band will come up with something equally as vibrant and vital as Mississippi Hill Country. If you listen to their work in sequence, starting from the freshman, Pay Me No Mind, you can hear maturation, an innate affinity for the blues and, most important, a determination that has made this band one to keep a very close eye on. It will definitely be around for a while.

Blues Music Magazine 15

JAREKUS Trading Singleton Hoops For The Blues by Art Tipaldi

Jarekus Singleton, the third try was the charm. In January 2013, he and his band Forwere performing in their third International Blues Challenge (IBC) in Memphis with Alligator Records’ Bruce Iglauer in the house. Those performances, though not enough to land Singleton a spot in the finals, verified Iglauer’s perceptions, Jarekus Singleton is a musician worthy of something bigger. “I was knocked out by his shows,” said Iglauer. “Here was a mature talent doing a set of all originals that were not just 12 bars and three changes. He had a well rehearsed band and there was good interaction within the band.” Record deals do not happen over night. They take months of give and take about details and expectations. Iglauer and Singleton kept in touch electronically and in March 2013, Iglauer flew to Jackson, Mississippi, to further assess. “I watched him at Underground 119 for a full evening. There, I saw somebody who was very confident on stage and knew how to take command of an audience. “We talked after and I said, ‘You’re ready as a guitar player and songwriter, but I’m concerned about your vocals.’ Generally an artist answers, ‘I’ve been singing this way for years and I know how to sing,’ Jarekus went out and MARILYN STRINGER MARILYN

© learned how to sing from his diagham instead of from his throat. He learned how to breathe to sustain notes, learned to bend pitches better, and became a dramatically better singer.” PHOTOGRAPHY PHOTOGRAPHY Blues Music Magazine 17 “For me, singing was like your non-dominate hand in basketball,” there, but the vibe was so cool. In gospel music you hear all these said Singleton. “When I first started my band, I didn’t want to sing. So different changes, but with blues it was the 1-4-5, and I could hear I hired a singer. One day the singer didn’t show up, so I had to sing the deep soul in that. I was lost in it. It made me feel sad, happy, and that night. At first I didn’t like singing in front of people, but now, I’ve empowered all at the same time in one song. That’s when I started grown to love it. I’ve been working diligently at getting my vocals getting into the blues. My uncle introduced me to Albert King. Then I together because I want to make my weakness my strength. I’m a lot ran across Freddie King, and then I ran across Stevie Ray Vaughan. better singer and guitar player then I was, and I’m gonna continue to “But basketball took up so much of my time that I couldn’t focus get better at both because I love getting better.” on anything else.” Until Singleton severely injured his ankle playing From that meeting, things accelerated quickly. Songs were exchanged daily via e-mails, a three-day songwriting session was booked in a Chicago hotel room, and an October 2013 recording session in Memphis culminated in Singleton being signed to Alligator Records. “I wanted to see how he was in the studio before I signed him. We recorded his four songs in an afternoon and evening. I saw the same focus, but I also saw that he’s such a good bandleader. He is able to give directions and change arrange- ments on the fly. For example, we completely changed the groove on one song and in 15 minutes, the band had it. His band all goes with him with no resistance.” With an album recorded and mixed in the weeks preced- ing the 2014 IBC, Singleton and his band again drove from Jackson and entered the competition for the fourth time “It’s my competitive nature that keeps me coming back,” said Singleton. “I hate losing, but I appreciate losing because every time I lost, I always went to the finals just to smell and feel it because I wanna go home and try harder and do better. I felt like that’s helped me get better and better every year.” Why would a musician signed to the premier blues record label feel the need to compete again? “I come here and use it as a platform to be in front of blues lovers. I don’t get in front of crowds of blues lovers all the time. These people are here for the music. A lot of times, I’m playing in bars where I’m just background music. So I’ve learned this is a good place to come and train.” This year was very different then the previous three, the band came to town with a Beale Street buzz. “I like to have a sense of urgency all the time. In this setting I tell my band, we don’t have the luxury to relax and be comfortable. We have to manage time well. We have to work the crowd as best as we SCOTT ALLENSCOTT / VIVIDPIX

can with that 25 minutes, but it’s tough to get everything I want © to get out in that time span.” Though Singleton and his band missed out on the finals, he still appreciates the experience and recommends it to every blues band. “You are in front of the blues lovers from around PHOTOGRAPHY PHOTOGRAPHY the world, so cherish the moment and do what’s in your heart. And leave it all on the stage.” That sounds very much like the pre-game talk between a coach overseas basketball after college. “I hurt my ankle real bad and went and his star athlete. As it should because Singleton was an all-star a whole year not realizing that I needed surgery to repair it. Within high school and college basketball player. Thought he played bass that year, I was going to open mic nights around Jackson and play- when he was nine in his grandfather’s church, his talents on the ing with anybody who got up to sing. Then somebody would need a court gained him state and national notoriety. He was twice named guitar player for a gig and ask me to fill-in. I thought that was cool to the Mississippi All State team, played three years as the starting until I got back to basketball. point guard for the University of Southern Mississippi, transferred to “I was playing at the Hilton Hotel in Jackson, and a guy from William Carey University as a senior and was named the NAIA New York asked me what I do for a living. I said, ‘I played basketball National Player of the Year in 2007. in Lebanon last year, and I’m getting my ankle back together to go Thought his love of basketball was all consuming, Singleton back.’ And he said, ‘You play guitar like this and you wanna play also discovered the magnetic pull of the blues. “When I was 15, my basketball?’ Every time I played, somebody was always coming uncle, who taught me bass, snuck me into the Subway Lounge in telling me how much they appreciated me, that I played with so Jackson. Everybody was packed into the Subway, it was so hot in much passion, and how my songs got them through.”

18 Blues Music Magazine It was those original songs that caught the ear of Iglauer. “He constantly writes. He’d sit in his living room and make acoustic demos and e-mail them to me. When I brought him to Chicago, we locked ourselves in a hotel room for three days and worked on hon- ing his songs. I learned some things about how he hears rhymes as a former rapper, which is very different from the average blues artist. I also found that he’s extremely intelligent and a very good wordsmith.” Though he’s grown quickly as a passionate guitarist and singer, Singleton ranks songwriting as something he’s always worked at. Growing up in hip-hop, he was always writing poetry on scraps of paper and rhyming words. When he and friends gathered to play video games, “We’d be freestylin’ rhymes.” Shaping those hip-hop schemes into the concise patterns of a blues song requires a creative honing that strengthens meaning. “Bruce’s been so open-minded to my unorthodox approach to writ- ing blues songs. I heard him say on the phone, ‘The cool thing I like about Jarekus is that he doesn’t know the rules.’ “I love the masters and what they’ve done, and I like to model myself after the masters, but they brought something different to the table. I can’t be Muddy better than Muddy, I can’t be B.B. better than B.B. and I feel that nobody can be Jarekus better than Jarekus. I have to be myself. With me, if I do it from the heart, I got to touch somebody. “That’s why there are no cover tunes on my CD. I can feel what somebody else is sayin’ if the story fits me, but I can feel it so much more if I wrote it.” The CD, Refuse To Lose featuring all originals, will be released in May 2014 and aptly embodies Singleton’s drive. As a basketball player, he garnered top honors for his play on the court. As a musi- cian, he’s been feted with awards for his play on stages. Singleton was named a “star on the rise” by Blues & Rhythm magazine in the U.K. Guitar Center named him the 2011 King of the Blues in Mississippi. He received the Jackson Music Award as the 2012 Blues Artist of the Year and for 2013 Local Artist of the Year. The Jackson Free Press named him the 2013 Best Local Blues Artist. Musically, one might hear touches of Michael Burks’ stinging guitar licks accenting his sturdy vocals. Because he and his band are cousins who grew up in the church, you are more likely to hear his drummer working House of God rhythms than a classic blues shuffle, which turns every live performance into a juke joint gather- ing. Singleton’s musical awareness on songs like “Suspicion,” “Purposely,” his blistering, slow blues “Hell,” or his church to juke joint “Come Wit Me,” display a modern blues talent who is poised to take the ball onto the court and win over audiences at every stop. Which all leads to Jarekus Singleton in 2014. Though he didn’t make the IBC finals in January, he is poised for an extraordinarily successful year. Backed by his family band, Singleton’s ready to release his new record. Singleton has already secured four presti- gious summer festival bookings at the Cognac Blues Festival in France, Springing the Blues Festival in Florida, the North Atlantic Festival, the Pennsylvania Blues Festival, and the Mont Tremblant Festival in Quebec. Singleton’s life in sports as the point guard directing team- mates perfectly suits his understanding as the bandleader. “My coach always told me, the way a man plays basketball is the way a man lives his life. If you’re sloppy n the court, you’ll be sloppy in life. He’s exactly right. If you come into this with a willing mind and a willing heart and with the intent to improve every day, that’s the way your life will be. It’s the same as a musician. I’m not in anything unless I’m in it 100%.”

Blues Music Magazine 19 by Roger Stolle Catching Up

time I go out for dinner how the catfish he was catching were Next, he announced, “We need bait.” Every and drinks with friends “this big!” (Picture two hands held gener- Soon, we were at the grocery. I’m thinking, here in Clarksdale, Mississippi, the crazy ously apart.) His “this big” was a helluva “Since when does Kroger sell worms?” blues stories come out. Since y’all weren’t lot bigger than my “this big,” so I said, Oh no. Apparently, to catch the big ‘uns, toasting the fried catfish and pulled pork “I want to go fishing with you!” you have to drop $15 on frozen shrimp. with us the other night, I’ll catch you up on “I’ll pick you up at your house at My $15, of course. (Maybe we should’ve some Mississippi memories. 8 a.m.” just eaten the shrimp?) Around 11 a.m., At 9 a.m., I was still waiting on my we pulled up to what turned out to be FISHING WITH A BLUESMAN front porch. Finally, his old pickup pulled – and I’m not making this up – a catfish CALLED “BIG T” into the driveway, and off we went. farm pay lake! (No wonder the fish were “You had coffee yet?,” he asked. “this big.”) Soon, we had more than After moving to Clarksdale in 2002, I got “Yes, thanks.” (I wanted to add, “Two enough enormous catfish, so we had into a late-night fishing discussion with the hours ago!” But refrained.) He pulled in them weighed, I (yes, I) paid for them, proprietor of a juke joint called Blues beneath the golden arches. Apparently, and we hit the road. Station. The owner, local guitar hero Terry he hadn’t had his coffee or Egg McMuffin. On the drive, we had to cut through a “Big T” Williams, started bragging about I paid. tough neighborhood (underscore “hood”)

James “T-Model” Ford LOU BOPP LOU © PHOTOGRAPHY PHOTOGRAPHY 20 Blues Music Magazine in search of someone to skin the catfish. after some very quick and debatable Then, we had to run to Wally World to pick instructions, he stepped off, leaving our up a catfish skinning tool. Guess who paid young lady at the controls. (There was for tool and the hands to use it? I dropped also a driver below who she could com- off them off at Blues Station to clean the municate with by phone, thankfully.) catch and was told to return in two hours There we were, sweating, convinced we’d to pick up my share of the haul. I did and missed our flight, and preparing to perish was handed a heavy, Ziploc bag full of as our young lady tried to figure out the fresh catfish. Satisfied, I headed home. buttons of our wheeled elevator. As the fry oil was heating, I opened the Our crazy vehicle took off through Ziploc. Oh, it was full of catfish all right in a mess of trailers, trucks, and planes. much the same way fish sticks are full Finally, we came up to a big jetliner, of fish. Lots of fins and tails! I cursed. on the opposite the side of where you I laughed. I fried. It was darn tasty, even normally enter as a regular passenger. at $30/pound. After a bit of experimentation and some additional yelling into a phone, the young THE WOLFMAN lady raised us up like an elevator to the MEETS THE ACTOR emergency exit behind the cockpit. As God is my witness, the door suddenly About seven years ago, I booked Robert popped open. We stepped onto the plane “Wolfman” Belfour on the Rootsway like we owned the place, though the looks Blues & Food Festival in Italy. On the on the crew faces perhaps didn’t reflect morning of our return flight, the driver that exact feeling. showed up late at our B&B, so when we hit the airport, we were in a state of A T-MODEL DRIVES panic, rushing to try and make the plane. THROUGH CHINATOWN In the hurry to get Mr. Belfour, a wheel- chair, and our boarding passes, airline About five years ago, my buddy Jeff officials tried to separate us. (The secret I Konkel (Broke & Hungry Records) and I knew? Always stick with the old man in booked a week of shows in NYC with 651 the wheelchair. They’ll take care of him.) Arts. We flew in Mississippi blues greats A young Italian lady was “assigned” to us Robert Belfour, Jimmy “Duck” Holmes, and got us running through the airport. I Terry “Harmonica” Bean, Lee Williams, think she was new and didn’t know what and James “T-Model” Ford. she couldn’t do. The day of T-Model’s show, he didn’t As we disappeared into the bowels of want to tour Manhattan with us. He the airport, we evaded security and even wanted to sit in a chair facing the front waltzed through a clandestine room full of doors of our luxury hotel. Why? So he startled pilots smoking and playing cards. could proposition every woman who stum- Finally, we hit our only security zone, one bled into his lair. That evening, we needed apparently maintained for pilots and leg- a cab big enough to take Bean, Williams, ends. I say this because when I looked up T-Model, Konkel, myself, and one other from my sweaty, out-of-breath haze, there over to Brooklyn for a show. Since no reg- he was. Ernest Borgnine. He seemed as ular cabs would accept six, we opted for a startled by our sudden appearance as we cab van that was, less “on the books.” were by his, but he was jovial and smiled On the way to Brooklyn, our cabbie just like in his pictures. cut through Chinatown as Bean and After that bewildering, slow motion Williams gasped in amazement at all of respite, we ran off again. Finally, we were the Chinese Americans and unreadable standing at big glass windows looking out signs. T-Model slowly turned around from on a sea of parked planes. The young the front seat and declared, “Would you lady picked up a phone on the wall, got look at all the Mexicans!” into an Italian yelling match with someone, hung up, smiled nervously at us, and PREPARE FOR YOUR waited. Suddenly, through the sea of DELTA JOURNEY planes came a transport vehicle straight out of sci-fi – an elevator on wheels. Visit calendars at www.msbluestrail.org It pulled up to a glass door and raised and www.cathead.biz. Also, watch a the “elevator.” An unhappy-looking dude free new web series this winter at opened the door. We stepped in, and www.moonshineandmojohands.com.

Blues Music Magazine 21 by Bob Margolin Blues Inspiration, Now And Tomorrow

was born in 1949, more than a I am inspired by young blues and players that he brought to blues music. I generation after the “Creators” (Muddy musicians I meet who apply their souls But there are young people all over the Waters’ word) who are the foundation of and talent to learning to perform it. I note world today who hear blues music, proba- the Chicago Blues music I love. When the same consuming passion for blues bly on YouTube or other online media, and they were old and I was young, I was music in them as I saw in the departed find their calling. Indeed just typing “Blues” blessed to know many of them. I both legends who inspire us. I’m moved now into a Google search box can start a life- supported them when we played together, by jamming with them, and by the new time soul-filling journey. I meet dozens of and I feel them with me ever since. As music they offer to all of us. these prodigies and each has an interest- four decades snuck by me, song by song, ing story and music. I wish there was the question in interviews or conversation A space to tell you about all of them, but here was inevitable: “Now that so many of the CIRCLE are four for now. Two years ago I wrote older blues legends have passed, what OF INSPIRATION “Circle of Inspiration,” which mostly appre- inspires you?” I could say “The “Creators” ciated blues mentor and legendary pianist still inspire me! I just can’t call them or gig Of course nobody’s going to replace Sunnyland Slim (1906-1995). This updates with them anymore.” True enough, but Muddy for me, or the much younger that as it looks at the younger generation of there is much more. Stevie Ray for the millions of new fans musicians who inspire me.

22 Blues Music Magazine EUGEN audience is amazed by the music and they hard and deep. That’s just my opinion, RAY get over the novelty that of teenagers play- but his CD also received some of the best ing blues very quickly. Here are a few of reviews I’ve ever seen for any artist. Like In late 2012, I played in Kiev, them. our friends Eugen and Kingfish, Austin Ukraine, with the fine Russian blues Christone “Kingfish” Ingram has been makes the big real world and the little band Vladimir Rusinov and the Jumping in the workshops since the first year and is blues world better places with his music Cats. A local guitar player came up to in his mid-teens now. He plays guitar pri- and friendly spirit. At a time when many jam, and I followed my in-the-moment marily, but can play bass and drums more musicians are scuffling for gigs, Austin has instinct to play with just the two of us. We than well enough to perform in a pro band to turn down offers. He’s dedicated to played three songs together, I supported too. He is gigging around Mississippi and playing live and to developing new music. his lead guitar with my guitar. The audi- Memphis, has traveled to play at a festival Last spring I played at a street ence loved him, at first because it didn’t in Maryland, and been on TV a few times. festival in Savannah, and met 12-year-old seem likely that someone his age could He’s developing his singing very quickly, Aidan Hornaday, a remarkably sharp, play strong electric blues, but quickly for and his guitar playing is now on the high- focused, humorous, and sociable harmon- his music itself. est level – I don’t exaggerate. He is a ica player. I invited him to jam on my set As they applauded I announced, smart, soulful, gifted young man who and was impressed that he understood “Ninety-seven years old!” He corrected understands himself and the world around the call-and-response phrasing of blues me, “Nine!” When we messaged each him. “Kingfish” inspires me to be a better music. Aidan came to the 2013 Pinetop other on Facebook later, I remarked my person, and I must bring my very best to Foundation workshops and his harp play- “ninety-seven!” was a joke. Eugen Ray try to keep up with him when we jam. ing took a large leap forward with the observed, “Bob, in every joke there is guidance of harp teacher/performer Gary AUSTIN some truth.” Eugen is an old soul as Allegretto and Aidan’s interaction with all YOUNG Pinetop Perkins was a young soul. We the workshoppers. got to know each other through mes- Aidan adds his blues harp playing to sages, photos, video, and recordings, and I wrote about guitarist/singer Austin Young his “day job.” This young man started a I learned that Eugen already lives to play in my “Circle of Inspiration” column two foundation to inspire folks to help children blues. He’s learning fast and beginning to years ago. Here’s more about Austin and all over the world who need it most. On the deliver his own original music. I am an update on his progress. We were intro- website aidancares.org, Aidan explains, thrilled and honored to know him as a duced a few years ago by my friend Honey ”We are raising the most selfish generation person and a player. In the time since I Sepeda who was then booking the Boul- in history and it can be so much better. first heard him, his progress is dramatic. der Outlook Hotel’s Blues ’n’ Greens blues Parents are into giving their kids amazing I’ve been watching his new YouTube club. We jammed onstage. Playing a deep experiences but forget to include helping improvisations this week. slow blues together is the way guitar play- people, the earth or animals, whatever ers shake hands and get to know each touches their heart as part of their job. KRISTONE other when they meet. Austin came to the Chances are, when they will grow up they “KINGFISH” Pinetop Workshops and was so helpful to will never make a difference. They won’t INGRAM the other workshoppers that he first know how. We want to change that by became an intern, and this year he will helping them find their passion and serve It is ironic and appropriate that my teach his own guitar classes. from their gifts.” Aidan speaks for charity connection to young musicians often But Austin is much more than a good partners and also does events and confer- comes to me through Pinetop who really friend and teaching colleague. He is one of ences. Aidan’s blues music helps us all was 97 years old when he finally left us. the finest musicians I’ve ever met, of any share our blessings and challenges. The Pinetop Perkins Foundation sponsors age or demographic. He plays blues guitar THE it’s fifth Masterclass Workshops at the with both delicate beauty and devastating FUTURE Shack Up Inn near Clarksdale, Mississippi power, writes original songs that don’t this coming June 18-20. I was a friend sound like anyone else, sings with pas- and played with Pinetop during and after sion, and is a charismatic entertainer. For these musicians, and so many our time together in Muddy Waters’ band. Audiences instantly adore Austin. others I meet, I am humbled to be their Now I’m on the Board of Directors of the friend and jam with them. But it makes me AIDEN Pinetop Perkins Foundation and teach uncomfortable if anyone says I’m “mento- HORNADAY guitar workshops each June. We also ring” them. I respect them and their have harp and piano workshops. I meet accomplishments too much to patronize young, aspiring blues musicians from As a partner in the VizzTone Label Group I them. They are the newest part of the beginners to semi-pro bandleaders. All of hoped to advise him when he was ready to blues music I love, and I admire them as them move me with their efforts and I record his first CD. When he sent me early great people. Those who worry about the hope I inspire them back. mixes, I expected mistakes of inexperi- future of the blues in a commercial and Some are already awesomely accom- ence. I promise that will be the only time I often shallow world can smile and look for- plished as performers. When we cap our underestimate him. Austin’s CD, Blues As I ward to many years they will carry forward workshops with a real blues gig at the Can Be, which we were proud to release their blues, as well as the blues of the Ground Zero Blues club in Clarksdale, the through the VizzTone Label Group, rocks “Creators.” Amen.

Blues Music Magazine 23 seemed like he still loves it, which is pretty much all you could ask of the guy. You can tell he still loves to hang with & other musicians and play with other people. I’m glad there’s an Eric Clapton around.

JOSEPH A.JOSEPH ROSEN BMM: How did you originally meet the © Jonny Lang album’s producer, Tommy Simms? Lang: When David Z. and I made an

PHOTOGRAPHY PHOTOGRAPHY attempt at a third record after Wander This World, I heard this CD that had a couple of songs on it by this guy named Tommy Simms. He was shopping it onny Lang was one of the young entire record. I loved doing it that way around to see if somebody wanted to put singer-guitarists that burst on to the because it feels a lot more inspired. it on a record. I was enamored with this national blues scene during the guy’s music. It just shut me down. Then I 1990s along with fellow teen guitar BMM: Was that approach different for found his CD; he had just finished an slingers, Kenny Wayne Shepherd and Joe you on this album from past albums? album. I got that and it was pretty much Bonamassa. Since then, Lang and his a life changer. pioneering peers have become the new Lang: Not entirely, although it was quite generation of blues-rock heroes for audi- a bit more of a free-for-all this time BMM: I love the song “Blew Up (The ences young and old alike. After a seven- around. It was nice because, for the first House).” What’s that about? year stretch of studio inactivity, Lang has time, the guys on the record are the guys emerged with a new album entitled, I play with live. I also wrote or co-wrote Lang: That song was mostly written by Fight For My Soul, on Concord Records, all the songs on the record. It’s all pieced Tommy. I helped him finish it up, but it that finds the 32-year-old testing new together from different stuff. wasn’t mine to begin with. It has nothing grounds both musically and on a per- A few of the songs, “Fight For My to do with a real house blowing up. It’s sonal level. I witnessed, first hand, songs Soul” included, were tracks that were about this guy who’s reached his absolute from the new album played by his killer done from 2008. I wanted to do an limit of what life has given him, and he band when they rolled in to the Wilbur album right after our last one, but it just basically tears everything down and Theater in Boston. Lang proved that didn’t pan out. starts over again. Sometimes you look evening that he is one of the musical like an insane person to everybody else faces of things to come. BMM: Tell me about playing with Eric around you, so you might as well have Clapton at the Crossroads Festival. That blown up your house. Blues Music Magazine: The CD is very must have been a gas. How did you get diverse. Was that intentional? invited to play? BMM: You called the album Fight For My Soul. Is it an introspective CD and are you Jonny Lang: Yes. It’s funny, I’m never Lang: It was awesome. I got to do it a in fact fighting for your soul? able to have a preconception of what’s couple of times now and both times were going to happen on a record. It always totally different, but really awesome. Lang: Yeah, if it means anything, it’s that. ends up being different than what I I was supposed to go again, but it was There’s a person that I know I should be think it’s going to be. So I just don’t try right at the time my wife was delivering and that voice is real strong inside of me. anymore. [Laughs.] I think what dic- our last baby. I didn’t get to do that one, Then there’s the person that my dis- tates the sound of it is the process; but it’s a really cool thing because you tracted self wants to be. It’s this battle, so writing the song, playing the song for get invited by Eric Clapton himself. He I think it’s fair to say that the title of the all the musicians on an acoustic guitar, writes a letter to you and invites you. record applies to that. and then letting them interpret it. There’s nothing else really in music like When you do that, I feel like you get that where somebody as cool as Eric BMM: When you got in to the business at the best out of them. You might not Clapton writes you a letter. 13, it must have been a real whirlwind for necessarily get exactly what you had in you. Is it sweeter for you these days or was your mind, but you get a better perfor- BMM: Did you get to hang with him? it sweeter back then? mance. I feel like the more people who Was he as gracious as he seems? are able to take ownership of a song Lang: It’s been sweeter. That more and the more you allow that kind of Lang: I wasn’t able to spend that kind of closely describes what happens these stuff to happen, you get a better result. time with him to where I got to really days. Now I get to draw from a whole life That’s pretty much the way we did the know him, but he was super nice and worth of experience and say, “Can I give

24 Blues Music Magazine birth to things and see them grow?” In that sense, it’s sweeter these days. Back then, it was like a crazy ride at “It’s all the carnival. A dream come true. It’s all blasting by so fast, and you can’t blasting by remember all of it. BMM: What do you think of the so fast.” music business these days? Record labels have imploded and it’s really crazy out there. Do you feel it too?

Lang: Oh yeah, absolutely. It affected everything I’ve done after the second record. Halfway through my second record, my label got bought by Universal. The songs they had lined up to be the singles on that one got ditched. That was the beginning of my struggles. Nothing was really happening. I think they wanted to do something, but maybe they couldn’t financially. When stuff like that happens in big companies, they just panic. “We’re not spending money on that guy.” [Laughs.] It was probably the right thing to do for them as a business. So six years ago I asked if I could get off the label and they said, “Okay.” Basically I’ve been making this last record independently. It wasn’t until recently that we had a couple of labels get involved to work the record.

BMM: How did you end up going with Concord Records?

Lang: We released a live record Live At The Ryman a few years ago and they were the ones who released that album. I got to know them over the years and felt like they could give it a pretty good shot. That’s really all it comes down to. You can know everybody there, and be friends with everybody there, but none of that will count for anything; which is sad. It’s mostly, are they really going deliver and do what they say they’re going to do in the contract? You never know until you get in it. You’ve done good if you can guess which label is going to do MARK GOODMAN

© good for you.

– Brian Owens PHOTOGRAPHY PHOTOGRAPHY Blues Music Magazine 25 LONNIE BROOKS 80TH BIRTHDAY BASH House Of Blues Chicago

A few days after blues legend Lonnie Brooks turned 80, his talented sons, Wayne and Ronnie, threw him a hell of a party. And while it was a celebration of their Dad’s birthday, it was hundreds of Chicago fans who reaped the musical presents. Dan Aykroyd, aka Elwood Blues, flew up from Mississippi where he was shooting “Get On Up,” the new James Brown biopic, to emcee the festivities. Before the show he told me, “Lonnie is one of the few remaining links to the true legacy of what makes Chicago music what it is today. He’s one of the true godfathers of the blues, and tonight he’s going to get the recognition he deserves.” So who came to fete Mr. Brooks? Otis Clay, Eddy Clearwater, Lil’ Ed, Otis Taylor, Billy Branch, Cicero Blake, The Kinseys, Big Head Todd, Jimmy Vivino, and a very special sur- prise appearance from Shemekia Copeland. PHOTOGRAPHY © JOHN HAHN © JOHN PHOTOGRAPHY Add to that an incredibly tight backing band led LONNIE BROOKS, WAYNE BAKER BROOKS, AND DAN AYKROYD by Lonnie’s sons, the Brooks Brothers. The night got off to a kickin’ start with the house band the 80 candles were left off. Elwood read congratulatory letters from including Ronnie Baker Brooks and Jellybean Johnson ripping into Chicago Mayor Rahm Emmanuel and Illinois’ Governor Pat Quinn. a few Lonnie Brooks’ classics like “Voodoo Daddy” and “Don’t Take Behind him a large screen projected wishes from Keith Richards Advantage Of Me” with harmonica ace Branch spicing things up (“Hey Lonnie, you got ten years on me.”), Steve Miller singing with some tasty harp. Next up was a riveting Otis Taylor doing “My (“Happy Birthday, Mr. Brooks, I’m jealous of your good looks.”), Soul’s In Louisiana” with some great back and forth guitar sparring Derek Trucks and Susan Tedeschi (“Lonnie, you’re an inspiration in between sons Wayne and Ronnie, which preceded Big Head Todd your career and your life.”), Elvin Bishop, and Robert Cray. rocking the crowd with Lonnie’s “Two-Headed Man.” The dancing began with Jimmy Vivino who got the crowd on Then as Lil’ Ed led the crowd in a bluesy version of “Happy it’s feet with a cool version of “The Crawl.” At that point, Elwood Birthday,” Lonnie was presented with his enormous cake. Thankfully announced a special surprise guest, Shemekia Copeland, who proceeded to demonstrate why she’s “Queen of the Blues” with a deep impassioned version of “In The Dark” followed by “Black Cat Bone.” The night continued with Otis Clay and Cicero Blake taking the night old school with their incredible version of Johnnie Taylor’s “Bluebird,” followed by the Kinseys updating Muddy’s “Hoochie Coochie Man.” No Chicago blues event would be complete without the singing of that city’s blues anthem. On this night, Lonnie joined all the artists for a spirited take on “Sweet Home Chicago,” which morphed into about five other songs. Great, great stuff. At the end, son Ronnie said, “My Dad taught us everything we know, but not everything he knows.” Based on the music played that night, the next generation of Brooks are living up to one of their Dad’s most famous songs, “Like

PHOTOGRAPHY © JOHN HAHN © JOHN PHOTOGRAPHY Father, Like Son.” BILLY BRANCH, LIL’ED, OTIS CLAY, SHEMEKIA COPELAND, – John Hahn WAYNE BAKER BROOKS, AND JIMMY VIVINO

26 Blues Music Magazine HARPIN’ FOR KID RAMOS BENEFIT The Headliner Neptune, New Jersey

A week after New Jersey even know he played guitar hosted its first Super Bowl, until I saw him playing with the Garden State racked up James Harman and another milestone, a Sunday Hollywood Fats.” blues benefit for cancer sur- The night’s finale vivor West coast guitarist Kid featured exactly what every- Ramos. For six hours, Bob one expected, a world-class, Avon and Jersey harmonica harmonica showdown as ace Dennis Gruenling everyone crowded on the brought together three stellar stage and passed the har- harp players to raise funds monica solos in tribute to for Ramos’ battle with Ramos and his survival. Ewing’s Sarcoma, a very “I just got out of the hospital rare form of cancer that hit seven weeks ago,” Ramos Ramos hard in September told me. “It was a very PHOTOGRAPHY © ART TIPALDI © ART PHOTOGRAPHY of 2012. DOUG DEMING, DENNIS GRUENLING, KIM WILSON, STEVE GUYGER, aggressive treatment with Though Ramos played KID RAMOS, ROD PIAZZA, AND BOB AVON almost a year of chemo. at his birthday gig a few Every other cycle had to be weeks earlier, he called this show his real first gig back. in the hospital for five days at a time for six hours of chemo each “Hopefully,” Ramos said, “I can do something on guitar day. I also had radiation treatment five days a week for five weeks. tonight.” And surgery.” But at this point, Ramos noted that he is cancer free. That was an understatement. During all this, it was the music and people that have been After Stringbean and the Stalkers opened the Sunday affair, important as a healer to Ramos. “The kindness of people has been Gruenling took the stage with the event’s backing band, Doug incredible. The generosity and outpouring of love from the people Deming and the Jewel Tones, for a showcase of West coast-styled is overwhelming and humbling. Ever though I got through this tunes like “She’s So Pretty,” “One Good Reason,” “Rockin’ All Day,” horrible thing, there are blessings there too. I’m trying to take the and “An Eye For An Eye.” good from it and move past it.” When Gruenling exited, Philly harmonica master Steve Guyger Gruenling summed up this February day of caring. “I was joined Deming and added his Chicago stylings. But more impor- hoping for a good turnout for Kid, but the turnout was even tantly, he was the first to add Ramos to the bandstand. From the better then I expected. The vibe for Kid is pretty overwhelming. initial notes of his first solo, Ramos’ muscular guitar overwhelmed Everybody in this community loves Kid and they love his music.” the packed room. But those punctuating jabs were only an appetizer And because this event was both recorded and filmed, of what was to follow. Kid Ramos fans around the world will soon be able to witness After Ramos and Guyger finished, Kim Wilson stepped to the day’s magic. the stage with Ramos to recreate the deep felt music of their – Art Tipaldi partnership in Fabulous Thunderbird and the Kim Wilson Blues Band. Just as these two have done so many times in the past, the dynamic interplay between harp and guitar on “I Cross My Heart” and “Take A Little Walk With Me” was a joy to behold. “It’s an automatic thing to be out here helping out our friend,” Wilson told me. “It’s not even something you should think about. I would do this for anyone. That’s very much what the blues community is about.” The night’s closing band featured Rod and Honey Piazza backed by Deming’s ensemble. The Piazzas treated the crowd to Mighty Flyer staples like “Sinister Woman,” “Black Night,” “California Boogie,” and “Baby Please Don’t Go.” During one song, Piazza rapped the story of meeting Ramos in 1979. “He used to

come and see me play all the time. I didn’t TIPALDI © ART PHOTOGRAPHY KID RAMOS WITH HONEY PIAZZA

Blues Music Magazine 27 Blues Foundation Hall of Fame member Otis Clay continues to tour the world spreading his soulful stylings. Though it’s been years since Clay has released a record, Truth Is, nominated for a 2014 Blues Music Award as Soul Blues Album of the Year, was worth the wait.

OTIS CLAY Clay called on several longtime pals for the project. Producer/ Truth Is arranger Tom Washington knows this territory as well as Clay, having worked in a similar capacity on countless Windy City soul Echo classics. Also in on the action was Darryl Carter, whose writing resume includes a stint at Chips Moman’s American Studios in Chicago mainstay Otis Clay’s Memphis as well as quality time with Mitchell at Hi, to contribute voluminous secular discogra- prolifically to the set list. The list of all-star sidemen includes phy harks back to 1965 and saxists Gene “Daddy G” Barge, Willie Henderson, and Hank Ford, encompasses several national drummers Howard Grimes and Morris Jennings, and bassist R&B hits. But the Waxhaw, Bernard Reed. No wonder this album goes down so smoothly. Mississippi native isn’t your Carter’s imprimatur is on the opening “Love’s After Me,” standard issue Windy City along with those of Clay and Washington. Ditto the clever, blues- soul singer. He’s always possessed a harder, grittier vocal edge, tinged “Even When I Win (Seems Like I Lose),” which adds Paul permeated with pronounced gospel influences, than the lion’s Richmond, who adds a very crisp guitar solo, as collaborator. Clay share of his local contemporaries. There’s a Southern soul does Joe South’s brotherhood anthem “Walk A Mile In My Shoes” intensity to much of Clay’s output; witness his needle-pinning ‘68 proud (sounds like “Daddy G” on the jabbing sax solo), and Muscle Shoals-cut rendition of the Sir Douglas Quintet’s “She’s chanteuse Uvee Hayes joins Clay for a duet revival of Luther About A Mover” for Cotillion or his biggest seller of all in 1972 for Ingram’s steamy cheating ode “Let’s Steal Away To The Hideaway.” producer Willie Mitchell at Memphis-based Hi Records, “Trying To There are also nods to Clay’s own triumphant past with the Live My Life Without You.” That makes for an extraordinarily inclusion of his mid-’70s Echo releases “The Only Way Is Up” engaging hybrid. (trombonist Bill McFarland scribed the elegantly swirling The veteran vocalist’s latest album on his own Echo label is a arrangement) and the percolating closer “Messing With My Mind,” splendid showcase for his still-potent pipes. There aren’t any co-penned by the recently departed Muscle Shoals songsmith storming barnburners such as “Got To Get Back (To My Baby),” extraordinaire George Jackson. which Clay fronted a couple of years ago as a featured guest on Truth is, Otis Clay’s reign as the king of Chicago’s soul the Bo-Keys’ Got To Get Back! album. What is here in abundance royalty continues unabated – for which we can all be thankful. are deeply satisfying mid-tempo groovers and intimate ballads. – Bill Dahl

JOE LOUIS WALKER going for it. As with Hellfire, which was Walker’s boiling asides. A smart backing Hornet’s Nest Walker’s first new studio effort since 2009, band also featuring keyboardist Reese Hornet’s Nest features Tom Hambridge Wynans, guitarist Rob McNelley, and Alligator as producer, drummer, and songwriting bassist Tommy MacDonald then finds a partner, no doubt, a principal reason for nervy groove on “All I Wanted To Do,” and It’s a time of consolidation for Joe Louis the continuity between the two projects. Walker, an attacking blues guitarist who Hambridge imbues most everything with a has, forever it seemed, been the best tough muscularity that suits Walker, just modern player to never get his due. That as it did on the most recent Hambridge- changed in a big way with 2012’s aptly helmed albums by Buddy Guy and James named Alligator debut, Hellfire. All of a Cotton. And, again like those two earlier sudden, Walker was garnering album of legends, Walker’s unique instrumental the year awards and, in a move as sur- voicings – his guitar is by turns seething prising as it was overdue, induction into and then desperate, salacious or else sad the Blues Foundation’s Hall of Fame. – glues it all together. Hornet’s Nest has a similar feel, and The title track barges out with a tough a lot of the same things that Hellfire had statement of purpose, surrounded by

28 Blues Music Magazine Walker takes advantage of that space exploring darker, more lovelorn areas with his vocal, while adding some punchy brass TEDESCHI TRUCKS BAND from the Muscle Shoals horn section. Made Up Mind Hornet’s Nest continues with that kind of rhythmic, almost metronomic bal- Sony Masterworks ance. He unleashes ear-melting outbursts of emotion on “As The Sun Goes Down” Mike Mattison’s spot on stage speaks and “Ramblin’ Soul,” while winking his volumes about the magnetism of way through “Stick A Fork In Me.” He has Tedeschi Trucks Band. For seven years a ball with a cover of “Don’t Let Go,” then Mattison sang lead in the Derek Trucks finds the deeper soul in “Ride On, Baby.” Band. Today he’s overjoyed sharing a He boldly enlivens what sounds like a For this album, Montgomery enlists rear riser, his animated pipes blended into floorboard-rearranging house party on a who’s who of A-list players that include the background of music that makes a “Soul City,” only to travel all the way to the James Cotton, Johnny Winter, Aerosmith beeline to your soul. Prodigious guitarist bottom of a brown bottle on the slide- drummer Joey Kramer, Aerosmith guitarist Trucks, long a member of The Allman driven “I’m Gonna Walk Outside.” Finally, Brad Whitford, rapper DMC, keyboardist Brothers Band and acknowledged as one there’s an emotional reaffirmation on the Tom West, background singer Charise of the best players alive, and wife Susan closing “Keep The Faith,” which finds Ray White, keyboardist Sandy MacDonald, Tedeschi, a fine blues guitarist herself but Walker, Curtis Young, and Michael Black guitarist Marc Copely, The Uptown Horns, a jaw-dropping singer and presence, lead joining in for their second turn on vocals, and drummer Marty Richards along with this eleven-piece powerhouse. Instanta- following “Don’t Let Go.” his core band of George McCann (guitar), neous fans by the droves shake their If none of it breaks new ground, if all David Hull (bass, rhythm guitar, and key- heads at seeing them live. Fortunately, Hornet’s Nest really does is confirm his boards), and Seth Pappas (drums). the band obliterates the age-old dilemma newfound legend, well, that’s not such a Together, this army of players offers of trying to translate that kind of electrify- bad thing. Joe Louis Walker put a lot of up electrified renditions of blues favorites: ing experience to record. That they miles behind him before arriving at this “Same Thing” (Willie Dixon), “Motor City Is appear on Sony’s Masterworks imprint is place. It’s only right that he should drops Burning” (Albert Smith), “Who Do You not a marketing ploy. For the second time his bags and sit a spell. Love” (Bo Diddley), “Hit The Road Jack” now, they mixed their blues, gospel, – Nick DeRiso (Percy Mayfield), and “Black Cadillac” country, soul, world, and high-octane funk (Lightnin’ Hopkins) while injecting seven and rock ‘n’ roll inspirations into dazzling, band penned originals that sizzle with a individualistic, and very musical songs. contemporary flair. As if the pistons of an imposing JAMES MONTGOMERY Blues radio friendly cuts sure to catch steam engine, Trucks’ riffing propels From Detroit the attention of long time Montgomery “Made Up Mind.” A sly, sexy, and just plain fans and newcomers alike include the rau- fun little opener, the song ultimately rocks Open E Entertainment cous Montgomery/Hull/Woodburn album like crazy, with Trucks pulling out of his opener “Intoxicated,” the jump & jive of side pocket the first of his many decep- James Montgomery has been a long- Montgomery’s “Little Johnny” featuring rip- tively simple yet amazing solos. “Do I standing figure in the New England blues roarin’ slide guitar by Winter and sup- Look Worried” then indicates the level of scene. Since starting his band in 1970 ported with drums and guitar by songwriting involved. Trucks and Tedeschi while attending Boston University as an Aerosmith’s Kramer and Whitford, English major, the 64-year old singer- McCann’s resonator fueled back porch songwriter-harmonica player has per- lament “Put Your Money Where Your formed on concert stages with everyone Mouth Is,” the swampy, moody harmon- from the Allman Brothers Band to Muddy ica/guitar interplay between Montgomery Waters, B.B. King, John Lee Hooker, and McCann on “River’s Edge,” and the Johnny Winter, and others. His resume is uptempo Hull/Worth penned blues-rocker extensive, and through it all, he has man- “Changing Of The Guard.” It’s been 12 aged to stand the test of time delivering years since the release of Montgomery’s energetic live shows that highlight his last album, Bring It On Home, but his new soul-stinging vocals and blazing offering was well worth the wait. harmonica work. – Brian M. Owens

Blues Music Magazine 29 collaborated with the acclaimed writer John in the French Quarter. Blind since the age Levanthal on the forceful soul-rocker, the of eight, he has been dubbed the “Braille spitfire defiance in Tedeschi’s voice clear Blues Daddy.” But his lack of sight doesn’t and convincing. For “Idle Wind,” they seem to matter. Lee picked up a guitar in brought in the Jayhawks’ Gary Louris. his early teens, played in several blues-rock Accordingly, that five-minute epic vacillates bands, and then became friends with the between down-to-earth and penetratingly legendary Luther Allison. profound. Mattison and Doyle Bramhall II The opener on Play One For Me, Lee’s plotted with the pair to come up with a debut on a U.S. label, is a nice rendition of superb tip of the hat to Motown called “Part “Aretha (Sing One For Me,)” an R&B mes- Of Me,” which despite its upbeat demeanor, sage to Ms. Franklin written by George closes with one of Trucks’ most intense Jackson. Two other covers are Dennis solos. Notable is the fact that Mattison Geyer’s “Straight To Your Heart,” which has as singer, guitarist, and songwriter. Recorded doesn’t sing that duet with Tedeschi; trom- a pop feel, and Bobby Womack’s “When at Dockside Studios in Louisiana, Fish wails bonist Saunders Sermons does. Therein lay Love Begins (Friendship Ends”), a soul the blues on her custom built Delaney Fish- the dynamic that contributes to the great- tune. The disc features tremendous harp O-Caster, Tele-style axe like a seasoned ness here. Whatever suits the song best, performances by Kim Wilson and great touring pro. Bolstered by her steamy, emo- from songwriting partners to combinations rhythm guitar accents by Fabulous Thun- tive voice, Fish proves to be a one-woman of singers and musicians within the band, derbirds’ Johnny Moeller. The second track, tour-de-force to be reckoned with. that’s what’s employed. Freddie King’s “It’s Too Bad (Things Are Accompanied by Zito on guitar and Rockers “Whiskey Legs” and “The Going So Tough”) is just as it should be: vocals, along with fellow Royal Southern Storm” (in which Trucks absolutely does pure slow blues and long guitar licks drip- Brotherhood members, Yonrico Scott on unleash a storm of guitar) roil, and are per- ping with feeling. drums and percussion and Charlie Wooton fectly placed to ramp up the excitement. But it’s Lee’s own piercing lyrics, soulful on bass, Fish adds musical guests Paul Appropriately, the album closes with singing, and stinging guitar playing that Thorn on vocals, Johnny Sansone on har- “Calling Out To You,” just Derek and Susan make the record, especially on “You Was monica, and Bo Thomas on fiddle to round in an acoustic duet of intimate, but worldly My Baby, But You Ain’t My Baby No More,” out the project on several tracks. beauty. Free of any and all trappings and featuring the clever line, “I caught you On the rowdy roadhouse opener, limits, Tedeschi Trucks Band obsesses messin’ with the guy next door/You told me “Miles To Go,” Fish displays her consider- about nothing but the music. This you was talkin’ computers/But I caught you able prowess delivering searing slide guitar distinguished recording proves it. on the front porch doing shooters,” aug- and striking femme fatale vocals. This tune – Tom Clarke mented by Lee’s background taunts of “bye- cooks. The twelve bar strut of “Kick bye baby” and more. Enuf said? The disc is Around,” featuring Zito on lead guitar, is a mellow with several soul-like tunes. There powerhouse blues rocker worthy of interna- are no loud, electric blues-rock solos, tional airwave consideration. Then singer BRYAN LEE although a few swampy blues shuffles such Thorn joins Fish on the blazin’ “Go To Hell,” Play One For Me as “Poison” gives it a big old dash of turnin’ in a uniquely styled, gutsy vocal Tabasco. Lee gets to shouting good and performance atop Fish’s wah-laden soloing. Severn loud, with Wilson’s harp entwined. This This song burns hotter than the title’s record ends with the funky “Sixty-eight destination implies. The latest release by New Orleans-based Years Young,” an autobiographical number The electrifyin’, back porch swagger of guitarist-singer Bryan Lee is a solid mix of which proves Lee still has it. “Sucker Born” is highlighted by Sansone’s five fine originals and five covers, including – Karen Nugent smoldering harmonica playing and features classics by Howlin’ Wolf and Freddie King. a groove that just won’t quit. Sansone shows Although Lee was raised in Wisconsin, up again on the traditional jive of the two he became an institution in the Crescent steppin’ “Who’s Been Talkin’” trading harp City since moving there in 1982 and starting SAMANTHA FISH lines with Fish’s searing single line guitar a long residency at the Old Absinthe House Black Wind Howlin’ notes. There’s no denying there’s serious musical chemistry between them. Ruf Black Wind Howlin’ closes with a gorgeously crafted number entitled “Last It’s truly a pleasure to hear the women of the September” that’s more country than blues. blues-rock idiom tearing it up on guitar and However, Fish proves she’s no one trick vocals and 24-year-old Kansas City new- pony by delivering a beautiful Nashville comer Samantha Fish is no exception. Pro- inspired vocal worthy of a qualified country duced by Mike Zito of Royal Southern music nod from that community. Samantha Brotherhood fame (who produced her 2012 Fish is a fiery blues rockin’ lady on a mission. Blues Music Award winning debut, Run- Make sure to catch her when she rolls in to a away), Fish’s sophomore effort, Black Wind roadhouse near you. You won’t be sorry. Howlin’, finds the gifted blues gal maturing – Brian M. Owen

30 Blues Music Magazine how much fun Castro had making the record. TOMMY CASTRO An album highlight is “Two Steps The Devil You Know Forward,” a call and response with Castro’s vocals and his guitar and Magic Dick’s Alligator harmonica. Castro doubtless penned the storyline about himself. He’s constantly When a second electric guitar rumbles over advancing but sometimes gets knocked a twangy amplified riff on the opening song back. The Devil You Know proves Castro and title track of The Devil You Know, it hasn’t lost his soul, he’s just gained a sounds like a driver cranking up a muscle whole lot of rock and roll. Expect that car. That driver is Tommy Castro boldly muscle car to roll into Memphis to pick up introducing a rebuilt sound. For the first some more blues hardware. performing dad. As a teenager Eugene time since his solo recording career began – Tim Parsons was in a gospel group called The Bridges in 1991, Castro made a record without a Brothers, the R&B band The Five Stars, horn section. The songs are not only more and even spent time in the storied Mighty guitar driven, they have plenty of diversity Clouds of Joy. He joined the Air Force at not heard on his previous albums. EUGENE HIDEAWAY 16 and spent three years in the Air Force Not content to rely on his soulful voice BRIDGES Band. A frequent nominee for Blues Music and high-energy performances, Castro Roots And Vines Awards, he tours the world. Though I’ve throughout his career has worked hard to never seen him live, this CD makes me better himself on guitar. After winning his Armadillo want to. He’s obviously the real deal second B.B. King Entertainer of the Year unafraid to cross genres, and his lyrics Award in 2010, Castro perhaps felt he Thirteen of the 17 cuts on Bridges’ often reflect a positive attitude toward long gone as far as he could with his winning seventh album for the British label term relationships, rare to the genre. formula. He streamlined his band and Armadillo are originals, but it’s the cover Special credit goes to Armadillo for changed direction toward a more rock and tunes that say the most about his incredi- attractive gatefold packaging, personal roll style. The follow-up to his 2009 Alligator bly eclectic style. “Wayward Wind” was a liner notes by Bridges, and the inclusion of Records’ debut Hard Believer may have number one pop hit by Gogi Grant in 17 songs. taken longer to make than expected, but it 1956. Cowboy Tex Ritter took it to number – Don Wilcock was worth the wait. The Devil You Know one in England, and it was later covered will make listeners smile. by artists as varied as soul singer Sam Castro was assisted again with Cooke, country cousin Patsy Cline, Irish esteemed producer and songwriter Bonnie folk rockers The Waterboys, and ‘50s JO HARMAN Hayes. He also had plenty of help from his crooners the Everly Brothers. Dirt On My Tongue friends from the Legendary Rhythm and “They Call The Wind Mariah,” a Lerner Blues Cruise, Tab Benoit, Marcia Ball, and Loewe song from the 1951 Broadway Danger In Sound Samantha Fish, Magic Dick, and Mike musical “Paint Your Wagon,” was a hit by Finnigan. There also were vocal contribu- early ‘50s crooner Vaughan Monroe and It’s tempting to compare Jo Harman to tions from the Holmes Brothers and Tasha covered by the Kingston Trio. “Farewell, other young British blues singers like Joss Taylor, Johnny Taylor’s daughter. Joe My Darling” is a soul chestnut recorded by Stone or Amy Winehouse. She does pos- Bonamassa joins the party with lead guitar Sam Cooke, and “Glory Glory” is a tradi- sess a spellbinding voice, a gut-level feel on the track “I’m Tired.” Bay Area guitarist tional gospel featuring Bridges’ stripped for the genre, and elegant songwriting Mark Karan also pitches in on two songs, down, raw electric guitar. skills. But Harman has her own ineffable including the album’s one cover, “Keep On The originals here are just as varied. quality, which along with a talented band Smiling,” recorded 40 years ago by Wet “17 Miles To Go” could easily have come and lush production, turns 10 fine original Willie. The celebratory vocals on that from a chain gang work song dating back songs and one inspired cover into a splen- track, along with several others, reveal 90 years. It features a plaintive vocal did debut studio album. (There is a live CD against the slow thump of a bass drum – or is it a foot stomp? “Basil’s Bar” and “A Thing Called Love” has that B.B. King sting on guitar, and “Rise Above It” is as easy chair comforting as Jimmy Reed. “Good Old Days” and “I Will Still Be In Love With You” showcase the pedal steel guitar of Lloyd Maines who has graced the releases of such great Americana artists as Joe Ely and Ray Wylie Hubbard. Bridges was born into and lives the blues, taking the nickname from his

Blues Music Magazine 31 available with performances of several of four diverse covers. Despite her recent the songs on Dirt On My Tongue.) health issues, Kane sounds great (and Harman’s voice is a versatile instru- looks great) on this collection imbued with ment. If you want to hear her rock, listen to her irrepressible joie de vivre. “Heartstring,” “Underneath the River,” or She is a genuine apostle of joy like the “Better Woman.” But she truly kills on the influences she covers: the Father of Chicano gospel and soul numbers with a controlled music Lalo Guerrero (his stomping paean to intensity that allows the songs to spring to pot, “Marijuana Boogie”) and R&B divas life. Like the hypnotic piano figure that Ruth Brown and Helen Humes (“Rock Me To begins the gorgeous “I Shall Not Be Moved,” Sleep,” penned by jazz legend Benny Carter Harman starts quietly as a prayer, then and recorded by both Brown and Humes). slowly builds emotion to full cry backed by a Although she is mainly inspired by the music drum tattoo, then subsides again. “Worthy of the 1950s, her affinity for Sixties soul is Osborne was preparing to launch. Kirk Of Love” and “(This Is My) Amnesty” have demonstrated on the Elgins’ Motown classic Joseph’s sousaphone was gone, replaced hypnotic melodies, exquisite instrumenta- “Darling Baby,” her Southern soul anthem by Robert Walker’s clavinet bass, and co- tion, and deep lyrics. But to fully appreciate “Rise Up!,” and her lilting stroller “When producer/Galactic drummer Stanton Moore Harman’s power as a songwriter and vocal- Tomorrow Comes.” Kane’s fans expect took over the drums. His recent 2012 Black ist, listen to “Sweet Man Moses,” written for some rockabilly and some jump blues and Eye Galaxy featured Osborne’s touring her brothers about their father, who died Kane delivers both with panache and puis- band, a power trio with drummer Eric Boli- young. The song gently mourns and cele- sance. Chavez’s twangy guitar drives the var and Carl Dufresne on bass and vocals. brates a flawed man, “warm as the daylight hopeful “I Wanted You To Walk (Right Thru Three Free Amigos, an EP released in Feb- on the roses,” with a soulful assist by the That Door),” which is more on the country ruary 2013, harkens back to his earlier, Watersign Horns. Her cover of James Mad- side of rockabilly, while her slashing frayed- folkier releases with Johnny Sansone on dock’s “Fragile” is a tender portrait of how it wire chords underscore Kane’s nasally vitriol harp and accordion and vocalist Maggie feels to dwell with a permanently broken on the retro-rocker evocative of Wanda Koerner harmonizing with Osborne. heart. Well over half of these tracks describe Jackson, “Barbed Wire Mouth.” For his latest, Peace, Osborne sets endings – like “I Don’t Live Here Anymore” The title track, rousing jump blues in the tone right away, blasting you with a and ”Cold Heart” – that might give the record classic shouter fashion, serves as a call to 45-second feedback skronk intro on the title a wistful mood except that Harman’s fierce the dance floor as well a call to battle our cut, and sounding like Joe Walsh vocally resiliency continually surfaces. Like the final personal demons with two fisted action. and instrumentally. Dufresne and Bolivar track, the haunting “What You Did For Me,” The Nawlins R&B inspired “Au Revoir, Y’all” are still on board along with Papa Grows she rises above it all. is propelled by Sue Palmer’s rollicking Funk’s John Gros on B-3 and French horn. – Kay Cordtz piano and Chicago blues gets its due with “47” once again recalls Walsh, down to his the shuffling “I’m The Reason Why You grappling with a middle age crisis set to a Drink.” Kane slows things down with Rick James Gang rock track. “Let It Go” is fuzzy Estrin’s tender R&B ballad “What Love Can swamp rawk with Hendrix overtones. CANDYE KANE Do” and the dirge-like “Invisible Woman,” a Osborne tackles the shooting frenzy cur- FEATURING jeremiad about how society defines a rently making the rounds of American cities LAURA CHAVEZ woman’s beauty. Overall, another triumph on “Five Bullets” with the chilling refrain Coming Out Swingin’ for one of the toughest girls alive. “Boom boom boom/That American – Thomas J. Cullen III sound/Teenage kids on the naked ground.” VizzTone But when you think you’ve got him pigeonholed as a balls-out rocker, he slaps The vivacious roots rock chanteuse you softly across the back of the head with Candye Kane comes out swinging from ANDERS OSBORNE a lush, moving ballad. “Driving through my first tune to last on her VizzTone debut Peace neighborhood/all deserted and gray/Katrina that features nine originals (all but one came and took it all away,” he recalls on co-written with guitarist Laura Chavez) and Alligator “Sentimental Times,” set to a melody similar to Procul Harem’s ‘67 enigmatic hit “Whiter Anders Osborne doesn’t do easy listening Shade Of Pale.” “Windows” is a look back music these days. He was mellow and at missed chances, accompanied by a funky on 2001’s Ash Wednesday Blues, relentless, hypnotic beat shattered at the and for 2006’s Osborne Orchestra, he cre- end by a psychedelic, convoluted guitar ated a Ry Cooder feel on “Oh Ma Ma” and solo like Hendrix tangled up in Albert King’s “Doin’ Fine.” Coming Down in 2007 was a strings. Thankfully, Osborne has conquered stripped-down, soulful blues journey his demons, but his retelling of that process through the back streets of New Orleans and his transformation because of it have and Osborne’s heart. made him a spirit you won’t be willing or His 2010 Alligator debut, American able to cast out of your system. Patchwork, previewed the heavier sound – Grant Britt

32 Blues Music Magazine overlaid with Dr. John voodoo funk from his nite tripper days. And if you need some JOHNNY SANSONE musical accompaniment to toast marshmal- Once It Gets Started lows around the campfire, fire up the lone- some cowpoke acoustic instrumental Shortstack “Goodbye.” This release again shows Sansone’s Fans of Jumpin’ Johnny Sansone may have versatility as both a songwriter and per- wondered where the mellow went after the former, a welcome return for older Jumpin’ release of his last album, The Lord Is Wait- Johnny fans who still like to get lathered up ing And The Devil Is Too. Although it won with him, but enjoy the cool down time Sansone the 2012 BMA Song of the Year as well. award and gave his career a big boost, it – Grant Britt Dr. John and Allen Toussaint join on had a much harder sound than he’s done Dr. John’s “Swamp Funk,” which traces the previously. On his latest, Sansone puts out musical history of that region’s bayou funk. a pleasing mix of the hard core and his Mike Bloomfield’s “Working Man” features softer, more melodic side. CYRIL NEVILLE guitarist Zito, while Paul Butterfield’s “You This one starts out rough, the title cut a Magic Honey Can Run, But You Can’t Hide” shows off swampy hoodoo excursion with Sansone’s Clements’ searing guitar. And Walter Trout harp sounding like a lost soul’s graveyard Ruf joins Neville on their “Running Water.” wail, Maggie Koerner howling like a voodoo Throughout, Neville uses his wife queen over Stanton Moore’s relentless Cyril Neville’s musical career is on the Gaynielle and son Omari as background pounding. “Back To You” is more of the upswing. As one of the most soulful singers voices and a fearless band that mixes same, Sansone bellowing like a bluesy to rise from New Orleans, Neville’s stature “Mean” Willie Green’s heavy percussion swamp thing, blowing mournful harp, in the music world has accelerated to new with Neville’s own percussion accents. Korener’s witchy wails echoing off the water heights with his center-stage placement in On every song, it’s the assertive and soulful as producer Anders Osborne makes muddy the Royal Southern Brotherhood as both voice of Neville that dials into the contem- John Lee Hooker guitar footprints around writer and singer. It’s no surprise that his porary message of each tune. Neville’s him, and Henry Gray’s piano tiptoes latest record, Magic Honey, further sweet- vocal presence presides over every song between the spaces. ens that notoriety. As the youngest of the without overpowering. Yet at the same time, “First Shot,” a cautionary tale about world famous Neville Brothers and the his belief in every word he sings gives this messing with another man’s chicken, fea- founding percussionist with the Meters, he record a timeless relevance. tures Sansone on accordion for the first time has been breathing music since his birth, – Art Tipaldi in awhile bringing back Sansone’s melodic combining his percussive rhythms with the side. It’s got a great hook and a rollicking city’s rich and diverse musical gumbo. melody sure to fill up the Maple Leaf’s The CD starts off with the title track, a dance floor every time he trots it out. Sound- funky, blues metaphor answering Memphis SMOKIN’ JOE KUBEK ing like an early Lowell George cut, “The Minnie’s “Bumble Bee.” Neville’s other AND BNOIS KING Night The Pie Factory Burned Down” shows standout tune, “Blues Is The Truth,” was Road Dog’s Life Sansone at his melancholy best on vocals co-written with guitarist Cranston Clements. and harp. “I was her coconut cream/ she Here, Neville updates Willie Dixon’s state- Delta Groove was my sweet potato,” he moans after his ment by singing that “When your heart sweetie pie burns down the pie factory with starts aching and the tears start to fall like The latest recording from the popular and her amorous antics with another. Osborne rain, sometimes down home blues is the prolific duo of Smokin’ Joe Kubek and Bnois tosses in an Allman-esque solo to further only thing to ease your pain.” Both efforts King is not unlike so many of their earlier smooth out the mellow. “9th Ward Landlord” have Song of the Year potential. Even releases. It hits that comfortable SKJ zone borrows the bassline from Allen Toussaint’s “Invisible,” centered around the deep funk with which so many of us are familiar. And Lee Dorsey classic “Working In A Coal Mine” of the Crescent City, carries a contemporary appreciate. From the initial cut, “Big Money social message that acknowledges those Sonny,” a big stakes gambler from Padu- castaways whom Neville sees as left out of cah, Texas, whose car trunk serves as his the American dream. He and RSB mate bank, through to the twelfth and final song, Mike Zito wrote “Money And Oil,” a powerful “That Don’t Work No More,” King sings sto- indictment of what dictates political policies. ries about colorful characters and the real- Cruise down the Mississippi and see the life contemporary lessons they impart. multitude of oil platforms lighting up the All save two are the work of the Kubek- night and you’ll understand the concern of King team. The surprise is that a few of this Louisianan and committed member of those also have another Kubek collaborator, the Voice of the Wetlands. Joe’s wife, Phyllis. (In point of fact, she gets Neville adds some high-powered sole credit for the title tune.) Then there are a friends to spice up his gumbo of sound. couple of covers (“Don’t Bother Me” and

Blues Music Magazine 33 guitar accompaniment. Once the band kicks in, Ellis lights it up on slide guitar, making “If The River Keeps Rising” the first of many highlights on the all-original program. Whether he is injecting a touch of Louisiana on “It’s Not Funny” or taking an introspective look at the vulnerability of love on “Surren- der,” Ellis never fails to deliver nuanced per- formances brimming with exuberance. “Harder To Find” is a dark treatise on the difficulty of making human connections. Kevin McKendree’s organ washes through “Play With Fire” by George Harrison and a the arrangement on “Mouth Turn Dry,” a mashup as he did in his heyday with that group led by Mick Jagger). To their credit, sturdy rocker with Ellis stretching out on a group. It’s an auspicious debut for their Kubek and King shape these chestnuts in a solo full of taut licks. The rhythm section of newest member, another powerful weapon manner that yields fresh textures. King’s Lynn Williams on drums and Ted Pecchio in the Boys’ vocal arsenal. That arsenal has silky, bourbon-warm voice conveys all the on bass establishs a loping pace on “The been strengthened even more with the rein- nuance and emotion the lyrics require. He’s Only Thing” that allows Ellis to riff with statement of former leader Clarence Foun- joined by special guest Kim Wilson on three gusto. “That’s My Story” has an infectious tain. Sidelined years ago because of illness, tracks and Rand Chortkoff on the shuffling guitar part that leads to a well-crafted Fountain recorded his parts near his home “Nobody But You” where they both lend their extended solo sequence from the leader. in Birmingham, adding his signature bottom harmonicas. The “dog” theme the disc’s title On “Peace And Love,” Ellis lays down a line back into the mix. suggests also shows up in “K9 Blues,” gruff vocal as he bemoans his inability to Kitty Wells and the Chuck Wagon wherein King sings, “She just called me a find either one. His judicious use of the wah- Gang made “God Put A Rainbow In The dog/am I losing my mind?/I think she just wah pedal and more outstanding organ from Clouds” a country western staple, but the called me a canine/I mean the worst kind.” McKendree generate plenty of sparks. Even Blind Boys take it to another level. This For those keeping score, this marks better are two well-crafted slow blues songs version packs a bouncy, rattly evangelistic the 17th release by these two great veter- that Ellis flat-out nails. The first, “See No camp meeting punch complete with a trom- ans in which King handles all the vocals and Harm,” is a cheating song that Ellis renders bone blatting out heavenly hosannas in the Kubek utters nary a peep. As for instrumen- with stark intensity, both vocally and with his background. First adopted in the ‘30s by tation, I’m on record somewhere attesting to guitar. “Kiss Of Death” is a somber, minor the labor movement and then in the ‘60s for Kubek’s blues guitar ability as being the key classic that mines the depths of despair the Civil Rights movement, “I Shall Not Be best among what’s out there these days. of a man left alone with nothing but pain for Moved” is usually performed at a sedate, This disc, while having more of an ensem- a companion. stately pace, but nobody rocks it as hard as ble approach than a tour de force for gui- Occasionally, Ellis’ songs lose a bit of the Blind Boys do here. It’s still celestial, tarists, reinforces that earlier opinion. steam when he relies too heavily on repeat- but it moves along at a brisk clip, a slippery – M.E. Travaglini ing a lyrical phrase. But his dynamic perfor- slide interlude followed by Jimmy Carter mances carry the day, making this recording howlin’ his guts out in joyous defiance. one of the best of his career. This one is You might think Al Green had the definitive highly recommended! version of “My God Is Real” until now as TINSLEY ELLIS – Mark Thompson Carter’s 82-year-old voice crackling with Midnight Blue soul makes you believe it. Over the years, the Boys’ have fea- Heartfixer tured a series of guest stars including Ben THE BLIND BOYS Harper, Robert Randolph, and Solomon For the second release on his own label, OF ALABAMA Burke. There’s smattering of guests here as guitarist Tinsley Ellis opens with his road- I’ll Find A Way well. Patty Griffin is the most recognizable, worn baritone voice singing over acoustic along with Bon Iver’s Justin Vernon, who Sony Masterworks produced the record. But there’s really no need for anybody else in the mix. No Nobody else sounds like them. The Blind offense, but you really don’t need to Boys Of Alabama are pure gospel, in spirit improve on the Blind Boys as they demon- and in sound. For this outing, they take on a strate on “Take Your Burden To The Lord mix of genres, but, as usual, anything they And Leave It There.” There really isn’t much touch turns heavenly. Fans of the gospel else to be said after listening to this one, Keynotes will remember newest Blind Boy and you wouldn’t want to try to follow it Paul Beasley from his astonishing falsetto either. Thank God and The Blind Boys for performances with that group. Here he that, and for what they continue to do, the sounds as clear and powerful on “Take Me best in the business. To The Water/None But The Righteous” – Grant Britt

34 Blues Music Magazine which is infused with a rockabilly heartbeat and a pure blues soul. LOU PRIDE OTIS GRAND Blues ‘65 is Otis Grand’s great triumph, Ain’t No More Love In This House Blues ‘65 a contemporary blues album that sounds like the music he heard as a teenager, the Severn MainGate songs delivered with such energy and enthusiasm that one can’t help but fall in Chicago’s Lou Pride passed away in 2012 at It’s quite evident from the first notes on Blues love with the blues all over again. age 68. His fourth and final release for the ‘65 that guitarist Otis Grand is a traditionalist – Rev. Keith A. Gordon Maryland label that revived his career serves in every sense of the word. Born in Lebanon, as his swan song, and what a magnificent raised in the United States, and living in swan song it is. Like his Windy City contem- England for the past quarter-century, Grand porary Otis Clay, Pride is just as formidable has pursued a West Coast blues sound that ERIC BIBB singing the sweeter soul of his hometown as draws equally from the big band R&B of Jericho Road well as grittier Southern soul. Willie Mitchell Johnny Otis as it does from the jazzy, cool recorded both singers in Memphis in the blues style of B.B. King and T-Bone Walker. Stony Plain early Seventies backed by the Hi Rhythm Although he’s been working in the trenches Section and the Memphis Horns. The overall for decades, it wasn’t until he moved to the He’s a soulful troubadour, marrying folk, sound here evokes Hi Records of the 1970s. U.K. and became an integral part of the thriv- gospel, and blues in a blissful union, The tunes are performed impeccably by ing British blues scene that he began receiv- celebrated with a voice like frayed velvet, the Severn house band (guitarist Johnny ing the accolades deserving of his talent. smooth but with enough wear to show a Moeller, bassist Steve Gomes, keyboardist Blues ‘65 is a concept album, of sorts, lifetime on the road telling tales. Eric Bibb Benji Porecki, drummer Rob Stupka, and per- and a logical follow-up to Grand’s acclaimed explains in the liner notes that the title for cussionist Mark Merella); they are augmented 2008 disc Hipster Blues. Whereas the previ- his latest, Jericho Road, refers to the road by a four-piece horn section led by trumpeter ous release explored both 1960s-era British between Jerusalem and Jericho where the Kenny Rittenhouse. Pride penned four origi- R&B and the Carolina “beach music” scene, Good Samaritan paused to help a fellow nals: “She Boom Boom Me,” a salacious Blues ‘65 takes on a single storied year as traveler in need. But Bibb is never preachy, blues-bounce, two ballads, “Love Come Got Grand recreates the blues, soul, R&B, and just offering options for enlightenment. Me” and “We Can Do What We Want,” and rock ‘n’ roll he heard as a teen. With Sugar It’s a well-presented offering with a the title track, a gently swaying lament with Ray Norcia swinging the microphone (and lyrics book and track-by-track info. Bibb lush backing vocals in support of Pride’s dole- providing the occasional harp blast), Grand wrote all the tunes, except one of the two ful baritone. The covers are an eclectic bunch leads a crackerjack band of blues veterans bonus tracks, collaborating on eight of them and include surprises like Wayne Newton’s through their paces on 13 period-perfect with Glenn Scott, who also plays keys, pro- country tearjerker “Daddy Don’t You Walk So originals and spot-on covers. duced, and mixed the record for Stony Fast” (according to the Severn press release, Grand’s lively, nuanced, and playful use Plain. Senegalese Kora master Solo Cis- “Lou’s sentimental, personal favorite”), Luther of his Gibson ES-355 stereo Varitone guitar sokho contributes his original, “Nanibali,” on Allison’s “I Gotta Move On Up” (uplifting (same as B.B. used back in the day) shines the bonus track. The 21-stringed instrument Southern soul written by Big Time Sarah brightly on every performance, whether it be made from a calabash gourd sounds like a Streeter), Ann Peebles’ cautionary tale from a jaunty cover of the Nat King Cole hit “Pre- harp, and in the hands of Cissoko sounds her Hi Records years (with gender reversed) tend” or Grand’s topical “Bad News Blues On like an African waterfall. “Have A Heart” is “I Didn’t Take Your Woman,” and two tunes TV,” which features modern lyrical woes laid not the Bonnie Raitt tune, but a darker tale emanating from England: reggae singer out beneath the guitarist’s delicious guitar of immigrants risking their lives on rickety Peter Hunnigale’s (aka “Mr. Honey Vibes”) tones and mournful horns. Grand pulls the vessels at sea for a new start in a new land. ballad “Never” and Simply Red’s mega-hit blues roots from a pair of songs written by “So when you meet a pilgrim at the corner from 1986 “Holding Back The Years,” an country star Charlie Rich, whose “Who Will grocery store/you know he’s got a story/so appropriate set closer for this soul-blues The Next Fool Be” is delivered closer in spirit in your heart, keep an open door,” Bibb album of the year contender. to the Bobby “Blue” Bland hit than to Music pleads as Ruthie Foster wails “Have mercy” – Thomas J. Cullen III Row, or the underrated “Midnight Blues,” behind him in chilling moans.

Blues Music Magazine 35 Bibb delivers a funky gospel message McBride’s latest self-produced album, on “With My Maker I Am One.” Originally Crossing The Line, may not be the album to recorded in 2010 on Booker’s Guitar, Bibb use as an introduction to his catalog due to replaces his acoustic guitar for a National production that often overdoes multilayered steel and turns in a more fleshed out, rock- guitars and vocals. ing’ version the second time around. “She This is a ‘60s-’70s throwback rock guitar Got Mine” is feel good music for the soul album with the expected riff-rumbling, fret- that you can tap our foot to and feed your frying guitar work and McBride’s gruff vocals head, a Ry Cooderish feel supporting a taking center stage on his compositions. But warm-hearted ode to raising a family: “Turn throughout, his talent is best expressed with off the TV set/ read out loud, raise our chil- songs that have a more pared production. dren in the righteous way/spare the rod and “Alcatraz” starts with horns and a vaguely teach ‘em love every day.” That could just personality. In contrast, “Two Times Sugar” Latin rhythm. Then the horns get a bit lost in as well be Bibb’s motto as well as a fitting pops along as an endearing and clever the mix. Four songs with backing vocalist Mia mantra for a troubadour always willing to vocal duet with Norcia. Considering the Simone have her charged vocals getting open his heart and share his soul. large cast and the breadth of the repertoire, toned down also. Paul Hamilton on drums – Grant Britt Dangerous flows with a continuity that lasts. and Carl Harvey on bass are rock solid and While Sugaray Rayford is undoubtedly a show flashes of their musicianship, but also force to be reckoned with, kudos should aren’t given much space. also go to label head, harp blower, and Highlights include “Starve This Fever” SUGARAY RAYFORD songwriter Rand Chortkoff. His songs and which slows things down and pares the pro- Dangerous his touch help elevate this head-spinner of duction to an emotional solo vocal and an an album. In fact, it sure better net both equally tasty solo lead. “Rock And A Storm” Delta Groove men a handful of awards. features just McBride’s solo vocal and – Tom Clarke acoustic guitar showcasing his virtuosity on Not surprisingly, Sugaray Rayford sang that instrument. McBride’s and Simone’s gospel in church as a child in Texas. Later in emotional vocal duet on “Home To Me” life he became a businessman farming avo- hints at what the song might have sounded cados in California. But he was fated to sing SIMON McBRIDE like if she was more present in the mix. the blues. Not since burly icons such as Crossing The Line “Down To The Wire” is a revisiting of Howlin’ Wolf or Chicago’s Big Twist has McBride’s signature anthem that appeared such an imposing figure made an impact as Nugene on earlier live and studio albums. explosive. The six-five Rayford wrestles Crossing The Line shows McBride defi- down and owns every song he sings, and For certain ‘60s power trio guitar gods their nitely has the fevered guitar chops, evolving that natural strength and his soulful tone free-wheeling, fevered instrumental work- songwriting skills and emotive vocal abilities. earned him an invitation to join the revolv- outs were what made them famous. But But more varied music experience over time ing-door membership of the Mannish Boys those that became legendary later proved will prove if the comparisons to countrymen Blues Revue. Keeping with most premier their artistry working in varied roles with Gallagher and Moore are truly warranted. Delta Groove projects, several of Rayford’s other groups and as solo artists. – Mark Caron band mates are here, along with other key Live performance YouTube videos of guests such as Kim Wilson. Highly-charged, Irish guitar wizard Simon McBride show the album journeys through the blues, he’s got power trio DNA. Having become a beginning with newfound friend Sugar Ray professional musician at 16, he already has JOANNE SHAWTAYLOR Norcia’s harp-fueled and rollicking “Country years of onstage experience under his belt. Songs From The Road Boy,” and concluding with an unusually spry The British and Irish music presses have take on Son House’s “Preaching Blues.” begun comparisons to stellar Irish guitarists Ruf In between are more rural blues, big Rory Gallagher and Gary Moore (McBride’s city bravado, sheer authority, and classy self-acknowledged biggest influence). But A Joanne Shaw Taylor set is like a punch in refinement than customarily found on one the face. She says that Steve Ray Vaughan album. Regardless of the “Mannish Boy” influenced her to pick up guitar, but instead figure in its beat, Rayford’s “I’m Dangerous” of a Texas flood, Taylor is more like a British makes an original ironclad case for being a avalanche. “I get on stage, turn my guitar ‘hip shakin’ natural born lover.’ In Charles up really loud, and shout into a microphone Brown’s “Depression Blues,” he sings in no for two hours,” the former child prodigy said uncertain terms of the woes as they are in a recent interview with Classic Rock today, with guitarist Kid Andersen in fine magazine. Her latest, Songs From The form, ripping alongside him. And while Road, a CD/DVD set on Ruf, features live there’s a streak of “Smokestack Lightning” versions of tracks from her last three in “I Might Do Somethin’ Crazy,” Rayford’s releases; ‘09’s White Sugar, ‘10’s Diamonds song of shattering stress bursts with unique In The Dirt, and ‘12’s Almost Always Never.

36 Blues Music Magazine burger joint off Sunset Blvd., where the food was dicey and the counter girls sometimes engaged in furtive engagements out back. POPA CHUBBY Perhaps that explains why he soon bolted Universal Breakdown Blues over the hill to the outlands of the San Fer- nando Valley to play guitar at the old Provogue Palomino Club, once the haunt of Delaney & Bonnie and the Flying Burrito Bros. A fiery aggression surrounds Universal He subsequently found fame playing Breakdown Blues, as Popa Chubby doesn’t twangy guitar on a series of platinum-selling lament the dangerous and uncertain era in Dwight Yoakam albums that Anderson also which we live so much as rail against it with produced. He’s also gone on to oversee an all of his might. Populated with grippingly It’s raw, no overdubs or remixing, no studio array of projects involving artists ranging personal tales, and some of his most bold post-production fiddling, just Shaw blasting from Michelle Shocked and Rosie Flores to and dexterous guitar playing to date, this away on her Gibson Les Paul. the Meat Puppets and Thelonious Monster. album is one part emotional release, one She seems a bit taken aback at the His own solo discs mix the hard-edged blues part confrontational triumph, and completely size of the crowd when she first comes out he grew up listening to in his native Detroit cathartic. on stage at London’s Borderline club. “Look with the acquired California sounds of Bak- “I Don’t Want Nobody” gets things at all these people,” she says, glancing out ersfield country and instrumental surf rock. underway with a chugging riff that would into the crowd then quickly dropping her His latest disc is the 12-track Birds bring a twinkle to Stevie Ray Vaughan’s eye, eyes and getting down to business. But it’s Above Guitarland, a nearly 50-minute before Popa Chubby lets loose an extended apparent that Taylor obviously enjoys her excursion into the dark vibes that he can solo exploration, as furiously inventive as it work, a big grin plastered on her face as pull through the pickups on his own signa- is, well, furious. He then adds a snarling lyric she makes her Les Paul howl and hum. ture line of Detroit-manufactured Reverend about walking off from bad love. It’s the first, The songs may be familiar to Taylor guitars. The country twang is pretty much but in no way the last, of the scorching fans, but the expanded versions here allow absent, but there’s a massive wave of rebukes on Universal Breakdown Blues, her to really stretch out on her Jimmy Page hang-10 rumble and some rumba-sounding which confronts problems both worldly and licks as well as a bevy of other rock star boogie on various songs. My favorite is personal with a hard-eyed sensibility. riffs. Her cover of Jimi Hendrix’s “Manic “Red Sunset Blues,” which is reminiscent of The title track simmers and then Depression” is about four minutes longer the big-wash guitar sound that Duane Eddy, shouts, before it’s eventually engulfed in a and less fuzzy on the solos, and a touch Brian Setzer, and others have brought to plume of psychedelic wah-wah guitar. “Dan- softer on the psychedelics than the original. Henry Mancini’s “Peter Gunn,” while “I Got ger Man” takes a match to the familiar brag- “Jealousy” is the quietest cut on the two Mine” is the best blues ballad, complete gadocio of soul men like Otis Redding. releases, but even then Taylor’s vocals cut with horns, that I heard recently. Meanwhile, his instrumental take on “Some- through like a buzz saw, a raucous blend of Anderson’s voice isn’t exceptional, but it where Over The Rainbow” leaves aside the Janis Joplin and Maggie Bell. has clarity and authority. The man put in time, dreamy reminiscence associated with that The DVD has few more tracks than the back before Hollywood, on production lines standard in order to explore a darker reality, CD, adding “You Should Stay And I Should at Chrysler, Uniroyal, and at a Vernon’s gin- one filled with regret and no small amount Go,” “Almost Always Never,” “Time Has ger ale bottling plant, so he knows how to of anger. Even the more straightforward Come,” “Let It Burn,” and “Lose Myself To make himself heard. He does take a break “The Peoples Blues,” after retelling a famil- Loving You.” And Taylor/Hendrix fans will from the microphone on one track, turning it iar cuckold’s tale, becomes a launching pad have to be content to listen to her cover of over to Bekka Bramlett (the daughter of for a scorching series of runs by Chubby, “Manic Depression” and not view it because Delaney & Bonnie) on “Rock In My Shoe.” who unleashes a torrent of sound that could it’s not included on the DVD. There’s more Though the old Palomino Club is long gone, bring down buildings. than enough here to satisfy any Taylor fan, Anderson still plays local dates over the hill Not that everything on Universal and send them scurrying back to her back from Hollywood, favoring the Moose Lodge in Breakdown Blues rattles along with such catalog for another listen for the past glories Burbank, when he’s not on tour these days. visceral loudness. The anthematic “I Ain’t she’s highlighted here. – Bill Wasserzieher Giving Up,” though just as determined, – Grant Britt

PETE ANDERSON Birds Above Guitarland Little Dog

Legend has it that when Pete Anderson arrived in the tawdry Mecca that is Holly- wood, he took a pay-the-rent job at a crusty

Blues Music Magazine 37 allows Popa Chubby an opportunity to master, Bo Diddley. Or in her original explore a gospel-inflected soulfulness. “The “Shoes” where she struts like Carla Finger Bangin’ Boogie” and “69 Dollars” are Thomas on “Tramp” about the many styles engaging R&B-flecked groovers, while of footwear she has to seduce her man. “Rock Me Baby” and “I Need A Lil’ Mojo” The credits list separately two songs reanimate Chess Records’ mid-century out of a total of 13 as “Bonus” cuts: “Hard urbanity. He even adds a floorboard-rat- Time – Killing Floor Blues” originally tling, pot-smoking party tune in “Goin’ Back recorded by Skip James and “Death Don’t To Amsterdam.” Have No Mercy” by Rev. Gary Davis. If the But the essential theme of Universal first 10 numbers come across with the kind Breakdown Blues, which draws to a close of bravado befitting a rap artist, these two amid volcanic clusters of notes on “Mind- songs express deep pain and reflect a more bender,” is one of hard times, and the hard hope in epic style. Steve Winwood fully intimate side to Tucker that’s more person choices that have to be made to get through develops “When The World Gets Small,” than persona. Robert Hughes’ guitar work them. Let’s face it: Most days, there’s a lot taking the song down a street already here also is more biting and cutting than the to be pissed about. Popa Chubby gives jammed with traffic. An insanely catchy riff almost rock and roll style he puts forth on voice to those very real emotions. rocker (“World Boss”), blustery reggae with songs like Elmore James’ “Tuff Love.” – Nick DeRiso Toots Hibbert (“Scared To Live”), and a nod The last cut is “Sun Room,” a number to 1970’s New Wave featuring Elvis Tucker wrote and recorded the same day Costello (“Funny Little Tragedy”), are for a PBS series Sun Sessions: “The his- among the others that kick the entertain- tory of Sun will never be gone/Slap back GOV’T MULE ment factor over the top and out of the stall. echoes in the beat of their songs/Million – Tom Clarke Shout! dollar quartet using old vintage amps/They gather around sun room like boy scouts in Blue Note a camp.” Like her dad, Tommy Tucker who hit On their ninth studio release, Gov’t Mule TEENY TUCKER in the ‘50s with “Hi-Heel Sneakers,” digs in with jackhammering power and dia- Voodoo To Do You Teeny’s in it for life and the love of music mond tip class on a set of Warren Haynes and its heritage. and company’s most substantial songs Tebo – Don Wilcock ever. The value skyrockets by the inclusion of a bonus CD of the same tracks inter- This record fits comfortably between Big preted by a diverse lineup of singers in Mama Thornton circa 1962 and early 1970s place of Haynes’ sawed-wood soul croon. Koko Taylor. In fact, Tucker covers Koko’s SHANNON McNALLY Dr. John’s peerless, wizened cackle on the “Voodoo Woman” and three other songs Small Town Talk exceptionally funky “Stoop So Low” alone along with an original feeding off the same mandates attention. Gov’t Mule was birthed voodoo theme called “Love Spell.” Sacred Sumac in the form of a classic blues-rock power Like Susan Tedeschi, Teeny Tucker trio, albeit with a huge appetite. Nowadays has a bold voice and a consistent stage Shannon McNally’s new release, Small almost anything goes. These songs all persona that belie her petite and pretty Town Talk, might more rightly be titled The strike the deepest chords rhythmically and presence. Like Shemekia Copeland, Teeny Songs Of Bobby Charles, a line that does in verse, and dovetail with one another has a swagger that lets you know in her appear on the album flipside. All 14 tracks seamlessly. Haynes’ fresh perspective choice of material that she’s in control derive from the snub pencil of the late gained from being a new papa infuses the when it comes to romantic relationships. Robert Guidry, aka Bobby Charles. The man unhurried and ultimately grandiose blues This comes across particularly well in never had a national hit of his own, but his behind “Captured.” When he sings Howlin’ Wolf’s “Commit A Crime” with her songs did become chart-ers for others, unabashedly about never thinking he could jive talking and bravado that’s almost as including Bill Haley (“See You Later, love someone more than he loves himself, intense as that of another diminutive blues Alligator”), Fats Domino (“Walking To New the reality of the notion strikes with lasting Orleans”), Frogman Henry (“I Don’t Know impact. Why I Love You But I Do”), as well as for Joe Haynes also demonstrates time and Cocker, Ray Charles, Delbert McClinton, again why he’s considered among the gen- Kris Kristofferson, Bo Diddley, Etta James, erations of premier blues-steeped guitar Gatemouth Brown, and Junior Wells. players, his runs at once astounding and Five of the songs on Small Town Talk, refined. His unique, elastic tuning in tan- including the title track, come from a dem with bassist Jorgen Carlsson’s neo- collection Charles recorded in 1972 in prene snap connects “Done Got Wise” to Woodstock, with most of The Band backing vintage Mule, as well as to the way Led him and Amos Garrett (then with Paul Zeppelin translated the blues. In “Bring On Butterfield), David Sanborn and Dr. John on The Music,” blues of many stripes turn to hand as well. The Good Doctor is also part

38 Blues Music Magazine BOOKER T JONES Sound The Alarm Stax/Concord

Slap on the title cut from Booker T’s latest on Stax and you might think you’ve been shipped the wrong CD: Booker T hijacked by some EDM purveyor. What sounds like the voice of B.B. King introduces Jones on of McNally’s homage to Charles, playing explode on the blues scene, accumulating organ, but that’s the only way you’d know predictably fine piano and B-3 organ and awards and audiences. They are superb it’s him. The rest of the cut is a thumping sharing producer credit. His Lower 911 musicians. Matt Sobb on drums and per- bass line overlaid by a bunch of somebod- Band (John Fohl guitar, David Barard bass, cussion, Tony Diteodoro on lead guitar, and ies we assume from the liner notes are Herman Ernest drums) are the core musi- Steve Marriner on baritone guitar, keys, friends or clones of Mayer Hawthorne cians, along with over-dubbed contributions harp, and superb lead vocals, deliver a chanting “ooh ooh I’m wondering,” or from Luther Dickinson, Derek Trucks, Will remarkably full sound, especially since they maybe it’s “ooh ooh I’m hungry” with Jones Sexton, and country music’s reigning don’t use a bass. occasionally burbling organically in monarch Vince Gill. But CDs are more than musicianship. between the disco goings on. Charles, who died during this album’s Their name comes from something Son It’s one hell of a reintroduction for the four-year gestation, is said to have been in House said, ‘I’m talking about the blues, four-time Grammy winner and one of the attendance for the primary sessions, and it I ain’t talking ‘bout no monkeyjunk.’ seminal figures in soul’s return to the spot- was also one of the last projects for prolific That’s my problem – this CD is long on light on the label that made he and his New Orleans arranger Wardell Quezergue MonkeyJunk but short on blues. band mates famous back in the ‘60s. But who provided the strings for several songs. To be sure, this CD is informed by the as you delve deeper into the record, the The album kicks off with the up-tempo blues, but for the most part, this recording Booker T most people of his generation funk of “Street People,” a song about life, is much closer to rock. You can readily loved and revered reveals his presence which might well stand as Charles’ philo- hear reminders of Cream, Bad Company, with updated glimpses into the past. The sophical position. McNally’s voice, with its and other blues-influenced rock bands of instrumental “Austin City Blues,” featuring flattened intonations, wears well throughout the 1960s. A few of the tracks, “You Make Gary Clark, Jr. on guitar, sounds more like the disc’s 50-minute length and pairs up A Mess,” “Right From Wrong,” and espe- Jones used to when he led the MGs in the neatly with Dr. John when they bounce cially “Why Are People Like That,” do a ‘60s, backing Otis Redding, Sam and Dave, vocal lines in “Long Face.” She and Gill great job of combining blues and rock Eddie Floyd, and other Stax artists on tour also combine for a warm reading on the (with a splash of swamp water thrown in). and in the studio. “‘66 Impala” is vintage ballad “String Of Hearts.” But then nearly But there are more that really don’t work. Booker, stuttering B-3 spiced up by every track is a standout. If this were still a They’re impeccably played, but ultimately Sheila E.’s timbales. Likewise, the instru- time when picking a single mattered, my forgettable, generic rock songs. One even mental “Father Son Blues” is a great soul nomination would be “Love In The Worse ventures into what can only be termed vehicle for Jones’ burbling B-3 supporting Degree.” It’s a steamroller of a song. Also light rock. Ted Jones’ stinging guitar leads. worth seeking is McNally’s album Geronimo There is one outstanding song, how- But if you’re looking for an oldies from 2005 with Charles’ song, “Tennessee ever. The spiritual-inflected “Once Had record, this ain’t it. Even though he wrote Blues” a standout too. Wings” is reminiscent of the very roots of or co-wrote all the cuts, many are just – Bill Wasserzieher blues, but with a fresh, modern overlay vehicles for the various guest stars with that makes it work on every level. This is Jones buried waaay back in the mix. the MonkeyJunk that set the blues world Estelle’s “Can’t Wait” is all about her, on fire. This is what we need from them. Jones just the organ player on the session. MONKEYJUNK They are very good rockers, but they are All Frequencies exceptional bluesmen. The world doesn’t need another good rock band, but it is dire Stony Plain need of a fresh, innovative, musically stun- ning blues/roots band. There is, of course, Blues is evolving, as it should, but some- no dividing line between rock and blues – times it’s difficult to determine if a CD is a it’s more of a fuzzy smudge. For my rock-infused blues album or a blues-tinted tastes, this superb blues/roots band has rock album. That is the case with the third crossed over the smudge. I hope they CD from Canada’s MonkeyJunk, as they cross back over, or at least straddle it, on turn away from their innovative roots/ their next CD. blues/swamp boogie that saw them – Lex Dunn

Blues Music Magazine 39 Anthony Hamilton’s “Gently” is neo-soul Dierwechter offers up backing vocals on mush, again with Booker as a buried “Working Man’s Blues,” by Freda Gantt, session man. which closes out the album. But the whole thing becomes worth- Of the 13 songs on this CD, six are while with Vintage Trouble’s “Your Love Is written by Koch, with the remaining covers No Love.” It’s transfixing, spectacular soul, including the Marc Benno/Doyle Bramhall Ty Taylor’s vocals wrenched from the Otis II/Doyle Bramhall “Shape I’m In,” Redding vault of raw, bloody-kneed, heart- Bramhall’s “Too Sorry For You.” and an out- wrenching soul while Jones buoys him on a standing version of Elmore James’ oft- soulful funky sea of churchy organ. This recorded “It Hurts Me Too,” done here with thing is a gem that should be the breakout Koch’s appealingly emotional blues voice single. and some rocking slide work. The most Great to have Booker T back. Now if appealing of Koch originals is the lyrically working with other veterans as he does we could just get him just a bit farther back, powerful “I Only Want To Be With You,” with with The Mannish Boys and here. Zac we’d be riding high once again in the soul- slide work that is arresting. Other well con- Harmon is the other vocalist and guitarist. ful Stax style to which we’ve become ceived and played tunes include the boo- Voted best new blues artist by Sirius/XM accustomed, courtesy of the engineering of gie-band “I Don’t Know Why,” and the slow listeners in 2005, Harmon is another late Booker T Jones. blues “Lonely Avenue,” which has that bloomer who has phenomenal stage pres- – Grant Britt ethereal-sounding single string vibrato slide ence and handles vocals like another work that sounds like a reprise of Santo instrument. Imagine if Frank Sinatra had and Johnny via the estimable Mr. Koch. been a blues man and really believed in In this reviewer’s opinion, this CD the genre. STERLING KOCH doesn’t feature the strength of most of the Taj Mahal once told me that Muddy Let It Slide covers that were on Slide Ruler. On the Waters worked tirelessly to create the other hand, the originals are as good as, arrangements for his electric band where Full Force or better, and the playing, as always, is as the average listener thought they were emotionally involving as superb lap slide jamming on stage. As comfortable as this Sterling Koch (pronounced “Cook”) is back should be. CD is, you can tell that a lot of effort went with a follow-up to his well-received Slide – Michael Cala into these arrangements by a group of vet- Ruler of 2011. That CD, lauded by critics, erans who have created a gumbo “for the featured well-chosen covers ranging from mature blues aficionado.” (My quotes) This Santo and Johnny’s “Sleepwalk” to Elmore is a welcome offering in a genre exploding James’s “One Way Out” and Little Junior RUFF KUTT BLUES BAND with young people looking in the rearview Parker’s “Driving Wheel.” The CD demon- That’s When The Blues Begins mirror. These guys know how to apply their strated Koch’s prowess as both slide gui- heritage to a fresh potpourri. tarist and blues/rock vocalist to great effect, VizzTone – Don Wilcock and featured the fine drumming of Doobie Brothers alumnus Chet McCracken. Bass player James Goode wrote all the This time around, Koch is back with songs on this, the second album by this tal- his MSA Superslide lap steel guitar in what ented ensemble. While he’s described as DAVE RILEY feels like Volume II of Slide Ruler. It comes the “creator” of the band, his claim to fame AND BOB CORRITORE to us with some equally fine playing featur- is that he an inductee into the Rockabilly Hush Your Fuss ing Koch on lap steel and vocals, Gene Hall of Fame with his former band The Babula on bass, and John Goba on drums. Excels. This CD is not rockabilly, but rather VizzTone Keyboardist Larry Adam is featured on a Gulf Coast blues ensemble of disparate Koch’s “I Only Want To Be With You,” a talents who obviously really enjoyed each In the spirit of Brownie and Sonny or slow blues with some plaintive licks under- other’s company in creating a beautiful Cephas and Wiggins, Dave Riley and Bob scoring the song’s theme, while Jennifer album of cruising blues that’s as comfort- Corritore have teamed up for the past eight able and as in the pocket as the Holmes Brothers at their best. If there is a common thread here, it’s that three of the band members have his- tory with Anson Funderburgh, who pro- duced and played guitar throughout: Forrest Wesley (drums), Ron Jones (sax), and Gentleman John Street (keyboards). Finis Tasby handles vocals on six of the 14 cuts. A veteran who’s worked with everyone from Big Mama Thornton to John Lee Hooker, Tasby really shines when he’s

40 Blues Music Magazine years serving up a similar, stripped down He’s followed that same format on his blues. But unlike the Piedmont style of seventh CD by inviting many of his boat those other duos, Riley’s vocals and guitar friends into the studio,. Though his band of and Corritore’s harp combine the grittier Buckshot Hunters anchors each of the sounds of Chicago and the Mississippi 12 songs, the friends assembled add Delta. unique dimensions to each. “Baby Please Come Home” is typical The opening tune, William Bell’s soul of the sound we’ve come to expect from drenched “Everyday Will Be Like A Holi- this duo, visiting Slim Harpo harp territory. day,” adds the background vocals of Swe- But when Riley drops in, he’s dragging a den’s Sven Zetterberg and the U.S.’s Larry barge load of Mississippi mud, sounding McCray. Lauritsen’s pleading vocals play like the Wendell Holmes’ scratchy, soulful off the Memphis soul arrangements of Paul croak. Corritore’s tone is clear and bright Ruffino, and drummer James Cunningham, Wagnberg’s B-3 and Arnfinn Torrisen’s on the rocking shuffle. As you might expect is further augmented by organist Chris greasy guitar. Because half the CD was from the title, “Snuff Dippin’ Woman” is low Stephenson on four tracks. Santini is heard recorded in Memphis, Lauritsen employs down and nasty, a messy portrait of Riley’s on diatonic and chromatic and for the most that city’s attitude on his own “Play By The beloved, snuff juice running all down her part employs a brawny, raucous tone sug- Rules,” featuring Victor Wainwright on chin. “She kissed me once,” Riley admits, gestive of Little Walter’s fiercer side as evi- piano, Josh Roberts on slide guitar, and as Corritore’s harp wails mournfully behind, denced by the grinding boogie of “I Got the vocal addition of Teresa James. That “but I never let her kiss me again.” The Good Lovin’,” the slow blues about same instrumental pair shine with Laurit- autobiographical “Home In Chicago” romance “Late In The Evening,” the loping sen’s accordion on Wainwright’s “Memphis recounts Riley’s first glimpse of the big city “Things You Putting Down,” Wainwright’s Boogie.” coming up from Mississippi: “Bright lights wry soul-rock amalgam about an avaricious Lauritsen puts his Cajun-styled accor- and tall buildings as far as I could see.” lover “Coin Operated Woman,” and the dion to the torchy, oft-recorded R&B tune, Riley switches to electric guitar for this one introspective title track (co-written by Char- “Mathilda.” His “Find My Little Girl” rides on to really show off his impressive picking lie Musselwhite and reminiscent of his tune Torrisen’s Chuck Berry guitar groove and skills while proclaiming “You can take me “Baby Won’t You Please Help Me”). features Anson Funderburgh’s earthy guitar out of the country but can’t take the country The darkest original, the melancholy solo. Other guests include the double har- out of me.” Riley spends much of “Laugh- “Dig Me A Grave,” features a halting chro- monicas of Lauritsen and Billy Gibson, the ing Blues” cackling over a simple chugging matic and ethereal organ befitting its subject piano of Wainwright and the sturdy bass of rhythm while Corritore dances around him matter. Sonny Boy II is channeled on “What current Mannish Boy Willie J. Campbell tossing harp cackles back at him. And Cor- You Doing To Me” and “Been So Blue.” on Walter Horton’s “Need My Babe,” the ritore demonstrates why he won the 2012 Sonny Boy’s spry send-off “Bye, Bye Bird” bluesiest cut on the record. Memphis’s Reba Living Blues Award for harmonica when he evokes Sonny Boy more so than the Latin- Russell adds her voice to three songs, the takes a Sonny Boy Williamson ride on tinged, Little Walter-like “Raise Your New Orleans-styled “Next Time,” which also “Happy As A Man Can Be.” Window,” aka “One Way Out” (popularized features Wainwright’s Prof. Longhair rolling Although low key, this duo’s latest by the Allman Brothers and on a smaller piano, the love ballad, “I’ll Never Get Over offering still packs a wallop. Whether you’re scale with other mid-Sixties permutations by You,” and “Ever Since The World Began.” warming up to go jukin’ or setting up for a Jimmy Reed, G.L. Crockett, Junior Wells, After a record filled with talented array back porch foot-dangling session, Riley and and Elmore James). A soulful, no nonsense of guests, the final song is a stripped down Corritore are the perfect companions for a vocalist who eschews affectation, the hard- blues quartet, Lauritsen on harp, Campbell laid-back evening’s entertainment. touring Santini keeps the music of the mas- on bass, Greg Gumpel on guitar, and Big – Grant Britt ters alive on his latest and further bolsters Jon Grimsby on drums. Lauritsen’s arrange- his reputation as one of the top young ments of each song allow space for you to harmonica players on the current scene. hear the uncluttered work of his musicians – Thomas J. Cullen III and singers. Definitely a CD that captures a BRANDON SANTINI diversity of music to play over and over. – Art Tipaldi This Time Another Year Swing Suit J.T. LAURITSEN Play By The Rules On his second release, the Memphis-based harmonica ace offers a solid collection of Hunter 12 old school-inspired tunes that will delight harp fans. These include eight originals, Each year, Norway’s J.T. Lauritsen runs his two Sonny Boy Williamson II covers, and version of the Legendary Rhythm & Blues one cover each by Walter Horton and by Cruise. He packs fans on an overnight special guest Victor Wainwright (who plays ferry from Olso to Germany and invites piano on three tracks). Santini’s band, gui- many of his American and European musi- tarist/co-producer Jeff Jensen, bassist Bill cal friends for the onboard blues blowout.

Blues Music Magazine 41 prove welcome surprises. Of special note is the title track – another original and as fine DAVID GOGO an example of Gogo’s ability to conjure a Come On Down mood – as he injects it with a slightly fore- boding bayou feel through his use of Cordova Bay snaking guitar lines and a touch of tremolo. Given that half this release is packed with David Gogo would be the first to admit he’s standup original material speaks highly of hardly an overnight success. Yet his rich, both what he has learned and where he 13-disc catalogue has provided the perfect wants to take it. learning curve to arriving at an album as – Eric G. Thom fully realized as Come On Down. He’s long been a blues player, yet Gogo’s always dis- with a similar effect on “E. Groove,” a played a penchant for smart covers by play- number that digs into a ‘40s big band sound ers who have meant something to him. He’s CHARLES “BIG DADDY” that’s refreshing in this set. also long incubated a natural inclination for STALLINGS Clocking in with 20 tracks at a little soul, R&B, and gospel, and it’s these ele- I Like It When They over an hour, the disc runs long. There’s an ments that make Come On Down such an Call Me Big Daddy ebb and flow to the set as it winds up the undeniably strong package. His vocals may party and then cools it down to a mellow fall short of his guitar-playing skills, he Tai Jeria groove. There are some definite highlights, pushes his voice at times, yet he chooses with Stallings’ witty writing at the forefront. material that fit his vocals best. For his fourth album, Charles “Big Daddy” The band is rock solid with undeniable Consider his own “Worth It,” which Stallings has assembled some of his usual chops. But overall, the disc falls short of rings comfortably with a Stax feel, but- supporting cast along with some new band Stallings’ previous efforts. tressed by the background singing of Amber mates for another night of partying. As with – Eric Wrisley Handley, Tina Jones, Shelley Beeston, and earlier releases, the tunes are a collection Ken Ermter. His voice works perfectly, his of originals across a spectrum of high solos tasteful and deep-set. “Natchez Dog” energy dance tunes, 1970s-styled funk, and turns over a familiar blues page, with a a few stripped down blues grooves. As LIGHTNIN’ MALCOLM patented Gogo slide and strong harp from always, it’s not a one-man operation: Rough Out There Shawn Hall. The slow, slippery “Kings” is Stallings leads the unit, but the backing pure rock with strong guitar lines and the band brings the heat. Shakedown added punch of his backup singers. Smart It is, in fact, the band that is the most takes on ARS’ “So Into You,” with its funky impressive here. Anthony “Swamp Dog” When he’s not toiling as bassist for the backbeat, backup singers, sturdy B-3 and Clark handles most of the harp on the disc, North Mississippi Allstars, former T-Model sinuous guitar leads demonstrated his pen- and he’s as deep and soulful as you could Ford drummer and one man band Lightnin’ chant for covers. Ashford & Simpson’s “Let’s ask for. On “Young Boy, Young Man,” he Malcolm keeps Mississippi Hill Country Go Get Stoned” gets a lazy blues treatment plays perfect counterpoint to Stallings ram- blues alive with his own band. And like most as its backup singers, stinging leads, piano, bling storytelling vocals. Leroy Flowers, Jr. of the music he plays, he keeps his band and B-3, transform it into a rally cry. ties that barebones blues number together stripped down, utilizing Ford’s grandson The seemingly odd choice of Robert on bass. Elsewhere, Flowers takes a turn Carl Gentle White, aka Studs, on drums Palmer’s “Looking For Clues” gets a fresh on lead guitar, driving the Memphis-y “Beu- for half the record, and percussionist Cam and funky treatment while a double-hit of lah Mae.” But these tunes are the cool- Jones for the other half, as his main accom- Fleetwood Mac content in Christine McVie’s down numbers for the dancers in the crowd. paniment and lets Allstar brother Luther Bare Trees-era “Spare Me A Little Of Your On “James #2,” the group ramps back up Dickinson sit in on guitar for a few cuts. Love” – a rock-solid disc highlight here, with Clarence Ward III as a one-man horn Malcolm kicks off his latest with slowed down to revel in it – and Lindsey section, doing triple duty on trumpet, sax, “Workin’,” churning out a Hendrix-like Buckingham’s pre-Rumours “World Turning” and flugelhorn. A tribute to James Brown, drone if Hendrix was from the Hill Country the tune channels the Godfather of Soul’s energy, letting everyone take a turn in the spotlight. Naturally, no Big Daddy Stallings outing is complete without the ladies, and not just as window dressing. Various numbers slide into Southern soul blues with a variety of female backing singers. These women carry the day on a couple of otherwise ho-hum tracks. If not for Nova Peele’s vocals, “My New Chevy Van” would be a rather lifeless track; Peele is joined by Deletta Gillespie

42 Blues Music Magazine of Mississippi, with some backwoods It ain’t for everybody, even though it’s Pentecostal gospel fervor stirred in trying to be. It’s good stuff, a diverse offer- towards the end. But he’s not content to ing, reaching out to a younger generation. keep all his music hilly. He’s all over the The major problem is going to be getting place on this outing. “My Life’s A Wreck” is blues fans to listen to hip-hop, no matter a pretty simple concept, three chords and what Mississippi hill it came from. some rough truths, summed up in three – Grant Britt lines: “My baby put me out no place to stay/I slapped that judge all about my fine/My life’s ‘s a wreck, boy, I got to try to keep it ‘tween the ditches.” Malcolm hooks STUDEBAKER JOHN’S up a wah-wah pedal for the reggae- MAXWELL STREET KINGS soaked “Reality Check,” a minimalistic Kingsville Jukin’ Chicago”). Grimaldi and his Maxwell Street message song: if you get out of line and Kings, cruise through 16 such numbers on get a big head, God will send you a reality Delmark this disc. Not always rapidly, but even the check you don’t wanna cash. And “Rough more relaxed tunes have an underlying Out There” has a hip-hop sensibility, a The buzzing sound lets you know right away throb from his stringed engine, that exhila- cautionary tale of how slinging rock will that John “Studebaker John” Grimaldi is rating sense of anticipatory energy. Rick get you a bunk in the graybar hotel. revved and ready to go! You can feel his gui- Kreher navigates with his own guitar; Bob Aided by Dickinson’s wiggly slide, tar ripping through the cool, purple night, just Halaj (of Big Twist and the Mellow Fellows “Stomp Yo Feet Clap Yo Hands” takes you like the1963 Studebaker Silver Hawk classic fame) contributes the bass that frames the to rowdy, foot stompin’, church-like sacred car he reportedly drives, hurtling up the Dan vehicle; and Steve Cushing (who hosts an steel offering from Robert Randolph and the Ryan Expressway through the South Side NPR blues show called “Blues Before Slide Brothers. Malcolm closes with another and on to the JFK. Maybe that’s the way Sunrise”) controls its pace with his churchy offering. But “How Blessed You he’d get to downtown were he driving from nuanced, minimalist drumming. Are” comes more from the church of hip- Mississippi to Chicago. It also happens to be “Wicked Soul” is a good example of hop, even featuring a touch of autotune to the name of the first track on his recent what I mean. It’s got a basic 2-4 syncopated smooth out the rap. release, Kingsville Jukin’ (“Mississippi To rhythm, jangly, recurring reverb guitar

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Blues Music Magazine 43 chords, and gentle backing vocal harmonies that complement John’s rattling voice. This man is an under-celebrated blues treasure. He’s proudly influenced by Chicago’s old Maxwell Street Market music landscape and the artists he found there, from Muddy Waters to Hound Dog Taylor. He can make his harmonica seem like he’s using it to seduce a snake, the way he plays on the instrumental title track, “Kingsville Jukin’” (dedicated to former Maxwell Street regular Big John Wrencher in the liner notes). It’s got Cushing putting down a boom-chicka- Southside Johnny and the Asbury Jukes boom beat, working the high-hat and bass complete with mellow horn accompani- drum pedal, while Kreher runs scalic figures ment. Shuffling along on “Walked All The up and down again within the four-beat Way,” Nahumko excavates a Stevie Ray measures. The effect is mesmerizing. Vaughan groove deep enough to wallow in But so are the other 14, all Studebaker with McKaba dropping in for some Pinetop- John originals, on this splendid effort. They inspired piano tinkling. Slim Harpo’s sound so authentically “period” that I had to “Scratch My Back” was obviously the inspi- glance back and forth at the liner notes to ration for the instrumental “The Hit,” featur- verify their provenance. Sometimes imita- ing the same bass line and Harpo-like tion is derivative; this time it’s an extension swamp harmonica bubbling around and of the Masters Studebaker John grew up underneath the proceedings. listening to. You’d be foolish not to give this “You Don’t Love Me” is so smooth that release a test spin. you can get lost in it. Sounds like a Ray – M.E. Travaglini Charles composition backed by his big band with mellow horns laying down a gen- tly flowing current you could float around on all day long. You keep waiting for the LITTLE MIKE Raelettes to break in with with some sexy, AND THE TORNADOES sassy backtalk, but instead you get Forgive Me Nahumko gliding along with some laid back Texas style take it easy licks. Elrob “Traveling Blues” is what Markowitz FESTIVAL should have called this release. It’s a Little Mike Markowitz advertises his travelogue of blues styles from all over by CONSULTANT Chicago-style sound as working class a road tested, rockin’ bar band that goes blues. The harpist made an auspicious down easy but stays with you for a long, debut back in ‘88 producing Pinetop satisfying buzz. Perkins’ After Hours, then producing and – Grant Britt guesting on Hubert Sumlin’s ‘89 release, FOUNDER OF THE Heart And Soul. NORTH ATLANTIC BLUES FESTIVAL With his band the Tornadoes, Markowitz mixes up a potent cocktail of SCOTTYBOY DANIEL Texas and Chicago bar band blues. Gui- BLUES BAND . tarist Troy Nahumko tosses some tasty PaulRockland, E Benjamin ME Mercy – A Tribute Anson Funderburgh-style licks around on ToWilliam Clarke his twangy original instrumental, 207-596-6055 “Opelousas Rain.” Markowitz takes us on a Blue Edge Chicago harp excursion by way of Texas, [email protected] shuffling along at a sedate pace on “Wait A For his second album, Kansas City harp Minute Baby,” Jim McKaba burbling along player Scott Daniel pays tribute to one of underneath on B-3. Though most songs his main inspirations, the late, great West here are at least five minutes long, “My Coast Master Blaster William Clarke. Nine Little Therese,” a slow drag featuring of the 13 tracks are from Clarke’s magnifi- Markowitz at his quavery, wailing best on cent four album Alligator oeuvre (1990- harp, clocks in at 11 minutes. Markowitz 1996) and they are, for the most part, eerily spreads some smooth vocal soul on similar recreations of beloved Clarke tunes “Nothin I Wouldn’t Do,” sounding like like “Blowin’ Like Hell,” “Lollipop Mama,”

44 Blues Music Magazine order. You’ll hear whispers of Bramblett’s time with Gregg Allman, Levon Helm, Gov’t Mule, and Widespread Panic, too. KEVIN SELFE But there’s something else going on Long Walk Home here, too – something that has to do with Ray Charles, Steve Forbert, Howlin’ Wolf, Delta Groove and Stax Records, something that feels more deeply Southern in the sense that it He’s been a Fat Daddy and a Cheap Thrills settles into that crossroads moment when sideman. But since 2005, Virginia native genres comingle into a spicy gumbo of Kevin Selfe has been stirring up Portland, emotion. Something that is, ultimately, Oregon, audiences with his band the Torna- Bramblett’s alone. does, garnering eight Muddy awards and and “Lookin’ To The Future” (to name a Like the field holler that came before Best Traditional and Contemporary Blues few). The album concludes with Daniel’s and the back-pew gospel shout, like the Act nods for several years running. lugubrious slow blues, “Tribute To William wiry Delta blues and hard-bitten front-porch Long Walk Home is fairly laid back Clarke.” folk tale, The Bright Spots thrums with no presentation, a collection of styles from Daniel has Clarke’s muscular tone (on small amount of pain, but yet it’s veined Texas to Chicago with a Delta stopover as diatonic and chromatic) and puissant horn- with a kind of black-humored joy, too. Bram- well. “Duck Tape On My Soul” is a laconic like phrasing down pat; however, his vocals blett, in his own way, renounces the blues in shuffle with a ‘40s feel that pays homage to lack Clarke’s gruff and gritty soulfulness. Bill order to become sanctified, rising above the T-Bone Walker, culminating in a raspy Clarke was my friend. No death in my many disappointments; the setbacks and the honkin’ sax outro. Walker’s spirit gets years of working with the blues deeply sad- heartache to appreciate the winking irony at called up again for “Moving Day Blues,” dened me as his untimely passing at age 45. play in these endless challenges. Selfe’s guitar stinging and burning its way I was an early champion of his music and Recording principally at home in Athens, through an otherwise mellow big band had the opportunity to produce three shows Georgia, Bramblett also put down five cuts in arrangement. Guest ex-Thunderbirds with him. His show on a Tuesday night in Nashville with drummer/producer Gerry /Blasters pianist Gene Taylor jumps in for early December 1990 at the Dugout in Levit- Hansen crafting songs that connect with the some fleet fingered boogie-woogie with town, Pennsylvania, was one of the greatest past (the angular album-opening “Roll,” the Selfe shoutin’ like Louis Prima and burning I have ever witnessed: two incredible two gritty “Whatever That Is”) and the future (as in up the fretboard on the ‘50s sounding plus hour sets played by a man possessed. the looped cadences on “John The Baptist” “Why You Walk Funny.” Nothing here matches that otherworldly and “You Bring Me Down”), with our innate “Too Much Voodoo” crosses Albert intensity nor did I expect it to. Nonetheless, sense of hopefulness (the gospel-inflected Collins’ frosty picking style with a gritty Daniel amply demonstrates his love, respect, “Shine,” the deeply resonant “All Is Well”), gravel throated vocal. “Last Crossroad” rat- and knowledge of Clarke’s music on this and our desire to run away from it all (the tles along a hellhound trail Robert Johnson heartfelt homage, which is endorsed by funky “‘Til The Party’s All Gone,” the love- was familiar with, Selfe’ sounding like he’s Clarke’s widow Jeannette Clarke Lodovici. struck “Rumbling Bridge”). The Bright Spots been up all night wrestling with the devil for Clarke completists and serious harmonica is just as apt to whisper a quiet entreaty his soul. Selfe breaks out of the mellow aficionados will most want Mercy! Those (“Every Saint,” “Detox Bracelet”) as it is to mode with “Put Me Back In Jail,” an original unfamiliar with William Clarke should start ramp up into a sizzling soul aside (“Whatever that could have been given birth to on the with Blowin’ Like Hell and go from there. That Is,” “Trying To Steal A Minute”). same three-legged kitchen table as Hound – Thomas J. Cullen III In this way, The Bright Spots plants its Dog Taylor borrowed one leg from for a slide flag on a broadly appealing vista, surveying on his raw nasty version of “Gimme Back so many differing styles and feels that it can My Wig.” The guitarist ventures into swampy only be described as uniquely Southern – Tony Joe White territory on “Midnight RANDALL BRAMBLETT but, more particularly, uniquely Randall Creeper” with some sinister, slippery slide The Bright Spots Bramblett’s. Coming from the heart, it con- slithering around an Omar Dykes-flavored, nects in an elemental, deeply personal way. grave dirt clogged vocal. Although it’s an New West – Nick DeRiso original like all the others on the release,

It would be easy enough to tag this as Southern rock, or as blues, or even as gospel, were Randall Bramblett’s The Bright Spots not so consistently all of those things, and something more. Having served a lengthy apprentice- ship with Steve Winwood, and recently had his tune “Used To Rule The World” featured on Bonnie Raitt’s Grammy-winning triumph Slipstream, Bramblett certainly arrives at this, his ninth solo album, with his papers in

Blues Music Magazine 45 “Second Box On The Left,” the tale of a man This is probably one of the more effective down on his luck whose residence is now tracks on this listenable CD. made of cardboard, sounds like a Leiber On the songwriting front, Lawrence and Stoller Coasters tune, shuffling along in acquits himself with some nicely varied the laconic style of “Shopping For Clothes.” arrangements that reflect shifts in mood and There’s enough versatility here to tone, enhanced by the fine track sequenc- satisfy an arena full of blues fans, which is ing. Of the 13 songs, 11 are penned by undoubtedly where Selfe will end up if he Lawrence, while two are well-chosen cov- keeps up this level of performance. ers, “Death’s Black Train” (traditional) and Get your tickets now while they’re still “Canned Heat Blues” (Tommy Johnson), available. both competently rendered. – Grant Britt The excellent band lineup also includes Russell Jackson on doghouse should have left alone. It just doesn’t work, bass, David Aide on Hammond B-3, and sounding too dressed up for the material, Dwayne Hrinkiuw on percussion. In addition like some sequined-studded gowned, bouf- MARSHALL LAWRENCE to the Holmes Brothers, background vocals fant haired ‘70s pop singer paying “tribute” House Call are provided by Barry Allen. This album isn’t to Joplin on the Ed Sullivan show. killer blues, but, like our neighbors to the Despite the missteps, Valori redeems Self-release north, it’s firm, it’s friendly, and it rocks in its herself somewhat on the final cut, “If I Can’t own way. Have You,” with the aid of a duet from Marshall Lawrence is considered one of – Michael Cala Magic Sam’s cousin, Chicago soul man Canada’s best finger style blues guitarists. Mike Wheeler, moaning and howling like a (He’s also a psychologist with a PhD, but man possessed. But once again, trying to that has nothing to do with this review.) stuff her feet into the shoes of an icon like House Call is Lawrence’s fourth CD, and LINDA VALORI Etta James proves to be a daunting task. features some excellent guitar and harp Days Like This Valori blusters her way through, but her playing, a nice rhythm section, surprise over the top delivery still can’t match Etta’s guests The Holmes Brothers providing Raisin gritty soul and don’t-mess-with-me attitude backup vocals, and otherwise merely com- that radiated off her in waves. Valori’s obvi- petent vocals by Lawrence. He has a so- Linda Valori is not herself these days. For ously got the vocal chops to sing the blues. what tenor that doesn’t seem to be able to her latest outing, Days Like This, the Italian But it would be a lot nicer to hear if she’d do what his blues need – to sound bluesier, singer hires herself out as an interpreter, stop trying on other people’s shoes and find more inflected and uniquely phrased. Still, re-imagining R&B cuts from Van Morrison to a pair that fits her. the album is nicely sequenced in terms of Ike Turner. Some claim she sounds like – Grant Britt tempo and mood. It features Lawrence’s Anastacia, but not on this release. Valori fine guitar playing, while the evocative reaches back into R&B vaults for Van blues-rock harp playing by David “Hurri- Morrison’s “Days Like This,” but her version cane” Hoerl on the opening tracks recalls is a continent away from his, sounding more LONG TALL DEB John Mayall’s chordy staccato harp style. like Diana Ross and the Supremes’ ‘64 hit Raise Your Hands The first two tracks are upbeat blues, “Come See About Me.” While Valori’s followed by a hybrid gospel/soul/Delta knockoff of Ike Turner’s ‘61 Tina vehicle VizzTone piece composed by Lawrence and featur- “I Idolize You” has plenty of horsepower, it ing the Holmes Brothers on intro and back- lacks Tina’s sexy growl, sounding a bit too Singer-songwriter Long Tall Deb Landolt is ground vocals. Titled “Factory Closing slick for its dirt track roots. fully couched in blues and blues-rock Blues,” it’s a musically minimalist shuffle It takes a lot of brass to mess with any- throughout her VizzTone debut, but her that nicely integrates Lawrence’s National thing Chrissie Hynde has put her indelible lyrics break new thematic ground. With Guitar under and over counterpoint vocals stamp on, especially her signature tune, songs like “The Last Time,” about the pres- by the Holmes Brothers and Lawrence. “Don’t Get Me Wrong.” While this cover is in sures of the nine to five world and her no danger of eclipsing Hynde’s, Valori’s reg- gae themed presentation is a very satisfying version. Covering Bobby Charles’ “Jealous Kind” is also a risky but Valori’s version has its moments when she drops her American Idol contestant bombast for some low down, sultry moments you wish she would sustain instead of trying to loop her tonsils over the chandelier every time the chorus comes back around. Valori’s most ambitious effort is taking on Janis Joplin’s “Move Over.” This one she

46 Blues Music Magazine opener, “What Would A Good Woman Do,” Timeless is the result – in every way. Landolt delivers blues for the new millen- He praises the place right off, before nium. Others include “Finally Forgot Your launching into a cool, percussive take on Name,” about the perils of dating in the friend Tom Waits’ “No One Can Forgive Me modern world and “Married To The Blues,” But My Baby,” his enthusiasm never waver- a strikingly original track where she sings: ing through the 15 comfortably naked “the blues don’t care when my money’s all performances. run out, and the blues don’t care if I’m down Hammond’s always been at his best and out, and the blues don’t care if I’m not a with a guitar on his thigh and a harp rack hot young thing, and the blues don’t care if I around his neck, singing his heart out in won’t wear his ring.” that great rubbery voice of his. The scope of Landolt is accompanied by more than this set ranges across the blues board, and a dozen diversified musicians, all credited ensconced the Florida native inside a rural includes his original “Heartache Blues,” an on the inside jacket of the tri-fold CD, Louisiana home studio. At the same time, early Mississippi Delta-styled highlight. including the Roomful Of Blues horns, though, having a new voice in the room Hammond can also work a crowd. Without Jimmy Thackery, and New Jersey’s Matt clearly sent Fowler in search of other vistas seeing them, you know they’re going to O’Ree. In spite of all these guest musi- – and he found them on Sounds Of Home, explode at the close of his spirited rip full of cians, Landolt has managed to deliver a courtesy of Blind Pig Records. demon harp through Little Walter’s “Tell Me well-mastered, well-produced album that is For every time Fowler sits back on a Mama.” The wonderful excitement of a a cohesive whole. Of course, the focus is Southern front-porch swing, picking his way super show translates naturally on this CD. where it should be, on Landolt’s front and through “Where I Belong,” he pushes him- Chicago icon Jimmy Rogers’ “Going Away center vocals and the modern blues lyrics self toward less-traveled paths like country Baby” and Big Joe Turner by way of Sleepy she wrote or co-wrote with keyboardist (the perfectly titled “Old Fools, Bar Stools John Estes’ “Drop Down Mama” both get John Popovich. And Me”). And Fowler simply has never done in a hard stomp, the latter way more – Richard J. Skelly played better, showing off a notable control frenzied. “That Nasty Swing” by 1930’s while continually stirring in new elements of country and blues singer Cliff Carlisle works Americana, R&B, and grease-popping soul. quite well in the grand scheme, as does Even scalding rockers like “Thought I Had It Chuck Berry’s “No Money Down.” The wis- DAMON FOWLER All,” as with Fowler’s finely attenuated ear- dom is palpable in these interpretations. Sounds Of Home lier releases, find their true portent without Timeless says it. ever being showy. – Tom Clarke Blind Pig – Nick DeRiso

Damon Fowler’s career was hardly in need of enlivening. This is a guy who, over the MAGIC SAM past few years, has not only been unleash- JOHN HAMMOND Live At The Avant Garde ing his own rootsy blues-rock outings but Timeless has also co-founded the good-time, Dixie- Delmark groove Southern Hospitality band. Along Megaforce the way, Fowler’s been favorably compared Recorded June 22, 1968 at a Milwaukee to Johnny Winter, then picked up a slide With an easy smile, hearty voice, and a full coffeehouse that regularly featured blues, and drew parallels with Duane Allman. head of snow, John Hammond appears as this is the best of Magic Sam’s live albums. That’s to say nothing of his steel and dobro timeless as the blues he’s been all over for The sound is remarkably crisp and clear work. But, as Fowler’s forthcoming new fifty years. And he still means it. So, genu- considering the equipment used by the then solo album Sounds Of Home so handily flect at the world’s only Chinese restaurant 18-year-old engineer/producer Jim Charne: attests, there’s are still plenty of side roads, altar of “Eggroll, Jazz, and Blues,” because tape deck, multiple mics, but no mixer. tributaries, and byways to explore. Woonsocket, Rhode Island’s Chan’s had According to Charne’s informative liner For one thing, who would have Hammond in the room last May, and notes, “Sam could not have been more gra- guessed how easily he’d slip into Elvis cious and accommodating when I showed Costello’s “Alison,” giving it a new patina of up with my gear. Mics were carefully posi- gritty emotion? That Fowler dove so giddily tioned all around the stage, and a room mic into Winters’ “TV Mama,” well, that’s to be was added for flavor and fill. What we heard expected. But the gospel profundity of “I in the room is what we got on the machine.” Shall Not Be Moved”? Fowler is clearly in I was lucky enough to see Magic Sam the mood to push himself into new corners the following summer at a small coffeehouse of his craft, and into new depths of emotion, and spend the day with him before the and he picked just the right collaborator to show. I cherish that memory and there is a do that in Tab Benoit. bit more than a scintilla of sentimentality Ultimately, there must have been some comfort in Fowler’s surroundings, as Benoit CONTINUED ON PAGE 50

Blues Music Magazine 47 MICHAEL BLOOMFIELD From His Head To His Heart a brilliant, white middle class, Jewish blues guitarist whose vocals could only generously be considered serviceable, and who To His Hands possessed limited songwriting skills too. Columbia/Legacy Bloomfield had other problems as well, among them chronic insomnia that resulted in erratic performances and kept him off the There is a twisted logic to the fact that Michael road, a tendency to lie, a distrust of the “guitar hero” tag, and as Bloomfield, indisputably one of the best, if not the shown by his work with the Electric Flag, an inability for band leader- best white electric blues guitarist of his genera- ship. They hamstrung his career and to a certain extent, make a tion, has never received the crossover acclaim in definitive box set difficult to complete. But longtime friend and musical life or death that other lesser talented musicians companion Al Kooper gives it a go, and while this still comes up have. After all, even the great John Hammond slightly short, it’s the best attempt yet at collecting Bloomfield’s who signed him after hearing live in the studio inconsistent highlights into a cohesive statement. Considering that performances that lead off this three CD/one DVD his legend hasn’t been particularly well preserved (distressing since compilation had the same issues. What to do with he is one of the few guitarists whose sweet yet biting tone can be identified after hearing only a few notes), blues fans should be thrilled it even exists. The discs are loosely broken down into “Roots,” “Jams,” and “Last Licks” and despite nearly a third of the contents related to Kooper’s own Super Session and live spinoffs – arguably his best, and certainly most lauded work – reflect most of Bloomfield’s career touchstones. A previously unreleased, vocal free version of Dylan’s “Like A Rolling Stone” lets us focus on the guitarist’s integral contribu- tion to that tune, all 13 minutes of the ground- breaking Butterfield Blues Band’s instrumental “East-West” shows how he creatively included Indian scales into the blues, and a few Electric Flag tunes imply the missed opportunities of that short lived band. The third platter unearths previously unreleased acoustic and electric gems including a rollicking 1980 live take of Dylan’s “The Groom’s Still Waiting At The Altar” with Bloom- field sitting in. Oddly, selections from projects such as Barry Goldberg’s Two Jews Blues, the Triumvirate album with Dr. John and John Hammond, and the lackluster KGB “supergroup” are MIA, which considering each disc has about 15 minutes of unused time, is concerning. While these might seem like niggling criticisms and were not how Bloomfield would want to be remembered, they each had a few flashes of brilliance and should at least be acknowledged.

TIM POWER TIM Copious liner notes by Michael Simmons, © quotes from friends, cohorts, and admirers, Kooper’s detailed track annotation, and a terrific if somewhat abbreviated 60 minute documen- tary by Bob Sarles called Sweet Blues featuring enlightening, well-rounded interviews provide a richer portrait of the prodigiously gifted yet self- destructive musician. Even with its frustrating omissions, it’s a fascinating warts-and-all exami- nation of a guitarist whose remarkable abilities and drive were sidelined by personal complica- tions emphasized by his untimely 1981 death at age 37 from a drug overdose. – Hal Horowitz EXCLUSIVE (MICHAEL BLOOMFIELD) ILLUSTRATION BLOOMFIELD)EXCLUSIVE (MICHAEL ILLUSTRATION

48 Blues Music Magazine JOHNNY WINTER True ToThe Blues: The Johnny Winter Story comprehensive set such as this. And with only two previously unreleased items (both recorded at 1970’s Atlanta Pop Festival), Columbia/Legacy this is probably not going to appeal to existing Winter fans who already own nearly all this material. There is no shortage of easily available Johnny Winter compilations. True To The Blues may not be the ultimate tribute that could Multi-label sourced ones are harder to come by but 2009’s Shout! have been compiled about Winter’s lengthy career, but it’s not bad Factory double did a respectable job of assembling music that and it’s probably the best we’re going to get for the foreseeable spanned a four plus decade (and counting) career. Still, there are future. As such, those unfamiliar with the man in his prime have a few blues artists that deserve the full blown, four platter treatment quality place to start their appreciation of one of the most influential, that Sony/Legacy has finally delivered. Better still, as its title implies, legendary and talented white guitarists in the history of blues. this focuses on the guitarist’s blues side although, even more than – Hal Horowitz Clapton, Winter’s rockers derived directly from his knowledge and love of the genre. His Texas roots located him in the vortex of the state that produced Jimmy Reed, Freddie King, Albert Collins, T-Bone Walker, and others. Winter took those influences, meshed them with the Chicago sound of Muddy and Wolf, added a fiery slide guitar attack that remains distinctive, and unleashed it all at the Fillmore East in December, 1968. It was then that Michael Bloomfield introduced the unsigned Texas guitar whiz to the masses with a performance of “It’s My Own Fault” (included here) so mesmerizing, it got him an immediate offer from Columbia records with a then record setting advance. Back in his salad days, Winter was untouchable in the blues-rock world. His long thin fingers effortlessly slid up and down the guitar neck whipping off impossibly fast yet tasty solos with and without slide, as he prowled the stage like a cat burglar, long white hair flowing, growling with a voice that seemed to emerge from the depth of the swamps. His playing influenced dozens of others to explore the blues, in the same way that Rory Gallagher, Hendrix, and Jimmy Page did. Although he’s still active, Winter’s well publicized personal and professional lows over the years have unfairly obscured his place in blues history. The story is told musically through selec- tions, perhaps not surprisingly, predominantly controlled by Sony, over the space of the first three discs. Only eight tracks on the fourth follow Winter post-Sony, from 1984 to the present. While all three Alligator albums are TIM POWER TIM

represented (barely, with one track each), as © well as Virgin/Point Blank and his recent Megaforce comeback, that’s simply not suffi- cient to hit the highlights of over three decades of work. It’s especially frustrating because there is plenty of time open on each CD to have included more material. Even though Muddy Waters, whom Winter pretty much single hand- edly rescued from obscurity by producing and playing on his final four recordings from ‘77-‘81, does appear briefly, the absence of music from those albums is a startling omission for a EXCLUSIVE (JOHNNY WINTER) ILLUSTRATION

Blues Music Magazine 49 CONTINUED FROM PAGE 47 originals from the Crash label: “You Belong the blues scene there, recording with local To Me” and “Bad Luck Blues.” The set com- musicians. The 75-year-old Shaw proves he mences and concludes with incendiary still has plenty of wind and fire, coming out instrumentals: Freddie King’s oft-covered blasting in the big band jump blues instru- “San-Ho-Zay” and B.B. King’s lesser known mental on “Sack Full Of Blues,” fronting the “Hully Gully Twist” respectively. In between 14-piece local outfit. “Oh Baby” features there are shuffles, boogies, stop-time Shaw grinding away Wolf-style on vocals on grinders, slow blues, and even nascent a tune loosely based on Hollywood Fats’ soul-blues with the lilting “That’s All I Need.” rearranged “Too Many Drivers.” The historic importance of this album in Shaw wrote 11 of the 12 songs undeniable. It faithfully captures a legend presented here and delivers them with a at the height of his powers. Less than 18 powerful punch. “Paris In The Fall” is a months later Magic Sam was gone at laid-back, name-checking travelogue till age 32. Highly recommended. Shaw wades in with some Bill Doggett affecting my review. Nonetheless, this album – Thomas J. Cullen III style honky-tonkin’. “Black Eyed Peas And is the closest to how I remember him: his Fatback” is a stripped down, harp-backed infectious energy, inviting affability, joyful acoustic hymn to soul food with Shaw intensity, soaring “operatic” vocals (the term croakin’ out Wolf-worthy pleas to give up Delmark’s Bob Koester used when describ- EDDIE SHAW his whisky, money, woman, and Cadillac if ing Sam’s vocals to me), and the wildest Still Riding High you promise not to take away his favorite soloing I heard at that point (often sounding groceries. like more than one guitar). Sam is accompa- Stringtown The locals recruited for the project do a nied by bassist Big Mojo Elem and drummer great job of backing Shaw. Problem is, Bob Richey. Of the 16 tunes, Sam seam- Eddie Shaw’s tone hasn’t changed much although there’s a brief bio on the musi- lessly mixes six West Side Soul nuggets in since he signed on as Howlin’ Wolf’s sax cians, there’s no track-by-track listing of with covers by Otis Rush, Muddy Waters, man in 1972. For this outing, he left the who’s playing what where. With 14 people Freddie King, Junior Wells, Jimmy Rogers, Wolf Gang at home in Chicago and came to involved in the playing process, it’d be nice B.B. King, and Lowell Fulson, as well as two Hampton Roads, Virginia, to help promote to know who’s soloing on what.

50 Blues Music Magazine Gray (piano) on “A Fact Is A Fact,” Bobby’s Rock,” and “Last Call Boogie.” Aaron Moore (piano) caresses the keys on “I Feel So Good” and “Before It’s Too Late. David Maxwell romps on “Take It Easy (A Tribute To Pinetop Perkins) with his 88s offer a fitting homage to Perkins. He is also backing on nine of the 12 cuts on this recording. Jody Williams (guitar) can be heard on “Messin’ With White Lightnin’” and “I’m Gonna Stop Fooling Myself” along with two other songs. Eddie Shaw (tenor sax) adds his sounds on Even though there’s a high level of “Just Another Kick In The Teeth” and “Vicks- professionalism demonstrated by the burg Blues.” The twelve songs on this 50+ locals, it’s still Shaw’s show. Even when minute CD allow the various musicians to he doesn’t sing, his presence looms large, put their unique stamp on each number. brassy, and sassy, as on “Rock This In order for everyone to get in his House,” his horn a time machine transport- chops, there are two fine instrumentals: ing listeners back to the fifties and the fre- “Messin’ With White Lightnin’” and Elmore netic recordings of saxmen Grady Gaines James’ “Bobby’s Rock” with Chris James or Lee Allen backing Little Richard. As he emulating the Elmore James’ slide guitar continues to prove, no matter who he part. He also offers some more pleasing chooses to play with, Eddie Shaw will slide guitar on “A Fact Is A Fact.” Earlier on always be an all-star. [In 2014, Eddie the CD, he shows off his harmonica skills in Shaw has been elected into the Blues “It Always Can Be Worse” which contains Foundation’s Hall Of Fame.] the clever line, “If your life seems like it’s – Grant Britt cursed, believe me, it always can be worse!” I had the pleasure to witness this duo’s love of Chicago blues when they backed John Primer at a Santa Barbara CHRIS JAMES & Blues Society Concert and, if I closed my PATRICK RYNN eyes, I would have believed I was in the Barrelhouse Stomp Windy City by the sound. The same could be said of this record. Earwig – Pete Sardon

Although they reside in San Diego, California, Chris James (vocal, lead guitar, and harp) and Patrick Rynn (bass) are JASON ELMORE intent on maintaining the Chicago sound & HOODOO WITCH and this third release on Earwig lives up to Tell You What their desire, as every song offers a different slice of that city. Underworld Inviting 11 musicians to their sessions of Barrelhouse Stomp, James and Rynn On his bold second album, the Dallas- assembled some bluesmen of note: Willie based singer-songwriter-guitarist Jason “Big Eyes” Smith (drums) on “I Feel So Elmore shows considerable self-assurance. Good” and “Before It’s Too Late.” Henry Delivering a dozen songs that span high- energy blues, classic rock, hard soul, and stone country, Elmore is like that iconic figure of vintage filmdom – the tough guy with a tender heart. He is an absolute badass guitar player, a point driven home with “Sharecropper Shuffle,” a tough piece that suggests Johnny Winter and Danny Gatton cutting heads on an unheard Freddie King instru- mental. Hellhounds and the devil populate “Southbound,” a rocker in ZZ Top mode, while exotic scales give the grinding rocker “Bottom Feeder” a raga-like feel (“East- churches all their lives and have been West,” anyone?). Elmore supercharges the dubbed “Nashville’s greatest soul sisters.” Don Rich-Buck Owens classic, “Buckaroo,” However, their stock and trade has been and Jim Suhler contributes set-to-stun slide secular and gospel music. Born to Rev. to Elmore’s galloping take on Rory Gal- Samuel McCrary, one of the original mem- lagher’s volatile boogie “Country Mile.” bers of the Fairfield Four, his daughters Elmore drops dramatic guitar lines over were immersed in church life and the house, a slightly funky beat in “Dirt Ain’t Enough,” a itself, was locked in continuous song. mid-paced minor key number written from a The Sisters’ debut, Our Journey, was condemned man’s rueful yet defiant per- released in 2010, marking the first time all spective. The impressive, haunting “Good four sisters had sung together on a record- Foot” dishes out minor blues with a jazzy ing. Alfreda grew up singing in church while swing, while the lighthearted shuffle “She’s her sister, Deborah, became a nurse and Fine” features strongly imaginative playing. sang with her sisters. Ann sang with con- The heart of gold is bared in a faithful temporary gospel stars like the Winans and cover of Sean Costello’s towering ballad Yolanda Adams while Regina backed Bob “Don’t Pass Me By,” hardly an easy song to Dylan and Dr. John. carry off. Elmore nails it, brilliantly. Ron Together, they’re a force of nature. Jones’ horns add power to the stunning bal- Alfreda’s opener “Come On” is a funky call- lad “Cold Lonely Dawn,” which runs deep to-action that summons their collective already on the strength of Elmore’s heartfelt vocal power and announces the sisters’ tri- vocal and the dual crescendos of evoca- umphant return. Ann’s “Train” is, by compar- tively phrased and beautifully paced guitar ison, more produced than was necessary, solos. Crystal-clear imagery marks “When the elements eclipsing the song itself, The Sun Goes Down,” a melodic, country- despite her big voice. Their treatment of flavored number with a refreshing splash of Buddy Guy’s “Skin Deep” has got every- Southern soul in the chorus. Elmore’s thing going for it, including a guest turn of singing is beautiful, here and on the set- vocals by Allen McCrary effortlessly trans- closing cover of William Bell’s Stax chestnut forming it into a powerful anthem. A co-write “You Don’t Miss Your Water.” between Regina and Colin Linden, who A virtuoso blessed with taste as well as guests on slide guitar and dobro, mines talent, Elmore keeps communication and darker turf with “Hum And Moan,” rekindling emotional impact at the forefront in every the family heritage while turning in a slowed setting. His varied and daring Tell You What down, earthy spiritual. Regina’s “You Can announces the arrival of a major talent. Make It Through The Night” is an old – Tom Hyslop school, gossamer-lined, R&B ballad featur- ing Jeremy Nixon’s lush piano and a full string section that, if not for Dwan Hill’s B-3 down-to-earth flourishes, might err on the McCRARY SISTERS side of saccharine sweetness. All The Way One of the strongest songs is Regina’s “Talk To You” where McNeilly’s guitar spars Self-release with McKendree’s B-3 as all four sisters work together to do what they do best. Ann Secular music can have its drawbacks, but McCrary closes the record with the title it’s entirely safe to say that the McCrary track, a rather subdued affair, but a gentle Sisters get it. Ann, Deborah, Regina, and finish on an inspired collection of positive Alfreda McCrary have been singing in grooves. Many of the lead vocals are not

52 Blues Music Magazine identified, but suffice it to say that the Daddy,” “T’aint Whatcha Say It’s Whatcha McCrary’s are not short on talent and may Do,” and “Ain’t Nobody’s Business But My this sophomoric release quickly lead to Own.” The louder I played this CD, the better more like it. The McCrarys clearly deserve it sounded. Theirs is a sound that was meant some praise of their own. to fill a dance hall. Close your eyes and pic- – Eric G. Thom ture sitting in a smoky Chicago Northside club with the band dressed in suits and standing behind the traditional bandstand plaques with a ‘50’s rocket ship emblazoned THE RHYTHM ROCKETS on them and a red lip-sticked woman singing She Swings Blue Volume1 into a traditional mike. That’s exactly where The Rhythm Rockets have played every Sat- Brother Racoon pleasing riffs. The standup bass and drums urday night for 17 years. Take them home play like they’re from the same family tree, with you with their She Swings Blue CD and Postwar jump blues best describes the and the piano accentuates the sound to an share this enjoyable music with your friends. sound of The Rhythm Rockets fronted by even greater depth. All this leaves such a – Pete Sardon the smooth and clear voice of Nicole solid background for the singer that it must Kestler. After a recording hiatus since 2006, have been a real pleasure for her to have this, their fifth CD, is well worth the wait. been in the recording studio those four This generous 14-song outing was times. IRONING BOARD SAM recorded in four sessions from 2011 and Covering songs that were sung by the Double Bang! 2012 and features some different iterations likes of Dinah Washington, Ella Fitzgerald, of session players, but the instruments Peggy Lee, Ruth Brown, Big Maybelle, and Dixie Frog remain the same: drums, guitar, stand up Etta James, Kestler channels these songs bass, two tenor and one baritone saxo- with her own unique vocals that transport one With support from the good folks at the phone, and piano. The horn charts have back many decades. Dig some of the titles: Music Maker Foundation, the veteran the brass mellifluously playing their triple ”In The Mood For You,” “Evil Gal Blues,” singer/songwriter/keyboardist/showman lines while the guitar snakes in and out with “Rock Me All Night Long,” “Good Rockin’ and musical chameleon has released his

Blues Music Magazine 53 career-defining album on two discs. Among Robillard’s former bandmates the Roomful the 35 tracks are eight tunes that previously Of Blues horn section, Gabriel exhibits his appeared on his 2010 Music Maker debut PAUL GABRIEL versatility by putting together an eclectic Going Up. Sammie Moore has been per- What’sThe Chance... mix of soul, blues, and funky rock out on his forming for 60 years. He was based in New own Shining Stone label debut. Orleans for over 25 years before Hurricane Shining Stone The material he exhibits here is quite a Katrina forced him to return to his native departure from his work backing Harry South Carolina. Fortunately, his career has Like his mentor Duke Robillard, Paul Chapin on three albums and touring with been resurgent the last few years due to his Gabriel is adept at mellow, jazzy blues. But Michael Bolton. The jump blues of “Old Music Maker affiliation and some high pro- even though What’s The Chance has pro- Time Ball” and the jazzy shuffle of the file live performances like the 2012 New ducer Robillard’s imprint all over it with the instrumentals “328 Chauncy Street” and Orleans Jazz & Heritage Festival. guitarist guest starring and featuring “C.M.C” are Robillard-flavored. Even though On this wide variegation of blues, boo- gie-woogie, funk, R&B ballads, standards, and several varieties of soul, Moore per- forms solo and with the basic band of drum- mer/producer Ardie Dean, guitarist Albert White, and bassist Nashid Abdul Khaaliq; they’re augmented by a horn section, and background vocalists on various tracks. Moore can belt the blues and go deep on the soul side but also warmly croons on “Somewhere Over The Rainbow” and “I’m In The Mood For Love.” His songwriting is sometimes derivative; two examples are “Ever Look At A Tree,” a “Route 66” sound alike, and “Heaven, Please Send Me,” which is Percy Mayfield’s “Please Send Me Some- one To Love” with a few different words. His soul and funk sides are my favorites; these include the ebullient stroller “For The Love Of Money,” the slinky “Beat The Devil, sug- gestive of Al Green, and two dance floor summons, the salacious horn-propelled “Nothing But Your Butt” and the percussive rump-wriggler “Do The Ironing Board.” Lastly, it’s a most pleasant surprise to finally have eight tunes that he recorded from 1968 to 1970 on a variety of labels. One tune in particular is the highly prized “Man Of The Street,” iconic Nawlins funk evocative of the Meters and the Neville Brothers. Other period gems are the Motownesque “When You Brought Me You,” the serpentine blues-twister with wailing harmonica, “Non-Support,” and the James Brown-like “Original Funky Belly Bottom.” – Thomas J. Cullen III

Blues Music Magazine 55 he’s playing guitar on it, “Ride Ride Ride” breaks out of the Robillard mode, sounding like a Fabulous Thunderbirds’ cut with Gabriel’s vocals similar to T-Bird co-founder Kim Wilson’s. Later, Robillard opts out of the mix for “Magic,” another T-Birds style rocker. The definitive version of Chris Ken- ner’s “Something You Got” was done by Alvin Shine Robinson, but Gabriel turns in an interesting rendition that resembles the Hacienda Brothers, sounding like Dan Penn sitting in on vocals. Despite the title, “Roomful Of Blues” doesn’t pay slavish homage to Robillard’s former band. And even though the Roomful saxes are on the track, this is a vehicle for Gabriel’s low-key solo guitar, done with B.B. King style on guitar and vocals. The release has a warm, retro sound, done on tape with an assortment of vintage Telecasters and Strats backed by a B-3 and a Leslie cabinet and an assortment of ’50s and ‘60s vintage brass instruments. Out in the spotlight by himself for the first time, Paul Gabriel is ready for his close-up. – Grant Britt

ERIC HUGHES BAND Drink Up I-55 Productions

Walk down Beale Street nowadays and you won’t hear the sound of blues music emerg- ing from club after club. Those days are long gone. If you do catch some blues though there is a more than decent chance that it will be the Eric Hughes Band. And although you need to look harder to find that blues the fact that it is alive and well is due in no small part to Hughes and Drink Up’s co-producer Brad Webb. The hard working Hughes is out most nights gigging or hosting jams whilst Webb, when not playing himself, is quietly shaping the sound of new blues recordings in the

56 Blues Music Magazine “Repo Man,” another slice of funk, has Robert Nighthawk Tooms stretching out to good effect on the keys. The acoustic guitar gets an airing on “Mama Don’t Allow” and “Going To Brownsville” and the closing track, “My Baby Got A Black Cat,” moves into Southern rock territory and brings to mind Royal Southern Brotherhood. Throw in some electric blues as well and the result is an album that is well worth checking out. – Chris Kerslake town from the mixing desk. On Drink Up, by 10,000 demons. “You cheated yourself, the band’s fourth release, they have both but your had your reasons,” he says, contributed to a nice blend of soul and BIG HEAD TODD adding that “she had nothing but the whole blues that is a fine advert for a band that AND THE MONSTERS world to lose, fade to black was her kind of needs to be on your ‘must see’ list when Black Beehive rhythm and blues.” you are next in Memphis. The Monster’s usual percussive Stalwarts of the local music scene for Shout! Factory whomp is intensified by the presence over ten years now, Hughes and his band and production talents of drummer Steve typify the sound of Memphis blues today. Big Head Todd Mohr titled his latest Jordan, who recorded with Neil Young, Drink Up also shows how much today’s release after the tragedy of Amy Wine- B.B. King and Dylan and produced, Memphis blues has taken from the city’s house. Although their music has little in recorded, and toured with John Mayer musical past. The album kicks off with the common, Mohr apparently felt a kinship and the Fabulous Thunderbirds. Mohr’s rockabilly influenced title track before settling with the troubled singer. “Only 27 years Monsters also get some help from into the soulful groove of “That’s My Baby’s old/she could not keep control of her bro- Chicago blues legends Ronnie Baker Mama.” The funky “Frostina” has Hughes ken-hearted soul,” Mohr moans, attempting Brooks and the ageless Eddie Shaw on sounding remarkably like Billy Gibson and to make sense of her tragic end, haunted sax and harp.

Blues Music Magazine 57 Even though it’s the title cut, Wine- upper lip made of lead and just let him do who wants a steady sweetheart but just can’t house’s grim eulogy doesn’t set the tone for the drivin’, travelin’ high. stick around long enough to make it work. the rest of the record. “Hey Delia” is a big- Since adopting Chicago as his home There aren’t any surprises here, just the foot rumble, a muddy stomp dedicated to seven years ago, Mohr’s bluesy rock has got- same high quality work that the band has the queen of Mohr’s heart, a rough and ten more primitive and basic. His sound here been putting out since their ‘89 debut Another tumble dame “wilder than the West was is stripped down basics with a wallop. The rat- Mayberry, a rootsy, rockin’ blend of blues/ won.” Mohr testifies about the mellowing tly rocker “Josefina” squeezes Steve Forbert fonk/folk fine enough to give both performers properties of alcohol on “I Get Smooth,” and John Hiatt into the same container, as and listeners a monstrously big head. urging his beloved to soften up her stiff Mohr bemoans his fate as a blue collar drifter – Grant Britt

VARIOUS ARTISTS The Sun Rock Box bandwagon. At Sun during the mid-‘50s, the results tended to be equally savage no matter who was behind the mic, slashing guitar, Bear Family thundering upright bass, and whipsaw vocals the order of the day. Blues influences were obvious in much of their output. It would be too much of a simplification to say rockabilly was born at Bear Family’s spectacular eight-CD boxed set expands on a Sun Records in Memphis, but Sam Phillips’ legendary operation nur- 12-LP vinyl box that Charly Records assembled in 1986. Its 256 tured the genre like no other label. Elvis Presley got the ball rolling in tracks include everything on that massive set, plus 33 additional 1954 with his immortal “That’s All Right,” the floodgates bursting tracks including four Presley classics that weren’t contractually avail- open as a platoon of other young hopefuls convened on 706 Union able then. It adds up to the most comprehensive overview of Sun’s to follow in his footsteps. rockabilly legacy you’re likely to ever find. The beautifully designed The speed with which the idiom’s vocabulary spread throughout 224-page 12 x 12 hardcover book that accompanies the CDs is just the mid-South was nothing short of remarkable. Its disciples gener- as valuable as the music itself, boasting expert commentary by Colin ally fell into one of two camps: snarling young rockers directly Escott, Martin Hawkins, and Hank Davis, a slew of vintage photos, inspired by Elvis or slightly older country singers hopping onto the and full discographical information.

58 Blues Music Magazine Many of Sun’s most famous titles are on board, though in quite a few cases the set reaches for a revelatory alternate take rather than the familiar version. There’s plenty of superlative gui- tarist Carl Perkins, whose raw-boned, flying-by-the-seat-of-his- pants attack defined rockabilly like no other luminary on Sun’s talent-overloaded roster. By comparison, Roy Orbison left little to chance; his intricate guitar solos on an alternate take of “Ooby Dooby” are nearly identical to those on the hit single. Just as integral to the importance of Sun’s output were the greats who never quite broke through. The blistering R&B-laced efforts of Sonny Burgess and Billy Riley’s storming “Red Hot” (covering Billy “The Kid” Emerson) and “Flyin’ Saucer Rock And Roll” contrast with the slightly more countryish output of Warren Smith and Malcolm Yelvington. No one was more electrifying vocally than Ray Smith, whose “Right Behind You Baby” and “You Made A Hit” somehow missed the charts (had Phillips issued his equally potent “Willing And Ready” or “Shake Around,” that frustrating situa- tion might have been remedied). Ray Harris’ insane “Come On Little Mama” threatens to fly off the rails altogether, while Hayden Thomp- son’s “Love My Baby” (a remake of Little Junior Parker’s Sun blues) and “Fairlane Rock” are utterly dazzling. Though they’d wait until after their brief Sun experiences to experience stardom, Conway Twitty, Dickey Lee, Mickey Gilley, and Narvel Felts left behind gems that take their rightful places here. Then there are the virtual unknowns whose sides demand attention just as intensely as their star labelmates, led by the delightfully unhinged Jimmy Wages. Naturally, piano-pounding Jerry Lee Lewis – the man Phillips put most of his promotional capabilities behind in 1957 as he ascended to rock and roll superstardom cut short by scandal – receives his fair share of digital space on the box. So does fellow 88s ace Charlie Rich, whose ‘59 hit “Lonely Weekends” benefits from the absence of the overdubbed choir that decorated the single. Carl Mann’s rolling “Mona Lisa” also dated from that transitional phase, when Sun was on the verge of moving into bigger quarters and toning down the piledriving rockabilly rhythms in favor of milder and less consistent fare. Along with its equally indispensable 10-CD Sun Blues Box and 6-CD country compilation that came out at right around the same time, Bear Family’s state-of-the-art tribute to Sun’s legacy to celebrate the label’s 60th anniversary would surely have made the late Phillips mighty proud. – Bill Dahl

Blues Music Magazine 59

JOE BONAMASSA The Borderline/Shepherd’s Bush Empire/ Hammersmith Apollo /Royal Albert Hall J&R Adventures

If you are a fan of Joe Bonamassa, you must be thrilled with his recent CD and DVD output. Since 2010, he’s released four CD/DVD combinations: Live From The Royal Albert Hall (2010), Live From New York Beacon Theater (2010), An Acoustic Evening At The Vienna Opera House (2013), and We Want To Groove, the 2013 rock and funk party. Add to that output his Black Country Communion records since 2010, two and Gibson arrangement on CDs with Beth Hart, and four CDs (2009-2012) B.B. King’s 1970 tune, “Chains released under his name. Whew. & Things.” Now what? How about recording and filming At the 3,500-seat Hammer- a four night musical experience at four vastly smith Apollo, Bonamassa different London musical venues? Then enlist four opened with acoustic readings bands playing four different shows in these iconic of “Seagull,” “Jelly Roll,” and three others before blasting into Gal- London venues with only one take to get 64 songs lagher’s “Cradle Rock” for the Apollo audience. Later, Bonamassa’s right and you have Bonamassa’s Tour de Force guitar and vocals by guest Doug Henthorn from the blues-rock band opus. Healing Sixes, entertained this London crowd with a pinpoint take on This venture began on March 26, 2013 at the Page and Plant’s 1976 “Tea For One.” 200-seat Borderline club in the heart of London The final night, before another capacity audience, opened with and ended three nights later in front of a capacity Bonamassa enlisting the musicians from his 2013 Acoustic Evening crowd in the Royal Albert Hall. In between, At The Vienna Opera House to treat the Royal Albert crowd to totally Bonamassa and his tour played Shepherd’s Bush different acoustic arrangements for eight songs including three that Empire and Hammersmith Apollo. tie Bonamassa into the rural American musical landscapes: “Black There is no way to adequately chronicle these eight DVDs (four Lung Heartache,” the guitar and concerts and four with bonus footage) totaling nearly 13 hours in this fiddle exchange on “Around The space (subtitled: “What I Binge-Watched In January”). Rather, I’ll Bend,” and his ringing slide pass along some of my front row highlights. vibrato and pristine finger picking As a blues fan to the core, I was happy to hear Bonamassa on “From The Valley.” deliver some bad to the bone blues classics throughout these four After those eight, the Royal nights. Those highlights include Albert changed into a full-on, Sonny Boy’s “Your Funeral, My blues-rock experience complete Trial,” Little Walter’s “You Better with all the requisite trappings, Watch Yourself,” Wolf’s “Who’s blinding light show, facial gri- Been Talkin’” (introed at Hammer- maces, et. al. The seated Royal smith Apollo and the Royal Albert Albertans stood and head banged Hall by a clip of the Wolf himself), for Bonamassa’s final dozen elec- Hooker’s “Burning Hell,” blues trified storm. Many of these tunes chestnut “Further On Up The were already performed on this Road,” “Cradle Rock” from Ire- unique experience, however, two, the picturesque four-minute instru- land’s Rory Gallagher, and, from mental “Django” and the ten-minute “Mountain Time,” are enjoyable U.K. blues icons, Gary Moore’s additions. And just like his previous visit to the Royal Albert, Bona- “Midnight Blues” and Rod Stew- massa turns Prince Albert’s place into a Texas roadhouse when he art’s slow blues “Blues Deluxe.” closes the show with 13 minutes of ZZ Top’s “Just Got Paid,” including Opening night at the Border- a thundering standing ovations when he ends by quoting Zep classics. line has viewers standing shoulder to shoulder with knees pressed And lest you think Bonamassa is all about guitar bombast, give against the stage and heads bobbing to the beat from Bonamassa’s a listen to his quiet guitar stokes on “Miss You, Hate You,” “The Great power trio rhythm section of Anton Fig (drums) and Michael Rhodes Flood,” “Stop,” “Driving Towards The Daylight,” and “Slow Gin.” (bass). And I haven’t even mentioned the over 25 minutes of extras The bluesiest DVD is probably Night Two at the 2,000-seat included on each night’s bonus disc. Or, for gear heads, the listing of Shepherd’s Bush Empire. Here, Bonamassa’s sound was aug- guitars used each night, the oldest being a 1953 Fender Telecaster mented with a three-piece horn section and Arlan Schierbaum’s key- along with some very cool Gibson and Fender loans used during the boards as he, armed with four Gibson’s from 1959-1964, delivered a Royal Albert set. generous slab of big city-styled blues. Check out the gorgeous horn – Art Tipaldi

Blues Music Magazine 61 THE HEALERS and Fish. The bonus tunes include Eddie Hinton’s “I Still Want To Live At Knuckleheads Be Your Man,” handled by Hall and Screamin’ Jay Hawkins’ “I Put A Spell On You,” showing off Fish’s soulful vocals and searing guitar. Blue Star Connection Purchase this combo and you will be rewarded with great, spontaneous music that filled Knuckleheads for this one November The Healers: Live At Knuckleheads is a CD and DVD package that night in 2012. But this purchase goes even deeper as its net celebrated a night of wonderful music by some of the most recogniz- proceeds further the stellar work that the Blue Star Connection able names in blues joined by today’s rising blues stars. But this continues to do. [Note: Blue Star Connection is a recipient of hour plus of music was conceived to be more than just a gathering the Blues Foundation’s 2014 Keeping The Blues Alive award.] of musicians, it was conceived as a – Art Tipaldi vehicle to aid in the funding of the Blue Star Connection, which has been providing musical instruments POCKET FULL OF SOUL: and experiences to children afflicted THE HARMONICA DOCUMENTARY with cancer and other illnesses. Since providing its first guitar in 2005 to Colin Connors who was bat- As Magic Dick thrills with his seminal “Whammer Jammer,” the list of tling inoperable brain tumors, Blue featured performers scrolls by. After the musicians, Pocket Full Of Star Connection has been instrumen- Soul continues with archival footage of harmonica players, ending tal in presenting hundreds of musical with Bob Dylan. From that thrilling opening, this two-hour film travels instruments to these children around the world to illustrate the instrument’s the world. In addition, the BSC has history, ubiquity, players, culture, and placed musical instruments in the present impact. Narrated by Huey music therapy departments of 25 Lewis, directed by Marc Lempert, different children’s hospitals across the country including St. Jude’s and produced by Todd Slobin, PFOS Hospital in Memphis, Children’s Memorial Hospital in Chicago, and discovers the power and mystery of the new Children’s Hospital in Ann Arbor, Michigan. the instrument. Since the harmonica Since its inception, musicians including Joe Bonamassa, is the only instrument where one has Tommy Castro, Tab Benoit, Anthony Gomes, and many others have to breathe in and out to produce rallied around this idea to support the BSC. On this night in Kansas sound, it forms an undeniable con- City, Reese Wynans and Jimmy Hall were joined by Kate Moss, nection to the player as it captures Samantha Fish, and Trampled Under Foot’s Danielle and Kris the body and spirit of each individual Schnebelen. In typical all-star fashion, each artist took the lead on who puts it to his mouth. The the 12-song DVD (The CD includes ten of the DVD tunes.). Moss’ 14-minutes of harmonica history lead guitar and Hall’s tenor take the lead on the night’s opener, Fred- starts with Matthias Hohner’s inven- die King’s “San-Ho-Zay.” From there, Hall and Wynans dig first into tion in 1857, and then introduces viewers to the chord, chromatic, bass, Little Milton’s “Grits Ain’t Groceries” and then “Messin’ With The Kid.” and diatonic harmonicas. As PFOS traces the rise in the harmonica’s On all three, Moss, who is best known for her design work and bass popularity, the film supports the theory that, though popular in the rural playing, shows off her very competent lead guitar chops. Fish also folk, blues, and country music early in the 20th century, the harmonica shows the music world her high-energy guitar on “Messin’ With The became a mainstream staple in pop music of the ‘30s and ‘40s. From Kid,” and takes the lead on Muddy’s “Rollin’ And Tumblin’.” its big band sound to its most popular incarnation of the day, the rise of On the fifth tune, Hall and the band treat the viewer to almost the Harmonicats, and their subsequent 1947 million-selling hit, Peg ‘O ten minutes of “As The Years Go Passing By,” with gorgeous tenor My Heart,” the harmonica soon became recognized as a legitimate and B-3 solos buoyed by the supporting rhythm section of Danielle instrument. The interviews, stories, how-tos, and performances by and Kris. By mid-CD, the audience gets a double shot of Danielle’s masters such as James Cotton, Charlie Musselwhite, John Popper, sassy vocals. First on the swinging TUF standard “Love My Baby,” Magic Dick, Lee Oskar, Rick Estrin, Delbert McClinton, Jerry Portnoy, and then she and Hall nail James Brown’s “This Is A Man’s World” Kim Wilson, Rod Piazza, Billy Branch, Mark Hummel, Sugar Blue, for almost 12 minutes, double its length on TUF’s current record. Annie Raines, and Jason Ricci are thrilling enough to get you to find The DVD ends with Hall’s “Keep On Smilin’” from his Wet Willie days that old Marine Band and start drawin’ some blues riff on the reeds. and Don Nix’s “Goin’ Down,” with guitar fireworks provided by Moss – Art Tipaldi

As George Thorogood gets ready to celebrate 40 years of touring the DOWN THE ROAD world with his band, the Destroyers, Blues Music Magazine sat with him to discuss his blues roots. In January, British blues legend John Mayall celebrated his 80th birthday. Our Don Wilcock had the opportunity to catch up with Mr. Mayall. We’ve also profiled Beth Hart, whose career is taking off after joining forces with Joe Bonamassa, Victor Wainwright, and the Heritage Blues Orchestra.

62 Blues Music Magazine DOWNLOAD! If you are not already a subscriber, you can join the Blues Music Magazine community by either going to the website www.bluesmusicmagazine.com or calling toll-free 866-702-7778. Blues Music Magazine is featuring a Digital Sampler for download in every issue. Please go to www.bluesmusicmagazine.com/BMM3 to download this Digital Sampler 3 and visit the artists’ websites. Enjoy! John Németh –“Elbows On The Wheel” from the album Memphis Grease on Blue Corn Music. It’s Memphis soul stew for the new millennium – the soulful vocals of John Németh added to the seasoned Memphis soul band the Bo-Keys. This cut features Németh’s funky harmonica backed by the Bo-Keys’ horn arrangements. www.johnnemethblues.com Brent Johnson –“Set The World On Fire” from the album Set The World On Fire on Justin Time Records. South Texas born, New Orleans raised Brent Johnson has recorded and toured nationally as part of Bryan Lee’s Blues Power Band for the past ten years. His debut record features music based on the experiences and the sounds he grew up with in New Orleans. www.justin-time.com Tinsley Ellis –“Kiss Of Death” from the album Midnight Blue on Heartfixer Music. Whether he is injecting a touch of Louisiana on “It’s Not Funny” or taking an introspective look at the vulnerability of love on “Surrender,” Ellis never fails to deliver nuanced performances brimming with exuberance. www.tinsleyellis.com John & Sylvia Embry –“I Wonder Why” from the album Troubles on Delmark Records. Queen Sylvia Embry is best known as the bass-playing vocalist in Lefty Dizz and the Shock Treatment during the late 1970s. John Embry was one of Chicago’s unheralded blues guitarists. This record was originally recorded in 1979. www.delmark.com Eddie Cotton –“My Boo” from the album Here I Come on DeChamp Records. A minister’s son, Eddie Cotton Jr. grew up singing and playing gospel music at church and playing the music of blues legends like B.B. King at home. This record features his combination of classic electric blues with funky rhythms, soulful vocals, and some downright blistering guitar playing. www.eddiecottonjr.com The Nick Moss Band –“Was I Ever Heard” from the album Time Ain’t Free on Blue Bella Records. The new album from the Nick Moss Band marks a culmination of the band’s new sound, a hard-driving album of soul music, blues, funk, gospel, Southern rock, and rhythm & blues. Paired with explosive second lead vocalist and guitarist Michael Ledbetter, Moss deftly explores the new band sound. www.nickmoss.com The Rhythm Rockets –“Jumpin’ The Blues” from the album She Swings Blue – Volume 1: The Joint Is Jumpin’ on Brother Raccoon Records. The many shades of postwar jump Blues best describes the sound of The Rhythm Rockets fronted by the smooth and clear voice of Nicole Kestler. www.therhythmrockets.com Magic Sam –“You Belong To Me” from the album Live At The Avant Garde on Delmark Records. Recorded June 22, 1968 at a Milwaukee coffeehouse, the historic importance of this album is undeniable. It faithfully captures a legend at the height of his powers. Less than 18 months later, Magic Sam was gone at 32. www.delmarkrecords.com Buddy Flett –“Honky Tonk” from the album Rough Edges on Honey Bee Entertainment. Buddy Flett, whose songs have been recorded by John Mayall, Percy Sledge, and Tab Benoit, is sounding better than ever on this track that weeps with a lonely slide. www.honeybeeblues.net Annika Chambers & The Houston All-Stars –“Lick ‘Er” from the album Making My Mark on Montrose Records. Since completing her seven-year term with the U.S. Army, Annika has been blazing the Houston blues music scene. Her style has been described as bits of Aretha, Etta, Koko, and Shemekia. www.annikachambers.com The Blues Doctors –“Southern Jump” from the album Roosters Happy Hour on Modern Blues Harmonica. The Blues Doctors feature the musical interplay of two PhD’s from Ole Miss, guitarist Alan Gross and harmonica ace Adam Gussow formerly of Satan and Adam. www.thebluesdoctors.net Jason Vivone & The Billy Bats –“Mean” from the album Eddie Ate Dynamite. Joanna Berkebile’s sultry vocals, Ben Hoppes’ piercing electric banjo, and Paula Crawford’s guitar add up to darkly tinted ballad. www.billybats.com Bok & Blueshuset International

After fifteen years of planning, the Bok & Blueshuset (The Book & Blues Challenge Blues House) in Notodden, Norway, has finally come to reality. Norway’s WINNERS Minister of Cultural Affairs officially opened the 45,000 square foot land- mark building on January 31, 2014. The opening featured performances by Big Mama Montse, Rita Engedalen and Lady J backed by Spoonful of Blues with Espen Fjelle, and Terry Lehns. Another part of the opening program was the celebration of Norwegian blues hero Kåre Virud, who recently turned 70. His influence was celebrated in a concert where fifty blues musicians paid their tribute by performing their own special interpretations of Virud’s songs. JAY SIELEMAN Located on MR. SIPP WITH TIM WILLIAMS PHOTOGRAPHY © SCOTT ALLENPHOTOGRAPHY / VIVIDPIX courtesy of the waterfront in downtown Vicksburg, Mississippi’s Mr. Sipp took first place Notodden, the honors at the Blues Foundations’s 2014 International NOTODDEN BLUESEUM

PHOTOGRAPHY PHOTOGRAPHY NOTODDEN BLUESEUM Bok & Blueshuset Blues Challenge in Memphis during January. With features a unique over 250 bands and solo/duo acts vying for first outdoor stage that floats on the water, a public library, two cinemas, a place over four days of performances, Mr. Sipp aka music school, a blues museum and exhibitions, the legendary all-analog Castro Coleman also walked off with the Gibson Juke Joint Studio (with the original mixing console from the Stax Studio Guitars top guitarist honors. The Ghost Town Blues in Memphis), and a concert venue, as well as the administration offices Band took second place and Billy The Kid and the for the Notodden Blues Festival, Bluestown Records, Blues Music Club Regulators finished third. Calgary’s Tim Williams Notodden, Notodden Bluesklubb, and Europas Blues Senter. walked off with top honors in the Solo/Duo category The Notoddden Blueseum is the first of its kind in Europe. while Lucious Spiller came in second. It displays an exhibition that reflects the journey of the blues entitled, “From Cotton to Notodden,” which shows how the blues has traveled from the cotton fields of the PINETOP PERKINS Mississippi Delta throughout the Scholarship entire US, then to

Europe and further BLUESEUM The Pinetop Perkins Foundation provides scholarships on to Norway, to youths ages 12 to 20. This year, two Ann Rabson where Notodden Memorial Scholarships will be offered in piano or guitar. has become a real The deadline to apply for all scholarships is April 15, center for blues in 2014. The summer workshops will take place from June Europe, hosting 18-20, 2014 at the Hopson Plantation and Shack Up Inn PHOTOGRAPHY © HOLMBERG PHOTO © HOLMBERG PHOTOGRAPHY courtesy of NOTODDEN one of Europe’s in Clarksdale, Mississippi. The workshops are open to most recognized blues festivals. The main narrator is Morgan both adults and youth. Pinetop Foundation’s new spon- Freeman, actor and co-owner of Ground Zero Blues Club in Clarksdale, sor, Bandzoogle, is also offering free webhosting and Mississippi. Also Charlie Musselwhite appears in the personal story design for three months for all scholarship winners. based exhibit. The Pinetop Perkins Workshop Experience is Through numerous donations, the thousands of objects in the blues offered to intermediate and advanced adults and youth collection at the Europas Blues Senter is said to rank among the world’s in guitar, harmonica, and piano. Legendary blues ten best. This enables the center to present great collections for people guitarist Bob Margolin will lead the guitar workshop, to come and see. Every object in the collection tells a unique story, and assisted by Austin Young. Boogie-woogie master Daryl was secured for historic preservation. Among the numerous items are Davis will head the piano workshops along with Blues guitars signed by B.B. King and Buddy Guy, Solomon Burke’s golden Music Award nominee Clay Swafford, and KBA winner stage throne, a genuine inmate prison uniform from Parchman Farm, Gary Allegretto will lead the harmonica workshop. a cotton picker’s sack, and a piece of wood from Muddy Waters’ cabin Information about the scholarships and workshop can at Stovall Plantation. be found at www.pinetopperkinsfoundation.org.

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