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Taj MahalAndy T & Nick NixonNikki HillSelwyn Birchwood
JOE BONAMASSA DAVE & PHIL ALVIN&
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Last May, I attended the Blues Music Awards for the twentieth time. I began attending theW.C. Handy Awards in 1994 and attended through 2003. I missed 2004 to celebrate mydad’s 80th birthday and have now attended 2005 through 2014. I’ve seen it grow from itsdays in the Orpheum Theater to its present location which turns the Convention Centerinto a dazzling juke joint setting. Today’s event features an all-access pass to every ticketbuyer. There is no VIP pre-party; instead there is an hour cocktail party featuring selected
nominees playing for everyone. Beginning atseven, there is a sit-down dinner, award presenta-tions, and non-stop music from nominees untilafter midnight. The other biggest change is theeffort of the Blues Foundation to have as many ofthe nominees and winners present.
This year’s highlights were the pure soul show-stoppers of Ronnie Earl and Beth Hart. They werethe distilled essence of the blues. But there havebeen many other vivid moments.
In 1996, after Luther Allison won his thirdHandy Award, Ruth Brown warned, “Luther, youbetter stay off my stage!” After he copped hisfourth, Allison ran out of words of gratitude andannounced, “I’m gonna let my guitar talk!”After his fifth, the guitar spoke Luther’s heart-feltgratitude for over an hour.
In 1997, Luther gave me the finest picture Iever took. His leap is forever etched in the events of that night. An hour after I snappedthe shot, my camera broke and I have no pictures from the rest of the weekend.
There was also the standing ovation for Johnny “Clyde” Copeland who received anew heart on New Year’s Day. Copeland showed no ill effects as he tore through threesongs. Tragically, he and Luther passed away within three months of that night.
In 1998, it was all Bonnie Raitt. From her acoustic duet with Keb’ Mo’, her fingerwaggin’ gotta move from this neighborhood with Ruth Brown, and her “Walkin’ TheDog” with Rufus Thomas. However, after the Orpheum cleared out for the jam, I foundMs. Raitt at the rear of the hall talking with her dear friend, the wheel chair boundJessie Mae Hemphill. Not many saw this simple act of kindness and respect.
I’ll always remember the shivers from Ike Turner’s guitar in 2002. I rememberJohnny Adams in 1998 running from his sound check to the Peabody lobby to watchthe ducks leave the fountain. One of my favorite memories was the 2000 pairing ofGov’t Mule with Little Milton. As Warren Haynes and Milton exchanged guitar jabs,I was stopped walking out of the auditorium by a large, tie-dyed shirt.
“Who’s the dude with the Mule?”... “Huh?”“Who’s the dude with the Mule?”... “Which dude?”“The black dude with the guitar?”... “Little Milton.” “He’s pretty good up there with the Mule.”
“Let the music keep our spirits high.”Art Tipaldi, Editor-In-Chief
“Leave your ego, play the music,love the people.” – Luther Allison
BETWEEN MIDNIGHT & DAY“This book presents, for the first time,
many of Dick Waterman’s mostsignificant photographs from
his blues archive.” – Chris Murray
28 Blues Music Magazine
rarely takes a break. A lookat Joe Bonamassa’s recenttouring and recording
schedule confirms that this self-professedguitar geek thrives on a non-stop musicalcarousel. London, Vienna, Amsterdam,New York, his guitar cases could beplastered with hundreds of travel stickers.At the same time he was completing theexhaustive Tour de Force – Live In Londonproject, Bonamassa was taking time tojet to Nashville to work with some of
America’s finest songwriters for his nextrecording, Different Shades Of Blue. Whenwe spoke, Bonamassa was preparing toplay another sold out experience, hisblues tribute at Red Rocks Amphitheater.
Blues Music Magazine: What was theartistic aftermath after your Tour DeForce project?
Joe Bonamassa: We had all this pressbooked in New York City after the gigs
and I was so exhausted from that weekof rehearsals and gigs. It was a reallyrewarding week, but it was very stressfuland work infused. I lost my voice so thatI couldn’t do interviews.
Kevin Shirley, my manager RoyWeisman, and I were at the MontreuxJazz Festival eating Thai food next toTaj Mahal. On paper it seemed prettystraight-forward. I know all the tunes,I wrote some of the tunes, I’ve playedthem all live before, so this shouldn’t bethat hard.
By the time the first three piecegig at London’s Borderline was done,it was clear to me that this was goingto be more involved than I thought.That was an intense gig in front of 200people, and now I have to wake up thenext morning and do the horn band atShepherd’s Bush Empire. Then wakeup the next morning and do Hammer-smith Auditorium. Then, I get a dayoff and then do two sets, one of themwith the acoustic band, at the RoyalAlbert Hall. By the time it was over,I was spent.
BMM: What took youto Nashville to co-writewith songwriters GaryNicholson, Jerry Flowers,Jeffery Steele, James House,and Jonathon Cain?
Bonamassa: A lot of theorganic songwriters havemoved out of New Yorkand Los Angeles andthey’ve moved toNashville. I went therebecause I thought I owedit to my fans to do a pro-ject where I’ve had a handin the writing of thewhole record. I went therefive times on the sly lastyear when I’d come homefrom my tour. I’d dothree-day writing sessionswith those guys. I wentone more time this yearbefore we recorded therecord and really gotsome of the best stuff. I’mproud of the fact that Istuck to it and was able toget this at the same timeI was recording theLondon shows.
BMM: What do you contribute to thewriting of these songs?
Bonamassa: It’s a lot like going to adinner party. You gotta show up withsomething. Gary Nicholson, JefferySteele, Jerry Flowers, Jonathan Cain,and James House are lyric writers. Oncewe had a title, and a good flow with theverses, it’s much easier then if you justhad a riff and nothing to say. Often, I’dcome in with a verse or chorus. I hadthe idea for “Love Ain’t A Love Song”and Jeffery and Jerry added the chorus,cleaned up the words, and basicallygave it a structure. That’s how it allgets going.
You need to prep for the studio.There’s no worse feeling then to walkinto a studio and saying, “whatta got?”hat just wastes everybody’s time. I don’twant these guys just sitting around.
At the end of the day, Kevin hasa lot to do with the arrangements.We make crude demos then get in the
studio and hash out the arrangements.Things like, let’s put the chorus here orlet’s start with this verse. We map it outand two or three takes later, the song isfinished.
BMM: How did this experience rechargeyour creative batteries?
Bonamassa: It was really great torecharge the batteries and to get writingagain. It’s been so long since I’ve had thetime to write for a complete album. Andbeing introduced to guys who are sogood at creating definitely helps.
BMM: With so many songs usingLee Thornburg’s horns, what will touringbe like to support this record?
Bonamassa: Next year we’re gonnatravel with a horn section to play thesesongs. This year, we’re committed todoing a split show where I play the first45-minute set acoustic and then do
90 minutes electric. Nextyear, I’ll take the hornsection out.
BMM: You always list theguitar and amps you use torecord. What should ourreaders know about theguitars you used here?
Bonamassa: I have my goto guitar tool kit, but onthis record, I played moreStratocaster and Telecasteron a lot of the songs. I’vebeen a Gibson guy for solong. The vintage guitarhere is on “I Gave UpEverything For You,‘Cept The Blues.”
I play a beautifulblonde over ash 1956 StratI got in Nashville on one ofmy writing trips. For somereason, people like to hearme geek out on guitars.Come to my house and it’sa guitar shop.
BMM: Now that this recordis complete, what are youworking on at this moment?
Bonamassa: It’s a trial run where thefirst set is Muddy Waters songs and thesecond set will be Howlin’ Wolf songs.I’ll end the show with five of my songsthat I’ve gotta play or else the fans willbe disappointed. I have an all-star bandwith Reese Wynans, Kirk Fletcher,Anton Fig, Michael Rhodes, and LeeThronburg with his horns. For me, to beable to sing and play with that support isawesome. We’re doing a secret show andplay for an empty Rod Rocks the nightbefore the full show and we’re gonnafilm it. They’ll be about 50 people witha special invite.
One of my fans gave us a veryexpensive guitar for my foundation andwanted me to give it to a deserving kidwho will really rock it. John Catt fromBlue Star Connection found the rightkid. At the rehearsal night before theRed Rocks show, we’re gonna give it toAustin Young.
1979, brothers Dave and PhilAlvin were founding membersof the Blasters which gained
international recognition playing withbands like X, Black Flagg, the Cramps,and Queen. The music was called L.A.punk roots and rockabilly, but the broth-ers learned music playing blues by men-tors Joe Turner, T-Bone Walker, and LeeAllen. Phil was 12 when he started har-monica lessons with Sonny Terry. TheBlasters’ best known song was a cover ofLittle Willie John’s 1959 tune “I’m Shakin.’Jack White’s recent version of the song isbasically a cover of the Blasters cover,which is highlighted by Phil Alvin’sshouting blues vocals. Dave Alvin left theBlasters in 1986 to pursue a solo careerand other projects. After a Phil survived aserious health issue in 2012, the brothersdecided to make their first recordtogether in almost 30 years. On June 3,Yep Roc released Common Ground: DaveAlvin And Phil Alvin Play And Sing TheSongs Of Big Bill Broonzy.
Blues Music Magazine: Is it true thisreunion was inspired by a close call withPhil?Phil: I had a close call, a brush withdeath, in Spain in June 2012. And I guessthat motivated David. I always liked play-ing with David, periodically, since theBlasters, and we did a song together onhis last record (in 2004), “4-11-44.” But Ithink the imminent flat lining possibilityprobably motivated things a little bit.
BMM: How is your health, Phil?Phil: I am doing fine. I was doing fineafterward. But they gave me atracheostomy so I had to let that healbefore I could do anything.
BMM: Before the one song in 2004, whenwas the last time you two had recordedtogether?Dave: Phil and I hadn’t made a fullstudio record together since the BlastersHardline in 1985. Over the last few yearsboth of us have lost family members andvery close friends. It just seemed liketime. We’d never done a full albumtogether, just the two of us. It was alwaysin relation to the Blasters in a bandconcept. I just thought the sooner wecan get this done, the better because noone knows how much longer we’rehanging around.
So I called Phil andasked if he wanted to dosome Big Bill Broonzysongs and he said, “Yeah.”We did four songs andthat sounded really good(then decided to make a)whole album. He[Broonzy] had not onlygreat material, but mater-ial that will stand all sortsof styles from ragtime,finger-picking blues toChicago blues to urbanblues to jump blues.There was a lot to choosefrom.
BMM: One of the songswas “You’ve Changed.”How did your workingrelationship change?Phil: Of course on“You’ve Changed,”I don’t sing, so thatchanged. And wedidn’t have anything tofight about.
Dave: We hold Big Bill in such highregard, there was really nothing to fightabout. I think the only heated discussionthat we got in over anything was overan F sharp note that I wasn’t playing.Then he showed me, and I said, “Oh,you’re right.”
BMM: You used to fight?Phil: The whole band fought.Dave: We all grew up together. Phil wasalready playing with Big Joe Turner andLee Allen when he was 16 years old.Guys like that were part of our child-hood – Lee Allen, the great tenor saxplayer from New Orleans who was on allthe Fats Domino, Little Richard andProfessor Longhair records – we grew upwith them. The Blasters, it’s a hackneyedphrase now but we were a family bandand we would fight.
BMM: I hear Big Joe Turner in Phil, andboth of your singing styles has the cadenceand delivery that you hear with blues.Phil: I never distinguished betweenrhythm and blues. The first time I sawBig Joe Turner it was just magic. I have aloud voice and I used to imitate JoeTurner. He gave me a piece of advice
“THE BLASTERS,IT’S AHACKNEYEDPHRASE NOWBUT WE WEREA FAMILY BANDAND WE WOULD FIGHT.”
Blues Music Magazine 31
that was stunning. I think I was 18 whenhe said, “Why don’t quit embarrassing meand yourself and sing in your own voice?”That was good advice. From that day on,I took off the affectation and sang in myvoice. But I left the cadence and the JoeTurner style of jump blues, blue shouting.I think Big Bill was sort of a bluesshouter, too. I was into Big Bill before Iwas into Joe Turner. I think both of themaffecting my singing style quite a bit.
BMM: Did Big Bill write all of the songson Common Ground?Dave: They were all written by Big Bill.“Key To The Highway” was co-written byJazz Gillum. I was on the BMI site, and Iwent through everything. The songs Ipicked were a mixed bag.
BMM: How did you decide which to use?Dave: I was about 13, and he [Phil] wasabout 15, when Phil brought home areissue album and there were certainsongs on there, “Bill Bill Blues,” and“Feel So Good,” that Phil started singingimmediately. He would perform them inthe blues band he had as a teenager.So that one was a given. We have to dosome of those.
My other criterion was stretchingthe boundaries. He did a song like“All By Myself ” from about 1940, andI thought the music of “Long TallWoman,” the guitar part, would workgreat underneath.
BMM: So you arranged hybrid songs?Dave: Big Bill’s styles changed. On hisearly recordings, “Long Tall Woman” and“How You Want it Done” were structuredaround guitar. And later on, through thelate ‘30s and ‘40s, he was in a band contextwith a piano, sometimes trumpet, some-times saxophone, sometimes harmonica.I wanted to capture all those styles that henot only played but what he influenced.I chose “Southern Flood Blues” becausewhen I was a kid, I liked the imagery of thesong. But what I am doing on the guitar isa combination as if Big Bill Broonzy andMagic Sam made a record together. Thechords and the progression are Big Billchords, but the solo parts are all sort ofMagic Sam. I was looking for things whereI could stretch the boundaries.
Or you mentioned the song “You’veChanged” which he cut as a pretty straight-ahead, horn-driven, jump blues. I alwaysdug the lyrics, but I thought one of his
more popular pieceswas a song called “HeyHey.” I thought “You’veChanged” is a moreobscure song, but “HeyHey” has that great gui-tar part. So I figuredwe’ll take the guitar partfrom “Hey Hey” andmake it electric andthen use the lyrics from“You’ve Changed.”
BMM: What about“Stuff They Call Money”and “All By Myself ”?On those you sing adual back-and-forth.Phil:We figured we’dhave some dual thingsin there and “All ByMyself ” was a good oneto do with the paradoxof not being all byyourself. I had neverheard of “Stuff TheyCall Money” untilDavid found it. It’s like
a hokum song. Big Bill also made recordswith Georgia Tom Dorsey in that style,and he was in the Hokum Boys.Those were two songs that affordedus to swap lines.Dave: He recorded “Stuff They CallMoney” with Washboard Sam and theyare swapping vocals and I thought Phil hasthe voice to pull off the hokum stuff. He’sgot the voice to pull anything off, but Ithought for me to jump in on that we needto approach it a different way. So insteadof a hokum style, I did it sort of JimmyReed. Big Bill, especially later in his career,felt comfortable enough to write socialcommentary and songs about race rela-tions. “Stuff They Call Money” is a playfulsocial commentary but he did songs thatdue to our skin color we can’t honestly do.Stuff like “Get Back.” “If you’re white, it’sall right. If you’re brown, stick around. Ifyou’re black, get back.” He was one of theblues guys who dealt with some pretty bigissues. “The Stuff They Call Money” ispointed, yet playful, and I wanted to getthat part of Big Bill in. It’s also in that song“Just A Dream,” a playful, sarcastic look athow things be sometimes.
BMM: Was the arrangement on “TruckingLittle Woman” a nod to Blasters fans?Phil: It’s going to sound like the Blastersif I’m singing (with) guitar playing theboogie-woogie licks. There’s not much youcan do about it, and I wasn’t trying to doanything about it. But yeah, the Blastersdeserve a nod there.Dave: It’s not like we set out and said,“We need one that sounds like theBlasters.” It happened organically. Whenwe were finished it was, “Wow, thatsounds like a Blasters record.”
BMM: The album ends most appropriately,I feel, with the instrumental “SaturdayNight Rub.”Phil: That was just to show what a BigBill Broonzy ragtime style was like as bestwe could. I don’t know if you’ve heard theoriginal. It’s just phenomenal. “SaturdayNight Rub” is a magical song. I wasn’tinvolved in the sequencing, but I thinkthat’s a good place for it to have been.
BMM: Will you be touring on this album?Dave: Nonstop.
Jim Liban with The Joel Paterson Trio –“I Say What I Mean” from the album I Say What I Mean on Ventrella Records.Singer, songwriter, and harmonica player Jim Liban joins forces with Chicago’s Joel Paterson,
who has distinguished himself as a talented guitarist who is expert in all forms of American music.www.americanbluesband.com
Jim Byrnes –“Somebody Lied” from the album St.Louis Times on Black Hen Music.Byrnes takes listeners on an intimate journey through St. Louis’ place in American music.
This song is Byrnes’ homage to the musical legacy of Jimmy Reed and features John Hammond on harmonica.www.blackhenmusic.com
Lisa Biales –“Graveyard Dead Blues” from the album Belle Of The Blues on Big Song Music.On this offering Biales is, as advertised, the Belle of the Blues. “Graveyard Dead Blues” is a deadly love song.
With the help of some mighty fine Dobro work from Tommy Talton, Biales belts it out Bonnie Raitt-style.www.lisabiales.com
John Mayall –“World Gone Crazy” from the album A Special Life on Forty Below Records.In 2014, John Mayall celebrated his 80th birthday with the release of his first studio album in five years. Joined by guest C.J. Chenier
and Mayall’s touring band, Mayall has recorded classic songs on this album by Jimmy Rogers, Albert King, Eddie Taylor, and Jimmy McCracklin.www.johnmayall.com
The Nighthawks –“You’re Gone” from the album 444 on EllerSoul Records.Now in their fifth decade of recording, Mark Wenner and The Nighthawks continue to follow the band’s unique blueprint to reinvent blues and rock ‘n’ roll.
Led by founding member Mark Wenner, 444 is a jam-packed record of blues, soul, roadhouse country music,and rock ‘n’ roll performed through the trademark Nighthawks sound.
www.thenighthawks.com
Jimmy Carpenter –“Walk Away” from the album Walk Away on VizzTone.For over 25 years, Jimmy Carpenter has lived in the music. His tenor has been a constant part of the bands of Walter “Wolfman” Washington,
Jimmy Thackery, Mike Zito, the Honey Island Swamp band and many, many others.www.jimmycarpenter.net
Raoul and The Big Time –“High Roller” from the album Hollywood Blvd on Big Time Records.Canadian harmonica player and singer, Raoul Bhaneja thrives in recreating the harmonica-driven styles from the 1950s Chess catalogue.
This record features guests Curtis Salgado, Rick Holmstrom, Junior Watson, Rusty Zinn, and others.www.raoulandthebigtime.com
Jimmy “Duck” Holmes and Terry “Harmonica” Bean –“Lonesome Church Bell” from the album Twice As Hardon Broke & Hungry Records.
Together guitarist Jimmy “Duck” Holmes and harmonica Terry “Harmonica” Bean continue the Delta guitar/harp legacyas they recreate the blues of Jack Owens and Bud Spires.
www.brokeandhungryrecords.com
Trudy Lynn featuring Steve Krase –“Every Side Of Lonely” from the album Royal Oaks Blues Café on Connor Ray Music.On the heels of her 14th record, Trudy Lynn was nominated for her fifth Blues Music Award.
On this cut, Steve Krase adds harmonica and Jonn Del Toro Richardson brings guitar behind Lynn’s expressive vocals.www.trudylynnblues.com
David Vest –“That Happened To Me” from the album Roadhouse Revelation on Cordova Bay Records.Recorded live at a house concert just outside Edmonton, Canada, this cut is a gritty blues shuffle that gets its depth from Vest’s dynamic piano.
www.davidvest.ca
Madison Slim –“Close But No Cigar” from the album Close But No Cigar on All About Blues, Inc.Madison Slim bought his first harmonica after hearing Little Walter. He has toured with the Legendary Blues Band,
Sam Lay, Jimmy Rogers, and many others. This is Slim’s first recording under his name.
Bad Brad & The Fat Cats –“Leghound” from the album Take A Walk With Me on Fat Cats Entertainment.Bad Brad represented the Colorado Blues Society at the 2011 International Blues Challenge in Memphis as its Youth showcase entrant.
www.fatcatsofficial.com
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38 Blues Music Magazine
THE NIGHTHAWKS444EllerSoul
The first time you hear it, you’ll think
somebody’s put the wrong record in
the sleeve. Until Mark Wenner jumps
in on harp, “Walk That Walk,” sounds
like a rockabilly band doing doo-wop.
The cut is from the ‘50s gospel-
turned-R&B group the Du Droppers,
and is way out of line from The Nighthawks’
usual fare. But as soon as Wenner jumps in with
his Little Walter-style harp contribution, he puts it
firmly back in their sack of blues.
The group quickly gets back into recognizable
Nighthawk territory with “Livin’ The Blues,” an apt
description of the band’s five decades on the road
promoting that genre. The current lineup of ten
year alumni Paul Bell on guitar and bassist Johnny
Castle with five year vet Mark Stutso on drums is
one of the tightest units the group has ever had.
As an extra-added attraction they all sing, making
for smooth four-part harmony on several cuts.
Castle penned the title track, a twangy
rockabilly number glazed with a thick coat of
Wenner’s bluesy harp varnish. Stutso contributes
“You’re Gone,” a bluegrass number written by his
brother-in-law that Stutso vocalizes on and Bell
renovates with some shimmery Jimmie Vaughan
guitar. Wenner’s “Honky Tonk Queen” sounds like
a Dr. Hook translation of the Stones’ country honk
style. There are a couple of Elvis tributes. “Got A
Lot Of Livin’” is from Elvis’s second film, 1957’s
Lovin’ You, capturing Elvis in his rockabilly years.
The ‘Hawks replicate it perfectly from the
Jordanaires’ backing vocals to Scotty Moore’s
twangy guitar licks. The Hawks’ version of
“Crawfish” is a bit different than the version Presley
performed in ‘58’s King Creole. His was a duet with
a female street vendor taking the high parts on the
chorus, while the ‘Hawks harmonize smoothly on
the chorus and clone Presley moaning like Hank
Williams on the swampy verses.
As is customary on any Nighthawks project,
Muddy Waters gets a turn on “Louisiana Blues,”
done here in lockstep with Waters’ ‘59 version. As
usual, The Nighthawks are still dead on, preserving
the blues tradition in a way that never gets old.
– Grant Britt
Now in their fifth decade, The Nighthawks, led by harmonica master and vocalist Mark
Wenner, continue to hang close to the music that initially inspired this iconic band.
Trout was in sessions for The Blues CameCallin’ last year, the bluesman’s health
was failing as he desperately awaited a
liver transplant that seemed like it would
never come. Then, less than month before
the scheduled June 2014 release of this
already completed, scorching new project
on Provogue, that miracle happened.
Trout is recovering his health, even as
fans await what at one point looked like it
might be his final musical testament.
The Blues Came Callin’, then, is a
peek inside the roiling emotions of some-
one facing dark prospects, a certain doom,
and it plays like that. Don’t come looking
for messages of happy uplift on songs like
“Wastin’ Away,” “The World Is Goin’ Crazy
(And So Am I),” or “Hard Time,” moments
that push back against that sad fate with a
ferocious tenacity. Trout, who was in fact
wasting away, was determined to go down
swinging, and The Blues Came Callin’ is
that kind of record. There are times when
doubt creeps in, as on “The Bottom Of The
River” when Trout becomes entangled in
an inexorable current, one that’s dragging
him ever deeper. Later, he ends up in the
belly of “The Whale.” More often, though,
Trout lands blow after blow after blow with
his suddenly fraying voice, with his still
muscular guitar upon the forces working
against him. By the time Trout settles into
the impassioned groove of “Nobody
Moves Me Like You Do,” a furiously con-
nective assertion of life-long love, it’s easy
to see how Trout made it through these
unimaginably difficult times. He’s a fighter.
– Nick DeRiso
Blues Music Magazine 43
ROD PIAZZAEmergency SituationBlind Pig
When Rod Piazza steps back in time,
he causes quite a stir in the old audible
vibrations. For his latest, EmergencySituation, Piazza has one foot in the
past, one in the present. He reaches
back to the ‘50s for the opening cut, a
cover of New Orleans native Wee Willie
Wayne’s “Neighbor, Neighbor.” What
Piazza comes up with has a jump blues
base, but when Piazza jumps in, his harp
leaps up to the stratosphere, bouncing
around like a comet pinballing in a
gravity free zone.
Except for some low-key harp
moaning on the outro, Piazza’s cover
on Amos Milburn’s “Milk And Water” is
note-for-note, his vocal as smooth and
laid back as Milburn’s original. If Piazza
ever wants to come south, he could have
another career playing this one for shag-
gers who would eat up the laconic shuffle.
His own composition, “Frankenbop,”
moves a whole lot quicker than its sham-
bling zombie namesake, with Piazza run-
ning around harpily like an over amped
creature shrieking at the heavens while
the enraged citizens pound along behind
him with torches aloft.
Covering Sam Myers’ ‘57 classic
“Sleeping In The Ground” is a task few
would dare to undertake. Myers’ bends
the reeds so hard on his first solo you can
actually feel them lying down and weeping
in protest. But Piazza matches him lick
for reed-stretching lick, then puts some
bottom on it as well. It’s a great tribute.
Unfortunately, Piazza’s cover of “Ya
Ya,” sung by Mighty Flyer guitarist Henry
Carvajal, doesn’t fare as well. It just does-
n’t have the punch and quirkiness of Lee
Dorsey’s original. Piazza usually is able to
take old rockers and breathe new life into
them like he does in his live shows with
“Rockin’ Robin,” but “Ya Ya” needs to go
back in the vault, it’s just too hard to
improve on the classic.
But Piazza gains it all back with his
original, “Colored Salt,” a reed-buzzing,
instrumental tutorial on how to make a
harp talk. Piazza makes that harmonica
do everything but stand up on its hind
legs and bark on a tune that sounds
T-Bone Walker inspired but driven
relentlessly into the future by Piazza
and his quartet featuring wife Honey on
barrelhouse piano.
It’s another solid performance by
Piazza, but seems a little low in energy.
Maybe a live record next time to really
capture the power and glory of Piazza
and his band.
– Grant Britt
DAVE ALVIN & PHIL ALVINCommon GroundYep Roc
It can be argued that the first rock ‘n’ roll
band was Big Bill Broonzy’s right thumb.
The primordial thump that country-blues
giant’s opposing appendage brought to
the bass strings of his guitar was power-
ful enough to rock any house, from the
Mississippi jukes of his 1920s’ boyhood,
to the European clubs and theaters that
saw his final gigs in the 1950s.
Powerful enough, in fact, to inspire
the most fractious brothers in Americana
– lead guitarist/singer/songwriter Dave
Alvin and singer/rhythm guitar man Phil,
founders of seminal roots rock band
The Blasters – to reunite for a Broonzy
tribute, their first studio album in almost
30 years. The dozen songs here span
Broonzy’s amazing career, from his early
ragtime picking (“Saturday Night Rub”)
to his leading swing/blues outfits in
Chicago (“Tomorrow” and the ballad
“Big Bill Blues”). They include such aber-
rations as Broonzy’s quasi-bluegrass
flat-picking masterpiece, “How You Want
It Done?” The Alvins always add their
own stamp, revving up “Trucking Little
Woman” into electric Blasters-style rock-
abilly, as Dave quotes Paul Burlison’s
“Train Kept A Rolling” guitar licks.
Broonzy’s biggest hit, “Key To The High-
way,” is done Brownie and Sonny style,
Phil blowing country blues harp. Broonzy
was Muddy Waters’ idol and Dave’s
menacing take on “You’ve Changed”
shows the connection.
That eclecticism creates a fitting
homage to the versatile Broonzy, whose
uncanny ability to tailor his approach to
his audience inspires disdain from some
blues purists. What they overlook is
Broonzy’s mastery of everything he played.
Common Ground is a fiery, varied set of
great songs performed with passion that
should please Broonzy and Alvin fans
alike, and send us all back to the original
records for renewed inspiration.
– Larry Nager
TERRY HANCKGotta Bring It Home To YouDelta Groove
Calling his style “Greasy Soul Rocking
Blues” this sexagenarian sax player is
accurately pitching his product. Half of the
songs on this ten song CD are over five
minutes long and he penned four of them
and shared co writes with Kid Andersen
and JoJo Russo on another. Having toured
for ten years with Elvin Bishop, Hanck
started his own group in 1987. Accordingly,
the first cut is Elvin Bishop’s “Right Now Is
The Hour” and this opening song sets the
mood for nine more joyous tracks.
Hanck can hit high notes on his tenor
just shy of a dog’s hearing range, yet he
manages to honk his horn in a unique
style that never results in dissonant
squealing. Such command of this instru-
ment earned Hanck the 2012 Blues Music
Award for “Instrumentalist Horn” and the
nomination again this year. Hanck’s
vocals resonate in a style that one can
feel his emotion in the lyrics
Guitarist Johnny “Cat” Soubrand dis-
plays a style that has you appreciating
44 Blues Music Magazine
the craft of a talented musician. Hanck’s
core band includes Soubrand, Tim Wagar
on bass, and Butch Cousins on drums.
Andersen and Debbie Davies (two of the
“Friends” in the title) add their expertise
as well.
“Jam It Up” and “T’s Groove” grace
the CD with very listenable instrumentals
that make one want to keep hitting the
repeat button on the CD player. He covers
a whole palette of pleasing sounds with the
Cajun sounding “Pins And Needles,” a B.B.
King-esque, “Whole Lotta Lovin’,” and an
early Electric Flag sounding “My Last
Teardrop.” His skillful rhythm section allows
Hanck the room to have his horn sounds
soar at will when his lips are on the reed.
Delta Groove certainly has added
a thoroughbred to their blues stable by
having Terry Hanck recording for them.
– Pete Sardon
GARY CLARK, JR.LiveWarner
For the past three years, the blues buzz
has been centered on Gary Clark, Jr.
Problem for most blues fans is that Clark
no longer can play your local blues club or
even your favorite blues festival. His
recent notoriety has his career accelerat-
ing directly into the musical fast lane.
For everyone who missed out on those
musical growth spurts a decade ago in the
blues haunts of Austin and find his current
mega-festival appearances difficult to
frequent, this double disc, live recording
easily captures Clark’s art.
Recorded over his tours during 2013
and 2014, the set list includes ten Clark
originals augmented by another six blues
classics. With a deep, personal reverence
for the blues, Clark opens the record with
Muddy Waters’ “Catfish Blues,” utilizing a
gritty Jimi Hendrix-styled guitar over
Muddy’s male posturing lyrics. This one
song immediately connects the blues from
Robert Petway’s 1941 original joined with
Muddy’s rework in the ‘50s then strung
through Jimi’s psychedelic ‘60s guitar and
vocalized by Clark, 2014’s blues torch-
bearer.
From there, Clark follows with three
from his critically acclaimed 2013 Blak &Blu record, “Next Door Neighbor Blues,”
“Travis County,” and “When My Train Pulls
In,” his modern blues statement showcas-
ing both the range and power of his guitar
acrobatics and articulate vocals. Just when
you think the blues train might have left the
station after guitarist King Zapata and Clark
sped guitar all over the map on “Don’t Owe
You A Thang,” he brings the crowd back to
the deep blues with the warm tones of
B.B. King’s “Three O’Clock Blues.” Clark’s
every note rings late night melancholy and
each syllable he sings pleads forgiveness.
The first disc ends with two more from
Blak & Blu, “Things Are Changing,” Clark’s
modern R&B tune, and “Numb,” a crashing
mash-up of fuzz, distortion, and hardcore
noise not for the faint of heart.
Amid four more Clark originals from
Blak & Blu, including the title cut and the
heavy blues-rock of oft-recorded “Bright
Lights,” the second record features three
special covers: Albert Collins’ “If Trouble
Was Money,” attacked more to honor
Magic Sam’s “All Your Love” than Collins,
Clark’s ten-plus minute nod to Jimi and
Little Johnny Taylor on “Third Rock From
The Sun/If You Love Me Like You Say,” with
Johnny Bradley’s bass solo and Johnny
Radelat’s drum spot, and Leroy Carr’s
“When The Sun Goes Down,” surprisingly
stripped down to only Clark with guitar and
harmonica. If a talent like Gary Clark, Jr.
can encore on this song with only guitar
and harmonica and compel audiences to
listen to time honored blues like this, then
maybe the blues is gonna survive.
– Art Tipaldi
THE HOLMES BROTHERSBrotherhoodAlligator
As storied as this threesome is, The
Holmes Brothers are still the most under-
rated band on the blues circuit. I say that
because their deeply soulful sound clicks
with a telepathic smoothness that tran-
scends blues, classic R&B, country, and
gospel while staying true to their live
sound honed from their rural Virginia
roadhouse roots.
Brotherhood is their 12th album in
25 years and one of their best. Most note-
worthy is their seven-minute version of
“Amazing Grace,” the traditional gospel
mainstay they render at the end of each
concert. Other than Mavis Staples, there
is not another act in blues that more com-
fortably blends the secular and sacred,
whether it’s on the Booker T standard “My
Kind Of Girl,” the mournful Ted Hawkins’
song “I Gave Up All I Had” or in the eight
originals including Wendell Holmes’ tomes
about the vicissitudes of relationships.
Produced by three different veterans
whose credits include such disparate acts
as Olabelle, Seal, and David Bowie, this
album lives up to its title by every nuance
of the various definitions of the word
Brotherhood. Their three-part harmonies
are a near perfect blend of fraternal
brother Wendell Holmes’ gruff tenor,
brother Sherman Holmes’ baritone, and
honorary brother Popsy Dixon’s flawless
falsetto.
Universal but never generic, The
Holmes Bothers are as comfortable to the
educated blues listener as Muddy Waters,
familiar in their delivery to the casual lis-
tener without being predictable and under-
rated in their superb musicianship.
Wendell is facile in his ability to glide from
gospel piano to electric guitar with effects.
Blues Music Magazine 45
Sherman is rock steady on the bass and
drummer Popsy is squeaky tight while
never becoming a metronome.
The reason Joan Osborne is so raw
but right is that she woodshedded with
The Holmes Brothers for years at Dan
Lynch’s in the Big Apple. The reason the
Brothers have shared recordings with
everyone from Lou Reed to Bruce Spring-
steen, Merle Haggard to Van Morrison is
because they attract talent like the mag-
nets of universal good that they are.
This album should go in every blues
fan’s permanent collection.
– Don Wilcock
ROYAL SOUTHERNBROTHERHOODHeartSoulBloodRuf
This album begins with a telling song:
“World Blues.” That opening title is as
good a description as any of what unfolds
on HeartSoulBlood, the Royal Southern
Brotherhood’s incendiary blending of cul-
tures, sound, and themes. Its members
may be famous enough in their own right
for this amalgam to be dubbed a super
group, but there’s too much authenticity,
too much gravitas and grit associated
with these 12 original songs for that often-
deflating tag to stick.
Instead, the Royal Southern Brother-
hood plunges a ladle deep into the Deep
South’s bubbling gumbo pot of musical
influences. They arrived there not as dilet-
tantes, but as respected practitioners of
the musical culinary arts. The group is
anchored by Devon Allman, son of Gregg;
Cyril Neville, of the Neville Brothers; and
blues dynamo Mike Zito. Drummer Yon-
rico Scott and bassist Charlie Wooten
augment this core trio. Together, Heart-SoulBlood charges past the typically sta-
tic genres of funk, rock, blues, and reggae
like a farm truck between shotgun-blast
rows of cotton, corn, and soybeans. Push
the pedal far enough down, and all of it
tends to blend together in the rearview as
they do here.
How these guys came to this place is
a story of happenstance and hard work.
The Royal Southern Brotherhood have
followed up their well-received debut with
scores of collaborative dates worldwide,
in between their main gigs. They’ve
emerged with something more complete
than before, in the sense of this album
and of this band. As they trade vocals,
trade licks, and trade songwriting credits,
these guys give new weight to the last
word in their band name, even as they
continue to make good on the other two.
– Nick DeRiso
DEANNA BOGARTjust a wish awayBlind Pig
There may be some blues on Deanna
Bogart’s latest, but her music is such an
eclectic mix of jazz, country, slow ballads,
and something akin to smooth standards
that she’s hard to pin down. Some call it
“blusion.”
just a wish away has a New Orleans
feel attributable to recording the disc at
Dockside Studios in Maurice, Louisiana,
with a host of local talent, including Char-
lie Wooten (Royal Southern Brotherhood),
Scott Ambush (Spyro Gyra), and Bon-
erama Horns. The CD was produced by
JoeBaby Michaels, who recruited the
locals to create the broad range of styles.
Bogart, a Detroit-born vocalist-
pianist-sax player who grew up in Phoenix
and New York City and later spent much
of her time playing around the Washington
D.C. area, impresses on piano and sax
throughout the 11-track disc. Her deep,
introspective songwriting talent is obvious
in the seven originals, which weave inter-
esting story lines into melodic songs.
Something like a blues song emerges
about halfway through, on the funky
“Tightrope,” written by Doyle Bramhall and
Stevie Ray Vaughan. Otherwise, there’s a
lot of slow, easy listening music here, with
a few ballads early on. It’s a melting pot of
several genres that mainly showcases
Bogart’s talent as a lyricist.
The opener, “If It’s Gonna Be Like
This” is a good ole shit kicker about a
relationship that isn’t going well. The
lyrics, “I was waiting at a café on a
crowded afternoon. Whiling away the time
and thinking was I too late or too soon,”
tell a wistful story. “Fine By Me Good
Bayou” is a lively song infused with that
swampy Louisiana theme including
voodoo, magnolia wine, and cypress
trees. It’s obviously influenced by her time
in New Orleans making the record. “Col-
larbone” an instrumental is a tight, moody
piece full of soulful horns and Bogart shin-
ing on sax. In keeping with Bogart’s
diverse style, the end of the disc finds the
‘70s hit “Hot Fun In The Summertime”
(Sly and the Family Stone) and the jazz
standard “Bye Bye Blackbird.”
She does have blues credibility.
Bogart three times won Blues Music
Awards for Horn Instrumentalist of the
Year, and is featured in the Legendary
Rhythm and Blues Revue, from the blues
cruises with the Tommy Castro Band and
Magic Dick. She also played for U.S.
troops in Iraq, Kuwait, and Egypt as part
of the Bluzapalooza tours.
– Karen Nugent
JOSH HOYER& THE SHADOWBOXERSSelf-released
The resurgence of soul music continues
to flourish, maintaining its position as a
“kissing cousin” to the blues. Lincoln,
Nebraska, may not be anyone’s choice as
a hotbed of soul, at least until you hear
this debut release from singer Josh Hoyer
and his crack nine-piece band. They
blaze through eight Hoyer originals, each
one packed with in-the-pocket rhythms,
punchy horns, and the leader’s muscular
vocals.
46 Blues Music Magazine
The band plays with a confident
swagger on tracks like “Illusion” and
“Dirty World,” the horns blasting away
over the tight interplay between Benny
Kushner’s guitar riffs and Hoyer’s swirling
keyboard work. “Close Your Eyes” has a
tastefully layered arrangement with
Hoyer’s baritone sax booting things
along, joining Mike Dee on tenor and
Tommy Van Den Berg on trombone.
Hoyer doesn’t pull any punches on
the opener, “Shadowboxer,” his rough-
hewn performance tempered by the
sweet backing vocals from Hanna
Bendler, Kim Moser, and Megan Spain.
The band’s funky nature emerges on
“Everyday And Everynight” as Justin G.
Jones lays down some Latin percussion.
The emotionally charged “Just Call Me
(I’ll Be Sure To Let You Down Again)”
finds Hoyer using his distinctive voice to
try to put an end to broken relationship.
The band gives “Til She’s Lovin’ Someone
Else” a rollicking New Orleans-style strut
anchored by Brian Morrow’s fat bass line.
On a disc full of highlights, “Make
Time For Love” stands out as a stone-
cold classic, utilizing a strong Memphis-
style groove mixed with plenty of attitude
as Hoyer pleads for understanding. Don’t
let this one slide by – it comes highly
recommended!
– Mark Thompson
JAREKUS SINGLETONRefuse To LoseAlligator
Clinton, Mississippi native and electric
blues-rocker Jarekus Singleton busts out
of the gates with fervor and intensity on
his national debut, Refuse To Lose,released on the Alligator label. Formed in
2009, featuring band members drawn
from the musicians he played with in
church, Singleton self-released the
album Heartfelt in 2011. That disc caught
the attention of regional blues fans and
critics alike while B.B. King’s Bluesville
channel on SiriusXM spun three songs
from the album in regular rotation.
Singleton’s time had come. He would go
on to win Guitar Center’s, “King Of The
Blues” contest for the state of Missis-
sippi, and receive the Jackson Music
Award for Blues Artist of the Year in
2012, as well as Local Entertainer of the
Year in 2013. He also competed in the
International Blues Challenge in 2011,
2012, 2013 and 2014. At the 2013 IBC,
he was scouted by Bruce Iglauer, the
president of Alligator Records, and
signed with the label in late 2013.
In October 2013 and January 2014,
Singleton and his band recorded at PM
Music in Memphis. Iglauer and Singleton
co-produced. The results of those
sessions are recognized on this CD.
Displaying a searing guitar tone and
nimble soloing skills, Singleton leads an
outstanding band of superb players that
include James Salone on organ, Ben
Sterling on bass guitar and John “Junior”
Blackmon on drums through twelve high
octane originals that highlight his lead gui-
tar prowess and gutsy, alpha male vocals.
Whether he’s blazing glorious on
the six strings on “Refuse To Lose,”
“Purposely,” “Keep Pushin,” or “Come
Wit Me,” funking it up on “Gonna Let Go”
and “Hero,” waxing the blues on “Crime
Scene,” “Hell,” and High Minded,” or
paving new ground with the songs
“Suspicion,” “Blame Game,” and “Sorry,”
Jarekus and company are in a total con-
temporary blues-rock zone. At age 29,
Singleton and his band have the chops,
swagger and talent to make a real name
for themselves in the music world and
with a debut album as fiery and satisfyin’,
as Refuse To Lose, you need to check
him out. Good stuff.
– Brian M. Owens
DELTA GENERATORSGet On The HorseSelf-released
The devastating 1889 flood in Johnstown,
Pennsylvania, was tragic enough, but the
Delta Generators make it even more
haunting with singer-songwriter Craig
Rawding’s imagined back story in “Night
Of The Johnstown Flood.” Rawding
incorporates his rich story-telling flair with
a parable about the death of one brother,
while the other suffers survivor’s guilt
all pushed along with guitarist
Charlie O’Neal’s deep blues throughout
the seven-minute masterpiece.
The song comes about halfway
through the New England based band’s
third album, Get On The Horse, a well-
produced mixture of blues, rock, soul, and
a bit of country that captures everything
from great songwriting to tight arrange-
ments on this 12-track disk of originals
produced by Grammy winner David Z, of
Prince, Clapton, and Buddy Guy fame.
The four-member powerhouse
band consists of brothers Charlie and
Rick O’Neal on guitar and bass, singer
and harpist Rawding, who penned all
of the tunes, and the ever-steady Jeff
Armstrong on drums, percussion, and
piano. This record has the added voice
of Keri Anderson on backups and John
Cooke on organ.
“Spider Bite” is a hard-hitting blues-
rocker with a nod to Led Zeppelin. Charlie
O’Neal did two takes of the solo, and his
band mates dug the chaotic sound of both
at once. “Diablo Rock,” toward the end of
the record, is a fun, danceable blues-
rocker about the devil stealing God’s
Lincoln and driving it to Mexico to start a
band. A slow, sexy blues called “The More
I Find Out (The Less I Want To Know)”
was inspired by Albert King’s Lost Sessionalbum. Rawding successfully channels
King’s delivery and sense of humor, while
Rick O’Neal excels on stand up bass.
Charlie O’Neal picks up a banjo (and
uses an e-bow on his electric guitar) on
“Against The Cold” which swerves toward
the folkie side of the street, although
enhanced by Rawding’s harp and soulful
vocals. He really has an outstanding
vocal range and wonderful emotional
expressiveness. After little more than a
year as a band, the Generators made
Blues Music Magazine 47
the top 10 at the 2009 International
Blues Challenge in Memphis. They have
steadfastly improved and matured to a
well-honed, talented group.
– Karen Nugent
DOWNCHILDCan You Hear The MusicLinus
The Downchild Blues Band changed its
name simply to Downchild many years
back to avoid the stigma and perceived
limited appeal of the genre. But this leop-
ard hasn’t changed its spots. It’s still your
utilitarian Canadian blues band founded
more than four decades ago by guitarist
and harp player Don Walsh, who was
smitten at age 16 when he first heard
Jimmy Reed in the mid-60s. They are to
Canada what The Nighthawks are to the
United Sates blues scene, stalwart meat
and potatoes electric blues based on post-
war Chicago blues but, with double the
manpower six strong, there’s some jump
blues thrown in. Walsh runs the show. He
produces, writes most of the songs, and
plays guitar, slide guitar, and harmonica,
but doesn’t sing. He’s had the same engi-
neer for 30 years, and the current lineup
solidified 15 years ago. This is a good
band. To be a great band, they’d need
more soul than I hear, although vocalist
Chuck Jackson does rise to the occasion,
particularly on the slower, simpler num-
bers like “This Road” and “Don’t Wait Up
For Me” with its fundamental Elmore
James-styled slide with piano filigree.
Walsh calls “One In A Million” a
guitar melody different from anything he’s
written with a juicy slide guitar sound and
almost gospel feel: “My crutch when I’m
limping. My compass when I’m lost.
One in a million is what you are.”
– Don Wilcock
Anyone looking for proof that the blues is alive and well and living in Europe
need look no further than this year’s European Blues Challenge, organized by
the European Blues Union and held in Riga, Latvia, on the second weekend
in April. There, 18 acts – each of them a winner of their respective national
competition – showcased their talents on two consecutive nights of 20-minute
live performances. The event felt less like a contest than a celebration: An
enthusiastic crowd made up of locals, visiting fans, and participating musicians
cheered each band in a spirit of community and fair play. On the surface at
least, no one seemed to care much about winning.
In the end, a panel of industry insiders gave Spain’s A CONTRA BLUEStop honors. The abundant talents of this five-piece outfit from Barcelona are
apparent on their 2013 CD release Chances. The opening two numbers,
“A Hole In My Pocket” and “Just Arrived” – the former rooted in rockabilly, the
latter in Elmore James-style blues – show off the key double-barreled weapon
in their arsenal: Héctor Martín Díaz and Alberto Noel Calvillo Mendiola, two
equally gifted guitarists who create an exciting and playful tension. In contrast
to the band’s previous album, which relied heavily on classic covers, Chancesshows off impressive songwriting chops. “Barkin’ Dog,” for example, is a tense
and gripping acoustic track immediately followed by an exhilarating swing
workout, “Don’t Do That City,” recalling Brian Setzer’s finest moments.
The singing of Jonathan Herrero Herrería is rather heavily accented, but his
phrasing, tone, and feel for rhythm make him a riveting front man.
Dark-haired, tattooed Finnish singer INA FORSMAN was surely a visual
highlight of the weekend in Riga, and what she lacked in vocal finesse, she
more than made up for with her undeniable spirit and energy. As she did at
the EBC, Forsman teams up with harmonica veteran Helge Tallqvist on
Ina Forsman With Helge Tallqvist Band, an entertaining collection of covers
recorded in the summer of 2013. The material here paints a pretty clear
stylistic picture: Several cuts by Magic Sam, Slim Harpo, and some popular
tunes made famous by Etta James. The cheeky video clip to “What Have I
Done,” easily located online, provides a glimpse of what these Finns have to
offer both the eyes and the ears.
The EBC’s strongest country blues entry came from Denmark by way of Brazil,
Marc Rune aka BIG CREEK SLIM. The Danish singer and guitarist is
inspired by the first generation or two of recorded bluesmen – Charley Patton,
Son House, Muddy Waters – and has a voice rough and tough enough to pull
it off. Ninety-Nine And A Half, recorded in 2012, is a solo effort showcasing
Slim’s unique feel for the old-school blues. And he’s not just copying, either:
“Biggest Leggest Woman” and “Should I Chase The Wind” are excellent
examples of a young inhabitant of the 21st century tapping into a well of
musical history 100 years old.
Overlooked somewhat and thus deserving of a very honorable mention here:
DAVID MIGDEN & THE TWISTED ROOTS, the hard-to-categorize
representatives of the U.K. in Riga. Voodoo blues? Jazz-inflected soul?
Whatever you call it, the quintet’s current release Animal & Man is a gem.
Every tune is laced with compelling imagery and chock full of atmosphere.
The playing is top-notch without once going over-the-top and the production
lets it all shine through – above all, Migden’s soulful voice, which is almost too
pretty for the blues. This brilliantly executed album belongs in the hands of
anyone for whom music is the ultimate medicine.
– Vincent Abbate
THE BEST OF THEEUROPEAN BLUES CHALLENGE 2014
48 Blues Music Magazine
COCO MONTOYASongs From The RoadRuf
Few people have mastered the art of blues guitar by playing the
instrument left handed and strung backwards. Albert King comes
to mind and so does Coco Montoya. Originally a drummer for
Albert Collins, he developed a passion for the guitar and learned
it as he says, “by feel.”
Songs From The Road is a double CD compilation of two
live concerts at the Triple Door in Seattle from 2012. Montoya’s
touring band includes Nathan Brown on bass, Rena Beavers on
drums and vocals, and the
stellar Brant Leeper on key-
boards and vocals. Montoya
handles the guitar and main
vocals. Each disc holds
seven songs, but some cuts
take almost a ten-minute
ride which more than allows
each musician to showcase
their talent. One standout
song is “Good Days, Bad
Days” which has a sublimely
lovely piano/organ solo by
Leeper that has the audience applauding and then, not to be out-
done, Brown plies his bass playing talent in a solo that earns him
the same accolades. Montoya finishes out the song with his well
articulated and pleasing guitar notes and then gives these two
musicians a shout out as the band has taken this song to a higher
plane through their expertise.
If you’ve had the pleasure to see Montoya play live, than you
are aware of how each note or guitar phrase is evidenced on his
facial features. There are five photographs in this CD package
that catch him in an array of musical ecstasy that proves, as Dave
Van Ronk once said, “I cannot sing a lie.” Montoya co-wrote three
of the fourteen songs – two with Doug MacLeod. His softer blues
renderings, “Too Much Water,” “I Wish I Could Be That Strong,”
and “The One Who Really Loves You,” on this double CD offer an
emotive timbre to his voice that is not only pleasing but also infec-
tious. If your current blues library lacks a spot for Coco Montoya,
Songs From The Road would be a wise purchase to fill that
vacancy.
– Pete Sardon
ALBERT CASTIGLIASolid GroundRuf
Albert Castiglia is a Southern Florida guitarist with a pretty
impressive resume. His stint as the guitarist in Junior Wells’ last
band took this guitarist into the heart of the blues at an early age.
Since then, Castiglia has released five critically acclaimed albums
and cemented a reputation as one of the finest young guitarists on
the scene. All that hard work
paid off when Ruf Records
signed him in late 2013.
Castiglia enlisted the
multi-talented Dave Gross,
who recorded and produced
Solid Ground, to add his
expert guitar behind
Castiglia on nine tunes. His
touring band of Bob Amsel
(drums) and Matt Schuler
(bass) are also on board.
The CD opens with two stellar Song of the Year candidates.
“Triflin’,” is Castiglia’s bare boned, guitar and percussion-centered
criticism of urban meddlers and liars. The shufflin’ “Keep You
Around Too Long” features Castiglia and Fields tradin’ guitars over
Jeremy Baum’s lush piano accenting the song’s overdue mes-
sage. Long known for his sense of humor onstage and in song,
Castiglia calls on Debbie Davies to sing and swap riffs on his “Put
Some Stank On It,” a male call for his lady to trash up her attitude.
Castiglia’s deepest blues surface on “Sleepless Nights” and
Walter Williams’ classic “Bad Avenue” where Amsel’s heavy
emphasis on the backbeat is reminiscent of early Chess record-
ings. His energetic guitar workout on Jimmy Oden’s “Going Down
Slow” provides Castiglia room to explore the depth of a blues song
over 70 years old, yet still relevant. While his own “Hard Time”
combines Castiglia’s acoustic slide guitar and Field’s mandolin to
explore 2014’s struggles.
His partnership with Miami songwriter Graham Drout, whose
songs are major components of Castiglia’s earlier work, continues
here. In Castiglia’s hands, Drout’s three songs “Celebration”
(originally on Castiglia’s 2008 record These Are The Days), “Just
Like Jesus,” and “Searching The Desert For The Blues” are perfect
examples of the modern bluesman as singer-songwriter. His appre-
ciation of his Cuban heritage surfaces on the instrumental “Little
Havana Blues,” while his love of Stones blues-rock is apparent on
their 1971 “Sway.”
With this fresh start on a major blues label and his touring on
the Ruf Caravan throughout Europe in 2014, Albert Castiglia is
poised to show off his world-class blues.
– Art Tipaldi
JONN DEL TORO RICHARDSON& SEAN CARNEYDrivin’ Me WildTony’s Treasures Productions
The 2005 International Blues Challenge brought guitarists
Jonn Richardson and Sean Carney together, Richardson per-
forming with Diunna Greenleaf, and Carney with Teeny Tucker,
Carney recalls in the liner notes to this spirited collaboration.
Since then, the veteran IBC award winners (band and guitarists)
have recorded a trio of Blues Cures studio jam CDs with some
all-star guitar players.
On Drivin’ Me Wild, the duo take turns on lead vocals on
a 13-song set dominated by originals written by Carney or
Richardson. But the emphasis here is more on playing than
Blues Music Magazine 49
singing, with the guitarists
sparring back and forth
on solos, giving the per-
formances the spirit of a
live recording, empha-
sized by Carney when he
shouts “Here we go!”
before an instrumental
break on “Cloud Nine.”
The format is rooted
deep in the blues tradi-
tion, such as on the title
cut, a shuffle by Carney that sounds immediately familiar, a
tried-and-true blues structure that offers plenty of space for
these guys to show off their chops. On a few tracks, guitarist
and fellow International Blues Challenge Albert King Award
winner JP Soars joins the proceedings, adding yet another
distinctive voice to the lead guitar attack. Singer Omar
Coleman lends his lead vocal growl to a pair of songs he co-
wrote with Richardson (“A Man Like Me” and “Hold Me”) and one
of his own “Slow Down.” Coleman also guests on harmonica on
Richardson’s soulful ballad, “Peace Of Mind,” one the album’s
most moving cuts, thanks to Richardson’s mournful vocal.
The album’s one cover song is an inspired choice: Tom
Waits’ “Chocolate Jesus,” a tune from the latter-day catalog of
songs Waits wrote with his wife, Kathleen Brennan (misidenti-
fied in the notes as “Katherine.”) Richardson and Carney might
consider throwing a few more left-field choices into the mix next
time around to punch up that comfortable groove they inhabit
so well. While the good-time style blues can be comforting,
lacing it with a bit of dark humor and perhaps an acoustic touch
(bass player Sam Van Fossen uses an upright on this track,
as he does on the instrumental closer “One For J.B.”) can be
so refreshing in a genre that too often plays it safe.
– Michael Cote
VANEESE THOMASBlues For My FatherSegue
Back in the first half of the ‘90s when I was music editor at the
Memphis Commercial Appeal, Rufus Thomas and his family
were everywhere, even the phone book. Yes, you could pick
up the White Pages and dial the man who gave Sun and
Stax their first hits and who fathered some of the city’s most
talented musicians.
But though Marvell and
Carla Thomas were very
much part of the local
scene, Rufus’ youngest,
Vaneese, was the
missing Thomas. With
Beale Street in ruins and
Stax long gone, she’d
headed to New York
years earlier, becoming
an in-demand singer for
50 Blues Music Magazine
national jingles like Pepsi and doing backup for the era’s biggest
pop and R&B stars. But blood will tell, and this is her musical
journey back to the Home of the Blues.
However, “back home” doesn’t mean “downhome.” This is
not her father’s blues. The sleek professionalism that made her
a busy session singer in the ‘80s and ‘90s is much in evidence
here. Most of the 12 songs were recorded at her studio in
New York with some of the area’s best session players, including
David Letterman bassist Will Lee.
Vaneese is a wonderful singer, with a soulful, raised-in-the-
church sound that’s equally at home duetting her father a la Nat
and Natalie Cole on “Can’t Ever Let You Go” (a 1991 session
Rufus did at Sun Studio) and singing with Carla on “Wrong Turn,”
which also features her keyboardist brother Marvell, their parts
recorded at Royal Studio in Memphis, fittingly with Willie
Mitchell’s son Boo at the controls.
Other than the Rufus duet, the only other cover here is
Vaneese’s appropriately swampy take on John Fogerty’s “The
Old Man Down The Road.” That’s the biggest surprise here,
what a fine songwriter she is. “Southern Central Blues” opens
the album with the declaration, “I got the blues,” and she goes
on to decisively reclaim that birthright, from the numerical put-
down of a cheating love, “10X The Man You Are”; the slow burn
of “On the Corner of Heartache and Pain”; the autobiographical
“Southern Girl”; and the gospel-tinged acoustic closer “Blue
Ridge Blues.” Through it all, Vaneese Thomas does her
daddy proud.
– Larry Nager
GENE “DADDY G” BARGEOlioWildroot
The raucous tenor sax solos by “Daddy G” on Gary U.S. Bonds’
string of LeGrand hits in the early 1960s were a call to rowdiness
for me and my hormonally challenged pre-teen buddies.
Suffice to say the diverse music on Olio is somewhat mellower.
Self-produced on his Wild-
root imprint, 88-year-old
sax legend Gene “Daddy G”
Barge recruited some spe-
cial Windy City guests like
vocalists Otis Clay, Willie
Rogers, and Eric Thomas,
guitarists Buddy Guy, Criss
Johnson, and Will Crosby,
and baritone sax stalwart
Willie Henderson for this
set of nine originals and two
covers (an instrumental
version of Bonnie Raitt’s plaintive ballad “I Can’t Make You Love
Me” and Buddy Miles’ rollicking “Them Changes” featuring
Johnson on vocals and guitar). Most of the originals are jazz,
both smooth and funky, and classic soul. The slinky
Blues Music Magazine 51
“Shame On Me, Shame On You” is the lone blues: a vocal duet
with Guy whose acerbic licks intensify the torment of love gone
bad. The non-ballad soul tunes are the horn-heavy funk grinder
about a fortune telling femme fatale, “Reader Woman,” and the
lilting “We’ll Be Friends” with Clay, Rogers, and Barge (all friends
for over 40 years) sharing the vocals. The upbeat instrumentals
are “Safe Sax” and “Sweetness,” a tribute to Chicago Bear great
Walter Payton. Barge’s glorious sax is heard in abundance
throughout this eclectic album whose main appeal will be to sax
and soul fans.
– Thomas J. Cullen III
EDDIE COTTONHere I ComeDeChamp
Ten years ago, I saw Eddie Cotton at the Mississippi Valley Blues
festival. Playing on the bandshell, Cotton electrified the crowd
with a set that featured his fine vocal skills and impressive guitar
playing. An added bonus was that I was able to purchase a copy
of Cotton’s hard-to-find recording, Extra, that he had released the
previous year. Since then, Cotton simply vanished and, except for
an occasional mention in a blues publication, he was missing in
action. A search of the Internet revealed that he had spent much
of his time working with his father, a pastor, to run their church in
Mississippi, especially after
his father passed away
in 2009.
Now Cotton is back with
a new release that highlights
all of his talents as a singer,
songwriter, and musician.
DeChamp Records was
formed by Grady Champion,
a talented artist in his own
right. Champion plays har-
monica on two tracks. Other
members of the band include Myron Bennett on bass, Samuel
Scoot Jr. on drums and percussion, and Carlos Russell on harp on
two cuts. Producer Sam Brady, who also engineered the recording
sessions, appears on four songs playing organ.
The opening strains of the title track make it clear that
Cotton has a bad case of the blues, laying down a smoldering
groove punctuated by fiery guitar solo. “A Woman’s Love” slows
the pace even further as Cotton offers an incisive testament to
the strength of his love for his woman. Bennett’s popping bass
establishes the funky driving rhythm on “Get Your Own,” as
Cotton paints a vivid portrayal of a bluesman’s financial plight.
Champion blows some mean harp over the propulsive, driving
beat on “Leave Love Alone,” then fills in behind Cotton’s lusty
singing on “Berry So Black.”
“Pay To Play” is a toe-tapper about a woman tired of being
mistreated. Cotton fires off a steady stream of staccato notes that
52 Blues Music Magazine
drive the message home. The downhome, country feel on “Back
In A Bit” offers a different mood with Russell’s harp echoing
Cotton’s multi-tracked vocals. Slipping into a slinky, infectious
groove on “My Boo,” Cotton uses his honeyed voice to convey
his excitement over his woman’s new hairstyle. Cotton’s taste-
fully layered vocals take you to church on “No Love Back,” with
a hint of reggae capping off a memorable examination of love’s
transformational power.
It may be early in the year, but you can bet this recording
will be getting plenty of attention come awards time. It is great
to have him back. Don’t miss this stellar recording.
– Mark Thompson
ANDY T & NICK NIXONLivin’ It UpDelta Groove
The list of people who can successfully cover a Delbert McClinton
song is a short one. Put Andy T and Nick Nixon at the top of the
list. “Livin’ It Down,” from their latest has that signature salty,
snaky, funky groove McClinton built his career on. Nixon’s vocal
combines the gospel feel of the Holmes Brothers’ Popsy Dixon
and the bluesy vocals
of B.B. King with
some King-style guitar
courtesy of Andy T
(Talamantez). Pianist
Larry Van Loon sprin-
kles some Professor
Longhair over the top
and around the sides to
enhance the second
line backbone.
Anson Funderburgh
is back producing once
again as he did on their last release, Drink Drank Drunk, and
playing rhythm guitar on one track, “Oh Baby.” Funderburgh
coaxes an easygoing vibe out of the band throughout the disc,
Andy T’s guitar reflecting his T-Bone Walker influence on the
shuffle “Baby Right Now.” The Jimmy Reed-flavored “Best In
Town,” written by Nixon, glides along on greased rails aided by
Christian Dozzler’s harp. “My Baby Is Now On My Mind” shuf-
fles along smoothly, combining T’s Albert Collins guitar treat-
ment with a B.B. King-flavored vocal by Nixon. “Last To Leave,”
co-written by T and saxophonist Dana Robbins, is a Jerry Lee
Lewis-style rocker with some frenetic King Curtis-style honkin’
from Robbins. “Whatever You Had You Ain’t Got It No More”
features Nixon and sounds like it crawled out of church and
through the window of a juke joint to rest in the lap of a two
timin’ Jezebel who’s finally getting her comeuppance for her
sleazy ways.
If this music don’t cure what ails you, you might as well
check in at the boneyard. Do yourself a favor and write yourself
an Andy T – Nick Nixon prescription for the best music this side
of the grave.
– Grant Britt
Blues Music Magazine 53
IAN SIEGALMan & GuitarNugene
Ian Siegal is best known for his most recent work with his
North Mississippi brethren, Kimbroughs, Burnsides, and
Dickinsons. In that setting, Siegal expanded his blues-rock
trio base into the groove laden, hill country styles. This current
disc presents Siegal in a totally different environment, light
years from the land
where the blues
began. Seated in
London’s prestigious
Royal Albert Hall and
armed with only his
acoustic guitars,
Siegal has recorded
an exquisite set of
traditional music.
Siegal opens the
early afternoon gig
with his high flyin’
cowboy tale “The Silver Spurs.” After some banter with the
audience, Siegal accelerates the traditional “Mary Don’t You
Weep” at a pace that’s more Springsteen the Aretha. Both
tunes were originally part of Siegal’s 2008 acoustic record,
The Dust. His “Mortal Coil Shuffle,” recorded on his Swaggeralbum in the Chicago blues style of Muddy’s “Long Distance
Call” is presented here acoustically in the same arrangement
as Clapton’s “Walking Blues” from his Unplugged record.
Siegal calls Charley Patton “the greatest guitarist” then
flies into Patton’s seminal “Pony Blues.” Patton’s original style
on guitar and vocals is tough to replicate, yet Siegal’s heavy
thumb picking and gruff vocals augmented by falsetto are
enough for the casual fan to appreciate. His other blues
standards are a ragtime flavored “T’ain’t Nobody’s Business,”
(performed a la Taj Mahal) and a medley of Son House’s
“Preachin’ Blues,” the Sensational Nightingales’ spiritual
“Live So God Can Use You,” and Mississippi Fred McDowell’s
“You Got To Move.” His gospel placement should remind of
the separation of blues and gospel in the minds of Delta
blues originals.
Siegal’s humble “Falling On Down Again” offers the sad
tale of the fall that every human faces. His anguished plea to
stand up again amid life’s downfalls touches deeply. For me,
this was the night’s finest performance. Siegal ends the night
with “a song from the fifties, the 1850s,” Stephen Foster’s
“Hard Times (Come Again No More).” His pristine finger pick-
ing, ringing slide, and weathered voice center this universal
song in a timeless world. A second highlight.
For one special night, Ian Siegal has expertly connected
the blues and gospel music of the rural American South
with the lordly posh Royal Alberts. (And don’t miss Siegal’s
hilarious comment about his front row seat at a Kris
Kristofferson show.)
– Art Tipaldi
Blues Music Magazine 55
KELLEY HUNTThe Beautiful Bones88 Records
More than the bones prove beautiful on
this scintillating release by one of soul’s
best-kept secrets. Bulletproof originals
like the funky “Golden Hour” to the high-
torque, torrid gospel blues of “Release
And Be Free” prove Kelley Hunt’s time to
shine is here. She’s been belting out her
version of Memphis soul blended with
barrelhouse blues, funk, and R&B for the
past 20-plus years – her delicate fusion of
styles ever-evolving.
Yet it’s her voice that has grown
even larger over time, maturing with the
soulful, velveteen finish and finesse that
only comes with time-tested talent. TheBeautiful Bones represents two things:
first, it’s a culmination of all the music the
Kansas City native has grown up with,
and two, there’s something entirely fresh
going on as she takes a firmer hold on
her own voice.
The addition of John Jackson on
guitar has injected the band with a
refreshing twist in both the band’s and
Hunt’s sound. Her seasoned players
(Bryan Owings, drums; Tim Marks, bass;
Mark Jordan, B-3) distinguish themselves
by their ability to adapt to whatever
Hunt throws at them, stylistically – and
Beautiful Bones covers a broad musical
landscape. Take the funky, wah-wah
guitar-laced, horn-backed, piano-driven
testifying of “This Time” with its tasty
McCrary Sisters’ back-up vocals to the
gentle, heartfelt ballad “Let It Rain,” with
its lightly-caressed piano notes as Jack-
son’s guitar recalls Brook Benton’s cover
of “Rainy Night In Georgia.” Front and
center, vintage Hunt, her vocals capable
of light and dark and all tones and
textures in between. From the
church-schooled gospel of “Release And
Be Free” to the more aggressive, horn-
driven sass of “When Love Is At The
Wheel,” Hunt takes full control, earning
those countless comparisons to big-
name singers who work half-as-hard.
Yet, it’s the new path taken which awak-
ens you to the fact that Hunt’s talents
know no earthly limits. From the ethereal,
drug-trippy “Gates Of Eden” to the sweet,
gentle soul of “I Want You There,” it’s the
transcendental “Miracle” which truly
breaks fresh ground – a soulful epic and
deeply introspective opus that pushes
skyward like an aerial ballet, driven by
some of Hunt’s most powerful vocals
ever. This is the true evolution of a talent
who only grows more cherished each
time out.
– Eric G. Thom
DAUNIELLE HILLDaunielleCatfood
Currently touring with Huey Lewis and the
News, Memphis’s own soul/blues singer
Daunielle (dawn-yell) Hill took the time to
record her debut album at Catfood
Records in Texas. Given the sonic foun-
dation of The Rays, a nine piece band
that sports four horn players along with
the requisite guitar, bass, drums, and key-
boards, Hill’s vocals clearly shine through
this full sound and the purchaser will find
this an eminently listenable CD.
The outstanding track “(Your Love
Has Lifted Me) Higher And Higher” will
force you to stop and listen and feel the
energy of her phrasing as she starts out
slowly and then finishes with a wonderful
up-tempo rendering of this classic. Having
been a backup singer herself, Hill gets
assistance on six of the songs with vocals
by Reba Russell and Tameka “Big Baby”
Goodman. Besides doing all of the lead
vocals on the ten songs, Hill also tracks
her own voice as one of the backup
vocalists.
Catfood’s house band, The Rays,
add just the right touch of organ, piano,
guitars, and a tight rhythm section.
Smooth would be proper way to describe
their sound. Hill’s vocal range can glide
from softness to a full forte sound that
showcases her depth as a singer.
Fittingly she includes “Damn Your Eyes”
in the set list, as she wanted to pay
homage to Etta James. She has two
original songs, “I Got A Voice” a tribute to
her daughter and “Nobody Cared” which
speaks of her life’s journey.
If this was intended as an audition for
even better songs to come, Catfood
Records would be wise to record Hill
again as her voice is one that has earned
more than just a back up role.
– Pete Sardon
JJ THAMESTell You What I KnowDeChamp
JJ Thames possesses a marvelously
expressive voice that gets a full workout
on her debut recording. Thames has done
backing vocals on stage for everyone
from Marvin Sease to rock bands like
Fishbone and the English Beat. Right
from the start, she makes it clear that her
talents deserve the spotlight.
On the opener, “Souled Out,” she
moans and shouts with gospel intensity
over sparse percussion and backing
vocals. “Hey You” is another original that
borrows the familiar guitar figure from
“Smokestack Lightnin’” to create a hyp-
notic hook while the singer explores the
breadth of her tonal palette.
The title track acknowledges the
road Thames has traveled, with her
voice taking on a husky tone that threat-
ens to overpower the lush arrangement.
“I’Ma Make It” and “I Got What You
Need” features harp from Executive
Producer Grady Champion. The later
track also gets a boost from a three-
piece horn section, giving Thames a
solid platform for her saucy performance.
Label mate Eddie Cotton plays guitar on
three tracks, including “No Turning
Back,” as Thames’ vivid tone rides the
56 Blues Music Magazine
rich organ tones courtesy of Sam Brady.
Her meticulous phrasing on ballads like
“Rhinestones” creates layers of emo-
tional depth. Perhaps the finest moment
is an inspired cover of Ray Charles’
“I Believe.” The singer takes a measured
tone that gradually shifts to a grittier
approach as her sense of betrayal
grows.
By the end of this recording, you will
have reached the inescapable conclusion
that JJ Thames is one of those rare com-
binations – a singer with huge voice and
the understanding of how to use it to
accentuate her material. You can bet we
will be hearing more from her for years
to come.
– Mark Thompson
JEFF JENSENRoad Worn & RaggedSwing Suit
What I usually note at the outset when
first listening to a recording is the
performer’s voice (assuming someone
sings). Don’t know why. Musicianship is
certainly something I listen for as well,
along with the melodies, tempo, and
overall coherence. On all points, Jeff
Jensen has presented us with a superior
product in Road Worn & Ragged.
Jensen’s voice grabbed and held my
attention throughout, no matter the
particular song’s style or provenance.
It takes a few measures’ worth of
instrumentation (measures filled sweetly
by Brandon Santini’s magnificent harp
playing) on the shuffle, “Brunette Woman”
to get to Jensen’s verse, sung in a gruff,
strained blues style: “I got a pretty little
woman/her hair turns red in the sun/
everything was beautiful until the
preacher said ‘We are one.” Hmmmm.An interesting premise, there.
“Good Bye Portland,” another of his
compositions, is a gentle, piano-backed
tale of Jensen’s departure from that City of
Roses and arrival in Memphis, his home
for the past few years, where he teamed
up with the superb musicians included
here: the aforementioned Santini (harp),
Bill Ruffino (bass), James Cunningham
(drums), Chris Stephenson (organ), and
Victor Wainwright (piano).
Jensen does a passable and compli-
mentary cover of Tom Waits’ “Heart Attack
& Vine,” also the title song of Waits’ final
record on the Asylum label. Not an imita-
tion, but he gets the famous Waits growl
and intonation down and frames the
verses with a spare electric guitar solo.
A spry original instrumental shuffle called
“Pepper” could easily have come from a
Chet Atkins and Les Paul collaboration.
Which is to say there’s more thrum
than strum in this briskly paced track.
A provocative treatment of Willie Dixon’s
“Little Red Rooster” wherein it’s played
against a beat put down in military march-
ing style on a snare drum shows there’s
room yet for creativity within the outlines
of that blues standard.
“Gee Baby, Ain’t I Good To You?”
affords Jensen the opportunity to demon-
strate his grasp of jazz standards with
gentle fretwork evocative of Grant Green
or perhaps George Benson. This song is
a true classic, composed by Andy Razaf
and Don Redman (uncle to Dewey
Redman and great-uncle to Joshua
Redman). Jensen’s voicing is respectful
and subdued, putting him in the company
of so many other great interpreters of this
venerated number. Geoff Muldaur’s and
the late Eva Cassidy’s are a couple of
versions I particularly admire; Jensen’s is
not quite up to theirs, but close.
If you aren’t familiar with Jeff Jensen,
this recording serves notice that it’s time
to get to know him. His ability and tastes
demand it.
– M.E. Travaglini
SLEEPY JOHN ESTESWITH HAMMIE NIXONLive In JapanDelmark
The blues has always had its share of
unforgettable musical duos. The more
memorable include Butterbeans and
Suzy, Leroy Carr and Scrapper Blackwell,
Lonnie Johnson and Victoria Spivey,
Sonny Terry and Brownie McGee, Buddy
Guy and Junior Wells, and Sleepy John
Estes and Hammie Nixon. The latter
began their lifelong friendship and musi-
cal partnership in the 1920s that lasted
until Estes’ death in 1977 (Nixon passed
in 1984).
Like many blues performers, Estes
and Nixon were forced by changing times
to cease recording after their heyday,
which ran from 1929-1941, and return to
lives that were difficult and impoverished.
Fortunately, however, they were ultimately
swept up in the big blues revival net that
unfurled in the 1960s and revived the
careers of so many great blues talents
too numerous to mention here.
After a couple of false starts in the
1950s with unreleased Sun and Ora Nelle
sides, Estes was lured back into the
recording studio in 1962 under the aus-
pices of Delmark Records’ Bob Koester.
Accompanied by pal Nixon, Estes recorded
and toured for more than a decade in a
great second act for both men.
Live In Japan is an excellent exam-
ple of what the duo sounded like in the
1970s, performing for sold out Japanese
audiences in four big tours across Japan
between 1974 and 1976. Despite advanc-
ing age – Estes was in his mid-70s, Nixon
was 10 years younger when these record-
ings were made – the duo displays an
energy and enthusiasm that belies
advancing age.
Opening with “Corinna, Corinna,”
the duo demonstrates a synthesis of
talent that spanned half a century at that
point. With Nixon alternating with Sleepy
John on vocals, and accompanying him
on blues harp, jug, and kazoo, this tune
has a call-and-response quality that
surprises those of us used to the Blind
Lemon or Mississippi Sheiks versions.
This symbiotic playing is evident
throughout, punctuated numerous times
by spontaneous audience applause.
Also contained on this 21-track
recording are reprisals of tunes the duo
had performed at the peak of their
careers, including “The Girl I Love,”
“Broke And Hungry,” “Divin’ Duck,” and
“Stop That Thing,” [all Delmark] and “Rats
In My Kitchen,” which Estes had recorded
for Sun Records in 1952.
Given their long history together,
the men play seamlessly, with Nixon
effortlessly accompanying Estes’
acoustic guitar and vocals on every tune,
alternating among blues harp, kazoo,
and deep-down vocals that complement
Estes’ lighter voice. Other tunes reprised
by the duo include “When The Saints Go
Marching In,” “Holy Spirit, Don’t You
Leave Me,” and Nixon’s version of “Fox
Chase.” The last four tracks – “Sleepy
John’s Twist,” “Love Grows In Your
Heart,” Brownsville Blues,” and “Jesus Is
On The Mainline” – feature the Japanese
blues band Yukadan backing Estes and
Nixon with taste and reserve.
– Michael Cala
GILES COREYGiles Corey’s Stoned SoulDelmark
Guitarist-singer and bandleader Giles
Corey is a Chicago-based musician who
just happens to also be the guitarist for
Mississippi Heat. Upon graduating from
the University of Chicago in 1997, Corey
joined Billy Branch and the Sons of Blues.
This was his first exposure to national
and international touring. In addition,
Corey played shows and recorded with
Syl Johnson and Buddy Miles around that
time. In 2001 Corey was hired by his
long-time guitar hero, Otis Rush, to play
in his band. Corey toured with Otis Rush
until the elder guitarist’s 2004 stroke sadly
made live performances impossible.
58 Blues Music Magazine
Stoned Soul is Corey’s newest band
and this self-titled disc is his debut album
not only for the Delmark label but for
GCSS. It’s immediately apparent that
Corey is a superb guitar player. His tone,
chops, and technical ability are above
reproach as he blazes through eight well-
penned originals and five well-chosen
covers like Wilson Pickett’s smash single,
“Don’t Let The Green Grass Fool You,”
Gary Clark Jr.’s inaugural hit, “Bright
Lights,” the songs “Right On!” and “Watch
Myself Go Crazy” written by fellow Stoned
Soul band members, keyboardist Marty
Sammon and drummer Rick King and the
Cedric Burnside tune, “That Girl’s Bad.”
Whether Corey is putting his stamp
on one of those well-played covers or
delivering his own righteous guitar driven
blues-rockers, he and his band (that also
includes bassist Joewaun Scott), ignite
the stage that they’re standing on with an
unmistakable electrifyin’ vibe.
Corey’s vocals are every bit as good
as his guitar slinging too. It’s a mixture of
high quality Cuban tobacco, finely blended
Southern whiskey, and a naturally innate
sense of emotive talent. This guy is no
stranger to the blues world, but it is his
time to shine and shine he will.
– Brian M. Owens
JEFF STRAHANMonkey AroundSquaw Peaks
Jeff Strahan gave up a career as a
successful trial lawyer to become a
fulltime Texas blues rocker. He was a
five-time semi-finalist in the International
Blues Challenge from 2005 to 2009.
He advertised this, his latest album, on
the back page of this magazine. And then
in January 2014 at age 53, he died.
“Give me a little bit, just a little more
time. Don’t draw the curtain on this life
of mine,” he sings on “Curtains.” He
dedicates “The One” to his mother and
sings, “I don’t want to be the one to say
goodbye when we’re done.” His website
biography says that he “had to beat a
terminal illness and regain his strength
to perform, tour, write, record, and
compete in the IBCs.” And although no
cause of death is listed there or in his
obituary, one source was quoted in a
local newspaper article saying he had
Blues Music Magazine 59
double pneumonia, a stroke and liver
failure.
Listen to his lyrics before knowing
his back-story, and it’s easy to pass off his
thoughts as I’ve-got-the-blues clichés.
Listen again after you know the back-
ground, and you realize this guy was the
blues, in more ways than one.
I remember hearing Elton John sing
“Candle In The Wind (Goodbye Norma
Jean)” at a memorial service following the
death of Princess Diana. I heard the song
in my mind’s ear completely differently than
on the single. The reality of that song in
specific context took on a much heavier
tone. Blues is very good at capturing a
heavy tone. Monkey Around is not a great
record by technical standards. It almost
sounds like it was never mastered. And a
casual listen to this Texas troubadour finds
him lacking the kind of energy we’ve come
expect from the “blistering guitar” we’re
promised in his ad. His faster numbers like
“Can’t Change Me” and “Hard Headed
Woman” have a garage band rawness
to them.
But what rises to the top with an
informed listen is the weathered weari-
ness of a man forced to live his life in half
time and determined to get his emotions
out in spite of his growing limitations.
I want to call “Curtains” lachrymose, but
then I hear the knowingness of a Dr. John.
I hear the wisdom of a man who has
one foot over the line.
– Don Wilcock
DEBBIE BONDAND THE TRU DATSThat Thing Called LoveBlues Root
Alabama singer/songwriter/guitarist
Debbie Bond has an impressive resume.
She has been active in Alabama since
the late 1970s, co-founded the award-
winning Alabama Blues Project, and
has worked with Johnny Shines, Jerry
McCain, Eddie Kirkland, James Peterson,
and Willie King among others. She
recorded her third album live at
OmegaLab Studio, a M.A.S.H.-style tent
on a mountaintop outside of Nashville,
backed by the Tru Dats (keyboardist/
producer/songwriter/husband Rick
Asherson and drummer/percussionist
Dave Crenshaw). There are six originals
60 Blues Music Magazine
and two covers courtesy of the Holmes
Brothers, “You’re the Kind of Trouble”
(penned by Adam Wright) and “Feed My
Soul” (penned by Wendell Holmes).
The music herein is sweet, soulful,
and reflective, often reminding me of a
female version of fellow Alabamans Eddie
Hinton and Dan Penn. There is a blues
feel throughout, but overall this is more of
a Southern soul album with jazz and coun-
try nuances. Asherson’s electric piano is
an essential component and he also con-
tributes keyboard bass; his nimble playing
often reminded me of another Alabama
soul music legend, Spooner Oldham.
Bond’s mellifluous vocals are comparable
to Bonnie Raitt and Maria Muldaur while
her spry, intricate guitar playing is similar to
Raitt’s. The title track, a ballad concerned
with the vicissitudes of love, best captures
the prevailing mood of the album. The
most upbeat songs are the mid-tempo
“You’re The Kind Of Trouble” and “I Like It
Like That” while “Steady Rolling Man” has
a turn of the 20th century honky-tonk feel.
A heartfelt album of love songs for those
who enjoy their music at a leisurely pace;
however, I would prefer a bit more fury in
her slow-burning soul-blues fire.
– Thomas J. Cullen III
SHAUN MURPHYCry Of LoveVision Wall
After fifteen years, Shaun Murphy decided
to leave Little Feat for a solo career that
will concentrate on blues music. After
several excellent releases, her vocal talent
was acknowledged October 2013 when
she received Blues Blast Magazine’s
Music Award for Female Blues Artist of the
Year and Contemporary Blues Album for
her Ask For The Moon release.
Now she has shifted gears, releasing
a collection of songs that have a special
place in her heart. Murphy is a consum-
mate singer able to effortlessly glide from a
whisper to shout, utilizing her remarkable
range to illuminate new emotional dimen-
sions in classics like “Nickel And A Nail”
and “I Wouldn’t Treat A Dog (The Way You
Treated Me).” Backing the likes of Bob
Seeger and Eric Clapton have taught
Murphy the art of just letting her voice flow,
avoiding the trap of relying on excessive
embellishments to create an impact.
She summons up the spirit of
Koko Taylor on “I’m A Woman,” her deep-
throated vocal trumpeting a fierce, soul-
shaking attitude. A rendition of “Cry To Me”
packs plenty of grit plus a melodic guitar
solo from Kenne Cramer. “Gotta Mind To
Travel” is an up-tempo shuffle that
matches the fleet-fingered guitar work of
Shawn Starski with another of Murphy’s
potent vocals. “Broken Things” and “Some-
where Between Right And Wrong” reveal
Murphy’s exceptional control as she elo-
quently gives voice to the heartache and
pain in both ballads, the latter number a
vivid lamentation on cheating bolstered by
fine keyboard work from John Wallum.
Several acoustic performances fea-
ture the country-style harp playing of Tim
Gonzalez. Murphy’s sassy nature shines
through on “Go Back To Your Used To
Be,” telling off a hard-drinking lover over a
solid rhythm from Randy Coleman on
bass and Tom DeRossi on drums.
Producer TC Davis has worked his
magic once again, putting together a strik-
ing package of performances from a truly
exceptional vocalist. Cry Of Love makes it
clear that Shaun Murphy is in a class of
her own. Don’t miss this one.
– Mark Thompson
Blues Music Magazine 61
Statement Of Ownership
As required by the United States Postal Standards, below is theStatement of Ownership, Management, and Circulation of Blues MusicMagazine. USPS 1091-7543. Blues Music Magazine is published six timesa year with a $40.00 annual subscription price.
The known office of publication and general business offices arelocated at 1001 11th Avenue West, Bradenton, FL 34205. Exclusivelicensee MojoWax Media, Inc., managing editor, Art Tipaldi, P.O. Box 1446,Bradenton, FL 34206.
Blues Music Magazine is owned by MojoWax Media Inc. whosepresident and chief executive officer is John Sullivan P.O. Box 1446,Bradenton, FL 34206. Known bondholders, mortgages, and other securityholders: NONE.
The average number of copies of each issue during the preceding12 months are: (A) Total Number of Copies Printed: 10,000; (B1) MailedOutside-County Paid Subscriptions Stated on PS Form 3541: 8,500; (B2)Mailed In-County Paid Subscriptions Stated on PS Form 3541: 0; (B3) PaidDistribution Outside the Mails Including Sales Through Dealers andCarriers, Street Vendors, Counter Sales, and Other Paid DistributionOutside USPS: 0; (B4) Paid Distribution by Other Classes Mailed Throughthe USPS: 500 (C) Total Paid Circulation: 8,500; (D1) Free or Nominal RateOutside-County Copies Included on PS Form 3541: 0; (D2) Free orNominal Rate In-County Copies Included on PS Form 3541: 0; (D3) Freeor Nominal Rate Copies Mailed at Other Classes Through the USPS: 0;(D4) Free or Nominal Rate Distribution Outside the Mail (Carriers or OtherMeans): 150; (E) Total Free or Nominal Rate Distribution: 0; (F) TotalDistribution: 8,500; (G) Copies not Distributed: 1500; (H) Total: 10,000;Percent Paid: 85%.
The actual number of copies of single issue nearest to filing date(Oct/Nov Issue) are: Total Number of Copies Printed: 10,000; (B1) MailedOutside-County Paid Subscriptions Stated on PS Form 3541: 8,000; (B2)Mailed In-County Paid Subscriptions Stated on PS Form 3541: 0; (B3) PaidDistribution Outside the Mails Including Sales Through Dealers andCarriers, Street Vendors, Counter Sales, and Other Paid DistributionOutside USPS: 0; (B4) Paid Distribution by Other Classes Mailed Throughthe USPS: 500 (C) Total Paid Circulation: 8500; (D1) Free or Nominal RateOutside-County Copies Included on PS Form 3541: 0; (D2) Free orNominal Rate In-County Copies Included on PS Form 3541: 0; (D3) Freeor Nominal Rate Copies Mailed at Other Classes Through the USPS: 0;(D4) Free or Nominal Rate Distribution Outside the Mail (Carriers or OtherMeans): 150; (E) Total Free or Nominal Rate Distribution: 150; (F) TotalDistribution: 8,500; (G) Copies not Distributed:1,500; (H) Total: 10,000; (I)Percent Paid: 85%.
I certify that the statements above are correct and complete.Signed John Sullivan President MojoWax Media, Inc.
SEAN CHAMBERSThe Rock House SessionsBlue Heat
I knew nothing about Sean Chambers, so I
went to Wikipedia. Here’s the skinny. Sean
Chambers is about 46 years old, he sings
and plays guitar, and he’s pretty well
known and liked in the greater Tampa Bay
region. If his sound mimics that of Stevie
Ray Vaughan, that’s because that’s what
he does. He acknowledges SRV as a
major influence; even fronted a tribute
band that toured playing SRV songs. What
sets him apart from other SRV-influenced
guitar slingers? Hubert Sumlin, perhaps.
With whom he toured for a number of
years, starting around 1998. From there,
he wound up meeting and sitting in with the
likes of Derek Trucks, Gregg Allman, Kim
Simmons, and Tab Benoit.
So, what’s this new recording, TheRock House Sessions, like? Well, it’s kind of
like a Stevie Ray Vaughan recording. No
surprise there, especially when it was pro-
duced by Vaughan’s Double Trouble band
mate Reese Wynans, who also contributed
his keyboard talents to this album, paradoxi-
cally recorded at the Rock House studio of
yet another virtuoso keyboard man, Kevin
McKendree of the Delbert McClinton band,
which accounts for the accurate if not so
imaginative title. The surprise (for me, at
least) is that the recording is pretty darn
good. Pretty nice songs in the blues-rock
tradition (take “Healing Ground” or “World
On Fire” for example). Chambers con-
tributed three songs of the 11. Some others
were crafted by the likes of Russel Smith,
Tom Hambridge, and Gary Nicholson;
“Choo Choo Mama” by Alvin Lee; and
“Come To Poppa” by Willie Mitchell and Earl
Randle. The latter is quite good. It’s another
rock-ish number, but lushly augmented with
a nice selection of background singers and
punctuated with horns wielded by Steve
Herman (trumpet) and Jim Hoke (sax).
If you like blues rock (and really, deep
down, who doesn’t) you should check out
Chambers’ current touring dates.
– M.E. Travaglini
VARIOUS ARTISTSThe Bluesmasters Volume 3Direct Music Distribution
Initially a vehicle to feature the former
vocalist of the Jefferson Starship singer
Mickey Thomas, the Bluesmasters are back
with their third CD. The standout song on
Bluesmasters Volume 3 is Eddie Money
and James Lyon’s, “Baby Hold On” which
Thomas nails and the backing musicians hit
their stride in full on this final cut of the CD.
Lead guitarist Tim Tucker addresses his
instrument with call and response tones
with the two vocalists and seems to find his
true comfort zone when playing the Eddie
Money tune. The prior nine songs are in the
blues genre and offer two other vocals by
Thomas, six by singer Hazel Miller.
The legendary Howlin’ Wolf guitarist
Hubert Sumlin along with drummer Aynsley
Dunbar of John Mayall and Jeff Beck fame,
are together on Jimmy Reed’s “Baby What
You Want Me To Do.” Tucker and harp
player Doug Lynn lay down a fine instrumen-
tal blues piece called “Colorado Boogie.”
Mitch Towne’s piano and B-3 organ
add a nice touch throughout and the bass
of Kassidy Tucker offers a steady beat that
allows Tucker’s guitar to soar acrobatically
as if it knew it had a safety net beneath.
The band complements Miller’s vocals
nicely, but after listening to this CD several
times, perhaps their next venture might be
better served more in the rock genre with
maybe one blues song instead of the other
way around.
– Pete Sardon
Blues Music Magazine 63
Boston-based organist Ron Levy has been active
since 1966 when at age 15 he began backing
touring blues artists. He toured with Albert King
in 1969 and in 1970 joined B.B. King for the next
seven years. A quarter of the book recollects
his time with both blues luminaries. Having seen
B.B. King several times prior to 1974, I vividly
recall seeing Levy, the first white member of
B.B.’s band, at a concert in New York City (with
Bobby “Blue” Bland). Returning home to Boston,
he performed with notables like Luther “Guitar
Junior” Johnson and Roomful of Blues, produced
a variety of blues, soul, and jazz artists for Black
Top, Bullseye Blues, and Cannonball and
achieved prominence as a jazz organist and
composer with his Levtron recordings. Levy has
been a ubiquitous presence in a number of roles
for 45 years and his relaxed, conversational style
makes for an easy read.
His vast experience provides
many insights about the music
and musicians I’ve loved as
long as he has. I especially
appreciated his interview
about the elusive soul legend
Eddie Hinton (whom he pro-
duced for Bullseye). I feel a
kinship with Levy as we are
contemporaries in age and
have both been involved with
the blues since we were
teens. I was half way through
the book before I took a pause. I read it a second time at a slower
pace delighting in all the details again. Available in print and as a
Web-book or eBook from Productions, www.levtron.com.
– Thomas J. Cullen III
Alan Paul has assembled
the definitive oral history
of America’s favorite
blues-based, rock and
roll jam band. From their
beginnings in 1969 eat-
ing soul food at Mama
Louisa’s and building a
rabid following by playing
free shows in Atlanta’s
Piedmont Park through
the addition of Gregg
Allman and his subse-
quent songwriting
achievements for the
band, life in the Big
House, the untimely
deaths of Duane Allman
and Berry Oakley, through the band’s many line-up shuffles, the
origins of its Beacon Theater shows up to the past decade’s
most consistent grouping. There are legal fights, drug use, band
squabbles, colorful characters on the periphery and musical
insights all told through the voices of nearly everyone, over 60
people, involved with the ABB over its 45 years.
After struggling to harness it’s originality through song and
style (double drummers and double lead guitars), the band
recorded a self-titled debut in 1969, which included “Trouble No
More,” “It’s Not My Cross To Bear,” and “Whipping Post,” and
“Dreams” and Idlewild South in 1970. That album included ABB
standards like “Midnight Rider” and “In Memory Of Elizabeth
Reed.” It’s astonishing that most of the songs included on these
early records have stood the test of time becoming the most
elevated staples of its repertoire. Thought the band’s first
records didn’t sell as well as hoped, it was the groundbreaking
At Fillmore East record in 1971 that catapulted the ABB into the
musical stardom establishing its instrumental prowess and
improvisational authority. From there, Paul takes fans through
the twists and turns that have kept the ABB together and apart.
For me, the best parts of the book are the Sidebar chap-
ters. These are two and three page insights into various aspects
of the ABB’s musicianship. They include Warren Haynes and
Dickie Betts discussing the band’s revolutionary dual-guitar
approach, and Gregg exploring the roots of and influences in his
songwriting. There are also sidebars delving into the life and
death of Twiggs Lyndon, the origins of the March tradition at
the Beacon, the story of Gov’t Mule, and the youthful infusion
Derek Trucks brings.
With a complete discography and dozens of intimate photos,
Paul’s 400 pages is your backstage pass into 45-year world of
this iconic American band. Put on At Fillmore East, eat a peach
with your brothers and sisters and enjoy.
– Art Tipaldi
Tales of a Road Dog:The Lowdown Along The Blues HighwayBY RON LEVY
One Way Out:The Inside History Of The Allman Brothers BandBY ALAN PAUL
64 Blues Music Magazine
The Blues Foundation officially began construction on the Blues Hall of Fame in Memphis, Tennessee. Led by sledge hammer-wieldingHall of Famers Bobby Rush and Eddie Shaw, the assembled crowd of Board members, former Board members, musicians, and fansfrom around the world cheered as Rush and Shaw took the ceremonial first swings.
The Blues Foundation, founded in 1980, inaugurated its Blues Hall of Fame induction program that same year. In the intervening34 years, 143 performers, 51 non-performers who played behind-the-scenes roles in the continuing saga of the blues, 83 iconic bluessingles (or album tracks), 76 blues albums, and 40 “Classics of Blues Literature,” have been enshrined into the Hall of Fame.
The Blues Hall of Fame will occupy a 12,000 square foot site located at 421 South Main Street, directly across from the NationalCivil Rights Museum, and is scheduled to open on May 8, 2015 during the Blues Music Awards.
BOBBY RUSH AND EDDIE SHAW – BLUES HALL OF FAME CEREMONY
In 1920, Mamie Smith, a polished cabaret performer anderstwhile blues singer, broke the race barrier by recording“Crazy Blues,” the first release by an African-American. That songis reported to have sold over a million copies in its first six monthsand paved the way for a major talent search and the ascent ofAmerica’s first blues stars, the classic blues women of the ‘20s.
Sadly, Smith has been buried in an unmarked grave inFrederick Douglass Memorial Park on Staten Island, New York,and has been without a headstone or grave marker since herdeath in 1946.
That has all changed thanks to the efforts of Blues MusicMagazine writer Michael Cala. Through his first Inddiegogointernet fundraising campaign, Cala raised just enough to place adown payment on the headstone, which is to feature an etchedlikeness of Mamie Smith in addition to the following epitaph:
BY RECORDING “CRAZY BLUES” IN 1920, SHE INTRODUCEDAMERICA TO VOCAL BLUES AND OPENED THE RECORDING
INDUSTRY TO THOUSANDS OF HER AFRICAN-AMERICANBROTHERS AND SISTERS.
So far, the Inddiegogo campaign has attained 70 percent ofits goal. All funds raised beyond what is needed for the stoneand its installation are being donated to the Frederick DouglassMemorial Park, one of the first all-black cemeteries in theUnited States.
MAC ARNOLDVocalist, bass player, and gas can guitarist Mac Arnoldreceived an honorary degree of Doctorate in Music fromthe University of South Carolina. In addition, Dr. Arnoldopened his Plate Full O’ Blues Restaurant on PendletonStreet in West Greenville, South Carolina.
CYRIL NEVILLECyril Neville was awarded OffBeat magazine’s LifetimeAchievement Award. Neville has made his fame as amember of the Neville Brothers, the Meters, the Voice ofthe Wetlands Allstars, the Uptown Allstars, and Tribe 13.Currently he combines his solo career with his integralpart of the Royal Southern Brotherhood band.
ROBERT HUGHESGuitarist Robert Hughes from Teeny Tucker’s band is alsoan internationally recognized photographer. This year, forthe seventh year, Hughes earned the title of Photographerof the Year of Ohio. He won the Kubiac Award for themost outstanding and creative image, the juried LexJetSunset Award for the highest scoring print, as well as theKodak ASP State Elite Award.