Popa Chubby’s latest
effort, Two Dogs (Popa Chubby
Productions), finds the Bronx-based blues rocker
plying his usual trade, but also expanding into
a few other genres while keeping things close to
his blues and rock roots. Don’t let that scare
away any of his longtime fans, because there’s
still plenty of that great guitar work and his
frank reflections on modern times haven’t gone
away either. Chubby’s new release includes 11
new studio tracks plus a pair of live tracks
that fans will love.
The opener, “It’s Alright,” has
a catchy, retro feel that mixes soul, rock, and
pop and a track one could easily have imagined
hearing on the radio back in the ’70s. Longtime
Chubby compatriot Dave Keyes makes his presence
felt on this track, as well as numerous others,
with his keyboard wizardry. The churning boogie
of “Rescue Me” melds ZZ Top and Chuck Berry, and
the funky (and funny) “Preexisting Conditions”
adds horns to the mix. The somber narrative “Sam
Lay’s Pistol” is a tribute of sorts to the late
drummer, and also a moment for Chubby’s drummer,
Sam “Freighttrain” Bryant, in the spotlight.
The title track stays in the
funk mode. It’s an ominous tale of the opposing
sides we each battle and our struggle to choose
which “dog” we feed. “Dirty Old Blues” is a
really cool upbeat track that will put a spring
in your step, and “Shakedown” has a driving
rhythm laced with wah wah guitar. The ballad
“Wound Up Getting High” is a marked change of
pace with Chubby’s acoustic guitar and Key’s
gentle accompaniment on piano. Chubby does a
fine job on vocals here as well.
The instrumental “Cayophus
Dupree” is marvelous, with a strong Memphis
vibe, thanks to Keyes’ stellar keyboards and
Chubby’s muscular riffs. The defiant “Me Won’t
Back Down” has a swampy southern soul vibe with
a hint of Memphis and New Orleans thrown into
the gumbo. The final studio track is “Chubby’s
Boogie,” which has a hint of southern rock in
its twin lead guitar attack and Keyes’ driving
piano.
The closing “Bonus” tracks are a
pair of live covers. First up is an urgent take
on the Rolling Stones’ “Sympathy For The Devil,”
with Chubby turning in an appropriately intense
vocal, followed by an exquisite, nearly
ten-minute read on Leonard Cohen’s “Hallelujah”
that features Chubby on vocals and acoustic
guitar with Keyes on piano.
Most longtime fans of Popa
Chubby knows that there’s much more to the man
than the blues. Two Dogs gives both fans
and newcomers a broader musical picture of this
engaging artist’s talents and tastes, which
makes for entertaining and rewarding listening.
--- Graham Clarke
Since 1969, the Canadian blues
band Downchild has been making some
mighty fine music, winning famous and
not-so-famous fans along the way (Belushi and
Ackroyd were huge fans and were inspired enough
to include two of their songs on their
Briefcase Full of Blues album in 1978).
Though band members have come and gone over the
years, the current edition has remained intact
for 20 years, with founding member Donnie “Mr.
Downchild” Walsh still manning harmonica and
guitar duties.
Downchild’s 18th album,
Something I’ve Done (Linus Entertainment)
proves that after nearly 50 years, there’s still
no hitch in the band’s giddy-up. Truly a
collaborative effort, eight of the ten tracks
were written by five of the members.
Singer/harmonica player Chuck Jackson penned the
swinging, horn-driven opener “Albany, Albany”
and the down-home boogie romp “Mississippi
Woman, Mississauga Man.”
Bass player Gary Kendall also
contributed two songs --- the standout soul
burner “Take A Piece Of My Heart” and the cool
rocker “Mailbox Money” --- while drummer Mike
Fitzpatrick penned the funky “Into The Fire” and
keyboardist Michael Fonfara wrote the boisterous
title track. Walsh also gets into the action
with the brisk instrumental shuffle, “Evelyn,”
that wraps up the disc. Former Downchild member
John Witmer passed away in 2004, but the band
covers his previously unrecorded “She Thinks I
Do” in tribute, and the band’s excellent cover
of David Vest’s “Worried About The World” is an
appropriate choice.
Just doing their part to help
keep the blues alive, Downchild sounds like
they’re prepared to kick off their second
half-century of playing the music with a bang.
Something I’ve Done is highly recommended
listening for blues fans old and new.
--- Graham Clarke
For their second VizzTone
release, Big Road, Erin Harpe and the
Delta Swingers headed to the studio hot on
the heels of a three-week tour scheduled around
the 2017 I.B.C. (where they advanced to the
semi-finals). The band’s intent was to capture
their sound by playing live in a room together.
It’s obvious that this was a wise move because
the disc is loaded with energetic and
enthusiastic performances by the charismatic
Harpe (vocals, guitar, washboard, percussion)
and the band (Jim Countryman – bass, Matt
“Charles” Prozialeck – harmonica, and Kendal
Divoll – drums, percussion).
Big Road features ten
tracks, four originals and six covers. The
covers are an interesting bunch, nearly all of
which are electrified updates of vintage
Mississippi blues tracks from Mississippi Fred
McDowell (a slide-drenched “Kokomo”), Tommy
Johnson (the fun and funky title track), and a
pair of excellent acoustic tunes from
Mississippi John Hurt (“Frankie” and “Casey
Jones”). The band also takes on Slim Harpo’s
“Shake Your Hips,” and positively dare you to
stand still while listening. Randy Newman’s
“Guilty” is also given an acoustic treatment,
with Harpe solo on guitar turning in a powerful
vocal.
The originals fit seamlessly
with the classics. “Lonely Leavin’ Town” is a
stripped-down, relaxed blues that sounds like
it’s been around forever and it grooves along at
a leisurely pace. “Voodoo Blues” has a
rockabilly beat and adds Michael Casavant on
accordion (he also plays organ on two other
tracks), and the fast-paced shuffle “Stop &
Listen” should get bodies in motion. The last
original is the blues/funk workout “Gimme That,”
originally recorded by Harpe and Journeyman in
their old band, Lovewhip.
Harpe is a talented, versatile
singer and guitarist and the Delta Swingers can
really rock the house. Big Road is a
superb showcase of their talents and serves as a
strong incentive to check this band out in
person if they come to your area.
--- Graham Clarke
25-year-old Casey Hensley
has a voice that you can feel down to your toes.
She grew up listening to a wide range of
performers: Etta James, Aretha Franklin, Ella
Fitzgerald, Janis Joplin, Otis Redding, Ray
Charles, Gregg Allman, Robert Plant, Freddie
Mercury, and others. All of these varied talents
figure into her vocal style. VizzTone Records
just released a burning hot session, Live,
recorded live at Thunderbird Analog Recording
Studio in Oceanside, California that features
the singer in good company with drummer Evan
Caleb Yearsley, bassist Marcos C, saxophonist
Johnny Viau, and guitarist extraordinaire Laura
Chavez.
The set includes 11 songs, with
eight covers tailor-made for Hensley’s
powerhouse vocals. A pair of Big Mama Thornton
classics, the sassy “Big Mama’s Coming Home” and
a smoldering nine-minute take of “Ball and
Chain,” serve as bookends to this smoking
session. Hensley and Chavez both have some
incredible moments in the closer. Hensley’s own
“Put Your Lovin’ Where It Belongs” is another
slow burner that she really digs into, and the
cover of “You Can Have My Husband,” originally
recorded by the great Irma Thomas, is given a
great treatment here, with hot fretwork from
Chavez and cool audience participation involved.
Hensley does a marvelous job on
Screamin’ Jay Hawkins’ “Spell On You,” which
also features a monster solo from sax man Viau,
and rocks the house down with help from Chavez
on “Hard Headed Woman,” from Elvis’ late ’50s
King Creole flick. The ballad “Don’t Want It
To Stop” was written by Hensley and is a real
keeper thanks to her vocal dynamics. There’s
also a swinging mid-tempo read of the Willie
Dixon/Muddy Waters standard “I Just Want To Make
Love To You,” with a nice vintage-style solo
from Chavez, whose guitar work also really perks
up the Hensley rocker, “Hot! Hot! Hot!”
Koko Taylor’s funky “Voodoo
Woman” is a nice fit for Hensley too, as both
ladies have that distinctive growl that will
produce goose bumps, and Johnny “Guitar”
Watson’s “Too Tired” proves to be a nice vehicle
for both Hensley and Chavez, while the
aforementioned “Ball and Chain” closes out
proceedings.
Live is a superlative
showcase for Casey Hensley’s talents. The young
singer is off to a great start and has a bright
future ahead of her.
--- Graham Clarke
Bobby Kyle has complied a
pretty impressive résumé over his 40-year
career, learning the trade from Lonnie Mack
beginning in the late ’70s, later serving as a
band member in Bill Dicey’s band for a few years
before joining up with Eddie Kirkland in the mid
’80s, and spending most of the ’90s with Johnny
“Clyde” Copeland. Since Copeland’s death in
1997, Kyle has focused on a solo career,
developing into a well-respected
singer/songwriter/guitarist/producer and leading
his band, The Administers (Joel Perry –
electric/acoustic guitars, Everett Boyd –
electric/upright bass, Marc Copell –
drums/percussion).
Kyle’s latest release is It’s
My Life (Juicy Baby Records), a 12-song set
evenly split between original Kyle compositions
and well-chosen covers. Kyle, who also produced,
and The Administers are joined on several tracks
by guests Joey Simon (harmonica), Dave Keyes
(piano, organ, wurlitzer, accordion), Fred
Scribner (nylon string guitar), Laron Land
(tenor/soprano saxophones), Alex Harding
(baritone saxophone), James Smith (trumpet), and
Little Sammy Davis (harmonica).
It’s My Life is a
well-rounded set, beginning with Kyle’s funky
take on former boss Copeland’s “Daily Bread,”
followed by his wonderful original, “Lost And
Found,” highlighted by Land’s soprano sax, and
“Driftwood,” a tasty slice of Americana with
accordion from Keyes. The title track is a
soulful testimony where Kyle declares that he’s
right where he wants to be with his life, and
the slow burner “Highway Man” continues in that
vein, borrowing a bit of its melody from O.V.
Wright’s “Born All Over” (which was written and
covered by the aforementioned Mr. Copeland), and
“I Won’t Be Home Tonight” is a fine mid-tempo
R&B tune.
“Blood From A Stone” is another
soul number that gives that fabulous horn
section a little elbow room. Kyle teams with
Davis on harmonica and Scribner on guitar for a
down-home reading of Lonnie Johnson’s classic
“Tomorrow Night,” then stays in down-home mode
for an acoustic take on Eddie Kirkland’s “I’ve
Got My Bloodshot Eyes On You,” this time with
harmonica backing from Simon. “Someone Else Is
Steppin’ In,” from the late Denise LaSalle, gets
a typically rousing treatment, and the recently
departed Philly Soul legend Bunny Sigler’s
“Tripping Out” gets a smooth R&B treatment, and
Kyle closes the disc solo, accompanying himself
on resonator guitar for a dandy version of
Robert Lockwood Jr.’s “Little Boy Blue.”
Kyle is a strong and versatile
guitarist and he easily handles vocals on the
smooth soul numbers as well as the gritty blues
tracks. He gets fantastic support from The
Administers and all of the guest artists.
It’s My Life is an exceptional release from
Bobby Kyle, who hopefully will find his way back
into the studio very soon.
--- Graham Clarke
Dave Keyes was the
recipient of the Pinetop Perkins Piano Player
Award during the 2014 BMAs, and his band won the
Band Category of the International Blues
Challenge in 2000. He’s a veteran of multiple
festival appearances both in the U.S. and
abroad, and in addition to his own career as a
bandleader and solo act, he plays regularly with
a host of blues artists, including Popa Chubby,
Ronnie Spector, Slam Allen, and Alexis P. Suter.
He also finds enough spare time to make
excellent recordings, such as The Healing,
his sixth and most recent album.
The Healing has nine
Keyes originals, plus a pair of well-done
covers. Keyes is joined by several of his
colleagues. Popa Chubby plays guitar on several
tracks, Suter contributes vocals as part of The
Ministers of Sound on about half the tracks, and
Shemekia Copeland guitarist Arthur Neilson,
harmonica ace Rob Paparozzi, and Memphis
chanteuse Vanesse Thomas also lend Keyes a hand
on selected tunes.
The Keyes originals vary in
style, going from the opening shuffle “Change,”
to the Stax-esque soul of “Dance In The Dark,”
to the irresistible Bo Diddley beat of “No So
Nice Anymore.” Ms. Thomas duets with Keyes on
the fine mid-tempo R&B original “Ain’t Looking
For Love.” Keyes does a great job on the
endearing ballad “Come To Me,” and goes to
church on the inspiring “Faith Grace Love and
Forgiveness with soaring choral backing from The
Brooklyn Interdenominational Choir.
Keyes also offers a cool
swinging instrumental in “Blues for Stefan,” a
slow burning blues ballad, “Take You Back” (one
of several tracks that feature The Ministers of
Sound’s backing vocals), and the Crescent
City-flavored closer “Box of Blues.” Keyes
covers Robert Johnson’s “Traveling Riverside
Blues,” transforming it into a piano-driven
blues (though Chubby gets a few nice moments on
guitar as well), and Sister Rosetta Tharpe’s
rousing “Strange Things Happening,” where he and
the Ministers engage in some entertaining
call-and-response.
The Healing is a diverse
set of energetic blues and soul tunes from one
of the busiest guys in the blues world these
days. Listeners should be glad he took some time
to bless us with this engaging and entertaining
recording.
--- Graham Clarke
Canadian guitarist Kevin
Breit has worked a host of artists
(including Norah Jones, Taj Mahal, Rosanne Cash,
k.d. land, Cassandra Wilson, and Hugh Laurie)
spanning several genres (blues, country, jazz,
roots, etc.). He’s recorded with several artists
over the years and has also released a number of
his own albums. In 2011, he and another
guitarist of note, Harry Manx, released the
stunning Strictly Whatever (reviewed in
the June 2011 issue of
Blues Bytes), an incredibly diverse album that
touched on the above genres, but remained firmly
rooted in the blues.
For his latest project, Breit
has compiled a wonderfully creative and
entertaining all-instrumental album called
Johnny Goldtooth and The Chevy Casanovas
(Stony Plain Records). The guitarist plays about
90% of the instruments on this set: guitar,
upright bass, organ, melodica, vibraphone,
percussion, and bass clarinet, along with the
occasional vocal aside. He’s backed on a couple
of tracks by guest musicians (Michael Ward-Bergeman
– accordion, Russell Boswell – upright bass,
Gary Diggins – trumpet, and Vincent Henry –
saxes/flutes).
“Chevy Casanova” opens the disc,
a horn-fueled stroll into ’50s urban R&B
territory, while “C’mon, Let Go” combines surf
and twang. “I Got ‘Em Too” is a rockabilly romp,
and the upbeat “The Knee High Fizzle” and the
mellow “Cozy With Rosy” lean toward pay tribute
to Duane Eddy’s twangy guitar. The zesty “Zing
Zang Song” has a movie soundtrack quality, not
the only track that does on this collection for
sure (see also “A Horse By Another Stripe” and
“Dr. Lee Van Cleef, both of which would fit
perfectly in the spaghetti western of your
choice). As you might figure, “The Goldtooth
Shuffle” is a crisp Texas-styled shuffle, and
“One Mo Bo” is a funky salute to the great Bo
Diddley.
Obviously, Breit had a ball
putting this project together and it’s a lot of
fun to listen to. There’s plenty of good music
here for fans with an eclectic ear that don’t
take themselves too seriously. If you don’t have
a smile on your face while listening to
Johnny Goldtooth and The Chevy Casanovas,
seek counseling immediately.
--- Graham Clarke
Davide Pannozzo is an
Italian blues guitarist who advanced to the
semifinals at the I.B.C. last year. His guitar
style is very distinctive, but one can detect
the influences of guitar legends such as
Clapton, Hendrix, Beck, Knopfler, and others. He
has a pleasing vocal style as well, and his
recent release, Unconditional Love, is a
mix of blues and rock with a few traces of pop
thrown in for good measure. The disc features
ten tracks, eight written or co-written by
Pannozzo, and was produced by a pair of Grammy
winners in drummer Steve Jordan (four tracks)
and bassist Will Lee (six tracks).
The opening track is “Six
Wires,” a funky blues rocker, followed by the
reggae-tinged message of inspiration “Living,
Loving & Giving.” “I Heard You” is a smooth rock
ballad about rediscovering love. “Bring Me To
The Light” has a gentle, Americana vibe to it,
plus splendid slide guitar from Pannozzo, while
the catchy “One & Only” has a strong ’70s-era
pop radio feel to it. “Chasing Illusions” is a
slick modern take on the Delta blues.
The latter part of the set
includes a dandy cover of George Harrison’s “Wah
Wah,” that Pannozzo uses as a base, but builds
upon impressively with his guitar work. The disc
closes with three instrumental tracks, two of
which are Pannozzo originals. “The Purest Thing”
easily blends blues and jazz. Billy Cobham’s
“Stratus” features fluid fretwork from Pannozzo
and monstrous backing from Lee and drummer Shawn
Pelton, and the gentle jazz of “Lord Knows
What’s In My Heart” brings this interesting
release to an idyllic conclusion.
Unconditional Love is a
fine release from Davide Pannozzo that should
appeal equally to fans of several musical
genres.
--- Graham Clarke
From start to finish, Scottish
singer/songwriter and guitarist Andy Gunn‘s
‘live in the studio’ album, Too Many Guitars
To Give Up Now, is down-home blues rooted in
personal tragedies balanced by celebrations of
recovery and salvation. As a teenager, Andy
found fame in 1993 with Virgin’s Pointblank
release of the sensational debut CD, Shades
Of Blue, and a tour of Memphis with his band
Jumpin’ The Gunn. It is hard to believe that a
quarter of a century has elapsed since those
heady days during which Andy has suffered from
significant periods of darkness as he battled
with ill health and adversity. It says
everything about the character of the man that
Gunn has emerged triumphantly and matured into
one of the most original and inspirational UK
bluesmen of his generation.
“Misery Blues” sets the mood
which is firmly within the authentic blues of
the American masters from Robert Johnson to John
Lee Hooker but with the added dimension of Andy
May’s brilliantly atmospheric keys. It is Spider
MacKenzie’s turn to take a bow on the jaunty
“Let You Go” his stunning harp complementing
Gunn’s powerful vocals and intricate guitar
work.
“Sorry Mess Blues” is exactly
what the title suggests, the anguish screaming
from every instrument, the pain in Andy’s voice
almost unbearable. Optimism returns with the
balladic “Back On Song” the falsetto tones
blending into Liz Jones’ beautiful, heartfelt
backing vocals. The sumptuous harmonies continue
on “Mississippi Ground”’ underpinned by
tasteful, restrained guitar. “Battlefield Blues”
starts with trademark slide followed by neat
interplay between vocals and harmonica which
captivates the listener.
“Eidyn Shuffle” is a welcome
instrumental interlude with guitars, keys and
harp jamming center stage and highlighting the
versatility of each instrument. Gunn’s clipped
vocal conversational style is effective on “Help
You Along,” on which he proves to be a
consummate storyteller. Songs like “Suffering
Man’s Blues”’ can only be delivered with
emotional depth and sincerity when the singer
has plummeted to the depths of despair in his
own life, and here we have Andy bearing his soul
and exposing his vulnerability. By contrast, the
foot tapping, guitar sliding, keyboard funking
“Warm Heart Blue” eases the tension and typifies
the ups and downs of the blues from tears to
laughter.
The tempo and temperature rise
with the autobiographical title track tracing
Gunn’s blues influences and packaging them
within a high octane rockfest which fires up the
entire band to a show-stopping crescendo
courtesy of the pulsating rhythm of bassist Al
James and drummer Jim Walker.
One more surprise is in store
with the country-and-western tinged “Going Home
Again,” its appropriately rousing, anthemic
finale symbolizing where Andy Gunn is today ---
at peace with himself and the world, his career
back on track and looking to the future.
--- Dave Scott
Rarely does an album title
communicate what is actually on the disc but
Zoë Schwarz Blue Commotion achieves this on
The Blues And I Should Have A Party, a
shindig from start to finish and the ultimate
blues celebration by four brilliant musicians at
the top of their game.
“Please Don’t Cheat On Me” is a
dynamic, catchy opener reflecting the party
spirit, although Zoë’s edgy tone suggests more
of a threat than a request, the searing guitar
and organ solos providing this affirmation. The
next indication that this is going to be a very
special album comes with the title track, a slow
burning ballad sung with gusto and interspersed
with some of the best blues guitar you are
likely to hear this year. Rob has been described
at various times as subtle and intricate, his
blues virtuosity somewhat understated, but this
is 100% finger blurring fretwork,
‘eat-your–heart-out’ Bonamassa. Indeed, the
whole album proves that Koral is as talented,
dynamic and versatile as the best in the
business.
“You’ve Changed” is similarly
balladic and a vocal tour de force with its
series of crescendos, contrasts of light and
shade, magnificently and seamlessly arranged.
The tempo and temperature rise with “Way Down In
The Caves,” Pete Feenstra’s mysterious,
atmospheric lyrical tribute to the 1960s
enhanced by enigmatic vocals, haunting Les Paul
guitar, mesmeric drumming and sumptuous Hammond
organ. “Don’t Worry Blues” is as authentic as Ma
Rainey, Billie Holliday and Bessie Smith in
their prime, proving that not only is Zoë a
contender for queen of the genre but also has
the band to complement her status. “Shout” with
its compelling drumbeat, jagged guitar fills and
hurdy gurdy flavored middle section, courtesy of
Pete Whittaker’s Wurlitzer, is refreshingly
inventive.
“You Don’t Live Here Anymore” is
best savored for its emotive lyrics delivered
with trademark aplomb. Gems like this typify the
exceptionally high caliber of all 13 original
Schwarz-Koral compositions and set the band
apart from others on the current scene. “My
Handsome Man” brings a witty and lighthearted
side to the proceedings whilst the jaunty “Tell
Me” is sung in that natural conversational style
which engages the listener. “Don’t Hold Back” is
the perfect platform for Zoë’ s incredible vocal
range and Rob’s sophisticated, measured guitar
work. So catchy yet poignant is “The Memory Of
You” that it could be a hit single, the band’s
chameleon qualities coming to the fore. Feenstra
takes another bow, having penned the lyrics for
“Time Waits For No One”, his poetry a perfect
fit.
It may be a “Thank You” from Rob
and Zoë and a final flourish from drummer par
excellence Paul Robinson to end this particular
party, but for Zoë Schwarz Blue Commotion the
real party is just beginning.
--- Dave Scott
To describe Hertfordshire-born
Danny Bryant as an English national
treasure is an understatement given his
considerable achievements as a professional
musician over the past 20 years, progressing
from the UK pub scene to international stages.
Mentored by Walter Trout whose band he was
chosen to front while the American legend
recovered from a liver transplant, Danny has
toured relentlessly, recorded a succession of
critically acclaimed albums, formed a seriously
good big band and pushed the blues boundaries.
An independent record label released his early
CDs with the Red Eye Band when Bryant senior was
bass player in the power trio. Danny signed up
with Jazzhaus Records in 2011 and Revelation
is his fourth studio album for the German-based
label.
Revelation is both
inspired by, and a tribute to, the recent death
of Danny’s dad Ken following a long illness. The
title track sets the scene with a beautiful
piano introduction preceding Danny’s anguished
vocals revealing depression and despair but also
pursuing hope and salvation, a spiritual
“Revelation” heightened by David Maddison’s
sympathetic trumpet interludes. The balladic
“Isolate,” its layered crescendos of searing
guitar riffs underpinned by Raeburn’s
spectacular drumming leads seamlessly into
“Liars Testament” which develops the vibe into a
Deep Purple-esque rock anthem.
The acoustic rural
Americana-inflected “Someday The Rains Will
Fail,” written by John Mellencamp, one of only
two tracks not penned by Bryant, provides a
timely contrast. “Truth Or Dare” is high energy
rocking blues featuring the full band including
a dynamic four-piece brass section. The
emotionally laden, tear-jerking, heart-piercing
and intensely personal “Shouting At The Moon”
chronicles the last night spent together by
father and son. It is typical of Danny that he
wants the listener to share, indeed enjoy, this
moment of intimacy.
Next up is the enigmatic and
disturbing “Sister Decline,” a mesmeric haunting
song about temptation and addiction, the mood
enhanced by tasteful and atmospheric guitar
work. The Howlin’ Wolf classic, “May I Have A
Talk With You “was recorded live in the studio
and takes Bryant right back to his blues roots.
The album ends with the slow
burning, “Yours For A Song,” an apt finale to
Danny’s gutsy, driving, honest performance. It
also showcases the creative and dynamic
contributions of drummer Dave Raeburn, bassist
Alex Phillips and keyboard player, Richard
Hammerton the alchemist who also produced,
engineered and mixed this entire masterpiece.
Blues supremo Bryant proves with
this ground breaking album that long-term he has
the credentials to leave a legacy for the
British blues, comparable to B.B. King and Buddy
Guy in the United States and beyond.
--- Dave Scott
Double A-sided singles would not
normally sit naturally alongside full album
reviews but Heavy Water by Gerry
Jablonski and the Electric Band is the
exception because of the title track’s intrinsic
merits as an inspirational piece of music.
Jablonski wrote it after witnessing devastating
floods in his native Scotland which clearly had
a profound emotional impact upon him.
Gerry’s spoken introduction is
pure poetry and sets the scene for the unfolding
tragedy, the complementary quiet, intricate
guitar and harmonica suddenly shattered by
anguish and fear as the vocals explode into full
scale panic. The haunting, wailing harp of Peter
Narojczyk intensifies the tragedy whilst the
pulsating bass and drums add to the drama by
conveying the full horror of floods as they
reach their peak in a crescendo of albeit
controlled noise and confusion expertly
choreographed. The American Grammy Award winning
musician and producer, Stacy Parrish, invited
the band to Sweden to record the single after
being impressed with their sound and raw energy
during a gig in London, and what a great call he
made.
Parrish works his magic equally
well on “Soul Sister,” the driving rhythm and
blues tribute to the 1960s soul icons. Dynamic
drummer Lewis Fraser and dexterous bassist
Grigor Leslie provide the perfect platform for
Gerry and Pete’s innovative instrumental
interludes. Once again Parrish brings the
production skills honed on Jimmy Page and Alison
Krauss to the benefit of the Scottish crew to
make this a short but perfectly memorable
experience.
--- Dave Scott
Chicago blues veteran Vance
Kelly has been on the Chicago scene for more
than 40 years, including a stint as the
guitarist for saxophonist A.C. Reed during the
late '80s, with pretty much all of his solo
recordings coming on the Austrian label Wolf
Records. Kelly is noted for his ability to suit
his live shows to the tastes of his particular
audience, and he shows that versatility on his
latest, How Can I Miss You, When You Won't
Leave (Wolf), recorded in Chicago
in 2017.
The album starts out in more of a
straight Chicago blues sound, mixing in
gospel and soul overtones, before becoming
bold and brassy on the later cuts. While
it's interesting to see how much musical
territory Kelly can cover, perhaps it would have
been better not to go in so many
different directions and instead make a more
cohesive set of 14 songs.
Among the better numbers in the
first half of the disc are "Get Home To My
Baby," a slow blues with solid guitar from Kelly
and effective horn accompaniment from sax
players Gary Salomon and Charles Kimble and
trombonist Johnny Cotton. The horns give "Moving
On" a big brassy sound while Kelly shows off
his fine voice. "Count On Me" takes the blues to
church, with nice organ accompaniment from John
Walls and the background and inspirational
backing vocals from a choir made up of
Ethel Reed and the two aforementioned sax
players.
Kelly does some of his most
impressive singing on the very soulful "Do It
Right," being matched by the background singers
and the brassy horn section. The music just
plain hits you in the face on this cut as well
as the following one, "Back On Track," which is
still plenty soulful but also with a dose of
funk mixed in. "Slicker Than You" brings more of
Kelly's soul singing along with Ms. Reed's vocal
accompaniment to highlight one of the better
cuts on the album's second half.
How Can I Miss You, When You
Won't Leave is a nice showcase for Kelly's
talents, especially his vocals throughout.
There's plenty to like here, but I keep thinking
that not trying to range across so many types of
blues and soul would
have better showcased this fine Chicago artist.
--- Bill Mitchell