|
 Guitarist
extraordinaire Dave Specter has enjoyed a
lengthy relationship with Delmark Records. His
latest release, Live at SPACE, is his
14th album with the label. Recorded at SPACE in
Evanston, Illinois, Specter is joined by his
stalwart band, including Brother John Kattke
(keyboards, vocals), Rodrigo Mantovani (bass),
and Marty Binder (drums) for a 13-song set that
mixes covers and originals, instrumental and
vocal tracks, capturing the guitarist and his
band in fine form.
Specter opens with
two original instrumentals, the moody
Latin-flavored “Rumba & Tonic” and the smoky,
after-hours “Alley Walk” showing the band’s
tight interplay with Specter. He guitarist takes
on the 1962 Otis Rush track, “Homework,”
providing solid vocals and piercing fretwork,
quoting “All Your Love I Miss Loving” during his
solo. He also takes the mic on the cool Windy
City shuffle “Blues From The Inside Out,” and
Allen Toussaint’s cautionary tale “On Your Way
Down.”
Kattke handles
vocals on the inspirational “March Through The
Darkness” and the fond tribute tune “Chicago
Style,” both written by Specter, who returns on
vocals for a gritty take of Don Nix’s “Same Old
Blues.” “The Stinger” is a brisk instrumental
with flourishes of blues, rock, and a bit of
jazz, and the band’s take on the venerable
classic “Deep Elem Blues” features good-natured
vocals and a gently swinging rhythm.
Sonny Boy Williamson
I’s “Bluebird Blues” is given a slow burning
take with ample space for Specter to shine on
guitar, while the Specter original “Ponchatoula
Way” strikes an appropriately swampy vibe.
The closer, a Magic
Sam instrumental “ Ridin’ High,” is a delightful
slice of West Side guitar blues. The digital
version includes two additional tracks, with
Specter’s “New West Side Stroll” and “Message In
Blue.”
Live at SPACE
is a fine release, with Dave Specter and the
band delivering a superb set of sophisticated
Chicago blues featuring well-crafted originals
and well-chosen covers. Blues guitar fans will
want to check out this excellent set.
--- Graham Clarke
 In
preparation for the July release of their latest
album on Gulf Coast Records, Live To Be This,
The Boneshakers have rocked the world
with a single, "Salty," from that album. This
Bobby Womack soul classic features a vocal duet
with regular Boneshaker singer Jenny Langer and
guest Bobby Rush.
In
addition to the passionate vocals of this pair,
we get the usual solid bluesy guitar work from
Randy Jacobs.
It's
raw, it's deep, and it's soulful. It's "Salty."
Already my recommendation for song of the year,
and now I can't wait to hear the full album.
--- Bill Mitchel
 It’s
been a little bit since we’ve heard anything
from The Alexis P. Suter Band, and at
least part of that was due to the pandemic.
However, Suter and a couple of her bandmates,
(vocalist Vicki Bell and drummer Ray Grappone,
as well as Brian Isaacs of The Lumineers made
the most of that down time, conducting writing
sessions via Zoom that proved to be most
productive. The results which can now be heard
on the band’s latest release, Just Stay High
(Nola Blue Records).
The set includes 14
tracks that find Suter backed by Bell (vocals),
Grappone (drums), Bennett (guitar), Peter
Bennett (bass/vocals), and Daniel Weiss
(keyboards), with additional support from Isaacs
(bass), Will Bryant (keyboards/melodica), and
Lee Falco (drums). The album was co-produced by
the band with Isaacs and Bryant, so this was
truly a group effort in every way.
Jimmy Bennett penned
the powerful opening track, “God Gave Me The
Blues,” and Suter’s stunning delivery will grab
listeners by the collar and demand their
attention, and Bennett’s soaring guitar solo
certainly helps, too. “Some People” is a bit
more serene and more on the soul side of the
aisle, with Suter’s vocals matching the
atmosphere quite well. The intense “Breathe”
picks up the funk with a thumping bass line from
Isaacs, who also wrote the tune.
“Be On Your Way” is
an excellent slow blues that proves to be an
ideal fit for Suter’s masterful vocals, and
Bennett provides superb fretwork throughout the
tune. The ballad, “My Only Need,” strikes a
gentler mood, opening with acoustic guitar, and
Suter’s vocal is lovely. Tough, but tender. Ron
Davies’ “It Ain’t Easy” has been covered
frequently, and Suter’s gospel-flavored version
would make the late songwriter proud.
“4 Wheels Beats 2
Heels” is a sturdy rocker that’s a lot of fun,
definitely a crowd pleaser, and is followed by
another entertaining tune, the feisty “Big Girl
Panties.” The title track is an inspiring slow
burner with Suter offering encouragement for us
to persevere through the tough days. “Ride All
Night” is a driving rocker with a country feel
that offers a lower-key vocal from Suter that
fits the song perfectly.
“Isolation” is a
moody rock-edged blues with soulful vocals from
Suter and terrific guitar from Bennett. Leon
Russell’s classic, “Song For You,” proves to be
a great showcase for Suter’s vocal talents. The
optimistic “Love Always Wins” was written by
Suter, Bell, and Isaacs, and the reflective
closer, “Piece of Clay,” was originally recorded
by Marvin Gaye.
Alexis P. Suter is a
vocal force of nature. With her band, she’s
crafted a remarkable set of tunes that highlight
her best qualities as a singer. Of course, it
doesn’t hurt to have this fine band in support.
Blues fans are all
encouraged to check out Just Stay High at
their earliest convenience.
--- Graham Clarke
 Aki
Kumar was born and raised in India, where he
was exposed to a broad variety of musical
styles, via his parents’ musical tastes, from
Indian classical music and Bollywood movie music
to Bach to John Denver to Stevie Wonder to the
Police. He learned to play keyboards, tabla, and
harmonica along the way. After moving to the
U.S. in the late ’90s to attend college at San
Jose State, he discovered blues by going to
nightclubs and bars in the Bay Area. He took up
music as a vocation after he was laid off from
his job in 2013.
Kumar honed his
blues craft at the School of the Blues in San
Jose, studying under David Barrett, playing with
the band Tip of the Top before forming his own
band. He mixes blues with music from his Indian
heritage, which he calls “Bollywood Blues.”
God Bless The USA
is his fifth release, and his third on the
Little Village Foundation label, produced,
engineered, and mixed by Kumar in the home
studio built in his garage. The album showcases
13 tracks, eight written by Kumar.
Kumar is joined by
guitarists Bob Welsh, Rome Yamilov, and Pete
Fazzini, bassists Randy Bermudes and Kedar Roy,
drummer June Core, organist Tony Stead,
percussionist Vicki Randle,background vocalist
Julia JD, saxophonist Jack Sanford, Will Marsh
on sitar, and Jim Santi Owen on tabla and
khanjira. Kedar, Welsh, Bermudes, Core, Yamilov,
and Fazzini also contribute.
The opening track is
a funky reworking of The Clash’s “Should I Stay
(Immigrant Song)” that completely transforms the
song from the rough and ready original. “A Plea
To Be Free” is a catchy Kumar original that
keeps the funk vibe going. It's followed by an
atmospheric cover of the Willie Dixon/Muddy
Waters standard “I Just Want To Make Love,” with
intriguing percussion and guitar work from
Welsh, and another original from Kumar, “Jarvos
Woman,” with nice work on the harp from Kumar on
harp and Welsh on piano.
“Desi Strut” is an
East-meets-West cover of The Meters’ “Cissy
Strut” that is just wonderful, incorporating
sitar, tabla, and khanjira to the musical mix.
“Time Will Tell” is a nice old school rock n’
roll ballad that’s written by Kumar.
The next two tunes,
“Thoughts And Prayers” and the title track, are
both Kumar originals where he reflects on
current affairs in his adopted country, while
“It Is What It Is” is a great slow burner with
piercing lead guitar from Fazzini and compelling
harp from Kumar.
The bluegrass
classic “Man Of Constant Sorrow” gets a cool
transformation, with funky percussion and
instrumental work. The Latin-flavored original
“Hard To Get” is a fun track, with Sanford’s
saxophone adding an extra kick.
“Save A Bread” was a
mid-’60s rock steady reggae hit by Justin Hinds
& the Dominoes, with Kumar’s version faithful in
its rendition. The album closes with “Harp Tuah,”
is an instrumental that allows ample space for
Kumar to display his harmonica skills.
God Bless The USA
is a bit different from your traditional blues
album, and that’s not a bad thing at all. Aki
Kumar takes the classic form of the music and
incorporates bits and pieces from the Indian
music he grew up listening to as well as the
various genres he was exposed to along the way.
His brand of blues is original, unique, and
fascinating, and definitely worth checking out.
--- Graham Clarke
 After
a trip to Memphis in 2024 to play at the
inaugural RiverBeat Festival and attend the
Blues Music Awards, British blues belter Emma
Wilson traveled to Clarksdale and performed
at Ground Zero Blues Club. The trip to the South
and the reception she received inspired Wilson
to make an album paying tribute to the great
Willie Dixon (she recorded “Hoochie Coochie
Ma(ma)” for her previous release, Memphis
Calling).
The new disc, A
Spoonful of Willie Dixon (Emma Wilson
Music/Select-O-Hits) is a half-hour EP
containing six of the blues legend’s tunes.
Lending Wilson a hand on this set are Mark
Barrett (drums), Ian Leese (bass), Nik Svarc
(guitar), and Bennet Holland (keys/backing
vocals). The set, produced by Wilson and the
band, was recorded live at Crystalship Studios
in Sheffield, England just a few months earlier.
“Spoonful” opens the
set, with Wilson providing a sassy delivery as
the band delivers an appropriately gritty
backdrop, getting the album off to a terrific
start. The funky “Good To The Last Drop” is a
less familiar Dixon tune, a later song he
co-wrote with Buster Benton, who initially
recorded it in the mid-’70s for Jewel Records.
Wilson ably handles this number with a relaxed,
but seductive vocal that really brings out the
essence of the song.
“I Can’t Quit You
Baby” is a smoldering slow burner highlighted by
Holland’s B3, Svarc’s crisp fretwork, and
Wilson’s cool and classy vocals. It’s impossible
to top Koko Taylor’s version of “Wang Dang
Doodle,” so Wilson and company give the classic
a brisk, swinging tempo that gives the classic
song a new, invigorating take. “I Want To Be
Loved” doesn’t stray far from the Muddy Waters
version, but Wilson’s sultry vocal and Svarc’s
guitar gives this cover an added “oomph.”
The closer is
another later Dixon composition, “It Don’t Make
Sense (You Can’t Make Peace)” from 1984. This
haunting cover extends to eight minutes long as
Wilson and the band seamlessly mix blues and
jazz, and her moody, atmospheric vocals are
magnificent.
A Spoonful of
Willie Dixon may be a bit on the brief side,
but it features a powerful performance from Emma
Wilson and her stellar band that should be in
every blues fan’s collection. Don’t miss this
one.
--- Graham Clarke
 Veteran
sax player Terry Hanck has been a fixture
on the blues scene, both in his native Chicago
and later in California. He's used Greaseland
studio boss Kid Andersen to co-produce his
recordings from the last 20 years, not
surprising since Hanck gave the native Norwegian
his first gig after the latter migrated to the
U.S.A.
The result of the
latest collaboration from the pair is "Grease To
Gravy" (Little Village Foundation), a solid mix
of a dozen soulful blues number that are heavy
on the sax. The backing musicians are a mix of
Hanck's regular bandmates along with many of the
usual Greaseland backing cats.
Hanck's soulful side
comes out right away on the opening cut, a cover
of the Wilson Pickett hit,t "Don't Let The Green
Grass Fool You," with the blues touch coming
from the mid-tempo shuffle beat. We're going to
hear great sax solos throughout the album, so
I'll mention Hanck's sax prowess here and just
assume that the same is happening on every cut.
Andersen comes in with a very tasty guitar solo.
Chris Peet opens the
humorous tune "If A Politician Was A Doctor"
with some funky drumming. Andersen's slide
guitar solo takes this song to another level,
all while Hanck sings about the effect of
inconvenient truths, especially when the
"doctor" declares that the surgery was a success
but the patient died anyway.
"Best Years Of My
Life" is Hanck's jazzy love song, as he reflects
on the good times and the bad times of his long
relationship. He's using this song to give
thanks to his partner for the best years of his
life. The gospel piano of Chris Burns sets the
framework for the Ray Charles slow blues
classic, "Come Back Baby," followed by the
up-tempo Hanck original "Goin' Way Back Home
Tonight," with Johnny Cat Soubrand laying down a
good rockin' blues guitar solo.
Soubrand takes the
guitar leads on the Albert King blues shuffle
instrumental, "Overall Junction," with Andersen
showing his diverse talents with nice B3
accompaniment, leading into a slow blues
original, "Run Run Baby," as Mr. Terry tells
that woman that he's through with her and she
should keep running to find her way back west.
The next cut doesn't
head west but instead takes us a visit to New
Orleans on the Chris Kenner 1957 hit "Sick And
Tired." Hanck's version was recorded such that
it sounds like it's an old, heavily-played 45
rpm record. Mitch Woods popped into the studio
to provide the essential Crescent City piano
sound.
The highlight among
highlights on Grease To Gravy is a
funkified version of Jimmy Oden's slow blues
classic, "Going Down Slow," lasting close to six
and a half minutes. But it's so good that you
just might wish it was even longer. Soubrand
continues to impress with his superb guitar work
and Jim Pugh contributes plenty of piano
accompaniment. One more star on this one is the
background vocals of Lisa Leuschner Andersen.
Hanck gets a little extra feisty on his own
mid-tempo walkin' blues, "When I Get My Shit
Together," as he makes a lot of promises for
what will happen when he finally hits the
jackpot,
"Pins And Needles"
gives me a little bit of a Tex/Mex feel mixed in
with this up-tempo blues. In fact, I could
imagine Joe King Carrasco doing this song 40
years ago and making it sound just right. Even
Jim Pugh's organ playing reminds me of that old
Farfisa sound.
We close the album
with still another diverse sound as Hanck takes
us to an island (Jamaica, perhaps?) on "Midnight
on The Reef," an instrumental with a distinct
backbeat. JP Soars shows up with a very nice
subtle guitar solo. And is that a steel drum
sound I'm hearing from Chris Peat?
The last two cuts
really show the diversity of this very fine
album, confirming that Hanck has delivered an
outstanding album with Grease To Gravy. I
can't stop saying good things ait. Pick it up or
download it now. You won't be sorry.
--- Bill Mitchell
 The
Kerry Kearney Band (Paradiddle Records) is
Long Island slide guitar master Kerry Kearney’s
latest release, his first since 2019’s
Smokehouse Serenade. Consisting of ten
tracks, seven originals and three covers, the
album features Kearney (electric, slide, and
acoustic guitars, mandolin, and vocals) backed
by Jack Licitra (keyboards), Gerry Sorrentino
(bass), Mario Staiano (drums), and Nydia
“Liberty” Mata (congas, percussion) with
assistance from Mark Mancini (keyboards), Bill
Lifford (harmonica), Camryn Quinlan (vocals),
and Jeff Naimoli (percussion).
The album opens with
a strong cover of Otis Rush’s “All Your Love”
that shifts gears midway, giving ample space for
some searing fretwork from Kearney and a
harmonica break from Lifford. “Harder To
Breathe” is an original blues ballad with lead
vocals contributed by Quinlan. “Walk Right Out
The Door” is an energetic blues rocker, while
the rumbling Warren Zevon’s “Rub Me Raw” is a
veritable slide fest for Kearney.
The swampy “Voodoo
Ways” has a southern rock feel, and “Bobbique
Romp” is a tasty instrumental with guitar,
harmonica, and piano all taking a few moments in
the spotlight. The third cover tune is a
well-done version of Bob Dylan’s mid-’70s track
“Meet Me In The Morning.” Following is the
jaunty “West of the Ashley,” an acoustic
instrumental workout on the country/folk side,
and the spirited blues “Off To The Jubilee,”
plus a bonus track, the holiday shuffle,
“Santa’s Got A Brand New Bag,” with Quinlan
behind the mic once again.
The Kerry Kearney
Band offers a ton of great music for blues and
blues/rock fans who dig slide guitar. Kearney is
one of the finest slide guitarists currently
practicing and has been a standout for over 45
years.
--- Graham Clarke
 We
gather here to pay tribute to Reverend
Freakchild via his new release, A
Bluesman of Sorts (Treated And Released
Records), described by the Rev as a “posthumous
retrospective collection.” He previously
recorded his demise on 2013’s Chaos & Country
Blues, but that one apparently didn’t take,
but is relisted in the new album’s liner notes.
Hopefully, this one won’t take either.
This new release,
wrapped in a cover paying tribute to B.B. King’s
Completely Well album cover from 1969,
offers 19 tracks on two albums, some previously
unreleased, some alternate takes, and some
remixes of covers and Freakchild originals.
These tracks captures the essence of the
Reverend’s slightly twisted brand of blues about
as well as any release possibly could.
The opening track,
the easygoing “Green and Brown Blues,” is a
previously unreleased Freakchild original that
was first recorded around 2001. The fun and
funky cover of “Chevrolet,” a blues and rock
classic that dates back to Memphis Minnie’s “Can
I Do It For You,” is also previously unreleased,
while the excellent “Come On In My Kitchen,” the
first of two Robert Johnson covers, is a solo
track with the Reverend on vocals and guitar
from the album Chaos & Country Blues.
“I Can’t Be
Satisfied” gets a rocking reinterpretation from
its first appearance on 2020’s The
Bodhisattva Blues, with additional overdubs
from Aki Kumar on harp, Nick Amodeo on bass, and
Steve Sirockin on organ. Hugh Pool adds
harmonica on the remixed, revised version of
Hambone Willie Newbern’s “Roll and Tumble
Blues,” originally heard on Chaos & Country
Blues.
The Reverend gives
ZZ Top’s “Jesus Just Left Chicago” (overdubbed
and remixed from 2019’’s Road Dog Dharma)
a subdued, almost-gospel feel, and “Everybody
Want’s To Go To Heaven” (from 2022’s
Supermundane Blues) gets a dusty Delta
interpretation, with 12-string guitar from Mark
Karan. Two Freakchild originals, the rocking
lament “A Day Late and A Dollar Short” and
“Rattling Cages,” a slow blues recount of a
night in jail, precede a previously unreleased
version of Chris Whitley’s “Dust Radio.”
Disc 2 kicks off
with a rambunctious cover of Jimmy Reed’s “Big
Boss Man,” that first surfaced on The
Bodhisattva Blues, with Hugh Pool
accompanying on harmonica. One of the more
interesting tracks on the set is Freakchild’s
funky version of Bobbie Gentry’s “Ode To Billie
Joe,” an unreleased track from 1998 with a
smooth vocal from the Reverend.
Robert Johnson’s
ominous “Hellhound On My Trail,” originally on
2016’s Illogical Optimism, gets a moody
remix, while “I Know You Rider” has a Southern
rock feel, with fierce fretwork from AJ
Fullerton, and “Yer Blues,” a rare blues track
from The Beatles’ white album, is down and
dirty. The last two tracks originally appeared
on The Bodhisattva Blues.
“Wish I Was In
Heaven” successfully captures that North
Mississippi Hill Country vibe that was a
specialty of the song’s composer, R.L. Burnside,
as the Reverend plays inspired National Steel
Guitar. The album “closes” with a haunting solo
performance of Lightnin’ Hopkins’ “Death Bells.”
Two “Bonus” live
cuts are included to close Disc 2 --- an a
cappella reading of Son House’s “Grinnin’ In
Your Face” (from 2017’s Preachin’ Blues),
and a terrific, previously unreleased version of
“As The Years Go Passing By.”
Hopefully, the
reports of the Reverend Freakchild’s passing
have been greatly exaggerated because it would
really be a shame for blues fans to be deprived
of his unique blues vision. To these ears, A
Bluesman Of Sorts is both a superb
encapsulation of his music and a woefully
insufficient album title, given the great music
contained within. Blues fans unfamiliar with his
music can safely begin listening here.
--- Graham Clarke
 The
star of Texas guitarist / singer Ally Venable
continues to rise, with her latest album,
Money & Power (Ruf Records), being another
example of this young woman's blues/rock
abilities. Her music has always teetered on top
of that fence between blues and rock, balanced
between the two. On this new album, she at times
weighs more heavily on the rock seat of the see
saw, but she always proves that she can play the
blues. Known more for her guitar prowess,
Venable has also developed a pleasant while
sometimes feisty singing voice. In short, she's
the whole package.
A couple of
significant blues powers show up as guests on
Money & Power, including blues superstar
Chirstone "Kingfish" Ingram on the opening cut,
"Brown Liquor." It opens with some heavy duty
rock guitar chords laden with effects, before
turning into a mid-tempo 12-bar blues as Venable
and Ingram trade off on solos.
The other guest
appearance occurs later in the album when
Shemekia Copeland joins in on the mid-tempo
blues/rock number, "Unbreakable," one of several
singles from the album. Both singers proclaim
the strength of women, especially when Shemekia
sings about a woman who's a soul survivor, a
force of nature still burning bright,
unbreakable and bold, etc. I especially like
Venable's aggressive guitar work throughout this
cut.
We hear a similar
women's empowerment theme on the slow, gentle
blues, "Maybe Some Day," with Venable
proclaiming that women really could and should
rule the world. It's one of my favorite cuts.
Another one leaning more to the blues side Is
"Stopper Back Papa," as Venable asks the man to
put the stopper back in the whiskey bottle.
Nice, subtle blues guitar solo from Venable
happens later in the song. "Stepping Stone" is a
slow blues that again reminds that women should
not be someone's stepping stone, reinforcing
that message with more powerful guitar and
vocals.
Moving back more to
the blues/rock vein is the title cut, with
shouting, feisty vocals and heavy guitar used on
a solo adding plenty of effects. She reminds us
what women could do if they had money and power.
Venable's voice really soars on the slow blues,
"Do You Cry," when singing about a love letter
that she's written and the effect she's hoping
it has, singing that she would rather cry than
to feel nothing at all, and the guitar solos are
so well-placed to emphasize the message she's
delivering. "Heal Me" is a heavy rocker that
allows Venable to use her vocals to contrast the
depth and power of the guitar chords.
"Legends" is an
up-tempo head bopper, driving along by a steady
propulsive drum beat from producer Tom Hambridge,
while Venable lays down a strong blues guitar
solo. The tempo and volume change significantly
for the slow ballad "Keep me In Mind," a
pleasant tune on which she tells that man she'll
be there when he needs someone to stand by by
his side. This one shows a different side of
Ally Venable, and I like the change in mood
here.
The slight echo in
Venable's vocals give "Feel That Sting" more of
an eerie feeling, with Hambridge's bass drum
pounding away like the beat of a heart. Our
final cut, "Black Cat," a mid-tempo heavy blues,
has Venable warning that man to not lie to her
because she knows the truth. We can hear the
fury in her voice, but there's also anger
radiating from her guitar.
Money & Power
is another success from one of the most powerful
blues artists on the scene today. She's even
better live, so check out her touring schedule
and be sure to catch a show near you.
--- Bill Mitchell
 I
have to admit that I first heard of Kim Field as
the co-author of The Blues Dream of Billy Boy
Arnold (which I highly recommend). I didn’t
realize until I read the book that he was a
musician, and a harmonica player at that. Sorry,
I don’t get out very much these days. That said,
when I happened upon a copy of Kim Field and
the Perfect Gentlemen’s debut release,
Don’t Need But One, I was intrigued. Upon
listening, I was impressed.
Field handles
harmonica and most of the lead vocals, with the
Perfect Gentlemen consisting of Vyasa Dodson
(guitar/lead vocals), Whit Draper
(guitar/background vocals), Denny Bixby
(bass/background vocals), and Jimi Bott
(drums/percussion). The band is supported on
various tracks by The Soul Survivor Horns ---
Joe McCarthy (trumpet), Chris Mercer (tenor
sax), Rob Rayfield (baritone sax), along with
Louis Pain (organ). Field wrote six songs,
Dodson wrote four, and there’s one cover tune
included on the 11-song set.
The title track
opens the disc, a distinctive R&B tune with
Field’s amiable vocals and the Soul Survivors
backing. It’s followed by “Please Don’t Ask Me,”
a Windy City shuffle featuring tasty harmonica
from Field and fine work from the rhythm
section, and “Black Diamonds,” a smoldering slow
blues. Field wrote the first three tracks, and
Dodson wrote the swinging “What Kind of Fool,”
also taking lead vocal on this track, featuring
stellar instrumental work from the guitarists,
Field, and the horns.
“Dress The Monkey”
is a mid-tempo instrumental shuffle written by
Field, who also composed “All These Little
Things,” a sturdy Chicago-flavored shuffle.
Dodson wrote and sings the ballad “I Give In,”
which has an old school, late ’50s feel, with
atmospheric slide guitar, harmonica, and horns
seamlessly blending in the background. The
second instrumental, “Emergency,” is propelled
by Bixby and Bott’s strong groove behind Field’s
harp and the guitars.
“So Dark In Here” is
a cool blues ballad with lyrics that reflect a
real sense of loneliness. Nice vocal from Field
and sax from Mercer. “Flower Shop” is a sharp
instrumental with a touch of jazz and swing.
The album closer is
a lovely instrumental version of Harold Arlen
and Ira Gershwin’s “The Man That Got Away,”
retaining that jazzy vibe and featuing superb
musicianship from all.
Don’t Need But
One is a great debut release. I now
understand completely that Kim Field is a
musician who happens to write books instead of
the other way around. Please forgive me,
sir…..job well done.
--- Graham Clarke
 Chicago
blues legend Bob Stroger has attained legend
status in the blues world, not just because he's
still active in his mid-90s but also his
reputation as one of the best bass players
around and certainly a link to the history of
Chicago blues. The fact that he's still
recording and touring is amazing. He's been
hooking up at times with a Brazilian band, The
Headcutters, and just released an album of
recordings made in Brazil in 2023. The regular
Headcutters lineup is supplemented by
Cincinnati-based Ben Levin on piano. Bob is
Back! (Delmark) is a set of 11 blues
standards, with the album billed to Bob
Stroger & The Headcutters. It's Chicago
blues at its best.
While Stroger has
been known more as a sideman through is career,
he's also a decent singer and is comfortable at
the front of the stage. He can be heard in fine
form on the opener, Elmore James' "Look Over
Yonder Wall," with Joe Marhofer showing his
expertise on harmonica, and there's a tasty
guitar solo from Ricardo Maca. It wouldn't be a
Chicago blues album without a Muddy Waters, and
Stroger does a very fine job on the classic
"Champagne And Reefer." Marhofer and Levin both
get the chance to show off with strong solos.
Stroger also wrote
five of the songs on Bob is Back!, with
the first original being the jumping "Jazz Man
Blues," with Maca laying down a very nice guitar
solo, Arthur Catuto showing off on bass, and
drummer Leandro Cavera also getting in on the
fun. The band keeps the tempo moving rapidly
with Tampa Red's "Don't You Lie To Me." The New
Orleans vibe is carried by Levin's strong piano
playing, and we get solos from both Maca and
Marhofer. Man, these cats can play!
Two consecutive
Stroger-penned numbers are next, the slow
autobiographical blues tune "My First Love,"
followed by the up-tempo "Loan Me Train Fare,"
carried by Levin's keyboard work and with
Marhofer's harp breaks nicely framing Stroger's
vocals. The up-tempo Amos Milburn blues,
"Thinking And Drinking," shows Stroger's voice
with more power and a touch more bass coming
from his vocal chords. Levin gets another smokin'
piano solo here, with Marhofer back to the front
of the stage later in the song.
"Bob Is Back In
Town" is an original slow blues, with Marhofer
and Levin providing the intro before Stroger
steps up to the mic. We are then treated to two
special guests on "Love You Baby," as recent
blues sensation Candice Ivory and Renée Gros
join in on backing vocals.
The title cut opens
with the three word statement, "Bob is back,"
before continuing as a mid-tempo blues
instrumental that is highlighted by Maca's
strong guitar and Levin moving over to the
organ, while the rhythm section dudes also get a
little time to show off.
Stroger puts out
stronger vocals on Jimmy Rogers' "Gold Tailed
Bird," with Levin again pounding away on the
88s. Closing the show is an up-tempo cover of
Louis Jordan's "Let The Good Times Roll," ending
the show on a rollicking note.
This is an extremely
enjoyable album from a wonderful artist who
shows no signs of slowing down in his later
years. I'm optimistic that Mr. Stroger has a lot
more to offer, and I also would like to hear
more from The Headcutters. Needless to say, this
album is recommended for all Chicago blues fans.
--- Bill Mitchell
 “Hold
On,” the latest single released by Grady
Champion, is a bit different from his
standard fare. The Canton, Mississippi blues
man’s new effort encourages listeners to always
focus on the positive, regardless of their lot
in life. The track opens with acoustic guitar,
adding soaring background vocals to the mix
during the chorus, which gives the track a real
gospel and soul feel.
Who
says the blues has to be sad? “Hold On” is a
powerful statement that its never too late to
turn around your situation and make things
better. Champion’s recordings have always showed
a diversity of musical influences, basically the
music he grew up around, with blues, soul, R&B,
gospel, and even country. He continues to
display that remarkable versatility as evidenced
by the musical approach on his three recent
singles.
--- Graham Clarke
 Mississippi’s
up-and-coming young blues man, Harrell “Young
Rell” Davenport, has been an absolute thrill
to watch develop over the past few years via his
Facebook page. This remarkable teenager has been
wowing blues artists and blues fans, not just
with his burgeoning talent, but with his deep
knowledge of the music and its origins.
He’s
the real deal, folks, and he just released an
exciting pair of singles on his own RellTone
Records. “Hate The Bite” is a gritty original
tune, with Davenport doubling on guitar and
harmonica, and “Beefsteak Blues” is a moving
cover of the Son Thomas Delta classic capturing
the isolation and loneliness of the original.
Young Rell is a nimble guitarist and a fine
vocalist that the blues world will be enjoying
for a long time/ These two tracks provide a
wonderful introduction to his talents.
--- Graham Clarke
 The
Mississippi blues child, Mr. Sipp,
recently issued a single on Malaco Records. “I’d
Rather Be Jody” revisits the familiar Southern
soul “Jody” theme with a bit of a twist.
In
this rendition, Sipp reflects that maybe it’s
more fun to be “Jody” than the main man in the
relationship, not having to deal with the stress
of maintaining the relationship, just being
there for the “perks,” if you will. It’s a novel
approach to a familiar theme that will have
listeners saying, “maybe Sipp is onto something
here.”
--- Graham Clarke
 Stefan
Hillescheim is a native of Germany, now
doing the blues scene in Chicago after a few
years in Los Angeles. He's a very fine guitar
player and singer, as we previously heard on a
recent album, Live At Rosa's Lounge,
released just last year.
He's
back with a single, "Anxiety," a solid blues
with a heavy reggae groove, with his good
singing voice reflecting on how divisive our
country has become, causing us all plenty of
anxiety. Hillescheim uses a slide on his guitar,
seamlessly blending the two styles of music.
This
is a blues dude worth checking out by navigating
to his
website.
--- Bill Mitchell
 Long
Tall Deb & Colin John are teaming up for a
new album, Light It Up, on VizzTone,
coming in July. Of course, we'ill provide a full
review in next month's issue of Blues Bytes.
Meanwhile, we are being treated to a very
interesting single from that album, as the duo
has done a re-working of Annie Lenox's major pop
hit, "Sweet Dreams." Their version has turned it
nto a Texas blues shuffle, thanks to Deb's
soulful vocals and John's powerful blues/rock
guitar work .
If
you're skeptical, hey, it works. Give it a
listen and you'll have it running through your
head for quite a while. It's not the first time
I've heard an interesting rendition of this
song.. I flipped about ten years ago when I
heard The Soul Rebels Brass Band's version,
turned into a second line New Orleans brass
romper.
--- Bill Mitchell
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