The Groove Jul-Aug 2019

THE

THE BI-MONTHLY NEWSLETTER OF CROSSROADS BLUES SOCIETY

JULY - AUGUST 2019 EDITION

Editorial

Steve Jones, Editor and CBS President

May and June were spectacular months for Crossroads and blues fans in general! So many good events- 12 shows that we were involved with might be the most ever in a two month span. The Lyran Club, Hope and Anchor, Burpee’s Music on the Rock, New Glarus and my backyard were the venues for some great music!

Coming in July and August will be two more Lyran shows, two more Hope and Anchor shows, 5 more Burpee shows, and our festival at Lyran Park will add 10 more great events for blues fans to savor.

It will be hard to top that. We had a very busy time in 2018-19! Thanks to Bob Haendler and others who helped make this years program a success!

I can’t say I’ve seen us this busy ever in our history. It’s amazing that venues want our help to bring in music fans and make some fantastic events for music lovers to enjoy.

Those 22 events in 4 months mean 41 paydays for musical acts/bands. If that’s not keeping the blues alive I don’t know what is!

We are still looking for folks to step forward and assist us in managing the club. Newsletter, events, membership, festival and more all need a solid committee structure to be established for the long term health of the Society if we are to ensure we can maintain these efforts for the decades going forward. Last issue had some ideas that I brought forward here and in an article, so please look back at what was discussed or give me a call or email.

Blues in the Schools ended for our in-school efforts with Wheatbread Johnson at Summerdale for 8 programs and 2 others at East HS. He also did the first 2 of 4 programs at Music on the Rock and will finish those up in July. Joe Filisko is also doing a harp school July 3rd there. Byron Forest Preserve’s Summer Program had one event with two more coming in July. That means 135 programs and July will make 140 programs for this 2018-19 cycle. That’s our biggest effort ever and will make 485 total since 2002.

Membership is a focus area. If you are not a member, why not become one? If you are a member, why not ask friends and family members who enjoy the blues to join?

Benefits are this newsletter, all the great events we do, supporting Blues in the School efforts, and the shows, picnics, and even occasional food that is available free to members throughout the year. Our picnic, some discounts and free food at our IBC fundraiser were great perks for members in the last year.

It’s a great time for Crossroads and the Blues. Lets make sure we attend shows, get out for fests and other events and support the blues societies and artists in their endeavors to make beautiful music for you. It can’t happen without your support, so make sure that the live music that you love is a priority in your lives– you won’t be sorry!

Very blues-ily yours,

Attendance is also charted. We have also grown in that area, too.

Contents Editorial………………………………………..…………….………….………....2 Contents, Board, Local Radio & Application………………………….3 BITS Update…………………………….……………………..………….…....4 Music on the Rock at the Burpee Museum.………………..……….5 25th Anniversary Party………………..……………………..…….……...6 10th Annual Crossroads Blues Festival....……………………...…..8 Crossroads Picnic…………………………………………………….….…….12 Music Reviews……………………………………...……………....….......13 Crossroads Blues Challenge 2019……………………………………….30 May and June Crossroads Photos….…………...……………………..31 Monroe Blues and Balloon Festival.…………...……………………..33 CBS Members & Friends at the Chicago Blues Fest…………....34 Upcoming Shows………………………………………………..…...….…..35 Karen Howard Scholarship…………………………………...….……...39 Member Update……………………………………..……………..…........39 Hope and Anchor and Lyran Shows………………………..………...39 Blues News and Upcoming Events………………………......……...40

Cover photos by LeeAnn Flynn (Ivy Ford) The Groove is a bi-monthly publication of the Crossroads Blues Society. The PDF version (typically 32 to 40 or more pages) is emailed to members of Crossroads. Hard copies (12 pages) are sent out to members without email ($5 membership surcharge).

Editor in Chief: Steve Jones Music Reviewers: Rick Davis, John Mitchell, Marty Gunther, Bill Graw, Lynn Hetzler, Mark Nelson, Tom Lombardo, Steve Jones and Mark Thompson.

Blues on Local Radio WNIJ - 89.5 FM •

Friday evenings from 9 PM to midnight with Harold Brown

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Saturday afternoons from 1 to 4 PM with David Rosik

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Saturday evenings from 9 PM to midnight with David James

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Rich Gordon fills in regularly

Crossroads Blues Society Officers and Board Members Contact Info President: Steve Jones

sub_insignia@yahoo.com

Vice-President: Bill Graw

williamjgraw@gmail.com

Secretary: Bonnie Fox

bonitafx@gmail.com

Treasurer: Terry Keller

terry@markpack.com

Board of Directors: Denny Barker Rick Davis Bob Haendler Ken Pearson

harkthebark@mchsi.com rick_davis_937@comcast.net rhaendler@comcast.net cntrylivng@aol.com

Rick Hein

mrrickhein@sbcglobal.net

Membership Application

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Blues in the Schools Update

Wheatbread Johnson at Summerdale Early Childhood

Blues in the Schools continued in May in area schools. Summerdale Early Childhood Center is part of RPS 205 and the Rockford School District. Wheatbread Johnson and I were out there for 8 programs on May 10th, completing our Head Start and Preschool efforts for the year. Over 400 kids got to participate in those final 8 programs, making 98 of the shorter programs for Head Start, Preschools, elementary schools and public events going through July. Over 4,200 student participated in those programs.

Residency programs accounted for 16 BITS programs for over 400 HS student attendees at East HS. Wheatbread finished those up on May 17th and 20th and it was a great effort once again! The last two were the last of four programs for English as a Second Language choral students.

Assembly programs account for over 7,000 attendees at those 26 programs. Assemblies reach out to more students per program due to their scale and the nature of the programs. So that makes a total of 140 programs for almost 12,000 students in 2018/19. There are some statistical graphs in this month’s Editorial on page 2, too.

In June we began two new education efforts. Burpee Museum’s Music on the Rock was host to two more Wheatbread Johnson Blues’ Schools on June 12th and 26th with two more coming in July along with a Joe Filisko Harp Workshop. The June events were very well received and many kids and adults attended. Byron Forest Preserve was and will be home to three more Wheat-

Wheatbread Johnson at East HS

Wheatbread Johnson at Summerdale Early Childhood

bread Blues Schools.

One was our classroom program effort that Wheatbread Johnson with Steve Jones and Bob Haendler at was help Music on the Rock (Burpee) 2nd Session on June 11th, the other two a harp workshop and a follow-up harp workshop to be held on July 2nd and 30th. The event on June 11th had almost 60 kids Wheatbread Johnson at Byron Forest Preserve grooving to the blues, with ages ranging from 8 to 13 years of age.

2018/2019 has been our biggest success. Let’s make next year equally successful with a great festival to fund our BITS efforts!

Wheatbread Johnson with Bob Haendler at Music on the Rock (Burpee) 1st Session

Music on the Rock Kicks Off John Nemeth and his Band

Music on the Rock Kicks off with Chris O’Leary and Dave Weld and Monica Mhyre opening (Photos by Rick Davis) Lil Ed and The Blues Imperials

Music on the Rock opened with some great shows in June. The Chris O’Leary Band started us off. They were a bit delayed after breaking down in East St. Louis on June 2nd but they finally made it and played until well after dark. Dave Weld and Monica Mhyre made it out on short notice to open and give the blues fans a great set to listen to at the start!

On June 12th it was Billy Flynn and His Chicago Blues All Stars.

Billy, his band, Elmore James Jr. and Milwaukee Slim gave us two great sets of music. Wheatbread Johnson opened up with a Blues School (see page 4, too) and it was a big hit. Steve Jones and Bob Haendler were part of it.

The 19th of June we had John Nemeth in the house. Another fantastic night of music– it has been far too long since John was here in Rockford!

On the 26th of June the Steepwater Band could not make it but Lil Ed and The Blues Imperials were ready to fill in at Burpee.

Wheatbread again opened with a great set of Blues School Music.

What a great night!

We had 4 great shows in June and July has five more great shows lined up: July 3: Grad Groove Hotel; Joe Filisko Harp Workshop at 4:30 pm July 10: Ivy Ford Band July 17: Kevin “B.F.” Burt; Wheatbread Johnson at 4:30 pm July 24: Ghost Town Blues Band July 31: Dave Keller Trio; Wheatbread Johnson at 4:30 pm All shows are 5:30 to 8:30 pm. In case of rain we move indoors, so rain or shine.

Food, drinks and adult beverages are available! Shows are free; $15 VIP parking and seating. Don’t miss these great events!

Thank you to the Burpee Museum, Associated Bank and The FranaGroup for making these superb shows available!

Billy Flynn and His Chicago Blues All Stars, Elmore James Jr. and Milwaukee Slim (Photos by Rick Davis)

Crossroads 25th Anniversary Party

Our 25th Anniversary Party on May 4th at the Tiber Lake Playhouse in Mount Carroll was a big success.

About 170 members and fans attended and got to see Hal Reed and Mississippi Journey, The Ivy Ford Band and Jimmy Nick and Don’t Tell Mama. Hal opened the day with his tight band from the Quad Cities and we had a blast listening to them! They Ivy came out and electrified the crowd with her persona and great music. Jimmy Nick finished up the day and sax player Rodney Brown did some amazing things on his horn.

Jimmy Nick put on an exhilarating

show as he always does.

The Play House had their best day ever at the bar (go figure– thirsty blues fans!) and had a couple of special drinks just for the show.

Thanks to Dan Danielowski and his crew for their support at the venue. It was a great day! Thanks to the bands and everyone who came out– we loved it there and may have to have an annual event at the playhouse!

Tenth Annual Crossroads Blues Fest Can you believe this is our tenth festival already? We can’t. It does not seem that long ago that we started this event in Byron, but that was back in 2010. Here we are in 2019 with nine of these under our belts (plus two more at Aviator’s Stadium and one we helped with in Sterling) and every one of them has been a fantastic musical and festival event!

The fest at Lyran Park has been exceptional– what a great venue! We continue as before with 5 acts on the big stage and 4 in between in the pavilion. Opening the day at noon are The Blues Disciples. The Blues Disciples have been bringing their Blues to the people of the local clubs in the Milwaukee area and the Midwest region since 1990. Founded by "Barefoot" Jimmy Schwarz on harp with the intent of remaining true to the influences of the Chicago electric blues era of the '50's and 60's. Influenced initially by the likes of Little Walter, and Muddy Waters, and then directly by Wisconsin Blues greats Jim Liban and Billy Flynn they forged a sound and band that rose to the top of the Milwaukee Blues scene. Their years of powerful shows every week at Milwaukee Blues fixture, The Up & Under, turned a whole new generation on to the Blues genre. Many years and changes have kept their music fresh, and relevant, while still remaining true to their Blues roots.

Up next is The Chris O’Leary Band at 2 PM. Chris and the band hail from New York.

Chris’s musical background includes duties as lead singer and front man for rock and roll hall of famer and Grammy award winner Levon Helm’s band, The Barnburners.

During the 6 years that Chris and Levon played together they toured across the US and Canada lighting up stages everywhere they went. Chris has appeared on stage with: Legendary Rolling Stones sideman Bobby Keys, The Fabulous Thunderbirds, Jimmy Vivino, Jeff Healy, Dan Akroyd, Albert Lee, Dave Edmunds, Dave Maxwell and the great James Cotton to name just a few.

Chris has also recorded with Bill Perry and Hubert Sumlin, among others.

At 4 pm it’s time for harp great Westside Andy Linderman with Reverend Raven and the Chain Smoking Altar Boys. Westside Andy is one of the premier harp players to come out of Wisconsin along with Jim Liban, Steve Cohen, Madison Slim, Matthew Skoller and Cadillac Pete Rahn. A long time member of Paul Black's Flip Kings and his own band, The Westside Andy/Mel Ford Band, he's played just about everywhere and with anyone of note in the blues world.

Born and raised in the Englewood neighborhood on south side of Chicago, the Reverend has been playing the blues since 1971 when he first saw Freddy King play at the Kinetic Theatre in Chicago. After 16 year hitch in the Navy, Chief Raven moved to Milwaukee where he began a long friendship and collaboration with Madison Slim, long time harmonica player for Jimmy Rogers.

6 pm brings 2019 BMA winners Nick Moss and Dennis Gruenling to the main stage. Chicago guitarist, vocalist and songwriter Nick Moss is a bona fide bluesman down to his soul. He is a 30-year veteran of the city’s take-no-prisoners blues scene. He paid his dues gigging in Chicago's rough and tumble West and South side blues clubs under the tutelage of some of the city's greatest blues luminaries. Blues Revue says, “Nick Moss is at the top of the blues world….ambitious and intense…He can play traditional blues with the best.” New Jersey's Dennis Gruenling is considered among today’s best blues harmonica players. His high-energy, full-throttle playing has earned him comparisons to the late James Cotton. Living Blues says, “Dennis Gruenling is a contemporary harmonica master…impressive, genuine and fresh -sounding.” Now, recording together for the first time, The Nick

brothers all grew up learning how to play the blues. His big brother is the Legendary Lurrie Bell and both his younger brothers Tyson Bell, bassist and James Bell, drummer complete the Bell Family Dynasty Band.

Between acts will be an assortment of harp players including Joe Filisko who will reprise his harp workshop at 3:30 pm.

Wheatbread Johnson and Justin “Boots” Gates will do a duo performance as will Teddy Lawrence and Chuck Scordato and Ken Olufs and Gary Johnson.

We once again feature a great assortment of foods, including BBQ, Mexican food, chops, ice cream and other treats and much more. And we will have at least 25 kinds of beer and wine for your selection!

The fest is our primary means of fund raising for our Blues in the Schools Program. Every dollar Crossroads raises means another student will get to hear the blues. This past year we did 140 programs for almost 12,000 students with funding from the 2018 fest.

Ticket Outlets

Moss Band featuring Dennis Gruenling makes their Alligator Records debut with The High Cost Of Low Living, a dream come true for both musicians.

Closing out the day will be John Primer at 8 pm. Steve Bell will be on harp. John Primer has undisputedly helped build the sound and style of Chicago blues as we know it today. The echos of tradition bellowing from the birthplaces he played such as: Maxwell Street, Theresa's, Checkerboard and Rosa's Lounges, pulse from every chord in his fingers today. John Primer is a Chicago Blues Living Legend. The depth of history and tradition that runs in John's blood from decades of master blues classes he took from all the Blues Godfathers builds his music catalog and unique style. John Primer is still at the top of his game. With his strong traditionalist blues phrasing, seasoned rhythm and blues vocals and lightning-fast slide guitar techniques, few artists can match him and none have his vast, real deal, blues history. John Primer has known Steve Bell and all his brothers way back when they were just kids growing up on the south-side of Chicago.

John would visit their Dad, Carey Bell. Steve first joined the RDBB way back in 1996 and he even came to John's jam nights at Checkerboard Lounge before that. He is an Original RDBB Member. Steve is a Master Harmonica player! His father, the Legendary Carey Bell taught him how to play harmonica. Steve and his

Rockford Woodman’s Market Valle International Fresh Market Culture Shock Records and Clothing Randee's Music Guzzardo Performance Music Just Goods Fair Trade Store

Snyder Pharmacy

Loves Park Hope and Anchor English Pub CD Source Machesney Park Pig Minds Brewing

New Millford New Mill Tap Filling Station

Beloit Grand Avenue Pub Freeport Logan’s Bar and Grill Winnebago Snyder Pharmacy Oregon

Mount Morris Maggie’s Idle Hour Byron Snyder Pharmacy Felkers Market Hairy Cow Brewing Company

Stillman Valley Theo's Thirsty Cow On line via Paypal/Credit Card at crossroadsbluessociety.com Via mail by check with Self Addressed envelope to Crossroads Blues Festival PO Box 840 Byron, IL 61010

Our fest has funded BITS since we started it.

Now with our Lyran Park fests, our ability to fund more and more programs has become a reality and we appreciate working with the Lyran Society!

Emily Rollins, President Steve Jones’ daughter, has designed most of the logos and posters for the event. We’ve gad great artwork, logos, posters and tee shirts. This year’s logo is another winner!

This is another killer lineup0– we expect a great turnout. Ticket sales are limited to 3,000 and we might make that this year so get your tickets early! At press time we’d already sold over 500.

Ten years of festival also means lots of great music. Here are the posters from all ten of our festivals to help yu remember what super acts we have featured over the year. What an amazing set of musical acts!

Including this year. 46 acts have graced the main stage since 2010. Each fest has also had entertainment between acts, so the music is non-stop from open to close.

We want to also thank Lonnie’s CarpetMax and Lonnie’s Stone Crafters for their generous support of our event. As Festival Sponsor, they are a primary means o making our event a success. Their support helps to ensure the success of our event. Thank you to Lonnie Presson and his family– wife Wanda and and son’s Mark and Luke for their assistance!

Thanks to all our sponsors: Festival Lonnie's CarpetMax and Stonecrafters

Platinum Town Square Media 96.7 The Eagle WNIJ 89.5 FM WIFR 23 Gold Intren Woodmans Intren Hardtime Cigar Box Guitars BluesBlast Magazine UGP WDCB Chicago Chicago Blues Guide

Silver Byron Bank Rockford Bank and Trust BMO Harris Bank Michel and Brian Williams Thrivent Steve and Annette Jones Thrivent Plumbers and Pipefitters U.A. Local 23 Trinadora Rocks Bill and Pamela Graw Joe and Jeanette Geraghty Steve and Annette Jones Woodward, Inc Kiwanis of Byron Rick & Pam Hein Casey's Bronze Jack and Bonnie Doug and Cindy Wilken Ken Pearson Mark and Cyndi Nelson RHAC Spahn & Rose Lumber Company UAW Local 1761 White Eagle Club Norm & Piera Sagon Jim & Sallie Krebs Ric and Donna Douglas Sponsorship is tax deductible as Crossroads is a 501c3 non profit charitable organization. For more information contact Steve Jones at sub_insignia@yahoo.com to find out more about sponsorship!

Crossroads Members Picnic

On June 1st at Crossroads President Steve Jones’ house in Byron we had our 3rd Annual Crossroads Picnic. Brats, chicken, pork chops, hot dogs, and other great food was served up. Folks brought a dish to pass or snacks and adult beverages of choice.

Ivy Ford and her band with Dave Axen on Drums and Willie Rauch on bass provided the entertainment. The rains held off until the band took a break, so we ate and conversed for 20 minutes until it passed and the sun came back out. It was a fantastic day. About 75 members and their families came out.

Ivy and The Fellas were fantastic. They played for nearly two hours non-stop before taking a break. They kept going well past the planned end time because they and everyone were having

such a great time! Ivy played many new songs from her upcoming album, some from her first big album and some cool covers.

This is our third year of the event and second in a row featuring Ivy Ford. There pop up tents galore to keep everyone dry and more than enough food to fill an army. We can’t wait to see what 2020 brings– everyone had a blast!

Thanks to Doug and Cindy Wilken who helped sponsor the event; it was Cindy’s birthday! Thanks also to Steve and Annette Jones for hosting the picnic. Everyone ate a lot (some several times) and enjoyed the food, music and socialization. It was another successful picnic.

Music Reviews Ivy Ford—Harvesting My Roots Self Released www.IvyFordMusic.com 11 tracks Ivy Ford is one of the up and coming stars in the blues world. At 26 years of age this young lady and her band were finalists at the 2019 International Blues Challenge (representing Crossroads Blues Society), have released two fantastic self released albums and garnered many invites to play at big festivals across the U.S. and Canada.

Touted as “The Chicago Blues Kitten,” Ivy recently relocated from Waukegan, IL, to Kenosha, WI; her playing schedule has blossomed as more and more folks hear her fine original music and outstanding vocals and guitar work. Ivy and the “fellas on the bandstand” as she calls them (Willie Rauch on bass and Dave Axen on drums) just played their first ever Chicago Blues Festival to rave reviews and a huge crowd. She played our Crossroads Blues festival in Rockford in 2018 and was showcased back in May 2019 at our Crossroads 25th Anniversary Show at the Timber Lake Playhouse in Mount Carroll, IL. The CD features all original music. The album begins with the title track. Ivy opens with an acoustic guitar modified to sound like a resonator and then adds electric guitar to the mix. The song showcases her heritage, with divergent yet complementary roots from Africa and Norway in her parents. The music she learned from her father coupled with the independence and soul of her mom have produced an independent and confident woman who is grabbing the blues world’s attention. The resonator varies from her live performances of the song and it is quite cool.

The electric guitar coming into the mix adds punch as she plays along with herself on the acoustic guitar. The vocals are spot on in this blues song that pays tribute to Chicago Blues while taking them to a new level with both a Delta and modern vibe. Ivy opens with piano on the next track entitled “Daddy Of Mine,” a slow blues where Ivy opens her heart to forgive her Dad and embrace him into her life. She soulfully sings, “There is no precious time to waste,” as she plays the piano with equal soul and feeling as her vocals. It is a beautiful and moving piece. “One Life To Live” blends blues and a rockabilly vibe where Ivy again makes commentary that life is too short to be lived without enjoying it, so make this one shot count. The guitar work is impeccable and the backline “fellas” drive the song along well. “Not In The Right Way” is straight up Chicago Blues, a song about a a relationship what is not entirely going right. The guitar work and solo again shine and her vocals are spot on. “Devil Song” is a haunting and quite cool cut with some outstanding slide work by Ivy. The song shows Delta blues influences as Ivy howls and performs the lead vocals.

“Work For My Love” is next and the tempo rises significantly from the prior cut. She keeps the slide out as she becomes blues shouter on this jumping cut. She tells her man that he needs to do what the title says. Willie gets a nice bass solo in as Dave keeps the frenetic pace up on his snare. “Similar Street” follows; the tempo drops and Ivy belts out this soulful ballad. She sings in this restrained yet poignant piece that we all walk down similar paths/streets in our lives in. “Whiskey Love” is a great little tune Ivy has been featuring of late in her live shows. Slow and deliberately paced, the tune is somber and quite interesting. Ivy again nails the vocals as she picks softly on guitar. She builds things up and then takes us down as she takes us home; beautiful stuff!

“Start A Fight” is a swinging number where she tells her man that love is all around and not to start a fight. He’s been talking to another woman and things don’t look right, so she decides maybe she should be the protagonist. Her vocals and guitar bounce along sweetly throughout as Rauch and Axen maintain a frantic but controlled groove. “When Does It End” get a bit of a funky slower groove going as Ivy asks when will all the bad stuff will end and why don’t we just get along? A stinging guitar solo with backing vocals makes a great centerpiece before she builds up and take us home. Nicely done! A bonus track of the title cut live is included at the end. This one is more in keeping with what we’ve heard in her live shows at the IBC. Lots of dirty electric slide guitar, strident vocals and a super back beat by the fellas.

They pick up the beat to finish up and then Ivy concludes things with a flair.

This album shows us how far Ivy has come in the last couple of years. Musically, her work has improved and progressed; the album showcases her songwriting, guitar playing and vocals. She is the ultimate show-person, and even in that regard she shows us that she’s taking things to a new level. This is a superb album that far, far exceeds anything she’s done before. We can see here that the future remains bright for Ivy and her band. This album needs to be in your collection– go get it now because you will get years and years of listening pleasure from it. I can’t wait to see where this talented young lady goes as she continues on her path to blues and music greatness– I wish her the best of luck, but her talents will carry her far further than luck will!

Reviewed by Steve Jones

Ivy Ford at the Chicago Blues Festival

Benny Turner and Cash McCall – Going Back Home Nola Blue Records www.bennyturner.com 10 tracks

classics and the one original cut is cool and well done. Kudos to Turner for his work on this fourth Nola Blues release and reprising his relationship with McCall.

Sixty yeas ago Benny Turner and Cash McCall began their musical journey together in Chicago and come back together here for a fine set of tunes to relive their experiences with ten of their favorites. Recorded in Memphis, New Orleans and Chicago, the pair revisit the days when they played on Chicago’s South and West Sides. Lots of great guests appear with a core of players including Turner on bass, McCall on rhythm guitar, and Terry Saffold on drums. Turner and McCall swap the lead vocals as they work their way through this fine CD.

Paul Nelson—Over Under Through Riverwide Records www.riverwiderecords.com 11 tracks

Horns and a full sound on “I Got To Find A Way” opens the album with soul and features Carla Davis on vocals with Benny and Benny’s daughter backing him up. It’s a great cut and it sure sets the tone for a fun ride through these tunes. “Spoonful” is next with Cash taking the front man position. Johnny Sansone on harp adds a great dimension, but Cash sells this with his emotive vocals that are full of feeling. Joe Krown on keys also makes for a nice rendition of the cut. Next up is “Poison Ivy,” another classic and here we get Benny on vocals. The organ adds a nice feel (which is uncredited). “Money” follows, the only original cut on the CD. McCall wrote the tune and sings lead. It’s a song about money getting us in trouble and McCall sells it well. Elmore James’ “Shake Your Money Maker” gets a rousing cover with Butch Mudbone on slide and Benny fronting the band. Jason Minglehoff (sax) and Barney Floyd (trumpet) are the horn section and add to the fun with some nice backing and a solo. Raishene Webb is on keys, adding a great dimension to the cut.

More James with “It Hurts Me Too” is next with McCall up front. Billy Branch appears on harp and gives us a cool solo along with more good slide by Butch. “It’s A Man Down There” picks up the pace well beyond the original and Benny gets to lead us. Both Krown and Webb are on keys and organ and make this an even jumpier frolic through this tune. Well done! McCall takes his turn with “The Dirty Dozens,” an old Little Johnny James song. Krown adds keys as McCall testifies and gives us an inspired performance. “Built For Comfort” features Sansone’s dirty harp and Turner on vocals. Krown and Webb both appear and fill in sweetly. It’s another sweet cover. The album concludes with “Bring It On Home,” the third Willie Dixon cut. Branch returns with both harp and lead vocals, Krown and Webb also perform and Turner and McCall work respectively on bass and guitar. It’s a cool rendition and a nice close to this Chicago blues infused set of tunes.

McCall was suffering with lung cancer as he worked on this project and succumbed to it on April 19, 2019. It was sad to hear of his passing, but this album with Benny and a fine cast of musicians helps us to pay tribute to McCall’s career and his long friendship with Turner. The boys put their spin on these familiar

Reviewed by Steve Jones

Paul Nelson is from New Hampshire and has assembled a cast of New England’s best musicians to produce this album of blues influenced songs. I say influenced because the genres of the cuts vary and blend themselves throughout. Rock, folk, jazz, and gospel influences are here, and sometimes the blues.

Paul wrote all but one song. He sings and pays acoustic guitar, mandolin, Fender Rhodes and percussion. Kevin Barry is on the guitars, John Sands is on drums/percussion, Richard Gates is on electric bass, Paul Kochanski is on electric and upright bass, Tom Eaton provides the B3 organ, Backwards Rhodes and percussion, Jeff Oster is on flugelhorn and trumpet, and harmony vocalists are Kristin Cifelli, Ellis Paul and Nickie Fuller.

The bluesiest pieces are the opening tune “Go Down Ezekiel,” “Ghost In My Basement,” Color It Blue,” and the title track. The first blends blues and gospl and the electric guitar and rain sticks give it a swampy and very cool vibe. “Ghost” brings in the lap steel and Backwards Rhodes for a chilling feel and nice cut.

“Color It Blue” has haunting guitar, vocals and lyrics and bring the brass instruments in to good use– they add mystery and depth. The title track is another haunting cut with drums, percussion and trumpet blending with the guitar for cool effect.

“Secret” is another haunting cut and the lap steel really sounds great. “Lay A Little (On Me)” is more folky with acoustic guitar and upright bass. “Alice Mullin” is probably more rock than anything else and features the flugelhorn, lap steel, acoustic guitars and up right bass. Johnny Cash’s “I Walk The Line” gets turned way down in tempo for an interesting cover. “Relative Work” is a more up tempo cut with a forthright guitar and vocal delivery.

“Silent Majority” is also more up tempo and offers a political commentary on our society. Both are rock tunes. The album concludes with “There Is Weeping,” a folky/country/gospel feeling cut that has cool harmonies.

The album is kind of dark and somber. That obviously was the intent but personally I would have liked a swinging song or two to break things up. The playing and singing are impeccable, though. Paul and the band are quite in touch and deliver a fine set of performances here. If you like music with a darker edge this will certainly fill your bill!

Reviewed by Steve Jones

Bob Corritore & Friends—Do The Hip-Shake Baby Severn Records https://bobcorritore.com 13 Tracks Bob Corritore is one of the most visible harmonica artists on the blues scene today with numerous recordings to his credit. Moving to Phoenix in 1981, he worked with many artists at the Rhythm Room since that time with his band the Rhythm Room All-Stars. These now famous sessions include Bo Diddley, Little Milton, John Brim, Jimmy Rogers, Henry Gray, Pinetop Perkins, Henry Townsend, Honeyboy Edwards, Big Jack Johnson, Ike Turner, Smokey Wilson. Lil’ Ed, Willie "Big Eyes" Smith, Nappy Brown, R.L. Burnside, Robert Lockwood, Jr., Sam Lay, Barbara Lynn, John Primer, Eddy Clearwater, and numerous others.

As a follow up to his 2018 Don’t Let The Devil Ride, which showcases an all-star revolving cast of well know artists, he just released his latest project Do The Hip-Shake Baby which is similar in format to the previous 2018 release.

They open with Slim Harpo's 1966 "Hip Shake Baby," with a slower tempo than the original and Bob Corritore adding his harp as he joins forces with The Fremonts featuring Mighty Joe Milsap on vocals. Alabama Mike & L.A. Jones join the party for the 1955 Jimmie McCracklin R&B title "I'm Gonna Tell Your Mother," originally released on Modern records. With Fred Kaplin on piano, Oscar Wilson covers the vocals, joining Bob on harp for a rousing rendition of Jimmy Reed's "Bitter Seed." Henry Gray joins Bob Corritore, taking us back to the days of rock and roll for the 1959 hit "The Twist" by Hank Ballad and the Midnighters, which later in 1960 launched the career of Chubby Checker. Hailing from Abbeville, Mississippi, Bill "Howl-NMadd" Perry was an unknown Mississippi blues artist until he came in second in the solo/duo category at the 2010 International Blues Challenge in Memphis. Corritore gets back to the blues as he calls on Perry to cover the blues track "You Better Slow Down." Fat Possum records tried unsuccessfully to convince Asie Reed Payton, a dedicated farmer and hill country bluesman, to record his blues by producing an album which was later released after his death. As a tribute to Asie, Alabama Mike covers "Worried Blues," one of Asie's tunes on Corritore's new album.

The next tune came from The Muddy Waters Woodstock Album in 1975. Paul Butterfield is replaced by who else but Bob Corritore on harp and John Primer handles the vocals on this new rendition of Morganfield's "Love Deep As The Ocean" from the 1975 album.

Corritore takes us back Chicago and Checker Records, a subsidiary of Chess Records, for a red hot 1960 tune by Bobby Saxton with Earl Hooker on guitar entitled "Trying To Make a Living."

This version turns the heat up with Bob on harp, Sugaray Ray-

ford on vocals, Junior Watson struttin' his West Coast guitar style, and Fred Kaplin on the keys. Believe me, it doesn't get any better than this! It's time for some a smooth R&B and the Little Junior Parker tune "Stand By Me." Alabama Mike is spectacular on vocals as he is well supported by the Andy T band with Anson Funderburgh and Andy T on guitar and Bob Corritore on harp. Corritore calls on Slim Harpo once more for his 1967 blues number "I'm Gonna Keep What I've Got," with his go to guy Joe Milsap covering the vocals for the second time, featuring Patrick Skog on guitar. You have to go back in time to hear Maxwell Street's "Mother of the Blues" Johnnie Mae Dunson-Smith and her tune "I Got The World In A Jug." Jimi "Primetime" Smith takes charge of this number on vocals and guitar, with Bob taking center stage on harp. Since Johnnie Mae Dunson-Smith wrote music for Jimmy Reed, it is not a surprise that this rendition sounds like it could be from Reed's songbook. Alabama Mike gets the call once again to sing the Leroy Bell gospel sounding tune "A Few More Days," with the endorsement of the background choir and Bob on harp. Corritore sends us back to the church for the Caron Nimoy "Sugaray" Rayford rock gospel tune "Keep The Lord On With You," to complete the album. After listening to this tune with Sugaray echoing his strong authoritative vocals, you can understand why Living Blues magazine writes that "Sugaray is a first-rate blues artist with a deep-running, church honed soulfulness."

Mixed at Greaseland Studios by Kid Andersen, this is Bob's 14th album and is a great addition to his acclaimed portfolio of world class blues music.

Reviewed by Rick Davis Peter Poirier – Empty Arms ‘59Records www.peterpoirier.com 10 tracks/31 minutes Although Peter Poirier is an experienced musician on the New England blues scene this is his debut recording. Peter is on guitar and vocals with a great band: Brad Hallen on bass, Mark Teixeira on drums (Duke Robillard’s regular rhythm section), Matt McCabe (Duke Robillard/Anson Funderburgh) on piano and Mark Earley (Roomful Of Blues) on saxophones. The album was recorded and produced at Lakewest Recording in Rhode Island with Jack Gauthier engineering and Peter producing himself. Duke Robillard was sufficiently impressed to write the liner notes in which he emphasises Peter’s blues credentials, comparing the disc to what a travelling blues/Rn’B band in the 1950’s might have sounded like. The result is a thoroughly pleasing disc of ten titles from the repertoires of BB King, Freddie King and Ike Turner, amongst others.

Peter’s light singing voice works fine on this album but it is his guitar playing that stands out as he picks cleanly, bringing some

of the greats of the genre to mind; check out his extended outro solo on “I Wonder Why” (one of three visits to the BB King songbook) for a good example of his skills. Mark’s sax work enhances most tracks and the combination of the horns and Peter’s guitar on “And Like That” is very effective. The third BB tune is “Bad Luck” which opens the album with a bang as the band strolls wonderfully over the horns, Peter and Matt adding guitar and piano flourishes – terrific!

Peter tackles Jimmy Liggins’ “No More Alcohol” in a relaxed way, Matt’s piano work outstanding, before taking a swinging approach to Sleepy John Estes’ “Someday Baby” while playing some nicely stinging licks. The cover of Mighty Joe Young’s “Empty Arms” rattles along at quite a pace, driven by the rhythm section, “I Cry For You” is one of Willie Dixon’s lesser known tunes and contrasts well with “I’m Tore Up” which gets special mention from Duke in his notes, praise indeed, as Duke also covered Ike Turner’s uptempo stomper. Peter closes this short album with two from Freddie King’s catalogue: “You Know That You Love Me” is a classic Texas shuffle with Matt’s piano again impressing and “Heads Up” is one of Freddie’s instrumentals, perhaps less well-known than many but still unmistakeably Freddie, Peter doing a good job as the horns sit this one out.

This is a great record for anyone who loves that 50’s sound. It grows on you with repeat listenings and my only criticism is that it is not longer! Maybe next time round Peter will add some original material and give us more of this splendid music.

Reviewed by John Mitchell Big Daddy Wilson – Deep In My Soul Ruf Records 1259 www.bigdaddywilson.com 12 songs/45 minutes Based in Germany after being discharged from the Army more than 25 years ago, Big Daddy Wilson has made a name for himself as an acoustic bluesman in the past, but delivers a set of sensational soul blues here in an album recorded stateside under the direction of Grammy-winning producer Jim Gaines.

Born Wilson Blount in Edenton, N.C., he grew up in poverty, sang gospel in church and listened to country on the radio. His first exposure to the blues didn’t happen until adulthood in Europe, where he’s made his home since marrying a German woman.

Once a shy man who penned poems on the side, he quickly realized that he’d “found a part of me that was missing for so long in my life.” Influenced by fellow ex-pats Champion Jack Dupree, Louisiana Red, Eddie Boyd and Luther Allison, he started putting his words to music and putting them on display at jams, where he quickly won over audiences with his tunes and powerful, warm baritone voice.

Now in his early 60s, he began a recording career in the 1990s and has at least a dozen releases to his credit, both as a leader and in acoustic partnership with Doc Fozz. He’s been associated with the Ruf imprint for the past three years, joining Vanessa Collier and Si Cranstoun for Blues Caravan 2017: Blues Got Soul and the CD/DVD solo release, Blues From The Road.

Wilson hooked up with Gaines, a 1999 Grammy winner for his work with Carlos Santana and recorded this triumphant homecoming at the legendary FAME Studios in Muscle Shoals, Ala. Featuring an all-star lineup that includes Laura Chavez and Will McFarlane on guitar, Dave Smith on bass, Steve Potts on percussion, Mark Narmore and Rick Steff on keys, Brad Guin on sax, Ken Waters on trumpet and Mitch Mann on backing vocals, this disc swings from the jump.

Big Daddy penned ten of the 12 cuts here. You know you’re in for a treat from the opening phrases of the slow-blues shuffle “I Know (She Said),” which describes love at first sight and the realization that it would be eternal after “one smile, one word, one simple dance.” The theme runs powerfully throughout, continuing with the medium-fast “Ain’t Got No Money,” which states: “I’m a full grown man with strong loving arms” and everything else he needs.

“Mississippi Me,” a keyboard driven ballad written by Sandy Carroll, keeps the refrain going with images of the wind blowing through the willows in Tupelo before the band gets funky to deliver “Tripping On You.” This time, the love bug’s bitten Wilson so deeply that it’s akin to dreaming, singing and dancing in the rain.

The message shifts slightly for “I Got Plenty (Money Don’t Grow On Trees).” This time, Big Daddy sings praises for all the good folks he encounters every day. He cautions not to worry about what other people say in “Hold On To Our Love” before “Deep In My Soul” reveals that all of his tunes come from a life that’s included picking cotton and a hard-scrabble existence.

That song sets up the bittersweet material that follows. “I’m Walking” finds Wilson tired of fussing and fighting with his missus along with what he terms her “nasty” ways – so much so that he’s heading for the door. He recognizes his lady’s torment in “Crazy World” and vows to stay , but quickly discovers he doesn’t what to be the “Redhead Stepchild” after realizing that there’s “too much salt in my gravy” and that she’s there when he returns home after a hard work day. What’s to blame? “Voodoo,” he says, still in love and deeply confused, before bringing the album to a close with a brief acoustic refrain of the traditional gospel tune, “Couldn’t Keep It To Myself.”

Available through most major retailers, Deep In My Soul is a welcome return home to someone who’s been away far too long.

If you like old-school soul blues, you’ll love this one. It makes your heart sing then tugs at your heart strings!

Reviewed by Marty Gunther

Rick Vito—Soulshaker Vizztone Records www.rickvito.com 12 Tracks

Rick Vito's accomplishments put him in the same elite group with the top blues slide guitar players today. Soulshaker is proof that Vito's solo career has been very successful over his widespread connection to the blues world.

With slide guitar as distinctive as Louisiana's Sonny Landreth, multiple Grammy nominee, Rick Vito was a member of Fleetwood Mac from 1987 until 1991 and has shared his unique slide and lead guitar work on recordings and performances with artists including John Mayall & the Bluesbreakers, John Fogerty, Bob Seger, Boz Scaggs, Dolly Parton, Delbert McClinton, Jackson Browne, Bonnie Raitt, Rita Coolidge, Maria Muldaur, Roy Orbison and many others.

Reviewed by Rick Davis

Featured on his latest recording Soulshaker are Rick Vito on guitar, bass, keyboards, and vocals, Charles “Mojo” Johnson and Rick Reed on drums, Kevin McKendree and Mark Horwitz on organ, and Charles Harrison on bass. All of the songs are written by Vito except for two.

Rick Vito immediately demonstrates his unique slide guitar style on the opening Texas style blues number "She's Just Too Fine." On the follow up tune, "I've Got a Secret," Rick generates an Eastern sitar style ambient guitar sound that you might hear during the 1960s in a psychedelic masterpiece created by Ravi Shankar. "I Do Believe" takes us to the Louisiana bayou for a fast paced Zydeco celebration that will keep your feet moving all night long. Rick pleads that change must come in this deep, dark tune "World On Fire," wondering "if love will carry us higher." "Doggin' Around" is a carefully arranged slide instrumental taking you back again to the late 50s and the monstrous steel guitar hit "Sleep Walk," a Santo and Johnny hit going to number 1 in 1959. Rick keeps 50's high octane boogie blues guitar alive with a blend of "Guitar Boogie" from T-bone Walker and his special slide formula for the rockabilly "Dancin' Little Sister." We travel back to Congo Square where voodoo practices were once predominate for a spiritual soul awaking with "Ball And Chain." Rick invites his listeners to join the band for a no holes bared gospel revival with convincing lyrics on the track "I'm Going To Heaven."

The instrumental "Soul Shadows" will touch your soul with its mysterious slide guitar and hypnotic percussion that in some ways is as haunting as Sonny Landreth's "Congo Square." The 1930 Son House blues standard "Walking Blues" was later adapted for blues legends Robert Johnson, Muddy Waters, and later for contemporary artists like Eric Clapton and Roy Rogers. Waters changed the tune to "Country Blues" in 1941 and "(I Feel Like) Going Home" for Chess Records in 1948. It is obvious Rick was influenced by the 1930 tune as he adapts this traditional number to his lyrics for "Walking Shoes," with more Rick Vito slide guitar style. With his soulful vocals and smooth slide guitar, he performs the slow gospel "Promised Land." He concludes the album with another adaptation, this time using the 1964 Sam Cooke classic "A Change Is Gonna Come," changing it into a soothing, spellbinding instrumental.

Kelly’s Lot – Can’t Take My Soul Self-Released www.kellyslot.com 12 tracks/50 minutes Los Angeles based Kelly Zirbes started her band Kelly’s Lot 25 years ago when she met Perry Robertson who now plays guitar and co-writes the material, everything here being original. The rest of the band is Matt McFadden on bass and Mike Sauer on drums (Michael Mason taking the drum stool on two tracks); keys are added to four cuts by Bobby Orgel and Rob Zucca (guitar), Frank Hinojosa (harmonica), Jean Paul Monshe (accordion) and Eddie Baytos (accordion/washboard) make a guest appearance on one track each. Backing vocals come from a quartet of Jeri Goldenhar, Andrew Mushin, Jenna Mushin and Aviva Maloney.

Opening track “All I Ever Want Is The Blues” name checks many of Kelly’s heroes and heroines of the blues in a pacy rocker with a good rockabilly solo from Perry. Kelly’s alto voice has a touch of grit that suits the song well before she shows a political side on “All Hope Ain’t Lost” which paints a sorry picture of our leaders “paid for and bought” though Kelly urges us not to abandon hope over a tune with attractive bass accents. “Alyssa” tells the story of a young girl who battled magnificently against a terminal disease before passing away at just 23: “she was never behind, but one step ahead of the blues”. Kelly then lays into a partner who is forever miserable in “Woe Is Me”, a lively song with cajun accents courtesy of Eddie Baytos’ accordion and washboard. The acoustically driven love song “Safe And Warm” is a nice piece of Americana and “Rise Up” is half French, half English with French singer Jean-François Thomas adding his gruff vocals to Kelly’s.

The harmonica brings a blues feel to “Broke Myself”, an Rn’B tune in which Kelly confesses that she broke her heart over this guy.

“Let It Breathe” returns to the acoustic Americana style and it really suits Kelly’s voice with swirling keys and Matt’s bass taking the lead role as Perry plays the acoustic refrain before the confessional “Dirt” which builds into an anthemic chorus. Kelly apparently started out in folk music and “Little Bit Of This” fits into that style, just Kelly and Perry’s acoustic guitar though the “Da da dee dum” refrain suggests that they did not quite finish the song! Much better is the title track which Kelly starts acapella before the band comes in with a frantic piece of country rock. The album closes with another half-French song “Mon Ami”, the accordion giving it an authentic French feel though it is a very long way from the blues. Indeed, there is little blues on this disc though there are some good songs to enjoy if your tastes go beyond a strict blues diet..

Reviewed by John Mitchell

The Soul of the King The BB King Blues Band Ruf Records https://rufrecords-shop.de 13 Tracks On May 14, 2015 we lost the "King of the Blues," the band leader of one of the most talented blues bands to take the stage. The ten member band has kept the fire burning to carry on the legacy of the blues ambassador that we know as Riley B. King. The core of the band is James Boogaloo Bolden on trumpet, Eric Demmer on lead sax, Russell Jackson on lead vocals and bass, Walter King on sax, Herman Jackson on drums, Darrell Lavigne on keys, Lamar Boulet on trumpet, Wilburt Crosby on guitar, Brandon Jackson on drums, and Raymond Harris on trombone.

Moving foreword as a tribute to their fallen leader, the band has assembled a large array of guests for the album The Soul of the King, a collection of B.B. King classics carefully chosen from his extensive songbook, as well as originals written by band members.

They open with an explosive new hit single "Irene Irene" featuring Kenny Wayne Shepherd on guitar and Russell B. Jackson, King's bass player who takes the lead vocals on this tune, which is one of the best tunes on the album. The next track is the 1956 King release "Sweet Little Angel," recorded originally as "Black Angel Blues" in 1930 by Lucille Bogan. The tune takes shape with a full band performance featuring Kenny Neal on vocals and lead guitar. The band slows the pace with the 1981 title track "There Must Be a Better World Somewhere," with the smooth, sultry vocals of Diunna Greenleaf and a spectacular alto sax solo from Eric Demmer. Mary Griffin and Taj Mahal team up on vocals and guitar for the 1968 hit "Paying The Cost To Be The Boss," featuring Eric Demmer once again for another rousing alto sax solo.

Russell Jackson takes control of the vocals on his own tune "Low Down," featuring Lamar Boulet on trumpet and Kirk Joseph on tuba. The band members provide vocal support, with Darrell Lavigne featured on keys, for the spotlight performance of Eric Demmer on both sax and soulful lead vocals captured on the Eric Demmer tune "She's The One." The band calls on Russell Jackson once again for his strong vocals on the next two tracks "Taking Care of Business" and "Becoming the Blues."

Wilbert Crosby's guitar solos are key notes supported by the entire horn section with background vocals from James "Boogaloo" Bolden and special guest John Del Toro Richardson, including funky bass lines from Jackson on "Taking Care of Business."

Diunna Greenleaf joins Jackson on lead vocals on his number "Becoming the Blues" with Kenny Neal adding his expertise on harp for the first time. James "Boogaloo" Bolden brings two of his well written tracks to the collection, with his smooth, soulful vocals featured on the first track "Hey There Pretty Woman" along with a stellar sax solo by Eric Demmer. The second Bolden

track "Here Today, Gone Tomorrow" opens with deep bass lines and featured keyboard solos. Another guitar veteran Joe Lewis Walker pays homage to the "King" with his tune "Regal Blues (A Tribute To The King)," featuring Walker on both vocals and guitar. James "Boogaloo" Bolden adds one more of his special numbers entitled "Pocket Full Of Money," featuring this time an impressive trumpet solo from Lamar Boulet. The Fort Worth singer and musician Michael Lee, who had the spotlight on vocals and guitar in 2018 on The Voice with the 1969 signature B.B. King classic tune "The Thrill Is Gone," was the selection for the final track on The Soul of the King. This time he had the pleasure of joining the full B.B. King band on "The Thrill Is Gone" for the special tribute to "The King of the Blues," enhancing his vocals and guitar licks two fold.

While the album features selected artists throughout the album, each and every band member makes a significant contribution to the success of the album The Soul of the King. After listening to this kaleidoscope of blues, soul, R&B, and jazz, it is evident this music will live on forever.

Reviewed by Rick Davis Blind Raccooon Collection Volume 1 – NOLA Blue NOLA Blue nola-blue.com 22 tracks on 2 CDs This is a promotional sampler from Blind Raccoon featuring 22 tracks released over the last 18 or so months by the artists Betsie Brown and Blind Racoon promote. Nola Blue Records was established in 2014 to promote a new Benny Turner release. This stalled but Betsie worked with Benny and made this into a viable effort.

The four new tracks on the CDs are Benny Turner’s “Who Sang It First,” Brigette Purdy’s “Blues Collar Woman,” Professo Louie & The Crowmatix’ “Open Hand, Open Heart,” and Wily Bo Walker’s “Velvet Windows. All are fine cuts blues lovers will enjoy.

The other 17 tracks feature Benny Turner and Cash McCall, Johnny Tucker, Tom Hambridge, Steve Howell, Jim Lalchin, Theresa James, Russ Green, Tiffany Pollack And Eric Johansen, Frank Bey, and many more artists.

A few of the cuts are from albums that recently received nominations for Blues Blast Music Awards. Two of the artists were just nominated for the most recent BMAs, too!

This is a fine sampler with lots of superb music that will allow you to see what NOLA Records and Bling Racoon are conspiring to do to bring us some great new music. If you drop Betsie a line she might send you a copy! info@blindraccon.com is her email address.

Reviewed by Steve Jones

Henry Townsend – Mule Omnivore Recordings https://omnivorerecordings.com 21 tracks (8 previously not released)

featured a truly legendary blues craftsman showcasing what he was all about. Most highly recommended!

Henry Townsend cut his teeth first recording with Columbia Records in 1929. Born in Shelby, Mississippi in 1909, he went to St. Louis in 1921 where he began playing guitar before taking up the piano. He recorded for Paramount Records and Blue Bird Records from 1931 to 1938. He was a standout vocalist but his piano and guitar accompaniment is what got him noticed. He recorded with Walter Davis, Big Joe Williams, Pinetop Sykes, Roosevelt Sykes, Sonny Boy Williamson and Robert Nighthawk.

Ray Fuller and The Bluesrockers – Pay The Price Azuretone Records www.rayfuller.com 14 Tracks/47:57

Following a stint in the Army, he moved to Chicago to work with Nighthawk and Sonny Boy and began working with Little Walter, Othium Brown and Eddie Boyd. In 1947 he was back in St. Louis with Walter Davis and recorded with Bullet Records in 1949, Victor in 1952, Prestige Bluesville in the 1960’s and with Adelphi in the mid-70’s. Mule was recorded and released in 1980 on Nighthawk Records before becoming a Reggae label. Only 2 of the 13 originally released songs were written prior to the recording sessions; 11 were improvised in the studio due to his great skills as a musical improvisor.

“Mule” was Townsend’s nickname in the 1920’s and 1930’s. He was discovered and rediscovered many times. This 1979 session was done to capture and showcase his skills; the 2018 Omnivore rerelease adds 9 more tracks for us to enjoy. When asked who he’d like to accompany him on the album he immediately replied Yank Rachell, the great mandolin player. The songs were all remastered and sound pristine.

The CD opens with “Bad Luck Dice,” with the 50 year old Townsend in fine form. His vocals are down home and authentic. His piano playing is amazing. He solos through this and many of the cuts effortlessly. He is an amazing artist who needs to be part of every blues lovers collection. Rachell first joins him for track 3, “Things Have Changed.” Rachell is another amazing artist whose career spanned nearly 70 years. He was either 69 or 76 when this was recorded, depending which birth date of his is correct. Townsend switches to guitar on “Tears Come Rollin’ Down,” one of the prior written cuts. Vernell Townsend sings on this and “Can’t You See,” the other cut from before the session. She sings with authority and Townsend plays guitar and backs himself in superb fashion. I’m not sure if he’s a better guitar player or pianist; suffice it to say he excels at both. He joins his wife for a duet on the latter cut.

“Dark Cloud Rising is the second cut with Rachell on mandolin. The two spar on piano on mandolin which makes for a sweet recording.

The thirteen original tracks are superb.

The added tracks are more of the same goodness. “Broken Home Blues” brings in Rachell again as do “Going Back Baby” and “Since You’ve Come Back.” The two latter cuts have Rachell on guitar. He plays with skill and feeling. Most of the cuts feature Townsend on piano; I really like the contrast with the cuts of him on guitar and was happy to see the mix.

This is a fantastic re-release, considering the nice remastering, the superb musicianship and the added tracks. These are great cuts that

Reviewed by Steve Jones

A true road warrior, Ray Fuller has been playing music professionally for the last forty-five years, mixing tours of one-nighters with frequent trips to far-flung gigs outside of the USA. With his slashing slide guitar style and solid backing from the Bluesrockers, Fuller’s music is exactly the right tonic when you want to hit the local roadhouse on a Saturday, looking for music that drives away that stress of a mundane work week.

There is little difference between the eight Fuller original tunes and six covers. The band is adept at creating a hard-edged, driving sound that is often irresistible. The opener, “Hoodoo Train,” teems with palpable energy as Fuller delves into the pleasures and mystery of a journey deep into Louisiana. The title track sports a solid foundation from drummer Tutu Jumper and long-time Bluesrocker Manny Manuel on bass. Fuller has a strong voice, and his years of experience have taught him to take his time,to let the story unfold at an unhurried pace.

Another highlight, “Mean And Evil Woman,” slows the pace way down on a familiar tale of a toxic, one-sided relationship. Doc Malone adds some anguished harp licks that are buried in the mix, particularly during his solo. “Bad Luck And Trouble” finds Fuller employing a slide tone that recalls the legendary Johnny Winter with a touch of J.B. Hutto. The lyrical content on tracks like “Peraline” and “Keep On Keepin’ On” consists of a string of platitudes, but it won’t matter once the band overwhelms you with their full-throttle, rocking attack. Malone is more prominently featured on “Devil Woman,” another gut-bucket blast of venom directed at a captivating enchantress.

An energetic cover of the familiar “Rollin’ And Tumblin’” has an arresting vocal turn from the leader, along with tightly drawn slide licks. “Mojo Hand,” a staple of Lightnin’ Hopkins repertoire, is done as a primal stomper. A lesser-known Chuck Berry tune, “I Will Not Let You Go,” will undoubtedly be a quick way to fill barroom dance floors. Fuller doesn’t pull any punches on Louisiana Red’s “Alabama Train,” as Malone gives his harp an extended workout.

Two more standards finish off the disc – “My Father Was A Jockey’ and “Tore Up”. The former rolls along thanks to sharp interplay between Fuller and Malone, while the latter provides the guitarist one last chance to rock.

Typically considered an artist you need to hear live, Ray Fuller has channeled all of those years of hard-earned experience into a wellcrafted studio release that neatly summarizes his lengthy career. His warm vocals, gritty guitar, and colorful songs encompass a lifetime of love, loss, and redemption, of the price paid, that will ring true on every listen.

Reviewed by Mark Thompson

Christone "Kingfish" Ingram - Kingfish Alligator Records hwww.christonekingfishingram.com/ 12 tracks Christone "Kingfish" Ingram just turned 20 years old and as a teenage he has taken the blues world by storm! This young man hails from Clarksdale, MS, and plays a modern yet authentic version of Delta blues. His raw and primal sound at his live shows grabs the listener and makes them take notice.

Ingram co-wrote 8 of the dozen tunes with producer Tom Hambridge. Hambridge wrote the other 4 songs and appears on drums and percussion on 11 of the 12 tracks. Also joing the young singer and guitar player are Rob McNelley on guitar, Tommy MacDonald on bass and Marty Sammon on keys. Kingfish also has a couple of great guests who appear here.

The album opens with a heavy groove in the cut "Outside of This Town." Strident lead guitar and vocals are Kingfish's trademark and they are quite evident here and throughout the CD. He sings with authority and his first guitar solo of the album midway through the song shows restraint and control. He returns for a somewhat grittier second solo which takes us home. Well done! Buddy Guy appears on "Fresh Out," the second tune offered up here. Straight up Chicago-style blues here, with both the young and old master taking turns on the two guitar solos.

Ingram plays some mean and very cool licks in the first solo while Buddy comes in and gives us his take on the cut with an edgier approach. Guy then takes the vocal lead to complete the cut. Kingfish has been touring with Guy and Buddy has helped make Kingfish a household name in the blues world as he tours with him. "It Ain't Right" takes a power blues trio approach with Kingfish and drums and bass. He lays out more great guitar but never goes over the top- classy stuff. Kingfish goes acoustic for "Been Here Before." He does a nice job on the acoustic work doing some pretty picking; the piano gets added for backing effects, too. Slow and savory stuff, showcasing another side of Kingfish.

"If You Love Me" adds Billy Branch on harp and Keb Mo on guitar with Kingfish. It's a pretty little tune with a nice, clean boogie beat. Chros Black is on drums here. Ingram sings the lead and Branch blows some great harp. Mo plays electric guitar and it's a sweet ride though this one. Things slow way down for "Love Ain't My Favorite Word," a classic slow blues with stingingly wicked guitar. A little B3 backs up the cut nicely as Kingfish testifies vocally and answers his vocal calls with his axe. A huge guitar solo is featured here, showcasing this young man's abilities.

"Listen" features Keb Mo on acoustic guitar and sharing in the vocals. A midtempo piece, Ingram starts the vocal lead and then Keb comes in. A soft and almost ethereal electric guitar solo is offered up. The two of them take us home as they spar beautiful-

ly on vocals. Mo returns on electric guitar for "Before I'm Old;" we get some more B3 here, too. MacDonald lays out a nice bass line for us and Kingfish gives us a well done set of vocals before his solo on guitar. He attacks the solo but never loses control or goes over the top- he's showing real growth here. The second solo is again col and well done, too, on this pretty, slower paced cut.

Keb Mo again joins in on guitar for "Believe These Blues," another great slower blues tune. Kingfish again sings and plays with authority on the cut. The second sol appears to be Keb laying down some sweet licks for us to enjoy. "Trouble" gets a bit of a rhumba sort of beat going with piano added as Kingfish delivers another cool track for us. An acoustic duo with Keb Mo on resonator and Kingfish on vocals is served up in "Hard Times."

Stripped down, acoustic and just very slick. Kingfish sings with confidence and Mo plays the groove here and also delivers a nice solo on the resonator. The CD concludes with "That's Fine By Me," a pretty, slow blues that shows this young man's abilities once again. Kingfish sings like an old pro and answers his vocal calls with the occasional B.B. King-lie guitar response. The piano adds to the ambiance of this slow blues and Sammon gives us a great solo to enjoy. Kingfish takes us to conclusion with his guitar to conclude this great debut CD. I'm not sure this is exactly what I expected. Many of the live shows and songs I've seen Kingfish do are really wild and have some over the top guitar here and there. The work here is much more restrained and yet is equally enjoyable (if not better). Perhaps it's Hambridge's influence, perhaps it's the result of touring with Buddy Guy, or perhaps it's just Kingfish growing up. The vocal and guitar work here is clean, precise and very well done. The guitar is restrained but effective. The solos are not overdone and showcase the skills of this fine young musician. It really is a great CD and Kingfish Ingram really has grown up to become a superb bluesman. I recommend this one highly! Go get this one now and enjoy it!

Reviewed by Steve Jones

Taylor Scott Band—All We Have Self Released www.taylorscottband.com 12 tracks Denver, Colorado’s Taylor Scott is a soul, funk and rock & roller with some blues influence who has produced eleven new songs and one cover in this nice, new CD. Produced by Steve Berlin of Los Lobos, we have Henry Garza from Los Lonely Boys who makes an appearance on the song entitled “Hair Of Indigo.”

I addition to Scott, who does guitar and vocals, are Jon Witz on keys, Chris Harris on bass (except for “The Walk” with Ben Rubin and Scott on Surrounded), Lem Williams on drums and Garza on the one track on guitar.Trombine, baritone sax and trumpet are provided respectively by Mark “Speedy” Gonzales, Josh Levy and Gilbert Elorreaga. Jesse Brooke adds percussion and Steve Watson is on vocal harmony.

The brief Opening is called All We Have. Scott and B3 introduce the set quietly and then “Somebody Told” gets a funky groove going. Scott sings with passion behind the nice groove the band lays down. He also gives us a very funked up and massive guitar solo to hear. The solo builds and then he takes up home.

“Curiosity” is next and gets a little cowboy rock going. The horn section comes in and then Scott blasts off for a very rousing guitar solo. The tempo drops way down for “Clearance Bin,” a slow rocker. The guitar gets a solemn little solo at the end and the grand piano sound throughout fills nicely. “Salted Watermelon” has a pop sort of country rock feel to it and Scott’s guitar solo is brisk, restrained and cool. “Hair Of Indigo” gets another funky groove going. The organ supports that well and then all of a sudden this slow, psychedelic guitar comes and whacks you in the head as Scott sings. Then the solo returns to the realm of normalcy, with a little distortion for fun.

“Carry Me Away” is another rocker with a mid tempo beat. The B3 gives a good little solo mid song, Things drive along and conclude with a big finish. “Wishing Well” is next. Nic Clark is on harp and Sarah Morris Wirtz does backing harmonies here. The vocals have a country feel and Clark gives us two little harp solos to savor. “Surrounded” is a restrained and sweet ballad. Acoustic guitar supports the cut and a little synthesizer is in there, too.

“Where Is This Going” is a driving, big rocker. Scott goes all out on the huge solo and the pedals come out to make it bigger.

Things soften and slow for “The Walk,” the blues-iest of the cuts.

Another ballad, it has a pretty guitar solo with an R&B/soul tinge. Half way through things build up for a bit and then Scott and company take things out together. The concluding song is “Good Things,” a mellow cut that evokes the Beatles White Album midway through with interesting keyboard work.

Is it blues? Not really. It’s interesting and Scott and the band have the chops to full it off. If you want some modern rock with funk and a bit more, then this might be what you are looking for.

Reviewed by Steve Jones

AG Weinberger—Reborn BigFoot Records agweinberger.com 12 tracks Transylvanian bluesman AG Weinberger gives us his tenth album with Reborn. Exploring blues with jazz, psychedelic rock, cabaret music and more, Weinberger flows between styles and delivers some interesting stuff. He provides all guitars and vocals. Joining him are Cseke Gabor on keys, Pusztai Csaba on drums, Hars Viktor on basses, Voga Viktoria on backing vocals, and Pusztai Kabelacs Rita also in backing vocals.

Things kick off with a jazz infused slow version of “Wang Dang Doodle.” It’s interesting and different. All the rest of the songs are originals. “Sweet Little Number” features very cool piano and guitar work as Weinberger sings with grit. Jazz and blues fuse for the sound here. “On The Wrong Side” is next. More jazzy blues in this slow cut with lots of backing vocals harmonizing. The guitar gets a nice little solo mid song and then takes up home. Bob Margolin sits in on guitar for “The Fool’s Lucky Day.” This remains jazzy and the band gets a nice like slow groove on.

Margolin slides in and about and offers a couple of sweet solos.

“It Wouldn’t Be Enough” is next, a dirty slow blues where AG’s solo and guitar work stand out. “Slippery Slope” is a swinging instrumental with some solid guitar, piano and organ work.

“Just One Minute” is a somber ballad with a bit of guitar to spice things up a little. “Cadillac Blues” is next, a big sounding song with good guitar and dirty vocals. Ag again solos and then later takes us home on the guitar. Following that is “Shoot,” is a dirty jazz cut with innuendo and double entendre. A nice piano solo is featured and then the guitar takes over. “Caroline” is a piano cut that is a bit of a crooner jazz song. The piano provides ample support and gives a pretty solo, too. The Title Track continues the set; the cut mixes Delta Blues, psychedelic rock and jazz. It’s weird but it’s also fun. “I Am The Water” finishes things off.

Piano and voice are simple yet effective. This is jazz all the way, a great little ballad that AG sings with emotion.

OK, so the bluesman takes us on a jazzy ride. It’s interesting throughout. If you like jazz and blues, then I think you’ll find something here. AG’ vocals show his Eastern European accent but they blend in with the sound and after awhile they become quite normal.

I’ve enjoyed his stuff before. Weinberger is a different sort of artist but he always tries to push things and experiment a bit.

Kudos for this jazz infused set and some interesting new stuff and a neat cover of the Willie Dixon classic!

Reviewed by Steve Jones

Mighty Mike Schermer – Bad Tattoo VizzTone Label Group http://mightymike.com/ 12 Tracks/51:27 When you have backed artists like Elvin Bishop, Bonnie Raitt, Charlie Musselwhite, and soul legend Howard Tate, one would think that you would have achieved some level of notoriety. While his decadelong stint in Marcia Ball’s band has given him plenty of exposure, Mighty Mike Schermer is probably not a name that springs to mind when blues fans discuss their favorite guitar players. Yet anyone who has heard Schermer live left impressed with his six string dexterity. One would have the same impression after listening to any of the previous six releases under his name, which would also reveal Schermer’s skill as a songwriter.

On his new release, he adroitly mixes musical styles, showing the wide scope of his musical vision while getting contributions from a number of notable guests. On “Suffocating Love,” Schermer trades licks with Chris Cain on a tune that harks back to Johnny “Guitar” Watson’s funk period. The backing musicians include Tony Stead on organ plus Paul Revelli on drums & percussion, with Steve Ehrmann on bass. That duo appears on nine of the twelve original tracks. Harmonica ace Rick Estrin blows some fine accompaniment over the loping pace on “Stop Looking For Love”. Lisa Lueschner Andersen adds some vocal flavoring before the song ends with a lively call-&-response between guitar and harp. Keyboard whiz Austin DeLone plays piano on “How Much Longer?” but his Farfissa organ work is the highlight of the jaunty cut, with Schermer obsessing over when his long-gone love will return home, finally exorcising his feelings in a red-hot solo.

Cain makes another appearance on “Ain’t That The Way Love Goes,” switching to electric piano while Jim Pugh steps in on the organ. Producer Kid Andersen plays bass and fellow Nightcat Alex Pettersen makes his lone appearance on drums. Schermer’s plaintive vocal is one of his best on the project. “Baby Down The Well” finds Schermer ruefully sharing his views on modern life, joined by Andersen on bass, Bob Welsh on piano, and some hard blowing on the hap from Aki Kumar, answered by a flurry of sharp slide licks from the guitarist. Derrick “D’Mar” Martin is on drums, one of two that feature him.

The opener, “She Won’t Be Coming Back,” sports a driving beat as Schermer rips it up, utilizing a tone borrowed from Albert Collins, who was a main influence at the start of Schermer’s career. The presence of Eric Bernhardt on baritone & tenor saxophones along with Nancy Wright on tenor sax make this track another highlight. The horns are back on the title song, a humorous commentary on his reactions to a woman sporting some ink that prominently features the name of a former lover. “Lover’s Hall Of Fame” employs some baseball analogies to serve up a forlorn kiss-off song while “I Can’t Let It Go” finds him strug-

gling mightily to carry on alone. Billy Price joins in on backing vocal.

Schermer encourages listeners to do their part to change the world in a fairly generic fashion on “One Thing Every Day”. His thin vocal tone fits perfectly on “Hey Francine,” a country-tinged rocker with a distinct Louisiana flair. “Up All Night” slides into J.J. Cale territory, an easy-rolling tempo with Schermer spicing it up with one last, spot-on guitar workout.

The sound throughout the disc is as good as we have come to expect from a project recorded at Andersen’s Greaseland Studio.

Schermer’s vocals hold up to repeated listens, his guitar playing is exemplary, and his songs stick with you. If there is any justice in this world, this release will capture the attention of the wider blues community, giving Mighty Mike a level of attention and praise commensurate with his talents.

Reviewed by Mark Thompson The Duke Robillard Band—Ear Worms Stony Plain Records www.stonyplainrecords.com 13 tracks Duke Robillard started Roomful of Blues in 1967 and has spent these last 42 years being one of the leading musicians in blues, swing and jump blues/R&B. His own band has been in business for over 30 years now and his current crop of artists are long term associates of his. Mark Teixiera on drums, Brad Hallen on acoustic and electric bass and Bruce Bears on all the keyboard instruments makes for a mighty quartet along with Duke on guitar. Duke, Bruce and Mark each do vocals on a track and a number of fantastic guests share their talents on the other tracks.

Robillard has two Grammy nominations and five Blues Music Awards to his credit. After Roomful of Blues he toured as guitarist for the Fabulous Thunderbirds and with Tom Waits. He has recorded with dignitaries of the music world like Ruth Brown, Bob Dylan, Pinetop Perkins, Kim Wilson, Maria Muldaur, Jay McShann, Jimmy Witherspoon, and others.

When I saw the title Ear Worms for the CD, I was expecting Duke to have assembled a collection of overly familiar tunes that everyone and their brother have recorded. When I got the CD I was delighted to see that Robillard had chosen cuts that are not as familiar but will perhaps serve to become Ear Worms for new listeners.

The album opens with Dukes own tune, “Don’t Bother Trying to Steal Her Love,” a jumping and swinging cut with guitar and piano providing the impetus to drive in support of the vocals by

Dave Howard. Howard delivers the goods vocally as Robillard and Bears support him. Duke delivers a major guitar solo just about midway through the cut that showcases his enormous talent. A great hook to start a great album. Duke sings on “On This Side of Goodbye,” an old Goffin and King song originally recorded by the Righteous Brothers. Their version and this are markedly different, switching their vocals harmonies and starker brass backing for an R&B sort of take on the cut. Guitar, organ and saxes by Klem Klimek and Doug James and Jeff “Doc” Chanon on trumpet along with Sunny Crownower on backing vocals remake this tune into an old style R&B classic. Duke closes with a spectacular guitar solo; another well done cut. Chris Cote does the vocals for “Living With The Animals,” the title cut from the Mother Earth album where Tracy Nelson did not do all the vocal work. Marnie Hall adds electric violin and the sound is again more R&B-like than the original. The vocals are an improvement and Duke’s guitar holds it’s own to Mike Bloomfield’s limited solo on the original. Robillard’s solo here is great and Cote does an amazing job fronting the band. “Careless Love” is an old traditional blues recorded by many greats like Lonnie Johnson, Odetta, Lead Belly and Ray Charles to name a few. Here Robillard transforms this into an instrumental slow to mid tempo jump blues. Duke’s guitar takes the vocal lead line and first.

Bears takes a turn on the Hammond organ and then it’s Duke again to take it out after a key change. Next is “Everyday I Have to Cry to Some,” an old Dusty Springfield tune. Here Julie Grant and Sunny Crownover share the vocals and Duke provides some great guitar in support. The female duo lead is quite cool and Duke plays around with different keys and does a swell job in support. Bob Dylan’s “I Am A Lonesone Hobo” gets covered by the band with Mark Cutler on vocals and guitar. His take emulates Dylan a bit vocally and does an haunting electric guitar and the take moves far from Dylan and acoustic folk into the swampy and ghostly blues. “Sweet Nothin’” is a classic Brenda Lee tune that Sunny Crownover handles well and Duke offers another superb solo on his guitar.

“Soldier Of Love” is a Buzz Cason and Tony Moon song originally recorded by soul artist Arthur Alexander and was the B-side of the 45 " Where Have You Been (All My Life) ." Duke takes this and turns it into an instrumental with the guitar doing the lead.

He makes it his own and delivers an outstanding take on the old tune. Chuck Berry’s “Dear Dad” is one of his lesser known songs and Klem Klimek who was on sax earlier does the vocals. He nails it and Duke nails the guitar part. Bears rollicks and rolls on the piano, too, a fine adaptation overall. Allen Toussaint’s “Yes We Can” was recorded first by Lee Dorsey and then by Toussaint as “Yes We Can Can.” Bruce Bears takes the vocal lead, Robillard plays funked up guitar and they handle this one quite well.

Robillard gives us another amazing guitar solo to appreciate. The Neville Brothers “Yellow Moon” has Mark Teixeira on vocals and Hammond Organ. They transform the song from a NOLA song with lots of horns to a guitar and organ piece and it works.

Big solos by Duke and Mark also add nicely to the mix. Link Wray’s “Raw Hide” is covered as “Rawhide” in a fairly straight cover with Duke doing some stratospheric guitar work. The finale is “You Belong To Me,” an old Patsy Cline tune that Duke

turns into an instrumental. With his guitar as vocals, he makes this his own with a different and interesting transition from vocals to instrumental. The bass plays along to set the groove and the organ solo is also quite cool.

It’s an interesting set of tunes selected and modified by the master chef of the guitar world and his cohorts. I think Duke’s fans will appreciate this and jump blues fans in general will enjoy this thoroughly. I loved how Duke transformed song after song into his own music. I recommend this one to listen to as you travel this summer from festival to festival, enjoying the remade covers of this fine album!

Reviewed by Steve Jones

Luca Kiella—Figure It Out Self Released www.lucakiella.com 5 tracks Luca Kiella is really Luca Chiellini, the keyboard player for Tornzo Cannon.

Kiella is is childhood nickname and is now his stage name. His EP here showcases his skills on vocals and various keyboard instruments. Helping him out are Dave Forte on bass, Rick King on drums and Aaron Weistrop on guitar. This Italian transplant has made Chicago his home and is a great blues pianist and singer as we see here.

He opens with “Ten O’Clock Blues,” an original instrumental with Luca on the piano offering up some very nice stuff for us.

His skills on the 88 keys are aptly showcased. “Unnecessary Mercenary” is a Jon Cleary song and Luca plays piano and Hammond Organ here. He also handles the vocals and does a good job there along with his piano solo. The title tune is another original where Luca swings on both vocals and piano. “I Can’t Stop Loving You” is next. Written and originally performed by Don Gibson & The Jordanaires, this country tune was immortalized

by Ray Charles. Luca holds his own on vocals and keys and we even get a nice little guitar solo to enjoy. The final cut is “So Many Questions,” a song for piano and voice. The song itself is quite good. Luca’s piano work is impressive and his vocals are impassioned and emotive.

This is a nice little introduction to Luca Kiella’s music. My only criticism is that I’d prefer a whole album with twice as much music to enjoy. Until we get that, we have this fine EP to savor and enjoy. This young man from Italy is making his mark on the Chicago music scene and tours nationally and internationally with Toronzo Cannon. He plays with other Chicago and national acts and is rapidly becoming one of the finest piano and keyboard players out there. With this EP we also learn that he is a fine singer and songwriter in his own right and we now have even bigger expectations for this young man!

Reviewed by Steve Jones

Paula Harris – Speakeasy Self-Release www.paulaharrismusic.com 16 tracks/77 minutes Vocalist Paula Harris is based in the San Francisco area and on this disc she performs in a trio format with Nate Ginsberg on piano, Rich Girard on acoustic bass and Derrick ‘D’Mar’ Martin on drums, providing a jazzy feel to a program of material that sounds like it could have been recorded back in the 1940’s.

There are ten originals, with all lyrics written by Paula and music mainly by Paula and Nate, plus covers of songs made famous by the likes of Billie Holiday and Louis Jordan. Recorded at Kid Anderson’s Greaseland studios, Kid adds bongos and waterpipe to two tracks, ex-Santana trumpeter Bill Ortiz plays on three cuts and Big Llou Johnson (the voice of Bluesville on Sirius XM) adds a rap on one track.

Opener “Nothing Good Happens After Midnight” sets the style for the album with Paula’s fine, deep vocals framed by a classic jazz trio with all the musicians featuring strongly, especially Nate’s excellent piano and Rich’s bubbling bass. Lyrically linked to the opener, “I Wanna Hate Myself Tomorrow” finds Paula in ‘morning after the night before’ mood, regretting the excesses of her night out. “Haunted” is a ballad that is the perfect vehicle for Paula’s vocals as she warns the lover about to walk out that he will not be able to forget her, a fine song forcefully delivered. Billie Holiday is bound to be a reference for singers like Paula and “Good Morning Heartache” is one of Billie’s best-known songs, so comparisons are bound to arise. Paula therefore sensibly gives the song a new twist, adding Derrick’s backbeat groove in an extended version over which the band plays some superb jazz and Paula sings the familiar lyrics with intensity. “Soul-Sucking Man” is a shuffle with lively vocals, another song that tells the guy that Paula will not be dominated, before two more covers: “This Love Is Gonna Do Me In” is a soulful tune from Paula Rose and the rather jazzier “A Mind Of Her Own” from Scotty Wright.

“Something Wicked” adds Bill Ortiz’s trumpet which is particularly effective on the dark and moody piece which also includes Big Llou’s ‘poetic rap’. “Trouble Maker” is an upbeat tune with a blues structure and Nate working up a real head of steam on the piano before an interesting cover of Thelonious Monk’s classic “’Round Midnight” for which Paula wrote new lyrics. The sound is classic late night jazz with Nate’s stately piano and Bill’s muted trumpet that inevitably brings to mind Miles Davis. The album proper closes with two more originals: “You Don’t Look A Day Over Fabulous” (great title!) has a jagged structure propelled by the rhythm section which at times brings to mind Steely Dan; “Do Me Good” is a funkier number with rather strident vocals.

However, that is not all the music here because there are four more tunes dubbed ‘bonus tracks’, presumably because they would fit on to CD but not vinyl. First up is Al Kooper’s “I Love You More Than You’ll Ever Know”, a personal favourite since the first Blood Sweat & Tears album though some readers will know it better from Donny Hathaway’s cover. Paula plays it pretty straight

and it works well, even without the horns of the original. Two originals follow: “Forever And A Day” is a light, jazzy ballad, Bill’s third outing on the trumpet and a very pleasing tune; “Scratches On Your Back” is a quieter tune about infidelity, Paula outraged by catching her man out so obviously. We close with Louis Jordan’s “Is You Is Or Is You Ain’t My Baby” - another classic piece. You have to wonder why these four tracks did not make the 12 cuts on the vinyl album as they are as good if not better than the rest of the material.

Overall this is an enjoyable album but far closer to jazz than blues and the small combo instrumentation keeps the music relatively quiet and introspective, great late-night listening!. Not one for blues fans who like loud guitars and twelve bar boogies.

Reviewed by John Mitchell Kerry Kearney – Smokehouse Serenade Highlander Records http://kerrykearneyofficial.com/ 12 tracks Kerry Kearney has been performing the blues for more than 40 years, and his band has been a mainstay in the Long Island blues circuit forever. Slide guitar master and ingenious songwriter, Kearney has performed with such greats as B.B. King, Robert Cray, Blind Boys of Alabama, Sonny Landreth and The Blues Brothers, and has opened for Kenny Wayne Shepherd, Billy Gibbons, and Leslie West’s Mountain featuring Warren Haynes. Backed by bassist Gerry Sorrentino, drummer Mario Staiano, keyboardist David Bennett Cohen and harpist Charlie Wolfe, Kerry Kearney cooks up a sizzling groove in Smokehouse Serenade.

Kearney shows off his slide guitar skills in the Texas blues opener, “Shakin’ Like Jelly,” and then shows off his versatility with “Long Tall Mama.” A distinct New Orleans essence simmers through the Blind Willie McTell tune, “Statesboro Blues,” and “Goin’ To The Mardi Gras” keeps the NOLA flavor alive. “Fireplug” has a whiff of The Allman Brothers Band, and quite frankly, “No Way Back Blues” is just some badass blues. “Wake Me, Shake Me, Bake Me” features great keys solo and smokin’ hot percussion jam, and Kerry nails the Walter Jacobs Vinson tune, “Sittin’ On Top Of The World.”

Stephen Foster’s “Camptown Races” preludes the title track, “Smokehouse Serenade,” which is really one of the best songs you’ll hear all year. “Girl from Memphis” is light and bubbly, while “Creole Woman” has a thick, spicy sound. Kearney brings the album back to a Texas blues sound with the final cut, “Pretty Baby.”

I enjoyed listening to Kerry Kearney’s Smokehouse Serenade and its wild mixture of gritty, upbeat and sizzling hot “psychedelta blues.”

Reviewed by Lynn Hetzler

John Clifton – In the Middle of Nowhere Rip Cat Records www.johncliftonmusic.com/ 11 tracks Harmonica player and vocalist John Clifton blends West Coast, Chicago blues and high-energy rock and roll in his newest effort, In the Middle of Nowhere. This album is a follow-up to his critically acclaimed 2018 release, Nightlife. Clifton performs more than 150 dates a year, and the energy of a live performance comes through in the new record.

I knew I was in for something special from the first track, “I’m Leaving You Baby” – Clifton’s music is well written, has a clean sound and is a whole lot of fun. While he adds soul, jazz, country and even a bit of R&B, he never strays far from the blues.

Clifton introduces five new songs in this album. Each features powerful harp work, killer guitar work, and sharp lyrics. Among them is the title track, “In the Middle of Nowhere.” In that song, Clifton explains, “I’m just a poor country boy, that’s all I’ve ever been, I also dreamed I would break out of this mess and never come back again. I live in a place it’s a big disgrace, time just drags on thru, when nothing happens ain’t nothing new, there ain’t a damn thing to do, Out In The Middle of Nowhere…it’s the loneliest place I know.”

Clifton also offers six covers on this newest record, including the 1959 song, “I’m Leaving You Baby” from Otis Hicks a.k.a. Lightnin’ Slim. Clinton reworks Jimmy Roger’s 1956 single, “If it Ain’t Me Baby,” and Howlin’ Wolf’s 1965 tune, “Poor Boy.” “Keep it Clean,” “So Tired I Could Cry” and “Honky Tonk Night Time Man” are also covers, but Clifton breathes new life into each old song.

opportunity to represent the Kentucky Blues Society in the 2019 International Blues Challenge in Memphis, TN. Williams then became the house band director for the Women In Blues Showcase.

Some may liken her to and Susan Tedeschi, but Meg Williams has her own distinct, hard-rocking style that bends the blues in new and interesting directions. Williams brought some strong talent together for her debut album, lining up Will McFarlane on guitar, Bob Wray on bass, Dan Wecht on guitar/slide guitar, Clayton Ivey on keys and Justin Holder on drums. Sara Rogers provides background vocals on several tracks.

“Come on over to Me” is a great introduction to Williams’ voice and style, while “Tell Everybody” is reminiscent of Bonnie Raitt.

“Shame,” “Little Bit of the Devil” and “Sometimes I Need You Too” keeps the momentum going. “Played by the Blues” is a familiar tale of hard luck . The title track “Take Me as I Am” is a quietly strong and self-assured reminder that we are all precious in our own unique way.

Meg shows off her fun and playful side in “What About Me” and keeps up the pace in “Can't Keep Waiting on You,” a toetapping, impatient song that will put some pep in your step. Meg then rips a new bluesier version of “I Feel a Heartache Coming this song, which appeared on her EP. Williams turns up the heat with sultry swagger in “Make a Move” as she tempts a hottie into make a move on her, with lyrics like, “I know I’m not with you, but I damn sure want to be.” Her classic blues number, “Take a Chance on My Love” features solid guitar and swinging rhythm section.

Take Me As I Am: The Muscle Shoals Sessions is definitely worth a listen. While this is her first full-length effort, Meg Williams has a fully developed sound.

Reviewed by Lynn Hetzler

“Cool Spot in Hell” is an instrumental bit with solos from Clifton, Scott Abeyta on guitar, and Bartek Szopinski on piano. Clifton takes up the mandolin for “Junkie Woman Blues” and delivers the tune in Piedmont style. Perfectly heavy on the harp, “Four Years Ago” is just about as classic blues as it gets. Clifton wraps up the new album with an original tune, “Ain’t Spending No More Money.”

Reviewed by Lynn Hetzler Meg Williams – Take Me As I Am NOLA Blue Records https://megwilliamsmusic.com/ 12 tracks/45 minutes Take Me As I Am: The Muscle Shoals Sessions Williams’ 2017 EP, Maybe Someday opened many doors for this singer/songwriter/guitarist from Finger Lakes of NY State, including the

The Cash Box Kings – Hail To The Kings Alligator Records www.cashboxkings.com/ 13 Tracks/50:51 This is one of the best contingents of blues players working today. Based out of Illinois & Wisconsin, The Cash Box Kings bring joy to our ears and dance to our feet. The band is led by Joe Nosek (vocals & Harmonica) and Oscar Wilson (vocals). The rest of the band is Kenny “Beedy Eyes” Smith (drums), Billy Flynn (guitar) and John Lauler (bass). Also appearing is Queen Lee Kanehira (piano,organ) and Little Frank Krakowski (guitar). Xavier Lynn (guitar 2 tracks), Derek Hendrickson (drums 2 tracks), Shemekia Copeland (vocals 1 track) and Alex Hall (percussion 2 tracks) round out the players on this disc. This is the 10th release (2nd on Alligator) by the band, and it contains 12 originals. I just saw this group at the 2019 Chicago Blues Festival and they put on a great show. The music bounces between older Chicago style blues and older music from the Delta.

The opening cut is a high energy Chicago style tune “Ain’t No Fun (When the Rabbit Got the Gun“. Flynn’s guitar is great, matching up well with Wilson’s vocals. Nosek provides a fine harp solo during the tune. Shemekia Copeland adds duet vocals with Oscar Wilson on “The Wine Talkin'”. It is another high energy tune about regrets over the promises made with too much wine the night before. The 3rd tune is “Take Anything I Can”.

There is a modern touch to an older blues style here. Things slow a bit on the song “Smoked Jowl Blues”. It is Chicago blues all the way and quite good. “Back Off” touches back to the Swing and rocking R&B eras of music. Dancers will be on the floor with this one. Nosek handles the vocals on this song that he wrote.

The only cover on this release is a Jimmy Reed tune “I'm The Man Down There”. It sticks to the Reed formula of beat, and harmonica. “Poison In My Whiskey” is and ode to the reported method of the death of Robert Johnson. There is a big Muddy Waters influence here with Queen Lee’s piano, and Nosek on harmonica. We get a geography lesson about what is Chicago with “ Joe, You Ain't From Chicago”. I like this one a great deal.

Oscar give Nosek some lessons about what is Chicago things and what is not. The song has a Bo Diddley beat to it. Kenny Smith is great on the drums on this one. There is a modern look at life in the world with the song “Bluesman Next Door”. With the lyrics Nosek and Wilson discuss how some may like the blues but not want the musicians to live next door.

The band goes back to Memphis rockabilly on the song titled “Hunchin On My Baby”. Billy Flynn does fine guitar to go with Smith’s fine drumming. “Jon Burge Blues” opens up with an angrier feel than most of the songs. Jon Burge is maybe the most crooked Chicago policeman in history. This modern topical tune tackles police corruption and racism. “Sugar Daddy” is a longer,

slower blues tune. The interaction of the whole band is very good. I can hear this tune in a club setting with Oscar Wilson wiping the sweat from his forehead during the instrumental sections of the song. Closing out the disc is a song about modern blues via technology. “The Wrong Number” is a tale of texting the message meant for your girlfriend to your wife, and the consequences of it!!!

This is a great disc. The playing, the singing, the writing and production. All blues lovers should own this one. Go see them when you can because this is a great collection of musicians that are also a great band. I love that they write most of the material, and bring in modern topics. This one should gather year-end award nominations. Treat your ears with this disc.

Reviewed by Mark Nelson Adam Holt – Kind Of Blues Zenith Records https://adamholtmusic.com/ 10 Tracks/43:25 Mobile AL is the home base for Adam Holt, a guitar player, song writer and singer. The music on this release mixes country, rock n’ roll and blues.

Kind Of Blues is his 4th release overall. Adding to the music on this release is Owen Finley (bass), Greg Deluca (drums), Donnie Sundal (piano, organ), Lee Yankie (slide guitar), Mark Welborn (pedal steel) and Pierre Robinson (bass). The recording was done at Holt’s studio using his analog equipment. Holt’s wife Jillian assisted writing some of the tunes, giving an overall nine of the ten tunes as originals.

The opening cut is a tribute to Jillian’s grandfather who was a radio DJ for over 50 years. “Mr. Morning Drive” is the name of the tune. It has a radio feel to it, and a country rock base for the tune. “Don't Give Up On Me Baby” opens with some nice guitar work. The song is in the Americana vein, with country leanings on parts of it. I like the singing on this one. “Bobby” opens with some nice church organ and after a minute it boils up to a fine southern blues rock tune. “I'm Still Holding On” is a country tune, with some nice guitar work. It is slower, but with power.

On “Before I Trusted You” there is some blues in the tune. It is a well made tune, with good guitar work.

I like the piano intro to the bluesy tune “Give The Dog A Bone”

by Donnie Sundal. It is an upbeat tune with some New Orleans style in it. Things slow a bit on “The Story Must Go On”. It is a tune to remind us of the progress on civil rights, though there is still more to do. The blues shuffle “The Bourgeoise” is a nice tune. There is some cool organ on it, and some stinging guitar.

Blues continues on “The End”. It starts out softly, with some almost jazzy guitar licks and tasty organ support. The closer is a cover of Bob Dylan’s “Lay Lady Lay”. Holy goes to the county side of this tune. It would play well on today’s country radio.

This CD is solid musically and well produced. It balances more to the country side of things than the blues side. None of the tunes go too far out there, but none of them strike any newer or edgier territory. I’d expect the Americana side of listening will spin this more than the blues programming. So if you like some country with some blues tossed in, give this a go. Soul blues, blues rock or Chicago blues fans might not go for this one. That being said this is a well played piece of music.

Reviewed by Mark Nelson Peter Ward – Train To Key Biscayne Gandy Dancer Records www.peterwardblues.com/ 12 Tracks/43:14 Peter “Hi-Fi” Ward is originally from Maine, but has called Massachusetts home for many years. His guitar work earned him a spot playing with many a blues hero around Boston. Later he earned a spot with the Legendary Blues Band (ex-Muddy Waters Band members).

He is joined on this disc of Chicago blues and rock n’ roll by many friends. The main band includes Sugar Ray Norcia (harmonica, vocals), Mudcat Ward his brother (bass), Neil Gouvin (drums) and Anthony Geraci (piano). Special guests include Luther “Guitar Junior” Johnson (vocals), Ronnie Earl (guitar), Michele Wilson (vocals), Johnny Nicholas (vocals), Jiri Nedoma (piano), Bob Berry (bass), George Delomo (drums), Hank Walther (piano, organ, harmonica), Aaron Gratzmiller (sax, organ) and Keith Asack (guitar, bass, drums). This is a real who’s who of regional Massachusetts blues family. Ward’s wife (Mai Cramer) was a blues deejay for many years until her death in 2002. Ward does a fund raiser in her honor every year with many of these players contributing their talents. Ward wrote all of the music for this release. Overall this is his 2nd solo release.

Luther”Guitar Junior” Johnson guests on vocals for the opening cut “The Luther Johnson Thing”. It is a biographical tribute to Ward’s longtime friend and musical buddy. It is a fine blues tune too!! The pace picks up on “A Westerly Sunday Night”.

Sugar Ray Norcia handles the vocals on this wild rocking track.

Jiri Nedoma pounds the 88’s on this one. This tune tells the tale of a jam session. Norcia retains the microphone for “When You Are Mine”. This is a ballad with piano and sax helping out. The title cut is next. “Train To Key Biscayne” is a swinging bluesy tune, that sounds real good. Johnny Nicholas handles the vocals on this one.

The 5th cut is “I Saw Your Home” Michele Wilson handles the vocals for this mid tempo rock type tune. The great Ronnie Earl adds his guitar to “Blues Elixir (Ronnie's Here)”. Peter Ward handles the vocals on this swinging blues tune. There is a western feel to the instrumental “Supposedly”. Ward shows off his fine guitar work on this one. The blues is back on “Change

(Ain't Never For The Good)”. Johnny Nicholas returns on vocals and is good and comfortable in that roll here. Sugar Ray Norcia lays down some fine harmonica too.

I like “As Long As I Have A Chance”. Norcia on vocals and the rest of the band is really tight on this tune. It will get people dancing. Michele Wilson attacks the vocals on “Coffee Song”. I like the organ riffs by Hank Walther. This one is high energy.

Ward returns to the microphone for “Something Always Slows Me Down”. This one cooks and simmers thru your speakers.

The closer is a tribute song called “Anthony's Son”. Anthony Geraci‘s son lost a leg recently in an accident. Ward’s instrumental piece is a tribute to him.

This one is pretty darn good. Blues fans of Chicago or east coast will enjoy if. There is guitar, harp, piano and good vocalists. The music owes to the past, but has a crisp modern feel. I like that these are all originals. This guy is a bit under the radar, but worth seeking out this disc and his first effort from 2017 Blues on My Shoulders. Dates on his gig calendar are all in Massachusetts and Rhode Island so you may have to go out east to see Peter Ward live. Until then, grab this disc and give it repeated listens.

Reviewed by Mark Nelson Ross Osteen Band - Williwaw Self released www.rossosteen.com/ 10 Tracks/41:22 Ross Osteen Band comes to us from the Asheville/Hendersonville part of North Carolina. This release is their 3rd since forming in 2014. Blues and boogie is the style of music for this trio. Ross Osteen handles guitar and vocals, and is joined by Patrick Gaynor (drums) and Jim Vint (bass). The band does have a date at Legends in Chicago on July 20th, 2019.

The disc opens with a heavy blues rock version of Muddy Waters tune “Mannish Boy”. The guitar work is pretty good. Up next is “Show Her”. This song is a slower blues rock song. The vocals are maybe too far into the mix, would have been nice to get them to making a bolder statement on the tune. “Make It” is a revved up boogie rock telling the tales of job loss, but a positive attitude about moving ahead. “Little Rooster” is a great boogie tune with a feel of John Lee Hooker in the slide guitar work. Thorogood could have made this tune. “A NO.1” is the 5th tune on the release. There is a nice guitar intro to this slower southern slide guitar boogie tune.

“Nighttime” has a great beat, that has a hint of island beat that gives the hot guitar licks a base to dance on. It is over 5 minutes long, so they get a chance to stretch out on this one. Southern blues rock shines thru on “Willie G”. ABB and maybe some

Govt. Mule show thru on this tune. “Broom” follows in the southern rock path of the music. It is a guitar rich song with a strong drum beat by Patrick Gaynor. For “Road I'm On” we get a heavy blues rock tune, with some 70’s rock feel to it. The instrumental “Jellyfish Jam” closes out the set. It starts slower with a bit of jazz feel to the guitar. I’ll bet this might be a set closer for the band on the live stage. It is good to see this added variety to the sounds of the disc.

I did not know quite what to expect on this disc. Seeing it was a trio, I knew there would be lots of guitar. There is some variety to the tunes, and the blues figures into the mix. Certainly if you like southern rock and blues this could be a winner for you.

There is not acoustic side here and the vocals are fair to OK. I like that the guitar work stayed within the songs, and did not make it a monument to playing fast guitar. If you like SRV or ZZ Top this one might be for you. Good luck to the band.

Reviewed by Mark Nelson

Manx Marriner Mainline—Hell Bound For Heaven Stoney Plain Records www.stoneyplainsrecords.com 10 tracks Manx Marriner Mainline are pretty much two Canadian blues men Harry Manx and Steve Marriner. The two have played together hundreds of times and feed off each other so well. Manx is a great singer, guitar and banjo player and Marriner is also a great vocalist, guitar player, drummer, harp, organ and bass player. For this recording they both play and sing and add instruments to the mix.

They get a little help at time as noted below. 6 originals and 4 covers are included here.

Things begin with “Nothing,” a dirty, traditional blues with Manx on vocals and banjo and Marriner on harp, electric guitar and some vocals. Moe Duella is on drums. The harp is edgy and cool and the guitar is equally dirty and gritty. Vocally they do a nice job, too, with Manx growling out the lead. The solos on guitar and harp are great, too. “Everybody Knows” has Clayton Duella added on organ and Marriner adds bass. Marriner plays some cool slide, Manx remains gritty on vocals and the organ adds a nice layer to the mix and gets it’s own solo for us to listen to. The title track is just the two of them with The Gamblers on backing vocals. Marriner gets the lead vocals and plays acoustic guitar and bass while Manx switches to the Mohan Venna. Very traditional and very cool with hand claps givng it a nice groove and then we get the Mohan Veena solo which is really different and well done. The harp blends in at the end of the solo quite well, too. Different and lots of fun. “My Lord” takes us to church with Marriner on vocals, 12 stringed guitar, bass, drums,

and harp and The Marrinaires backing. Steve takes us to church with this simple yet effective Gospel tune. Marriner sings with passion as do the backing vocalists and his guitar and harp are authentically down home and fantastic. Manx takes the lead vocals and does banjo on “My Only One” where he gets down home and does another fine job playing a blues/folk ballad of sorts. Marriner adds some pretty harp and vocals while Doley returns on the organ. Banjo, harp and organ take turns impressing us and also blending together.

“Rattle Snake Blues” is a Charlie Patton tune and features Manx on vocals and slide, Marriner on har, guitar, drums, harp and baritone guitar and Doley on the B3 again. The harp and slide are well done and the organ once again provides a nice feeling and sound to the cut. Manx sings with feeling and they deliver another mighty fine performance on this original. Next Marriner sings, plays bass, drums and baritone guitar while Manx backs on vocals and Doley is on organ for “Wish I Had Answered.” This is a Pops Staples tune. It’s also got another great groove going. The baritone guitar and organ are expressive and the vocals by Marriner are super. Gary Davis’ “Death Have No Mercy In This Land” gets a very good treatment wit Manx on slide and Marriner on vocals and the 12-stringed guitar. Marriner emotes vocally, Manx slips and slides with effectiveness and Marriner’s 12 string adds a beautiful layer to the mix. A great cover of a great tune.

“This Little Light Of Mine” is a traditional Gospel favorite and opens with the organ going all churchy and cool. Marriner is on electric guitar, organ, vocals, and harp while Manx shares the vocals and plays banjo. The Sahaja Soingers back the lead vocals sweetly. Manx and Marriner trade off on the lead vocals. The organ and guitar solos are also outstanding and all in all they make for another nice cover. They end with the sixth original cut, “Rise and Fall In Love.” Manx sings, Marriner plays electric guitar and Jom Bowskill is on viola and violin. Once again Manx vocals are gritty and exceptional. The guitar is reserved and spot on and the strings just make for an overall beautiful sound on this slow and sentimental cut.

There is nothing to dislike here. Both sing with such great feeling and the songs with the back vocals are equally impressive in the talents shown. The organ, drums and strings added all are done with taste and make for an even fuller sound. The songs are outstanding originals and cover; Manx and Marriner deliver some fantastic blues and roots music for us to savor. The blues coming out of Canada are exceptional. Nothing is over done or over stated. These two guys are pros and together and individually deliver a fine CD for us to enjoy. This one is sure to garner lots of airplay and notice– I really enjoyed it and I think all traditional blues fans will, too!

Reviewed by Steve Jones

Kenny Parker – Hellfire Rock-a-While Records www.kennyparkerband.com 12 songs – 60 minutes Kenny Parker is one of those rare front men who leaves the singing to others, supporting himself with an assemblage of world-class bandmates. That’s the case here for the guitarist/bassist and songwriter who penned all 11 studio cuts on this album.

A native of Albion in south-central Michigan, Parker formed his first band, the Esquires, at age 14 and fell in love with the blues after discovering the recordings of Albert and B.B. King. An Eastern Michigan University graduate, he worked in a Cadillac factory by day and played music at night after graduation. He’s been a fixture in the Detroit blues scene since the ‘80s, first in the company of Mr. Bo, the Mississippi-born guitarist best known for the tune “If Trouble Was Money,” and later during a lengthy stint with the Butler Twins, longtime Motor City headliners.

Kenny followed the Butlers by signing on with Britain’s JSP Records in the mid-‘90s. His first album, Raise The Dead, included contributions from the twins, Ronnie Earl and Anson Funderburgh harp player Darrell Nulisch and first-call keyboard player Bill Heid, whose career has included work with everyone from Alberta Adams, Koko Taylor and Fenton Robinson, among many others.

Heid returns on this one, splitting keyboard duties with Leonard Moon and Chris Codish. Also joining the action for half of the 12 cuts is Jim McCarty, the veteran guitarist who’s been a key member of three supergroups: Mitch Ryder And The Detroit Wheels, the Buddy Miles Express and Chicago’s legendary Siegel-Schwall Blues Band.

Powerfully handling the vocals throughout on this one and making his debut as a featured artist is Dan Devins, a melismatic baritone and Windy City-style harp player. Rounding out the sound are bassist Mike Marshall, percussionist Dave Marcaccio and Brian Miller, who assumes harp duties for one cut.

The medium-paced shuffle, “I’ve Got My Eye On You,” a song of desire, swings from the jump to open with Parker and McCarty sharing six-string duties and Devins’ harp cutting like a knife for fills. The tempo picks up slightly for “Baby Come Back To Me,” which gives Parker space to shine, before a slow-blues pleaser, “Blind And Paralyzed,” the realization that the singer would prefer the handicaps rather than catch his lady with another guy.

Apparently, that’s the case. “Bye Bye Baby,” the uptempo rocker that follows, describes the woman as a party girl who’s never at home and who never announces where she’s going – cause enough to bid her farewell for good. A tasty guitar hook opens

the title tune, “Hellfire,” which paints an aural picture of a headturning, redheaded beauty named Ruby “who’s got the stuff you only find on the cover of a magazine.” But don’t get too close because “you soul’s gonna burn, baby, burn.”

The straight-ahead blues, “Goin’ In Circles,” deals with a troubled romance before “Dance With Me,” a rapid-fire rocker, urges a lady to join the singer on the floor. “I’m Missing You,” a heartrending ballad, follows before the percussive “But Then We Danced” questions if the woman still harbors romantic feelings.

No wonder the singer’s “Half Crazy” and realizes he’s now her “Back Up Plan,” the two tunes that follow. The disc closes with a balls-to-the-wall version of Omar & The Howlers’ “Hard Times In The Land Of Plenty,” which was captured at The Gem Theater in St. Louis, Mich., and is the only live cut in the set.

Available through Amazon, Apple Music and other online retailers, this disc doesn’t cut much new ground, but the tunes are fun and the musicianship excellent throughout. If your tastes are oldschool, there’s plenty here for you to enjoy.

Reviewed by Marty Gunther

Thomas Feldmann & Friends— Manatee County Blues Self Released www.thomasfeldmann.com 12 tracks Thomas Feldmann is a saxophone and harmonica ace who hails from Germany near it’s border with the Netherlands. He is Doug Deming’s choice to use as a sax and harp player when Doug and the Jewel Tones visit Germany and Europe, and after hearing him both live and on this CD I can see why. Feldman can bend a note and blow harp and mean as anyone and his sax work is exceptional! I heard him while on tour with Doug Deming and the Jewel Tones in Wisconsin this summer and was floored– he is the real deal.

Recorded in both Bradenton and St. Petersburg, Florida, Feldman plays sax and harp and also sings on “I Need Money.” Matt Walker plays guitar, bass, and piano and does vocals on 7 tracks.

Tony Smith adds his harp for 7 tracks and Sam Farmer also plays drums on 7 tracks. Kaleigh Baker sings on the next to last track along with Walker. The other tracks are instrumentals. Of the songs here, 9 are originals.

Feldmann plays his horn on “Off The Vine” and “Will You Bury Me,” both original tunes. The former is a jazzy swing tune that Walker sings and whistles on. Feldman plays some nice licks on his tenor sax and Walker also does fine on his guitar. Walker and Baker share the vocals on the latter tune although Walker plays the bigger part. Both are quite old-time bluesy and set a great mood. Feldman’s horn is reserved and gives us a short but sweet

solo. My only complaint for the entire CD is right here– Feldmann is a wonderful sax player and I wanted to hear more. We get lots of harp on this album and I would have loved to hear more of his sax.

So let’s move to the harp tunes. The opening track is “Red Tide,” a fine instrumental with two harps taking turns blowing. The guitar and backline also do a fine job here in helping to setting a mood for this CD. It’s a nice, original mid-tempo blues. Track 3 is “Hurricane,” another cool original instrumental. This one is jump blues and Feldmann really swings with his harp. Walker’s guitar complements him well and he and Feldmann really deliver the goods. “Manatee Avenue” is another swinging cut. Another original instrumental, Feldmann again blows some mean stuff. The bass plays a bigger role in maintaining the sweet groove on this cut. Walker also adds another good guitar solo but the harp is king here as Feldmann swings and jumps all over the place. The final track is the uncut version of this track and adds almost two minutes of smoking hot stuff to the tune. More harp, more guitar, more bass and lots more fun!

Sonny Boy Williamson’s “I Wonder Why” has the harp respond to the vocal lead as Feldmann blows some dirty stuff and Walker sings with feeling. The harp solo here is extensive and quite nice.

“Burnt Orange Baby” is an original song about a hot and tanned woman with a tight black dress. Burnt Orange is also the name of the studio for 8 of the tracks. Walker sings with a suave and cocky attitude as he boast about his woman while Feldmann’s harp is a little distorted and very interesting. He plays a wicked solo with the band right there behind him, a nice slower cut that I’m sure the dancers like to “tighten up” to. Thomas takes over the vocals for “I Need Money,” the old Slim Harpo tune. It’s a jumping tune and Feldmann does it pretty straight up. Walker’s guitar rings and Feldman’s vocals are quite good and his harp work remains exceptional.

“Stateroad 60 Blues” is an acoustic blues in another good original tune. It’s just Walker’s guitar and Feldman’s harp here, a front porch sort of blues with Walker also aptly handling the vocals.

Sweet! Following that is another acoustic original entitled “Flobo Blues.” It’s a cut about the folks trying to make it in the small beach town- Florida Hobos. The next track continues the acoustic work, this time with an Eddie Wright tune. Eddie is another Florida bluesman and Matt Walker plays with him based on what I see on line on You Tube. This is another duo song, again a fine slow blues. Feldmann’s harp and Walkers guitar and vocals shine on this and all three of the acoustic numbers– well done!

Thomas Feldman & Friends put together a fine blues album here with this work on Florida’s Gulf Coast. The players are in synch and work well together. The vocals are done with feeling, the players are tight and the arrangements are well done. I loved the album and only wish I could get more of Feldman’s sax work.

He appears on 52 other recordings on harp and sax and dozen and dozen of on line recordings, so that will have to suffice. He’s a fine harp and sax player and he puts on a great show. He’s

touring here in the US this summer with Doug Deming and his band; he and Doug and the Jewel Tones are an exceptional act together. Don’t miss them if they are playing anywhere near you – you won’t regret it. They can swing with the best of them! I enjoyed the album thoroughly and it will get a lot of play this summer as I travel all over for my blues shows!

Reviewed by Steve Jones

New Glarus Blues, Brews & Food Truck Festival The New Glarus Blues, Brews & Food Truck Festival ended mere hours prior to press time, so full coverage of the event will be in the September-October 2019 issue of The Groove. Here is a little taste of the event! Photos by Steve Jones (upper left only) and Rick Davis.

Crossroads Blues Challenge 2019 Our 2019 Crossroads Blues Challenge is scheduled to be on Sunday, October 6th at the Lyran Society in Rockford, tentatively at 2 pm. They are at 1115 4th Avenue, Rockford, IL, 61104.

We are looking for bands, solo/duo acts and youth acts to compete who have played in the Northern Illinois/Southern Wisconsin Area in the last year. Contact Steve Jones at sub_insignia@yahoo.com or 779-537-4006 for more information. The is a $25 entry fee per act. The winners of the Ban, Solo/Duo and Youth Competitions will represent Crossroads at the 2020 International Blues Challenge in Memphis January 28th to February 1st, 2020.

To participate in the International Blues Challenge, you must participate in and win a local challenge sponsored by a current Blues Foundation Affiliated organization. Bands and Solo/Duo acts will be selected to compete. Youth Acts will be selected to perform during the Youth Showcase but will not compete. An act or individual must never have received a Blues Music Award nomination and an act may not participate in the IBC in three consecutive years.

We are also looking for local entries for Best Self Produced CD. Only CDs released between November 1, 2018 and October 31, 2019 are eligible for consideration as The 2020 Best SelfProduced CD. Please contact Steve Jones at sub_insignia @yahoo.com or 779-5374006 if you would like to submit your CD to us for our consideration.

We hope to have a robust challenge and that we can send highly competitive bands to the 2020 IBC! We hope to hear from your bands and acts very soon!

May and June Crossroads Shows

Alysa from Guy Meets Girl at the Lyran Club by Rick Davis

Cody from Guy Meets Girl at the Lyran Club by Rick Davis

Hal Reed at CBS 25th by Lee Ann Flynn

Ivy Ford at CBS 25th by Rick DAvis

Jimmy Nick at CBS 25th by Rick Davis

Young Blues Fans at CBS 25th by Lee Ann Flynn

Corey Dennison at Hope and Anchor

Studebaker John and Earl Howell at the Lyran Society

Dave Hanson and the Blues Hawks at Hope and Anchor (Bob Haendler photo)

Ivy Ford at CBS Picnic (Rick Davis photo)

Lil Ed at Music on the Rock (Rick Davis photo)

Chris O’Leary at Music on the Rock (Rick Davis photo)

The Flynn Brothers at Music on the Rock (Rick Davis photo)

Steve Ditzell at the Lyran Society

John Nemeth at Music on the Rock (Rick Davis photo)

Monroe Blues and Balloon Festival JT Taylor and The Altered Five Blues Band

Dave Potter Trio with Madison Slim and Big Al Dorn

Birdd og

Ivy Ford with Dave Axen and Dave Wood

Some CBS Members & Friends at the Chicago Blues Fest

The Groove - Crossroads Blues Society Newsletter

Karen Howard Scholarship

Mallory Leininger was awarded the Second Annual Karen Howard Memorial Music Scholarship. Mallory graduated from Rochelle High School and CBS President Steve Jones presented Mallory with her $500 scholarship check and certificate at the schools’ award night on May 6th.

Mallory was an active band member and section leader at her school. She helped lea the band when they went out of town and will be working to expand her musical abilities in college. She plays the flute and got strong endorsements for her music and leadership roles at school. She is also active in the community. We hope to see her and her family at our festival in August!

Membership News We continue to grow with new members and renewals continuing! Thank you for supporting live music and helping to keep the blues alive to all our new and returning members!

New members: Jill Basten Dave Berger David Bingaman Robert Breu Family Dan and Julie Danielowski Sam Felker Mike Flickinger John Moehling William Murphy Craig & Ann Radey Ken Reukauf Mike St. John Todd Thompson Phyllis H. Van Arb Renewing Members: Bonnie Fox Mark Presson & Rebecca Heaslip Dennis Leary Kevin Moore Dutch & Jan Rittweger Gail Rothermel John & Chris Ulferts New members get a CD upon joining and new family members get two CDS. If you did not get any please let us know the next time we see you! The Email newsletter averages about 40 pages an issue and is in full color, delivered as a PDF to members.

Mail newsletters are 12 pages and printed in greyscale. Mail members have a $5 surcharge to help with printing and postage costs. We produce six newsletters a year with about 30 reviews and all sorts of other great information related to the Society and our events. Again, we thank our members for their support and helping us to keep the blues alive! See the membership form on page 3 of this newsletter to sign up. It’s a great way to help keep the blues alive!

www.bluesblastmagazine.com

Hope and Anchor English Pub Second Saturday Blues The Hope and Anchor Second Saturday Blues is a fun monthly event at a super restaurant and pub! Shows are from 8 to 11:30 PM. There is a $5 cover charge. Featuring fine English pub fare, the Hope and Anchor is a great spot for dinner, craft beers and liquors, and great live music!

Located at 5040 N 2nd Street, Loves Park IL, USA, phone 815-633-2552 for info!

7/13/19 Ivy Ford Band 8/10/19 Dave Weld & The Imperial Flames 9/14/19 Blues Blast Awards Post Party 10/12/18 The Jimmys 11/9/18 Reverend Raven and the Chain Smoking Altar Boys featuring Westside Andy Linderman 12/14/19 Ivy Ford Band January & February 2020will likely be Altered Five Blues Band and Brandon Santini: dates TBD 3/14/20 Kilborn Alley Blues Band 4/11/20 Cash Box Kings 5/9/20 Corey Dennison Band

Lyran Society First and Third Friday Blues (Once a Month June-September) The Lyran Society featured blues, a fish fry, other great food, and a lot of fun. The Lyran Club has great shows twice a month outside of summer. Located half a block east of 7th Street at 1115 4th Ave, Rockford, IL 61104, you can call (815) 9640511 for info. There is no cover charge, it’s a free show. Open to our members and friends, all ages are welcome! Shows are 7 to 10 PM. 7/19/19 Wheatbread Johnson CD Release Party 8/16/19 Brother Dave Kaye 9/20/19 Paul Filipowicz

Crossroads Blues Society P.O. Box 840 Byron, IL 61010 On the web at: crossroadsbluessociety.com/ Crossroads Blues Festival at Lyran Park: www.crossroadsbluesfestival.com Email us at: sub_insignia@yahoo.com Call us at: (779) 537-4006

THE

THE BI-MONTHLY NEWSLETTER OF CROSSROADS BLUES SOCIETY

Keeping the Blues Alive Since 1994 2014 Blues Foundation Keeping the Blues Alive Affiliate Award Recipient 2014 Chicago Blues Hall of Fame Inductee 2005 Rockford Area Music Award Winner– Musical Outreach Organization

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Blues News and Upcoming Events It can’t be almost festival time but it is! August 24th is approaching rapidly. June is gone by and two more months of summer (well, almost three if you count 3 weeks of September) will bring great music to enjoy! Look inside for information on the 10th Annual Crossroads Blues festival at Lyran Park!

May and June featured so many great Crossroads events. Our 25th Anniversary Party, Picnic, four Burpee Museum shows, two shows each at the Lyran Society and Hope and Anchor and the start of summer festival season. What a great two months!

We also wrapped up Blues in the Schools and there is a summary of that on page 4. We are also doing summer programing at the Burpee Museum and Byron Forest Preserve, so we’ll have 12 full months of blues education this year!

July brings five more shows at the Burpee Museum’s Music on the Rock. See page 5 inside. Grand Groove Hotel, The Ivy Ford Band, Kevin “B.F.” Burt, Ghost Town Blues Band and Dave Keller will take the stage for those shows plus we have a Joe Filisko harp workshop and two Wheatbread Johnson Blues Schools prior to three of the shows. These have been fantastic shows and we love working with the Burpee Museum!

Wheatbread Johnson’s CD Release Party and Brother Dave Kaye will be at the Lyran Society and The Ivy Ford Band and Dave Weld and the Imperial Flames will be at the Hope and Anchor. See inside the back cover for the venue schedules.

The New Glarus Blues, Brews & Food Truck Festival was too close to publishing time so it will be in the next newsletter.

It’s gonna be a heck of a two months music wise– July and August really will bring us some great show and festivals. We hope to see you out and about and supporting live music !