The Groove: Jul-Aug 2017

The Crossroads Blues Society Newsletter

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The

GROOVE

2017 Fest Expected to Top Others

July-August 2017

world!

Returning to Rockford will also be The Jimmys and we are hoping a special guest is there on drums. Bun E.Carlos may be on stage for part of the set, so watch out for that!

Advanced ticket sales for the 2017 Crossroads Blues Festival at Lyran Park have been brisk and we expect our biggest crowd ever! With Doug Deming and the Jewel Tones and The Kinsey Report an-

The newest big hit on the blues scene is The Corey Dennison Band, Corey’s vocals and guitar are Doug Deming and the Jewel Tones superb and locally grown favorite Gerry Hundt is also on guitar for this choring our phenomenal great band! lineup, it should be a fantastic day of music. Five bands on Opening the day is Ivy Ford, the main stage and 4 acts in Waukegan’s fantastic oung femal the Pavilion offer variety and, vocalist and guitar player. She for a $5 advanced ticket, one continued on page 2 of the best values in the blues

2016-2017 Biggest BITS Year Ever!

The 2016/2017 school year was a record one for Crossroads. We conducted 61 blues education programs for almost 8,000 students.

The big differences were that we had a good festival in 2016 that allowed us to fund what we did and that we had a busy year. Adding the Blues in the Pre-School program allowed us to get into the head start facilities and another major RPS 205 preschool. 29 of the 61 programs were for those facilities and 1,510 students were served by them.

The year began with Mark Dvorak and his Life and Times of Leadbelly program.

Crossroads President Steve Jones narrated the programs for Shirland and Durand schools on October 14th and the year was underway!

Bobby Messano was in town for a program at Haskell ES and two at Spring Creek ES on December 2nd. On the 16th Dave Fields was at Lathrop ES and Carlson ES and then on the 17th he did a program at Byron Public Library. On the 21st Gerry Hundt was in town for a program at Highland ES and Froberg ES, making 10 programs for the fall semester.

We picked up again on February 8th and 9th with

Tas Cru doing programs at Thurgood Marshall ES and Whitehead ES. Dan Phelps began our Preschool efforts with Bob Haendler and Steve Jones in tow on the 15th. Four programs were done at Rockford Day Nursery. On the 21st the trio was at Orton Keyes Childcare center for 9 programs.

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Crossroads Blues Festival 2017 Schedule         

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Tas Cru at Thurgood Marshall ES 

1100 AM Gates Open Noon Ivy Ford Band 130 PM Brutal Wedgie in the Pavilion 2 PM Corey Dennison Band 330 PM Joe Filisko Harmonica Workshop in the Pavilion 4 PM The Jimmys 530 PM Paul Kaye Guitar Workshop in the Pavilion 6 PM The Kinsey Report 730 PM Dan Phelps with Hardtimes Cigar Box Guitars in the Pavilion 8 PM Doug Deming and the Jewel Tones 10 PM Festival Closes

Inside this issue: News Music Reviews Playlist, Members Membership Application Upcoming Events

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The Groove- Crossroads Blues Society Newsletter

2017 Festival Looking to Be the Biggest Ever

Ivy’s band will be a crowd pleaser to open the day!

Between stage acts we first have Brutal Wedgie, a youth act with a rock background who we think will be a lot of fun.

Joe Filisko returns for a harp workshop with free harps for 10 and under kids.

Paul Kaye will be giving a guitar workshop and Dan Phelps will be doing some Delta music demoing Hardtimes Cigar Box guitars!

The gates open at 11 and the music starts

at noon. The schedule is on the front page. Also featured will be over 30 types of beer and wine for only $4 each. We have a great assortment of American and foreign beers, most in 16 ounce cans, with a great mix of regular and craft beer styles. There is something for everyone!

Pop and water remain $1 and we have a great food assortment. The Smoke House BBQ, AnJan’s Eats, Frank Riding Gelato and Italian Ice, Italian Beef and Sausage, Juan’s Mexican, Joyce Hunt’s Treats, and maybe more!

Thanks to our sponsors shown on page 5.

Our poster is on page 6. Ticket locations are on page 7.

Primitive camping is available for the fest for $20 a night. Tents, RVs or campers are allowed. Camping is available Friday and Saturday nights if desired. Call 779537-4006 for info on this or the fest.

We predict a big crowd– this is a great event and it’s getting better every year! It is our fundraiser for Blues in the Schools, so help us support our education program!

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BITS Efforts Conclude for 2016-2017 The 22nd had them back again, this time for a pair of programs at Hand-n-Hand Childcare Center. The 23rd saw the return of Fruteland Jackson who was in Rockton at Rockton Grade School and Whitman Post ES. The month ended on the 28th with a half dozen programs at Fairgrounds Child Care Center.

March concluded the Head Start work in the 2nd at Dennis Early Education center for 4 programs. A week later Billy Flynn was in on the 9th for two programs at Byron MS and one at Jean McNair ES in Winnebago. Dan Phelps did the first half of a two day, three class residency on March 13th and 14th and did two more days on 4/20 and 21. April also saw Dan Phelps do 4 programs at Fairview Early Education Center on the 26th.

May 12th heralded the return of Dave Fields for a day of programming at Highland ES and Martin Luther King ES June concluded our work with a music and lecture event by Dan Phelps and Steve Jones on the 8th of June.

Highlights of the year included the introduction of our Blues in the Schools Activity Book. Designed as a short guide to the blues and information book for teachers, it also includes materials that can be used at a variety of levels. The contents are listed here for reference.

Table of Contents A Short History of the Blues, pages 2-7 This is a short history that we put together on the Blues. It can serve as background information for the teacher to better under-

stand where the Blues came from. The information presented traces the history of the Blues from Slavery and Plantation Life to the Modern Day, Other materials are available online for more in depth lesson planning.

Dave Fields at Martin Luther King Elementary School

Instruments Often Used By Modern Blues Bands, page 8 A list of commonly used instrumentation by today’s blues bands. Based on this list. teachers and students can do more research more on instruments, their sounds and usage.

Coloring Pages of Blues Artists, pages 916 A set of pages younger student might enjoy for artistic coloring projects. Teachers can look up and present information on the artists and their music and use these activity pages to reinforce studies.

Blues Word Search, page 17 A word search more likely suite for Middle School and older students featuring 24 words from the Short History of the Blues and other materials in this Activity Book.

Fill in the Blues Words, page 18 An activity more likely suited for Middle School and older students featuring 8 fill in the words featuring words from the Short History of the Blues and other materials in this Activity Book.

Blues Matching, page 19 Match the Artist to their Real Name and Match the Artist to the Instrument they Play(ed), Older Elementary and Middle School ages.

References and Resources, pages 20-21 Where teachers can get other materials to use.

Crossroads Blues Society Contact Information, page 22 How teachers can contact us.

We will be updating this booklet this summer and preparing and printing a new edition for the 2017-2018 school year.

As part of our new Blues in the PreSchool efforts we also prepared a handout with information for pre-school classes.

The program was designed to be 20 to 30 minutes in length maximum due to the shorter attention spans of pre-school aged children. The program was a brief introduction to the blues followed by three interactive songs.

The first song was Little Red Rooster.

We modified the lyrics slightly and provided them along with lyrics for the other songs to the school along with a link to a version of the song teachers could reference on line. The students got instruments such as shakers, tambourines and other percussive items to play along and keep the beat. They also were instructed to sing along and act out with the dogs that barked and the hounds that howled.

Barnyard Boogie was the second song.

More and it afforded more animal sound sing-along and introduced students to call and response. The students continued to play along with the beat.

The last song was a simplified version of The Blues Had A Baby and They Called it Rock and Roll. Rather than use the entire Muddy Waters song, there is a short, AAB format used by Hawkeye Herman and other BITS artists which allows the students to memorize the simple lyrics and sing along. They are: The blues had a baby and they called it rock and rock, The blues had a baby and they called it rock and rock, It makes me feel good from my head down to my toes.

As they sang along they were instructed to do a little dance with the song where they would shake their hips and point left and then right for the first two lines and then act out the final line. It was all very well received.

2017/2018 will be lots of fun, too!

The Groove- Crossroads Blues Society Newsletter

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Rains Came but the Juneteenth Celebration Went On was missed, but Andy did a great job on the guitar and all stepped up for some superb vocals.

We got a little wet a couple of times but it was short lived and not too bad. The last two acts played to a sun filled sky and the crowd enjoyed a great day celebrating Emancipation Day for the 27th straight year in Rockford on June 19th.

Tommy Meeks coordinated the event and it was a great day of music and fun. A trip to Memphis was raffled off along with cash prizes and some awards to deserving community members who support equality and justice.

The Kinsey Report closed out the day with a fantastic set of music. Brothers Ralph and Kenny on drums and bass and Andy O on guitar put on a great show. Brother Donald was not available for the show and

ensemble called 815 Diversity who showcased their dance talents.

Too Deep, Rockford’s own top soul, R&B and blues band opened for the Kinseys with a fine set of their own. Dorothy Paige -Turner and the Juneteenth Players did a fine narration which was well received.

Gina Meeks and Jazz Keyes performed to the crowd’s delight with some really fine vocals and music. The “Red” Band also impressed the crowd with super vocals and musicianship as did Stephanie Goldsmith. The music opened with a Blues Tribute featuring Ms. Diamond Jones, Ms. Hollywood and Joey Irving. Opening the day on stage was a fantastic youth dance

All in all it was a great day in the park celebrating the end of slavery and marking the beginning of Americans coming together as one!

CBS Hosts Ten Live Music Events for May and June May featured The Birddog Blues Band at All Saints, Reverend Raven and the Chain Smoking Altar Boys with Westside Andy at the Hope and Anchor and Dave Fields was at the Lyran Society. The Blues Block Party in Byron, Blues in the Byron Library, Steve Ditzell at the Hope and Anchor, Recently Paroled at the Lyran Society, yBblu at Sinnissippi Park and Doug MacLeod at All Saints in June marked what is likely to be one of our busiest months ever. And we gave an assist to and sponsored the Juneteenth event, too! Photos are on pages 24 and 25.

Sunday, May 7th the Birddog Blues Band performed at All Saints Lutheran Church. It was a hallmark performance and heralded the return of guitar player Gary Hendrickson after a prolonged recovery from surgery. His son Derek was on drums, the young and talented Garrett Wartenweiler (son of the Jimmy's bass player) was on bass and, of course, the inimitable Ken Olufs was on harp and vocals. Gary may not have performed publicly in a while but his skills are as sharp as ever and he plays with renewed vigor and drive. At the end of the first set he launched into some Ronnie Earl and

the band and blues fans were both in awe. It was amazing to watch the emotion and energy this man let loose in that room! Ken was great on harp and vocals and the young back line's age belied their talents- they were also superb!

Dave Fields had his new CD with him and tore the house down at the Lyran Society after programs at two area schools on May 12th. It was another great day of music and fun with this high energy talent from NYC! The Rev and Andy wowed the crowd at Hope and Anchor on May 13th. They did three great sets of music and the crowd was large and energized! They always get the attendees excited and everyone has a great time!

The Birddog Blues Band performed in the afternoon at the Rose Meadows Block Party (and Cindy Wilken’s 60th Birthday) and The Uptown Rhythm Aces performed in the evening. It was the same great lineup as at All Saints for The Birddog Blues Band and they were hot as were Teddy Lawrence and Chuck Scordato and the rest of the Aces at night.

On Thursday, June 8th at Byron Public Library Dan Phelps played and Steve Jones gave a presentation on the history of the blues and then Dan did an assortment of songs while Steve projected info on the songs and artists. It was a fun night and well received.

Saturday June 10th featured Steve Ditzell at the Hope and Anchor with Brother Dave Kaye on bass. It was a fantastic show and some of the best we’ve head from Steve Ditzell! Recently Paroled did a killer show at the Lyran Society on June 16th. Ron Grabowski on guitar and Len Lindeman on bass are a powerful duo!

Juneteenth is described above. Our next event was yBblu at our Young Guns of the Blues show at Sinnissippi Park on the 24th.

The Dicklin brothers Nicolas and Joseph on guitar and bass and Sam Petri on drums are a fine young band who represented us at the IBC. Doug MacLeod concluded the month on the 25th with a show at All Saints. Dan Phelps opened for Doug. It was a fantastic event and Doug remains the preeminent acoustic bluesmen and story tellers!

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Crossroads Thanks Our Festival Sponsors!!!

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Festival Ticket Outlets and Other Information Ticket Purchase Options Rockford: Woodman’s Market, Perryville Road Culture Shock, Charles St Guzzardo Music, Charles Street Smokehouse BBQ ,South Main Street CD Source, State Street Just Goods, 7th Street Toad Hall Records, Broadway Lyran Society, 4th Avenue New Mill Tap, 11th Street Loves Park: Hope and Anchor English Pub, N 2nd St Winnebago: Snyder’s Pharmacy Byron: Snyder’s Pharmacy Felker’s Values fresh Market Oregon: Snyder’s Pharmacy

Mail order with SASE to: Crossroads Blues Festival PO Box 840 Byron, IL 61010 Mail orders must be received by August 12th.

Online: http:// CrossroadsBluesSociety.com Online orders end 8/24.

Orders received after August 12th will be held at Will Call at the Gate.

Children:  No tickets needed for 10 and under  11 to 18 year olds are $5 at gate when accompanied by a parent/ guardian (same price as advanced tickets)

Gate Tickets $10 for adults day of fest

Freeport: TBD

Camping   

Crossroads Blues Society Officers and Board Members Contact Info President: Steve Jones sub_insignia@yahoo.com Vice-President: Bill Graw williamjgraw@gmail.com

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Board of Directors:

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Denny Barker harkthebark@mchsi.com Rick Davis rick_davis_937@comcast.net

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Bob Haendler rhaendler@comcast.net Ken Pearson cntrylivng@aol.com Rick Hein mrrickhein@sbcglobal.net

Camping is $20 per night You can camp one or two days (Friday and Saturday) Camp sites are primitive; no water or electric Portable restroom available, no showers/sinks Same fee for tents, pop ups, trailers and RVs

Festival Area

Secretary: Bonnie Fox bonitafx@gmail.com Treasurer: Terry Keller terry@markpack.com

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Advanced Tickets $5

Mount Morris: TBD

Beloit: Grand Avenue Pub

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No coolers, alcohol, food or beverages go into the festival area except for special dietary needs issues (illness, medical, infants, etc.)

Pop up tents are allowed at the top of the hill or by the river to the far right of the stage; we do not want to block site lines The paved street in front of the stage is for dancing; no seating at any time and no golf carts while bands are playing Beer and wine sales by ticket only, $4 per ticket and one ticket per beer or wine (33 varieties) Pop and water $1, cash only

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Food is available from food vendors at a fair and nominal charge; cash and credit cards if vendor accepts credit ATM available at Gate and in Pavilion/Blues Central Merchandise available in Pavilion and from vendors Festival Tee Shirts  Regular Tee shirts $15 each, $20 for plus sizes; $5 off two shirts  Tie dyed tee shirts $20 each, $25 for plus sizes; $5 of two shirts  Can mix and match type of shirt for two shirt discount No pets allowed in the festival area or at campsites; restricted by our insurance (sorry!)

Service animals are allowed

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The Groove- Crossroads Blues Society Newsletter

Hurricane Warning! Monte Adkison Interviews Hurricane Ruth southern rock and barrelhouse blues.

As the title suggests, not only is she 'not ready for the grave', but she is creating a vortex with a warning to batten down the hatches when she blows your way. This lady can wail!

About the guest author: An avid fan and student of the blues, Monte Adkison aka "The Blues Stalker" has been writing for the Suncoast Blues Society and Lahoradelblues.com in Barcelona for over a decade. She has been a contributing editor to other digital blues publications as well.

Listening to or seeing "Hurricane" Ruth LaMaster perform, it is easy to see how she earned her moniker. This vocal tempest unleashes a true force of nature. She was exposed at an early age to touring musicians who stopped enroute from St. Louis to Chicago at her father's Glendale tavern in Beardstown, Illinois to jam on Sundays. Her father, Milt, often joined in on drums and the experiences there no doubt influenced the passion and talent that she possesses today. Ruth took her act on the road in the late 70's across the Midwest but then left the road for a career in UPS management for 23 years. In 2010, she retired and as her fourth release titled, "Ain't Ready for the Grave" demonstrates, she is back performing redhot, power blues with a whirlwind force just as her nickname suggests. Ruth has performed with such blues titans as the late BB King, John Lee Hooker and Willie Dixon as well as opening for rockers; Heart, Judas Priest, Joan Jett and the Blackhearts, and Steppenwolf.

Her new release is a winning collaboration with producer, songwriter, and drum master Tom Hambridge and a stellar group of Nashville musicians who recorded a dynamic mix of slow blues, gospel, soul,

MA: Ruth, after three previous releases, you seem to have scored a magical combination by partnering with Grammy winning Tom Hambridge on your latest effort. How did that come about?

HR: Working with Tom Hambridge was an amazing experience. He is truly a creative genius as a songwriter, producer, and musician. My goal is to move into the ranks of the upper echelon of the blues.

Tom is one of the best producers in the business., and his resume spoke for itself.

Prior to our meeting in March 2016, he had just won his second Grammy with Buddy Guy for producing Born to Play Guitar. I’ve always admired Tom’s work, and wanted to work with him.

My friend, manager, and Executive Producer of Ain’t Ready for the Grave, Gina Hughes, arranged an interview with Tom last March 29th. We met for over 2 hours.

We talked about songwriting and my vision for the album. I gave him all my recorded music to listen to. He told Gina and I he would get back with us. Gina received a message from Tom the next day saying that he had been listening. He said that he was in and he wanted to move forward with the album. I was elated to hear this. It was a true blessing.

Tom got the absolute best out of me. He’s fun yet very focused. Positive, energetic, open to ideas and opinions. We had a writing session for the album, and we were so in sync that we wrote five songs in one session. We have the same work ethic; driven, focused, and pushing for excellence. Our personalities and work

ethics meshed wonderfully. I am proud to say that Tom and I are friends. I look forward to writing and recording with him again.

Ain’t Ready for the Grave is my statement piece. It’s very soul baring. I believe that it’s my best work to date, both as a vocalist and as a songwriter. I would like to add though that my best work is still ahead of me!

MA: The road is always a challenge but how does your touring career in the 70's compare to the road today after a 23-year hiatus? What have been your biggest surprises and challenges?

HR: Well, the road…some things never change. The road is easier for me now, because I’ve learned from the mistakes of my past. The demons that once chased me have no relevance in my life now. I’m wiser, healthier, and definitely more business savvy.

I’m viewing the road with the enthusiasm of a rookie ball player who has the knowledge of a veteran. There are no challenges, only new experiences and opportunities for growth.

MA: What was it like to perform with the late BB King, John Lee Hooker, and Willie Dixon? Do you have any fond memories of them that you could share?

HR: It was truly an incredible, life-altering experience to share the stage with these three blues icons. I spent the most time with Willie Dixon. Talking with Willie was like talking with your father or grandfather.

He was warm, welcoming, and generous with his time and advice.

I opened for Willie in 1980 at a club called, The Black Stallion, in Davenport, Iowa.

Most headlining bands don’t usually come out front and listen to their support acts perform. Willie Dixon wasn’t like most headliners. He came out front and listened to my entire set. Of course, I watched Willie’s set and he tore the house down.

After his set, Willie sent his manager to get me. He said Willie wanted to speak with me. There I was, backstage, sitting next to one of the greatest blues men to ever walk the earth. He told me that he really enjoyed my set. He said I had an incredible voice – real powerful, dynamic stage presence, and I knew how to work a crowd. Willie said what he liked most

Ike July-August 2017 about me was that I already knew the importance of serving the song, and telling the story. He said I had a raw kind of magnetism. He said I was a natural. He told me the name, Hurricane Ruth, fit me perfectly. He said don’t ever get rid of that name. He joked and told me he’d been in a couple of hurricanes, but I was the only “Hurricane” he could appreciate.

Willie said he had a song that he had written called, “Mighty Earthquake and Hurricane”. He asked me to record the song with him as a duet. I remember practically shouting, “Yes, I would love to, I’d be honored!” He arranged for his manager to send my manager a cassette tape of the song, and the sheet music. Regrettably, that recording never came to fruition. The cassette of the song has long been lost, but I still have Willie’s sheet music. I will treasure it, and my time with Willie forever.

MA: Corporate management is a far distance from being a red hot blues-rock belter on stage. How difficult was the decision to jump back on the stage or into the studio?

HR: It wasn’t difficult at all. There wasn’t a day that went by that I didn’t think about, and visualize, returning to the stage and the studio. My time in corporate America was a means to an end. It saved my life, taught me tough lessons, gave me discipline, and a much greater appreciation and respect for my current life.

MA: You seem to be able to channel the most traditional blues divas as well as the hardcore female rockers. What female musicians have had the biggest influence on you?

HR: Big Mama Thornton – Powerful! She owned the stage. It didn’t matter who she had on stage with her, the stage was hers!

I love the fact that she could blow a mean blues harp. She inspired me to start playing blues harp.

Janis Joplin – So much fire and passion in every song she sang. Raw, real, nothing contrived about her vocal delivery. My Dad bought me Janis’ album, I Got Dem ‘Old Kozmic Blues Again Mama, and I was blown away! The horns, the Hammond B3, and Janis soaring over the top of that wall of sound, my life was forever changed. The first blues song I ever sang publicly was a Joplin composition, “Turtle Blues”.

Aretha Franklin – The Queen of Soul! Her vocal clarity and range were what first hooked me. I had never heard anyone

Page 9 who could jump into the upper stratosphere of her range with such accuracy and clarity as Aretha.

Dinah Washington – My mom loved Dinah Washington. She had Dinah’s album, Dinah Washington Sings the Best in Blues. Mom gave me her album, and encouraged me to listen to it. I’m glad I did.

Dinah’s voice was vibrant. It seemed to jump out of the vinyl. I learned how to sing jump blues from listening to Dinah.

Ella Fitzgerald – She is my favorite jazz/ big band vocalist. My dad introduced me to Ella. She knew how to swing. Some of the jazz nuances that I use in my vocals, I learned from Ella.

Ann Wilson – She is the best female rock singer on the planet. Period! She’s a wonderful songwriter and lyricist. She has tremendous range and power. She has larger than life stage presence. I played Dreamboat Annie over and over again, trying to figure out how she could do what she did vocally.

MA: Introduce us to your current touring band.

HR: I have performed with several incredible musicians on my new journey. Bart Walker, formerly of Royal Southern Brotherhood, and I have really hit it off, and we are going to perform several shows together. Tom Larson (drums) and Doug Swanson (bass) will also be regulars in the new lineup. However, don’t miss a show, because you never know who I might be on stage with…

MA: You performed at the IBC in Memphis. How exciting was it to be among blues artists and fans from all over the globe in one place?

HR: Though I only competed at the IBC once (2012), I have attended every year, but one, since 2012. I am always inspired by all the acts from all over the world who have worked so hard to get to the competition.

Every blues style you can imagine, all being performed in a three block area. The atmosphere is electric!

I have learned that the most important part of IBC week is networking. I have met MANY wonderful people over the years. Most of whom are now my dear friends, and we all make up one big blues family!

MA: What are some of your favorite current venues that you have performed?

Fans need to support venues that really support live music.

HR: I have been very fortunate to have performed at some wonderful clubs, theatres, wineries, and festivals. My “favorites” list would be a mile long. I’m encouraging everyone to get out and support live music.

MA: As someone who has never given up on your dream and shown that it's never too late to act upon it, what other advice could you offer to young, aspiring musicians out there?

HR: I have several affirmations that I’ve written on a notecard. I read them every morning. The notecard says: * With God, all things are possible. * I will remember my dreams and fight for them. * Be true to yourself. * “Don’t worry about whether you are better than somebody else, but never cease trying to be the best you can become. You have control over that; the other you don’t” – Coach John Wooden * Take your focus away from the negative and focus on what’s positive. * Disappointment can lead to new opportunity. * Look at the big picture. * Have big dreams. Have no limits. * Keep your eye on the prize. * Work hard! Do the work! * Be persistent! Be fearless! * Never give up! Never back down!

MA: Thanks, Ruth, for inspiring and reminding us 'mature' fans and artists that we "Ain't Ready for the Grave" yet and there is a lot of rocking soul left in us to share. Best wishes on your latest endeavor.

The Groove- Crossroads Blues Society Newsletter

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Music Reviews The Tolono Tapes Kilborn Alley Blues Band Run It Back Records www.kilbornalley.com 12 tracks/50 minutes One might imagine that being based in Champaign, Illinois would inhibit a band’s potential but the Kilborn Alley has thrived in their college town background, issuing four previous albums and being serial nominees in the Blues Blast and Blues Music Awards, including Blues Blast wins for The Sean Costello Rising Star Award in 2009 and Song Of The Year in 2010 (“Better Off Now”). This collection also shows that a visiting blues artist may well get the opportunity to lay down some music while in the Kilborns’ home patch as a slew of great blues musicians add their talents to these recordings which were made in three separate sessions in 2015/6 at Matt Talbot’s studio in Tolono, Il, hence the title. Andrew Duncanson on guitar and vocals, Josh Rasner Stimmel on guitar and Chris Breen on bass have been playing together since high school and are joined on these recordings by drummer Aaron ‘A Train’ Wilson plus a variety of guests including Henry Gray, Monster Mike Welch, Jackie Scott and Bob Corritore. There are nine Kilborn originals here (three reworked from earlier albums), two by Jackie Scott and one by Henry Gray.

The album opens with a reworking of “Fire

By Fire”, one of two tracks originally from 2008’s Tear Chicago Down. The guests here are Anthony Geraci whose piano starts things off and Mike Welch whose guitar locks into Josh’s as Andrew sings of taking a ‘hair of the dog’ to offset his hangover, the whole being a great piece of classic blues. Anthony and Mike also grace a re-make of one of the Kilborn’s best songs “Christmas In County”, also from Tear Chicago Down, a slow blues about spending the holiday season in prison, Andrew showing real emotion in his vocals and Mike playing some great Otis Rush licks. Nonagenarian Henry Gray sounds nothing like his age as he plays some great piano on the Kilborns’ frantic shuffle “Home To My Baby”, accompanied by Bob Corritore’s superb harp work and then sings his own “Cold Chills” with the same ensemble. Virginia’s Jackie Scott sings two of her own songs: on

“Easy To Love You” Jackie sounds very much at home with her partner and the Kilborns are augmented by their former harp player Joe Asselin; “Been Trying To Figure Out” is lower key and is one of the standout tracks here as Andrew and Josh trade licks under Jackie’s soulful vocals.

Harmonica player Ronnie Shellist plays on three tracks: “Going Hard” featured on the Kilborns’ last album 4 but, in this reviewer’s opinion, suffered from a lack of focus in a lengthy version. Here the song clocks in at just under five minutes and is a far better take with Aaron’s drums starting things off before Andrew shows his angst in a powerful vocal performance.

Ronnie plays up a storm on “Terre Haute”, another strong cut, a driving blues with a great hook, all about meeting a girl from Indiana who “left me a note saying call me when you get to Terre Haute”.

Corey Dennison and Gerry Hundt featured on two tracks: Andrew can always carry a soul tune and on “Misti” Corey shares vocals with Gerry on guitar and Joel Baer taking over the drum stool as Aaron plays some percussion. It’s an outstanding track with great vocals from both Andrew and Corey, Josh and Gerry combining well on guitar. However, the second contribution with Corey and Gerry works less well: “Night Creeper” has Aaron and Joel swapping percussion roles and Andrew and Corey delivering spoken lyrics, Corey defined in the sleeve notes as ‘storyteller’, Andrew as ‘speaking’ is a tale of odd shenanigans on tour.

“Sure Is Hot” adds a rap from Cerbo. This album is high quality and very much worth hearing. Highly recommended.

Reviewed by John Mitchell Double Strike Andy T Band featuring Alabama Mike American Showplace Music www.andytband.com 13 tracks One of the challenges of life is dealing with change. For musical groups, replacing a key member can be a traumatic event that upsets the existing group dynamics. On their latest release, the Andy T Band serves up convincing proof that change isn't necessarily a disruptive force.

Guitarist Andy Talamantez joins up with producer Anson Funderburgh to make sure all the pieces continue to fit together After six years, lead singer Nick Nixon made the decision to retire due to health issues. Appearing on half of the tracks, his voice still packs plenty of power on the Chick Willis classic, “I Feel So Bad,” while offering up a heartbreaking plea on “Juanita” over a horn-driven arrangement featuring Kaz Kazanoff on tenor sax, John Mills on baritone sax, and Al Gomez on trumpet. On Goree Carter's “Drunk Or Sober,” his soulful vocal glides along on a rhumba-style rhythm from Jim Klinger on drums and Johnny Bradley on bass, accented by hearty solos from Andy T and Kazanoff. ”Deep Inside” features Nixon on vocals and Greg Izor who adds a slick and somewhat greasy harp to the cut, his lone appearance here on the CD. The band's new member, Alabama Mike Benjamin, has been singing the blues on the West coast for the last eighteen years, with three critically praised recordings under his own name. His raw, shouting style opens the disc on a high note on “I want You Bad,” as the driving shuffle serves as a launching pad for Andy T's stinging guitar. Talamantez's original, “Dream About You,” is another high energy romp with Benjamin and Andy T sharing the spotlight. Guest keyboardist Mike Flanigin on organ adds another layer of complexity to Nixon's “Sad Times”. Another standout is “Doin' Hard Time,” with Benjamin expertly crying the blues surrounded by the horns, Funderburgh on the second guitar solo, and Larry Van Loon's tasty piano fills.

In Alabama Mike, Andy T has added a vocalist with the requisite talent to carry on the legacy of the Nick Nixon era while adding some unique flair to the band, which rolls along in high gear throughout this excellent recording. The contrast in styles of Andy T and Alabama Mike are interesting to compare here. Both do truly outstanding work in their own way. Nick is smooth and soulful while Mike has more of an “in your face” style of shouting.

Each are unique and both make wonderful music to compliment Andy T and the rest of the talented artists here. Get a copy of this one; you will not be disappointed!

Reviewed by Mark Thompson

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Ike July-August 2017 Bad Movie Bobby Messano The Prince Frog Record Company 15 Tracks What keeps a veteran blues artist traveling down that same road in search of that one tune, that one album that will take their career to another level, reaching that goal they have spent a lifetime trying to achieve? Bobby Messano has traveled many roads over his extensive musical career. He will be the first to tell you as any musician can testify, that the journey is not always an easy one. As a blues fan, I can certainly appreciate his lifelong commitment to continue down that road to deliver his rare talent of creating both live and studio music. With every new album and performance, Bobby has that ability to bring his fans something new and creative every time.

After returning in 1990 from a European tour with Robin Beck, a singer from Brooklyn, New York, Bobby took notice of Gary Moore's new blues album Still Got the Blues. After playing blues earlier in his career and seeing Moore's successful shift from rock to blues, he made the career decision to follow the same path to enter the blues world. It really takes that leap of faith to follow your heart and change directions in the middle of a career, knowing full well that confidence in yourself will be the driving force to your success. Over a period of 27 years he has made the transition from a blues guitarist, doing other music, to becoming a blues artist in the true sense of the word.

His eighth release, Bad Movie is about life and all the curves it may throw you along the way. It offers a new fresh approach to blues music like every new album he releases. The vocals, musicality, and song writing on his new release offer something more that has to be experienced first hand. From beginning to end this album has Bobby Messano’s personal stamp on every song like no other album he has released. Each original tune has well written and thought provoking lyrics and a personal life long connection, making it one of the best of his long career. Bobby Messano has reached the summit of his long rewarding career with Bad Movie the first co-written with other writers. Jon Tiven and Bobby co-wrote wrote 14 of the songs with the help of writers Steve Kalinich and Larry Weiss about Bobby's story following a tumultuous 18 months in Messano's life, completing the lyrics for the project before heading into the studio. In a

recent interview, Bobby is quoted as saying "the best story sometimes about yourself is the one that someone else writes about you."

The album opens with the title track, the first written by Bobby Messano & Jon Tiven and like you would expect from Messano, delivers hot, electrifying guitar solos. They move suddenly into the stealthy ballad "Come To Your Senses" written by Brian May of Queen and Jon Tiven, with guitar riffs as expressive as a live performance of "My Guitar Gently Weeps." This is woven into the deep, steady, reverberating groove heard from the rhythm section of Canova on bass and Jackson on drums. "Why Water a Dead Rose" is one of deepest, most emotional ballads that I have heard written by a blues artist. It's an original tune that most people can relate to at some point in their lives. Listening to this tune evokes memories that will take you back and replay over and over in your mind like a bad dream. The song unfolds with poetic lines like "There's no sunlight in this garden" and continues later with "Love leaves in its wake, just ghosts and souvenirs that we carry in our hearts with our tears through the years. You know I've got plenty of those, my pain and regret it still shows, I've got woes from my head to my toes but why water a dead rose. Held up my end but you chose to leave me, that's the way it goes, so the only question I pose is why water a dead rose?" The band takes you down that "Road To Oblivion" to satisfy your craving for some Southern soul.

"Unconventional Wisdom" again releases the fury of those explosive guitar solos and powerful, passionate vocals, building throughout the song with the same force as a sudden storm, summarizing the political arena today. The band slips into some funky Memphis soul delivering a shimmering, sultry '60s sound, with Bobby taking full command of the lead vocals to compliment his funky guitar groove, backed by the vocals of Canova and Jackson on the track "Too Good To Be True." With a steady underlying Bo Diddly beat, Bobby lays it on the line with support of powerful backup vocals and intense slide guitar as he delivers his message with intensity on the original tune "If The Phone Ain't Ringin', It's Me Not Callin'." With the rhythm section establishing a hard, driving beat, "Never Too Late Too Break A Bad Habit" rocks on with Messano's blistering guitar riffs reminiscent of that little old band from Texas. Messano continues to tell a story of life's surprises, sparing no details with a script that nobody would believe, as a duet with Alecia Elliott-

Fischer in the tune "Water Under the Bridge." "You Left Me No Choice" is a blues ballad done reggae style with Alecia Elliott-Fischer once again joining Bobby with her angelic vocals. "The Girl That Got Away" is a great blend of emotional late night blues and jazz, sending you down that long road called loneliness. With his haunting vocals and guitar solos, he leaves you with a vivid portrait of a person left only with a handful of memories, reminded that "love can make you happy or it can make you want to die." Relying heavily on his wah-wah pedal, "I Thought We Had This" has a steady piano accompaniment and smooth backing vocals to validate Bobby's words of wisdom "I thought we had this, that we were on the road to peace." With a beginning drum solo reminiscent of the ZZ Top song "Gimme All Your Lovin', "We Need A Blessing" points out some of current issues we need to face as a nation, that are dividing Americans and posing many questions. Messano puts an exclamation point on his message with some powerful guitar solos. If those lyrics are not thought provoking enough, "Is It Too Much To Hope For A Miracle" looks at our ever changing society with an element of concern. "American Spring" written by Bobby Messano, Jon Tiven, and Larry Weiss concludes this monumental album, drawing from their rock and roll roots to end with a no holes barred guitar extravaganza.

I think it is every artist’s dream to create that perfect studio album that best expresses their thoughts through musical articulation. In our conversations, Bobby has conveyed the message that Bad Movie could be his finest work to date and with that being said, I would have to agree with him. Every one of his albums has something special, but this one says it best! Knowing Bobby for several years, he has a distinct sincerity as a person, which can be heard both in his writing and performing. He has given us a wealth of musical gifts that will remain in our hearts forever. Bobby has gone many different directions throughout his career and always seems to be successful. As an entertainer and person he always remains positive. Every day is a new day and a new adventure for Bobby Messano, a singer, songwriter, musician, and friend forever.

Review by Rick Davis

Ike Page 12 Decisions Jim Allchin Sandy Key Music jimallchin.com 14 tracks Jim Allchin is a selfdescribed American blues rock guitarist, philanthropist, and a former Microsoft executive. Born a good southern boy, his computer science career took him through Stanford and Georgia Tech and eventually to Microsoft. He played while he worked and for the past 10 years ge has solely dedicated his career to his music.

This is his third solo album, produced by Tom Hambridge who assisted Allchin in writing two of the 14 songs.

Allchin sings and plays lead guitar. Bill Bergman is on saxes and arranged the horns, and Pat Buchaban and Rob McNelley join in on guitar as did Kenny Greenburg on “After Hours” and “Destiny.”Hambridge is on drums and backing vocals, Michael Rhodes is on bass and Steve Mackey is on bass for the same songs as Greenburg. Lee Thornburg plays trumpet and trombones, Reese Wynans is on Hammond B3 and piano, Jim Wallace jpins the fray for the same two songs on keys. Wendy Moten backs Keb Mo’s vocals on “Healing Ground” and Mycle Wastman does the same and joins in on two others.

The album kicks off to a huge rocker entitled “Artificial Life.” It’s got a groove like 70’s or 80’s rock song with big guitar and vocals and the B3 blaring in support. Allchin offers a stinging set of solos. “The Mexican End” follows, starting off with a nice guitar line and B3 in support. Allcin comes in on vocals and the horns are in full backing mode. It’s a jumpy cut that swings well and then Allchin gives us another of his trademark solos. The title track is next, another rocker with Jim giving us a cool intro and then has more organ support for his high energy vocals.

And gues what? There’s another stinging and pretty guitar solo!

Keb Mo’ sings the lead on “Healing Ground;” the tempo comes down to blues rock ballad pace and Mo’ come in after the intro with his suave and smooth style. Allchin does the second verse and then Mo’ does a quick chorus and Allchin solos. Mo returns and then after the verse all the backing vocalists join in a big finish with horns and B3 in ample support. “Blew Me Away” is a sweet little shuffle with lots of over the top guitar work and the full band backing Jim. “She Is It” is a soft rock ballad that opens with vocals and bare piano. The B3 appears an the band fills in as Allchin give s a passionate performance. “Just Plain Sick” is a swinging boogie woogie with piano and a telecastersounding guitar lead. It is a beautifully executed instrumental with a rockabilly feel.

The Groove- Crossroads Blues Society Newsletter Heavy, slow blues with greasy organ and horns follows; “Friends” has a cool, long intro and then Allchin testifies how money will opens doors and brings fair-weather friends.

A huge dose of gritty guitar is served up and then Jim returns for more testifying before going out in a blaze of guitar and organ.

“You Might Be Wrong” begins acoustic and has the band fill in as Allchin asks we all get along despite our differences. He offers up a fine acoustic solo, too. It turns into a bigger production with horns a blaze and organ helping out. “After Hours” is an ethereal sort of rock cut where they go instrumental. The guitars echo and give an airy sort of sound and the B3 fills in similarly; reminded me a bit of some of Carlos Santana’s work. “Don’t Care” follows, a stinging and poignant blues rocker with big guitar and organ solos.

“Stop Hurting Me” is a soft and flowing cut that changes things up again. The guitar is up front but nice piano and organ work along with horn arrangements make it flow. “My Father’s Eyes” is a rock ballad of sorts with nice restraint demonstrated. The song does build at the end for a more passionate finish.

“Destiny” is the other big guest track and it closes the album. It’s an instrumental done in maybe a Moody Blues minus the orchestra sort of theme. The guitar heavy with echo effects drives the piece but thoughtful organ and other backing make it a pretty cut.

More rock than blues, it’s still a well done album with nice guitar, good vocals and great backing support. I’ve heard Allchin’s prior two albums and this seems to be the biggest and best. He offers a variety of styles and approaches along with wellcrafted songs. I enjoyed the album and those who like their blues with a big rock flare and contemporary sound will love this one, too!

Reviewed by Steve Jones The Swamp Boogie Queen Katie Webster Top Cat Records www.TopCatRecords.com 15 tracks/68 minutes Katie Webster passed away in 1999 after a fascinating career: in the 1950’s she played with Lonnie Brooks, Slim Harpo and Clifton Chenier amongst others, in the 1960’s she was Otis Redding’s pianist for three years before taking the 1970’s off to raise her family. She returned to playing in the 1980’s and reinforced her strong reputation as a live performer with a three disc run on Alligator which raised her profile. She was a popular visitor to Europe and this performance was in fact recorded in Athens, Greece in November 1990. The sleeve notes contain recollections of Katie from Vasti Jackson who not only played and recorded with her but

asked her to be his son’s godmother and from John Angelatos who toured in Greece with Katie on several occasions, also becoming close friends. These heartfelt testimonies can only endear Katie to new listeners but the proof is in the music which is very well recorded and demonstrates Katie’s piano and vocal prowess in a fine solo show.

Katie opens the show with a wonderfully appropriate song, “It’s Good To See You” by British folkie Allan Taylor, the lyrics most appropriate for a visiting musician: “I have travelled through many lands and it’s good to see you and be in your home. A constant friendship, one that never ends, no matter how near, no matter how far.” “Basin Street Blues” reveals Katie’s love of New Orleans and we get a surprise in Mark Knopfler’s “So Far Away” which Katie renders as a touching ballad. The program keeps a fine balance between styles as the almost inevitable “Got My Mojo Working” is neatly balanced by a medley that incorporates several well-known spirituals and a John Lee Hooker feature of “Hobo Blues/Boogie Chillen’” is set against a gentle reading of Jimmy Reed’s “Honest I Do”. Katie is obviously enjoying herself on “I Can’t Give You Anything But Love” as she sounds like Billie Holiday one moment, then Marilyn Monroe the next while playing some amazing stuff with both hands. The closing pair of tunes pay homage to Otis Redding: “Try A Little Tenderness” follows Otis’ version in starting achingly slow as Katie draws every drop of emotion from the lyrics before she builds up the pace and tension of the piece; Katie then finishes the show with “Sitting On The Dock Of The Bay” to which she adds a jazzy feel.

There are also three of Katie’s originals here and all are highlights: “Katie’s Boogie” rattles along as Katie plays some great boogie piano as well as taking lyrical snatches from “Dust My Broom”, “Jelly Roll Blues”, “The Blues Is Alright” and “Sweet Home Chicago”; “Two Fisted Mama” is also a boogie tune in which you would swear there is a bass player present until you realise that it is Katie’s left hand you are hearing as Katie celebrates her personal story and the success that playing ‘the devil’s music’ has brought her; lyrically “I’m Bad” is a makeover of “Hoochie Coochie Man” and Katie seems to relish the words, even telling the audience that she is “bad, but not like Michael Jackson”.

The only criticism is that the times shown on the artwork are quite inaccurate, a couple of the songs being ‘out’ by more than two minutes. However, a little sloppy editing should not detract from the quality of the performances here which will delight both long-term fans and lovers of boogie piano, soulful vocals and great interaction with the audience.

Indeed, it is surprising that this fine recording is previously unreleased.

Reviewed by John Mitchell

Ike July-August 2017 Hometown Blues Hot Roux Hi Hat Records www.hotroux.com 11 tracks/38 minutes With a name like Hot Roux you might expect the band to come from New Orleans and the band does hit a Louisiana groove on some tracks but in fact they are from California! The rhythm section of Jerry McWorter on drums and Brent Harding on bass wrote all the material here, Jerry also handling all lead vocals; guitar duties are shared between Franck Goldwasser (aka ‘Paris Slim’ of the Mannish Boys) on four tracks, Ed Berghoff and Kyle Jester on three tracks each and Johnny Main and Jon Lawton on a cut each. Carl Sonny Leyland plays piano on one track, RJ Mischo harp on two and Jimmy Calire and Bill Flores add sax to three.

Johnny sings in a clear and pleasant voice throughout and on opener “Don’t Wanna Talk About Love” there is a definite NO feel with the saxes pushing things along nicely, solo honours going to Jimmy’s tenor, RJ’s high-pitched harp and a ‘twangy’ outing from Franck. “Della Be My Baby” opens with Jerry’s drums and Franck’s slide and develops into a fine piece of rock and roll with New Orleans drum patterns. The pace drops for “Woman You Haunt Me” with the piano adding a 50’s Rn’R feel to the track before the horns make a second appearance on “Down And Out” which is possibly the standout track here; Franck’s rhythm work underpins everything, the horns add depth and Jerry’s vocal is convincing as he sings of being left stranded. The short rocker “Misery Misery” has a real 50’s feel with Kyle’s rocking guitar at the heart of the song while “One More Train” sounds a little like Canned Heat’s “Goin’ Up The Country” performed by a country band!

Ed Berghoff adopts a Mark Knopfler style of guitar on “I Hear’m Talking”, a gentle tune with rather sad lyrics which Jerry conveys well. The comic “Can’t See” finds Jerry bemoaning his failing eyesight which results in multiple pairs of glasses: “I got two on the nightstand and more in the drawer, another pair on a stack of books piled on the floor. Can’t see – these old baby blues have passed their warranty”.

A fun song that will make you smile as you listen to it! “Rent Party Boogie” does pretty much what the title suggests as Jimmy’s brooding sax follows the rhythm section and Johnny Main’s rock and roll guitar in support of Jerry’s slightly dis-

Page 13 torted vocal. RJ Mischo makes his final appearance on “What A Lie”, a slinky Latin rhythm and Jerry’s cynical lyrics about some marriages, Franck adding some tasty slide. The album closes with the catchy “Wake Up Slim” in which Ed plays some country-flavoured licks over his own rhythm work. Indeed, one of the hallmarks of this album is that with the exception of “What A Lie” only one guitarist appears on each track so all the rhythm and lead interplay we hear is by a single player.

Overall a thoroughly entertaining album with a satisfying mix of retro styles – definitely worth investigating.

Reviewed by John Mitchell You Can’t Do That!

Mick Kolassa & Mark Telesca Swing Suit Records 2017 www.mimsmick.com 11 tracks/38 minutes Both huge Beatles fans, Mick Kolassa and Mark Telesca met at the Blues Music Awards and spent some time playing around with their herooes’ tunes. You Can’t Do That! was the reaction of many when they announced an acoustic album of Beatles songs. However, Mick and Mark are far from the first blues musicians to record Fab Four tunes and their allacoustic take makes for a fun album. Mick and Mark got Jeff Jensen to produce and the three of them share guitar duties, Mark also handling the bass. On drums/ percussion is James Cunningham and other Memphis musicians add their talents: Eric Hughes (harp on two tracks), Marc Franklin (trumpet on one, flugelhorn on one), Tommy Burroughs (fiddle on one track, mandolin on one).

The songs come from every phase of the Beatles’ career: singles, album tracks, early (Hard Day’s Night), late (Abbey Road). Some are easily recognisable, others are relatively transformed, as is opener “I’ll Cry Instead” which sounds like a 20’s vaudeville piece with gypsy guitar and Marc’s trumpet, Mick singing this one convincingly in his gruff tones. It is hard to disguise one of the biggest hits of all time and “Can’t Buy Me Love” is recognisable though the Spanish guitars and latin percussion add a different feel as Mark sings the familiar lyrics. “I Feel Fine” is slowed right down and Eric’s harp gives this one a real blues feel while Sgt Pepper’s “Fixing

A Hole” has some lovely guitar interplay behind Marc’s strong vocal performance.

The song that gave the album its title featured on Hard Day’s Night and here is transformed into a Delta blues with slide, harp and Mick’s world-weary vocal and it works brilliantly, possibly the standout track.

“Got To Get You Into My Life” has been covered many times and Mick and Mark don’t change it much though Eric’s harp adds a touch of blues to what was always essentially a Rn’B tune. The original version of “Lady Madonna” was frantic but Mick and Mark give it an entirely new twist with the mournful fiddle a key ingredient on a much slower take. One Beatles song ideally suited to a bluesy approach has to be “Why Don’t We Do It In The Road?” and this version works well with all three guitars audible in a good mix. Another old favourite “She’s A Woman” was the original B side (remember those?) of “I Feel Fine” and here is transformed with Marc’s flugelhorn and the percussion adding a middle eastern feel over which Mick sings the lyrics in relaxed style. To close the album Mick and Mark take three pieces from Abbey Road: first the pairing of “Mean Mr Mustard/Polyphene Pam” gives the duo the opportunity to share vocals before “She Came In Through The Bathroom Window” is given a bluegrass treatment with Tommy’s mandolin work featured.

Beatles diehards need have no fear about this project as Mick and Mark treat the material with respect adding plenty of blues touches but retaining the structures of the originals. This is an enjoyable album for all tastes.

Reviewed by John Mitchell

Ike 14 Page Migration Blues Eric Bibb Stony Plain www.ericbibb.com 15 tracks/49 minutes Eric’s latest album makes a sharp contrast to 2016’s The Happiest Man In The World as he reflects on the migrant crisis in the Middle East which links closely to the Great Migration of African-Americans from the Delta to the northern industrial cities. The lyrics are sombre but the music is always engaging as Eric (vocals, guitar and banjo) and regular collaborators Michael Jerome Browne (guitars, banjo and mandolin) and Jean-Jacques Milteau (harmonica) play beautifully throughout and are joined by Ollie Linder (drums on two tracks) and Big Daddy Wilson and Ulrika Bibb (backing vocals on one track each). Eric wrote most of the material, sometimes in collaboration with the other players; Michael and B.A. Markus contributed two original songs and there are two very appropriate covers.

Opening track “Refugee Moan” describes the feelings of leaving your home for destination unknown and how scary that must be. In the liner notes Eric quotes poet Warsan Shire: “no one puts their children in a boat unless the water is safer than the land”, a view of the Syrian refugee crisis which is beautifully reflected in the lyrics of the track: “If there’s a day in our tomorrow when fear an’ sorrow is all gone send us a song to keep us strong, Lord, keep us singing as we carry on”. “Prayin’ For Shore” puts us right there in the leaky boats with the migrants trying to escape the war, a song that really expresses the horrors of the Syrian civil war with JJ’s haunting harmonica a key ingredient. “Delta Getaway” translates the same fears to the migration from South to North in the USA, as Michael’s eerie slide work underlines the lyrics, the central character having “a razor in my hand I don’t wanna use” to defend himself against racist attackers and “With A Dolla’ In My Pocket” follows the trail of a guy trying to escape the south to find better work. Another group of migrants who have always suffered from prejudice are Mexicans and Eric’s “Diego Blues” tells the imagined story of Mexicans who came to replace the departed African-Americans in the southern cotton fields – much needed labour but never properly accepted. There are three instrumentals: the title track has Eric on the 12 string resonator shown on the album cover, Eric’s short “Postcard From Booker” (a revisit to Booker’s Guitar) and the jaunty “La Vie C’est Comme Un Oignon”, Michael and JJ’s version of Cajun music (the Cajuns being largely descended from another group of migrants forcibly removed from their homeland – the Acadians from Nova Scotia).

The Groove- Crossroads Blues Society Newsletter Michael and B.A. Markus wrote two songs for Migration Blues: “Four Years, No Rain” adds the consequences of drought to the crisis in a war-torn land and “Blacktop” paints a picture of a character who has fallen down on his luck: “Slept in your hotel an’ slept in your deep down ditch; when I got my whiskey can’t tell which is which”, Eric and Michael trading vocal verses on the song. The two covers could hardly be more appropriate for the theme of the disc: Dylan’s “Master Of War” sounds ominous and accusatory; Woody Guthrie’s “This Land Is Your Land” is a plea for equality which is picked up so well in Eric’s “Brotherly Love”, a song that gives an optimistic view on the crises we confront today.

This is a fine acoustic album with thoughtprovoking lyrics which should strike a chord in every listener. Recommended.

Reviewed by John Mitchell Fish Outta Water Karen Lovely Self Released www.karenlovely.com 12 tracks Karen Lovely is a Pacific Northwest Blues scene 2010 IBC contestant who placed second.

This was followed by three 2011 BMA nominations after her second release and then her third (produced by Tony Braunagel) garnered her a BMA and a Blues Blast award nomination. This is Karen’s 4th studio album and it features her musical associates of Rick Holmstrom or Doug Pettibone on guitar, Taras Prodanuik on bass and Matt Tecu on drums. A host of others add support on a variety of instruments to good measure. All tracks are originals.

The title tracks gets things rolling. It’s a gritty, slower tempo-ed piece with a cool vibe. Lovely growls and the guitar responds in similar fashion. “Under the MidNight Sun” has a slow to mid tempo groove with some horns (baritone sax gets nice and throaty) in there and some Wurlitzer.

Lovely and guitar spar a bit in this pretty little piece. “Twist My Fate” is straight up Chicago blues in a Willie Dixon style. Slow blues, greased up and cookin’ slow and fine! A little harmonica is in the mix here along with a stinging guitar. Lots of percussion are added for “Waking Up The Dead.”

The groove is more animated here and the cornet is featured in an interesting solo.

Lovely sings with abandon and the guitar slips and slides. “Big Black Cadillac” is slow rocking blues with a little country flavour added. A strident guitar lead (styled after Stephen Stills?) and vocal approach to this one are the main thrust and selling points. “Everything Means Nothing” is

another dark cut that begins with a deep bluesy groove that is the backdrop for the cut. Haunting slide guitar plays behind Lovely and then solos; Eamon Ryland’s appearance on the album for one cut on slide is effective.

He second half of the CD begins with an acoustic cut “Hade’s Bride (There Was a Time).” Eric Gorfain on violin and Richard Dodd on viola create another haunting feel along with the acoustic guitar and mandolin

by Al Bonhomme.Karen sings of a love lost back in time and the simple yet moving support make this chilling. Next up is a song called “Molotov Cocktails.” Lovely sings and orders up, “Another round of Molotov cocktails, please.” She comments sarcastically in a song about the isolation and bad things in the world due to our segregation and division across so many boundaries of our society and world. Even the guitar solo sounds troubled and the organ chimes in similarly. “Next Time” is another nice shuffle in a grand and familiar sort of Willie Dixon and Chicago way. The piano plinks as the bass bumps and moves along and Lovely sings how next time her relationship will be filled with better things, perhaps offering some hope in this generally otherwise somber expression of feeling. The piano solo and support by Phil Parlapiano is a great part of this one. “Nice and Easy” offers more haunting guitar and a slow and dark cut asking to be let down easy because she knows another woman has set her hooks to deep to be removed.

Pettibone’s slide is well done here. “Punk Rock Johnny Cash” has a modernistic jug band feel with dobro, percussion and a little violin backing Lovely as she sings about the subway musician who has smitten her.

It’s a pretty piece. The album concludes with “The River’s Wide,” a song about the growing division between her and her ex.

Produced Eric Corne backs her vocals, does acoustic guitar and harp here as Lovely belts out the lyric and the organ (Parlapiano) takes us to church a bit.

This is a deep and dark set of cut. Lovely seems to be working through some hurtful emotions with these songs, perhaps therapy for building on a new and better day.

Whatever it is, they are beautifully done and movingly crafted and played out. While it may not be an album to listen to when you need an uplifting day, perhaps sharing in living the hurts and wounds expressed here will make you think you life is not so bad.

Lovely has done a fine job here– this is a truly exceptional album of thoughtful and moving songs.

Reviewed by Steve Jones

Ike July-August 2017 Live In Kansas City Nick Schnebelen Vizztone www.nickschnebelenkc.com 10 tracks/52 minutes It was only a few months ago that we were listening to a live album from Nick (Live At Knuckleheads) but here is another slice of Nick, recorded in December 2016 at the same venue. For those who already have the earlier disc the good news is that there is only one duplicate track. Nick is in good form both vocally and on guitar and is joined in this trio set

by Cliff Moore on bass and Adam Hargreaves on drums. The material is mainly drawn from the Trampled Under foot repertoire with a couple of newer songs and covers.

“Fool” is the opener here, Nick singing with his guitar in a slow-burn tune originally released on Wrong Side Of The Blues. It provides a good intro to the power trio/rooted in the blues style and is followed by the only track reprised from Badlands, “Pain In My Mind”, one of the shorter tracks here with an insistent groove. “Herbert Harper’s Free Press News” was a track written by Sidney Barnes and Robert Thurston for Muddy’s Electric Mud and apparently provided pregig motivation for Jimi Hendrix. Here it is transformed into an extended jam with Adam’s New Orleans influenced drums creating an infectious rhythm over which Cliff’s bass and Nick’s guitar weave patterns, Adam being rewarded with a short solo spot. “You Call That Love” is reprised from May I Be Excused, as is the later “Johnny Cheat”; the former is a fine slow blues which Nick sings well in his slightly gruff style as well as providing a suitably dramatic solo; the latter tells the story of violent revenge on a love rival, played to a storming boogie beat. Johnny Winter’s “Mean Town Blues” was a mainstay of TUF’s stage shows and Nick brings his slide work to the fore here on a rip-roaring version. The slide is also present in a gentler style on “Bad Woman Blues” as Nick plays some superb dobro on a track originally on Wrong Side Of The Blues. The only track to feature on both Nick’s live discs is “Bad Disposition” which features plenty of Nick’s moody guitar work as he criticises himself: “I’m telling you baby I can’t get no release, my soul is on fire, don’t know what to do. I’ve got a bad disposition, I’m feeling real mean.”

The album closes with two post-TUF tracks: Chris Schulz’s “Schoolnight” is a

Page 15 toe-tapping shuffle with Nick’s guitar taking on some jazzy accents that show another side of his playing and Nick’s instrumental “Conformity Blues” is very different with the rhythm section operating in a light jazz-rock style that allows Nick to range far and wide, tipping his hat to players like Carlos Santana and Robben Ford as well as getting some sounds that are almost like keyboards into the tune. Perhaps these two tunes may indicate the direction that Nick intends to take, in which case this reviewer would definitely want to be on board for the journey.

Reviewed by John Mitchell Pick Your Poison Selwyn Birchwood Alligator Records www.selwynbirchwood.com 13 tracks/ 54 minutes Florida’s Selwyn Birchwood won the IBC in 2013, also taking the ‘Best Guitarist’ award. He was subsequently picked up by Alligator and released Don’t Call No Ambulance in 2014; his second Alligator release features his regular touring band and was recorded on home turf in Orlando. Selwyn handles the vocals and all guitar parts (including his trademark lap steel work), Regi Oliver plays baritone sax but also other saxes and flute, Huff Wright is on bass and Courtney ‘Big Love’ Girlie on drums; the whole band contributes backing vocals.

Selwyn wrote, arranged and produced the entire album.

Regi’s flute opens “Trial By Fire” before Selwyn comes in on guitar riding the heavy rhythm that reminds you of John Lee Hooker, the lyrics coming from the ‘devil on my shoulder’ school. Selwyn fires off plenty of guitar here and then switches to lap steel on the gospel-infused “Even The Saved Need Saving”, a smart commentary on contemporary society played over a fast-paced beat. Selwyn’s gruff tones work well on this tune which is an early highlight. Guitar and brooding sax set the scene before Selwyn gets confessional on “Guilty Pleasures” and it seems that he indulges in quite a few! Listen for the rumbling bass here that really pushes the tune along. The title track follows similar issues as Selwyn recognises the dangers of addiction wherever you find it, the band striking a lively beat driven by Regi’s sax. Selwyn’s guitar rings out in Albert King style on “Heavy Heart”, a classic break-up lyric, a song and performance

that reminds you of the sadly departed Michael Burks.

“Haunted” is an upbeat rocker with more confessional lyrics following a break-up: “They say I gotta let it go but I won’t let go; my feet are to the fire, I’m haunted by my desires”. “Are Ya Ready?” asks Selwyn as he looks forward over a heavy funk base with wah-wah and sax playing in unison. It is not often you hear a phrase like ‘shifting paradigm’ in a blues song but Selwyn is a smart, well-educated guy, so we should not be too surprised. Revenge is another favourite theme in the blues and “Reaping Time” finds Selwyn on dobro over an acoustic background which builds up over the tune, Regi’s baritone adding to the atmosphere created by the thunderstorm effects in a very effective performance.

The gently funky “R We Krazy?” finds Selwyn playing some jazzy stuff which is picked up in a fine solo by Regi before Selwyn gets serious on “Police State”, an acoustic slide track with serious lyrics about police violence. Showing his more humorous side, Selwyn discovers after a night’s heavy drinking that he has sent many texts to his ex-girlfriend, so “My Whiskey Loves My Ex”! The band plays superbly on this one, following every twist of the lyrics and supporting some excellent guitar fills. The extent of Selwyn’s attachment is even clearer in the fine ballad “Lost In You”, Regi’s romantic sax setting the scene for some lovelorn lyrics: “Searching for myself, I hope I find me again, cuz I’m lost in you”. Selwyn proves here that he can handle a quieter, sensitive song as well as he does the more upbeat tunes. The album closes on another good song about modern life in which “I used to work 60 hour weeks so my boss could drive a Benz; I won’t just be a cog in the machine if the machine don’t give a dam about me”, so Selwyn refuses to be a “Corporate Drone”.

With intelligent lyrics, a solid band in support and his strong voice and guitar skills Selwyn Birchwood is a man on the rise and this album represents a significant step forward.

Reviewed by John Mitchell

The Groove- Crossroads Blues Society Newsletter

Ike Page 16 10,000 Feet Below Eliza Neals E-H Records www.elizaneals.com 11 songs/47 minutes Don't be fooled by this cover. The blond powerhouse emerging from the sewer in the photo is no wallflower. Eliza Neals is an electrifying vocalist, and she's gathered an all-star lineup to deliver 10,000 Feet Below, an in-your-face collection of blues-rock that's powerful enough to knock you off your feet if you're not careful.

A multi-instrumentalist who concentrates on keyboards on this one, Neals is based out of Detroit and tours the world with her band, The Narcotics, which features another Motor City blues-rock giant, Howard Glazer, on guitar. They're joined here by Rock And Roll Hall Of Fame guitarist Billy Davis (Jimi Hendrix Band) and Grammywinning stringbender Paul Nelson (Johnny Winter).

The rhythm section includes Skeeto Valdez (Johnnie Bassett and Trey Anastasio), Demarcus Sumter, Brian Clune, Rubin Nizri and John Medeiros on drums, and Paul Randolph, Lenny Bradford (Joe Louis Walker and Murali Coryell), Mike Griot and John Abraham, who take turns on bass. Neals contributes piano, Hammond B-3 and Rhodes keyboards and aiding the rhythm on tambourine.

Make no mistake, however, Eliza's the star here in a collection of ten originals and one cover that remain faithful to the blues format, but takes liberty with traditional boundaries. She possesses a voice that's totally unique while being compared favorably by critics to Etta James, Janis Joplin and Ricky Lee Jones, among others.

The album kicks off with "Cleotus," a stripped-down, guitar-driven, swampinfused memory about a man who walks into the singer's life one day and announces he's going to become her man one day, only to walk away, never to be seen again. A guitar line introduces "Another Lifetime," a slow-blues burner with voodoo overtones about a man whose lips deliver what seems to be the kiss of death. Running out of time, Eliza wants" to make him mine."• The action heats dramatically for "Burn The Tent Down," a rocker that describes the arrival of a ten-wheeler in preparation for a barbeque that's destined to be a blowout. The title tune, "10,000 Feet Below," recounts a return from the under-

world and the warning to a wrongdoer that there's a fire waiting for him on the other side.

Neals' vocal pyrotechnics introduce "You Ain't My Dog No More," a rocker that tells a former lover he's no longer getting any treats, before Nelson's featured on "Cold Cold Night," a slow-blues ballad about a man who never listens to what the singer has to say. The only cover in the set, Skip James' "Hard Killing Floor," follows with a totally new, modern arrangement, before Glazer comes to the front for "Call Me Moonshine," a steady-driving, slowwalking rocker.

Voodoo imagery returns for "Downhill On A Rocket," about another person on a slow descent to Hell, before Eliza delivers "Merle Dixon," apparently a tribute to a main character from The Walking Dead TV show. Another blues-rock ballad, "At The Crossroads," features Davis and brings the action to a close.

Available through Amazon, CDBaby and other major retailers, 10,000 Feet Below is never boring, and right up your alley if your tastes run to the rockier side of blues.

Reviewed by Marty Gunther Roll The Dice Hector Anchondo Band Self Released hectoranchondo.com 10 tracks The Hector Anchondo Band is a cool and sublime group of thirty-something musicians who show decades more experience than their birth certificates do. They are a great band with an outstanding sound. Hector hails from Omaha, Nebraska and is still based there. They represented the Omaha Blues Society at the 2015 and 2016 IBCs and were semi-finalists the first year and finalists the second. It’s easy to see why by listening to this CD. The band is Hector on guitar and lead vocals, Khayman Winfield on drums and vocals, Justin Shexlton on harp and vocals, Josh Lund on bass, Matt Russo on percussion and Eric Stark and Kenny glover on horns. This is a tight band with a lot of moxie!

The CD opens with a driving and fun “Dig You Baby” which features Amanda Fish on vocals along with the band. Some stratospheric guitar, great vocals and

horns make this a super cut and a great start to the album. High energy would be an understatement. The harp helps intro the next cut, a mid to up tempo blues with a nice bouncy beat to it. The band does a little call and response and then Hector comes in for a suave and swinging solo followed by a nice harp solo. The title cut is next and it’s another hot cut. Anchondo is once again smooth as silk on vocals and the harp and guitar solos flow easily and give the listener something to take note about in this funky number. “Face It Down” is another bouncy tune that makes you want to boogie. An early harp solo is just fine and the later guitar solo is incendiary. Anchondo sings with passion. Next is “Sometimes Being Alone,” a down tempo piece that gives us a breather and shows another side of the band. Thoughtful pacing and a restrained guitar make this a fine ballad.

A Ventures sort of intro kicks of this next cut; “That’s How it All Goes” is a medium paced cut sung and played in a confident and forthright style. Harp and guitar get their turns on solos on this cool number.

“Jump in the Water” is another swinging piece that is just a load of fun in retro rocking sort of way. Peter Green’s “Black Magic Woman” is the lone cover and begins with a flourish of classical guitar-like riffs before getting to the more familiar territory. Anchondo’s guitar is sublime and his vocals are equally even and precise. The harp goes solo first and then the guitar gets the prolonged and cool solo with the Spanish flair. Nicely done.

“On Your Mic, Get Set, Sing” is a softer and slower love song with Hector asking his lover to sing to him. Another thoughtful guitar solo is featured and it’s just a beautiful cut. The album concludes with “Here’s to Me, Giving Up,” a cool and slow blues with lots of grit and grease on the guitar. Anchondo’s vocals are smooth and suave and the guitar solo is greasy yet clean. The vocals and intensity build after the solo and Hector and the band conclude in an even more passionate manner.

I really loved this album. If you like swinging and rocking blues done right, then look no further. This one is definitely worth a spin or two– I highly recommend it!

Reviewed by Steve Jones

Ike July-August 2017 Memphis Jim Gustin & Truth Jones Self Released www.squareup.com/ store.jimgustinandtruthjones 10 tracks Santa Clarita’s raspy voiced guitar plyer Jim Gustin pairs up with the 6-foot tall and big voiced woman Jeri Goldenhar, aka Truth Jones, for this powerhouse album. 30 years on the music scene in LA, Gustin has played with many a notable. Jones is comfortable with gospel and soul and has a voice to match her stature. Joining them are Steve Alterman on keys, producer Terry Wilson on bass, guitar and percussion, Herman Matthews on drums and percussion, and Teresa James on backing vocals. All songs are originals.

The album opens with the growling vocals of Gustin in “Half Past Ten.” A little piano sol and big guitar solo aqre featured as Jim sings about his woman being out too late.

“Live With Yourself” features a little slide and Goldenhar on vocals, a big contrast to Gustin. Piano and organ continue in good support. Gustin growls out the lyrics to the title track, a mid tempo blues rocker mixing keys, guitar and vocals in a dervish of activity. Jeri sings the lead to “You Know Me Too Well,” a slow blues that begins with an organ into. She gives a sultry performance and the organ is featured throughout.

Gustin takes his turn with “I Love What I Got,” a cut where he sings about love breaking ones heart but he’s got someone and loves what he’s got. He slips and slides on guitar and the organ follows in this slow groove.

“Big Hearted Woman” is a strident and forthright cut with Goldenhar up front and Alterman once again fronting instrumentally on organ. We go from a big hearted to a “Crazy Little Woman” who drives Gustin nuts with her lovin’. The piano takes the biggest part of the solo and makes this one bounce even more. “I Ain’t Playing” has Jeri stating with no ambiguity that she’s not playing the game any more– she’s through with her man. “Slipping Away” is Gustin giving us a cut about his relationship slipping away. Goldenhar concludes with a sweet ballad entitled “Right Time for GoodBye;” Gustin comes in to share the vocals as he makes an impassioned performance.

The CD grew on me. Gustin’s vocals are rough but his grit and style are kind of cool and his guitar is well done. “Truth Jones” has a big and passionate approach and they do complement each other well and James’ support is also cool. The band features a lot of well done keys (piano and

Page 17 organ), too, making for a cool sound. I enjoyed the CD and it’s unique vocals and the passion throughout it.

Reviewed by Steve Jones Different Voices Corky Siegel’s Chamber Blues Dawnserly Records www.chamberblues.com 12 songs/57 minutes In a world where artists from other disciplines have tended to consider blues a poor, undisciplined stepchild even though it gave birth to all Western music forms, Chicago-born harmonica master Corky Siegel has done his best to change that view. And this beautifully conceived and executed CD, recorded with a four-piece classical string quartet and musicians from the blues, jazz, folk, rap and indie world go a long way in carrying that message forward.

Born in the Windy City during World War II, Siegel and partner Jim Schwall were standard bearers among the multitude of young white blues artists who exploded on the scene in the ‘60s. Corky – originally a sax player who’s also a gifted vocalist, keyboard player, composer and author -- and Jim – a guitarist whose background was in country music -- met while students at Roosevelt University in The Loop.

Formed in 1965, the Siegel-Schwall Band drew immediate comparisons to contemporaries Paul Butterfield, Mike Bloomfield and Charlie Musselwhite and soon became the house band at the historic Pepper’s Lounge, where they hosted a galaxy of blues superstars. Signed to Vanguard Records and later Wooden Nickel, with whom they won a Grammy, they toured nationally before disbanding in 1974.

Despite their blues roots, their love for classical music ran deep. They performed the William Russo composition, “Three Pieces For Blues Band And Symphony Orchestra,” with the San Francisco Symphony in 1968, becoming the first blues group ever to enter the world of classical music. The idea was conceived by SFS conductor Seiji Ozawa, who fell in love with Siegel-Schwall during his stints in Chicago, and the performance subsequently appeared as an LP on the prestigious Deutche Grammophon label.

Siegel-Schwall reunited for two albums on Alligator in the ‘80s and continue to work together on occasion. But both men continued with their lofty pursuits. Jim earned a PhD and became a college professor, while Siegel released two solo blues al-

bums before delving into the blues/ chamber ensemble format a decade later. Different Voices is his fourth release in the concept. He’s joined here by Jaime Gorgojo on violin, Chihsuan Yang on violin and erhu, Dave Moss on viola and Jocelyn Butler Shoulders on cello.

They’re augmented by Sandeep Das and Frankie Donaldson on tabla, Grammywinning indie singer-songwriter Matthew Santos, R&B diva Marcella Detroit (aka Marcy Levy), saxophonist Ernie Watts, Blues Hall Of Fame drummer/vocalist Sam Lay and Chicago-based folk trio Sons Of The Never Wrong – Bruce Roper, Deborah Lader and Sue Dumel, all of whom are listed as the “different voices” of the title.

Siegel composed eight of the 12 cuts and provided arrangements for the other four.

An extended note on harmonica kicks off “Missing Persons Blues – Opus 26,” in which Siegel’s harp trades lines with Watts’ horn as the strings provide a rich, warm, rhythmic foundation. Watts’ closing riffs are stellar. Santos handles vocals with Corky on chromatic on “One,” which sings sweetly of love in Paradise, before Das is featured on the instrumental, “Time Will Tell Overture – Opus 25.” Next up, the strings kick off a sensationally different version of “Lay Down Sally,” delivered vocally by Detroit who composed the original with Eric Clapton.

Corky steps to the mike and the strings come to the fore for “Angel Food Cake,” based on a Siegel-Schwall composition, before Santos handles guitar and gets an assist on vocals from Yang on a dazzling new arrangement of his original, “Shadows In The Shoe Box.” Next up, the Sons Of The Never Wrong take command for an interesting version of “I’ll Fly Away,” delivered with an old-time country feel and one of the most successful gospel tunes ever, before the interesting juxtaposition that combines Siegel’s “Italian Shuffle” with the Big Joe Turner jump blues classic, “Flip, Flop & Fly,” the latter featuring Lay on vocals.

Three more instrumentals -- Hai HuangHai’s “Galloping Horses” and Corky’s twopart “Counter Intuitive – Opus 24” – follow before Siegel and Santos share vocals on “The Sky Will Fall” to bring the set to a close.

If you’ve got a friend who shies away from the blues, Different Voices is the perfect vehicle to convince them that the roots of the tree have produced quality, classy music that they never could have imagined.

Available through Amazon, CDBaby and other retailers, and strongly recommended.

Reviewed by Marty Gunther

The Groove- Crossroads Blues Society Newsletter

Ike Page 18 Grit Vintage #18 Self-Produced CD www.vintage18.net 11 songs/51 minutes Don’t be misled by the name. Vintage #18 is a relatively new group making its recording debut here as it delivers a collection of nine originals and two covers with an old-school soul-blues feel.

Influenced by the catalog of Stax and Chess records -- and Koko Taylor and Etta James in particular, the band is an aggregation of veteran musicians who got together in 2013 and is based out of Washington, D.C. Vintage #18 is fronted

by Robbin Kapsalis, a Chicago native who grew up in Atlanta. She’s a polished vocalist with a deep, sultry alto delivery.

The band’s led by Bill Holter, a guitarist with a pleasing, unhurried style. A dealer in vintage instruments whose background includes jazz and blues-rock influences, he’s worked with a wide variety of artists, ranging from the Bay City Rollers to the Prime Suspects and Monster Fun Package. They’re backed by bassist/keyboard player/slide guitarist Mark Chandler, who’s spent time with Chuck Berry, Bo Diddley, Charlie Sayles, Sleepy LaBeef and The Coasters, and Alex Kuldell, who’s career includes lengthy service time as a military drummer.

Funded partially through a Kickstarter campaign, Grit kicks off with “Diamonds Are Optional,” a funky stop-time love song with an old-time feel delivered atop a steady, repetitive guitar hook. It’s the first of three originals to open the set. Chandler’s bass run introduces “Is This Too Good?” as Robbin wonders whether she and her new lover are truly destined to be with each other. Holter’s brief guitar runs have a slight psychedelic feel.

Next up, “Love Hangover” is a new walking blues, not the Diana Ross tune of the same name. It continues the thoughts expressed in the previous number with the singer still experiencing the afterglow of a night of romance. It picks up speed for a lengthy guitar solo before dropping back to the opening pace. Bob Dylan’s “Million Miles” gets a slow blues feel before the pace quickens for “Circles,” a plea for help in finding a new direction, and ratchets down again for “Pieces,” a bittersweet memory of the best part of a failed romance.

“Just Got Back From Baby’s,” first recorded in 1971 by ZZ Top and featuring Chandler, follows before four more originals follow. “Poor Me” is a slow soul-blues lament about the speedy end of a love affair, while the rocker “Remember” recalls the way things used to be. The uptempo “Good Eye” is delivered atop a regimented beat as Robbin sings about keeping one eye on her current guy while searching for another man with the other.

The steady tempo “Circles Down Home” brings the set to a close as it describes seeing the light of change shining through despite living a repetitive life.

Available through iTunes and Amazon, Grit is a solid debut. Kapsalis’ vocal range is fairly limited, but doesn’t get in the way whatsoever. The material is both fresh and comfortably familiar. It’ll be interesting to hear what Vintage #18 has to say going forward.

Reviewed by Marty Gunther Live From Briggs Farm Blues Festival Alexis P. Suter Ministers Of Sound Hipbone Records www.alexispsuter.com www.hipbonerecords.com 12 songs/63 minutes Brooklyn-born Alexis P. Suter possesses one of the deepest, most powerful voices in the entire world of music, and her bass/ baritone delivery is familiar to blues fans far and wide, but this album casts her in a light than most concert goers never get to see.

A deeply religious person whose first training as a vocalist came in church and gospel choirs, she’s an anachronism in the music world. Unlike many of her peers from the South who were forced to choose between their religion and their love for what some folks perceive as the Devil’s music, Alexis keeps her feet planted firmly in both worlds despite being a multiple Blues Music and Blues Blast Music Awards nominee.

Recorded on a Sunday at the 2016 Briggs Farm Blues Festival in Nescopeck, Pa., this album marks the recording debut of her band, Ministers Of Sound, as she delivers a deeply emotional, non-denominational message of faith to an eager, enthusiastic crowd. Suter founded the group, which works under the acronym

AMOS, in 2013 to perform what she terms “roots music of inspiration and love.”

Despite the name, however, the AMOS lineup is identical to Alexis’ regular ensemble. Anchored by Dave Keyes, one of the most in-demand keyboard players in the New York metropolitan area and a star in his own right, it features Chris Bergson on guitar, Ray Grappone on drums, Tony Tito on bass and Vicki Bell on backing vocals. As an added treat on this one, Blues Music Award winner Victor Wainwright contributes his voice on one cut.

The action begins with a version of the Sister Rosetta Tharpe classic “Didn’t It Rain.” Alexis’ powerful voice sets the stage with the audience becoming more animated as the spirit moves them with each succeeding cut. Written by Suter and Bell, “Them Days” – about overcoming oppression -- follows and leads perfectly into “Faith, Grace, Love, Forgiveness,” which features the vocals of Keyes, who wrote it.

Another Suter/Bell composition, “Love” picks up the tempo as it delivers the message that we all have to get along and help each other in a loving manner. A take on Leon Russell’s “Song For You” follows and features Wainwright, who shares vocals with Alexis, before a cover of the ballad, “Piece Of Clay.” Made popular by Marvin Gaye, it deals with the struggle for self-identity, while another original, “Free” – inspired by Levon Helm -- gives Suter space to stretch out vocally.

The Bergson-penned “Goin’ Home” – about being ready for a heavenly reward - precedes a cover of the Sam Cooke standard, “A Change Is Gonna Come” before a version of the traditional spiritual, “When I Rose This Morning.” Another gospel classic, “Wade In The Water” – first published by the New Jubilee Singers in 1901 – follows before a version of John Lennon’s “Let It Be” concludes the set.

The music here is perfect for folks of all faiths. Filled with universal messages throughout, it never targets folks of one religion despite Alexis’ deep Christian faith. Available through Amazon, iTunes and other retailers, it’s powerful, inspiring and will strike a chord with believers everywhere.

Reviewed by Marty Gunther

Ike July-August 2017 Let’s Just Be Real Polly O’Keary and The Rhythm Method Self Released www.pollyokeary.com/ 10 Tracks From the Pacific Northwest we have the latest CD from Polly O’Keary and The Rhythm Method. This is her 4th release overall. The band is a power trio with O’Keary on vocals and bass. She is joined by her husband Tommy Cook (drums, vocals) and David Miller (guitar). A few special guests will round out the sound. During her early years, Polly had a tough life. Her hard work is leading her to a PHD, and touring the US and the world with her band. She also has toured with include Too Slim and the Taildraggers, The Soul of John Black, and the Randy Oxford Band. Musically, her success has been recognized by winning six Washington Blues Society Best Female Vocalist, 4 Best Songwriter and has won Best Album from Washington and Inland Empire blues societies. The music is modern blues rock, and all songs are written by the band with 6 of them clocking in at 5 minutes or more.

The opening cut is “Hard Hearted World”.

Eric Robert adds some boogie blues piano to the song. David Miller provides some stinging Texas blues guitar licks. This is a burning track. The relationship topic continues on “A Man Who Can Stand”. I like this tune with its rocking blues feel and Polly’s belting vocals. The blues rock tune “Red Light” really takes off. O’Keary really belts about traffic and needing to get across town but is held up by those lights. Norm Bellas provides some great B3 to the tune. This tune has a bit of Foghat blues rock feel.

Things slow down on the soulful “Black Crow Callin'”. Jim McLaughlin lends his harmonica skills to this slower but powerful tune.

The Powerhouse Horns (Rich Cole, baritone and tenor sax & Pete Kirkman, trumpet) join in on the funky tune “Yours To Lose”. It is a mid tempo tune with powerful playing. The music stays in the soul section with the Robert Crayish tune “One Life”. There is some gospel/soul in the slower and powerful “Reconciled”. O’Keary plays some sharp bass to go with the fine vocals.

Things get funky again with “I Don't Understand”. The horns return to add more funk to Miller’s guitar work. I like the funky R&B of “Plan B”. Here again we have relationship advise to go with great horns and guitar.

James Brown would be proud. “I Am The One” closes out the set. This is a bit of a stalker story, down in slow and powerful blues way. O’Keary shows off the vocals again.

This is a great set of tunes, though not all straight blues. The musicianship if first rate,

Page 19 as is the songwriting. This is a band to go see, and they are touring various parts of the country. I worry a slight bit how it comes across if only the trio is touring, but I bet it is a treat anyway. This is an experienced band with lots of experience in the blues. Expectations for them will grow with more releases like this one. Go find this recording and play it for your family and friends.

Reviewed by Mark Nelson Beneath The Blood Moon Jim Roberts and The Resonants Blue Elan Records www.jimrobertsandtheresonants.com 10 Tracks Jim Roberts has been playing guitar and writing music since the 70’s in California.

His latest work Beneath The Blood Moon is a guitar driven blues and southern rock extravaganza. His early roots were with west coast rock. He made some family time becoming a policeman and has now emerged back in the music scene. In 2014 there was a release of the Jack Roberts Harvey Band.

That band has now become Jim Roberts and The Resonants. Jim Roberts wrote or cowrote all of the tunes. Roberts sings, plays slide guitar and cigar box guitar. Mike Harvey handles the drums and percussion. Rick Hollander and Tony Jack Grigsby share the bass duties. The prior release was a definite blues rock roots high octane release. The new one has a bit more focus, while retaining the excitement and quality.

“Beneath The Blood Moon” the title track comes out with a loud solid guitar lick from the cigar box guitar and keeps the throttle down and steady for the 4:47 of the tune.

The great Mike Finnigan provides some nice B3 work to support this southern boogie tune. The powerful slide work continues on “Dog Done Bit My Baby”. The character in the tune has to pick between his dog and the woman who was bitten. It is quite a quandary for him. Listen to the song to understand his decision (hint: someone gets on the Memphis bus). There is a nice pace to “Tupelo Fool”. It goes a bit funky though stays very guitar driven within the trio environment. On “Bayou Beau” we get an opening of swamp sound effects that leads to some fine blues rock guitar. It is another powerful trio tune (maybe a tinge of Sonny Landreth).

Things slow down a bit on “May All Your Regrets Be Small”. Nathan Rivera adds some fine accordion as a central focus to this blues rock ballad. It is a pretty song with some nice slide work to boot. “Gold Train Fever” sees Mike Finnigan return to the B3.

It is a solid blues rocker, with Roberts adding a bit more gruff to his vocals (Omar & The

Howlers). I like this one. Finnigan hands out for “Red Lips And High Heels” providing piano and organ to the tune. This is a blues rock lover’s dream tune with fine guitar, keyboards and powerful vocals. It is powerful without being excessive in any way while stretching out over 5 minutes.

“Southern Hospitality” is a delta tinged tune with some Allman Brothers in it. The vocals are out front on the mid tempo rocker. “Dark Down In The Delta” continues the swampy southern feel. It is a slower tune that shows off the band. The closing number is “The Hell Hound's Due”. It is a more acoustic delta tinged tune. The band shines on this one. Felix Flanigan adds some harmonica for the first time on this track.

Overall this is an impressive outing. The playing and singing is first rate. They shine playing music from American roots without excess of showing off. They love their craft, and are very talented. They honor the past, but use their talent and creativity to make new music. Everyone should enjoy this fine release. I did not see any touring dates, but I would love to check these guys out live.

Do yourself and favor and seek this CD out.

Reviewed by Mark Nelson Tug Of War Gina Sicilia Blue Elan Records www.ginasicilia.com 11 Tracks Originally hailing from Philadelphia, Gina Sicilia now calls Nashville home. This release is here 7th since 2007, so she has kept busy with new releases in her career. Eight of the tunes are written or co-written by Gina. She handles the vocals for the release. Primary support comes from musicians Ron Jennings (guitar), Ken Pendergast (bass) and Scott Key (drums). It was recorded in Philadelphia and Los Angeles. Overall the music is a mix of blues, rock/pop and a bit of country. She has a sweet voice to deliver these tunes.

The opening tune is the “I Don't Want To Be In Love”. Dave Darling who helped produce the CD, provides some tasty guitar work, and is the co-writer. This is an emotional mid-tempo rock tune. “Damaging Me” certainly has some blues in its lyrics and intent, but is played with the background of her new hometown Nashville.

This tune could get picked up by a country artist and made into a hit..or maybe become a cross-over tune. On “He Called Me Baby”, written by Harlan Howard, and was recorded by Patsy Cline and Candi Staton. It has a country feel to a more R&B feel. The B3 work by Joel Bryant adds muc to the tune. On “I'll Stand Up” we hear a country infused gospel ballad. Dave Darling adds some tasty acoustic guitar. This is a pretty tune with solid vocals.

The Groove- Crossroads Blues Society Newsletter

Ike 20 Page The 5th tune is “Never Gonna End”. It is a relationship song with the music being country rock. The tempo picks up a bit on this one. Charlene Holloway adds some fine supporting vocals. A nice tune, but it’s not blues. “I Cried” is a gospel inspired ballad with more country than blues inspiration. It is a catchy tune, with Sicilia in fine voice.

Ron Jennings adds some tasty guitar licks. I like the R&B fused “They Never Pay Me”.

There are emotional vocals and overall fine sound from the band on this powerful ballad.

“Abandoned” is a more country blues rocking tune. This is certainly a southern influenced tune. It is pretty good. “Tell Her” is a 60’s pop oldie written by Bert Burns and made into a hit by The Exciters. It is a fun tune.

Another oldie is covered by Sicilia. It is The Beatles “All My Loving”. It is done as a slow ballad, showing off Sicilia’s voice and Ron Jenning’s guitar work. It continues the emotional theme of the CD. Closing out the release is “Heaven”. This is a much more upbeat song with some gospel/southern feel.

Sicilia is busy touring this summer and fall, so you may get a chance to see her live in your area. This release is not a hotbed of blues. It is a pleasant mix of music. There is a much emotion and solid singing and playing here. If you like the country side of blues or country/southern music, this will fit right in to your ears. Though there is some tasty guitar, this is not for the blues rock or Chicago blues tastes. Give it a listen, it sure can be enjoyed. Gina Sicilia can sing!

Reviewed by Mark Nelson Passion, Soul & Fire David M’ore Self Released www.davidmore.net 12 Tracks Originally from Argentina, Dave M’ore makes San Francisco his home today. He is a heavy blues rock guitarist. He played an old guitar for hours as a young man to hone his skill and love of music. This release is his third overall. All of the material is his, though the final cut is an homage to a Deep Purple track that has inspired him. For this recording he is joined by Wade Olsen (drums) and David De Silva (bass). They form a power trio that will rock your socks off with a leaning towards the blues.

The great State of Texas and it’s blues heritage leaves a big impact on “The Devil's Land”. There is certainly some SRV in the tune, along with growling vocals by D’More.

Up next is “Love Again”. Certainly this tune owes a great deal to Billy Gibbons and pre MTV ZZ Top. The playing is strong but is never excessive. Things get a bit cosmic on

“Stronger Than I Realize”. If you like Eric Johnson or early Robin Trower, then you will like this long, slow powerful guitar tune. The music goes back to the cosmos on the tune “Johan Sebastian Blues”. I get reminded of Joe Satriani and maybe a bit of the 70’s band Focus on this instrumental tune.

I like the opening on “You Said You Love Me”. This is a long (10:01) guitar marathon.

It drags a bit at this length, but is very powerful. “Sweet Little Baby” starts with some acoustic type licks, and grows to a powerful rock guitar tune. At over 8 minutes, in probably stretches out a bit too much for me.

Things get a bit more bluesy on “The 12 Song”. The gravel type voice seems a bit too strained on this one. The tune is not too bad, but stronger vocals would help it. “Cold Blooded” mixes the steel guitar with the electric on this Hendrix styled tune. The vocals are not good to me. The scratchy vocals are getting worse as the CD goes on.

On “Every Time I Think Of you” the 9th cut, the band serves up another slow groove guitar piece. Vocals do not get any better on this one. The SRV type tune returns on “Funky it up”. This instrumental fires it up hot, but it kind of misses for me. “Liar” is a Texas blues shuffle, and is played pretty well. The vocals may be a bit better, but the tune would benefit from a better set of pipes.

Closing out the CD is the Deep Purple influenced “Mistreated”. This is a blues rock powerhouse. The vocals are better too. It is a pretty good closing number.

The music is big time blues rock with a heavier dose of the rock. A different singer would help some of the material. I like that this is original material. The story of how M’ore taught himself guitar, and learned from records is quite good. Big loud blues rock guitar fans will enjoy the music. It is not for old time blues fans. I do like to see an independent artist make his way to his dream of making music and making a living.

Reviewed by Mark Nelson Let’s Just Be Real Laura Tate 811 Gold Records www.musicbylauratate.com 12 Tracks Laura Tate has worked in TV as an actress (CBS’s Dallas, and HBO’s First in Ten), acted on stages, been a producer and a singer. Originally she is from Texas, and now makes El Paso her home.

She has been honored for the great volunteer work she has done. Along the way she has lived in New York, Los Angeles and Nashville. Tate is a vocalist on her releases, interpreting jazz, rock and R&B tunes. This

is her 4th full length release. She is backed up by many members of Teresa James & The Rhythm Tramps, including Teresa herself.

Stephen Bruton’s tune “Nobody Gets Hurt” is the opening cut of the CD. It is a slower funky blues tune. Jeff Paris offers up some great work on the B3. Two members of the band Jeff Paris and Terry Wilson wrote the second tune “If That Ain't Love”. It has a soul feel to it, and sounds like an older tune than it is. The great Allen Toussaint pens the 3rd tune “Hitting On Nothing”. The great Irma Thomas performed this R&B tune many years ago. Things slow down a bit for the sultry “Can't Say No”. Again several band members co-wrote on this tune. Jeff Paris does a nice piano solo here.

“Boys Are Back In Town” is a Thin Lizzy tune from my college days. It was a rocker. Tate has turned it into a jazz tune as more of a ballad to start with a better tempo after the beginning. It’s hard to totally enjoy the rework, but it is not bad. Many of you may enjoy it. Mel Harker was the person Tate’s last CD was dedicated to. “Still Got The Blues” is another of his tunes. This is a slower jazz tune with pretty good brass section support. Billy Watts adds a nice guitar solo. The 7th cut picks things up. Teresa James and Terry Wilson wrote (and performed on) “I'll Find Someone Who Will”. It is a mid-tempo R&B tune with solid brass support. Mel Harker co-wrote the next tune “Let's Just Be Real”. It has a jazzier feel to it. I think it needs to be more fast paced.

On “I Know You Lie” we get a bluesy feel on the rocker. It is written by Arleen Nicastro a songwriter from Austin TX. We stay in the blues with Rick Deitrick’s “I Need A Man”.

Jeff Paris adds some fine piano to this one.

I like the cover of Stephen Bruton’s upbeat “Big Top Hat”. It is a swinging Texas blues tune. The final cut is a modern country tune called “Wildest Dreams”. Jodi Siegel, a Los Angeles songwriter/performer wrote this tune.

I reviewed Tate’s last release and it was not my favorite release. This one is better and a bit more to the bluesy side of things. She sings well and the musicians are fine. You won’t find her at many blues festivals, but this performance would fit into a small cabaret setting. I’ll give her a break about “The Boys Are Back In Town”. Her music choices do fit her voice. It’s your choice about picking this one up.

Reviewed by Mark Nelson

Ike July-August 2017 Should’ve Seen It Coming Steve Krase Connor Ray Music www.SteveKrase.com 11 tracks and 2 bonus tracks Brooklyn-born, Houston-based harmonica player Steve Krase delivers a highly entertaining collection of originals and carefully recrafted covers as he delivers a welcome follow-up to his 2014 release, Buckle Up. A frequent competitor in the International Blues Challenge, where he’s earned multiple spots in the finals, Krase began playing at age 16 after listening to Neil Young’s “Heart Of Gold.” He bought himself a copy of an instruction book by Tony Glover -- an instrumental part of the folk revival in the ‘60s with Koener, Ray And Glover, and began a musical adventure that’s spanned four decades with stops in Ohio, California and Louisiana.

A first-call harp player in Houston for better than 30 years, he’s developed his own style in a world of Sonny Boy Williamson and Little Walter copycats. He spent a decade backing up Space City blues legend Jerry Lightfoot and another three with Matt Leddy & The Meatcutters before venturing on his own, blending everything from punk, country, electronica and soul into a warm, relaxed style firmly rooted in the blues.

Most recently, the Houston Post has included his unit eight times for its music awards, including five nominations for blues band, two for best instrumentalist and one for best player of the year. He’s backed here by David Carter on guitar, Rock Romano on bass, Richard Cholakian on drums with Randy Wall on keyboards and Alisha Pattillo on saxophone. Connor Ray Music label mates Mark May and Bob Lanza (guitar) and vocal powerhouse Trudy Lynn (backing vocals) make guest appearances.

The action here kicks off with “Brand New Thang,” a straight-ahead blues composed

by Romano and featuring May, about a new lover who wakes the singer in the middle of the night. A pair of covers -Willie Dixon’s “Crazy For My Baby” and Fats Domino’s classic, “Let The Four Winds Blow” – get arrangements that separate them dramatically from the originals. The former merges versions laid down by Charlie Musselwhite and Little Walter as well as Dixon himself.

Next up, Krase launches into the humorous “The World’s Still In A Tangle.” Based

Page 21 strongly on the Jimmy Rogers song about the Cold War, this version deals with the fight against the zombie apocalypse instead of Communism, and the message it delivers is crystal clear in the current political climate: Stop listening to the news.

“Shot Of Rhythm And Blues” follows.

Made famous by country-soul artist Arthur Alexander, one of the founders of the Muscle Shoals sound, it’s a rapid-fire rocker that features Lanza, while the seven-plus minute title tune, “Should’ve Seen It Coming,” starts off with a steady, funky beat that gives Steve, Wall and Pattillo and plenty of space to stretch out.

Lovers of the late harp player Gary Primich will recognize the next tune. Written by soul man Wee Willie Waynes, “Travelin’ Mood” served as the title cut of one of Primich’s best albums.

Krase dips into Clarence “Frogman” Henry’s New Orleans songbook for “Troubles, Troubles” then Lightfoot’s “Make You Love Me Baby” before the soulful original, “Repo Man” – a rap about working to take your car in the middle of the night, and “Way Back Home,” written

by Wilton Felder of The Crusaders. Two bonus tracks reprise “Should’ve Seen It Coming” and “Repo Man.” Fair warning: the lyrics include language unsuitable for younger or more sensitive ears.

Available through most major online retailers, Should’ve Seen It Coming is modern, soulful blues at its best. The covers are fresh throughout, the originals shine, and Krase is an entertainer of the first order.

Pick this one up today. You won’t be disappointed.

Reviewed by Marty Gunther Rollin’ With It John McNamara Bahool Records http:// www.johnmcnamarablues.com/ 10 Tracks John McNamara is a soul/blues artist from Australia. This is his second release, and it was recorded in Memphis at Ardent Studios. In 2015 McNamara was a finalist at the IBC. His song “Burn, Burn, Burn” was the Australian Blues Music Award winner for song of the year in 1994. McNamara plays guitar and sings on this recording.

Memphis greats Steve Potts (drums, Booker T & MGs), Michael Toles (guitar, Bobby Bland & Bar-Kays) and Lester

Snell (piano/organ Albert King & Isaac Hayes) appear on the record. James Kinard is featured on base along with a horn section, Marc Franklin (trumpet/ flugelhorn), Lannie McMillan (tenor sax) and Jim Spake (baritone sax). McNamara wrote six of the ten tunes. Snell and McNamara co-produced the new CD. The opening cut is an original called “One, Two of a Kind”. It is an R&B mid tempo tune with nice guitar work. The horns fill in the tune very nicely. “Bad Reputation” borrows a bit from the “Fever” by Little Willie John. Kinard’s bass line serves up the test of the band in a good way. The band reaches back into the past to record “Ask Me Nothing (But about the Blues)” a Robey/Boozier tune performed originally performed by Bobby Bland. This is a slow horn filled ballad. Overall a fair job is done with it. R&B sweats out of “Wild Out There”. It is a pleasant mid tempo tune but the vocals are a bit buried.

The 5th tune is “Under the Weight of the Moon”. It is a McNamara original. The organ and the finger snaps in the intro are good. It is a bluesy tune that is a bit mysterious. There is a nice soul groove with the band on “One Impossible Night”. It is a mid tempo tune with some good guitar playing. The Otis Redding gem “Security” is next. This is a classic tune with Stax players on it, so it has a lot going for it. I like this one.

Another cover “Blind Man” is a Robey/ Scott tune performed originally performed

by Bobby Bland. This is one of McNamara’s better vocal deliveries on the CD. The pace picks up on the original “You Wouldn't Wanna Know”. This tune has a strong beat, with really good guitar work and nice horn work. This one will get you dancing. The closing tune is “Suffering with the Blues”, originally done by Little Willie John. It is a slow R&B ballad and it is done well.

There was a crack band and a top studio for this set of recordings. McNamara holds his own in the vocals and guitar department. Surely he loves this type of music. It is great to have someone keep this type of music alive by writing, not just interpreting the classics. Soul fans, give this a listen. I liked it, but did not love it, but liking it is good.

Reviewed by Mark Nelson

Ike July-August 2017 Wasting Time The Disparrows Self Released http:// www.thedisparrows.com 10 Tracks

Page 22 do it. It also does not really tell you who wrote the tunes. This is info I like to know.

Maybe more details on the next release.

Good rockin’ guys, maybe some bluesin’ next time.

Reviewed by Mark Nelson

Southern California brings us The Disparrows, a blues rock band. This is their 3rd release, and promises to rock hard but not forget the blues or a bit of country music. Anthony Focx is the producer. He has worked with many rock bands including Aerosmith and Foreigner.

The band is led by Daniel Weber (guitar and vox). Other members are Stephen Tecci (bass), Grant Loosvelt (piano, B3, strings), Jaydon Bean (drums) and Julian Tamarin (guitar). The band wrote all the tunes and it was all recorded in Los Angeles.

The opening cut “World Keeps Burning” is a hard rocking tune with a modern feel to it.

Things get more manageable with the piano led tune “Believe In Me”. Loosvelt tickled the ivories on the easy going rock tune. It would be radio friendly. Daniel Weber opens with some stinging guitar on the love song “High On You”. This is a mid tempo rock tune. “Change” has some interesting lyrics, and nice rock vocals.

The next cut is “Set Me Free”. This cut is a rock ballad. It is not too bad of a song.

The keyboards continue to have a big place in the song structure. Things stay a bit slow on “Dying For You” in the beginning. The pace picks up about 1/3 of the way through the song. The guitar work is fine. Still not much blues here so far. The harder rock comes back on “May Be Crazy”. The vocals rock well on this tune.

The 8th cut is “Sorry”. Annie Bosco adds vocals to this Nashville/Americana influenced tune. This one might make some modern country radio, though the more rocking guitar may not be enough country to make that radio jump. The B3 work by Loosvlet was pretty good. The band touches a bit of blues rock with “Radio”.

This is an interesting song….well done.

The closing tune is an ode to the future called “We Are The Young”. It is a rock tune that might make a radio play as a song for people to rally behind.

This is a rock CD, with only a very small touch of blues. It is done well. I had expected it to be a guitar god type set, but the music is controlled and melodic, free of most excesses. I give the band a nod for that. For the blues fans, this one is not one for you. If you are a rocker, then give it a listen. Some info on package is very limited. They list Special Guest, but don’t tell you what they do and which songs do they

Ain’t No Notion Martin Lang with Rusty Zinn, Billy Flynn & Oscar Wilson Random Chance Records www.MartinLangBluesHarp.com RandomChanceRecords.com 13 tracks Martin Lang returns for his second album for what Lang and his producer and liner notes writer Dick Shurman both call this an “ensemble album.” There is a team behind the effort, with Oscar Wilson fronting the band with his sublime vocal style on five tracks, Rusty Zinn singing on two tracks and Martin singing on the first and last tracks. Five of the cuts are instrumentals and showcase Lang on harp and Billy Flynn and Zinn as guitarists. Illinois Slim and Jimmy Upstairs share the bass duties and Dean Haas is on drums throughout.

Dave Waldman also tinkles the keys on a couple of tracks.

Lang also appeared with four cuts on a 2002 album Harmonica Blues and his 2015 debut album Chicago Harp Blues Sessions were both very good but Lang has outdone himself here. His 25 years of extensive experience in Chicago blues is quite evident.

Frank Frost’s classic “Backscratcher” opens he set. Lang provides vocals and his harp is amplified through a Leslie speaker for effect. His deep vocals are resonant and interesting and the harp has moments where it sounds like an organ.

Very cool! Little Walter’s “Blues With a Feeling” follows with Wilson howling out the lyrics and Lang beautifully playing a stinging harp that cuts the air like a knife.

Lang’s “The Hard Ten” is next, a nifty instrumental where Lang blows some awesome harp on chromatic with the slide in and the guitar solo is, well, swell. Junior Wells’ “Come On In This House” gives us Wilson with high register stuff and Lang sparring on his greased up harp. Lang’s approach on the harp here is just so dirty and pretty. Another nice guitar solo adds to this awesome slow blues. Waldman appears for the first of two on “10:30 Blues,” another original by Lang. Lang’s harp and the guitar banter between themselves in this slow and sublime blues. The finger picking and harp notes play off each other

sweetly; the pace is sloooooow and cool as the piano maintains the focus and seems to drive the cut with the backline. Jazz is next with Herbie Hancock’s “Watermelon Man”. The tempo is taken way down from the original and the boys blues it all up nicely. Zinn’s guitar is treated to the Leslie here and it’s quite interesting, too.

Billy Flynn breaks out the mandolin for the jumping and fun “Chromando,” a piece he and Lang wrote. Billy and Martin go back and forth instrumentally as Zinn stays back but fills nicely on rhythm guitar. Waldman’s piano is listed for this cut but seems to get buried in the mix. Zinn fronts things for Jimmy Rogers’ “You’re The One” and he really gets into the spirit of things. This is some sweet Chicago blues as Lang blazes on harp and the guitar fitfully plays along.

“Mile High Blues” is another Lang instrumental with haunting harp featured here.

At times it feels as if it’s a wolf musically howling in the mountains instead of a harp – well done. Slow and very neatly done.

Flynn the next cut, “Blues Today” and picks out some mean stuff as Wilson shouts out the vocals and Lang lays in some harp behind him. Harp and guitar solos are well done once again on this slow blues. Little Walter’s “Can’t Hold Out Much Longer” again features Wilson on vocals and the harp and guitar are again spot on. Roger’s is again the choice with “Walking By Myself” with Wilson also taking the stage for vocals. He and Lang are back and forth on vocals and harp and the guitar fills sweetly.

“Hip Twist,” another original, finishes out the album. Lang sings here again, perhaps lacking some confidence, but his deep and resonant approach is cool. The harp is again featured front and center and the guitar picks out a nice groove to pace things.

The album is truly an ensemble piece as previously claimed. Mostly darker and down tempo-ed, it strikes me as if it’s a slow night in an old, smoke filled club in the 1950’s on Chicago’s South side with the boys laying out their favorites and jamming.

The songs are cool and the instrumentals showcase the originality of the players.

Each listen brings out new nuances for me and I truly enjoyed this more and more with each spin. I do wish Martin would sing a little more as he’s got a nice baritone/bass voice but with Oscar Wilson as your front man you really can’t get much better than that. Lang’s original songs stay true to the Chicago blues tradition and yet still sound new and fresh. He masterfully plays in multiple positions on different harps. Flynn and Zinn offer spectacular guitar support.

This is a really nice album and is worth picking up for your collection– highly recommended!

Reviewed by Steve Jones

The Groove- Crossroads Blues Society Newsletter

Ike 23 Page Sanctified Low Society Rezonate Records https://www.screaminblues.com 10 Tracks Rolling out of Memphis, TN is Low Society. This is their 3rd release in six years.

They are a roots, blues, Americana band.

The rhythm tracks were done in Belgium, and then put together in Memphis. The band is comprised of Mandy Lemons (vocals) and Sturgis Nikidis (guitar, mandolin, vocals). The rhythm section from Belgium was Jacky Verstraeten (bass) and Bart De Bruecker (drums). Special guest Rick Steff handles the organ, piano, and accordion. Eight of the 10 selections were penned by the band, so we get to hear a great many tunes from them.

The opening is the great John Prine classic, “Angel From Montgomery”. It has been done many times, but I find this a pretty good cover. Nikidis plays some fine guitar on this one. Lemons struts her stuff on the vocals. I like the beat on the hill country styled “Raccoon Song”. It is not a raw as some hill country blues, but the feel is there. The music on the track “The Freeze” fits the title. The opening guitar and organ interlude is very cool. The slide guitar by Nikidis is very nice. I like the country blues feel of the title cut “Sanctified”. Lemons gets into the singing, backed by nice slide guitar work.

The 5th cut is “River Of Tears”. It is a slower tune with some fine slide guitar carrying the pace. This sounds like an older Blues/R&B tune with a cleaner modern production feel. “Nina” is a treat, with more of a softer rock treatment. Nikidis laid out an acoustic guitar base and then put his slide guitar on top of it. It is a tribute to the wonderful Nina Simone. It clocks in at almost 7 ½ minutes, so you get a big listen without it being overblown.

“Drowning Blues” is a guitar driven tune with NIkides sharing the vocals. It does show off his guitar work.

“New York City Boy” is a slower country influenced ballad with active guitar and a bit of accordion thrown in. The band rafted down to New Orleans on the next tune “Here Comes The Flood”. The beat is handled nicely by De Bruecker on the shuffle tune. The accordion is back played by Rick Steff. It is a nice tune.

Closing out the disc is the Etta James classic “I'd Rather Go Blind”. It is a good version, maybe a bit fast at times. The guitar work sometimes competes for the

lead with the vocals. This is a tune that should be carried by the vocals.

Overall it is a fine modern blues/ Americana CD. I’d expect we will see more of this band as time moves forward.

I hope they get out on the festival circuit and bring their music to more people. I like the nod to the past, and the move to take the music forward. The singing of Lemons vocals and the guitar work Nikides are top notch. Time will tell on the future. For right now grab a listen to this CD and go see them if they come your way.

I like the slower shuffle “Read 'em & Weep”. It’s blues with Texan style. Jones helps out on the vocals. The horns come to play on the slower soulful tune “Beautiful Moments”. Al Gomez (trumpet) and Henry Rivas (sax) make the song weep with emotion and keep the slow dancers dancing. “Each Kiss” is pure rock ‘n’ roll. Dan Rorosian handled the horn arrangements on this one. The opening of “One Lie Leads To Another” is a blues guitar assault. This is a fine Texas shuffle tune. The 10th tune “Spell It Out” is a bit popish, but is a treat with the fine horn work from the group.

Reviewed by Mark Nelson Let’s Do This Thing Kathy & The Kilowatts Lectro Fine Records http:// www.kathymurrayandthekilowatts.com/ 15 Tracks This a Texas band. In their press release they were described as ‘Doug Sahm meets the Fabulous Thunderbirds’. I think that to be very accurate. Currently working out of Austin, the band has built credentials. Kathy Murray was involved in the golden age of Austin blues in the 80’s and early 90’s. She shared the stage with many of the greats over the years, including Fabulous Thunderbirds, Stevie Ray Vaughan and W. C. Clark. Her husband, Bill ‘Monster’ Jones, handles guitar and accordion. The bass is split between Dylan Cavaliere & Jeff Botta. Richard Ross & Nina Singh split the drum duties. Her brother David Murray helps out on some of the tracks. Overall her music is influenced by all the rootsy regional music of Texas, including blues, swamp pop, zydeco, soul, conjunto and rockabilly. I expect energy and high quality of music from this CD. The music is all originals by the band.

The title cut “Let's Do This Thing” blasts from the speakers. It is pure Texas rockin’ blues and quite a auditory treat.

“Call Me Mrs. Blues” is a story of love lost, multiple times. It has fine guitar from Bill Jones. I like the vocals and delivery of Murray on” Talking Out My Head”. I can just picture her commanding the stage with this higher octane tune. On “10 Most Wanted” the tone comes down a bit but is still full of soul. I hear a bit of Chrissie Hynde in the vocals. I hear some T-Birds in “Love Came Knocking”. It is an easy going blues rockin’ tune.

The pace really changes with the country influenced acoustic ballad “I Want To”. It is a nice change of pace, and lets us hear a different side of Kathy Murray’s voice.

On “Exception To The Rule” Ben Buck adds some beat box to the tune. It is older rock ‘n’ roll mid tempo tune. I like the slow “These Lonely Hours”. It shows that Murray is a part of the great female blues vocalists from Austin (Marcia Ball, Lou Ann Barton and Angela Strehli. This is fine company. There is a lot of double entendre on “Your Barn Door's Open”. It is a smart country influenced tune with a fine beat. The closing number “Loveaholic” is older time country tune that will get people up dancing.

As advertised this one is a Texas music treat. There is lots of blues, with the other Texas influences creeping into tunes.

Back in the 90’s Kathy Murray appeared in a few compilation albums about Texas music. She did a solo CD in 2012 and a Kathy & The Kilowatts disc of previously unreleased material dedicated to the late Doyle Bramhall Senior. I am amazed there is not more material out there. The band plays in Austin a quite a bit and even perform as an acoustic duo. I like what I hear, and where the music’s roots come from. I’d encourage all of you to seek this one out and enjoy it. Let’s have some more from this band.

Reviewed by Mark Nelson

The Groove- Crossroads Blues Society Newsletter

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Crossroads Shows and Events May and June 2017

Birddog Blues Band at All Saints Lutheran Church

Dave Fields at the Lyran Society

Reverend Raven and Westside Andy with the Chaim Smoking Altar Boys at the Hope and Anchor

Friday Night Open Mike in Kirkland

Joe Filisko and Eric Noden at Owly Oop in Rockford

Birddog Blues Band at Byron Block Party

Uptown Rhythm Aces at Byron Block Party

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Steve Jones and Dan Phelps Program at Byron Public Library (Rick Davis and Steve Jones Photos)

Mike Ledbettter and Dan Carelli played with Dave Potter in May as did RJ Mischo in June at the Grand Avenue Pub. Blues Every Monday with Dave Potter. Thursdays Glenn Davis and Matt Goodwin play there, too.

Recently Paroled played the Lyran Club

yBblu at our Young Guns of the VBlues show at Sinnissippi Park

Dan Phelps opens for Doug MacLeod at All Saints Church

The Groove- Crossroads Blues Society Newsletter

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The Chicago Blues Festival from the Lens of Lee Ann Flynn

Katherine Davis Blues in the Schools

Deitra Farr and Matthew Skoller

Lee Ann and Russ Green

JJ Thames

Nick Moss Oscar Wilson

Jamiah Rogers

Cedric Burnside

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Bob Corritore Bob Stroger

Henry Gray Billy Flynn Eden Brent Kenny “Beedy Eyes” Smith

The Groove- Crossroads Blues Society Newsletter

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Sumito Ariyo Ariyoshi Nellie Tiger Travis

Big Bill Morganfield

Dennis Gruenling Alastair Greene

“Kingfish” Ingram

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Johnny Iguana

Felton Crews

Wilson

Tom Holland Theo Huff

Roo Street Jaxkson

Trenton Ayers

Richard Malone

The Groove- Crossroads Blues Society Newsletter

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Wayne and Ronnie Baker Brooks with Jellybean Johnson

Gary Clark Junior

Roosevelt Purifoy Jr.

Lee Ann with Billy Flynn and Oscar Wilson

Lee Ann with Henry Gray

Barbara Newman and Lurrie Bell

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Rhiannon Giddens

Omar Coleman

Rhiannon Giddens

Gary Clark Junior

Tom Holland and Russ Green

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The Groove- Crossroads Blues Society Newsletter

Mud Morganfield Ronnie Baker Brooks

Rico McFarland

Jimmy Johnson

Chi-Town Harp Showcase featuring Omar Coleman, Russ Green, and Lamont Harris w/ Luca Chiellini, Tom Holland, David Forte & Marty Binder (not pictured)

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Billy Branch

Rhymefest

William Bell

Theo Huff and the New Agenda Band

Daryl Couts

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The Groove- Crossroads Blues Society Newsletter

http://paramountmusic.org/paramount-music-festival-2017/

2017 Blues Blast Music Award Nominations Announced From Blues Blast Magazine - www.BluesBlastMagazine.com

In early May, a group of Blues music industry professionals including music critics, journalists, festival promoters, music venue managers, producers, musicians and other Blues music industry professionals nominated the best in Blues music in twelve categories. The complete list of nominees is available at our website at: http://www.bluesblastmagazine.com/2017-blues-blast-music-awards-nominees/ Fan voting to determine the winners begins July 1, 2017 and continues until August 15, 2017 on our website at BluesBlastMagazine.com. Voting is free and open to anyone who is a Blues Blast Magazine subscriber. Blues Blast Magazine subscriptions are always FREE and you are automatically signed up as part of the voting process on our website.

The Blues Blast Music Awards are presented by Blues Blast Magazine, the largest FREE weekly internet Blues magazine with over 36,000 Blues fan subscribers located in all 50 states and in more than 90 countries.

Ike July-

Adult Beverages at Crossroads Blues Festival for 2017 All 16 oz Unless Indicated Regular Beers Budweiser Bud Light Michelob Ultra Coors Coors Light Miller Lite Retro Beers Pabst Blue Ribbon Schlitz Rolling Rock Colt 45 Craftier Beers Bells Oberon Bells Two Hearted Ale Stella Artois 14.2 oz Corona Goose Island 312 Goose Island IPA Founders All Day IPA 19.2 oz Guiness Stout Leinies Grapefruit Shandy Leinies Summer Shandy Revolution Anti Hero IPA 12 oz Revolution Eugene Porter 12 oz Blue Moon

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Cider Angry Orchard Sweet Malt Beverages Mikes Hard Lemonade Mikes Black Cherry Mikes Blood Orange Strawberita Limerita Lemonita Wine Coppa Moscato 6.3 oz Coppa Chardonnay 6.3 oz Coppa Red Blend 6.3 oz 33 varieties to choose from! $4 per beer/wine at the festival.

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The Groove- Crossroads Blues Society Newsletter

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The Groove- Crossroads Blues Society Newsletter

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Top Blues Releases May and June 2017 Sunday Morning Blues WKGL-FM 96.7 The Eagle May Taj Mahal & Keb' Mo' / TajMo / Concord Robert Cray & Hi Rhythm / Robert Cray & Hi Rhythm / Jay-Vee Records Janiva Magness / Blue Again / Blue Elan North Mississippi Allstars /Prayer for Peace/Legacy Selwyn Birchwood / Pick Your Poison / Alligator Harrison Kennedy / Who U Tellin'? / Electro-Fi John Nemeth / Feelin' Freaky / Memphis Grease Kilborn Alley Blues Band / The Tolono Tapes / Run It Back Records Brad Stivers / Took You Long Enough / Vizztone Pistol Pete / Pistol Pete's Killer Bash / Velvett Boxx John Mooney / Truth of the Matter / Funny Bird Records Shannon McNally / Black Irish / Cool Well Music Compass Records June Chris Cain / Chris Cain / Little Village Foundation Andy T Band/Double Strike/American Music Showcase Bobby G with Curtis Grant Jr. & The Midnight Rockers / Still Standing / Third Street Cigar Gina Sicilia / Tug of War / Blue Elan North Mississippi Allstars / Prayer for Peace / Legacy Steve Krase/Should've Seen It Coming/Connor Ray Music Zoe Schwarz Blue Commotion / This Is the Life I Choose / 33 Records Linsey Alexander / Two Cats / Delmark The Cash Box Kings / Royal Mint / Alligator Doug MacLeod / Break the Chain / Reference Recordings Sonny Landreth/Recorded Live in Lafayette/Provogue Mascot Corky Siegel's Chamber Blues/Different Voices/Dawnserly John Lee Hooker / Whiskey & Wimmen - John Lee Hooker's Finest / Vee-Jay Concord Dan Phelps / Going Home / Vincent Billy Branch and the Sons of the Blues / Blues Shock / Blind Pig

This list is submitted to Living Blues Magazine for inclusion in the March and April 2017 National Radio Chart. This list is compiled from actual radio air play statistics. WKGL-FM broadcasts 2 hours of the blues per week.

Rich Gordon Sunday Morning Blues WKGL-FM 96.7 The Eagle 3901 Brendenwood Road Rockford, IL 61107

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

New members: Bun E. Carlos Art Herendeen Kevin O’Neil John Owens Mike Seago Renewing Members: Denny Barker Robert Decker Joe & Jeanette Geraghty Bonnie Fox Lisa Mastrangoli Randy Zollar New members get a CD upon joining and new family members get two CDs. Membership has been $15 (individual) and $25 (family) for over 15 years. Mail newsletter members have a $5 surcharge to help with printing and postage costs; it’s expensive to produce and distribute the 12 page print newsletters. We produce six PDF version 32 page newsletters a year with about 30 reviews and all sorts of other great information related to the Society and our events.

The Groove is a bi-monthly publication of the Crossroads Blues Society. The PDF version (typically 24 to 32 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, Marty Gunther, Steve Jones, John Mitchell, Mark Nelson and Mark Thompson.

All un-credited content by Steve Jones

www.bluesblastmagazine.com

Hope & Anchor English Pub Second Saturday Blues

The Hope and Anchor Saturday Blues runs from 8 PM to 11:30 PM, $5 cover after 7 PM or free prior to that for dinner guests. Featuring fine English pub fare, the Hope and Anchor is a great spot for dinner, craft beers, liquors, and great live music! At 5040 N 2nd Street, Loves Park IL, USA, phone 815.633.2552 for info!

Jul 8th: Dave Weld & the Imperial Flames Aug 12th: Hoodoo Rhythm Kings Sep 9th: Tweed Funk Oct 14th: Corey Dennison Band Nov 11th: Toronzo Cannon Dec 9th: The Jimmys Jan 13th: Reverend Raven & the Chain Smoking Altar Boys with Westside Andy Feb 10th: Ray Fuller & the Blues Rockers Mar 10th: John Primer Apr 14th: Chicago Wind w/Matthew Skoller and Deitre Farr

Lyran Society Third Friday Blues

The Lyran Society continues their Fish Fry and Steak Dinners with performances mostly on the third Friday of each month at their club. Located half a block east of 7th Street at 1115 4th Ave, Rockford, IL 61104, you can call (815) 964-0511 for info. There is no cover charge, it’s a free show. Open to the public, all ages are welcome.

July 21: Michael Ledbetter & Dan Carelli Aug 11: Matthew Skoller & Eddie Taylor Jr Sep 15: Studebaker John Oct 6: Dave Fields Oct 20: Birddog Blues Band Nov 17: Trinadora Rocks Dec 15: JB Ritchie Jan 19: Blues Disciples

All Saints First Sunday Blues

Jul and Sep: No Show Aug 6: Justin “Boots” Gates

Crossroads Blues Society Ike

The Crossroads Blues Society Newsletter

P.O. Box 840 Byron, IL 61010 The

On the web at: http://crossroadsbluessociety.com Crossroads Blues Festival at Lyran Park: http:// www.crossroadsbluesfestival.com

GROOVE Keeping the Blues Alive Since 1994

2014 Blues Foundation Keeping the Blues Alive Affiliate Award Recipient 2014 Chicago Blues Hall of Fame Inductee

Email us at: sub_insignia@yahoo.com

Blues on Local Radio WNIJ - 89.5 FM  Friday evenings from 9 PM to midnight with Harold Brown  Saturday afternoons from 1 to 4 PM with David Rosik  Saturday evenings from 9 PM to midnight with David James The Eagle - 96.7 FM  Sunday Morning Blues now from 8 AM to 10 AM with Rich Gordon

News and Upcoming Events July begins with Dave Weld and the Imperial Flames at the Hope and Anchor at 8 PM on Saturday, July 8th. Saturday July 15th has Kilborn Alley returning and they will be at the Sinnissippi Park Bandshell at 6 pm. Friday July 21 we have another special show with Michael Ledbetter and Dan Carelli at the Lyran Society at 7 PM. One helluva month!

August then starts with Justin “Boot” Gates at All Saints Church at 4 PM on Sunday, August 6th. Matthew Skoller and Eddie Taylor Jr are at the Lyran Society on Friday, August 11th at 7 PM and Saturday August 12th has the Hoo Doo Rhythm Kings at the Hope and Anchor at 8 PM. Then it’s our 8th annual Crossroads Blues Festival at Lyran Park on Saturday, August 26th. Another great month!

Future planning: Studebaker John and other great acts will be at the Lyran Society throughout the year. The Hope and Anchor is booked through next April. See inside on page 39 for the particulars.

Also, we are having a big event on Saturday, October 28th at the JR Sullivan Theater at the Nordlof Center. Dave Specter

and Tad Robinson rejoin forces for a spectacular show! The hot local “Red” Band opens and R&B great Joey Irving also will perform before the headline act. $20 in advance, $25 at the door.

6;30 PM start, see page 37 for a poster. We are going to have some fun!

Membership Application http://CrossroadsBluesSociety.com Yes! I’d love to be a part of the Crossroads Blues Society!

Name_____________________________________________ Street Address___________________________________ City________________ State______ Zip Code________ Phone_____________________________________________ Email Address____________________________________ New -or-

Returning Member

This will be a membership for an/a: Individual ($15) -or-

Family ($25)

$5 extra for newsletter via regular mail Please check all applicable interests: Festival Volunteer Serve as Officer/on Board BITS Volunteer Volunteer at Shows/Events Review CDs Public Relations Edit Newsletter Other:_________________________

Please cut out/copy & mail form & payment to: Crossroads Blues Society P.O. Box 840 Byron, IL 61010

Bring this to our next meeting and get a free CD!