The Groove Nov-Dec 2017

The Crossroads Blues Society Newsletter

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Blues Challenge Results category., In all, five great acts participated and we would be proud to have sent any of them to represent us in Memphis in January.

Ivy Ford Band The Ivy Ford Band took top honors in the Crossroads Blues Challenge while Warren Beck won out over stiff competition in the Solo/Duo

Held on Sunday, October 15th at the Lyran Society, the day began with Bruce Kort playing his brand of original blues with nice vocals, guitar and harp work. He came in a close second to the winner. Ron Holm and John Bishoff played next as the Trinadora Blues Boys. They put on quite a show and pulled out all the stops for us.

Warren Beck played last in the Solo/Duo category

and his big time barrelhouse piano and vocals won him the top spot!

Riding Atlas (formerly yBblu) performed first in the Band challenge.

Nick and Joe Dicklin along with Sam Petri put on a fine show for us and demonstrated the blues are still alive in today’s teens. The Ivy Ford Band performed second and continued on page 2

Ken Olufs and Warren Beck performed at Highland Elementary School in Stillman Valley and Carlson Elementary Schools in Rockford on October 20th and then did an evening performance at the Lyran Club. This was the first time Birddog and Beck

did BITS and we and the students enjoyed it thoroughly.

Blues in the Schools 2017/2018 •

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Warren Beck

BITS Begins with a Bang Dave Fields kicked off the year in school for us at Welsh Elementary and Lathrop Elementary in Rockford on October 6th. It was a great day with 700 students enjoying the programs and learning about the blues!

This was our first trip to Welsh, reducing the number of areas schools we have yet to visit to a mere handful.

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Dave Fields at Welsh ES

October 25th saw the return of Ronnie Shellist to join Gerry Hundt to do BITS programs.

Oregon Elementary School and Washington Elementary were our hosts. It was our first opportunity to serve the Oregon School District and Washington is newly reno-

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Ended last school year with 243 programs completed for 58,220 students; now at 250 programs for 61,090 students 10 more Elementary and Middle School programs are currently scheduled with 7 programs already completed Planning to return to the five Head Start facilities and also go to the other Rockford District 205 PreSchools for 30+ programs Planning to do another set of residency programs East High School and perhaps elsewhere

Inside this issue: vated and replaces Martin Luther King ES on Rockford’s West Side. News

Music Reviews More BITS are in the works with Playlist, Members Paul Kaye, Tas Cru, Mark Dvorak Membership Application continued on page 3 Upcoming Events

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The Groove- Crossroads Blues Society Newsletter

2017 Crossroads Blues Challenge

Bruce Kort

Ron Holm

John Bishoff

Warren Beck

Nicholas Dicklin

Ivy Ford

Dave Axen

continued from page

the crowd went crazy. They won unanimously. Ford plays guitar and sings while Mark Hebert plays keys, Dave Axen is on drums and Willie Rauch is on bass. It was a great show and, with the competition officially over, they gave the crowd some more music to listen to as the judges went off to tally the results.

The Solo/Duo competition was very close and a it was split decision by the judges but the scores and rankings agreed and Warren Beck won out.

Crossroads decided that the youth band Riding Atlas should represent them in the Youth Showcase in Memphis, so the acts representing us at the IBC in January will be: Band: Ivy Ford Band Solo/Duo Act: Warren Beck Youth Act: Riding Atlas

Mark Hebert Joseph Dicklin

Crossroads will be working on fundraising for the bands to support them on their trip to the IBCs. Stay tuned for those opportunities and come out and help the bands finance their trips to Memphis!

Sam Petri

Willie Rauch

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Blues in the Schools Begins with a Bang

continued from page 1

and David Causey, Donna Herula and Bobby Messano, Other artists are also going to come in and work with us as planning continues.

Tas Cru and his Band of Tortured Souls will stop in prior to the IBC this year and will be at Thompson Elementary School on the afternoon of Tuesday, January 9th and at Conklin Elementary School in the morning the next day. Tuesday night Tas and the Band will be performing at January 10th also features Mark Dvorak and David Causey with their Life and Times of Leadbelly program. They are at Rockford’s Thurgood Marshall Middle School in the AM and next door at Thurgood Marshall Elementary School in the PM. Photos page 3 by Rick Davis.

Page 3 Crossroads Blues Society Officers and Board Members Contact Info President: Steve Jones sub_insignia@yahoo.com Vice-President: Bill Graw williamjgraw@gmail.com Secretary: Bonnie Fox bonitafx@gmail.com Treasurer: Terry Keller terry@markpack.com Board of Directors: Denny Barker harkthebark@mchsi.com Rick Davis rick_davis_937@comcast.net Bob Haendler rhaendler@comcast.net Ken Pearson cntrylivng@aol.com Rick Hein mrrickhein@sbcglobal.net

The Blues Return to the BMO Harris Bank Center and Ice Hogs Friday Pregame Shows For the fourth straight season there will be pregame music events featuring blues and blues rock artists playing from 5:15 to 6:45 PM prior to each Friday home game for the AHL Hockey Affiliate Rockford Ice Hogs. The season kicks off with music at the Blues Flame Lounge on October 20th with the first Friday home game. Music will be featured prior to each Friday home game this season, twelve dates in all.

Admission to the shows is free with a ticket to the game. Check out the schedule and get info for these events here: http:// icehogs.com/tickets/Blues-Flame-Fridays/ and go out for some great music and hockey!

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Music Reviews Night After Night The Corey Dennison Band Delmark Records http:// coreydennison.weebly.com/ 13 Tracks If you have ever seen Corey live, you won't find a more passionate blues performer who exudes more energy and enjoys entertaining than Corey Dennison. That soulful strength is transmitted to his listeners through his powerful vocals, delivering the blues much like a fire and brimstone sermon. I can't help but think his style of the blues, fueled by gritty, earthy Southern soul, takes him right back to his roots in Chattanooga, Tennessee where he was exposed to the blues legends of Junior Wells, Albert Collins and Albert King and soul legends like Wilson Pickett, Curtis Mayfield and Sam Cooke.

He learned his craft as a sideman with Carl Weathersby, performing with artists like Nick Moss, Lurrie Bell, Carlos Johnson, and Buddy Guy, just to name a few. Over a period of 12 years, he was able to hone his guitar skills to the level of those that he was fortunate enough to perform with on stage.

His latest release, Night After Night, is a celebration of his love for soul music and Chicago blues like you have never heard before. With a superb cast of Dennison on guitar and vocals, veteran bluesman Garry Hundt on guitar, organ, and harmonica, Nik Skilnik on bass, and Joel Baer on drums and percussion, the band delivers eight new tracks written by Dennison, with seven of them co-written with Hundt. The first six tracks are all originals, opening with "Hear My Plea," setting the stage with his passionate plea for mercy, like a tortured soul and victim of his own crimes, impaled with his own stinging guitar solos. Dennison morns soulfully, with a longing in his heart, as calls out for his long lost lover, "Misty," showcasing his guitar skills on this one. "I Get The Shivers" is an irresistible shuffle with the rhythm section as the driving force, leading the way for Corey's powerful guitar solos and icy vocals. It's time to reminisce, taking Dennison back to the very beginning for some old school R&B with "Better Man." The tune even gives us a taste of some B.B. King style guitar and soothing background harmonica from Hundt, as Dennison reflects on the his life and the people that influenced him over time. "Phone Keeps Ringing" (written exclusively by Co-

rey Dennison), opens and weaves a steady, funky, rhythm guitar and steady pulsating beat throughout the tune, with Corey taking several guitar leads as he echoes his mournful vocals. With Hundt leading the way on the keyboard, the band delivers an original "motor city," sweet soul review number "Nothing's Too Good (For My Baby). Dennison takes us home for some savory blues as he plays his tribute tune, "Love Ain't Fair," written and performed by his long time mentor Carl Weathersby. The 1982 R&B chartbuster "Are You Serious," performed originally by Tyrone Davis is a perfect fit for Dennison's vocals and could easily go to the top of the R&B charts today, performed to perfection by the entire band. This is easily a tune you could play all night long! With heavy bass and rhythm guitar, Corey and Andy Duncanson of The Kilborn Alley Blues Band engage in conversation with different details the of the "nightcreeper" and title the new version "Night Creeper 2 (Still Creepin')." Dennison and Hundt complete their list of original tunes with a slow blues track "It's So Easy," focusing primarily on guitar solos. Corey adds a little more thunder and lighting to his vocals and guitar solos, embellishing his version of the Cate Brothers tune "Stuck In Chicago." Dennison shows the versatility of his vocals with the rousing spiritual, "Troubles Of The World," taken from the 1934 Negro Folk Symphony written by African-American composer, choir director, and professor, William Levi Dawson (September 26, 1899-May 2, 1990). In addition to his blues guitar solos, this is only the second track on the album with backing vocals from the band members.

The band joins together on vocals for the grand finale, completing a spectacular studio version of the 1969 Jimmy Reed classic "Down In Virginia."

After listening to Night After Night, I feel the Corey Dennison Band has taken a giant leap forward in their quest for the top. This release is only their second studio album, focusing more on their expertise of performing soul and R&B music along with their powerful blues. The Corey Dennison Band has become the pride of Chicago, performing nightly at the Windy City's blues landmark, Kingston Mines. This is one band you don't want to miss and a studio album that will capture your attention.

Reviewed by Rick Davis

All You Gotta Do The Nighthawks EllerSoul Records www.thenighthawks.com 12 Tracks I first saw The Nighthawks at a street festival in Aurora, IL back in 1984. My fandom has remained throughout the years (decades now). My collection contains over 25 releases. This band has been around and done it all. They formed in 1972 with Jimmy Thackery and Mark Wenner in Washington DC.. Werner (vocals and harmonica) is still with the band. Today, the band also includes Paul Bell (lead guitar), Johnny Castle (bass guitar), and Mark Stutso (drums). The band blends Chicago blues and rock. This recording has 3 originals by the band, and some great covers.

The music really takes off on the opening track “That's All You Gotta Do”. This track was a hit for Brneda Lee, and was written

by Jerry Reed. Wenner’s harmonica is dominant. Larry Campbell (Bob Dylan) wrote a tribute to the late Levon Helm called “When I Go Away”. Mark Stutso handles the vocals on the mid tempo tune.

The guys go Chicago blues with the Willie Dixon tune “Baby, I Want To Be Loved”.

I’ve always liked this tune and this version is slow pleasing blues tune. Things get slow and swampy with the Randy Newman tune “Let's Burn Down the Cornfield”. Paul Bell provides some strong guitar work.

“Another Day” was written by bassist Johnny Castle. It is a high energy blues rockin’ tune. It sounds real good!! The song “Voodoo Doll” was written by drummer Mark Stutso. It is a good blues tune, with fine vocals. Wenner gets down with his harmonica on the Sonny Boy Williamson tune “Ninety Nine”. This is a straight ahead blues cover. Stutso is the co-writer with Mark Nordini on the 8th cut called “Three Times Your Fool”. It is a slower soul ballad with nice vocals. Some horns might have added to this tune, though Wenner provides some stinging harp.

Jesse Winchester wrote the next tune “Isn't That So”. This is a slower tune with some country flavoring in it. The guys head up into hill country covering “Snake Drive” which was written by R.L. Burnside & Kenny Brown. They get into the strong groove here and scorch this tune. Wenner wrote the next tune “Blues For Brother

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John”. It is an instrumental tune with a bit of a jazz feel to it. Closing out the CD is a cover of the great tune “Dirty Water”. Johnny Castle handles the vocals on the fine The Standells tune from 1966. The bands rocks on this one. I bet it really gets the crowd going live.

The Nighthawks are great and this CD continues their entertaining musical legacy.

I like this CD, and all of you should hear it.

Their music has lasted a long time because of their energy and the fun they bring to the stage and their recorded works. Many of you may remember their performance at the 2013 Crossroads Festival. This CD follows suit with that great performance.

Reviewed by Mark Nelson

Songs Of A Renegade Greg Sover GSGS Music www.gregsover.com/ 10 Tracks Today I am reviewing the debut release by Philadelphia performer Greg Sover. He plays guitar and sings and is a self taught player. Sover is joined on this recording

by Garry Lee (bass, vocals), Allen James (guitar), Tom Wallings (drums) and Wally Smith (keyboards). Lee, James & Wallings backup Deb Callahan, so they are used to playing with each other. Sover won the 2015 Hard Rock Rising competition at Philadelphia’s Hard Rock Cafe. He describes his music as “blues and rock with a dash of everything else”. The release contains 9 originals and only 1 cover, so most all of this is new to our ears.

“Moment” is the opening track. It is a powerful blues-rock ballad track with powerful guitar work. There is strong rock vibes on “Heroes”. It is pretty heavy, and may not appeal to the listeners with a more blues ear. The vocals are strong.

There is a bit of a faster Hill Country blues in the track called “Preacher”. This one will fit right into the liking of blues rock fans. On “Quicksand” I like the lyrics, but not thrilled with the music. It seems to my ear to be a toned down rock with maybe too fast of a beat. Sover does a nice guitar solo.

Things slow down on the acoustic based “(Make Me) Say Yeah”. It is OK, and may be a better song model for “Quicksand”.

“After Me” starts an acoustic country blues tune. The rest of the band comes on and makes it a pretty good blues rock tune, maybe my favorite on the disc. “Déjà vu” shows reggae/island influences on a rock tune. It does add some variety to the

overall CD. The Bill Withers classic “Ain't No Sunshine” gets a blues rock interpretation with some reggae influences in it. It will be enjoyed by blues rock fans with its powerful guitar work. “Superman” has a classic rock feel, but not a great deal of blues. It is good lyrically. Closing out the CD is “Cherie”. It has an island feel to it with French lyrics. Sover has Haitian roots so it adds to the complexity of his musical roots. It is mid tempo with some nice guitar work in the solo.

Songs Of A Renegade is an adequate debut. There is some interesting blues rock on a few cuts. A more defined approach would add to a next release. It is hard to make a record for everyone. I do like the band, and the guitar work. I’d imagine Sover puts on a high energy performance. Maybe he will come through here for us to see.

Reviewed by Mark Nelson Stay Above Water Scottie Miller Band Self Released http:// www.scottiemiller.com/ 12 Tracks Scottie Miller is a veteran blues player from Minnesota. He is a member of the Minnesota Blues Hall Of Fame. He toured extensively with the one and only Bo Diddley for many years. I believe this is his 10th release overall. All tunes are originals. Miller handles the piano, organ, mandolin and vocals. The band includes Mark O’Day (drums), Patrick Allen (guitar, vocals) and Dik Shopteau (bass, vocals). The horn section includes Bruce McCabe (Lamont Cranston Band trombone), David Eiland (tenor sax), Scott Synder (trumpet) and John Croarkin (baritone sax). Ruthie Foster offers guest vocals on one tune. The music is a mix of original and contemporary blues, rock, soul and a sprinkling of funk.

The opening cut “Burned All My Bridges” shuffles into your ears with a fierce start.

The band is cooking on this tune. Up next is a soulful tune “Keep This Good Thing Going”. Ruthie Foster adds some vocal touches here, along with some fine guitar work by Patrick Allen. “Stay Above Water”, the title cut, starts out like an intro to a TV show. The mandolin playing by Miller is pretty good. I hear New Orleans in the 4th cut “Falter”. The band shows fine harmonies (a bit like The subdudes) on this tune. Miller’s piano work is top notch (Dr. John).

The mandolin is back on “Same Page”.

This mid tempo, country styled tune, is pretty good. “It Better Groove” get funky and provides a great dance floor opportunity. I like the piano solo in the middle of the tune. A slower ballad is next.

“Guardian Angel” is a pretty song, with bare instrumentation supporting Miller’s wonderful voice. The funk comes back on “Circles”. It’s not a fast tune, but it finds it’s groove and stays there!

“It's What You Do” sounds a bit like Jon Cleary from New Orleans. The horn section and the piano playing by Miller really carry this tune. The organ and Mark O’Day’s drums really dominate “Rippin' & Runnin'”. There is a bit of psychedelic feel with the organ, but there is still some southern soul here. The rhythm section holds it together on the mid tempo blues rocker “Come Along”. This is a strong track. Closing things out is the acoustic tune “Goodbye”. This is a nice treat. Miller’s voice shows a tender side, with some fine acoustic music to support it.

This release is a good mix of blues, rock and soul. All 12 original tracks are very good. This is a veteran performer making fine music that is impressive. Stay Above Water is a something everyone should listen to and enjoy. I’ll have to go back and check out more of Scottie Miller’s material, and you should too! I hope they come this way for a show.

Reviewed by Mark Nelson

Hurricane Relief Benefit Coming Crossroads is working to have a Hurricane Relief Benefit Show on a TBD Sunday in December or January at the Lyran Club. Start time will be 3 PM. An all star band is planned for the event with Reverend Raven, Jimmy Voegeli, Dave Wood, Steve Dougherty and Westside Andy Linderman. Admission is a $10 suggested donation. The bar will be open, food will be available, the NFL will be on in the bar and the party room will be grooving to the blues! Silent auction and 50-50 raffle, too.

Come out and help send monies to help those in need in Texas, Florida and the Caribbean. 100% of proceeds go to charitable relief efforts!

Stay tuned for news and updates on this great event! We’ll be finalizing the date very soon!

Ike Page 6 Lay It On Down Kenny Wayne Shepherd Band Concord Music Group www.KennyWayneShepherd.com 10 tracks/41 minutes The band’s 2014 album Goin’ Home revisited some tried and tested blues favourites but this time around KWS returns with an album of contemporary blues rock full of the sort of hooks and melodies that he and his band are really good at. The band remains Noah Hunt on lead vocals, Chris Layton on drums, Kevin McCormick on bass and newcomer Jimmy Gorman on keys, Kenny Wayne handling all guitar duties and sharing the vocals with Noah. Additional musicians are coproducer Marshall Altman (percussion, keys, B/V’s), Russ Pahl (pedal steel), Carlos Sosa (sax), Raul Vallejo (trombone) and Paul Armstrong (trumpet). Kenny wrote all the material here with assistance from a number of Nashville writers such as Dylan Altman, Danny Myrick, Keith Stegall and Brian D. Maher as well as long-time collaborators, Tia Sillers and Mark Selby. The songs cover quite a range from straight down the line rockers to big production ballads, acoustic tunes and even some country influences, the emphasis being more on the songs than on extensive soloing.

Noah Hunt has always been a magnificent vocalist but Kenny holds his own on several songs on which he leads, perhaps the result of his experience sharing vocals with Stephen Stills in The Rides. Kenny certainly sounds utterly convincing on “Baby Got Gone” which makes a great opening cut with all the ingredients present and correct: a rousing chorus, short and interesting guitar solo. “Diamonds & Gold” adds horns to the mix on another uptempo cut that points an accusing finger at the excesses of some people and features another great chorus, Kenny laying down some heavy wah-wah. “Nothing But The Night” brings Noah to the mike sounding pretty sexy/romantic on a midtempo tune with a real groove to it, Kenny producing a ‘sit up and listen’ solo.

“Hard Lesson Learned” shows its Nashville roots with Russ’ weeping pedal steel, the harmonies giving the song an Eagles feel, Noah singing commandingly in a different style and Kenny adding some nice touches on guitar. The first of two KWS/Sillers/Selby songs is the title track, a ballad which Kenny sings in a wistful manner as well as playing some delightful acoustic guitar. The song is about broken dreams: “You flew for a while with kingpins and kings, they’d snap their fingers and you’d sing. They’d take what they

The Groove- Crossroads Blues Society Newsletter want, tell you sweet lies, in the cold bed of dawn leave you to cry. Who broke your will now honey, who stole your dreams like money?” Their second collaboration is “Louisiana Rain”, a superb ballad sung impressively by Noah, the choral harmonies with Kenny spot on and a lovely short solo. Fans will recall that this is the team that also wrote “Blue On Black” and it is sad to note that Mark passed away just after this album was released.

washboard, giving it both a rocking blues and a second line New Orleans feel. That and the closer “I’ll Be On My Way” are the closest to straight blues tunes here though Lee Oskar’s duel on harmonica with Stacy on “Stomp Jump Boogie”, written by Jeff and the band, is an excellent instrumental feature. In another change of style “One Stop Light” is a rapid-fire jump blues/jazz piece with Mike Marinig’s sax added to good effect.

“She’s $$$” finds Noah admiring a lady who may just be out of his reach, an uptempo tune with some country influences while “Down For Love” rides Jimmy’s organ before Kenny launches a wide -ranging solo to remind long-term fans that he is still a formidable axe-man. Kenny’s Rn’B flavoured rhythm work sets a frantic pace on “How Low Can You Go” before he pulls out a fleet-fingered solo, possibly the song here with the highest blues content. Album closer “Ride Of Your Life” plays out a fictional ride out of town, combining Kenny’s enthusiasm for cars and guitars, Noah sounding suitably macho in his vocal delivery.

Elsewhere the album has some attractive playing in non-blues contexts: “Wait For Heaven” is a slower tune with excellent guitar from Jeff and sad lyrics dedicated to a departed friend. Stacy does seem to force her voice a little on the quieter numbers, as here and on the ballad “Can’t You Be Mine”. Stacy wrote “Love Is Everywhere” after the Orlando nightclub tragedy, another quieter number with an exciting rock guitar solo on the outro. Stacy moves into a country vein on two songs towards the end of the album: “Gotta Get Over You” is a fun tune with duelling harp and guitar while Tracy wants to avoid sentimental stereoptypes as she declares that “Tough Girls Never Cry” - “I’m a tough girl, please don’t buy me flowers, I like it much better when you tell me me how they just die.” Stacy makes good use of a bass line influenced by “These Boots Are Made For Walking” on the jaunty “Can’t Find Love” and sounds very much like Sheryl Crow here, a comparison that comes to mind again on “I Fell In Love”, a joyful celebration.

Readers will note that the word ‘blues’ has been little used in this review. This is a very good album with good songs, well played and sung, but there is little blues here. Nevertheless, it is a fine rock album with hints of blues, notably in Kenny’s guitar, and is well worth investigating, both for long-term fans or for those who might be new to KWS’ music.

Reviewed by John Mitchell Love Is Everywhere Stacy Jones Self-Release www.stacyjonesband.com 11 tracks/43 minutes

This album is not all blues but does have some strong songs and performances, sufficient to be of interest to readers of The Groove.

Reviewed by John Mitchell

Stacy Jones is based in the Pacific Northwest and although she is still relatively young this is her seventh album release. A multi-instrumentalist, Stacy plays acoustic, rhythm guitar and dobro, harmonica, Hammond B3 and tack piano on this record, as well as handling all lead vocals. Stacy also wrote all the songs bar one and she produced the album – phew, that is real multi-tasking in action! Her band is Jeff Menteer on electric guitar, Tom Jones (Stacy’s Dad, not the Welsh singer) on bass and Rick Bowen on drums.

The album opens impressively with “Mojo Potion #61 &49” which perhaps reflects Stacy’s own story of finding the blues at the crossroads. The tune adds Sean Denton on second guitar and Angelo Ortiz on

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Feet Back In The Door Johnny Ray Jones Moondogg Records www.johnnyrayjones.com 10 tracks/38 minutes You may well not have heard of Johnny Ray Jones as although he has been around for years as a support act to many fine acts, this is his debut album. And it has been a long time coming as the original recordings date back to the mid-1990’s when Johnny recorded four songs with friends Tony Braunagel, Marty Grebb, Joe Sublett and Johnny Lee Schell. Those recordings remained on the shelf until the rest of this album was recorded in 2015-16.

Tony Braunagel produced and played drums throughout with Mike Finnigan on keys, Johnny Lee Schell on guitar and James ‘Hutch’ Hutchinson on bass. Joe Sublett plays sax on most tracks with Darrell Leonard on trumpet, Lee Thornburg playing trumpet and flugelhorn and Paulie Cerra sax on one track. Other guests include Coco Montoya on guitar, Marty Grebb on piano and baritone sax and Jimmy Powers on harp on one track each, Teresa James on B/V’s on four tracks and Julie Delgado and Nina Whitaker on one.

Lenny Castro adds percussion to four cuts and Johnny Ray Jones sings lead on all the songs which come from a variety of sources including Leon Russell, Allen Toussaint and Sam Taylor, Johnny contributing one original.

Johnny has a solid vocal style with a hint of gravel in his tone, not unlike a certain Delbert McClinton. Opening with the title track (written by Arthur Adams), Johnny nails a super vocal, a funky and soulful piece with brooding horns and Teresa’s smooth backing vocals, Johnny asking for forgiveness from his lady, just a second chance to get his “Feet Back In The Door”. Sam Taylor’s “Hole In Your Soul” is one of the 1995 songs with Marty Grebb adding his baritone to the horn section as Coco Montoya plays a great solo, the song claiming that “you got a hole in your soul if you can’t feel rhythm and blues”.

“Come Up And See Me Sometime” may be the famous Mae West saying but here it’s a funky little number with some jazzy overtones courtesy of the organ and piano work by Mike Finnigan. “High Cost Of Loving” (AA Jones) was once recorded by BBM (Bruce, Baker, Moore) but here it’s another Rn’B romp with the horns to the fore and Barry Levenson’s “Hard Times Won” has harp upping the blues quotient.

One of the outstanding tracks here is “Love-Itis”, a sixties soul song by Harvey Scales, later adapted by the J Geils Band.

Johnny sings it really well in a stomping

Page 7 version with insistent piano and superb horns, a song that you find yourself singing along to the chorus after one verse!

ZZ Hill’s “I’m A Bluesman” is a churning blues that Johnny sings convincingly before Allen Toussaint’s “A Certain Girl”, a piece of New Orleans tradition that has been covered many times, even by the Yardbirds back in the 1960’s, has some excellent NO style piano from Mike and a classic Rn’B sax solo from Joe. Johnny Ray’s own composition “In The Heart Of The City” is a more relaxed affair, Johnny sounding smoother here and Paulie Cerra and Lee Thornburg providing a fine horn chart. The album closes on an upbeat note with Leon Russell’s “Hearts Have Turned To Stone”, Johnny almost speaking the lyrics over some fast-paced piano and baying horns.

This is more a soul and Rn’B record than straight blues but it’s a solid listen with plenty of fine performances. Johnny Ray’s voice delivers well across a range of writers and styles and this is yet another good release from the prolific Tony Braunagel and collaborators. Definitely one to catch if that blend of soul and Rn’B appeals to you.

Reviewed by John Mitchell MVP The Milligan Vaughan Project Mark One Records www.milliganvaughanproject.com 11 Tracks There is a good pedigree for these performers. Malford Milligan was the lead singer with Storyville. Tyrone Vaughan played guitar with Royal Southern Brotherhood and is the son of Jimmie Vaughan.

Joining them on this project is Chris Maresh and Jeff Hayes (bass), Brannen Temple and Kenneth Furr (drums), Michael Ramos and Jay D. Stiles (key boards), David Grissom and Jorge Castillo (guitars) and Mike Cross on backing vocals. Three of the tunes were written by Milligan and Vaughan. These are Texas performers with that state’s music firmly in their roots, though some parts of this project gets closer to heavier blues rock. Included, as the last 2 tracks, are live recordings.

They come out smoking on the opener “Soul Satisfaction”. This was written by David Grissom and Davey Knowles. It is a strong rock tune. “Dangerous Eyes” is

another rocker, with 80’s influences. The guitar work is pretty good, but not much blues. Vaughan wrote “Little Bit Of Heaven”. It is a bit popish, but does have nice organ play. I hear some Texas roadhouse in the original “Driving You”. It is a well played tune, made for dancing.

With guitar playing heavy on this CD, it is not surprising to get a Buddy Guy cover.

“Leave My Girl Alone”. Buddy first did this one in his Chess years. MVP offers up a good version of this fine tune. A Gene McDaniels penned tune is next. Les McCann & Eddie Harris put this out as a single in 1969. “Compared To What” has some jazzy blues funk. It gets a groove and takes off. Milligan’s voice is great on this one. “Here I Am” is another Grissom & Knowles tune. This one is a ballad that moves along, but not one of my favorites.

“Devil's Breath” is bluesy, but has a strange pace to it. The last studio track is a cover of the Reverend James Cleveland tune “Two Wings”. This is an acoustic gospel tune that fits Milligan’s voice pretty well.

The last tracks are live recordings from appearance at One 2 One in Austin during SXSW. The first is “What Passes For Love”. This one was done on the Storyville’s 1993 release called A Piece Of Your Soul. I like this one though the sound is not as bright as the studio tracks. They do jam on well here. The closing number is a popular Freddie King number, written

by Leon Russell, Duck Dunn and Don Nix. “Palace Of The King” has been performed by many. They do a creditable version here. Nice guitar work by Vaughan.

I was excited to listen to this one. It is certainly better than many releases, but I thought it would be a bit past what my ears tell me about it. Maybe it is early or I expected more with the pedigree here. All of you should give this a listen. These 2 seem to click, and I’ll look forward to hearing the next release. I’ll pull this one back out in awhile and let it grab my attention a bit more.

Reviewed by Mark Nelson

BITS Fun at Welsh ES

Ike Page 8 Hot Sauce Jon Spear Band Self-Release www.jonspearband.com 12 tracks/53 minutes Central Virginia’s Jon Spear Band is becoming prolific, Hot Sauce being the band’s third release in as many years. Last time round the band offered a live CD which made the Blues Blast nominations for Best Live Album in 2016; Hot Sauce is an all-original studio effort that covers a wide range of styles. Jon plays mainly rhythm guitar and sings lead on four songs; Dara James handles most lead guitar duties and occasional harmonica and sings lead on eight; Andy Burdetsky is on bass and backing vocals, John Stubblefield on drums and backing vocals. Additional musicians include Nate Brown on congas, Ron Holloway on sax, Matty Metcalfe on accordion, Butch Taylor on keys and Nathaniel Star and Yolanda Jones on backing vocals. Jon wrote most of the material, Dara and Andy each writing one song in conjunction with producer Andrew Fritz Waldeck.

Variety is certainly the hallmark of this band as opening track “Bottom Of The Bottle” starts with dobro and Dara’s vocal which sounds like vintage Greg Allman, a suitable reference as the electric guitars come in to provide a Souther Rock chorus on a song that lyrically finds the drinker regretting his excesses. In complete contrast “Geographical Cure” is an attractive piece of soft-rock with lilting Caribbean accents and conga rhythms, Dara urging us to take a vacation/change of scene.

Jon takes over the vocals for the comic story of the “Really Great Gig” as a fine evening of music turns ugly after the bass player flirts with the girlfriend of the gang leader! The title track features Ron Holloway’s sax on a classic rolling blues that equates love to all manner of hot sauce and chilli references. The band shows a more serious side with “Noah’s Blues” in which Noah wonder whether his efforts have been wasted: “I dreamed I saw old Noah, he had tears rolling from his eyes.

He said I saved God’s creatures from the flood, but now I wonder why”. The tune is not dissimilar to “Help Me” and Nate’s congas again add to the percussive side of the tune.

Jon sings abo ut a 19th Century New Orleans gambler who ends up losing everything on a game of cards in “Pierre Jourdan”, complete with accordion and a verse in French before some more island rhythms underpin “Hit The Quarter”, a song that celebrates an attractive dancer in a bar. Jon again shows a sure touch with a comic song in “Butt-Dial Kyle” in which Kyle manages to

The Groove- Crossroads Blues Society Newsletter accidentally call his boss at 3AM and his wife when he is in a lap-dancing club oops!

The final four songs are all more serious: “Wintertime” is an extended slow blues about homeless people and how we never seem not to notice their plight; “Blues For A Soldier” celebrates the role of the soldiers who put their lives on the line to protect us all, played to a rocking tune with an aching solo from Dara; memories of a broken home come back to haunt the protagonist in “Cheap Whiskey And Cigarettes”. The final track is “Natchez Burning”, a song about a 1940 fire at a nightclub in Mississippi in which over 200 people died (a photo of the Mississippi Blues Trail marker adorns the CD sleeve). It’s a sombre piece which starts with just Dara on dobro and vocals, handclaps and eerie backing vocals from Yolanda and Nathaniel until the last section when the whole band comes in with an electric finale. This is not the first song about the incident but it is a suitable tribute to the memory of those who lost their lives, including most of the orchestra playing that night (Walter Barnes And His Royal Creolians) who courageously carried on playing to try to prevent panic.

An interesting and varied album that has something for everyone, making it worthy of your attention.

Reviewed by John Mitchell Signs Jonny Lang Concord www.jonnylang.com 11 tracks; 48 minutes Jonny Lang’s debut album Lie To Me was more than 20 years ago now and Jonny has been a star in the blues-rock firmament since the age of 15. The accompanying PR sheet declares that Jonny “long left blues purism behind” and it is certainly true that some of his more recent records have been closer to mainstream rock/pop than the blues. So what does Signs tell us about Jonny’s current state of mind?

First and foremost the basic tracks here were recorded with Jonny and producers Drew Ramsey and Shannon Sanders, giving the album a ‘rough and ready’ sound with some North Country Hill feel.

The advance copy received for review did not detail any musicians but on most tracks it sounds like a trio in action. “Make It Move” relies on handclaps and the basic rhythm guitar work as Jonny recognises that he needs to be more proactive in his life. It’s quite a primitive sound with

Jonny’s familiar vocal rasp and that continues on the next track as Jonny reflects on some of the mistakes he made in his early career as he perhaps fell for the temptations offered by those “Snakes” in the grass. A crunching riff underpins “Last Man Standing” which is vintage JL, a song of triumphing over difficulties and the guitar playing is right up front and centre for fans of Jonny’s axe work. The pace drops for title track “Signs” with some grungy guitar and rather discordant slide work and “What You’re Made Of” has a choppy rhythm with just a hint of reggae and some falsetto vocals.

An angry sounding guitar emerges from the insistent drum beats as Jonny shows his frustration with the state of the world in “Bitter End”: “Why tear down a wall just to build it up again”, he asks in a strong chorus and then in a sense proposes the answer in “Stronger Together”, a gentle tune with a message of working together in harmony. “Into The Light” adds some funkier tones to the music as Jonny celebrates leaving troubles behind, the chorus adding backing singers to get the positive message across.

“Bring Me Back Home” comes from a different session produced by Josh Kelly and apparently there are other songs from that session which are being saved for a later release. This romantic song is an acoustic ballad with a central electric solo and Jonny’s distinctive voice, the most delicate track on the disc. “Wisdom” is just Jonny’s searing guitar and vocal over foot stomps, another slow track in primitive style before the album closes with the lengthy “Singing Songs” which builds from an acoustic start to incorporate strings, choral vocals and Spanish guitar with a lot of repetition of the title.

Overall this reviewer was disappointed in this album. Yes, there is some blues here in the more primitive sounding cuts and those may appeal to some readers, but equally there are tracks here that have little to do with blues at all.

Reviewed by John Mitchell

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Took You Long Enough Brad Stivers Vizztone Label Group https://bradstivers.com 10 Tracks While completing a degree in Music Business at The University of Northern Colorado studying jazz guitar, Brad Stivers formed his own band with fellow students at the university. The local blues society chose his band to represent Colorado in the 2012 Youth Showcase at the 2012 IBC in Memphis. In 2014 Brad Stivers delivered an outstanding performance in Memphis at the International Blues Challenge, earning him a spot in the finals. In his early 20s, Brad Stivers will define and develop the future of the blues as a part of the next generation of blues music.

His latest album, Took You Long Enough, released by the Vizztone Label Group, opens with "2000 Miles," one of his five original tunes. He is able to lay down some of that same early Texas guitar sound often created by Jimmy Vaughan.

On "You're Just About To Lose Your Clown," Mark Wilson takes the spotlight on sax, as an extension of the dynamic horn section. Brad takes over with some electrifying guitar solos on this tune. Brad adds some rockabilly guitar licks to his original tune "Put It Down." The title track "Took You Long Enough" weaves a funky rhythm guitar throughout this original driving blues tune. Stivers teams up with Emily Gimble, the granddaughter of fiddle player Johnny Gimble, for a duet, with Emily at the piano, for a great rendition of the Ray Charles classic "Here We Go Again." The soul is intoxicating in Malford Milligan's vocals as he joins Stivers on the tune "A Nickel & A Nail," recorded by O.V. Wright in 1971. Stivers opens with some stellar guitar work for an instrumental version of "One Night Of Sin," recorded by both Smiley Lewis in 1956 and later by the late great Elvis Presley. They follow up with some Texas style guitar on the original "Can't Wait." They finish with the last original tune "Save Me," a tune with a another gripping guitar performance and follow that up with a funky instrumental version of the James Brown classic "Cold Sweat." Brad Stivers lays down and incredible guitar performance again on this final number.

After seeing his performance in Memphis in 2014 at the IBC, it was obvious Brad Stivers was headed to the top. Took You Long Enough seems to be proof that his commitment to the blues is for real. He is one artist you want to keep an eye on in the future.

Reviewed by Rick Davis

Page 9 Never Trust the Living Johnny Mastro & Mama’s Boys CSB/Roxy Music, LLC www.johnnymastro.com 11 Tracks If I could describe Johnny Mastro & Mama's Boys and their unique blues style, it would be raw West Coast blues in it's purest form. They seem to follow a similar path as another hard driving 1988 LA blues band, The Red Devils. There seems to be a similarity in the no frills approach to the blues with lead singers and harp players (Johnny Mastro of Johnny Mastro & Mama's Boys and Lester Butler of The Red Devils).

Johnny Mastro and Lester Butler were both a part of the LA blues scene and over time developed their own unique blues style. Mastro, a 20 year veteran, learned his craft by receiving his inspiration from club owner Laura Mae "Mama" Gross. Born in Mississippi, she mentored young musicians as they played in her blues venue, Babe's & Ricky's Inn. The band Johnny Mastro & Mama's Boys chose their name based on her nickname "Mama."

Johnny Mastro has a dark, raw, powerful approach to his brand of the blues in both his vocals and harp tone. The band always follows suit with their delivery and their latest release Never Trust The Living is no exception. The lineup for this release consists of Johnny Mastro on vocals and harp, Smokehouse Brown on guitar, Dean Zucchero on bass, and Rob Lee on drums and percussion. With raw distortion streaming from his guitar amp, Smokehouse Brown lays down some heavy guitar licks and penetrating slide guitar on the opening tune,"Snake Doctor." Mastro gets sensational tone from his harp along with his gripping vocals and a slow groove from the rhythm section on the second cut, "Whiskey." Smokehouse Brown is both powerful and haunting on guitar throughout this song. The band changes format, playing Snooky Pryor's 1956 release "Judgement Day" with more distortion and volume, creating a much different high powered rendition, typical of their own brand of the blues. You can almost hear the cries of pain echoing from the deep South in Mastro's painful harp tones.

"Monkey Man" approaches a stinging shuffle with South side Chicago harp solos and some powerful slide guitar that will set you back a few steps. "Don't Believe" is slow, sleepy, drifting blues number with harp solos reminiscent of Little Walter's "Blues With a Feeling." The band does an instrumental version of the traditional folk tune "House Of The Rising Sun," with

tempo changes and an explosive rock guitar solo in the middle, arranged by Johnny Mastro. That deep, dark, distorted guitar sound fused with slide guitar and Mastro's mournful harp solos take center stage on the original, "Walking." Up next is the title track "Never Trust The Living" which takes me back to the streets of Chicago for some Magic Sam and "Sam's Boogie," saturated with high octane guitar riffs from Brown and smooth harp tones from Mastro. Get your dancing shoes on for a fast paced rockabilly style blues track and shake em' on down with "Bucksnort Anne" from Tennessee. After that tune you will need to resume a normal heart rate as Johnny takes the stage with his chromatic for his special rendition of Freddie King's instrumental "The Sad Night Owl." Johnny Mastro opened the album with laughter and ends Never Trust The Living with a highly charged tune taking us back to a 1966 supernatural phenomenon "Indrid Cold."

During the recording session, Johnny Mastro & Mama's Boys produced 78 takes of 27 tunes in two days, only to select 11 special tunes for Never Trust The Living.

While under the direction of their mentor Laura Mae "Mama" Gross they were encouraged to develop a sound of their own.

If this is your first introduction to Johnny Mastro & Mama's Boys, I think you will agree that their brand of the blues is like no other blues band.

Reviewed by Rick Davis The Big Beat Chickenbone Slim Lo-Fo Mob Records https:// store.cdbaby.com/cd/ chickenboneslim2 9 tracks Chickenbone Slim and the Biscuits TheBig Beat (September 15th, 2017 on Lo-Fi Mob Records) is a wandering collection of varied and unique songs created by San Diego bluesman Larry Teves, AKA Chickenbone Slim, and his saucy but raunchy Fender Telecaster. Whether it is the title cut or soulful Long Way Down, or the country twanged Vodka and Vicodin or even the more country like Hemi Dodge The gravy for these "Biscuits" is heard in Jon Atkinson's Little Walter like harmonica playing in Long Legged Sweet Thing or the stomping Do You Like It?. Chickenbone Slim and The Biscuits are a trio act that plays a bluesish blend of funk, R&B, and country music that is universal and played by bands everywhere and make up the mainstay of acts out there today.

Reviewed by Michael Smith

Ike Page 10 Groovin’ In Greaseland Rick Estrin & The Nightcats Alligator www.rickestrin.com 13 tracks/55 minutes Rick Estrin was always the frontman for Little Charlie & The Nightcats but when Charlie Baty retired in 2009 the band was renamed and this is the fourth release under the new name Rick Estrin & The Nightcats. It’s another winner with Rick’s clever and amusing songs delivered in his cynical wiseguy vocals. Rick also plays great harmonica and is ably supported by Lorenzo Farrell on keys and new drummer Alex Pettersen (who relocated from Norway for this opportunity), together with ace guitarist and studio whizz Kid Andersen.

Also on board are three different bassists and horns on two tracks. Rick wrote ten of the thirteen songs, combined with Kid on one and there are individual efforts by Kid and Lorenzo.

There are many highlights here and not enough space to comment on all but “Dissed Again” is possibly the classic Rick Estrin song with rock and roll guitar, exciting harp and funny lyrics: “Get there just in time to hear the boss man say you got to open for a ten year old who sounds just like Stevie Ray – dissed again, no matter how I try seems like I just can’t win”.

Opening shuffle “The Blues Ain’t Going Nowhere” opens with chromatic harp and Rick’s lyrics about how the blues will always be around, despite the irritations Rick finds out there on the circuit, while “Looking For A Woman” brings Lorenzo’s organ to the fore as Rick claims that he won’t be alone for long. Kid’s anagram instrumental tribute to Lonnie Mack “Mwah!” is a tour de force of fast picking aided by Nancy Wright’s rocking sax and Alex’s wild drums. Rick remains unimpressed by “Big Money”: “Big shot, big deal, ha, my big toe, you got a whole lot of class but it’s all low.” However, in “I Ain’t All That” Rick does admit that he has had a pretty good time: “Man, I seen more action than Saturday night.” Lorenzo’s “Cool Slaw” is a relaxed instrumental with Kid handling bass and guitar duties (though presumably not at the same time) and Rick gets serious on the slow blues “Another Lonesome Day” as he reflects on his life, past and present.

If you want to hear first class blues and amusing lyrics this is the band for you.

Recommended!

Reviewed by John Mitchell

The Groove- Crossroads Blues Society Newsletter Magic Kingdom The Gordon Meier Blues Experience Reverbrocket Records https:// gordonmeierbluesexperience.squarespace.com/ 12 Tracks

It is a mid paced blues Chicago blues tune, in the same vein as the other original. “Gypsy Woman” is the old Muddy Waters tune. The band captures that old Chicago blues feel. Meier goes back to the Freddie King well for another taste of well paced instrumental blues. “The Stumble”. It was featured on the 1969 King release My Feeling For Blues.

Gordon Meier is a blues fan and loves his blues guitar. A big fan of Freddie King and Magic Slim, he has played the blues for decades. The music here is Chicago blues, heavy on the guitar. Based in New Jersey, he made the trek to Chicago in the late 70’s to find Magic Slim and he did it!

A relationship developed and stayed strong until Slim passed. There are 10 covers on this CD so we hear the music Meier loves, and it shows in his playing.

He plays guitar and sings. Lester Veith (drums) and Mark Freidman (bass) are on all tracks. Dennis Gruenling adds harp on 5 tracks. Dean Shot adds some rhythm guitar on 2 tracks & Joe Taino 2 cuts on slide guitar. Tom Hammer adds some organ and piano too. On to the music!!

There is something for all blues lovers here. Meier shows use his influences and best loved blues masters. It is well played and presented. Meier’s vocals and fret work fit the material. The supporting cast does their job. I imagine they are pretty popular for a night out of music and libations. The two originals are fine. The covers are of fine quality, and are not well worn war horses of the blues world. Enjoy a night of listening with this CD or if you can catch them live. It may not be a great deal of new ground here, but it is of good quality.

The opening cut is the classic Howlin’ Wolf & Willie Dixon tune “Howlin’ For My Darlin’”. The band cuts loose on this foot tapping tune. The second cut is the John Primer penned “Stop Draggin' That Chain Around”. Meier’s relationship with Primer comes from his years with Magic Slim.

Dennis Gruenling adds his harmonica to this track as does Joe Taino with his slide guitar. The bands rocks out on this fast Chicago blues track. The great Magic Slim used to play “My Buddy Buddy Friends”. On this cover the band slows it a bit, and gives it a more rocking blues feel. “Just Keep Ridin'” is an original by Meier which is a good tune. It is a mid tempo blues rocker. Greunling and Taino return to add to the fun.

The 5th track is a Freddie King cover “In The Open”. Tom Hammer breaks out the organ on this fast paced instrumental. I like the cover of the Hollywood Fats Band tune “Red Headed Woman”. This is west coast blues at its best. Meier’s guitar is fierce, with a fine bass line laid down by Freidman. Jimmy Rogers wrote “Gold Tail Bird”. This is a slow grinding blues tune.

Dennis Gruenling shows his harmonica chops again on this blues tune. We stay in the way back machine for the Johnny Otis classic “Signifyin' Monkey”. This one is a great story tune.

Next we go to the west side of Chicago with the Magic Sam tune “She Belongs To Me”. It is a bit faster than the Cobra label original, but had good emotions. The other original on the CD is “Someday Baby”.

Reviewed by Mark Nelson Devil Don’t Care Antry Tres Lobas Enterprises www.antrymusic.com/ 10 Tracks As an initial release, Antry (Steve Antry) comes to recording as a second career.

He worked as a railroad laborer as a young man. He enjoyed the singing that the workers did on the job. Through church he gained skills and appreciation for his vocals. He started to study music, but followed a path of his own business and being a family man. The music here is gospel blues. Though based out of Tulsa OK, the music was recorded in Nashville, and produced by Peter Carson.

Shaun Murphy and Anthony Gomes are special guests. The main backing players are Greg Morrow (drums), Michael Rhodes (bass), Dan Dugmore (steel player), David Smith and Mike Rojas (keyboards) and Rob McNelley, Pat Buchanan, Bret Mason & Danny Rader (guitars). Antry sings and plays guitar.

The opening song was written by Antry, with the rest being covers.

“Devil Don’t Care” it a powerful blues shuffle with some rock in it. It is a good opener. Things get slower and softer on the country popish “Always With Me”. Charlie Rich would have sounded good on this tune. It is a well played and sung ballad written by Darius Rucker and Babyface.

There is a powerful blues rock ballad called “How Far Down” up next. Antry

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shows powerful vocals throughout. Shaun Murphy adds some vocals on the back end of the tune. That tune came from John Mayall. At about 5:30 it is a longer and very powerful song. I like the softer ballad called “Fishin’”. It is a well produced track.

There is a nice sound to the rockier tune “Prince Of Peace”. It was written by Leon Russell. Another slow pop ballad is next.

“Borrowed Angels” is enjoyable for what it is, but there is no blues here. “Devil Gone Fishin’” reminds me a bit of Tony Joe White. Nice guitar work by Anthony Gomes on this mid tempo blues rock tune.

“Sending Me Angels” comes from Frankie Miller and Jerry Lee Williams. It is rock ballad, that could have been a good one for Bonnie Raitt. Antry’s voice is fine on this much more rock than blues tune. The band goes a bit Muscle Shoals on “Get Up”. It is a rockier ballad, with some gospel leanings. It is the final track for Shaun Murphy on this set of recordings. Closing out the CD is “My Special Angel”. This is long time hit written by Jimmy Duncan and performed by Bobby Helms in 1957. It is a pop ballad.

This release may have too much pop for many blues fans. It is a mix of tune types for sure. Antry does have a good voice.

The musicianship was fine also. If there is a CD 2, I’ll be interested to see the direction it takes. Antry performs locally with his band, Joyride Blues Band. I am not sure if all of the pop side shows up in those performances, but I’d be some of the blues rock tunes are a mainstay of those performances. Best of luck with this CD, and the future of Antry’s musical career.

Reviewed by John Mitchell Everywhere From Here Joel DaSilva Self-Released www.joeldasilvamusic.com 10 tracks/35 minutes Joel DaSilva is based on the East coast of Florida and this is his third CD release.

Joel handles vocals and guitar with Chris Peet on drums and Robert Cleary on bass. Keyboards are added to some tracks by Tom Regis and other musicians appearing include John Calzavara, pedal steel, Alejandro Sanched, accordion, Rick Rico Geragi, percussion and Natasha Watkins, background vocals. The list of additional musicians clues you into the variety that Joel is planning to deliver here as he ranges across country, latin and

Page 11 rock as well as blues. Joel wrote all bar one of the songs here, with contributions on two tracks from Robert Cleary, Vincent Del Basso and Stephen TC Gibb (Barry’s son).

The album opens with “Shake”, a thumping rocker with heavy drums and lots of guitar as Joel duets with himself, Tom’s piano building nicely into Joel’s central solo. Joel has a good voice and delivers all the material well, nowhere better than on a gentle tune that builds up from its acoustic base to add layers of keys and some lovely electric guitar work, the lyrics exploring how Joel has found a way to avoid becoming an “Everyday Man” - a good song well delivered. Things get heavy “Down In The Delta”, Joel using some distortion on his vocals and ‘howling wolves’ choir as the song explores familiar blues territory with references to bluesmen of old and crossroads. The pedal steel indicates a switch to country in “Chasin’ The Sun”, Joel sounding pretty convincing as a country balladeer before “Cadillac Mama”, a shuffle with Tom’s piano to the fore and Joel playing some classic swinging blues. This track is the sole cover, written by Richie Supa, best known for his contributions to Aerosmith albums.

Joel shows some latin influences on the moody “Bad World” with accordion and castanets added to the mix as lyrically he seeks to explain his darker side and “This Day I Bleed” stays on that darker theme with some grungy guitar and distorted vocals. We return to the blues with the bright shuffle “Spell On Me”, Joel in thrall to one of those blues characters we are all familiar with, the voodoo woman, here relocated to Florida from Louisiana, Joel getting great tone in his solo. “Time Heals All Wounds” is clearly a song with a message as Joel sings of a lost love, played in a late-night, jazzy slow blues style. In the instrumental “My Brazilian Soul” Joel takes some of his personal Brazilian inheritance and plays some fast-fingered guitar over a warm organ and percussionled backing to close out the album in style.

This is a very enjoyable album that demonstrates that Joel can operate in quite a wide range of styles. At 35 minutes it is on the short side and this reviewer would have enjoyed a couple more tracks but it is still well worth investigating.

Reviewed by John Mitchell

Been Out Travelling Darryl Ellyson Self-Released www.reverbnation.com/ darrylellysonbluelightdistrict 10 tracks/41 minutes Darryl Ellyson is a singer, songwriter and guitarist based in Virginia who has plenty of experience though this is only his second album release. Darryl wrote all ten compositions here, sings lead and plays guitar alongside Velpo Robertson (guitar), Rusty Farmer, (bass), Kip Williams (drums) and Jerel Lewis (keys). Kevin Simpson adds sax to two tunes and studio engineers Bill Roberts and Carlos Chafin also contribute some bass, guitar and drum parts with Darryl, Bill, Jerel and Velpo credited for B/V’s. Darryl has a solid voice and the album has a decent range of styles.

The title track opens impressively with lots of slide and frantic drums, country blues on steroids, Darryl recounting some of his adventures, seeming to have had women problems wherever he has been! “Lovin’ You” may be the answer as Darryl needs to spend more time at home with his girl, the tune having a Louisiana feel with a funky rhythm and organ. Kevin’s sax is all over “Ain’t Gonna Let You Go”, adding a sophisticated sheen to a relaxed love song and “Baby’s Love” uses sax in the chorus of a funky tune that again references travelling, something of a theme developing here! Darryl adds some Southern Rock influences in “Pushing Against My Heart” and “I’m Gone”, both of which have good guitar work. “The Sweet Times” has some brooding slide work that underlines the ‘lost love’ nature of the lyrics and album closer “I Won’t Include You” perhaps explains the break-up as Darryl has uncovered his partner’s infidelity, so he is leaving.

Darryl’s voice is probably better suited to the more uptempo numbers: the Ray Charles-like ballad “Everything I Do” certainly stretches his voice a lot though “Lost In Your Love” works better, both songs featuring strong piano playing in a country vein.

In summary, an album with plenty of good guitar, no over-indulgent excesses and a vocalist who puts the messages across well. Not all blues, but very listenable.

Reviewed by John Mitchell

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The Groove- Crossroads Blues Society Newsletter

Quiet Money Al Basile Sweetspot www.albasile.com 13 tracks/55 minutes

of the blues in “Blues Got Blues” - “you can’t draw a crowd unless you play it too damn loud” - but hopes that there will be some younger audiences for the future of the music.

Al Basile was an original member of Roomful Of Blues and over the years he has produced a series of finely crafted solo albums as well as being a published poet. No surprise therefore that the lyrics to Al’s songs are well written, whether wryly humorous or touching – both are in evidence here. Al continues to work with fellow Roomful original Duke Robillard who produced the album and also brought his current band to the sessions – Duke on guitar, Bruce Bears on piano, Brad Hallen on bass and Mark Teixeira on drums. Al’s cornet work is complemented by Doug James on baritone and tenor saxes, Rich Lataille on tenor sax and Jeff ‘Doc’ Chattenhouse on trumpet.

Throughout the album the playing is terrific from all involved. It is relatively unusual to hear the cornet these days and Al’s playing is featured regularly, always to good effect and the other horns provide great support. Duke’s band members are always on the money and the CD repays repeat listening as you get to appreciate the quality of the songs and the musicians involved. Another winner from Al Basile.

In his sleeve notes Al comments that he was inspired by memories of early Roomful days and the artists who had influenced them: Buddy Johnson, Lowell Fulson and Jimmy McCracklin, amongst others. Of course Al’s lyrics touch on all manner of subjects, several reflecting what Al describes as “taking stock in the fourth quarter”, a prime example being “Who’s Gonna Close My Eyes”, a sad ballad that makes clear that we have choices and must live with the consequences; Doug’s brooding baritone and Bruce’s stately piano provide the bridge to one of many fine cornet solos from Al. “Not Today” mines a similar field lyrically over a Buddy Johnson-inspired blues, Duke playing some excellent guitar and Al referencing another Duke (Ellington) in his solo. Perhaps the best song of all is also the saddest as Al tackles the tragedy of Alzheimer's in the gorgeous “Line By Line”. The early days of romance are forward looking “Tomorrow was an empty book we’d fill in time so we wrote our story line by line” but as that terrible disease takes hold “our story’s disappearing into time as though we never wrote a single line.” Listen to this song and try to remain unmoved – I could not.

However, in case this review is giving the idea that everything is doom and gloom here, Al also writes some sharply observed songs such as the title track “Quiet Money” in which we are reminded that even in the Depression someone was making money, so in today’s tough times Al suggests we “follow the money”. The fast-paced “Do You Even Know?” explores consummate liars who end up believing their own inventions and “Simple Ain’t Easy” reflects on how we all seem to overcomplicate things. Al’s sense of humour comes across well on “You Got Two” in which he cannot find a girl while his friend has two! Al comments on the current state

Reviewed by John Mitchell Better Late Than No Time Soon Leonard Griffie Pangoboy Productions www.leonardgriffie.com 14 tracks/56 minutes Leonard Griffie is based in Oregon and this appears to be his second CD release. Leonard’s voice and guitar are well supported by the rhythm section of Doug McAllister on bass and Mark Stever on drums with Michael Vannice on keys; a horn section of Gordon Greenley on sax and Randy Scherer on trumpet contributes to about half the tracks. Leonard wrote all the material (with assistance on one song) and also produced the album.

Leonard sings in a clear voice so there is no problem appreciating the lyrics which deal with the usual themes of love and relationships.

Opener “Look Me In The Eye” is a keeper with Leonard picking some Albert Kinginspired guitar and the horns offering excellent support, topped off by a short tenor solo. Leonard claims the moral high ground in “I’m Not Like That”, a breezy shuffle with Michael’s organ work providing a warm cushion but he takes a very different lyrical stance in “I Got News”, a soulful ballad in which Leonard will not stand by and take it any more. “What’s A Man To Do”, asks Leonard as he contemplates how to react to a girl who is acting like a wild child; maybe the answer is contained in “Leave This Town”?

The upbeat “What You Got Is What You Get” has a touch of BB King in the horndrenched arrangement, the main surprise being it’s only a two-man team, the sound is so powerful, as is also the case on “A Dollar Or Two”, a definite highlight of the later part of the disc. “Ain’t No Happy Home” has an insistently funky bass line and a horn arrangement that brings to mind Tower Of Power. Leonard combines a strong sense of humour with some solid slide playing in “You Done Stepped In It

Now”: “my time management skills, they match my bank account. I did the math and it’s the same damn amount, ‘cos when it comes to losing money I know how. I got to laugh when somebody says ‘You done stepped in it now’”. The title track “Better Late Than No Time Soon” also demonstrates Leonard’s quirky humour, as well as some fine piano work. Leonard’s voice is perhaps less suited to the jazzy shuffle of “Goin’ Downhill” (on which Gordon adds a relaxed tenor solo) and “I Do Love You” but on most tracks he sounds fine. Two instrumentals round out the album: “Up And At ‘Em” is a cool instrumental with some jazzy guitar from Leonard and organ à la Jimmy Smith and “I’m Good Where I Am” closes the album with Leonard’s guitar featured on a soulful piece. This is an album that has no really weak tracks and several standouts, making it well worth a listen.

Reviewed by John Mitchell

Keep On Playin’ Halley DeVestern Band Self-Release www.halleydevestern.com 5 tracks/22 minutes The band is based in NYC and this is their third release, the previous one Fabbo! Boffo! Smasho! (also an EP) having been described as ‘balls-tothe-wall Blues Rock Funk with a splash of Swampaloo’, so blues fans have been warned that blues is only a small part of what the band play! Halley handles lead vocals with Steve Jabas and David Patterson on guitars and keys, Tom Heinig on bass and Rick Kulsar on drums; everyone contributes backing vocals. All the material is original, Halley and Tom writing four of the songs and the whole band credited on the title track.

“Keep On Playin’” sets out in Southern Rock style with some attractive slide work but the song itself seemingly runs out of inspiration with endless repetition of the title towards the end. “Time For You To Light Things” has a funk base with plenty of harmony vocals and an element of rap while the gentlest tune here, “Bangin’” takes us into a sort of AOR sound (think Heart). “Song In You” sounds very 80’s pop with lots of synth work and pure rock guitar solos; “Hit Twice” starts promisingly with some swampy slide but Halley’s histrionic vocals are really over the top.

Halley did sing with Big Brother & The Holding Company for a spell and the disc demonstrates that she has the sort of big voice and personality that audiences often like but there is little or no real blues content here.

Reviewed by John Mitchell

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Well It's About Time Andrew Chapman aka JoJo Soh Records www.propermusic.com/ label/Upisland-Records10738 13 tracks

concept album and yet it seems to be telling a story. Like Jake Blues "We're putting the band back together." Makes me wonder what he may do for an encore. Just don't wait so long next time.

Defiance Stormcellar Self-Released www.stormcellar.com.au 13 tracks

Reviewed by Michael Smith

Well It's About Time is Andrew Chapman's (aka Jo Jo) debut album (released August 18, 2017, on UpIsland Records) This is a guy with a very long history in the music business but like me, I am guessing, you've not heard of him before now. And no he's not the Jo Jo that was a loner who left his home in Tucson, Arizona. When you listen to this album you can hear and feel the blues in these songs. This has been a lifetime in the making, and you can sure feel it when you listen to it.

Prayer for Peace The North Mississippi Allstars Sony Legacy http:// www.nmallstars.com/ 12 tracks

The number one album on the Australian Roots and Blues Charts for September and October 2017 was none other than our friends from Down Under’s great new CD Defiance! Recorded here in the US in Indianapolis in 2016 during their tour, the album has topped the charts because it’s a great blues album!

Some backstory is needed to put this album in the proper context. Chapman’s musical journey started in the late 60’s when he managed a band called Buttermilk Bottom in Texas, helping them get a single out on Polydor Records in 1970. Chapman then formed a band called The Bloontz with bassist Terry Wilson. That led him to New York where the band recorded an album and then signed on to tour with Houston’s Johnny Nash (I Can See Clearly Now) in some of the U.S.’s bigger clubs.

Andrew grew tired of the industry. He said, “I loved the music but the business turned me off”. He then began a successful career in hotels and investment banking and would scratch the musical itch every so often and hit the studios periodically with friends. Then, a couple of years ago, he called up his old bandmate Terry Wilson, who was now a respected producer and engineer. Tracks were passed back and forth across the globe between Chapman and his guys. Andrew Chapman has a long list of musician friends that cover a lot of ground through many styles of music. They had a chance to resurrect some of the old material of Andrew's after their original band (Bloontz) had disbanded and since then its members have gone on to work with, record or tour, with such artists as: The Who, Taj Mahal, Bonnie Raitt, Delbert McClinton, Eric Burdon, The Blues Brothers, Johnny Nash, Jimmy Reed, Lightnin' Hopkins, Robert Cray, Rickie Lee Jones, Bette Midler, Free, Back St. Crawler and so on.

Well It’s About Time is a very enjoyable album many years in the making. It is well produced, good songs and solid performances, with equal parts of blues, the swamp and straight up Rock & Roll. It grabs your attention from the first song (“That's The Kind Of Day That I've Had Today”) and just pulls you in. Also check out “That Takes Some Balls.” This isn't a

The North Mississippi Allstars Prayer for Peace (Released June 2, 2017 on Sony Legacy) is their latest album comprised mostly of blues and folk covers played by Luther & Cody Dickinson (the sons of producer-musician Jim Dickinson) and a cast of guest musicians. I have been a fan of the band since I heard Shake 'Em On Down from their debut album "Shake Hands With Shorty in 2000".

The title track (and given the world today) is a great is an original tune with a funky backbeat. Sharde Thomas (granddaughter of blues pioneer Otha Turner adds a duet harmony vocal and her flute to Luther's guitar, Cody's drumming, and guest Oteil Burbridge's pumping bass line.

The brothers pay homage with songs of their mentor R.L. Burnside (Long Haired Doney, Miss Maybelle, and Bird Without a Feather). The LP also includes versions of "Mississippi" Fred McDowell's tunes. (61 Highway and You Got to Move).

The Dickinson brothers deliver a wonderful take on traditional folk-country-blues Deep Ellum. The tune pays homage to the historic black Dallas neighborhood that gave the world Blind Lemon Jefferson, Blind Willie Johnson, and Lead Belly. It was first recorded in the early 20th century and later covered by artists like Jerry Lee Lewis and the Grateful Dead.

The album closes is a sweet the country gospel standard Bid You Goodnight. The song dates back to the 19th century but was covered in the 60'sby the Grateful Dead.

The North Mississippi Allstars can and do jam and improvise with the best, but this album is tight and compact and pulls you into the music. It is one of their finest recordings simply by being true to themselves. This music is timeless, and their obvious reverence for its heritage is shown in how easily it flows into your ears, mind, and soul.

Reviewed by Michael Smith

The sextet of Michael Rosenthal and Paul Read of guitar, Bill Williams on bass, Jo Fitzgerald on vocals, Theo Wanders on drums and percussion and Michael Barry on harp and lead vocals are a high energy and talented group of musicians who take the blues to new places. Produced by Mssr. Barry, this is by far their best effort yet, and they have had some damn fine albums that they have released over the years. Here we have new songs displaying a real maturation in their music. Wellcrafted cuts, superb production, creative lyrics and some damn-fine singing and playing add up for a top notch effort that earned them top honors on the Australian Blues and Roots Charts!

The album opens to a driving blues rocker with a little bit of a rootsy/country flair entitled “Hard Rock.” Superb guitar licks, hard driving vocals and a driving beat make this a great hook. Next up is “Julie” which blends rockabilly and their eclectic sound into a whirlwind of a love song. The band changes things up and goes acoustic on a pretty ballad “Chase the Dragon.” Mixing acoustic and electric guitar, ethereal vocals

by Barry and great backup by Fitzgerald, the song is a lilting and ethereal ride with a little slide thrown in to give the listener something tasty to savor. “Stopping By” follows, again mixing the acoustic and electric guitar in a romping and rocking style.

Barry’s harp makes it’s first big appearance as Theo and Bill bang out a steady, upbeat tempo while Rosie and Mr. Wizard show us their chops on guitar. Things take a turn towards jazz and funkiness with “Heavy Weather.” Rob Dixon’s horn gives the band some fine support in this cool cut.

“Feels to Win” gives us some psychedelic guitar twists and a forthright vocal by Barry that exudes confidence as they tells us what it feels like to win. Jo gets her turn fronting the band in the thoughtful and beautiful “Like a Stone.” In addition to Fitzgerald on vocals we have some tasteful flugelhorn by PJ Winger and Theo on the bongos. A minimalistic approach which results in a winning approach and a great cut. “Colour My World” is not Chicago’s song, it’s a huge, driving rockabilly tune.

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It’s a big and bouncing song that the boys and Jo do a fantastic job with. “Go Down Easy” turns the tempo down with some thoughtful vocals by Michael and Jo and a melodic sound by the guitars and backline.

Top 50 blues release worldwide. And his 2014 effort, Slide Avenue, which blended swing, blues, New Orleans funk and more, climbed to the top spot on Roots Music Report’s radio charts.

“Better Off Without You” is sort of a country blues about a breakup. The tone is one of resolve and not despair– the songs tells us life is better being broken up. “Isn’t How I Wanted It” is next up. Angst mixed with slide guitar, we have a song that compliments the displeasure that is in the lyrics.

Slick, straight up Chicago styled blues is next in “Momma Don’t Mind.” Barry breaks out the harp and the guitars lay down some big licks in this driving blues.

Things conclude with “Like Stone,” the ballad resuming but this time with Barry in front. Hints of reggae make this an interesting conclusion to a fine album.

This release picks up where that one left off, Dennis says, after he took time to explore even more interesting rhythm patterns. Once found, the songs basically wrote themselves. He’s assisted here by Tim Metz on drums, Jonathan Stoyanoff on bass and Craig Long on keys and backing vocals.

The CD was produced in limited quantities and may be hard to find, but the album can be downloaded on CD Baby for $9.99 US. It is well worth the download to hear this fine album. We missed the band as their 2017 US tour was cancelled, but we can savor this CD as a small token in exchange for the cancelled tour. This band has been a favorite of ours and they demonstrate why in this great new release.

Go out and get it now!

Reviewed by Steve Jones Rhythmland Dennis Johnson & The Mississippi Ramblers Root Tone Records www.dennisjohnsonslide.com 10 songs/36 minutes Playing high-energy blues on 12-string dobro, Dennis Johnson is one of the most interesting slide players in America as he experiments with innovative playing techniques to produce his own funky brand of music, which delves into roots, Latin, rock and folk time measures. If you’re unfamiliar with his play, you’ll be sitting erect in your chair from the first notes of Rhythmland.

A San Francisco native who wrote nine of the 10 tunes on this one, Johnson picked up the guitar after hearing Chuck Berry in his youth, and fell in love with the blues as a teen after discovering Robert Johnson as well as fellow Bay Area residents Norton Buffalo and Roy Rogers, who remains a major influence today, and David “Honeyboy” Edwards.

Dennis’ approach is, he says, much like Robert, who sounded to his ear like he was playing two guitars at once, delivering rhythm and slide notes simultaneously. His first release, Slide Show in 2010, was a

The album opens with a tip of the hat to Robert Johnson with a cover of his standard, “Walkin’ Blues.” But the treatment is nothing like you’ve ever heard. Dennis sprints out of the box with a propulsive, syncopated guitar line and riffs on it throughout as he delivers the familiar lines with his warm, slightly weathered tenor. A Latin beat takes command for “Timbale,” a tribute to a female musician who plays the title instrument, loves Tito Puente and doing the cha-cha. Johnson’s mastery is over -the-top and in-your-face, but totally pleasing and in control.

The ballad “Faith” is up next. It’s a straightahead blues that takes you church as it preaches the message that nothing can strip the singer of his belief. Another interesting, accented rhythm introduces “Fillmore Street,” opening with a countryblues feel, but quickly evolving into an uptempo walk as it describes what the entertainment area in San Francisco must have been like in the 1940s. Long’s keyboard comes to the fore in the mid-tune solo.

The pace slows again for “That Way No More,” a quiet ballad with a rootsy, country feel that deals with lost romance, before a steady military beat introduces “Valley Of Love.” It percolates as Dennis modulates his guitar runs and urges a lady to hold his hand and walk with him through the location of the title. The stop-time “High Heel Shoes” opens with an image of Caldonia regretting that her boyfriend’s split and she’d lost her job, but picks up speed quickly as Johnson relates that she’s got a certain cure for the blues: a new pair of stilettos.

“My Love Is Here For You” opens with a ‘20s feel as Dennis begins the tune with a simple run and launches his lyrics without accompaniment before the band joins on the second verse. It’s a sweet promise always to be around no matter how life’s treating the lady he loves. It precedes “Southbound Train,” a bittersweet number that switches between a ballad and uptempo blues as it recalls the deaths of B.B. King and Robert Johnson and silently states that the singer will be taking the same railroad line to his great reward.

The disc concludes with an uptempo blues rocker. Entitled “Revolution,” it evokes the memory of Martin Luther King as it reminds the listener that the fight for equality and civil rights is far from done.

Available from CDBaby, iTunes and Amazon, Rhythmland is masterful throughout, brimming with fresh material -- and highly recommended.

Reviewed by Marty Gunther Plays The Blues Jimmy Carpenter Vizztone www.jimmycarpenter.net 10 tracks/40 minutes Jimmy Carpenter spent many years playing sax with Tinsley Ellis, Jimmy Thackery, Walter ‘Wolfman’ Washington and Mike Zito before he started making records under his own name. His 2014 album Walk Away was excellent and this follow-up is also very good, albeit that Jimmy is mainly covering the music he knows and loves: blues, soul and Rn’B, with just two originals this time around.

Recorded in his adopted city of New Orleans Jimmy was able to use an excellent band, the late Marc Adams on keys, Matthew Johnson on drums, Bob Bridges on bass and producer and Jimmy’s former bandleader in The Wheel, Mike Zito, is on guitar, Jimmy handling all the sax work and sharing vocals with Mike. Guests include another former Wheel member Lewis Stephens on keys, Dave Keyes on piano and a slew of guitar slingers who get a track each: Anders Osborne, Tinsley Ellis, Jonn Del Toro Richardson and Tony D (MonkeyJunk).

Magic Sam’s “You Belong To Me” works really well with Jimmy demonstrating solid vocals as well as great sax work, Tony D playing sympathetically off Jimmy’s sax.

If you are going to record a blues album you should always include a Willie Dixon tune and “Too Late” barrels along in fine style with Dave Keyes’ piano to the fore and Jimmy taking a great solo. “Jimmy Plays The Blues” is an original instrumental that does what the title suggests as Jimmy really cooks on the sax with subtle organ and guitar support from Marc and Mike respectively. In total contrast Jimmy’s other original is “Kid In My Head”, a wonderful two and a half minutes with Lewis’ pumping piano and Mike’s rock and roll guitar as Jimmy states what many of us feel – that in our heads we are still kids, it’s just the body that ain’t! A warm take on Little Walter’s “Blues With A Feeling” has some great piano from Marc and Jonn’s understated guitar work, Jimmy singing the familiar lyrics particularly well and giving us another storming sax break.

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Three instrumentals follow. First we get one of Sonny Thompson and Freddie King’s less well-known tunes, “Surf Monkey” on which Tinsley Ellis and Jimmy duel brilliantly before a fine reading of Sam Cooke’s “A Change Is Gonna Come” reminds us of just what a beautiful melody lies beneath the familiar lyrics, Jimmy ‘voicing’ the song on sax and Anders Osborne playing some gentle chords behind him – an outstanding version of a classic song. King Curtis’ “Preach” has a gospel feel in the opening solo sax section before the band joins in and the tune develops into a soulful strut. Mike Zito sings Otis Rush’s “All Your Love” very well, reproducing that familiar riff on guitar, Jimmy plays a sort of call and response with his sax and the ending is great, just listen to the way the band urges each other forward to the conclusion. The last song is another nod to sax players in the soul arena with Junior Walker’s “Shotgun” to close a great album that really showcases Jimmy’s playing. Recommended!

Reviewed by John Mitchell

Summer Rain Dudley Taft American Blues Artist Group www.dudleytaft.com 11 songs/53 minutes Dudley Taft offers up a big tip of the hat to American armed forces on Summer Rain as he delivers 11 original blues-rockers that brim with the everyday torment of active duty in war zones.

“I have the greatest respect for those men and women who serve in the military, especially those who are deployed in the hot spots of sectarian conflicts,” says the singer/guitarist who grew up in the Midwest, but founded the band Space Antelope with future Pfish frontman Trey Anastasio when both were attending high school in Seattle. “The separation from their loved ones must weigh heavy on their hearts.”

Now based in Cincinnati, Taft has four previous CDs to his credit since making his debut as a headliner with Left For Dead in 2011. His music has reached beyond the blues community through appearances in film and TV shows, including Gene Simmons’ Family Jewels,That Metal Show and The Sixth Sense, among others.

All of the material on this one was recorded at Muchmore Studio, situated in his home, which was formerly owned by rock superstar Peter Frampton. He’s backed here by keyboard player Reece Wynans, the Rock ‘n’ Roll Hall Of Famer who worked with Stevie Ray Vaughan, as well as Jason Patterson and Mike Tapogna on

Page 15 drums and Kasey Williams and John Kessler on bass. Dudley’s daughter Charmae adds backing vocals to the title cut.

“Flying On Love” soars like a fighter jet at the open as Taft stoically states that the love he has for a lady back home is the only thing keeping him going. Amid searing guitar lines, he says: “Now the world is spinning/I’m so busy winning/ I don’t want to come down/So throw the tires on the fire/And let it all burn down.” A military beat introduces “Dark Blue Star,” which is propelled by a simple three-note riff before it explodes into much more. The theme centers on comforting a companion who’s lost his way by letting him know that he’s been there before.

Next up, the pyrotechnics abate as the singer yearns for “Summer Rain” after spending the season where the heat’s unbearable, making it almost impossible to breathe. “Edge Of Insane,” a mediumpaced boogie with rock overtones, expresses the fear that a loved one is pushing the singer out of her life. The madness comes across full tilt in the instrumental outro. The desire for a good rain returns in “Live Or Die.” It this one, however, it’s actually the look in a lover’s eyes that cools down the GI. Despite the title, the funky “Pistols At Ten Paces” is a love song in which Dudley vows he and his lady won’t live in fear any more, while “Don’t Let It Fade” is a slowpaced reverie about soon being held in her arms despite several thousand miles of separation. The message of separation continues in “Moonbeam,” an assurance that the singer’s love is still strong as he dreams of walking hand-in-hand once more.

“Come With Me” deals with missing the mark by aiming too high, but Taft promises that he can help his partner soar about the clouds to clear blue skies. Another love song at a distance, “I Lost My Way,” follows before “Find My Way Back Home” promises a return to a normal life from a position of despair.

Available through Amazon, CDBaby and Bear Family, among others, Summer Rain is far more rock than blues, and the adult themes that run throughout aren’t for the faint of heart. But if you like your music with a harder edge, this one might be for you.

Reviewed by Marty Gunther

My Roots Are Showing Andy B.AND Self-Released www.reverbnation.com/ andyvoodude 9 Tracks/32:14 Long-time member of the New Jersey band, the Voodudes, singer Andy B. (Bernstein) has put together a collection that highlights the broad range of his musical influence on an all-original program.

“Great Time Comin’” unfolds with numerous biblical references punctuated by stark tones from Gary Ambrosy’s dobro.

John Pittas adds a Stevie Wonder – inspired electric keyboard fills. The next track mixes country and gospel a with dueling guitars from Ambrosy and Greg Stier on “One More River”.

Andy B. has an easy-going vocal style, delivered with a deep, gruff voice on tracks like “Incandescent Lightbulb Blues,” a tribute to Thomas Edison that harks back to New Orleans traditional jazz, thanks to Tommy LaBella on saxophone and Perry Leandro on fiddle. Bob Bernstein’s pedal steel work in conjunction with Paul Daloia’ upright bass and Jake O’Handley gives “Better Do Something ‘Bout That” a pronounced western swing feel. “My Baby’s Gone” is highlighted by somber notes Dick Paul pulls out of his fiddle while “In My Dreams” has Pittas switching between accordion and keyboards, giving the mid-tempo ballad a touch of the Cajun sound.

“Mary Ellis” is modern rendering of a story surrounding a grave in movie theater parking lot in New Jersey. Once again, Dick Paul lays down some impressive fiddle work. “Slow Dancin’ Barefoot” glides along, fleshed out by horns and a backing chorus. “In My Dreams” has Andy B. name-dropping Elvis & Ann Margaret while fantasizing about dancing with the woman of his dreams, urged on by John Asti’s tenor sax.

The singer’s finest hour occurs on “Break Someone Else’s Heart,” as his voice takes on a harder edge on a song about love’s betrayal. He finally generates a emotional connection that is lacking in the other tracks. And, in the course of covering all of these musical genres, Andy B. only makes a few fleeting stops at the house of the Blues. It adds up to a wide-ranging project that will be of limited interest to blues fans.

Reviewed by Mark Thompson

Ike Page 16 Calling Nashville– An Americana Adventure Trevor Sewell Self Released www.trevorsewell.com 11 tracks There are CDs you can spin the first time and know they are destined for greatness. This is certainly one of them. Featuring an amazing British singer, songwriter and guitar player and a fantastic backing band, this CD has already and will continue to garner recognition.

Hailing from the Northeast side of the UK, Sewell is a fixture on both sides of the Atlantic. His guitar and vocals are throwbacks to the style of Mark Knopfler. His style moves from subdued restraint to an all out rocking blues attack and he gives the listener a varied and sweet sound no matter what his approach.

Joining Sewell as Janis Ian on piano and vocals along with Ian, Tracy Nelson, Vikie Carrico, Mia Moravis, Chris McCartie and Trevor Brewis on backing vocals. Justin Kimball and Dave Robinson are on bass, Sean O’Brien Smith is on upright bass, Trevor Brewis is on drums, Kellen Michael Wenrich is on fiddle and the B3 Hammond is manned by Tim McDonald. Sewell is on vocals, guitar, mandolin, bass and keys.

Sewell visits the hill country to open the set. “Some Day” is a haunting song where fiddle and echoing vocals trade licks to open and then the electric guitar and the band enter with energy as Sewell and Company sing that someday things will change and folks will treat each other right.

It’s a big number and sets a high bar to follow; Sewell and the band are up to the task. “Mountain Of Gold” is a nice, slow, country blues ballad that follows and changes the tone. Sewell is on keys and fills in a bit on acoustic guitar on this somber and cool piece. The duet with Janis Ian is next. “Fade to Grey” is stark, jazzy, and impressive. Piano and guitar spar along with the two of them vocally bantering; there is a sublime brushed back beat keeping things moving. There is a huge, old-school vibe to the cut that just makes the song even more intriguing. I could listen to this cut on replay for hours on end.

“Matter of Time” has lead guitar and vocals that could easily be right out of a Dire Straits song. A medium tempo-ed piece, it’s a big, dark and tasty blues rocker that builds and builds to a slick fade. A duet with Tracy Nelson is up next. Entitled “Long Time Ago,” it is another thoughtful and nicely done frootsy ballad. Nelson’s vocals can still make the hair stand up on my arms and Sewell is up to taking on the challenge of singing with her in this pretty and sultry cut. “You Ain’t What I’m Looking For” takes things up several notches to a swinging and jumping song. The guitar

The Groove- Crossroads Blues Society Newsletter stings, the piano and organ jump and jive, the bass is slick and the band is tight as Sewell blazes on vocals and guitar. Sewell next takes us to the country with the fiddle and guitar setting the tone as he growls out the lyrics to “Tear It Down.” The guitar plays behind the fiddle, adding depth ; the fiddle and guitar take on a pedal steel tone with the organ behind them. It’s a beautifully done number.

“Stand Next To Him” is a rodeo of music.

The beat sets the tone like stallions at full gallop. The fiddle blows like a gale force wind behind the beat and the guitar blazes as Sewell’s vocals moan and growl along with the instrumentals. Very cool country blues rock here. Next up is “The Way You Are,” taking the tempo back down as guitar and vocals go through the paces of describing a relationship full of broken hearts.

The mood shifts positively with “Blanket Of Hope” as Sewell shifts to a bouncy and upbeat tone and meter and the ladies and B3 back him with a church-like approach.

The album concludes with “Shadows,” a cut done live in one take with Janis Ian on piano. Trevor’s vocals and Ian’s piano are restrained and subdued as Sewell displays strong emotions in a song about how the woman he sings of chases the shadows out of his life.

Geoff Wilbourn produced this CD. Few can produce an album as well as he can; this is one of his best albums and is even perhaps is his finest. The range of rootsy songs, the depth of vocal interplay, and the layering of the instrumentals make this one fine album.

Sewell is a fantastic musician who will garner lots of attention with this great album.

It is one of my favorites for 2017 and it will certainly make it’s way into the short lists of this years best as awards season rolls around. I strongly urge that you add this to your music collection– you will not regret the decision!

Reviewed by Steve Jones Basics Hamilton Loomis Ham-Bone Records www.hamiltonloomis.com 13 tracks/73 minutes I still remember the first time I saw Hamilton Loomis 14 years ago, a brash young man with an attitude, talent and charm. The years have made him into a season entertainer where he, his vocals, guitar and harp and his band make for a superb evening of live music. I am lucky to usually catch him a couple of times a year and I’ve heard some of the new songs here evolve in his shows. I think this is his best recording yet.

Loomis sins, plays guitar, bass, har and keys. His wife Sabrina LaField plays bass and sings on the first cut. Fabian Aussenac is on drums and backing vocals, Chris Eger is on slide for the fifth track and backing vocals, Bo Jordan Loomis is on maracs and the last track features three young guitar players: Alex McKown, Zach Person and Michael Bryan-Harris.

Loomis’ lyrics have evolved from double entendre and the humorous to thoughtful, succinct statements about his life and the world in general. The opening cut “Sugar Baby” is about his son, who suffers from hyperinsulinism (HI), a rare disorder that causes low blood sugar. Kids with the disease are labelled “sugar babies” and Loomis is working via this song and the folks who battle this disease to increase awareness and work towards a cure. The song is topical and a great hook to start the CD off with. “If I Would Have” is a funky number that follows with a great groove that is next. “Candles and Wine” follows, a fun song about a simple guy getting blown away by a woman and his enjoyment of that. “Reason” is another upbeat cut about love and relationships. “Ain’t What It Ain’t” is a big old Loomis funky blues rocket that we all have grown to know and love. Dirty harp and big guitar abound here. “Breaking Down” is a low keyed, slow tempo cut about love doing what the title says.

Loomis laments the breakdown of a relationship as he sings and picks with emotion. Things pik back up with “Looking Into a Dream,” where the horn blares with the keys and guitar. Stinging solos, a little distortion and a lot of fun make up this cut.

“Getting So Big” is a song about fatherhood as Loomis comments on a child growing up in this mid tempo and thoughtful piece.

“Cloudy Day” gets all funky again with big horns and accompaniment while “Come and Get Me” is a big guitar number that Hamilton shows off his prowess. Next is “Love Can Do,” another cut showing the maturation of Loomi’s musicality. Tasteful and reserved yet still big and full of his charm and talent. “Prayer” is a slow ballad of hopeful prayer for a future that is filled with positive outcomes. A stinging guitar solo is also featured here. The album concludes with “Funky Little Brother,” a great cut featuring Loomis with three Houston area teens. The sax and four guitars wail as the players get into it.

Loomis shows us what many years of performing and perfecting his craft has done to his music. Working with Grammy winning songwriter/producer/bassist Tommy Sims, Loomis serves up a baker’s dozen new and great tunes. This is a spectacular set of tunes that showcase how this man has evolved as a musician. I love this album and I think new and old fans will, too.

Highly recommended!

Reviewed by Steve Jones

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I Am The Blues: My Story Vol. 3 Michael Packer Iris Music Group www.facebook.com/ michael.packer.90 14 songs/42 minutes New York-based guitarist, vocalist and activist Michael Packer delivers his swan song with this album, the third chapter in his musical autobiography, which was in the can and released only a few days after he lost his life to liver cancer on May 6, 2017. Age 66 at his passing, Packer lived the life of a true bluesman. As he detailed in previous releases, he spared no detail in describing his path from early stardom to alcoholism, drugs, homelessness, jail and eventual redemption. He laid it all on the line, exposing warts others certainly would have hidden in the past.

Born in Manhattan and raised in nearby Bedford Hills, Michael’s first paying gig came at age 15 at the legendary Bitter End in Greenwich Village. At 19 in 1969, he formed the country rock band Papa Nebo, which included future Grammywinning jazz fusion saxophonist Bob Mintzer of the Yellowjackets. They were so good that Ahmet Ertegun himself signed them to his Atlantic Records label.

Relocating to San Francisco, he and George Thorogood played on the streets for tips at the height of Height-Ashbury before he returned to New York in 1973 to form Free Beer, a band that produced three LPs on Buddah and RCA that all charted in the Billboard Top 100. But drinking and drugs took their toll. Michael abandoned music in the late ’80s and eventually spent a year in the infamous Rikers Island after being convicted of theft.

Packer became a respected member of the New York blues community after turning his life around, releasing a succession of albums that featured his laid-back vocals and unique guitar stylings influenced by both Lightnin’ Hopkins and B.B. King in the process. But his charitable efforts were larger than life.

He was a prime mover in the regional Blues Music Halls Of Fame, and he singlehandedly started the Blues For Peace movement. Several concerts overseas successfully raised money for the United Nations refugee program, but proved problematic back home, where one show scheduled for the White House in 2016 was cancelled at the last minute because the stage was one or two inches in height out of specifications and another in Greenwich Village’s Washington Square never happened because a portable elec-

Page 17 tric transformer blew up moments before show time, nearly killing Packer’s drummer in the process.

This release features Packer in both acoustic and electric formats. The description in the header of this review is slightly misleading because there are actually only seven songs, all original on the album, each of which Michael introduces with a spoken monolog. None of the backing musicians are credited in the packaging, but are all top notch. One cut, which was recorded live at Buddy Guy’s Legends in Chicago for a Hall Of Fame induction ceremony includes guitarist Mike Wheeler on guitar, bassist Melvin Smith, drummer Willie “The Touch” Hayes and keyboard player Roosevelt Purifoy.

The opener, “Blues For Peace,” is a simple acoustic number that describes the heartache he endured at home after successfully launching his campaign in Mexico, Australia, France, Ukraine, Israel and Iran with another planned for Cyprus cancelled because of travel problems related to political unrest in Turkey. Michael’s delivery is wistful despite his obvious inner pain. “Fields Of Sorrow” is an electric blues co-written by Ed Jackson. It recounts the eerie feeling Packer’s band felt while walking along the grounds of Hobson Plantation in Mississippi after a festival in which David “Honeyboy” Edwards joined them on stage. The spirit of the slaves who toiled in that field was so strong, it was overpowering and they were forced to leave.

“Yo Staten Island” incorporates “Born Under A Bad Sign” into a rap that recalls the death of Eric Garner, the large black family man who was killed by police using an outlawed choke hold after stopping him for selling individual cigarettes on the street a couple of blocks from Michael’s home.

“Flash Flame” describes the ill-fated Washington Park performance, while “Chicago,” which features the all-star lineup described above, is a slow, sweet number that pays tribute to the Windy City and the blues.

Packer obviously knew that his time was numbered, as revealed in the final two sections. “Do It All Over” is a thinly veiled love song to a lady loved, lost and who still remains a friend, while the closer, “Mr. Packer,” serves as an aural epitaph.

Michael went down fighting, still planning to get out of the house to play an afternoon benefit at a church festival on the morning he died. It’s obvious that he made peace with himself before he passed — and his story is definitely worth a listen. Available through Amazon and iTunes.

Reviewed by Marty Gunther

Subway Stories Ilana Katz Katz Vizztone Label Group IlanaKatz.com 13 tracks Ms. Katz Katz is a fantastic fiddle playing roots music artist. She began her career busking in Boston’s subways in 2008 and in 2013 got her big chance when Ronnie Earl asked her to sit in for a concert with he and Billy Boy Arnold. Earl helped her produce her first CD the next year and toured with her. She still occasionally returns to her subway roots in addition to playing and touring outside Boston’s subterranean environs. This, her third CD, was produced

by Barry Levinson and features Sugar Ray Norcia on harp and Anthony Geraci on keys.Mike Sandberg is on things percussive and Hank Van Sickle is on bass.

The CD opens with Levinson on slide; Katz’ violin enters and she begins a tribute to the Blues elite on a song she and Barry penned called “Don’t Forget.” Another original iby the pair s “Subway Blues” featuring greasy harp from Sugar Ray and big time guitar by Levenson. Her fiddle also plays a big role in this cool, slow blues. Levinson’s “Like a Wino” features Geraci on keys in fun a jump blues. “Requiem”is also by Levenson, a jazzy instrumental number with guitar and fiddle sharing the spotlight.

The writing duo’s “Tribute to Slim Harpo” again features Norcia on the harp in a nice mid tempo blues with good guitar and violin work. Levenson’s “Excuse” is another fine instrumental of predominantly guitar but also some fine fiddle, too. Katz’ “Road to Nowhere” is another jazzy and bouncy swing cut with Geraci in support. The final original is “Don’t Cross That Line” which also has Geraci in support.

The covers here are “Riley and Spencer,” a sultry traditional blues, “Mother and Child,” another emotive traditional cut, “Ice Cream Freezer Blues,” a fun Roosevelt Sykes cut with lots of evocative guitar and fiddle, and the final cut of the CD “John Brown’s Dream/Subway Light of Mine,” which is a fantastic frenzied fiddle tune coupled with a changed up “This Little Light of Mine.”

The guitar, fiddle, keys and harp are superb throughout as are the backline. The playing is cool, in synch and spot on. Katz Katz’ vocals are different. She ventures into an deep, ethereal, and even mystical place at times, but they really were not my cup of tea. Bending towards flatness, they were the weakest link here. The songs new and old were outstanding as was the playing. It’s worth a shot if you want to hear something a little different.

Reviewed by Steve Jones

Ike Page 18 Play Music & Dance Godboogie Vizztone Label Group http:// www.vizztone.com/ www.jeromegodboo.com 13 tracks/68:50 Comprised of four veteran Canadian musicians, Godboogie is lead by Jerome Godboo. A singer and harmonica player, Godboo came to fame several decades ago as a member of the Phantoms rock band. Later, he was received the Lee Oskar award for Best Harmonica Player at the 2014 International Blues Challenge, selected from the semi-finalist acts. Joining him are guitarist Eric Schenkman from the Spin Doctors, Shawn Kellerman from the Lucky Peterson group on guitar and bass, and drummer Gary Craig, who tours with Bruce Cockburn.

The title track starts things off with a nod to Louisiana. Godboo plays accordion to give the track the proper seasoning. The following track , “Honey Badger,” is more indicative of the band’s approach. It is fullthrottle blues with a heavy beat and an amped-up guitar sequence. “Wounded” slips into Magic Sam territory as Godboo gives a passionate performance that occasionally sacrifices proper pitch for an enthusiastic delivery. His harp playing favors the John Popper school over legends like Little Walter. You can hear that on “It’s A Party,” as he blows a cascading stream of notes at a rapid-fire tempo. The lengthy guitar solo, presumably from Schenkman, is a mind-melting escapade.

Many tracks have a loose feel that values energy over musical precision. “So Far Away” is a spirited Jimmy Reed – style shuffle about missing a love interest with more extended blowing from the leader and a twisted guitar solo. “Real Dude” benefits from a scratchy guitar line that counterbalances Godboo’s entreaties to “shake your booty”. Another track, “Workshop,” has a grinding rhythm behind Godboo’s tribute to the the place he goes to for peace and quiet.

The band sounds more comfortable once the pace slows down. “Kitty” sports guitar riffs appropriate for rock arenas while “Sign Of The Times” has one of Godboo’s strongest vocals plus a frenzied guitar workout. “Call On My Love” is a moving ballad, a standout on the all-original program. The closing track, “Tigers, Horses, Kings, & Queens,” finds the band quickly building to a frenzied delivery that fades away for a measured conclusion.

Godboogie sounds right at home on these tracks, offering a rambunctious program

The Groove- Crossroads Blues Society Newsletter that veers toward the rock side of the blues spectrum. Make sure you check this one out if that style is your cup of tea!

Reviewed by Mark Thompson The Last Shade Of Blue Before Black Steve Cropper, Lou Marini And The Original Blues Brothers Band Severn Recordwww.originalbluesbrothersband.squarespace.com 14 songs/62 minutes Like the best show band you’ve ever heard totally jacked up on Red Bull, The Original Blues Brothers Band picks up where they left off, firing out of the gate to deliver the same brand of blues-drenched soul they began delivering as a Saturday Night Live skit 39 years ago.

Sure, John Belushi is long departed, as are bassist Donald “Duck” Dunn and trumpet player Alan “Mr. Fabulous” Rubin, but the core group remains as rock solid as they’ve always been, and they’re augmented by appearances by an all-star group of guests, including Memphis soul legend Eddie Floyd, Dr. John and Joe Louis Walker, as well as keyboard player Paul Shaffer, who’s the original band leader, and 87-year-old Matt “Guitar” Murphy, the original guitarist, who played Aretha Franklin’s husband in the first movie. Original horn player Tom “Bones” Malone and Joe Morton, who appeared in Blues Brothers 2000 and sang as Cabel “Cab” Chamberlain, also make appearances. The core of the band — guitarist Steve “The Colonel” Cropper, saxophonist “Blue” Lou Marini and Dunn, who left us five years ago — were already music legends as members of one of the most successful Memphis bands ever, Booker T. And The MG’s, before the Blues Brothers were born.

Including compilations and tributes, The Last Shade Of Blue Before Black is the 16th release in the Blues Brothers’ catalog, beginning with 1978’s Briefcase Full Of Blues. Though born and raised in the Chicago area, Belushi had only limited exposure to the music until filming Animal House in Eugene, Ore., months earlier, where he witnessed Curtis Salgado and Robert Cray perform regularly as The Nighthawks. It’s well-documented that Curtis schooled John in the music during his time off set and that Belushi based his Joliet Jake character on Salgado. The first Blues Brothers release was dedicated to Curtis.

While the lineup’s changed the sound remains the same. Today’s musical merrymakers include “Smokin'” John Tropea on second guitar, Eric “The Red” Udel on bass, Lee “Funkytime” Finkelstein on drums, Leon “The Lion” Pendarvis and Rusty “Cloudmeister” Cloud on keys with a horn section of Steve “Catfish” Howard (trumpet) and Larry “Trombonius” Farrell (trombone). Rob “The Honeydripper” Paparozzi and Tommy “Pipes” McDonnell provide harmonica and add vocals, along with Bobby “Sweet Soul” Harden. Sax player Baron Raymonde, trombonist Birch Johnson and guitarist David Spinozza also add to the mix.

The album mixes a few tasty originals with several well-chosen/well-worn covers. A quiet guitar line kicks off Jimmy Reed’s “Baby What You Want Me To Do” and the horns kick in quietly before things explode, featuring Harden, McDonnell and Paparozzi in a lead vocal trio. The band turns Delbert McClinton’s “Cherry Street” into a full-force funk with McConnell on mike before a cover of “On A Saturday Night.” It’s a high-energy fiesta, but should sound familiar because Floyd, who penned the tune with Cropper, had a major hit with the song when it debuted in 1967 and returns to do the tune once more.

The Memphis mood continues with “Itch And Scratch” — made famous by Rufus Thomas — with Harden on mike, before Walker takes over for a cover of Willie Dixon’s “Don’t Go No Further” and Harden returns to cover Dan Penn’s “You Left The Water Running.” Floyd’s featured on another self-penned original, “Don’t Forget About James Brown,” sharing the tune with McDonnell, before Shaffer’s featured on vocal and piano for J.B.’s familiar “Sex Machine,” which gets a pleasing overhaul.

The next two numbers, Fats Waller’s classic “Your Feet’s Too Big” and the selfpenned “21st Century Baby” spotlight Paparozzi before Cloud steps away from the keyboard to deliver his original, “Blues In My Feet.”

Dr. John is up next, delivering his own tune, the familiar “Qualified,” as only he can before a quartet of vocalists, including Morton, breathe new life into Muddy Waters’ warhorse, “I Got My Mojo Working.” The disc concludes with the title cut, “The Last Shade Of Blue Before Black,” with Marini, who wrote it, in vocal command.

This disc simply smokes from the jump and continues relentlessly to the finish.

Available wherever fine albums are sold, and strongly recommended. This one’s going onto my short list for consideration as best album of the year. You’ll probably feel the same way, too!

Reviewed by Marty Gunther

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Approved By Snakes Jason Ricci & The Bad Kind EllerSoul Records www.mooncat.org 11 songs – 81 minutes

into the rhythm. Next up, “Demon Lover” begins with a slow, foreboding harp run before Ricci describes the arrival of an angelic-looking devil who’s sailed to America from Normandy and taken more than his soul.

Harmonica virtuoso Jason Ricci is no stranger to 12-step programs, as anyone who’s familiar with him knows. He speaks openly about a life that’s included multiple periods in drug treatment centers and serious run-ins with the law as well as his own bisexuality. And he rips off any concealing bandages from the opening bars of this intensely intimate, soul-baring album.

The mood brightens dramatically for “My Mom’s Gonna Yell At You.” Written by Lisi, who shares the vocals, it’s a catchy blues-rocker, and the lady in question won’t do her shouting until you get to heaven.” But the sweetness gives way quickly as Ricci delivers “Broken Toy.” It’s a heartrending view into his life, unsure about his sexuality, his place in society — and even his ability to breathe. Among the lyrics: “I’m too well for the hospital/I’m too sick for all the healthy/Too rich to be a poor man’s slave/And too average for the wealthy.” It also includes a taste of South African rap group Die Antwoord’s I Fink U Freeky.”

Much more than a simple reed-bender, Ricci — a 2010 Blues Music Award winner for harmonica player of the year and a sixtime nominee — is a performance artist of the first order who treads fearlessly in areas that most human beings run from. A master and innovator in the overblow technique of harp play, he gets more notes out of a simple diatonic than all but a few of his peers. And his use of electronics produces tonalities that are over the top.

All of that is on display in Approved By Snakes, the first release on the EllerSoul label for Jason, a true blues nomad who was raised in Maine, spent extended periods in the Mississippi Delta, South Florida and Indiana and who wed his lady love, Kaitlin, in his current home base of New Orleans just a few days before this review was composed.

Like the snakes of the title, it’s a gritty performance — some of which is not suitable for tender ears — that runs 81 minutes and goes the lowest of lows to bright hope for the future, aided by The Bad Kind, which includes Sam Hotchkiss and New Orleans legend Jon Lisi on guitar, Andy Kurz on bass and Adam Baumol on percussion.

An ominous bass riff kicks off the eightminute opus, “My True Love Is A Dope Whore.” As the band provides the bottom, Ricci delivers a dark commentary — first as a voiceover and then musically — about finding love — “with a girl or a boy” — on the tawdry streets of the Crescent City, and the only folks who prosper are the hookers, pimps and coppers.” Hotchkiss’ mid-tune solo is both sensual and fiery. He and Jason trade licks as the song builds in intensity to the end.

The guitarist and bass player are featured in the “Something Just Arrived,” sharing the vocals and Ricci at his funky best.

What it is isn’t explained, but “you know you want some more.” Jason’s solo slithers like a serpent, drawing you deeper

Next up is a 10-minute cover of “Listen Here,” written by jazz tenor sax player Eddie Harris, the first artist to amplify the instrument electronically. Lisi, Kurz and Hotchkiss stretch out at length before Jason makes the song his own by inserting Lee Dorsey’s familiar “Everything I Do Is Going To Be Funky From Now On” and then going into a rap before Baumol’s powerful drum solo, returning to root on harp to conclusion.

The sweetness and light vanish quickly, replaced by a cover of Dax Riggs’ “Terrors Of Nightlife,” aided by Black Betty, aka Jenny Langer, on vocals, before returning again for “Got Cleaned Up,” which deals with the difficulty of finally making the decision to put one’s life in order. Jason displays the newfound confidence in I’m Too Strong For You” before two funks — the Lisi original, “Disconnect” and the positive affirmation “515” — bring the set to a close.

Like Sugar Blue before him, many blues purists have treated Jason Ricci as a pariah because of his avant-garde attack. It’s a pity if they haven’t opened their ears and hearts to what these reed masters are able to do. Available through most major retailers, strongly recommended — and definitely not for children.

REVIEWER’S NOTE: It has no bearing in the views expressed above, but Jason Ricci succeeded me as harp player for the Nucklebusters, a band I co-founded in the ’80s, dramatically improving the quality of play in the process.

Reviewed by Marty Gunther

Blues and Boogie Vol. 1 Kim Wilson Severn Records www.severnrecords.com 16 tracks The 4 time Grammy nominated and multiple BMA award winning Kim Wilson reportedly has a plethora of great Chicago styled blues stuff in the can and ready to being released. The passing of two blues greats in Barrelhouse Chuck and Richard Innes make this release bittersweet as these guys would have loved to hear this CD. Wilson surrounds himself with the crème de la crème of the stalwarts in the blues world to produce the first of what I hope are many volumes of superb blues.

In addition to Chuck (piano) and Richard (drums), Billy Flynn, Big Jon Atkinson, Nathan James, Bob Welsh, and Danny Michael appear on guitar, Troy Sandow, Larry Taylor, Kadar Roy and Big John appear on bass, Marty Dodson and Malachi Johnson are on drums, and Jonny Viau is on horns.

We have four new songs and a dozen delightful covers of great music that Wilson and company put their spin on. The originals are “Bonus Boogie” (track 1), “Searched All Over” (track 9), “Learn to Treat Me Right” (track 13) and “Edgier (track 14). Track 1 is a jumping instrumental that reminds me a lot of Little Walter.

Track 9 is very much in the style of Louis Jordan or T-Bone Walker with lots of harp added. Track 13 is dirty, greasy and cool stuff with a driving and vibrant beat while the last original is another instrumental which has an early Chicago feel and lots of grit and grime to enjoy.

The covers are an eclectic and fun mix, not just standard fare. Wilson and company have dug into the sides from the early era of Chicago blues and came up with some dandies. From cuts like Big Maceo’s familiar “Worried Life Blues” (with some elegant piano by Chuck and emotive vocals by Kim is a very cool downtempo version of the song) to some great old single B sides like Magic Sam’s “Look Whatcha Done” and Sonny Boy II’s “Ninety Nine,” we have fresh takes on some delectable Chicago blues.

Dedicated to James Cotton, Wilson’s hero, Wilson demonstrates once again that he has reached the pinnacle of his craft and that he has what it takes to be on the Mount Rushmore of blues harpists. If you like your blues gritty, dirty and served up in a delicious dish of authentic music, then look no further. I can’t wait for Volume 2 and more!

Reviewed by Steve Jones

Ike Page 20 In My Shadow Johnny Oskam Self Released http:// www.johnnyoskam.com/ music/ 9 tracks The name Johnny Oskam, and his Sophomore release In My Shadow (selfreleased on March,14th 2017) may not ring too many bells outside Southern California where he hails from. But the bells that are starting to ring should resonate all the way from one of the country to the other as people begin to discover him.

The California native has spent the past few years cutting his teeth, opening for the likes of Kenny Wayne Shepherd and others, but has also headlined his own shows in Southern California.

In My Shadow is the follow-up to his 2014 debut Soul Search. Oskam cites influences as “Led Zeppelin, Cream, Jimi Hendrix, Stevie Ray Vaughan, Soundgarden, Rival Sons and everything in between.” And the Led Zeppelin influence, in particular, is evident in the opening track, “Badlands.”

Oskam’s guitar and vocal ability also mask his years. He evokes a savvy and songwriting ability not always associated with a twenty-five-year-old doing modern blues rock. That’s not really a big surprise considering Oskam got his early musical education singing in choirs and playing classical music. Yet, at the same time, Oskam’s vocals pack a grittiness that you'd never associate with his choral roots.

In My Shadow presents many musical styling's over its nine offerings, however, its heart and soul is blues through-andthrough. It’s a musical journey through Johnny Oskam’s musical upbringing that confidently crosses and blends genres and eras, yet it never strays too far from the blues path.

Reviewed by Michael Smith A Hundred Years From Today Steve Howell and Jason Weinheimer Blind Racoon Records A Hundred Years From Today by Steve Howell and Jason Weinheimer (released August 2017 on Blind Raccoon Records) is a very refreshing collection of rural country blues. Just two guys, one finger picking and singing (Steve Howell) and the other playing upright bass (Jason Weinheimer). It is simple and understated

The Groove- Crossroads Blues Society Newsletter and that is what makes it so enjoyable.

Steve and Jason are veterans of the ArkLaTex region's rich roots-based music scene. Steve Howell provides melodic and seasoned finger style guitar and soulful vocals and Jason Weinheimer lends skills on bass, engineering, mixing and mastering.

When Steve Howell first heard Mississippi John Hurt's happy style of fingerpicking country blues in 1965 at the age of thirteen, he immediately knew that the tame, folksy style of strumming the guitar was a thing of the past for him. This revelation opened the door to a new musical universe for him. He has opened for Country Joe and the Fish, Anson Funderburgh and the Rockets, Bugs Henderson, Ponty Bone and the Squeezetones, and shared the stage with blues legend Brownie McGee. From Lightnin' Hopkins' “Goin' Back To Florida” and Mississippi John Hurt's “Louis Collins” to Fats Waller's “Lulu's Back In Town” and Hoagy Carmichael's “Rocking Chair,” this album breathes new life into gems from the past that speaks of the human condition and that condition hasn't changed much over the years. It is an easy listen and is perfect for listening to in those quiet moments when you want to be alone with your thoughts but not too alone. Listen to this and you'll say "I've Got the Blues, Can't Be Satisfied" at https://www.youtube.com/watch?v=iTaepqqQNA&feature=youtu.be.

Reviewed by Michael Smith Hokum Blues Chris ‘Bad News’ Barnes Vizztone Records www.ChrisBarnesNYC.com 14 Tracks On his website, Barnes defines hokum blues as “Hokum is a particular song type of American blues music – a humorous song which uses extended analogies or euphemistic terms to make sexual innuendos. This trope goes back to early blues recordings”. We have all heard a bit of this in music over the years. Chris Barnes has a fine comedic pedigree. He was a part of Second City in Chicago at one time. For this record he is joined by the great Jimmy Vivino (guitar), Will Lee (bass), Bette Sussman (piano), Shawn Pelton (drums) and Steve Guyger (harmonica). This set of tunes were all done by the Hokum Boys (Tampa Red, Georgia Tom and Big Bill Broonzy).

“It Hurts Me Too” is a beloved blues tune.

As an opening cut it goes over well! Steve Guyger plays a good solo on his harmonica. Tampa Red gave us “Let Me Play With Your Poodle”. It is a jumping piano R&B tune that has been covered by Marcia Ball and Lightnin' Hopkins. “I'm Gonna Get High” has a ragtime feel to it.

Vivino grabs a banjo for this tune. The piano of Sussman leads the band into the high energy “It's Tight Like That”. The music slides back to the 20’s with the funny “I Had To Give Up Gym”. I like the trombone on this one.

“Things About Coming My Way” sounds a great deal like “Sitting On Top Of The World”. It is very old time blues, but certainly a crisp modern production. It is a fine blues ballad. The vocals on “You Can't Get Enough Of That Stuff” are really good and old timey. I like this tune.

Guyger shines with his harp on “Hokum Blues”. This is old time blues. The band plays together well on “Somebody Been Using That Thing”. The added horns put extra frosting on this tune. A latin beat gives “Keep Your Mind On It” a bit of a different feel. I like the nice guitar work by Vivino.

Back to the 20’s sound with “Let Me Pat That Thing”. It has lyrics you need to pay attention to. The clarinet is good on this one. On “Caught Him Doing It” the topic is pretty clear. Vivino rocks on a guitar solo. This is a very up tempo tune. “Gin Mill Blues” really takes us back to the time period. The clarinet work and drums sets it off. The closing tune is “Christmas And New Year's Blues”. I liked others on this disc than this one. It seems to be a little slow for the guitar work that Vivino plays.

I liked this better than I thought I would.

There are fine musicians here and they save the day with their work. I did not like Barnes’ prior work, but this one is much better. It would be a good intro to those older blues tunes for the new fan. I imagine this might come across well live, as the personality of Barnes would show through. If you like the older blues or are a fan of Vivino and Guyger. Go get this.

If you want an intro to some of the older blues this is a way, without all the static on some of the original recordings. Check it out!

Reviewed by Mark Nelson

Ike November-December

2017

One More Round John Pagano Band MCP Records johnpaganoband.com 11 tracks One More Round (Released August 2, 2017 on MCP) is the 5th offering by The John Pagano Band (formally known as JPBlues). If you like your Blues with a hard edge rock bite and don't find your comfort in old-school blues, The John Pagano Band is part of a new wave of “INDIE BLUES” bands that take the old sound and mix it with a contemporary style. Now before you say "wait a minute, what about all the blues artists I have come to know and love?" I am betting that you came by your appreciation of the blues by what groups in the British Invasion played. The Rolling Stones and Led Zeppelin to name a few. I know in my case, I didn't start by listening to Spirituals, Gospel or even Delta Blues masters. I started with "Underground" FM music of my day (which was anything but mainstream) and worked backward to Chicago Electric Blues and was drawn in deeper.

But I digress.

John Pagano has a solid blues guitar pedigree. He started playing guitar at the age of 10 and was recognized by bluesman Sam “Bluzman” Taylor. Sam took JP under his wing and began to school him on the blues, or what Sam used to call “SAMerizing”. It was under Sam’s tutelage that JP began to flourish as a musician and a bluesman! At 17 he was one of the youngest competitors to have entered into the IBC. Competing in the same venue was the band Trampled Under Foot, who went on to win the whole competition. In 2010, John once again competed in the IBC this time as lead guitarist for the band Frank Latorre and the King Bees. Frank Latorre is a Grammy award-winning harp player and ironically competing in the same club that year was Grady Champion, and he won the whole competition that year.

John is part of a new blues scene that is creating new original music that reflects their current social, personal and economic experiences. His latest endeavor shows this and even includes a cover of Hugo's “99 Problems.” All in all a good listen. Personally, I think the production could be better as some interesting lyrics are hard to hear over some outstanding fretwork.

To all of you, cheers and bottoms up!

As to more on the future of The Blues, check out this link: http:// www.makingascene.org/selling-the-blues/, it's a good read.

Page 21 Reviewed by Michael Smith

departure from this earthly life is approaching, and I'm just waiting for the train to take me away.

Blues And The World Beyond Likho Duo Likho Records https:// likhoduo.bandcamp.com 14 tracks

Most of the material that features 6 originals and 4 covers (Wilson Pickett, Bob Dylan, Tyrone Davis and Syl Johnson) deal with the more of the spiritual side of life with themes of getting one's life in order, mortality and demise.

Blues And The World Beyond (Released August 21, 2017 on Likho Records) is the debut LP by Likho Duo (pronounced Leek-ho Duo) Noé Socha (pronounced No-a So-Ha )(Guitar & Harmonica) and Cliff Schmitt (Upright Bass) comprise the duo. Within a year of forming, Likho Duo has released its debut. It is an instrumental album featuring six original tunes intertwined with eight standards and a couple of those being traditional Italian songs.

Waiting For The Train is an interestingly conceived album. It’s modern soulful blues, tightly produced by multi-Grammywinning producer Jim Gaines and backed up with solid playing and vocals by his longtime band The Rays and delivered with taste and style and soulful authority Johnny Rawls is known for (think Bobby "Blue" Bland). His last album Tiger In A Cage reached #1 for 14 weeks on the Roots Music Soul Blues Charts. At this writing, Waiting For The Train sits again at #1

Both Noé and Cliff have impeccable musical training and credentials and like many when growing up (Think Blues In The Schools) found themselves loving and being influenced by the blues. Blues is a music that as it has grown up and evolved is open to wide interpretation by those from around the world and this collection of music is no exception. While it isn't pure blues from the Delta, Kansas, or Chicago it is like a crisp white wine, light and refreshing and can be enjoyed if you seek something different on occasion.

Recommended are their versions of Led Zeppelins Black Dog, Freddie King's Hideaway, Willie Dixon's “Spoonful,” Muddy Waters “I Can't Be Satisfied,” Renato Carosone's. “T u Vuo Fa L'Americano (You Want to Be American)” and “Derby Street Blues” by Likho Duo. Reviewed by Michael Smith Waiting For The Train Johnny Rawls Catfood Records http:// catfoodrecords.com/ 10 tracks One look at the cover of Waiting For The Train

by Johnny Rawls (released August 2, 2017 on Catfood Records) will give you a clue to the singer and the overall theme of the album. Johnny looking the everdapper gentleman would be the way I'd describe his style, a gentlemanly and soulful approach to his music. “Waiting For The Train" (the title cut) is a reference sometimes used in blues and gospel/ spiritual music to refer that my time of

His pedigree and style are reflected in his musical upbringing. Born in Columbia, Miss., in 1951 and raised in Purvis and Gulfport, Johnny emerged as someone that was going places in the soul-blues community while still in high school, playing guitar behind some of the biggest names in the business — including Joe Tex, Little Johnny Taylor, and Z.Z. Hill — when they needed local backup during tours. By the time he reached his early 20s, he was serving as band leader for O.V. Wright, one of the greatest voices and songwriters the genre has ever known.

Waiting For The Train is his seventh album for Catfood, a label he co-founded with Bob Trenchard (his bass player and collaborator) in 1997 and his 18th overall.

He has been a frequent Blues Music Award nominee, won the 2015 Blues Blast honors for soul blues album of the year and the 2014 Living Blues Magazine male artist of the year. This is an album to be listened to when you are in a reflective mood and when you do, you'll realize you are not alone in those feelings.

Reviewed by Michael Smith

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Walk In The Dark Rob Lutes Lucky Bear Records www.roblutes.com/ walk-in-the-dark 13 tracks

Palestine Blues Lew Jetton & 61 South Coffee Street Records www.facebook.com/ LewJetton 10 tracks

Walk In The Dark is the 7th album by Canadian artist Rob Lutes (released September 8, 2017 on Lucky Bear Records) I think most of us have this need to categorize everything and music is the worst. Is it Roots Rock, Americana, Folk, Singer/Songwriter, or Blues? Rob Lutes is one of those artists that defy falling into one of those readymade categories. My categories are simpler, in fact, I only have one. Do I like it? I don't split hairs or look at the genre. I have friends that say "I like everything" and then proceed to add the except this and that. I think if you do that, you'll shut yourself out of hearing some very good music.

If you listen to Rob as an artist, you'll find an accomplished acoustic finger-picking guitarist and an exceptional songwriter who has a relaxed narrative vocal style.

The album is well produced and the backup players compliment him well. His music is the type you'll hear on some cable TV series (you know the type, they play a snippet of an unfamiliar artist to set the scene or mood. Think True Blood, Walking Dead, Sopranos, or Shameless) and then you think damn that was really good, who did that?

Palestine Blues, the 4th new album from Lew Jetton & 61 South (Released August 7, 2017 on Coffee Street Records). Can any band that has Highway 61 in its name be bad? It includes 10 original songs, all recorded with just Lew on guitars and vocals, Erik Eicholtz on drums and Otis Walker on bass, with 2 tracks featuring The Legendary Shack Shakers harp slinger JD Wilkes.

Born in Toronto but raised in the small town of East Riverside, Rob Lutes began his professional career at a young age after learning the piano and the guitar as a child. He emulated his favorite players, like Neil Young and Bob Dylan, until he became an accomplished finger-picking guitarist. He recorded and released his debut CD, Gravity, in 1999.

"…I Know a lot of blues is happy and uplifting. This is not. I'm OK with that. I want it to be real blues, in the emotional sense and that is what Palestine Blues is." Lew Jetton Lew's vocals are smooth and the lyrics to his songs are thoughtful and full of insight.

The album represents a ten year period in his life which included grappling with alcohol, drugs, depression, joblessness, frustration and a spiritual tug of war. The stuff Blues are made of. Real struggles by real people With his solid guitar work, you can focus on any one part or the whole package. Your foot will tap while listening to the faster songs, and the slower tunes are soulful. The message he shares is one we can all relate to. Either you have faced anyone of these adversities or know someone who has. It is classic blues at its finest. Seriously, who hasn't asked the question to themselves "Will I Go To Hell?"

I am a big fan of John Prine and he takes a forgotten gem of his called “Rocky Mountain Time” and does it very well.

(Prine isn't easy to cover well) All the rest of the tracks he either wrote or co-wrote.

Seriously, there is no filler in this album. I do favor the cuts “I Am The Blues,” “Believe In Something” and an instrumental called “Spence.” This is an album you relax to in your comfy chair, headset on, and favorite beverage in your hand and listen. If you really listen, you'll be surprised at where your mind will take you.

Lew Jetton learned The Blues while working in the cotton fields of his native West Tennessee as a teenager and young man.

Musically, he had 2 of the best mentors you could think of. While working in Jackson, Tennessee, he became acquainted with the legendary Carl Perkins. Later, after moving to Western Kentucky, he was befriended by blues legend Snooky Pryor, who hailed from just across the Ohio River in Southern Illinois. Lew joined the blues band 61 South in 1994 as a guitar player, then took over as the front man a year later, when the original singer, moved to New Orleans. I suggest listen to this album and then check out his back catalog.

Reviewed by Michael Smith

Reviewed by Michael Smith

Good Morning Midnight Scott Ellison Red Parlor Records http:// www.redparlor.com/ 13 tracks Good Morning Midnight is the latest release from Scott Ellison (released July 28, 2017 on Red Parlor Records) and he has cooked up another tasty album! Like many blues musicians, Scott Ellison is little known in the United States outside of the Tulsa Oklahoma area, despite the release of 5 previous studio releases and 1 compilation. His credentials are of a bluesman that has paid his dues and honed his craft well. Ellison got his start with the Clarence "Gatemouth" Brown band and has played guitar with the likes of old R&B bands such as the "Coasters", "The Shirelles" and "The Boxtops".

Like Ellison's previous releases, Good Morning Midnight features well-written songs that are played in a potpourri of styles. On this offering you are served: New Orleans (Sanctified), Soul (Gone For Good), Reggae (Hope & Faith), Shuffle (When You Love Me Like This), and Rock (Tangled) but overall the album still remains true to the blues. The music is not too fast or slow and even serves up a swinging instrumental (Wheelhouse).

Start with base of solid rhythm (bass & drums), add plenty of smokin' guitar, a bit of tasteful B-3 and piano, a touch of harmonica and sprinkle in some Habanero horns and stir in easy to listen to vocals by Chris Campbell and Scott Ellison with a pinch of backup by Marcy Levy and you have a recipe for a well crafted Smorgasbord of tuneage. In this case, the old saying too many cooks spoil the broth doesn't apply. It makes for a very well produced, satisfying mix of blues that make a very good offering from Scott Ellison and company.

Reviewed by Michael Smith

Evon J Sams at Soul Blues Night

Ike Page 23 Good Little Thing Joshua Jacobson Fatmouth Records http://joshuajacobson.net 13 Tracks Georgia is the home of Joshua Jacobson. He plays blues guitar with influences by the old Piedmont style, but with some modern topical twists. I have not seen many blues tunes with topics of co-dependency, twerkin’ or bi-polar.

This is his initial release. He wrote 7 of the 13 cuts. There are a number of people helping out here, including Dickie Betts on electric guitar for a track. Damon Fowler adds slide guitar for 4 tracks. Matt Walker Hill Roberts & Pedro Arevelo share the bass duties. Aaron Fowler handles percussion and washboard. Others contributing include Jeff Arevelo (percussion), Clark Stern & Chris Flowers (piano), Mookie Brill (harmonica), Allan Jolley (banjo).

Jacobsen wrote the first tune “Baby's Mama Really Don't Care”. The tune reminds me of Jimmy Buffett’s “Pencil Thin Mustache”. It is an old timey guitar/piano tune. The lyrics are pretty good. The piano work by Flowers is a treat.

“Codependent Kate” is up next. Mookie Brill gets the harp out on this one, joining some good guitar by Jacobsen. The song will remind you musically of “Keys To The Highway”. “Long Lonesome Day“ is a slow piano blues tune. Clark Stern does a good job here on the 88’s. Dickie Betts plays electric guitar on “Pistol Packin' Papa”. This Jacobsen original has a more modern and a bit jazzier feel to it. The pace is mid tempo, with nice guitar work

by Betts. There are no big soaring riffs, but pretty precise playing. I wondered what “Twerkin' Lil' Mama” would sound like. It is an old timey acoustic blues tune, with certainly some modern lyrics. It is well played.

“Bipolar Mama” is certainly a topic for the blues. This is a darker acoustic tune which can be relatable to many listeners.

Allan Jolley adds banjo to the initial cover on the disc “Ticket Agent” written by Curley Weaver. The original was done with Blind Willie McTeel and Weaver in 1935. Jacobsen’s version is very fine.

There is more of a country blues feel to the Willie Cobb tune “You Don't Love Me”.

Mookie Brill is back on harmonica on this one. The 8th tune is a Tampa Red cover “It's A Good Little Thing”. The sound stays pretty true to the original.

Georgia Tom Dorsey wrote “Hide Me In Thy Bosom”. It has country blues and a gospel hint in it. Damon Fowler adds his guitar here. “Mind Blowin' Blues” is the

The Groove- Crossroads Blues Society Newsletter final original on the disc. Jacobsen shows off his slide skills on the slower blues tune. A Blind Wiliel McTeel original “Baby It Must Be Love” is up next. This is a swinging piano based tune. Clark Stern does a fine job here. Closing out the recording is “Cross the River of Jordan”. It is an old gospel tune. It is done with just guitar and percussion backing the crisp vocals of Jacobsen. This is a pretty good tune.

Overall, this is a very good initial release

by Jacobsen. The music is mostly acoustic, and it bridges some old time Piedmont style with modern feeling, topics and sound. Jacobsen tells his story, and I would bet it comes across very well live.

For acoustic blues fans, especially the Piedmont style, go get this one. You will not be disappointed. I think electric blues fans will enjoy a listen to this too. This is a solid release!

Reviewed by Mark Nelson Offerings Joseph Valez Big O Records http:// www.jmveloz.com/ 8 Tracks Hailing from Michigan, Joseph Veloz brings a long set of musical experiences. He has played in blues, soul, funk and Top 40 groups over the.

Playing bass is his forte’ and passion.

Andrew “Blaze” Thomas handles most of the drums here with Shawn Kellerman handling the main guitar duties. Jim Alfredson plays most of the keys here. Other musicians join on a single song. On this release, his first on his own, Veloz plays a hard brand of funky blues and soul, with a bit of jazz fusion thrown in at times. He wrote/co-wrote 4 of the 8 songs here.

“Just Jammin'” opens the CD. Certainly the jazz fusion influences show up in this instrumental. At over 4 minutes, the band gets to stretch things out a bit. The organ and bass really interact on this tune. Biscuit Miller adds vocals on Eddie Kirkland tune “Good Good Day”. I love the lyrics about taking her to McDonalds. This is a fast blues rock tune with lots of power in it.

Erich Goebel takes over the guitar work on “Blues For Biles (Blues For Miles)”.

Again the organ work is top notch, and it works well with Goebel’s guitar on this Veloz penned instrumental track. The music gets soul (think Average White Band) on “Jukin' And Shakin'”. Lucky Peterson offers up the vocals for this wild fast paced track. Ray Podhornik inspires on trumpet for this track.

Things slow down for the soul/jazzy “He Loves Me (God’s Promise). At almost 5 ½ minutes, Veloz shows his stuff on the final tune that he wrote. Up next is “I Like Me Better When I’m With You”. Greg Nagy co-wrote and sings on this soulful tune.

The Dolly Parton penned “Jolene” gets a blues rock makeover by Veloz. Jennifer Westwood handles the vocals on this one.

Dylan Dunbar adds some guitar work.

There is nothing country about this version. The 8th and final tune is a cover of Prince’s “Kiss”. Joey Spina handles the vocals. Veloz is quite good on his bass, along with Jim Alfredson’s organ. It is a funky soulful cover.

If you like your funk and soul, you will like this. There is not old fashioned blues here, which is OK. Some of the musicians (Nagy & Alfredson) also record on the same label, so there is a musical relationship here. This is well done. It’s nice to see a bass player be the main musical feature. Veloz tours in the US, and some in Europe so maybe you will get a chance to hear him live. Until then you can enjoy this CD. Reviewed by Mark Nelson

Crossroads Blues Society Christmas Party It’s time for our 13th annual Christmas Party! The Jimmys will be in town and we will have our annual gag record exchange.

Find a crazy 33-1/3 RPM LP, wrap it up and bring it to the show and we will exchange LPs with everyone who brings one. It’s be a lot of laughs to see what gems our members and friends dig up, so the crazier the album, the better it will be!

Don’t miss this fun time at the Hope and Anchor!

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Crossroads Shows and Events September and October 2017 Tweed Funk at Hope and Anchor

Tweed Funk at Hope and Anchor RIP Smokey Holman

Studebaker John at Lyran Society Rick Davis Photo

Studebaker John at Lyran Society Rick Davis Photo

Dave Fields Band at the Lyran Society

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Dave Fields at the Lyran Society Corey Dennison at Hope and Anchor Bob Haendler Photo

BITS with Oregon Elementary School - Bob Haendler Photo

Principal Dave Nold sits in at Carlson ES BITS Photo by Rick Davis

Ronnie Shellist and Gerry Hiundt BITS Bob Haendler Photo

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The Groove- Crossroads Blues Society Newsletter

Meleo Robinson at Soul Blues Night

Dave Specter at Soul Blues Night

Harlan Terson at Soul Blues Night

David Sims at Soul Blues Night Tad Robinson at Soul Blues Night

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RED Band at Soul Blues Night

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RED Band at Soul Blues Night The Flames of Fire at Soul Blues Night

Dave Specter and Tad Robinson at Soul Blues Night

Dave Specter and Tad Robinson at Soul Blues Night

Bob Levis sits in at Soul Blues Night

Joe Irving at Soul Blues Night

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Top Blues Releases September and October 2017 Sunday Morning Blues WKGL-FM 96.7 The Eagle September Walter Trout / We're All in this Together /Provogue - Mascot Tommy Castro & The Painkillers / Stompin' Ground /Alligator Various Artists / Howlin' at Greaseland / West Tone Gregg Allman / Southern Blood / Rounder Jimmy Carpenter / Plays the Blues / Vizztone Matthew Skoller / Blues Immigrant / Tongue 'N Groove Savoy Brown / Witchy Feelin' / Ruf Kim Simmonds / Jazzin' on the Blues / Panache Records Rockin' Johnny Burgin / Neoprene Fedora / West Tone Wee Willie Walker and The Anthony Paule Soul Orchestra / After a While / Blue Dot Records Eli Cook / High-Dollar Gospel / C.R.8 Records The Cash Box Kings / Royal Mint / Alligator Tweed Funk / Come Together / Tweed Tone Records Mindi Abair and the Boneshakers / The Eastwest Sessions / Pretty Good for a Girl Records Corey Dennison Band / Corey Dennison Band / Delmark Demetria Taylor / Bad Girl / Delmark October Kim Wilson / Blues and Boogie Vol. 1 / Severn Van Morrison / Roll with the Punches / Exile Caroline Scott Ellison / Good Morning Midnight / Red Parlor Albert Castiglia / Up All Night / Ruf Dee Dee Bridgewater / Memphis…Yes, I'm Ready / Okeh James Armstrong / Blues Been Good to Me / Catfood Mitch Woods / Friends Along the Way / eOne Lloyd Price / This Is Rock and Roll / Double L Leon Russell / On a Distant Shore / Palmetto The Original Blues Brothers Band / The Last Shade of Blue Before Black / Severn Billy Flynn / Lonesome Highway / Delmark Tommy Castro and the Painkillers / Stompin' Ground/Alligator The Jimmys / Live from Transylvania at Sighisoara Blues Festival / Brown Cow Productions Lew Jetton & 61 South / Coffee Street Erin Harpe and the Delta Swingers / Big Road / Vizztone Juicy Juju Casey Hensley/Casey Hensley Live Featuring Laura Chavez / Vizztone Andre Bisson / Break / Self Release Chickenbone Slim / The Big Beat / Lo-Fi-Mob Nellie Tiger Travis / Mr. Sexy Man - The Album / Wegonsee Various Artists / Goin' Home - A Tribute to Fats Domino / Vanguard

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: Richard Meyer Renewing Members: Rich & Diane Blodgett Dave Hanson Susan Hess Sandra Kelly Brian & Bev Kobischka Lennie Lindeman/Recently Paroled Stuart Meeker Bill Oviatt 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.

Welcome to our new music reviewer Crossroads member Michael Smith!

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, Michael Smith 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!

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 May 12th: The Cash Box Kings

Lyran Society Third Friday Blues

The Lyran Society continues their Fish Fry and Steak Dinners with performances on the first and 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.

Nov 3: Duct-taped Cadillacs Nov 17: Trinadora Rocks Dec 1: Joe Irving and the Flames of Fire Dec 15: JB Ritchie cancelled TBD Jan 5: Don Collins and the Night Shift Jan 19: Blues Disciples Feb 2: Recently Paroled Feb 16: Donna Herula Mar 2: TBD Mar 16: TBD Apr 6: Bobby Messano

All Saints First Sunday Blues

Nov 5: Dave Hanson and Friends Dec, Jan and Feb no shows

Crossroads Blues Society Ike

P.O. Box 840 Byron, IL 61010

The Crossroads Blues Society Newsletter

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

Yes! I’d love to be a part of the Crossroads Blues Society!

November and December close out our calendar year with a bang!

Now with two shows a month at the Lyran Society, our monthly shows at the Hope and Anchor and all the other shows we do 2017 has been a blast!

The Lyran shows are on the first and third Fridays.

Duct-taped Cadillacs and Trinadora Rocks for November and Joe Irving and Flames of Fire and another act for December make for some fun times!

The Hopes and

Membership Application

http://CrossroadsBluesSociety.com Name_____________________________________________ Street Address___________________________________ City________________ State______ Zip Code________

Anchor features Toronzo Cannon in November and The Jimmys in December. Dave Hanson and Friends are ar All Saints in November, too. See inside the back cover for details on these shows and others!

We hope everyone has had a great year and that 2018 brings us more great blues!

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 BITS Volunteer Review CDs Edit Newsletter

Serve as Officer/on Board Volunteer at Shows/Events Public Relations 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!