JP BLUES review Sept 14, 2013…

JP BLUES

MAKE ROOM AT THE TABLE

MIDNIGHT CIRCUS RECORDS  MCP 10003

KEEP ON WALKING–LOVE SO COLD–OLD MAN JOE–MAKE ROOM AT THE TABLE–ANOTHER TIME ANOTHER PLACE–MOVE ASIDE–HOLY ROLLER–GOOD ENOUGH–DON’T LET ME BE MISUNDERSTOOD–TROUBLE ON HEELS–WE AIN’T GOING NOWHERE–DAY BY DAY

Blues fans, lets “Make Room At The Table” for one of the hottest young players on the scene today, JP Blues.  The JP stands for John Pagano, and this is his third set for Midnight Circus Productions, and it places him squarely in the mix of the young guns that are determined to keep the blues alive and well into the 21ST century.

Cliches’ such as “jaw-droppingly-awesome” may be overused, but, one listen to this incendiary set and you’ll be hard-pressed to find a new term of description for his immense talents.  He puts a modern spin on the time-honored traditions of “walkin’ blues” with the loping stride of the leadoff “Keep On Walking,” which also features JP on keys as well as guitar.  “Holy Roller” uses a combination of acoustic and electric leads to rail against the evils of excess, while JP uses a cool echo-effect vocal over a driving riff to describe a woman who knows how to use what she’s got to get what she wants, and is truly “Trouble On Heels.”  This one features an extended slide solo at the bridge.  A man who wonders if his meager means is “Good Enough” to satisfy his lover is set over a modified reggae beat, with a quirky horn section for spice.

We had three favorites, too.  JP rocks a mean Hill-Country beat on “Old Man Joe,” which rides Yonrico Scott’s drums over JP’s sweet lap-steel, while JP’s slide conjures up the ghost of Duane Allman on the devilishly-cool title cut.  And, “Don’t Let Me Be Misunderstood” is presented herein as a vastly different version than the original, with sparse guitar over JP’s haunting vocal.

Fans, JP Blues is the real deal, and he’s making sure that the future of the blues is in good hands.  “Make Room At The Table” for this one, and add it to your collection!  Until next time….Sheryl and Don Crow

Nuno Mindelis review…September, 11, 2013…

NUNO MINDELIS

ANGELS AND CLOWNS

FEAT. THE DUKE ROBILLARD BAND

SHINING STONE RECORDS  SSCD  004

IT’S ALL ABOUT LOVE–IT’S ONLY A DREAM–ANGELS AND CLOWNS–MISS LOUISE–HELLHOUND–27TH DAY–PERFECT BLUES–TOM PLAISIR–(HOW?) TO MAKE LOVE STAY–BLUES IN MY CABIN–LUCKY BOY–HAPPY GUY–JAZZ BREAKFAST AT LAKEWEST

Nuno Mindelis was born in Angola, during that country’s divisive civil wars.  Already a guitar prodigy by age nine, he and his family were forced to leave the country for their own safety, eventually finding safe haven in Brazil.  There, during his formative years, young Nuno began to flourish on guitar, taking particular notice of the “Clapton Is God” graffiti that he saw from news footage from the UK.

As time has passed, he has achieved a unique level of stardom in not only his native South America, but across the world as well.  For his USA debut, Shining Stone Records has just released “Angels And Clowns,” thirteen originals that cover several genres’ in scope, and hearken back to the days of his youth, when, if he heard a song on the radio, he’d go home and learn it on guitar.

Nuno’s talents are endorsed wholeheartedly by Duke Robillard, who produced this set, and adds guitar on a few cuts.  His band, consisting of stalwarts Brad Hallen on bass, Bruce Bears on keys, and Mark Teixeira on drums, round out the ensemble.

With this album, Nuno wanted to reach as wide an audience as possible, and creates quite an array of blues, rock, roots, and jazz herein.  He’s joined by labelmate Sunny Crownover on vocals on the leadoff “It’s All About Love,” tracing the shadows and lights of a relationship.  Another pair of star-crossed lovers are the subject of the poignant “27TH Day,” while the age-old question of “(How?) To Make Love Stay” is done in a jazzy, low-key style with Nuno providing somewhat muted lead lines.  “Happy Guy” is a punchy, uptempo groover with finee acoustic piano from Bruce, and serves as Nuno’s biography.  It also features a sweet, extended, B. B. King-inspired solo at the bridge.

There’s some good ole gutbucket blues for the purists, too, and those served as our favorites.  “Blues In My Cabin” is a classic “my baby left me” rocker, while “Miss Louise” low-rides along a laid-back groove reminiscent of recently-passed legend J. J. Cale.

In Brazil, it is not uncommon to see graffiti that proclaims “Nuno Is OUR God,” in reference to Clapton.  To us, that HAS to be the ultimate compliment, and one listen to Nuno Mindelis and “Angels And Clowns” will prove his talents are undeniable!  Until next time…Sheryl and Don Crow.

 

 

Toronzo Cannon review…September 9, 2013…

TORONZO CANNON

JOHN THE CONQUER ROOT

DELMARK RECORDS CD   DE 831

JOHN THE CONQUER ROOT–I’VE BEEN DOING FINE–COLD WORLD–GENTLE REMINDER–IF YOU’RE WOMAN ENOUGH TO LEAVE ME–SHAME–YOU MADE ME THIS WAY–BEEN BETTER TO YOU–BIG RAY BOP–LET IT SHINE ALWAYS–SWEET SWEET SWEET–ROOT TO THE FRUIT…SHE’S MINE (REPRISE)

Toronzo Cannon has seen a lot in his twenty-odd years as a city bus driver for the Chicago Transit Authority.  So much so, that he uses ideas he gets from listening to and watching life go by thru that windshield to create songs for his blues albums and shows.  Yep, as well as a driver, he’s also one of Chicago’s hottest blues guitarists, singers, and composers.  He has just released the follow-up to his debut, “Leaving Mood,” this one entitled “John The Conquer Root.”  It is another sizzling thirteen original cuts that shows his love not only for Chicago blues, but funk, soul, and even gospel as well.

Let’s get right to this great music.  He uses his autobiographical tune, “Gentle Reminder,” to let everyone know that he’s all blues all the time, and is bringing the genre’ into the 21ST Century, because “this ain’t 1952.”  His guitar lights this one up like the sky over Lake Michigan on the Fourth of July, and Toronzo even gives a shout-out to the good folks at Delmark for believing in him.

Toronzo saves some of his best material for his clever insights into life, love, and relationships.  Check out the rockin’ guitar shuffle that defines his plea to a lover to STAY GONE because “I’ve Been Doing Fine” without her!  He gets in-your-face with a cheatin’ lover in the streetwise, “If Youre Woman Enough To Leave Me, I’m man enough to watch you go,” then has a helluva big surprise for another no-good chick in the slow, jazzy, “You Made Me This Way,” who’s about to find out that “you reap what you sow!”

Toronzo shares some poignant moments on this set, also.  “Cold World” lets us all know that nothing in life is guaranteed, and does so over a sanctifying, soul-stirring setting.  In perhaps the set’s most somber cut, Toronzo, along with label mates Mike Wheeler and Joanna Connor, take three unique looks at death, always remembering to “Let Your Light Shine”  no matter what the circumstances.

We had two favorites, too.  Omar Coleman adds some tasty harp over the catchy riff that drives “Shame,” which is a strong social commentary on the fact that no actions come without consequences.  And, in a recent interview for Blues Revue,” Toronzo indicated that he’s a huge Hendrix fan.  On the stellar title cut (and its set-closing reprise) Toronzo uses fuzz-tone leads and crunching riffs throughout in tribute to Jimi, riding a swampy groove to tell the tale of a man who uses every hoodoo, mojo, and voodoo known to man to win over a lover!

Toronzo Cannon is proud to be a “left-handed, Aquarian bluesman” and he’s carrying the torch for the tradition of real-deal Chicago blues.  “John The Conquer Root” is a set that is sho’ nuff’ keepin’ the faith!   Until next time…Sheryl and Don Crow.

Jim Allchin review…September 7, 2013…

JIM ALLCHIN

Q.E.D.

CD–JA-003

STOP AND GO–GETTIN’ OLD–CHIME BLUES–REAP WHAT YOU SOW–TRUST ME (FEAT. MYCLE WASTMAN)–THINKING OF YOU–TRASH–RUNNING AWAY–TRIED AND TRUE–DROWNIN’–EVIL MINDED WOMAN–COME ON HOME–NO WAY OUT

Jim Allchin was born on an orange grove in a yet-to-be-developed rural area of central Florida.  On the side, he played guitar as a teen, leaning toward blues and Latin music.  But, his affinity for math and the growing computer industry sent him to his first career in software with Microsoft.  A health scare caused him to take a serious look at his “bucket list,” topped  by becoming a bluesman full-time.  Now completely cured, he’s still blazing a path in contemporary blues.  His follow-up to 2011’s “Overclocked” is here, this one entitled “QED.”  it’s thirteen cuts that show Jim’s incredible chops and a vocal style that fits his material perfectly.

Jim takes varied looks at people, love, and life in general with his own unique visions.  The leadoff “Stop And Go” is a blast of blues-rock that tackles the eternal yin and yang between men and women.  Jim’s “foot is on the gas,” but she says “go slow,” while he slyly sneaks in a reference to a sho’ nuff  “hot crankshaft.’  He takes a musical spit in the face of the doctors who told him in “Gettin’ Old” that, “son, you’d be better off dead.”

There are four outstanding instrumentals included also.  “Chime Blues” follows a breezy, jazz-inflected pattern, while Brooke Lizotte’s piano adds to the wistful dreamscape of “Thinking Of You.”  Perhaps the highlight of the whole set is the brilliant slow-burn of a man who does indeed appear to be “Drownin” in his own blues.  And, the set closes with a Latin flurry, “No Way Out.”

We had two favorites, too.  “Tried And True,” the tale of a cheatin’ lover, and “Trash,” which deals with Jim gettin’ rid of all the bad things in his life, both are reminiscent of the great shuffles from Albert Collins, due not only to his icy, stinging lead work, but to the witty humor of the lyrics as well.

In translation,  “Q. E. D.” is Latin for “that which must be proved.  As for Jim Allchin, he’s got absolutely nothin’ left to prove as a bluesman.  And, in the world of contemporary blues, we’ll close with another well-turned phrase that explains Jim best–“Veni Vidi Vici”—he came, he saw, and he conquered!  Until next time…Sheryl and Don Crow, Nashville Blues Society

Bryan Lee review…September 7, 2013…

BRYAN LEE

PLAY ONE FOR ME

SEVERN RECORDS  CD 0059

ARETHA (PLAY ONE FOR ME)–IT’S TOO BAD (THINGS ARE GOING SO TOUGH)–WHEN LOVE BEGINS (FRIENDSHIP ENDS)–EVIL IS GOING ON–YOU WAS MY BABY (BUT YOU AIN’T MY BABY NO MORE)–STRAIGHT TO YOUR HEART–POISON–LET ME LOVE YOU TONIGHT–WHY–SIXTY-EIGHT YEARS YOUNG

Growing up in Wisconsin, Bryan Lee got exposed to the blues in much the same way we did–from the late-night R & B sounds that emanated from the 50, 000 watts of WLAC in Nashville.  He moved to New Orleans in 1982, and has become a musical institution there, holding down a five-nights-a-week gig at the Olde Absinthe House on Bourbon Street for many years.  He’s also called “The Braille Blues Daddy,” as he’s been blind since the age of eight.

For his latest album, Bryan combines his love for traditional blues with some of the R & B sounds from those WLAC days of his youth with some smooth soul-blues arrangements that comprise the cuts found in “Play One For Me.”  It’s on the Severn label, and pairs Bryan’s guitar and vocals with that label’s “house band,” featuring Kevin Anker on keys, Steve Gomes on bass, Robb  Stupka on drums, and special guests Kim Wilson on harp and Johnny Moeller on rhythm guitar.

The set starts with the slick groove of  “Aretha (Sing One For Me), which finds Bryan shoutin’ out to the Queen of Soul to try and bring his lover back thru her music.  Bryan’s guitar cries over a sweet horn-and-strings arrangement on “When Love Begins (Friendship Ends), and resurfaces later on the breezy swing of “Let Me Love You Tonight.”

Bryan has always had a keen ear for traditional blues, and those cuts served as our personal favorites.  The echo effect vocal and Kim’s big-toned harp on “Poison” gives this cut some serious New Orleans mojo, while Bryan gets in some swingin’ “uptown” guitar licks over Kevin’s acoustic piano on Freddie King’s “It’s Too Bad (Things Are Going So Tough).  And, Kim’s harp indeed sounds like “that next thing smokin” in a fine cover of “Evil Is Going On.”

A new album from Bryan Lee is always a welcomed event, because you know you’ll get top-notch musicianship from a man who’s been playing these blues for some fifty years.  “Sing One For Me” serves as his debut for an American label, and proudly brings “The Braille Blues Daddy” to the forefront of contemporary blues once again!  Until next time…Sheryl and Don Crow.

Port City Prophets review…September 3, 2013…

PORT CITY PROPHETS

MULE

SELF-RELEASED

CLOSE YOUR EYES–JESUS SAVED MY SOUL, BUT–I ALREADY KNOW–MULE IN A ONE HORSE TOWN–WHEN THE LIGHTS GO DOWN IN ST. LOUIS—DONE CHANGED MY MIND–LET ME BREATHE–NO TIME–I USED TO LOVE YOU–PLUFF MUD

 

The Port City Prophets hail from the “Low country” in and around James Island, SC.  For the last three years or so, they have built quite a reputation around their incendiary live shows, and have released “Mule” to capture that live “feel” onto the album.  It is ten original cuts that run deep down in the swamps of their homeland with a slight detour up thru Memphis and St. Louis for a couple of cuts.

The band consists of Troy Tolle on guitar, Tim Kirkendall on bass, and Henry Ancrum on drums.  Two more local legends are on board as special guests, with William Nance on keys, and Eric Rickert on percussion.  Troy’s guitar is just about as soulful as you’ll ever hear, and is displayed prominently throughout.  He really lets loose on the soul-blues, “I Already Know,” with a flourishing, extended solo, and excellent keys from Mr. Nance.  They grab for that soulful, funky brass ring again on the kiss-off tale of “I Used To Love You.”  Troy wears his emotions on his sleeve on some great slow blues cuts, too.  On “Done Changed My Mind” and “Let Me Breathe,” two cuts where the writing’s on the wall and the love affair is over, Troy lets his fingers foretell his feelings as the blue notes cascade from the fretboard in wave after wave of pure, heartbroken blues ecstasy.  And, everyone gets a piece of the action in the set-closing instrumental, “Pluff Mud.”  It starts and ends with some of Troy’s subtle runs, but, in the middle, and especially with the fists of thunder drums from Henry, the whole thing blasts off like a Saturn V on the way to Mars!

The fellows took the set in a few different directions, too, and those cuts served as our favorites.  The lreadoff slab of blues-rock that is “Close Your Eyes” seeks out that mythical place that the Allmans sang of, where “love is everywhere.”  Troy’s slide is in fine form on a sweet road trip up the Mississippi, “When The Lights Go Down In St. Louis,” while that same slide takes a hellhound-on-my trail turn in the deep, tongue-in-cheek burn of “Jesus Saved My Soul, But my money belongs to my wife!”

The Port City Prophets are bent on making a huge splash in contemporary blues with the release of “Mule.”  Captivating lyrics and excellent musicianship carry this one over the top!  Until next time…Sheryl and Don Crow.

 

 

 

Holland K. Smith review…September 1, 2013…

HOLLAND K. SMITH

COBALT

ELLERSOUL RECORDS 130801

LOE LIQUIDATION–YOU GET WHAT YOU DESERVE–JUST ONE HEARTACHE–THE ITCH–MAGIC WAND–COBALT–OFF THE CHAIN–LITTLE BIT OF FAITH–THE SECRET–DON’T BUY THAT–ANY OTHER WAY–NEVER GOT THE BLUES–END OF THE DARKNESS–OLHOS VERDES (GREEN EYES)

Texas bluesman Holland K. Smith strikes us as another player who could have easily grown up listening to the late-night offerings of the likes of Gene Nobles, John “R” Richbourg, and Hossman Allen on WLAC here in Nashville.  His latest release for EllerSoul not only would have fit right in on that famed station, but will also remind listeners of the golden days of the vibrant Jefferson Street scene in Nashville in the Fifties and Sixties, when players like Marion James, Earl Gaines, Johnny Jones, and even a young Jimi Hendrix prowled the clubs up and down that famed thoroughfare.

Yes, “Cobalt” is full of Holland’s classic, smooth, R & B-based grooves.  Thirteen cuts are originals, and, alongside the blues cuts are a few tastes of jazz and Latin sounds.  Holland does the guitar work and vocals, and is joined by some of the best sidemen in Texas as the backing band, including Gentleman John Street on keys, Wes Starr on drums, Eric Przygocki and Ronnie James Webber on bass, and Ron Jones on that soulful sax.

The set starts off in a nice, midtempo groove with the tale of when the affair is over, and everything goes at yard-sale prices in a “Love Liquidation.”  Producer and good friend Anson Funderburgh adds guitar in the revenge tale of a cheatin’ lover, “You Get What You Deserve.”  Holland longs for a “Magic Wand” to turn back time in this sweet ballad, then finds himself on the wrong end of an affair that comes crashing down after “The Secret” of her indiscretions is revealed.  “Any Other Way” and “Little Bit Of Faith” are positive messages on the uplifting power of love, and, there are two fine instrumentals, the jazzy title cut, and the Latin tinge of the set-closing “Olhos Verdes.”

We had two favorites, too.  “Just One Heartache” is a solid rocker that deals with a gold-digging girlfriend, while “The Itch” finds Holland in a jumpin’, Little Richard mode, complete with Mr. Street’s pumpin’ piano!

With the recent popularity of artists such as JD McPherson and Mayer Hawthorne, Holland K. Smith joins that sweet soul music parade with “Cobalt.”  This is another set that’s keepin’ the faith of traditional, down-home blues and R & B alive!   Until next time…Sheryl and Don Crow