J. B. Hutto review…April 17, 2015….

J. B. HUTTO

AND THE HAWKS

WITH SUNNYLAND SLIM

HAWK SQUAT

DELMARK RECORDS  DE 617

SPEAK MY MIND–IF YOU CHANGE YOUR MIND–TOO MUCH PRIDE–WHAT CAN YOU GET OUTSIDE THAT YOU CAN’T GET AT HOME–THE SAME MISTAKE TWICE–20% ALCOHOL–HIP SHAKIN–THE FEELING IS GONE–NOTORIETY WOMAN–TOO LATE–SEND HER HOME TO ME–HAWK SQUAT  BONUS TRACKS–I’LL CRY TOMORROW–SPEAK MY MIND–TOO MUCH PRIDE–HAWK SQUAT–THE SAME MISTAKE TWICE–SPEAK MY MIND (ALT 2)

The impact that Delmark Records has had on the contemporary blues scene is immeasurable.  Bob Koester has had his finger on the pulse of American blues and jazz for nearly sixty years, and many albums released on this label have been lauded by the music industry as timeless and historic.

Joseph Benjamin Hutto And His Hawks regularly played Turner’s Lounge at 39TH and Indiana in the heart of Chicago’s South Side.  After witnessing the raw power and unbridled passion of J. B.’s slide guitar, Bob Koester knew there would be a market for his unique sound.  The resulting recording is entitled “Hawk Squat,” which was originally recorded in May and August 1968, at the Sound Studio and at Ter-Mar studio, with the exception of “Hip Shakin,” which was recorded at Mother Blues on December 17, 1966.

In addition to the original twelve cuts, Bob has graciously opened his vaults to add six previously-unissued tracks to the expanded edition of this classic set.  J. B. is backed by some of Chicago’s finest, including Lee Jackson on second guitar, Junior Pettis and Dave Myers predominantly on bass, Frank Kirkland on drums, Maurice McIntyre on sax, and Sunnyland Slim on piano and organ.

These guys know how to bring the heat and have a good time doing it.  Our favorites included the scorching opener, “Speak My Mind,” the slow-groove of “Too Much Pride,” the houserockin’ “Hip Shakin,” and “Too Late,” with a great solo from Lee Jackson.  The unissued tracks present two alternate versions of “Speak My Mind,” a stripped-down “Too Much Pride,” and a cool alternate of the title cut, with Dave Myers on bass.

J. B. Hutto’s “Hawk Squat” was Delmark’s second modern blues recording, behind “Hoodoo Man Blues.”  With this expanded edition, fans can appreciate the power and energy J. B. brought to the crowds at Turner’s, and to all his recorded works.  Thanks again to Bob Koester for sharing these great slices of blues history!  Until next time…Sheryl and Don Crow, The Nashville Blues Society.

John Mayall’s Bluesbreakers review…April 16, 2015…

JOHN MAYALL’S BLUESBREAKERS

LIVE IN 1967

NEVER-BEFORE-HEARD LIVE PERFORMANCES

FORTY BELOW RECORDS   FBR 008

ALL YOUR LOVE–BRAND NEW START–DOUBLE TROUBLE–STREAMLINE–HAVE YOU EVER LOVED A WOMAN–LOOKING BACK–SO MANY ROADS–HI HEEL SNEAKERS–I CAN’T QUIT YOU BABY–THE STUMBLE–SOMEDAY AFTER AWHILE–SAN-HO-ZAY–STORMY MONDAY

John Mayall’s Bluesbreakers have always been synonymous with the best in British blues.  John’s powerful vocals were augmented by some of the world’s best players, with lineups that included at one time or another Eric Clapton and Mick Taylor on guitar, and Aynsley Dunbar (later of Journey fame) on drums.

For a scant three months in 1967, the Bluesbreakers consisted of Mayall on vocals, keys, and harp, with Peter Green on guitar, Jon McVie on bass, and Mick Fleetwood on drums.  Of course, the latter three would go on to greater fame as Fleetwood Mac, but their time spent with Mayall has a historic backstory involving this recording.

A zealous fan from Holland, Tom Huissen, snuck a one-reel recorder into five London clubs in early 1967 to capture this quartet on tape.  The tapes lay dormant for nearly 50 years until Tom’s decision to release this slice of blues history.  With much painstaking effort, Eric Corne of Forty Below Records restored the crude tapes into what is now “Live In 1967–Never-Before-Heard Live Performances.”  Yes, the sound is raw, but even the most jaded fans cannot deny the power of the blues presented herein.

Clapton’s tenure with the band brought also his passion for Otis Rush and Freddie King, and several of these legends’ songs became a part of the Bluesbreakers repertoire.  From the Otis Rush catalog are the leadoff “All Your Love,” “Double Trouble,” “So Many Roads,” and “I Can’t Quit You Baby,” all of which feature some of Peter green’s most spirited playing ever.  He shows off his incredible tone on two of Freddie’s instrumentals, “The Stumble” and “San-Ho-Zay.”

We had two favorites, too.  “Streamline” is a Mayall original with a cool stop-time groove.  Another song associated with King (and, later, Clapton and Duane Allman) is a great “love song” of sorts, “Have You Ever Loved A Woman.”  The slow-burn guitar of Peter set over John’s impassioned vocals make this one a real show-stopper.

All blues fans owe a debt of gratitude to Tom Huissen and his little one-reel recorder that set the stage for this set.  “Live In 1967–Never-Before-Heard Live Performances” is a brilliant piece of blues history from one of the premier bands of the day, John Mayall’s Bluesbreakers!  Until next time…Sheryl and Don Crow, The Nashville Blues Society.

Jeff Jensen review…April 15, 2015…

JEFF JENSEN

MOROSE ELEPHANT

SWINGSUIT RECORDS

MAKE IT THROUGH–GET ALONG–FALL APART–GOING HOME–PAPER WALLS–WHAT’S THE MATTER WITH THE MILL–ASH AND BONE–ELEPHANT BLUE–BAD BAD WHISKEY–ALWAYS BE IN LOVE WITH YOU–EMPTY BOTTLES (BONUS TRACK)

For Jeff Jensen’s fourth studio album, “Morose Elephant,” he showcases a diverse grouping of seven originals and four standards, using the Ardent Studios in Memphis as well as a host of the Bluff City’s finest musicians to augment his spot-on vocals and passionate, inventive guitar stylings.

This set has a true Memphis feel throughout.  The party starts with Jeff’s chicken-pickin over the horn section’s groove as he and Reba Russell spin an uplifting tale about hard times, with the feeling that you’ll always be able to “Make It Through.” Victor Wainwright adds Wurlitzer on this one, too.  “Paper Walls” follows a quirky rhythm pattern, and Chris Stephenson’s toy piano adds to the ambience.  “Fall Apart” and “Ash And Bone” show Jeff’s softer side with fiddle from Anne Harris on the latter, while the instrumental, “Elephant Blue,” plays to Jeff’s tenacity and versatility on guitar.  Eric Hughes’ harp lends a country-blues feel to “Bad Bad Whiskey,” while it’s Gary Allegretto on harp on the set-closing, acoustic, “Empty Bottles,”  where Jeff takes a humorous look at life thru the eyes of a man who’s spent one too many nights at “the payday lender down by the interstate–the one with the weekly interest rates!”

We had two favorites–one cover and one original.  Jeff and Victor get into a spirited, old-school duet lettin’ the good times roll on “What’s The Matter With The Mill.” And, “I’ll Always Be In Love With You” is a fine jump-blues tune with a solo from darn near everyone in the band.

Jeff Jensen never fails to please his fans, and “Morose Elephant” is no different.  Excellent musicianship, solid songs, and a soulful vocalist makes this one sho’ nuff a fine listen!  Until next time…Sheryl and Don Crow.

Arlen Roth review…April 14, 2015…

ARLEN ROTH

SLIDE GUITAR SUMMIT

AQUINNAH RECORDS

DO WHAT’S RIGHT–DUST MY BROOM–STRANGER ON THE SHORE–SONNY SKIES–ROCKET 88–DIXIE CHICKEN–POOR BOY BLUES–AND WHEN I DIE (ONE CHILD BORN)–PEACH PICKIN TIME IN GEORGIA–PARADISE BLUES–STEEL GUITAR RAG–YOU REALLY GOT A HOLD ON ME–HER MIND IS GONE–AMAZING GRACE

Upon listening to this collection of songs from some of the finest slide guitar players on the planet, all we can say is–“WOW!”  Arlen Roth is one of the most influential guitarists of our lifetime, having played with literally hundreds of artists, including Simon And Garfunkel, Janis Ian, John Prine, and countless others.  Heck–he even sat down front at Woodstock in 1969 to see Johnny Winter.  He’s a noted instructor as well, with many well-known manuals and on-line tutorials.  Johnny was Arlen’s first choice for this album, “Slide Guitar Summit,” and it would sadly serve as his last recorded works prior to his untimely passing in 2014.

This set has it all—brilliant guitar playing, a topnotch lineup of songs, and diversified talents, each of whom brought something unique to the proceedings.  Jack Pearson starts the action with one of his original works, a Fifties-inspired rocker, “Do What’s Right,” with he and Arlen trading smoldering licks throughout.  Arlen and Lee Roy Parnell have more fun than the law will allow on “Dust My Broom,” and a tribute to Lowell George, “Dixie Chicken,” both with killer piano from one of the South’s finest, Kevin McKendree.  The latter also features backup vocals from the Britts, Etta and Bob.

Arlen and Jimmy Vivino give two powerful acoustic performances, with Jimmy’s vocal leading the way on “Poor Boy Blues,” and a spirited “And When I Die.”  Arlen takes the lead vocal (and yodel!) on “Peach Pickin Time In Georgia,” his slide backed by Kentucky Headhunter Greg Martin.  They team up again to close the set offering a somber instrumental version of “Amazing Grace,” in tribute to loved ones lost by the families of Arlen and Greg.

Cindy Cashdollar, a tremendous steel guitar player, added a unique dimension to two instrumentals.  One has always been a favorite of ours, Mr. Acker Bilk’s “Stranger On The Shore.”  This one has Arlen adding some Duane Eddy “twangin” guitar, while the other is the timeless “Steel Guitar Rag.”  Johnny Winter’s performance on “Rocket 88” with Arlen bring to mind those vintage sides from Jimmy Bryant and Speedy West, and served as our favorite from a set that has absolutely no weak points.

With Arlen Roth’s “Slide Guitar Summit,” he brought together not only some of the world’s greatest players, but, through them, paid tribute to many greats who have passed on.  This is a tremendous set that every listener can appreciate!  Until next time…Sheryl and Don Crow, The Nashville Blues Society.

Rob Nance review…April 12, 2015…

ROB NANCE

SIGNAL FIRES

NO GOLD–LANDSLIDE TOWN–DIFFERENT WAYS TO LIE–NIGHTBIRDS–THE BREEZE–SIGNAL FIRES–SHELTER–ON MY WAY–DEAR SHADOW–GETAWAY MAN

After he released his first album, North Carolina-based guitarist-songwriter Rob Nance hit the road—hard—playing twenty states in 2014 to support “Lost Souls And Locked Doors.”  Along this tour, he began to see changing landscapes not only out the car window, but , musically as well, sowing the seeds for what would become this album, “Signal Fires.”  These ten originals paint a picture of small-town America and the denizens who live there.  These characters all have flaws, and Rob is a master at conveying their hopes, fears, and dreams.

Rob’s guitar is expressive throughout, and he’s backed by brother Jordan on bass and pedal steel, Ryan Lassiter on drums, Mike Runyon on keys, ad Andrew Constantino on background vocals.  The set begins with an extended acoustic and pedal steel intro to “No Gold,” where the sad truth is that “if yesterday don’t get you, tomorrow surely will.”  “Nightbirds” has a laid-back groove with an Allman Brothers feel, while “The Breeze” combines Jordan’s pedal steel work with excellent keyboards from Mike.  The title cut tells a poignant love story of a “full-grown flame raised from a spark” that later leads to “Signal Fires from a lonely heart.”  “On My Way” is another guitar-and-organ-driven slice of small-town Americana, and Rob closes with  fine flatpicked acoustic guitar  in “Getaway Man.”

Our favorite was easy.  That “angry young man” theme surfaces in “Landslide Town,” where “at seventeen, I got wasted out of fear,” and “always took a shine to the reckless kind.”

Rob Nance has created a set that is both musically diverse and familiar to his fans.  “Signal Fires” indeed broadens his musical horizons!  Until next time…..Sheryl and Don Crow, The Nashville Blues Society.

Robin McKelle and the Flytones review….April 8, 2015…

ROBIN MCKELLE AND THE FLYTONES

HEART OF MEMPHIS

DOXIE RECORDS/VIZZTONE   VTDOX 20143

ABOUT TO BE YOUR BABY–GOOD TIME–PLEASE DON’T LET ME BE MISUNDERSTOOD–CONTROL YOURSELF–FORGETTING YOU–HEART OF MEMPHIS–LIKE A RIVER–EASIER THAT WAY–WHAT YOU WANT–GOOD AND PLENTY–BABY YOUR THE BEST–DOWN WITH THE SHIP–IT’S OVER THIS TIME

Robin McKelle broke onto the contemporary scene in 2006, backed by a big band and releasing an album of jazz songs, but it wasn’t long until she began to follow  her inner Muse and take chances with her music.  In 2010 she recorded “Mess Around,” revisiting the styles of Leonard Cohen, Willie Dixon, and Pomus and Shuman.  2011 saw the release of  “Soul Flower,” where she wrote most of her own material.  Witness now the “Heart Of Memphis,” which further showcases her writing skills, and this is indeed a great set.  Writing eleven of the thirteen cuts herein, she is paired with producer Scott Bomar of the Bo-Keys, the man behind many sessions from Al Green and Isaac Hayes.

Robin’s deeply-soulful vocals are a match made in heaven for her classic soul material, and Scott adds that vintage Stax/Hi vibe.  The title cut reminds us that down in the “Heart Of Memphis, everybody treats you like family and the place feels just like home.”  The horns and strings add the ambience, the band members set up the groove, and Robin’s voice does the rest.  The leadoff cut is done in the tradition of Ann Peebles and Candi Staton, as Robin tells a would-be lover, “I was About To Be Your Baby, until you started actin’ shady!”  She revisits classic smooth soul/blues with a wistful tale of love, back when “time didn’t matter and things were Easier That Way.”  A clever play on words has her telling a cheatin’ lover that “I’ve got myself Good And Plenty of nothin’, when I fell in love with you!”  The set closes with a powerful ballad, as another no-good man gets the boot for good, “It’s Over This Time.”

We had two favorites, too—one original and one cover.  “Good Time” is a stone dancefloor burner tuned in to “the way it was back in ’68, when Ike and Tina made it great!”  At the other end of the spectrum is a goose-bump-inducing read of O. B. McClinton’s “Forgetting You,” as Robin plays the heartbroken lover to the hilt.

Robin McKelle took the challenge of writing a full album of vintage soul/blues material, and “Heart Of Memphis” hits home.  These songs are passionate and expressive instead of retro, and her vocal performance is topnotch!  Until next time…Sheryl and Don Crow, The Nashville Blues Society.

Ben Rice and Lucy Hammond review…April 7, 2015…

BEN RICE AND LUCY HAMMOND

DESTINATION CLARKSDALE

SELF-RELEASED

IDA MAE–OH LORD–WANTS ME BACK AGAIN–TURN MY BACK ON YOU–MUDDY WATER

A chance meeting at an accidental double-booking back in 2011 paired together two very dynamic talents, Portland-based Ben Rice and Lucy Hammond.  Reaching to the Delta and the juke joints of Mississippi for inspiration, these two were finalists in the 2015 IBC’s, and have just released an EP, “Destination Clarksdale.”

Ben’s guitar and duet vocals with Lucy take a minimalist, less-is-more approach to the arrangements of these songs, each individual feeding off the emotions of the other.  They begin on a playful, somewhat sexually-charged note with Ben imploring “Ida Mae, please let me be your man!”  Their haunting duet on “Oh Lord” deals with people who are prone to hurt the ones they love, while they exhort salvation thru the testifyin’ realization that “I’ve sinned, but the Lord Wants Me Back Again.”  “Turn My Back On You” is a love story with a contemporary feel, and the set closes on perhaps its most powerful note, as Lucy sings of an intense spiritual need that can only be fulfilled by a trip down to the “Muddy Water to soothe my soul.”  Ben’s dobro is dead-on target, and Lucy’s vocal recalls the days of field hollers, when the blues was young.

Ben Rice and Lucy Hammond have proven that they can breathe new life into the music borne of the Delta, cotton fields, hard times, and hope for a better day.  Here’s hoping for a full set from them soon, but “Destination Clarksdale” is an excellent introduction!  Until next time…Sheryl and Don Crow.

Isaiah B. Brunt review…April 5, 2015…

ISAIAH B. BRUNT

JUST THE WAY THAT IT GOES

SELF-RELEASED

SHE’S SO FINE–LET YOUR HEART KNOW–THE RIVER RUNS HIGH–PRECIOUS STONE–WITH A KISS–LOVER’S BLUES–JUST THE WAY THAT IT GOES–NEVER GIVE UP–WHICH WAY TO GO

We have been fans of Isaiah B. Brunt for quite some time, and have always been impressed with his approach to the blues. It is now our great pleasure to present this review for his latest set, “Just The Way That It Goes,” nine originals that put his solid slide mastery and vocals at the fore.

A native Australian, Brunt came all the way from Sydney to New Orleans to record this album, at the Audiophile Studios, which also serves as his first foray into electrified blues.  Backing him are Richard Bird on bass, Mike Hood on keys, and N’Awlins drummer Mark Whitaker.

That devilish slide starts the proceedings with the tale of a red-hot lover who’ll “take you up real high” and “make your mind go wild,” “She’s So Fine.”  Kenny Claiborne adds a mournful harp on “The River Runs High,” recalling recent floods in both Memphis and Nashville.  Isaiah’s metaphor for a beautiful girl is set in “Precious Stone,” and has a barrelhouse feel thanks to great acoustic piano from Mike.  An affair between young lovers that was, sadly, “never meant to be” is the theme of “Lover’s Blues,” while his storyteller’s Muse guides the title cut, the somber tale of “two lonely souls that met like ships in the night.”  He reminds us all that “you may be down on your luck, you gotta keep goin’ on one step at a time” and “Never Give Up.”  Isaiah’s wah-wah guitar and mellotron from David Stocker add an ethereal ambience to the set-closing “Which Way To Go.”

Isaiah B. Brunt continues to grab your attention with his solid playing and singing and astute storytelling skills.  With “Just The Way That it Goes” he “amps up” his traditional sounds while staying true to his deep blues roots.  Until next time…Sheryl and Don Crow.

Billy Walton Band review…April 3, 2015

BILLY WALTON BAND

WISH FOR WHAT YOU WANT

NO FRET/VIZZTONE  VTNF 005

WISH FOR WHAT YOU WANT–TRUE LOVIN MAN–MOUNTAIN–COME ON UP–BLUES COME A KNOCKIN–FORGIVE AND FORGET–CHANGE–WORRIED BLUES–TILL TOMORROW–WALK THAT LITTLE GIRL HOME–IT DON’T MATTER–HUDSON COUNTY STAR

Guitarist Billy Walton has long been a vital part of the vibrant musical scene on the Jersey Shore, spending several years playing with the Asbury Jukes under the astute tutelage of Southside Johnny.  Striking out on his own, Billy has four releases under his belt.  For his fifth, he teamed up with producer Tony Braunagel to conjure up “Wish For What You Want,” twelve cuts that explain what that Jersey sound is all about–guitar-driven, horn-leavened blues-rock and soul that is perfectly augmented by Phantom Blues Band alumnus Mike Finnigan, who adds another dimension to an already-great sound with his stellar keys work.

The party starts with the gritty title track, where “You can wish for what you want, but you gotta have the things you need!”  Billy’s tale of growing up “making a living with my hands” in a tough environment is “Mountain,” while he vows to a lover that he’s learned to “Forgive And Forget,” and his guitar gets a real workout along with the horn section on this one.  “Change” has some unique echo-effect guitar work set over a psychedelic groove, and Mike’s piano intro gives way to Billy’s soulful vocal asking for a second chance, realizing “you’ll never make it Till Tomorrow if you’re hung up on yesterday.”  The set closes with a humorous look at the Jersey political landscape, “Hudson County Star.”

We had two favorites, too.  The fellows in Jersey all know how to party, and the rockin’ call to “let the music get to you” is “Come On Up and have a good time!”  And, Southside Johnny himself blows some cool harp on the acoustic warning, “don’t answer the door when The Blues Come Knockin.”

Billy Walton has the perfect formula for success–great guitar sounds, killer vocals, and a backing band that loves what they do.  “Wish For What You Want” perpetuates that soul-rockin’ Jersey Shore sound!  Until next time…Sheryl and Don Crow, The Nashville Blues Society.

Slam Allen review…March 31, 2015…

SLAM ALLEN

FEEL THESE BLUES

AMERICAN SHOWPLACE MUSIC  ASM 5115

FEEL THESE BLUES–ALL BECAUSE OF YOU–IN SEPTEMBER–THE BLUES IS BACK–BABY PLEASE DON’T YOU GO–35 MILES OUTSIDE OF MEMPHIS–WORLD DON’T STOP TURNING–WHEN THE BLUES COME AROUND–THAT’S WHERE YOU ARE–YOU’RE WRONG–PURPLE RAIN

Slam Allen literally cut his teeth on the blues.  Growing up, he played guitar and sang in the Allen Family Band, and gained notoriety as the frontman for the James Cotton Band for nine years.  A dynamite player and vocalist, he brings his high-powered style of blues to his latest release for American Showplace Music, “Feel These Blues,”  Along with Slam on guitar and vocals, we also have Jeff Anderson on bass, Dan Fadel on drums, and our good friend John Ginty on keys.

Slam kicks out the jams with the smokin’ groove of the title cut, with his exhortation for everyone to “Feel These Blues,” complete with a cool Howlin’ Wolf imitation!  He sets up a sweet minor-key groove with the story of a man who everybody says is crazy, but “It’s All Because Of You.”

John Ginty and Slam are in perfect timing as Slam tries to mend a lover’s heart while navigating traffic “35 Miles Outside Of Memphis!”  He tells an ex that “The World Don’t Stop Turning just because you’re not around!”  This one is a scorchingly-hot slow blues.  Slam shows off some smooth, classic soul grooves with “In September” and “Can’t Break Away From That Girl,” and busts out some funky, danceable beats with “When The Blues Come Around.”  He closes the set on a powerful high, with a strong cover of “Purple Rain.”

We had two favorites, too.  He gets his mojo workin’ with the (pardon the pun) slammin’ good news for music lovers everywhere, “The Blues Is Back and you can’t make ’em go away!”  He follows that up with another rocker, a stone plea to his lover, “Baby Please Don’t You Go,” with a great Otis impression as he tries a little tenderness to keep her!

Slam Allen is one of those performers who is a pure joy to listen to.  His passion and enthusiasm for this great music shows throughout these grooves, and you can’t help but “Feel These Blues!”  Until next time…Sheryl and Don Crow, The Nashville Blues Society.