Davis Coen review…Easter Sunday, April 16, 2017…

DAVIS COEN

THESE THINGS SHALL PASS

SOUNDVIEW RECORDS  SP 1008

WORKING FOR JESUS–STAND BY YOU–DIAMONDS IN YOUR BACKYARD–SAINT CHRISTOPHER–WHAT A FRIEND WE HAVE IN JESUS–SHIFTING THE TIDE–JESUS’ HAND (FEAT. PATRICK MCCLARY)–LORD, LET ME DO RIGHT–YOU ARE THE ONLIEST (GOD I KNOW)–THESE THINGS SHALL PASS–LESSER MAN–OLD RUGGED CROSS

Just like us, Davis Coen grew up in the South, y’all–more specifically, in Mississippi, and his music reflects everything he absorbed as a young man.  His roots lie in a country-blues-gospel style, and his tenth album overall is perhaps his most ambitious  project to date.  He’d always wanted to do an entirely-gospel based set, and “These Things Shall Pass” fills the bill.  It is twelve cuts mixing traditional old-time gospel favorites with some contemporary covers and originals that recall any typical Sunday Down South, at churches everywhere just like Bethany Baptist, whose sign adorns the front cover photo as well as the photo on the CD inlay.

No set of this nature would be complete without nods to the Southern gospel traditions, and Davis treats us to two good ‘uns, the piano-and-steel-driven “What A Friend We Have In Jesus,” and “The Old Rugged Cross,” which will be “exchanged some day for a crown.”  The latter features a swirling mandolin that adds to the authentic feel of this classic.

It’s what Davis does with the rest of the album that was impressive to us.  He leads off with a fine rendition of Willie Meeks’ “Working For Jesus, altho it’s hard sometimes.”  Shimmering guitar and keyboard lines clear the way for one of Davis’ originals,  “in the boat on the river deep and wide, with the Good Lord Shifting The Tide,” while Patrick McClary, from Billy Joe Shaver’s band, joins Davis on a tune they wrote together, done in that old-time tradition, “I keep holding on to Jesus’ Hand.”

Our favorite again featured Patrick, as he and Davis appeal to the patron saint of safe travels, with “swoop down, Saint Christopher, and ride with me!”  This one has a fine Delta-blues vibe, and those tinkling ivories add to the fun the fellows had with this one.

This is a season of rebirth and renewal, as well as one of eternal love and faith.  Thru the cuts on this album, Davis Coen reassures us that, as far as the tribulations of the world are concerned, “These Things Shall Pass,” and love will light the way!  Happy Easter, everyone!  Sheryl and Don Crow, The Nashville Blues Society.

 

Steve Krase review,,,April 15, 2017…

STEVE KRASE

SHOULD’VE SEEN IT COMING

CONNOR RAY MUSIC  CRM 17-001

BRAND NEW THANG–CRAZY FOR MY BABY–LET THE FOUR WINDS BLOW–THE WORLD’S STILL IN A TANGLE–SHOT OF RHYTHM AND BLUES–SHOULD’VE SEEN IT COMING–TRAVELIN’ MOOD–TROUBLES, TROUBLES–MAKE YOU LOVE ME BABY–REPO MAN–WAY BACK HOME–SHOUL’VE SEEN IT COMING (EXPLICIT)–REPO MAN (EXPLICIT)

Steve Krase is known among blues fans as the harmonica force behind Trudy Lynn’s three albums for Connor Ray Music, and his live shows are the stuff of legend down on the Houston scene.  Steve’s fourth album for Connor Ray is “Should’ve Seen It Coming,” and features his high-octane harp on a thirteen-cut set of originals and covers, and also features guest appearances from Trudy, as well as guitarists Mark May and Bob Lanza.

Steve has a clever way with his lyrics, as can be heard on his originals, often spiced up with a touch of humor.  Right outta the gate is the loping swing of “Brand New Thang,” an ode to a lover who’s always “in the groove,” and Steve and Mark May lay down their own sweet groove on this one.  Steve pays a cool tribute to a couple of New Orleans legends, by way of Fats’ “Let The Four Winds Blow,” and Frogman Henry’s “Troubles, Troubles,” which features spirited interplay between Steve’s harp and Randy Wall’s piano.  The Texas twang of “Shot Of Rhythm And Blues, with a little rock and roll on the side” has Bob Lanza on guitar and Trudy on backing vocals.

We had three favorites, too.  Alisha Pattillo on sax has some call-and-response fun with Steve on harp on the cool story of the neighborhood “Repo Man,”  from whom there is “no place to hide!”  Trudy is on the backing vocals here, also.  Alisha’s sax is in play again on the title cut tale of an ill-advised affair with someone just a wee bit too young, “Should’ve Seen It Coming,” featuring Steve singing in a unique, echo-effect style.  And, in a hilarious remake of Jimmy Rogers’ classic story of social unrest in the Fifties’, Steve brings us “The World’s Still In A Tangle,” now full of “salmonella in my burger” and “E. Coli in my lettuce, too.”

Steve Krase was a semi-finalist at the 2017 IBC’s a few months ago, and intended for “Should’ve Seen It Coming” to be a set you can crank up in your car on your next road trip.  So, do indulge him and turn this one up—-LOUD!  Until next time…Sheryl and Don Crow, The Nashville Blues Society.

 

 

 

 

 

Mr. Sipp review…April 14, 2017…

MR SIPP

KNOCK A HOLE IN IT

MALACO RECORDS  MCD 7551

KNOCK A HOLE IN IT–BAD FEELING–STALKING ME–SEA OF LOVE–GOTTA LET HER GO–GOING DOWN–BABY YOUR MINE–JUKE JOINT–STRINGS ATTACHED–TURN UP–LOVE DON’T LIVE HERE ANYMORE–LOVE YOURSELF–LITTLE WING

Castro Coleman is better-known to the blues and gospel community as that ol’ “Mississippi Blues Child,” Mr. Sipp.  Mississippi-born and raised,  he’s been involved in music all his life, beginning as a player in several gospel groups.  He joined the Malaco family in 2015, and is back with his latest set, a stomp-down good ‘un entitled “Knock A Hole In It.”  Sipp’s on guitar and vocals throughout, and that mighty axe cuts thru everything in its path over these thirteen originals.

Speaking of that axe, Sipp explains that he’s been “swinging it for thirty years” on the high-octane leadoff title cut, ready to “Knock A Hole In It.”  Next up is the gritty tale of a man with a “Bad Feeling that my baby’s got another man,” and then finds out the dangers of social media and somewhat over-zealous fans in a story that could only happen in the 21 st century, “Stalking Me.”

Sipp shows off his gospel roots with some mellow-riffic balladry on “Sea Of Love” and “Baby Your Mine,” and sho’ nuff gets his voodoo chile vibe on with “Going Down” and the set-closing “Little Wing,” which morphs into a sweet “Star Spangled Banner” at ’bout the six-minute mark.

Our favorite was easy.  Sipp is all about a good time, and where better can you have one than kickin’ it “down at the Juke Joint,” ridin’ that down-home riff for all it’s worth!

It wasn’t that long ago that another Southern soul legend, Theodis Ealey, urged us all to “Stand Up In It.”  Well, Mr. Sipp is poised to “Knock A Hole In It,” and, to paraphrase yet another very famous man, “you can bet your last money this one is a stone cold shot of sweet down-home blues!”  Until next time…Sheryl and Don Crow.

Todd Adelman review…April 10, 2017…

TODD ADELMAN AND THE COUNTRY MILE

TIME WILL TELL

PORCH LANTERN MUSIC  PLM 11106

TIRED OF BEING TIRED–ALL MY TEARS (BELONG TO YOU)–I’M GONNA LOVE YOU–COMING HOME-ROAD OF TIME–ALL THAT’S LEFT IS THE BLUES–IF IT WEREN’T FOR YOU–NOT A DAY GOES BY–OLD MAN OF THE MOUNTAIN–I’M NOT YOUNG ANY MORE–NOT SURE WHAT SCARES ME MORE–MY TOWN TOO–UNDERDOG–WILD WOMEN, WHISKEY, AND WEED

Nederland, Colorado is where Todd Adelman calls home.  He is a consummate storyteller, guitarist, and composer, and his latest album, (and sixth overall), this one for Porch Lantern Music, is entitled “Time Will Tell,” and the fourteen originals herein take a long look at love, getting old, changing social mores’, and numerous other aspects of coping with everyday life, often with tongue planted firmly in-cheek.  As you listen to these songs, you can tell that Todd has listened to his share of Townes, Willie, Jerry Jeff, Springsteen, Jason Isbell, and, even that “other Jason”–Ringenberg, of legendary Scorchers fame, and they all make the story-in-the-song the thing!

The first “love song” on the set isn’t the good kind.  No, with “Alll My Tears (Belong To You),” “you left me at the altar,” with “no keepsake to hold on to.”  But, when you do find that special one, be sure to follow the lead of “I’m Gonna Love You ’til the color fades out of my eyes!”

Having trouble coping with getting older?  Hey, it happens to us all, folks, but Todd reminds us in “I’m Not Young Any More” that “I once had Time, but she was a whore–she up and leaves you for another score.”   And, in answer to the question of whatever happened to “drive-ins, five-and-dime stores, and Woody Guthrie songs,” well, they’ve all “drifted away, down the Road Of Time.”

“If It Weren’t For You, I’d be a wrecking ball” is a fine shot of alt-country, as is the set-closer, the honky-tonkin’ good time that assures us that, “on the other side of the Pearly Gates,  I know there’s gonna be Wild Women, Whiskey, And Weed!”

We’ve all had our share of good times and hard times, but Todd Adelman And The Country Mile  use the tunes in “Time Will Tell” to let us all know that it’s ok to cry, laugh, have a drink or a toke, as long as you enjoy this set in helping you cope!  Until next time…Sheryl and Don Crow, The Nashville Blues Society.

 

 

Billy Flynn review…April 8, 2017…

BILLY FLYNN

LONESOME HIGHWAY

DELMARK  DE-850

GOOD NAVIGATOR–IF IT WASN’T FOR THE BLUES–SMALL TOWN–LONESOME HIGHWAY–THE “IN” CROWD–NEVER HAD A CHANCE–WAITING GAME–HOLD ON–THE LUCKY KIND–JACKSON STREET–LONG LONG TIME–THE RIGHT TRACK–YOU ARE MY LOVER–I FEEL ‘UM–BLUES EXPRESS–SUFFERIN’ WITH THE BLUES–CHRISTMAS BLUES

Billy Flynn is an amazingly-versatile guitarist, singer, and composer who has ten albums under his belt as a leader, but he may be best-known for his work as a sideman on a myriad of projects for other artists, including Kim Wilson, Jimmy Dawkins, The Cash Box Kings, and a host of others too numerous to mention.  It is fitting, then, that Billy gets his due from Delmark, as they issue his first release for them, “Lonesome Highway.”  It is sixteen originals plus one too-cool-for-school instrumental cover of “The “In” Crowd,” that shows not only what a mighty six-stringer he is, but just how good a writer, vocalist, and harp man he’s evolved into.

His uniqueness and versatility are why he is such an in-demand player for some of the world’s best bluesmen.  As we listened, we tried to guess in which direction he’d take the next tune, making this set tremendously fun to work with.  There’s the “West Side rules” funk of  “Never Had A Chance,” and again with the stinging “If It Wasn’t For The Blues, I wouldn’t have a song to sing.”  He boogies like ol’ John Lee on “Waiting Game,” and lets his slide do the talking, Robert Nighthawk-style on the tale of his favorite little “lovin’ machine,”  who lives “over on Jackson Street!”

Along with the aforementioned instrumental of Ramsey Lewis’ “In” Crowd,” there’s another good one, too.  Billy’s guitar is on fire ridin’ the “Blues Express,” fueled by Doug Corcoran’s trumpet.

We had two favorites, and they bookended the set.  Close your eyes and listen to Billy’s guitar lines on the set-closing “Christmas Blues,” and you’ll swear it’s B B and Lucille!  And, the set opens just like ringin’ a bell, with Billy and duet partner Deitra Farr gettin’ down with the Berry-licious tale of traveling thru life with that one special “Good Navigator!”

It is almost surreal the way Billy Flynn can emulate the styles and signatures of the legends, while making everything his own.  He writes from personal experiences and things he’s seen over countless hours on the road, making his Delmark debut, “Lonesome Highway,” one of the year’s best thus far!  Until next time…Sheryl and Don Crow, The Nashville Blues Society.

Eliane Elias review…April 7, 2017…

ELIANE ELIAS

DANCE OF TIME

CONCORD JAZZ  CJA 00027

O PATO–YOU’RE GETTING TO BE A HABIT WITH ME–COPACABANA–COISA FEITA–BY HAND (EN MAOS)–SAMBOU SAMBOU–LITTLE PARADISE–SPEAK LOW–SAMBA DE ORLY–NA BATUCADA DA VIDA–AN UP DAWN–NOT TO CRY (PRA NAO CHORAR)

World-renowned jazz pianist, vocalist, composer and arranger Eliane Elias had a lot of things she wanted to accomplish with her latest album.  First, there was  no small matter of following up her 2015 Grammy winner, “Made In Brazil,” which marked her first time recording in her native Brazil since moving stateside in 1981. Next, she wanted this album to also be recorded in Brazil, to celebrate her four decades as a performer.  And, she wanted it to include those players who had influenced her career from its beginning.  Lastly, she wanted to recognize the Centennial anniversary of the first recorded samba, one of the genres’ in which Eliane truly excels.

And so it is with “Dance Of Time,” recorded at NaCena Studios in Sao Paulo, a mix of  mostly swinging, uptempo cuts that find her singing in Spanish and English, and there are a dazzling array of special guests herein.  She sets the tone for things to come with the opener, the easily-danceable “O Pato,” then slyly winks at Ol’ Blue Eyes with a sultry bossa nova groove added to his classic “You’re Getting To Be A Habit With Me,” featuring Mike Mainieri on the vibes.  Toquinho adds vocals on the lively “Samba De Orly,” and again on the set closer, the quietly-reverent “Not To Cry (Pra Nao Chorar).”

We had several favorites, too.  Longtime collaborator Randy Brecker adds flugelhorn on Eliane’s contemporary reading of the Kurt Weill-Ogden Nash  cut, “Speak Low,” while Amilton Godoy is on the second piano for the sprightly duet with Eliane on her original, “An Up Dawn.”  And, since nobody drops a samba like Eliane, please enjoy the ebullient “Sambou Sambou.”  You may not understand a single word of that  breathy alto vocal, but your feet will know the way, and your head and your heart will follow…..

Eliane Elias squarely hit the mark with the myriad of things she wanted to do with “Dance Of Time.”  Not only is it a celebration of her illustrious career, but also of her passion for her music and the happiness it brings to her listeners!  Until next time…Sheryl and Don Crow, The Nashville Blues Society.

John Primer and Bob Corritore review…April 5, 2017….

JOHN PRIMER AND BOB CORRITORE

AIN’T NOTHING YOU CAN DO

DELTA GROOVE MUSIC   DGPCD 175

POOR MAN BLUES–ELEVATE ME MAMA–HOLD ME IN YOUR ARMS–BIG LEG WOMAN–GAMBLING BLUES–HARMONICA BOOGALOO–AIN’T NOTHING YOU CAN DO–FOR THE LOVE OF A WOMAN–MAY I HAVE A TALK WITH YOU–WHEN I LEAVE HOME

As we mark the April 4 anniversary of the birth of Muddy Waters, we are proud to present our review from two of the most excellent purveyors of that classic Chicago blues sound on the scene today, John Primer and Bob Corritore, and “Ain’t Nothing You Can Do,” for Delta Groove Music.   John Primer won the Blues Award in 2016 for Best Traditional Male Artist, and, for those who may not be aware, he was a guitarist in the last incarnation of Muddy’s band, just prior to Muddy’s passing in 1983.  As for Bob Corritore, his name is synonymous with the best in harp-driven blues, winning the Blues Award in 2011  for  Historical Album of the Year for “Harmonica Blues.”  Their 2013 Delta Groove debut, “Knockin’ Around These Blues,” received tremendous praise from the blues community.

For the follow-up, “Ain’t Nothing You Can Do” features two of John’s originals and one cool instrumental penned by Bob.  These giants are joined by some of the world’s best players, including Henry Gray and Barrelhouse Chuck on piano, Big Jon Atkinson and Chris James on guitars, Patrick Rynn and Troy Sandow on bass, and Brian Fahey on drums.

Fans, this is authentic Chicago blues the way it was intended to be played.  One of John’s originals kicks off, “Poor Man Blues,” finding John just wanting to “lend a helping hand” to those in need.  This song, as well as all the others, are arranged to give everyone ample room to solo.  “Elevate Me Mama, ’bout five or six floors on down,” is a cool nod to Chess Records via this song’s writer, Sonny Boy Williamson, and the fellows pay tribute to ‘ol Magic Slim with John’s strong vocal on those “Gambling Blues.”  Bob’s solo here is dead-on, never wasting a note.

We had two favorites, too.  A hell-hound slide guitar drives the slow-blues bliss of the raucous, bawdy, “Big Leg Woman,”  where “people are crying for more!”  And, the title cut features Henry Gray on piano on a song we first heard by Albert King back in the day, where “There Ain’t Nothing You Can Do to stop me from loving you!”

John Primer and Bob Corritore are two of  not only the finest gentlemen, but also two of the finest players of classic Chicago blues to ever strike a chord.  There really “Ain’t Nothing You Can Do” except to enjoy the hell out of this great set!  Until next time…Sheryl and Don Crow, The Nashville Blues Society.

Lauren Mitchell review…April 3, 2017…

LAUREN MITCHELL

DESIRE

SELF-RELEASED

I DON’T NEED NOBODY–SOUL MUSIC–DESIRE–JUMP INTO MY FIRE–GOOD TO ME AS I AM TO YOU–FEELS SO GOOD–STAND UP LIKE A MAN–TODAY–I AIN’T BEEN LICKED YET–ANTI-LOVE SONG–BRIDGE OF MY DREAMS–LEAD ME ON–BROWN LIQUOR

The year 2016 was a life-changer for one of our favorite singers on the scene today, Lauren Mitchell.  Her marriage dissolved, as did her relationship with her band.  But, Lauren is a true believer in the healing power of the blues, and she’s got the vocal chops to back it up.  She’s taken a batch of sour lemons and turned it into the sweetest musical lemonade you could ever hope to drink from.  “Desire” lets her mighty voice ring true on thirteen cuts of originals mixed with covers from her favorite artists and writers.  Oh–the backing band is no slouch, either—Lauren spent ten days in Los Angeles with producer Tony Braunagel, who also drums on the set, and they are joined by Tony’s group of “usual suspects”—Johnny Lee Schell, Josh Sklair, and Jose Ramirez on guitars, Jim Pugh on keys, Reggie McBride on bass, and Steve Fister on slide guitar.

Lauren pulls off the gloves with the defiance of the opener, a bouncy, horn-fed soul gem, “I Don’t Need Nobody to tell me how to treat my man!”  A breezy original spins the tale of a love affair fueled by that good ‘ol “Soul Music–just like my daddy used to play.”  A deep, Southern-soul, testifyin’ groove defines Lauren’s read of  Lady Soul’s “Good To Me As I Am To You,” while the wah-wah gets a workout over her vocal of  a lover who’s down but never out, Ashford and Simpson’s “I Ain’t Ben Licked Yet,” featuring Jim’s killer piano.  The set closes on an upbeat note, the funk-filled finale that finds Lauren dodging past mistakes, most of ’em fueled by that “Brown Liquor–let’s have another round!”

Our favorite was the title cut.  Sounding more like a Delta classic than a song cut in L. A., “Desire” is sparsely-arranged, letting Lauren’s vocal carry the message that you’ll “rise up from those ashes and believe in your Desire.”

Tony coaxed Lauren Mitchell into a career-defining “statement” album with “Desire.”  She healed her pain by singing the blues, and offers this set for us to do the same!  Until next time…Sheryl and Don Crow.

Chris Antonik review…April 1, 2017….

CHRIS ANTONIK

MONARCH

CHRIS ANTONIK MUSIC  CAM 001

I’D BURN IT ALL DOWN FOR YOU–YOU’RE KILLING MY LOVE–SLOW MOVING TRAIN–GOLD STAR–THE MONARCH AND THE WRECKING BALL–LOVE, BETTIKE-FORGIVENESS IS FREE–THE ART OF LETTING GO–ALL OUR DAYS–NEW RELIGION–HUNGRY GHOST–A SLIP IN THE RAIN–EVERYWHERE I GO

One of the funkiest, most soulful bluesmen that we’ve had the pleasure to hear recently hails not from Chicago, not from Detroit, and sho’ nuff not from the Delta.  Nope—Chris Antonik comes to us by way of Canada, and his latest album, “Monarch,” traces his musical views on everyday life, love, victory, and defeat in the form of twelve originals and one scintillating cover.  We try not to categorize, but, as you listen to Chris, his vocals sound like a cross between Delbert and Tab Benoit, and his guitar leanings evoke influences from all the legends.  Along with Chris on this set are Guenther Kapelle on bass, Jesse O’Brien on keys, and Chuck Keeping on drums.

These songs are predominantly built around easily-danceable grooves which belies much of the sometimes-serious subject matter.  Leading off is a song dedicated to the love Chris has for his two children, and, for everything he’s built up, “I’d Burn It All Down For You.”  A stone shot of modern blues is “Slow Moving Train,” which tries to encourage all of us to put down the phones for a while, before the fragility of life slips away.  Jesse breaks off a fine organ solo here, also.

Chris offers up some pensive, introspective looks at life and relationships, too, among these gems.  In “The Art Of Letting Go,” Chris finds the wisdom and truth to forgive and move on, after “peeling back the years of bad memories.”  And, one of the set’s most interesting cuts asks “would love be the answer” as a couple in a lifelong relationship reaches the end of their journey in “All Our Days.”  Jesse adds a moving touch with well-played pedal steel, also.

We had two favorites, too—songs with similar themes, yet done decades apart.  First up, Chris and the band offer up a killer version of the Bloomfield-Gravenites classic, “You’re Killing My Love,” with Chris’ guitar going into “West Side” mode, with a nod to Otis Rush.  And, after that love is dead and buried, Chris still doesn’t let  it “get the best of me,” because, “while you cost me so much, my Forgiveness Is Free.”

With “Monarch,” Chris Antonik plays out a sage life lesson.  Even tho we’ve all suffered setbacks, the key is remaining resilient, and the grooves in this set offer a healing poultice, indeed!  Until next time…Sheryl and Don Crow.