Michael Kaeshammer review…May 30, 2018…

MICHAEL KAESHAMMER

SOMETHING NEW

LINUS ENTERTAINMENT

SCENIC ROUTE–DO YOU BELIEVE–COME ON HOME–SHE’S GONE–JOSEPHINE–WHO ARE YOU–HEAVEN AND EARTH–DIXIE HAS THE BLUES–FORBIDDEN LOVE–SWEET GEORGIA BROWN (INST.)–WEIMAR (INST.)

Canadian keyboard master Michael Kaeshammer has several Juno Award nominations, (the Canadian equivalent to our Grammy Awards), within the jazz idiom, and, for his latest release, he does, indeed, offer up “Something New.”  This time, he ventured way down yonder to the Treme District of New Orleans, specifically to the Esplanade Studios to create this mellow-fine set of eleven cuts of prime jazz mixed with a shot of blues, courtesy of several famous blues-renowned guests.

One of those guests, drummer Johnny Vidacovich, is strong throughout this set, but shines on the opener.  It’s a cool update on “Route 66,” this time with Michael and the fellows rollin’ thru Ferriday on the way to the Big Easy, taking that “Scenic Route.”  Up next, Curtis Salgado is on harp and vocals on the second-line romp of “Do You Believe,” with its powerful message of love and unity.  “She’s Gone” is a song about just that–Jim Byrnes is on vocal as his girl up and turned “together to alone,” with Michael’s loping piano augmented by Amos Garrett on guitar and Sea Level’s iconic Chuck Leavell on the Wurlitzer.  “Who Are You” features Colin James on vocals and BTO’s Randy Bachman on guitar, and it urges us not to forget those who are less fortunate, and  “step outside your comfort zone” to make the world a better place.  A deeply-personal love song features Cyril Neville on vocals, vowing to move “Heaven And Earth” to prove his love.

We had two favorites, both featuring solo performances from Michael.  First is a humorous look at other regions across the world and what they have to offer, but, “Dixie Has The Blues,” done up in all her second-line finery.  And, ever since seeing the Harlem Globetrotters in our adolescence, we’ve been in love with that girl that has “two left feet, but oh so neat,” that “Sweet Georgia Brown.”  Michael presents it herein as a dazzling piano instrumental, taking it to dizzying heights, much the same as the ‘Trotters did with basketballs.

For Michael Kaeshammer, the unique and enticing “Something New” is a hit on all counts.  Excellent musicianship and a slew of special guests make this one a “can’t miss.”  Until next time…Sheryl and Don Crow, The Nashville Blues Society.

McMains review…May 29, 2018….

MCMAINS

AMERICAN SOUL

WELLAND INTERNATIONAL

WOULD IF I COULD–DEVIL DON’T CARE–DON’T SAY GOODNIGHT TONIGHT–SINCE I STARTED LOVING YOU–IS IT OVER–SHENANDOAH–END OF THE DAY–HELLO HEARTBREAK–TAKE ME HOME, COUNTRY ROADS–NEVER 2 LATE 4 LOVE–SLOW DOWN MY HEART–TIME WELL WASTED–UNDER THE SUN

Americana-roots troubadour Mick McMains has just released his first full-length album since 2012, this one entitled “American Soul.” On this well-crafted set, the listener is treated to some love songs, some drinkin’ songs, and a couple of cool, more traditional cuts. Yep, McMains explores many aspects of everyday life thru this material, which is sometimes biting and gritty, and sometimes done with a keen sense of humor.

On guitar and vocals, McMains leads off with a song that identifies the fact that, in life, “the path is the thing,” and “I Would If I Could, do it all over again, with you.”  This one features Dave Pearlman on the pedal steel.  “Don’t Say Goodnight Tonight” chronicles a man looking for another shot at true love, and reaches the pinnacle in the lyrics of “Never 2 Late 4 Love,” with that catchy chorus, “look at me, I’m falling in love again.”  He closes the set with two more cool looks at love.  First is the tale of spending one’s time by living life to the fullest, where, even naysayers who decry he’s wasting his time, learn that time spent with his true love is “Time Well Wasted,” indeed!  The final cut is an island-flavored look at spending a lifetime with that special someone, “on an island lost at sea,” “Somewhere Under The Sun.”

McMains also tackles two iconic songs from the canon of traditional music.  “Shenandoah” features a sweet duet vocal from Cheyenne Jolene, while the unique use of accordion from Derek Reymer adds a bit of Cajun spice to the sprightly-uptempo arrangement of “Take Me Home, Country Roads.”

Mick McMains is a true believer that the journey of life is best served with a healthy side of great music.  You can get plenty of that with “American Soul!”  Until next time…Sheryl and Don Crow, The Nashville Blues Society.

John Clifton review…May 28, 2018….

JOHN CLIFTON

NIGHTLIFE

RIP CAT RECORDS RIC 1803

STRANGE LAND–SAD ABOUT IT–LAST CLEAN SHIRT–LONG AS I HAVE YOU–BRAND NEW WAY TO WALK–SWAMP DUMP–HOW ABOUT THAT–STILL A FOOL–NIGHTLIFE–WILD RIDE–NO BETTER TIME THAN NOW–EVERY NOW AND THEN

John Clifton is one of those powerhouse players who triple-threats on vocals, harp, and guitar.  Known the world over for his red-hot live shows, he has just released his latest for Rip Cat Records, “Nightlife.”  It’s twelve cuts of vintage blues that gives you a good taste of what goes down when these guys are on stage.  Along with John, we have Scott Abeyta on guitar, Matt Moulton on bass, Bartek Szopinski on keys, and drums from John Shafer and Roman Rivera.

They kick off on a blistering note, with the chugging backbeat and John’s wailin’ harp on Charlie Musselwhite’s  “stranger in a Strange Land.”  Bartek’s piano rings true throughout the good times of Little Walter’s “Long As I Have You, ain’t nothin’ I wouldn’t do,” with a fine harp solo at the break.  John and the fellows dig down deep with a rockabilly groove on his original, “found me a New Way To Walk,”  and they close the set with another original, nine minutes of a mouth-watering slow blues tale of never quite being in the right place at the right time, “Every Now And Then, good Lord, let me catch a break!”

We had two favorites, too.  The title cut hearkens back to Sixties’ psychedelic pop with a taste of the blues, where  the “neons are gleaming and the gamblers are dreaming” in the “Nightlife.”  And, that pounding beat and wailin’ slide that drives those “two trains running” is a sho’ nuff cool, echo-washed read of Muddy’s “Still A Fool.”  John’s mournful, pleading vocal makes you feel his pain, as “she’s the one I hate to lose.”

Rip Cat Records prides itself in bringing out artists who are well-versed in the jumpin’ swing of authentic West-Coast-styled blues.  John Clifton and his band understand the history involved in the music they play and keep it fresh for contemporary audiences.  Be a part of the “Nightlife” from this most excellent blues band!  Until next time…Sheryl and Don Crow.

The Bridget Kelly Band review…May 27, 2018….

THE BRIDGET KELLY BAND

BLUES WARRIOR

ALPHA SUN RECORDS  2018

LI’L HONEY BEE–CABRINI-GREEN–STOLEN–NO GOOD MAN BLUES–ALONE–TROUBLE IN TEXAS–LET GO–BLUES INSIDE OF ME–IT’S A SHAME–SNOW FALL–NAMELESS NOBODY–SUGAR SWEET BABY–CHEMO

The Bridget Kelly Band is another group we simply cannot get enough of.  Their fifth album for Alpha Sun Records in the last six years is entitled “Blues Warrior,” and that they are, indeed, continuing to spread the word of the blues from their home base in Florida to fans all over the globe.  Bridget’s got a voice to die for, sultry, soulful, and sexy, (often all at the same time!), while Tim Fik is the consummate guitar-meister, with influences as varied as B. B., Jimi, and Dickie Betts, and everyone in between.  He also serves as the set’s producer.  They were Semi-Finalists in both the 2015 and 2016 IBC’s, and, this year, Tim collared a prestigious KBA, a lifetime achievement award given to those who have dedicated their lives and careers in Keeping The Blues Alive and preserving and promoting its heritage.

As you can see, this group has a boatload of accolades, and now we gotta git’ to gittin’ on the excellent material contained herein.  On this set, the band takes one huge, altruistic step forward, using their music to call attention to society’s problems of homelessness, drug addiction, domestic abuse, and human trafficking.

Things do start off on a playful note, tho, as Tim lays down some fancy lead lines over Bridget’s declaration of forever love to  “my Li’l Honey Bee.”  She comes back a little later and rocks him again, this time with the help of Chris Alexander on piano on the juke joint romp of “Sugar Sweet Baby.”  (Tim Fik, you are one sho’ nuff lucky man!).  “Cabrini-Green” recounts the deplorable living conditions in that fabled North Side neighborhood in Chicago, as Bridget calls a “time for change!”  “Stolen” has a beautiful intro from Tim, giving way to Bridget’s shout-out to victims of human trafficking, begging to be spared from “this den of thieves.”  The all-too-often-ignored people in “Nameless Nobody” recalls the plight of the nation’s homeless, “as the city bustles by,” while the burning, slow-churn of “No Good Man Blues” deals with the pain and suffering of domestic abuse.  And, the sad consequences of a life of dependency on the “needle and the spoon” are laid bare in the stark “Snow Fall.”  They close the set on a bittersweet note with the poignant “Chemo,” a tribute to Bridget’s grandmother and Joyce Hanken, and also to fallen-but-never-forgotten blues sister Candye Kane.

The Bridget Kelly Band has used the music of “Blues Warrior” to empower all who suffer from any of the plights that plague modern society to take every step possible to stand up and fight back.  An excellent blues album under any circumstances, this one is made even more appealing by the band’s philanthropic outlook of “giving back” to their fans and the blues community who knows of someone suffering in silence.  Thank you, guys–we love you!  Sheryl and Don Crow, The Nashville Blues Society.

 

 

Joyann Parker LIVE SHOW….

HEY Y’ALL

 

JOYANN PARKER WILL BE PLAYING A LIVE SHOW TOMORROW, MAY 27TH, AT THE COBRA NASHVILLE, 2511 GALLATIN AVENUE.

 

OPENING WILL BE  SUGAR LIME BLUE AND WREN FIONE, AND THE COVER IS FIVE BUCKS, STARTING AT 8 PM

 

HOPEFULLY, THE RAIN WILL SUBSIDE AND EVERYBODY CAN HAVE A GREAT TIME!

 

SAFE TRAVELS TO ALL, AND HAPPY MEMORIAL DAY….SHERYL AND DON CROW

Allman Goldflies Band review….May 26, 2018….

ALLMAN GOLDFLIES BAND

SECOND CHANCE

EVER BEEN SO LONELY BABY–STANDING IN THE GEORGIA RAIN–SOUTHERN’S ALL I EVER WANT TO BE–YESTERDAY’S BLUES–FADIDDLE–BABY SHOW ME HOW–PRETTY GREEN EYES–CAN’T TURN BACK NOW–YOU GAVE ME LOVE–WHEN JESUS CALLS

Vocalist and keyboard man Gary Allman is indeed a cousin to Gregg and Duane Allman, with Soutern rock’s greatest dynasty’s blood flowing thru his veins.  He’s also got that unmistakable growl in his voice that is so reminiscent of Gregg.  David “Rook” Goldflies was bassist for the ABB from 1978-1982, during the time that “Enlightened Rogues.” “Reach For The Sky,” and “Brothers Of The Road” were released.  Rook had the uncanny ability to play the more advanced chord structures on the extended jams with incredible ease.  These two have pooled their immense talents to release “Second Chance,” under the name Allman Goldflies Band.

This set of ten originals, all written by Gary, Rook, and C. Menfi, blends their collective passions for Southern rock, blues, jazz, and a shot of gospel to celebrate their involvement in keeping this classic genre’ alive and moving forward.  Leading off is “Ever Been So Lonely Baby,” a tune that has vintage ABB DNA all thru it, and includes a fantastic bass solo from Rook.  Rook shows that he’s much more than just a bass player, too, as he crafted a sweet instrumental showing off his mighty impressive fiddle chops, “Fadiddle.”  The haunting “Pretty Green Eyes” recounts the life of a traveling bluesman and the one thing he misses most while “traveling on down the line.”  Rook’s bass gets another workout on the funky, danceable tale of searching for that Great American Dream by doing what you love best, “Can’t Turn Back Now.”  The set closes by taking us all to church with Gary’s organ-heavy tribute to his mother, “When Jesus Calls, you got to be ready.”

Our favorite was easy.  Southern rock has been in our souls since we first heard the Fillmore album in 1971.  and Gary and Rook, thru all their connections to this great music, keep it alive and flourishing with “Southern’s All I Ever Want To Be!”  Amen, brothers!  Until next time..Sheryl and Don Crow, The Nashville Blues Society.

Brother Dege review…May 25, 2018…

BROTHER DEGE

FARMER’S ALMANAC

PSYOUTHERN RECORDS   PSY 002

PARTIAL TO THE BITTERS–COUNTRY COME TO TOWN–THE EARLY MORN–THE SHAKEDOWN–BASTARD’S BLUES–THE MOON AND THE SCARECROW–THE BALLAD OF INGO SWANN–LAREDO–WHITEBOY–NO MAN A SLAVE–PARTIAL TO THE BITTERS, PART 2

Ever wonder what it might’ve been like to have had that mythical, mystical hell-hound on your tail?  We may never know, but you can sho’ nuff get close to that feeling by listening to composer, singer, and slide-guitar master Brother Dege, with his latest album, “Farmer’s Almanac,” for Psyouthern Records.  This album is a tremendous tribute to life here in the Deep South, and plays out as a true “concept” album.

Brother Dege (Legg) grew up deep in the heart of Cajun country in Louisiana, working a slew of odd jobs in between bouts with depression, drugs, alcohol, and run-ins with the law.  He even had a run-in with suicide, too, backing off at the last moment to turn his life toward his dream of songwriting.  But, one can never take these life experiences out of a man, and Dege’s songs resonate with guys and gals that suffer from some serious character flaws.  One of those opens the set, the perhaps-autobiographical “Country Come To Town, from the smallest town and the lowest rung.”  “Bastard’s Blues” recounts a young man who went bad at the age of twelve, and, by twenty-two, “they say I killed a man,” and awaits his fate by hanging.

Another “murder” tune served as our favorite.  On “No Man A Slave,” our hero would rather take a chance with a life on the run than spend it in jail, “I’d rather run away,” for “how can I keep the peace when the war is all I got?”

Brother Dege has had songs featured in Quentin Tarantino’s “Django Unchained,” and secured a coveted headlining showcase to help kick off SXSW 2018, in Austin, down at Antone’s.  The pre-release scuttle for “Farmer’s Almanac” said it all–between the instrumental intro and outro, this thing gets nasty and stays nasty!  Until next time…Sheryl and Don Crow, The Nashville Blues Society.

The County Well review…May 24, 2018….

THE COUNTY WELL

FUTURE COUNTRY

FLOATING RECORDS

WHISKEY BEFORE NOON–MEZZANINE–MRS. SOUL–BABY–SHIP YOU CAN’T STEER–LIGHT–ALABAMA–EXTRA HEAVY–EMPTY HALL–HOLLYWOOD–SUBTLE AND SERENE

The County Well is the collaborative artistic effort of some of the best musicians and composers associated with the Marin County and Northern California region.  For their album, “Future Country,” co-producer and guitarist Don Zimmer stated that the goal of the album was to connect both local and traveling musicians in the studio, creating a loose, jam-friendly atmosphere that carried over into the songs.  Graham Guest, of Houston band Moses Guest, collaborated with Zimmer on all the songwriting, and the cuts are as varied, (and as much fun!) as the myriad of players that appear here.

Leading off, we have Michael Blumenstein on vocals and guitar on a Zimmer-penned cut, pondering the musical question, is “Whiskey Before Noon” a good idea?  It’s punctuated by fiddle and backing vocals from Alyssa Joy Claffey.  “Mrs. Soul” features Don and Graham on guitars, with Graham’s soulful vocals and flute from Eric Yates giving this one a good ole Dead vibe.  Our favorite, “Empty Hall,” recounts the tale of a young mother in Oregon, with her son lamenting that, from her, he learned “nothin’, ‘cept nothin’ at all,” with pedal steel from Joel Jaffee.

The premise behind “Future Country” was, first of all, to have some fun experimenting with different sounds and textures. and, in the spirit of The County Well, the artists involved wanted to grow and cultivate the talents of the varied musicians working with the project.  As for the material itself, the band members said it best–it’s subtle and serene, and whatever lies between!  Until next time..Sheryl and Don Crow, The Nashville Blues Society.

Markey Blue Ric Latina Project review…May 23, 2018….

MARKEY BLUE RIC LATINA PROJECT

RAISED IN MUDDY WATER

ELLERSOUL RECORDS  ER 1803-031

RAISED IN MUDDY WATER–CORRINA SHINE (TAJ MAHAL TRIBUTE)–A LITTLE MORE I DIE (ODE TO JOHN PRINE)–RED ROOM (RONNIE OWENS ON HARP)–MISSISSIPPI SOUL–WALKING OVER THIS LINE–I LIKE IT LIKE THIS (GUEST: EDDY “THE CHIEF” CLEARWATER)–TEARS ALL OVER THE WORLD–WHEN I CLOSE MY EYES–COME AND GO (DELBERT TRIBUTE)–DROWNING IN HIS OCEAN (LIVE)

It has been our pleasure to know both Markey Blue and Ric Latina for several years, and they can always be counted upon to deliver some of the most passionate and exciting sounds in all of contemporary blues.  Their latest set, this one for EllerSoul Records, continues that tradition with the release of “Raised In Muddy Water,” eleven originals that combine elements of the Delta with uptown soul, fueled by the playful, sultry and soulful vocals from Markey, and Ric’s dazzling guitar work.

That Delta influence kicks things off, as Markey pays a sweet tribute to the original “rollin’ stone,” proclaiming that, “after the rain, things would never be the same,” as she was sho’ nuff “Raised In Muddy Water” upon hearing those blues!  A bit later, she re-affirms the fact that this sweet blues lady has “Mississippi water goin’ thru my veins,” with a stone “Mississippi Soul.”  A brilliant slow-blues about a love affair that has fallen prey to constant lying and cheating finds our heroine “Walking Over This Line” on her way out the door, while “Come And Go” features the horn section and Ric’s slide guitar on a smokin’ tribute to ol’ Delbert.

We had two favorites, too.  Closing the set is a rollicking live cut, an ode to that “special one,” the “Cecil to my de Mille,” “Drowning In His Ocean.”  And, on another playful note, Markey joins forces with duet partner and Blues Hall Of Famer Eddy “The Chief” Clearwater, as both singers tell exactly what they enjoy in a relationship with “I Like It Like This.”  Another special treat occurs mid-song, as Ric and Eddy get in a cool call-and-response guitar “duel!”

The Markey Blue Ric Latina Project has hit on a winning formula with their recurring trend of great material, powerful vocals, and stellar guitar work, and they just keep on gettin’ better with “Raised In Muddy Water!”  Until next time…Sheryl and Don Crow, The Nashville Blues Society.

 

The Lucky Losers review…May, 22, 2018…

THE LUCKY LOSERS

WITH CATHY LEMONS AND PHIL BERKOWITZ

DIRTY CAT RECORDS  DCR 1507

IT’S NEVER TOO EARLY–TAKE THE LONG ROAD–ALLIGATOR BAPTISM–THE RIVER–SUPERNATURAL BLUES–MAKE A RIGHT TURN–BULLDOGS AND ANGELS (BRING IT ON OUT)–LAST RIDE–DON’T TAKE TOO MUCH–LOVE IS BLIND–YOU LEFT IT BEHIND

One of San Francisco’s finest blues outfits is headed by two major vocal talents, Cathy Lemons and Phil Berkowitz, and Phil doubles down as a harpblaster extraordinaire.  On their third set for Dirty Cat Records, The Lucky Losers, as they are affectionately known, once again ventured out to Kid Andersen’s Greaseland Studios to lay down “Blind Spot,” eleven cuts written as a team effort, either by Cathy, Phil, or Danny Caron, in whole or in part.

Over the course of this set, we are treated to blues, R & B, and a touch of jazz, as the duo takes a hard look into what society has become, realizing that a lot of it ain’t pretty, but their talents bring it all into sharp focus for the listener.  Cathy and Phil are tremendous duet partners, playing effortlessly off one another, and there are highlights galore on this album.

On one of the few cuts where Cathy goes it alone, she gets into a cool soul-diva groove over a funky, Hi Records-Memphis arrangement, reminding us that, in order to stay on one’s true path, sometimes you gotta skip the shortcuts and “Take The Long Road.”  This one also features Laura Chavez on guitar.  Kid Andersen is on guitar as both Cathy and Phil show how society’s grasp on human dignity is slowly “circling the drain” on the horn-fueled “Alligator Baptism.”  Laura’s back on guitar for the downright Santana-esque “Supernatural Blues,” and they strike a loping, Dr. John-styled groove fired up by piano from Chris Burns in “Bulldogs And Angels (Bring It On Out).”

We had two favorites, too, at polar opposite ends of the musical spectrum.  Amidst the sounds of gunfire, police sirens, news reports, and 45 blathering in the background, Cathy bemoans the “bullets on Highway 91” in Las Vegas and other references to the seemingly-endless barrage of bad news.  It’s called “Last Ride,” and it hits home—hard, and has Phil on the big ol’ chromatic.  The pair close the set on a playful note with “You Left It Behind.”  It’s a humorous, almost Sonny and Cher-like look at the pitfalls, pratfalls and backslidin’ of two musicians obviously in love with each other!

The Lucky Losers have traveled all over this country to bring their music to the masses, and, virtually everywhere they go, there is a feeling of desperation from the fallout of the daily news.  They offer us “Blind Spot” as a poultice, and it’s a sweet ride down the blues highway!   Until next time…Sheryl and Don Crow, The Nashville Blues Society.