Blues Blast Magazine Album Review: John Long – Stand Your Ground

Hello!

This CD review was originally published in the November 10, 2016 edition of Blues Blast Magazine. Be sure to check out the rest of the magazine at www.bluesblastmagazine.com

John Long – Stand Your Ground

Delta Groove Music

www.johnlongblues.com

www.deltagroovemusic.com

13 tracks / 52:54

John Long is a fine bluesman, and the path he took to where he is today was not the easy one, but he ended up in the right place. Growing up in St. Louis, he sought out the blues at a young age, and it certainly did not hurt that his mom was a guitar teacher or that his brother, Claude, was also a bluesman. By his teens, John was playing out and started exploring the intricacies of pre-war blues. In the early 1970s, Long moved to Chicago where he mentored under a new father figure, Homesick James Williamson, who was a protégé of none other than Elmore James.

In the forty years since then, John has continued his journey, honing his craft and writing solid material, earning a BMA nomination for his debut album, and eventually moving back to Springfield, Missouri. His new Delta Groove Music album, Stand Your Ground, is a really cool collection of original and classic acoustic blues. Long did most of the heavy lifting here, writing eight of the thirteen tracks, singing all of the vocals, and taking on all of the harp and guitar parts. He was joined on a few of the tracks by a handful of tight and very experienced musicians from Southern California, including Fred Kaplan on piano, Bill Stuve on upright bass, and Washington Rucker behind the drum kit.

This disc was cut in only two days at Audiogrand in North Hollywood, California, and the resulting music has a very natural and live feel. First up is a tribute to Long’s mentor, and the message of James Williamson’s “Baby Please Set a Date” is the timeless story of a man who does not want to wait another day to be with his lady. Long’s voice is perfectly worn, and his inflection and tone hearken back to the early days of blues music. Fred Kaplan’s piano work fits in wonderfully on this track, as he carries over his years of experience from Hollywood Fats’ band.

The remaining cover tunes are sequenced near the end of Stand Your Ground, and Long does not screw around at all with Blind Willie Johnson’s 1920s gospel blues song, “I Know His Blood Can Make Me Whole.” John takes this one on as a solo effort with his jangly slide acoustic, and he displays a lot of vocal versatility, adding in a wicked warble that is to die for. There is also a slow-tempo version of Thomas Dorsey’s “Precious Lord, Take My Hand,” with a neat drum accompaniment from Rucker, and harp-heavy take on Blind Willie McTell’s “Climbing High Mountains” (big time falsetto here!).

But this is not a cover album, and Long’s originals are well written and stand up well to the blues masters’ songs that he chose for the mix. His guitar playing on these songs is fascinating, as he is innovative and goes far beyond what pre-war players did with their instruments, but he never loses the vintage vibe. “Red Hawk” is a prime example of this, as he uses a lot of double stops, harmonics, and descending patterns that sound amazing on his resonator guitar. Long also covers subjects that were not song-worthy back in the 1920s or 1930s, and he can write a tune about living with Parkinson’s disease (“No Flowers For Me”), and have it fit in perfectly with the classic material. The same can be said for “One Earth, Many Colors,” which carries a beautiful message of inclusion.

The originals are righteous enough that the title track turns out to be one of the standout songs on the album. “Stand Your Ground” brings Stuve and Rucker back on stage and these two fellows really click, contributing a fat and woody bass tone, as well as lovely rhythms on the drums. The melody is very catchy, and the lyrics are about a father’s advice to his son, not the controversial Florida law.

John ends his set with his original “Suitcase Stomp,” and as it is only two minutes long it is a neat coda to this project. This is a fun and rowdy song, and Long get the chance to shine on his harp and guitar one last time before he leaves the stage.

John Long has the pre-war blues sound and feel nailed down tight, and he is able to carry this mood over to more modern lyrics with no awkwardness or feeling that things are contrived. Stand Your Ground works on a lot of levels, including its content, musicianship, and production. If you dig classic blues and want to hear something fresh, Stand Your Ground would definitely be a wise purchase.

The Claudettes – Dance Scandal at the Gymnasium! | Album Review

The Claudettes – Dance Scandal at the Gymnasium!

Yellow Dog Records

www.theclaudettes.com

www.yellowdogrecords.com

12 tracks / 35:51

The Claudettes are a completely different group than the two-piece house band that used to help advertise drink specials from the stage for its namesake, Miss Claudette. Since I first heard them on Infernal Piano Plot…Hatched!, they have transformed from a piano and drums duo to a quartet, and this expanded roster has given the group a lot of headroom to explore new themes and sounds.

Johnny Iguana (not his real name) is a founding member of the group, wrote all of the songs, plays a truly mean piano, and adds backing vocals into the mix. He was joined in the studio by Matthew Torre on drums, and Zach Verdoorn on guitar, bass and backing vocals. These are all fine musicians, but they hit the jackpot when Berit Ulseth joined the The Claudettes as their singer two years ago. Her vocals are a wonderful blend of jazz and blues and I cannot really come up with another singer to compare her to; her sound is truly her own.

The band’s new CD, Dance Scandal at the Gymnasium!, was cut mostly live at Soil of the South in Valdosta, Georgia by Mark Neil, who made the instrumentalists play the songs over and over again until they got them just right. So, there is not a lot of studio trickery and overdubs going on here, just refined talent. The group laid down twelve relatively short tracks, each of which tells an intriguing story without getting bogged down by egotistical soloing or other nonsense.

The Claudettes are hard to pin down to any one genre, which is a hard one to swallow for those who are hardcore fans of any one type of music. There is a definitely a blues influence, but there is also a heavy jazz theme, and to lesser degrees you will hear rock, boogie-woogie, punk, and god know what else. All of these elements add up to a wonderful slice of Americana, and the results are very listenable.

Their set kicks off with “Don't Stay With Me,” which presents one side of the story of unequally yoked lovers who are in a relationship that is nearing its end. This frustration is presented in the music by Verdoorn’s smoothly distorted guitar while Torres’ heavy drums create a sense of tension that does not let up until Ulseth utters the final line, “You're just as sweet as can be, but please, don't stay with me.” This mood does not lighten for the next track, “November,” which is about someone who is barely keeping it all together as they age. Johnny does a nice job of holding down the bottom end here, and I hear something new with his playing every time I listen to this song.

The sound gets a little more playful with “Give it All Up for Good,” in which Berith sings about how people addicted to social media are becoming apathetic and are disconnecting from each other. This is an easy tune to get stuck in your head, thanks to the thumpy bass part, Iguana’s hammering piano, and the catchy breaks with group harmonies. In a similar vein, “Naked on the Internet” discusses how nothing ever really goes away once it is online. This song is a bit of a departure from the others as Berith shares the lead vocals with one of the fellows (I don’t know who…), and the listener is treated to brief solos from Johnny, Zach, and Matthew, which is saying a lot as this song is not much more than two minutes long.

There is not enough room to write about all twelve of the songs on the album, but they are all thoughtfully written with lyrics that cover both the troubles with relationships and the increasingly terrible social situation in our world. I must point out though, that there is a lovely instrumental on the playlist too, and that would be the title track. “Dance Scandal at the Gymnasium” shows what the rest of the band is doing while the listener is distracted on the other tracks by the clever lyrics and sultry vocals. And what they are doing is laying down a sick jam, as these guys can really play: Iguana has a killer dexterity and a righteous touch on the keys, Verdoorn is ultimately versatile and has wicked bass and guitar tones, and Torre is a frickin’ drumming machine. Damn.

Dance Scandal at the Gymnasium! is a fine album, but the Claudettes put on an excellent live show too and the band’s energy and musicianship are first rate. They bought a new van and are touring endlessly around the United States, and they even have some European dates coming up. Head over to their website to hear some samples and to see where they are going to be playing next – I have seen their new line-up at the Viper Room and they are amazing - trust me, you want to see them in person!

Blues Blast Magazine Album Review: Toronzo Cannon – The Chicago Way

Hello!

This CD review was originally published in the June 9, 2016 edition of Blues Blast Magazine. Be sure to check out the rest of the magazine at www.bluesblastmagazine.com

Toronzo Cannon – The Chicago Way

Alligator Records

www.toronzocannon.com

www.alligator.com

11 tracks / 51:40

If you were to write a novel about a modern day Chicago bluesman, it would be hard to find a better model than Toronzo Cannon. He grew up on the South Side, and as a child he would idle near Theresa’s Lounge where he could hear legends such as Buddy Guy and Junior Wells through the open door. Cannon got started on the guitar at 22, and after a brief foray into the world of Reggae he gravitated towards the blues music he heard on the street and in his grandfather’s home. His influences of Buddy Guy, Alert King, Freddie King, and Albert King (among others) can still be heard in the music he writes and plays today.

Though Toronzo maintains a day job as a bus driver for the Chicago Transit Authority, his nights and vacation days are free to pursue the blues, which he has been working hard at since 1992 as both a sideman and a bandleader. His career has included nine appearance at the Chicago Blues Festival, and tours of Europe, the Americas, and South Africa. Cannon’s fourth album (and first with Alligator Records) is The Chicago Way, and he once again demonstrates that he is a modern day blues master.

This disc includes eleven tracks, all self-written, and Toronzo handles the vocals and guitars. He was joined by a fine group of musicians, including Pete Galanis on rhythm guitar, Larry Williams on bass, Melvin Carlisle on drums, and Brother John Kattke on the keys. Alligator’s Bruce Iglauer co-produced this album with Cannon, and the results are solid. Subjects covered within include the blues staples of love and loss (as well as infidelity), and a few tracks about the society we live in and finding hope for the future. Toronzo’s day job must give him a lot of material to work with.

Things get started with a bang with “The Pain Around Me,” a socially relevant tune that provides a glimpse into the Chicago that Toronzo sees on a daily basis, and he takes on religious leaders, politicians, and the general depravity of man. This is a fat chunk of heavy blues-rock that gives Cannon a chance to shine on both the vocals and his guitar. It is also a cool showcase of the incredible bad, with heavy drums, popping bass, and loads of Hammond B3.

There is a lot of blues-rock and rhythm and blues on this disc, but there are a few tracks that have more of the Chicago blues sound that one would expect from Toronzo. One of these is “Walk it Off,” a slow roller with searing guitar, wonderful piano, and aggressive bass from Williams. This is a song of love that has gone truly wrong, and there are more than enough disagreements to be resolved. Another wonderful Chicago track is “Mrs. From Mississippi,” which is a rollicking tune will trick rhythms and phrasing. From his description, this lady sounds like a keeper, and it nice to have one song on this album where there is not any drama (other than Cannon’s smoking guitar, of course).

Cannon calls on the horn section of Doug Corcoran, Steve Eisen, and Robert Collazo for two of the tracks. “Fine Seasoned Woman” is told from the player’s point of view, and extols the virtues of more mature women, with a big band sound behind him. But it is important to keep in minds that this is a two-way street, and the “seasoned woman wants a man, not a fool.” And “Midlife Crisis” features more of well-arranged horns, but this time with a nice dollop of Kattke’s electric piano. A nice twist on this tale is that the narrator allows that his wife is going through the same angst, and for some reason he is surprised when he discovers she is stepping out on him too!

The set finishes up with “I Am,” which brings acoustic guitar in for the introduction then quickly morphs into a serious blues rock song with a modern sound and a serious dose of Cannon’s killer guitar tone. This coda to the album is sung with passion and has a mature message of resisting the temptations of the world. Melon “Honeydew” Lewis, who has a breathtakingly lovely voice, provides amazing punctuation and soul to this final production.

The Chicago Way is a smart album of original contemporary blues songs with just enough of the Windy City charm. Toronzo Cannon has a great band, a unique voice, and a guitar style that ensure that he will be a contributor to the progress of blues in the states for years to come. Check it out for yourself, and be sure to find his website and see if he is playing any shows near you (including the Chicago Blues Festival in June). It will definitely be worth your time!

Blues Blast Magazine Album Review: Daniel De Vita – Southside Blues

Hello!

This CD review was originally published in the April 21, 2016 edition of Blues Blast Magazine. Be sure to check out the rest of the magazine at www.bluesblastmagazine.com

Daniel De Vita – Southside Blues

Self Release

15 tracks / 47:13

Argentinian bluesman Daniel De Vita has a firm grasp of Chicago blues history and draws inspiration from the late Chess Records, the label that pumped out hits from 1950 through 1975. You will get the drift after you see the artwork he chose for his debut CD, Southside Blues, which features a disc that looks like an old Chess 45 record label, and the campy “MONO/STEREO Compatible” tag emblazoned on the album cover. And then when you listen to the record you will find 15 classic blues tunes within, all of them recorded with the same technology as they used in the 1950s at Chess.

With this kind of build-up Daniel had better deliver the goods and he certainly takes care of business here; he is a pretty darned good singer and guitarist even though he has only been in the blues scene for ten years. This 27-year-old from Buenos Aires has a voice beyond his years, and for extra help in the studio he recruited Mariano D'Andrea on bass, Gabriel Cabiaglia on drums, and ace Nicolas Smoljan on harp.

Things get rolling with “You Got Me Where You Want Me” by John Brim, the first of many Chess artists that are featured on this disc. De Vita got the 50s sound he was looking for, as there is a definite low-fidelity to the proceedings, and everything is a bit muted (it is in stereo, though). The band sticks fairly close to the original arrangement with D’Andrea’s woody-sounding double bass kicking it off along with lightly honking harmonica from Smoljan. Daniel’s voice is a thin and aged tenor with a decidedly American accent, and the group totally nails the vintage vibe. The group also takes on Brim’s “Be Careful What You Do,” which has a little more of a modern electric blues sound to the guitar, though the authentically disjointed style of the solo is definitely a throwback to a different time.

Little Walter made the cut for Southside Blues, too, and he is well represented by “One of These Mornings,” a rolling 12-bar blues song with a tasteful guitar solo, and but no harp solo, which is a bit surprising for a Little Walter song. The other Little Walter tune was written “Baby Face” Leroy Foster, and “Red Headed Woman” gives Smoljan a little more room to step out on his harmonica.

You will also find a pair of songs from the famed Chicago pianist, Sunnyland Slim: “Farewell Little Girl” and “Be Mine Alone.” The latter is a rocking good time, with the electric guitar more forward in the mix, and a groovy harp solo that is so distorted at times that it is hard to tell if it is a harmonica or a muted trumpet. It does seem odd to hear this song with no piano, though. This song is the closer, and it is surely a fun way to end the set.

Interspersed among the eleven electric blues tunes are four rootsy acoustic tracks. One of these is Willie Dixon’s “Good Advice,” which brings in guitar and backing vocal harmonies courtesy of Gabriel Gratzer. This tune is catchy with a cool jangly guitar outro, and at only three minutes it is just not long enough! Also from Willie Dixon is “Violent Love” with Mauro Diana on guitar and vocals. There is a real distant quality to the way the vocals are recorded on this one, giving it an old-time radio feel.

Daniel also has a run at Robert Johnson’s “Walkin’ Blues” with only his resonator guitar and guest artist Damian M. Duflos providing the harp and vocals. The standout of these bare-bones tracks is “Poor Black Mattie” by R.L. Burnside, because it is a great song and Daniel also does a stand-up job of making the complicated guitar parts work while not taking the tune out of its original context.

With its unique recording style, Daniel De Vita’s Southside Blues is a niche recording, but it is very appealing. Fans of old Chicago blues should be pleased with what they hear on this disc, as besides the aforementioned artists it also includes cuts that were originally done by Muddy Waters and Little Johnny Jones. A big question is, “What is next for Daniel De Vita?” Hopefully the answer is that he is writing some original music to record, as he has the blues running through his blood, and his youth and work ethic can provide a new voice and sound for a timeless music genre.

Blues Blast Magazine Album Review: Chris James and Patrick Rynn – Trouble Dont Last

Hello!

This CD review was originally published in the February 4, 2016 edition of Blues Blast Magazine. Be sure to check out the rest of the magazine at www.bluesblastmagazine.com

Chris James and Patrick Rynn – Trouble Don’t Last

VizzTone Label Group

www.chrisjamesandpatrickrynn.com

www.vizztone.com

10 tracks / 39:46

Chris James and Patrick Rynn have enjoyed a long partnership in their musical careers since they met up in Chicago 25 years ago. Though they now live in the San Diego area, there is still a lot of Chicago to be heard in their amazing electric blues sound. Their formula for success is James with the vocals and guitars and Rynn on the bass, which worked just fine for their lengthy stint with Sam Lay, not to mention all the other bands and artists they have worked with over the years.

Though both members of this duo obviously live and breathe the blues, they constantly re-invent their sound, and their latest album on the VizzTone label is a marked change from their previous album, where the limelight was handed over to a cadre of super-talented pianists. Trouble Don’t Last is pared down a bit from what you would get from the usual blues album as there are no keyboards, horns, or hordes of backing singers to be found here. June Core joined the guys on drums and a pair of wonderful harmonica players sat in: long time friend and collaborator Rob Stone, and the San Francisco Bay Area phenom, Aki Kumar. This album includes ten tracks that include six originals written James, Rynn, and Stone, as well as a quartet of pretty cool covers.

This disc was cut in only two days in a Tempe, Arizona studio, but is a fully formed and mature release that will not let their listeners down. This Blues Blast Magazine Award-winning duo kicks things off with an original, “Shameless,” and this rowdy set gets started in a hurry. This original rocking shuffle bemoans the characteristics of folks with no scruples and concludes that some day they are “gonna’ get caught.” Stone’s harmonica takes the lead with James holding down the rhythm line as Core lays heavily into the snare. An extended solo guitar break ties the whole thing together into a neat package.

After the opener, the band launches into a couple of covers: Calvin Frazier’s “Lilly Mae” and “Lonesome Whistle Blues,” which was first recorded by Freddy King in 1961. Both of these are nice and dirty with hearty vocals from Chris James. The latter tune features both Stone and Kumar on harmonica and some sweet vocal harmonies to emulate the aforementioned lonesome whistle.

The other two covers are also killer, the first of which is a respectful take on Robert Curtis Smith’s “Don’t Drive Me Away.” The band kept Smith’s Mississippi background in mind as they modernized the song with a slamming beat and funky bass line, and James lays down a very tasteful guitar solo. The remaining re-do is the closer, Sunnyland Slim’s “Roll, Stumble, and Slip.” This energetic romp again utilizes both harp men, and James’ guitar uses effects to glorious effect. This is the perfect song to close things out, as it is a very strong cut and leaves the listener wanting more.

Though the covers are all very good, the originals are nothing to sniff at either, and they are consistently chock full of clever lyrics and slick musical arrangements. “A Good Idea at the Time” might be the best of the bunch as it starts out sounding like something the Doors would have recorded, and quickly switches into stripped-down hard hitting slow blues that recounts the self-loathing and misery of a man who was put away for driving while intoxicated. The jaunty title track runs a close second place with some wonderful blues harp work from Kumar over the rock steady drum work of June Core.

Chris James and Patrick Rynn’s old fans and their new listeners will get a kick out of Trouble Don’t Last, as their fresh sound and rootsy take on a classic American genre is very compelling. The big question is: what will they do next? The only sure thing is that it will not be like anything they have done before and it will provide plenty of listening pleasure – you can count on it!

2017 Chicago Blues Camp Sign-ups

Greetings!

I just got an email that there is still room in the June sessions for the Chicago Blues Camp. This is a cool 5-day growth and development activity for musicians. Packages include accommodations in downtown Chicago, and here is a summary from their website:

The Chicago Blues Camp offers you an exceptional experience to learn Chicago Blues that will enhance your understanding and abilities. Our Mission is to be the best place to learn to play Chicago-style Blues, and to create a unique and fulfilling immersion experience in the Chicago Blues music culture.

We seek to become a vital member of the Chicago Blues community, actively supporting and promoting Chicago Blues music, performers and venues. Through our camps, our goal is to share our expertise and appreciation of Chicago Blues so that others might love it and embrace it as we do and continue to support the musicians, clubs and festivals that make Chicago Blues come alive.

Chicago Blues Camp’s supports the Chicago Blues community by:

- Hiring more than 40 working Chicago Blues musicians as teachers, guest artists, lecturers and staff;

- Providing training and education in Chicago Blues music history, culture, style and performance;

- Providing access and guidance to the Chicago Blues community;

- Donating 20% of our profits to Chicago Blues nonprofit organizations to support the blues community and help it thrive;

- Sponsoring outings to listen to the Blues at the top Chicago Blues clubs; and

- Supporting the Chicago College of Performing Arts at Roosevelt University by holding the camp at the university in downtown Chicago.

Sounds pretty cool, huh? It is $2195 to sign-up and there is also an optional $400 Chicago Blues Festival package should you wish to extend your stay. For more information or to sign up, please visit their website.

Mahalo!

Chicago Blues Guide Album Review: Omar Coleman – Live at Rosa’s Lounge

Hello!

This review was originally published in Chicago Blues Guide on August 10, 2016. Be sure to check out their website at: www.chicagobluesguide.com

Omar Coleman

Live at Rosa’s Lounge

Delmark Records

By Rex Bartholomew

Chicago’s Omar Coleman does not let the grass grow under his feet – he has been gigging out regularly since last year’s release of his Delmark Records debut, Born and Raised, and the label has just released his killer follow-up, Live at Rosa’s Lounge. This was a wise move, as this disc is a neat piece of work and it helps listeners appreciate that Coleman is a righteous stage performer too.

Omar was indeed born and raised on the West Side of Chicago, and this singer/songwriter and harmonica ace comes to the stage influenced by blues luminaries such as Bobby Rush, Little Walter, Sugar Blue, Al Green and the tremendous Junior Wells. Rosas’s Lounge is a product of the Windy City too, and since 1984 this neighborhood blues joint on the north side of town has provided a cool place for discerning listeners to soak up quality blues jams. By the way, the owner of Rosa’s moved from Italy to Chicago after meeting Junior Wells, which is a neat connection between the club and Mr. Coleman!

Live at Rosa’s Lounge is an hour-long set with twelve songs (on ten tracks), and Steve Wagner and Omar produced this project. On stage were Coleman on vocals and harp, Dave Forte and Ari Seder trading off on bass, Pete Galanis on the guitar, Neal O’Hara behind the keyboards, and Marty Binder on the skins. The mix of tunes is equally split between originals and covers, and Omar made all of them his own with his unique infusion of chops and passion.

The sets starts off with the classic “Snatch it Back and Hold It,” a sure-fire winner from Junior Wells’ 1965 debut album, Hoodoo Man. This turns out to be a tight funk fest with Forte, Binder and O’Hara holding down the bottom end as Coleman’s harmonica takes the intro. When Omar starts singing his voice is nothing but soulful, and his timing and stage presence are amazing. The other half of this track is Johnnie Taylor’s “Wall to Wall,” which is beefier than the original but not over the top (a dangerous temptation, to be sure) and Galanis tastefully pops out the syncopated guitar line to give this tune a James Brown feel. Next up is a piano and guitar driven take of Willie Dixon’s “I’m Ready” that includes a wonderful solo from O’Hara.

Then Coleman takes the opportunity to let the crowd know where he came from and where he stands with “Born and Raised.” This is infectious high-energy funky blues and it features a natural-sounding harp solo that contrasts well with the heavily processed guitar and popping bass line. This is the first of the five original songs that Omar sandwiches between the covers tunes that start and finish the disc. All of the original tunes are well written and performed with skill so they hold their own with the more familiar blues favorites on the set list. The originals cover a lot of ground, and they include straight-up rock with “Slow Down Baby,” the jazzy blues of “Raspberry Wine,” and the standout “One Request,” a heartfelt soul ballad.

The hour goes by too quickly, and before the listener knows it the band finishes the show with a few more crowd-pleasing blues classics. Rufus Thomas’ “Give Me the Green Light” has a healthy portion of organ from Neal accompanied by a rock solid beat from Marty, and Omar howls out the lyrics convincingly as he delivers this song to a new generation of aficionados who might not be familiar with the funky Stax original. Then Coleman calls on his Junior Wells side one more time for the closer, and “Two Headed Woman” delivers the goods. This song is a fast tempo countrified romp, and Pete does his best Albert Lee chicken picking, which is more than respectable. This is a sweet ending to a very cool album!

As far as production goes, Steve Wagner did his share of magic to put together a very sharp live disc. The recording is clear and well mixed with an excellent balance between the vocals and instruments. One downside with placing the microphones to get such an accurate musical recording is that there is not much in the way of crowd noise and reaction, but this was the best way to get it done right. This album was recorded from three different performances (hence the two bassists), but it is very hard to hear any differences in the sound of the band from one song to another. All in all, this is a wonderful representation of Coleman’s, skill, emotion, and work ethic, and the listener will be pleased.

Omar Coleman should be proud of the work that he and his band put in for Live at Rosa’s Lounge, and this album definitely has a shot at being the best live album of the year. Be sure to head over to www.omarcoleman.com to find his gig schedule, and if you are going to be in the Windy City this summer you are in luck, as he has plenty of shows coming up. If you will not be in town, this album would be a great substitute as it really captures what Omar is all about!

Mahalo!

NAMM 2017: Selling Your Music Gear On Reverb.com

Aloha!

I have been selling music gear on the biggest online auction website for almost 20 years now, and as the years have gone by my satisfaction has waned as costs and regulations have ballooned, while finding buyers has become more difficult. Don't even get me started on Craigslist, which is a cesspool of humanity and scam artists.

I have been using Reverb.com for online purchases for a year now, but never even thought of using it to unload gear that I am no longer using. And I have a lot of gear that is not doing much of anything right now! After speaking with Rachel from Reverb.com at the 2017 NAMM show, I am going to have to give it a shot and get some of my guitars, basses, speakers, and live sound equipment up for sale pronto.

Reverb.com is pretty much an online service that puts buyers in touch with retailers and everyday people who are selling new and used gear. The company is based in Chicago and was founded in 2013 by David Kalt, who you might also know as the head honcho for Chicago Music Exchange. This website is a completely separate entity that was founded to be “An online community created and run by musicians where buying and selling music gear is easy and affordable.”

In my dealings with Reverb.com, I think that they have achieved this goal. When I buy something through them my interactions are with musicians who are knowledgeable about their products. Many online auction site sellers know nothing about the gear they are peddling, and I have been disappointed many times with products I have received. This is not the case with Reverb, as my very few less than great experiences were solved quickly after contacting the sellers, who were more than happy to make things right.

Rachel went through the whole process of signing up for a Reverb.com account, which is free, and explained the fee structure to me. It is simple, really. There is no fee to list items, and Reverb.com collects a 3.5% fee of the final selling price of items ($0.50 minimum and $350 maximum fee) – compare this to what you are paying on other sites. She also showed me how to list items (also easy - only one page to fill out) and let me know that listings can go until the items sell, with no charge if you need to cancel the listing for any reason.

It seems like a no-brainer, so I am going to have to give Reverb.com a shot. I will document how everything goes, and provide updates on Rex and the Bass. In the meantime, head over to reverb.com to check things out for yourself!

Mahalo!

2016 Blues Blast Magazine Awards Winners!

Good day!

I missed last week’s Blues Blast Music Awards show in Champaign, Illinois, but would like to share the list of winners. Hopefully I will be able to make it to the show next year!

Contemporary Blues Album: Victor Wainwright – Boom Town

Traditional Blues Album: Bob Margolin – My Road

Soul Blues Album: Curtis Salgado – The Beautiful Lowdown

Rock Blues Album: Walter Trout – Battle Scars

Acoustic Blues Album: Guy Davis – Kokomo Kidd

Live Blues Recording: Reverend Raven & The Chain Smokin’ Altar Boys – LIVE At The Big Bull

Historical Or Vintage Recording: Bobby Rush – Chicken Heads: A 50-Year History Of Bobby Rush

New Artist Debut Album: Danielle Nicole -Wolf Den

Blues Band: Lil Ed & The Blues Imperials

Male Blues Artist: Bob Margolin

Female Blues Artist: Shemekia Copeland

Sean Costello Rising Star Award: Amanda Fish

Dave Weld and the Imperial Flames – Slip Into a Dream | Album Review

Dave Weld & the Imperial Flames – Slip Into a Dream

Delmark Records

www.daveweld.com or www.imperialdave.com

www.delmark.com

13 tracks / 65:44

There is nothing like an album of raucous west side Chicago blues, and that is exactly what Dave Weld and the Imperial Flames deliver. Dave is a homegrown Windy City fellow who took a break for a while in New Mexico where he studied under famed New York jazz guitarist, Kurt Black. But the call of the city was too great, and Dave headed back to town where he played endlessly at west side clubs under the watchful eye of his mentor, J.B. Hutto.

After playing with a plenty of folks from the “Who’s Who” book of Chicago blues, in 1988 Dave formed his own band, the Imperial Flames. Slip Into a Dream is their fourth album and their second for the venerable Delmark Records label. Dave handles the guitar and some of the vocals, and is joined on the leads by the amazing singer, Monica Myhre. A few long-time bandmates were there in the studio, including Dave Kaye on bass, Jeff Taylor on drums, and Harry Yaseen on piano. There were also a few extra special guest musicians, as you will soon see.

This album has twelve original tracks and one cover, with eleven of the songs written by Weld and/or Myhre. The title track kicks things off and right away it is obvious that this is going to be a rocking party with a heavy west side sound. Dave howls his lines with gusto, sounding like a much more soulful version of Clapton, and when Monica takes over the vocals she nails them with her blues diva aura. The spooky chords of guest artist Graham Guest’s organ set the overall mood, and Weld’s guitar playing is spot-on (of course). This man has tone for days.

There is plenty to like about “Looking for a Man” whether you are searching for a slamming beat, sultry vocals from Monica, a searing solo from Weld, or killer harmonica from none other than Bobby Rush. And “Take Me Back” is also chock full of good, thanks in part to tight work of the The Heard horns: Parris Fleming on trumpet, Bryant Smith on trombone, and Rajiv Halim on saxophone. Dave also sourced a prime horn section for “Sweet Love (Dulce Amor), and that would be the Chicago Horns -- Kenny Anderson on trumpet, Hank Ford on sax, and Bill McFarland on trombone.

Weld and Myhre did not write all of the originals, though. Jeff Taylor penned “Dorothy Mae” and got the nod on its lead vocals, too. This is a righteous funkfest and Taylor’s vocals are definitely up to the task. Guest brings his organ back for this track, and we get the joy of hearing Sax Gordon solo on his horn, plus a pretty neat lead guitar break from Weld.

”Too Bad, So Sad” features Myrhe on vocals and rocking guitar pyrotechnics from none other than Greg Guy (Buddy’s son). Like the other tunes on this disc, this one has its own sound, with a fat bass line from Kaye and snare-heavy drums from Taylor. This is one of the standout tracks on the disc, and it has earned a place in my next party mix.

Before the band reworked “Slip Into a Dream” as an gnarly instrumental (with a little doo-wop) to close out the set, they slipped into a J.B. Hutto cover, “20% Alcohol.” Dave digs down deep for the vocals on this one, and there is some very sweet harp (including a cool solo) courtesy of Mr. Bobby Rush. Weld has done a fabulous job of honoring his mentor on this song.

Slip into a Dream is the best album yet from Dave Weld and the Imperial Flames, and that is saying something as their other albums are very good. It is significant that they were able to write so many new songs that sound good and sequence so well with each other. This disc is a must buy, and while you are at it check out their website to see where they are playing next – you will be glad you did!

Blues Blast Magazine Album Review: Barry Big B Brenner – Keep It Clean

Good day!

This CD review was originally published in the April 17, 2014 edition of Blues Blast Magazine. Be sure to check out the rest of the magazine at www.bluesblastmagazine.com

Barry Big B Brenner – Keep It Clean

Self Release

www.bigbbrenner.com

10 tracks / 35:16

In the last half of the 20th century there was a fundamental change to blues music as electric guitar, electric bass and keyboards breathed new life into this age-old genre. But, there is a still a primal allure to the purity of pre-electric blues, and this is where Barry Big B Brenner excels.

Barry Brenner grew up on the south side of Chicago where he taught himself to play the guitar and sing. Although he became more than proficient with the electric guitar, he decided that his career would be centered on a more acoustic sound. After being in bands and playing along such notable musicians as Albert King and Eric Burdon during his 30 years on the stage, he is now on his own playing a seemingly endless series of solo acoustic club gigs near his new hometown in the Verdugo Hills area of Southern California.

His third self-released CD is Keep it Clean, a collection of ten original and traditional blues and folk tunes. If there is anything you do not like about this release it is all on Barry, as he pretty much did all of the work on this disc. He took care of all of the vocals and instruments (including acoustic six-string, twelve-string and National guitars), as well as all of the production and arrangement. That being said, chances are good that you are not going to blaming Brenner for anything, as this album is a neat piece of work.

The album starts off with “Follow the Drinking Gourd,” a song that begs more research. The exact history of this song is unclear before it was first published in the 1920s, but it is rumored to have connections with the Underground Railroad. Legend has it that the gourd that is referred to is The Big Dipper constellation that slaves used to help to navigate their way to the north. It is a somber folk tune sung in Brenner’s distinctive whiskey voice and accompanied by a few layers of strummed and fingerpicked guitars.

This recording project uses overdubs that allow Barry use vocal harmonies and have more than one guitar on each track, but there is none of the usual big-label polish here. There is a vibrant feel that carries over from his live show (I have attended one of his gigs), and there is a great variation in volume and presence within each song that that adds drama and interest to tunes that have inherently simple words, as well as his amazing instrumentals.

The three instrumentals each have a unique feel, letting the listener know that Brenner is not a one-trick pony on the guitar. “Reap what You Sow” is a slow blues song with heavy National guitar, “Cochinonas” has a jaunty Latin feel and “St. Elmore’s Fire” is a folk blues. They are all very good, but the last one on the list is the standout of the instrumentals, as it has the most interesting melody and harmonies, as well as exceptional slide guitar work.

Some of the tracks are more folk-oriented, but their lyrics carry the spirit of the blues down deep in their soul. These include “The Back of His Hand,” a song that implores the listener to appreciate what they have and to remember that fortunes can change in a heartbeat -- this is not the Dwight Yoakam song, in case you wondering. The other is “Stack O’Lee,” which was a #1 hit for Lloyd Price in 1959, though the best version is the one that Mississippi John Hurt cut in 1928. The lyrics are an the intriguing story of Billy Lyons’ murder on Christmas day of 1895 by notorious St. Louis pimp “Stag” Lee Shelton. Brenner brings both of these songs to life with his pleasant voice and harmonies, showing that his guitar is not the only thing he has mastered over the last three decades of his career.

The strongest track on Keep it Clean is Blind Boy Fuller’s 1938 song “Pistol Snapper Blues,” and you may be familiar with the version that was recorded by the Irish blues guitar legend, Rory Gallagher. Barry kept a traditional country blues sound for this song, and when listening to it there is no way to tell that it was not recorded during the 1930s: it is that timeless.

The album ends on a happy note with the title track, which was a hit for Charley Jordan in the 1930s, and more recently covered by Lyle Lovett while Barry was in the process of recording Keep it Clean (bad timing, I guess). Big B’s version benefits from sweet upbeat fingerpicking and the fun lyrics that make it seem more like a good-time summer tune than the southern blues that it actually is.

Keep it Clean is a solid album, and Barry Big B Brenner did a good job of keeping this project on track and arranging a collection of well-matched roots and blues songs that can stand by themselves or work together as a whole. If you like this CD, you should check out his live act, as he has plenty of shows around So Cal, including regular gigs at South Pasadena’s Firefly Bistro for the weekly Burgers, Beer and Blues show and their Sunday Blues Brunch.

Mahalo!

Sauce Boss – 100% Pure | Album Review

Sauce Boss – 100% Pure | Album Review

Self Release

www.sauceboss.com

12 tracks / 43:07

Not too many one-man band blues albums come across my desk, so Sauce Boss’ 100% Pure really stood out when it arrived in the mail. After giving it a listen or two, I found out that it is a fun disc that has a lot to say for itself!

The Sauce Boss is Bill Wharton, and it is not just a clever nickname – he actually sells his own brand of hot sauce on his website and at his shows. But, more than this, Wharton mixes his loves of music and food together, while also giving back to his Florida community. He donates his time, talents, and gumbo to shelters to help out and lift up the spirits of those that are not as fortunate.

For 100% Pure, Wharton did all of the heavy lifting, performing all of the instrumental parts as well as handling the vocals, songwriting and production chores. The twelve tracks are a fun blend of roots and swampy Florida blues-rock, and he kicks off the set with “Zipper Bird” and right off we learn that the Sauce Boss has the tastiest guitar tone in town. He combines this fuzzy six-string with an array of percussion instruments to obtain a surprisingly full tone, and you will hear that his one-man band concept is not a gimmick – he is the real deal.

For “Marquis de Swamp” (greatest title ever) Bill uses guitar synth to achieve a dark and spooky mood as he howls the vocals with gusto. He then changes gears quickly to play the hopeful “Gonna Be All Right” which features righteous slide work and Latin-tinged rhythms. Wharton digs deep for the vocals for “Chains,” a song about being tied down by the ones we care about.

The standout track on 100% Pure is “Delta 9 Blues,” an ode to the demon weed. For this song, Bill dirties up Delta blues with heavily processed slide guitar and combines it with innovative rhythms to get a very dark effect. But the mood does not stay down for very long, as after this track he tears off “Peckerwood,” a super-funky country tune with a really catchy guitar hook.

Many of the Sauce Boss’ songs are personal, and he has a fascinating life story, starting with his childhood in the Windy City. In “Chicago Combat Zone,” as Bill rips into his resonator guitar he references the tale of his daddy being mugged and beaten. And in “Outlaw Blues” he gives an amusing narrative of his brush with the law for an unauthorized agricultural project in the Sunshine State.

There is a little bit of everything on 100% Pure from the Sauce Boss, and it is all presented with the intention of providing the listener with a good time. Check it out if you get a chance, and head over to his web site at www.sauceboss.com to check out his gig schedule, as his live show must be something to see. You will find his gumbo recipe there too!

Album Review: Eddy “The Chief” Clearwater – Soul Funky Live

Howdy!

Lynn Orman Weiss slid me a copy of this at the Blues Blast awards show last month – what a neat CD!

Eddy “The Chief” Clearwater – Soul Funky Live

Self Release through Cleartone Records

www.eddyclearwater.com

12 tracks / 75:44

Eddy “The Chief” Clearwater is a certified Chicago hero, and is certainly one of the legendary blues guitarists/singers of the last half of the 20th century. Born as Edward Harrington in pre-WWII Mississippi, he moved with his family to Alabama where he taught himself to play the guitar (as a southpaw), and he took up with a few gospel groups. But the big city lights have their allure, and he finally had to take off for the Windy City in 1950 to live with his uncle.

He started his career in Illinois washing dishes, but he worked his way into some gospel gigs and eventually fell under the mentorship of Magic Sam. By 1953 he was performing as Guitar Eddy Clearwater, and he has not let up since -- that long of a professional music career makes for true guitar hero stuff!

Well past the normal retirement age Eddy is still out gigging and recording while most folks of his era are sitting at home and trying to figure out what to do with themselves. He has figured out what he wants to do, and that is playing the blues! His latest release, Soul Funky, is a wonderful glimpse into the world of his live show, as recorded at SPACE in Evanston, Illinois on January 10, 2014.

A killer crew joined Eddy that evening, and they brought some serious muscle to what must have been a crowded stage. This included Ronnie Baker Brooks on vocals and guitar, Johnny Iguana (the Claudettes!) on the keys, Shoji Naito on guitar and blues harp, Stephen Bass behind the drum kit, David Knopf on bass, and Thomas Crivellone on guitar. Eddy, Shoji and Rick Barnes produced this 12 song disc that plays out like a regular hour-plus club set, and they made sure that it would be a neat piece of work in all respects.

The show kicks off with “They Call Me the Chief,” a catchy intro that was written by Brooks, and it is the first chance on the CD to hear The Chief’s still-incredible guitar prowess. Eddy and Ronnie are proficient songwriters, which is fortunate as these gentlemen penned 10 out of the 12 songs on this album. From there they coasted into “Hypnotized,” an original funky blues tune with burning guitars from Brooks and Clearwater and sweet Hammond work from Iguana.

“Too Old To Get Married,” was written by Brooks and is catchy enough that hearing it once is enough to get it stuck in your head for the rest of the day. It has that Check Berry sound, this time with Naito on guitar and a little Jerry Lee Lewis piano thrown in for good measure. It is all good stuff, but the highlight of this album is a hybrid presentation of “Came Up the Hard Way” and “Root to the Fruit,” which is thirteen minutes of slow-grinding blues and feel-good stomp, both with some nice harmonica parts from Shoji. It looks kind of weird on paper but works out just fine on the stage.

A couple of sweet covers can be found in this set, too. “Please Accept my Love” does not stray far from the B.B. King original, and this slow blues ballad provides a breather in what is an otherwise rocking blues set. And “Lonesome Town” is a spooky grind with reverb galore, co-written by Los Straightjacket’s Eddie Angel. There will certainly be no mistaking this for the Ricky Nelson song of the same name.

As the album draws to a close, the “Ending Midnight Groove” gives Eddy the chance to graciously thank his fellow musicians, as well as the fans in the crowd that keep him in the spotlight year after year. His love for what he does and for the folks that come out to see him play is obvious; he is a bridge to an era of the blues that should be appreciated and never forgotten.

Soul Funky is the next best thing to seeing Eddy Clearwater and his band playing out, and if you are a fan of Chicago blues you owe it to yourself to pick up a copy of this CD because you will be able to hear for yourself that after more than 60 years he is still at the top of his game. Unfortunately, his upcoming tour schedule is mostly in Europe, but if you play your cards right you will make sure you are in Evanston on January 9, as he has another gig scheduled at SPACE. Check him out for yourself!

Mahalo!

2014 Blues Blast Music Awards Round-up

Hello!

It was hard to know what to expect when I heard that the 2014 Blues Blast Music Awards would be held in Champaign, Illinois. This is a college town that is quite a hike from downtown Chicago and it seemed like a gamble to get artists and fans to head 2 ½ hours south on a Thursday night to attend an awards show. Well, it looks like Bob Kieser had a solid vision of the event as it turned out very well in all respects!

At first glance, the Fluid Event Center seems like an odd building for a big blues show, as it is an old lumberyard barn that has been converted to a multi-use facility. It worked very well with a huge main hall that is cavernous when compared to the club that had been used in the past. The size of the room allowed two full-sized stages to be set up, so that there was little downtime for band changes, which helped keep the event on schedule. The stages were also more generously sized and positioned higher so that everybody could see better.

There were two large video screens set up so the crowd could see the details, and the stages were well-lit and the sound was very good. Kudos go out to the videographers and the light and sound technicians for delivering the goods to the audience and artists.

And there were plenty of folks that made the trip to Champaign for the 5:00 start times. There were a few dozen bands on the bill, and all of the seats would have been taken if everybody were in the hall at the same time. This did not happen often, as there was good catering and drinks that were reasonably priced. The prices were light-years away from downtown Chicago prices, with $3 domestic beers and meals that were under 10 bucks. Not to mention that parking was FREE and plentiful.

It would be hard to go wrong after a set-up like this, and when you figure in the fabulous entertainment and the opportunity to meet some of your favorite blues artists the $45 ticket cost was the bargain of the year.

It would be hard to describe all of the performances, but here are a few highlights:

For blues-rock lovers, Albert Castiglia tore the house down, and Too Slim and the Tail-Draggers brought their own brand of countrified blues with no holds barred. RB Stone was also in this category, and fortunately they stuck it out to the end of the show so their fans could have a change to hear them.

Acoustic blues was represented by the amazing Steve Dawson, as well as Bernie Pearl and special guest Barbara Morrison. Lisa Biales also came up with a lengthy set of material. Also, the soul blues performers, including the incomparable Tweed Funk, knew how to show the crowd a good time.

But for overall entertainment value, I have to give the nod to Josh Hoyer, who played with the house band as the rest of his band (the Shadowboxers) were not in attendance. His voice is huge, and he is definitely the future of the blues. The Andy T Nick Nixon band was the house band, and they did a stand-up job of supporting the artists that were not able to bring their bands with them to the show.

It was great to see Bobby Rush get his lifetime achievement award, as well as finally getting to see Trudy Lynn and Lisa Mann perform in person. And it was also fun to connect with artists whose music I had reviewed, and none of them seemed too upset with me!

All-in-all, it was a worthwhile evening and I am sure that nobody regretted making the trek to Champaign for the show. I would certainly not mind heading out there for the 2015 Blues Blast Music Awards, if that is where Bob decides to have it.

Mahalo!

2014 Blues Blast Music Awards Tonight!

Aloha!

It is hard to believe that another year has gone by, but tonight is the 2014 Blue Blast Music Awards. They mave moved downstate this year and the event will be held at the Fluid Events Center in Champaign, Illinois.

Besides providing recognition for hard-working and talented blues artists, there will also be performances by: Bobby Rush And Blinddog Smokin', Shaun Murphy Band, Albert Castiglia, Trudy Lynn, Too Slim and The Tail Draggers, Bernie Pearl with Barbara Morrison, Dave Riley and Bob Corritore, Tweed Funk, Adrianna Marie and Her Groovecutters, Back Pack Jones, Annie Mack Band, RB Stone, Norman Taylor, Lisa Biales, Mark T Small, Lisa Mann, Brent Johnson and the Call Up, Steve Dawson, Rachelle Coba, Sean Chambers, and Josh Hoyer.

The doors open at 5:00 with a set by the house band, the Andy T Nick Nixon Band, and the show starts at 6:00. Fluid Event Center is located at 601 North Country Fair Drive in Champaign, Illinois. Tickets are $35 and will be available at the door! I hope to see some of you there!

Mahalo!

Chicago Blues Guide

Hello!

The music genre most closely associated with Chicago is the blues, and if you are looking for information about what is going on in the Chicago blues scene, you will want to become familiar with Chicago Blues Guide. This online “Webzine” not only tells you where to go to find live blues entertainment, it also provides info on music that local artists have released.

Chicago Blues guide was founded by Linda Cain, and is written by her and a staff of contributors with diverse backgrounds, but a singular love for great music. These folks provide reviews of CDs, DVDs and live shows, as well as features that include artist interviews and book reviews. Besides this, there are listings of upcoming local shows, lots of photos, lists of Chicago record labels and clubs, and links to your favorite artists’ web pages and cool radio shows.

In case you have not figured it out yet, I am now writing for Chicago Blues Guide, so I would certaibly appreciate it if you would head over to their website to see it for yourself. So, for all the info about what is going on in the blues world of the Windy City, be sure to check out http://www.chicagobluesguide.com/

Mahalo!

Buddy Guy’s Legends Club, Chicago Illinois

Aloha!

This past weekend I went to Buddy Guy’s Legends Club in Chicago, Illinois for the Blues Hall of Fame induction ceremony. What a cool place!

Legend’s has been around since 1989, and everybody who is anybody has played there: Bo Diddley, Eric Clapton, The Rolling Stones, The Black Crowes, David Bowie, ZZ Top, Junior Wells, Slash, John Mayer, Stevie Ray Vaughan and Greg Allman. Oh, and Buddy Guy plays there every now and then too.

The stage is big, and there is plenty of seating, though it sure can get crowded in there. If you get there before it gets too busy there is plenty of stuff to look at. There are lots of cool photos, a few Grammys and guitars signed by a lot of the acts that have come through.

The food is pretty good, with some neat Cajun choices. They have killer fried okra and jambalaya, as well as po’boys, gumbo and catfish. They also have the usual American standards like burgers, ribs and chicken fried steak. There is not a lot of healthy stuff on the menu.

The drinks are stiff, and so are the prices for them. When you add this to the cover charge to get in (usually 10 to $20 for the evening shows), it can be an expensive outing. But, the staff is nice and the servers won’t leave you waiting around forever for your next drink.

So, if you are in the Windy City and want a cool place to hang and hear some great live music, Legend’s will be hard to beat.

If you want to check out Buddy Guy’s Legends for yourself, it is located at 700 South Wabash in Chicago, Illinois. They are open seven days per week: on Mondays and Tuesdays from 5PM to 2AM, and the rest of the week from 11AM to 2AM

Mahalo!