Blues Blast Magazine Album Review: Vanessa Collier – Meeting My Shadow

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This CD review was originally published in the June 15, 2017 edition of Blues Blast Magazine. Be sure to check out the rest of the magazine at www.bluesblastmagazine.com

Vanessa Collier – Meeting My Shadow

Ruf Records

www.vanessacollier.com

www.rufrecords.de

11 tracks / 44:23

Vanessa Collier is a fresh face on the American blues scene, and in addition to her soulful vocals she brings a mighty sax to the table. I am not the only one that thinks so, as Vanessa was nominated for the best horn instrumentalist at the 2017 BMAs, putting her in the same club as Al Basile, Nancy Wright Sax Gordon, and Terry Hanck. Also, her latest release, Meeting My Shadow, is making the rounds and it is a solid collection of original blues that serves to make the genre a bit more interesting.

Ms. Collier is based out of Philadelphia, and her background is as impressive as her music. Vanessa is a graduate of Boston’s prestigious Berklee College of Music, and she brought her vocals and sax to tours with Joe Louis Walker’s band. Also, Collier’s 2014 debut album, Heart Soul & Saxophone, was highly praised on Dan Aykroyd’s blues radio show, and she was honored as the Best of 2014 Blues Breaker Artist on House of Blues Radio. It would seem that her schedule is pretty full, but Vanessa also finds time to run her own teaching studio, volunteer at schools, judge solo and ensemble festivals, and offer clinics all over the country.

Meeting My Shadow is Collier’s sophomore album, which was recorded in six days at Music + Arts Studio in Memphis, Tennessee; it was produced by Vanessa, Kevin Houston, and Thomas Ruf (of Ruf Records fame). She was joined in the studio by Daniel McKee on bass, Ty Jackson on drums, Charles Hodges on keys, Marc Franklin on trumpet and flugelhorn, and the blues giant, Laura Chavez, on guitar. This is a stellar line-up, and on this project, they demonstrate a palpable synergy that is infectious.

Eight of the eleven tracks are originals that were written by Vanessa, including the opener, “Poisoned the Well.” This song shows what a well-rounded musician Collier is, and she provides the vocals, flute, Rhodes piano, Wurlitzer, and clavinet. This funky blues rocker features smoky vocals with jazz influences in the phrasing, and a really neat orchestration that includes haunting flute parts. It must have been hard for her to set the sax aside at the beginning of the set, but hey - when was the last time you heard flute in a blues song? This is backed up by a little more funk with “Dig a Little Deeper” with its sassy vocals and 1970s vibe. We finally get to hear the sax here and Vanessa’s tone is amazing, as is her interplay with the clean horn style of Mr. Franklin.

The rest of the originals cover a wide range of the blues-based genres, and it is all tasteful and well written. “When it Don’t Come Easy” has a cool electric delta blues vibe thanks to Chavez, and one of the best phrases ever: “I’ve been sanding down my splintered heart.” The band also goes old school with the vintage rock and roll of “Whiskey and Women,” which includes hearty vocals from Vanessa and the healthy backline of Jackson and McKee. And the closer, “Devil’s on the Downslide,” has a sweet gospel feel that features Collier on the Wurlitzer organ.

There are also a handful of covers on Meeting My Shadow, including Rosetta Tharpe’s “Up Above My Head, I Hear Music in the Air,” which has a gospel call and response with ladies, killer piano, a hyper snare drum, a sweet chicken-pickin’ guitar solo, and a killer sax solo. There is also the unexpected inclusion of U2 and B.B King’s “When Love Comes to Town” from 1988’s Rattle and Hum. This version is slower than the original, which gives it a different feel, but it still rocks. Vanessa has an interesting character to her voice here and this complexity is compelling, which is helpful as this song is not presented as a duet this time. Also, Laura Chavez tears off an amazingly raunchy guitar solo that fits in perfectly. It is hard to outdo the original, but this version comes really close.

Vanessa Collier and her crew did a wonderful job with Meeting My Shadow, and the result is an entertaining 45-minute set of original blues with a fresh sound. Regardless of what you think the blues should sound like, there is plenty to like here so you should take the time and give it a listen. Also, Collier has plenty of bookings coming up, with many North American tour dates from Florida to Maine to Canada, and everywhere west, as well as some shows in Europe. So, be sure to hit up her website for dates near you as Vanessa is an important part of the future of blue, and it would cool to support her journey.

Blues Blast Magazine Album Review: Dave Orban and the Mojo Gypsies – I Heard You Twice the First Time

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This CD review was originally published in the March 23, 2017 edition of Blues Blast Magazine. Be sure to check out the rest of the magazine at www.bluesblastmagazine.com

Dave Orban and the Mojo Gypsies – I Heard You Twice the First Time

Self Release

www.mojogypsies.com

14 tracks / 66:45

Many folks dream of becoming a musician some day, but Dave Orban actually went out and did it – twice! Inspired by the British invasion of the 1960s he joined the throngs of kids who purchased instruments and figured out how to sound like their heroes, though Dave took it a step further and learned about the blues that inspired many of these groups. As time went on, he made the “sensible” decision to do the whole school and day job thing, and for 17 years Orban dropped out of the music scene completely.

Then one day an old friend got ahold of Dave and asked him to come to a jam. With his borrowed guitar Orban realized that he had forgotten everything he had ever learned, but this experience ignited a fire in him that made him realize how much he missed the music. Skipping forward a few more decades, we find that he got his groove back and that his current lineup of the Mojo Gypsies has released an album of 14 of Dave’s very respectable original tunes. I Heard You Twice the First Time is a solid set of guitar-driven modern blues that draws on music from all over the United States, and it is definitely worth a listen.

On this disc, Dave Orban lays down the vocal and guitar tracks, and he is joined by the Mojo Gypsies, all of who are from the same New Jersey / Pennsylvania area. These fellows include Jeff Michael (aka Flourtown Fats) on bass, Mark A. Shewchuk on the skins, and Mike Scott on the tenor sax. Besides writing all of the songs Dave acted as the producer for the project, and the album was cut by Bobby Dreher and mixed by Brett Kull; these guys did a marvelous job of getting a clear and well-balanced sound.

The band kicks their set off with “Got That Woman on My Mind” which begins with a raunchy guitar intro and then rolls down into a luscious Chicago-style mix. Right from the start the Mojo Gypsies click, with a slow walking bass line from Michael, three or four layers of Dave’s guitars (in stereo), and bright and crisp drums from Shewchuk.

This is a big album (66 minutes!), so there is not enough room here for a blow-by-blow on every track, but there is a little bit of everything on I Heard You Twice the First Time. This includes straight-up guitar blues (“Baby, Take Your Time” and “Big-Boned Baby”), sweet Louisiana beats (“Ain’t No Lie” and “Dallas”), a touch of jazz (“The Told You So Blues” and “Trouble-Makin’ Woman”), and even a little rockabilly (“What’s Wrong”). The band carries all of these with no trouble at all, held down Shewchuk’s drums and augmented by Scott’s horn arrangements.

There are guest harmonica players on a few of the tracks too, and their presence provides a little extra spice for the sauce. Dave Holtzman (Little Red Rooster Blues Band and AC Steel) joins in for “I’m Sayin’ ‘Yes’ to Everything” and his haunting tone works magic alongside Orban’s jangly slide guitar for this Delta-tinged burner. And “Marky B” Berkowitz brings his harp to “Someone Else’s Woman,” a conventional acoustic blues song with a decidedly vintage vibe.

The Mojo Gypsies end their set with “Lookin’ for a Woman,” a righteous chunk of 70’s vintage funky blues. The bass and guitar tones are to die for on this track, and Shewchuk works the snare with a heavy backbeat. Topping all of this off, Mike Scott lays down a breathy solo break that nestles perfectly into the groove. This is nothing but the right stuff, and it is a perfect way to bring things to a close.

Dave Orban and the Mojo Gypsies did a fine job with I Heard You Twice the First Time, and as I said earlier, it is worth a listen. But you will want to listen to it more than once, as the songs are well written and provide a personal feel that is hard to find in the cover songs that fill many of the new blues albums.

And be sure to head over to the Mojo Gypsies website to peruse their gig schedule – if you are anywhere near Philly you just have to see their live show!

Blues Blast Magazine Album Review: AC Steel and the Galvanizers – Now or Never

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This CD review was originally published in the December 1, 2016 edition of Blues Blast Magazine. Be sure to check out the rest of the magazine at www.bluesblastmagazine.com

AC Steel and the Galvanizers – Now or Never

Self Release

www.acsteelblues.com

11 tracks / 48:24

Philadelphia’s AC Steel and the Galvanizers is a slick band and their new disc, Now or Never, is perfect for listeners who want plenty of guitar with their blues. You may never heard of their frontman, Stephen Solotist, but he took an interesting path to get to this point in his music career.

An awesome guitarist, Solotist and his band flirted with the big time back in the 1970s, opening for big name acts such as the Allman Brothers and Pink Floyd. After shipping off to England for a while and turning down a slot with UFO, he eventually came back to the States and entered the world of day jobs and daily commutes. But he also stayed in the music game, playing gigs with the Jukerockers and the Dukes of Destiny.

Stephen is joined on Now or Never by the Galvanizers, whose members include “Chicago” Carl Snyder on the keys, Rich Curtis on the bass, Bud Manton on the skins, and Arlyn Wolters with the backing vocals (most of these folks are also members of the Dukes of Destiny). The disc was cut at Buckeye Studios in the City of Brotherly Love by co-producer Peter Richan. Ten of the eleven tracks on this album are originals that were written by Solotist, and apparently he is a capable singer and songwriter, in addition to his prodigious guitar skills.

The disc starts off with a taste of edgy blues-rock, “Can’t Keep the Big Man Down,” and this tune is the story of Kevin McCann (the singer and guitarist for the Little Red Rooster Blues Band), who is recovering from Guillain-Barre syndrome. Joining into the fray with his harmonica is another Rooster member, Dave Holtzman, and he has a sweet tone!

The mood changes dramatically for the next song as a pair of locals join in: Wanamaker Lewis on banjo, and Larry Feldman on fiddle and mandolin. This instrumentation gives “What Would Muddy Say” more of a roots feel, as Stephen ponders how historical figures such as Muddy Waters, Robert Johnson, and Frederick Douglass would interpret the state of society today. The vocal harmonies between Wolters and Solotist really make this song special. Lewis and Feldman also help out on the lone cover on this disc, an acoustic and folksy take on Robert Johnson’s “Come On in My Kitchen,” featuring harp from John Colgan Davis (another member of the Dukes).

The band also lays down a few tracks that are more whimsical, and some listeners may find the funky “Little Cat Purr” to be adults-only material. There is also a slow-burning ode to the misuse of alcohol, “Tequila Seals the Deal,” and the mother of all stalking songs, “Love Hate Letters.” And finally, the album finishes up with “Too Many Guitar Slingers,” an uptempo blues piece where Stephen bemoans the surplus of guitarists on the market, and he warns “if you want to get paid and have it made in the shade, don't become a become a guitar slinger.” Snyder throws down a nice piano solo here and Curtis also get the chance for a bass solo, driving home the point of this song. For a change of pace, there is also a cool instrumental featuring AC’s guitar, and “Steelman’s Stroll” is a fun two and a half minute romp, just in case anybody doubted Solotist’s guitar slinger qualifications.

Now or Never is a neat album from AC Steel and the Galvanizers, and their particular brand of guitar-driven blues is fresh and fun. Please note that should you happen to purchase a copy of this CD, a third of the funds will be donated to Kevin McCann to help defray the expenses for his medical care. And, if you get a chance, head over to the band’s website and check out their gig schedule. They have some dates coming up, and if you are anywhere around Philadelphia area you should make the time to see one of their shows. There is a lot of experience in this group, which should translate well to the stage!

Blues Blast Magazine Album Review: Time Gap – Flashback

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This CD review was originally published in the June 23, 2016 edition of Blues Blast Magazine. Be sure to check out the rest of the magazine at www.bluesblastmagazine.com

Time Gap – Flashback

Self Release

www.facebook.com/timegap1

7 tracks / 28:28

The members of Pennsylvania’s Time Gap have something special going on. Their debut EP, Flashback, is seven tracks of original blues music that are infused with bits of jazz to provide a cool twist. The other cool twist is that after hearing their work, it is hard to believe that all four of the band’s members are still in high school. Their efforts have not gone unnoticed, as they recently represented the City of Brotherly Love in the Youth Showcase at the International Blues Challenge, so they are definitely on the blues scene radar now!

Time Gap is led by guitarist Radka Kasparcova, along with vocalist Sophie Griffiths, Miles Burger on bass, and Noah Bryant behind the drum kit. These folks are influenced by The Allman Brothers, BB King, and Buddy Guy, and often perform songs from these artists at their shows, but this disc is all about their original music. As there are only seven songs on this half hour album, following is a rundown for each of them.

The first song in their set is “So Many People,” an up-tempo blues song with jazz inspired vocals and guitar. Griffiths has a sweet alto voice with good inflection as she obsesses over a man and sees his face everywhere she goes. Burger has a great tone and thump to his double bass, and holds down a solid beat with Bryant. The mood changes with the next tune, “Rain on My Parade,” which is a frenzied boogie with Kasparcova taking a strong lead on her guitar. This song would be a great calling card for any of the members as they each get a chance to show off their talents.

Then, with “New and True,” the band gets to take a bit of a breather with a jazzy ballad that tells the story of a woman who has to know where she stands. For this mellow tune, Griffiths maintains an edge to her voice, which provides contrast that keeps the mood from getting overly sweet – this is the blues, you know. Radka does extended work with her heavily processed guitar tone, and (as with the rest of the disc) she plays with wonderful touch. She also provides layers of acoustic and Hawaiian guitar for “Two Way Street,” which is a really cool combination. This song has a neat change of pace midway through, which is something this band is not afraid to try on a few of the tracks.

“Did you break my heart or did you spare me?” is the question that is asked in “Thursday,” a slick funk track that is very catchy and listenable. This song features a tastefully restrained guitar solo plus a few righteous bass and drum breaks from Burger and Bryant that bring it together well. There is also 12-bar blues to be found, and “As Time Rolls On” changes up this proven formula with a Latin beat and an extended instrumental interlude halfway through. Then, before you know it, the set wraps up with another ballad, “Simple.” Griffiths cements her role as a chanteuse as she pines for that which she has not and the group uses drastic dynamic and mood changes with this song to effectively create drama and to bring the story home.

Time Gap’s Flashback EP is a solid debut of all original material, and it is impressive that this quartet did not stuff any superfluous covers into the mix. Groups like this are the future of blues music and will act as a bridge to entice younger listeners into the genre. Hopefully they are working on more material for a follow-up, and in the meantime check out their Facebook page to check out their schedule of gigs around the Philadelphia area.

C.F. Martin Guitar Factory Tour

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I would like to start out by saying that I have been more than happy with my Martin acoustic guitars over the years, and am really fond of the D-18V that I currently have. Well, there is a real treat out there if you are a Martin fan, or even just a fan of watching things being built – the Martin factory tour.

C.F. Martin is a legendary name in the guitar world, having built guitars in the United States since 1833. For most of those years, they have produced their guitars in eastern Pennsylvania. Beautiful country, it is.

And you, my friend, can drive out to Nazareth Pennsylvania and tour the factory, and it is no lightweight crummy Jelly Belly factory tour either. You get to smell lacquer and sawdust, and watch true craftsmen at work.

As far as I can tell, Martin does not hire tour guides, and tours are led by their employees who volunteer to lead the tours in addition to their regular work. Our tour leader was super and did a fantastic job of leading our group of 12 through the plant. She was really slick and knew all of the terminology of the guitar parts and did an admirable job of explaining the technology and processes of guitar making to a bunch of laymen.

Each of us was provided with a radio headset so we could hears what she was saying, which came in pretty handy because it is a working factory and there is plenty of noise from the power tools and equipment.

On the tour we went through the custom shop, and then got an overhead view of the automated shop floor where the milling and a lot of the larger cutting and gluing processes take place. From there, we moved on and saw just about everything there was to see.

She led us all around on the shop floor, within touching distance of most of the workstations, and without any pesky Plexiglas in the way. We got to see necks being shaped, braces being glued, sides being bent, and plenty of sanding and polishing. We even got to see frets being seated and dressed and a gnarly machine that automatically drills holes in headstocks all day long.

The only part of the factory that we did not get to see was where they spray finish on the guitars, but I imagine they cannot let a bunch a yahoos such as myself in there to caper about amongst the fumes.

Though it was only an hour long, It was the best factory tour I have been on, and it was totally worth driving out from northern New Jersey for the afternoon.

Oh, and did I mention that the tour is free? Yes, free. And before or after you tour, you can tour the Martin Museum (also free), and buy stuff from their gift shop (not free). You could easily spend an hour or two in the museum. Well, I could, anyway.

Public tour hours are from 11AM to 2:30PM on weekdays, and spaces are available on a first-come, first-served basis.

Check their website before planning your trip to make sure the hours have not changed and that the factory will be open.

Mahalo!