LIL’ ED & THE BLUES IMPERIALS
FULL TILT
Alligator Records ALCD 4926

www.alligator.com

SONGS: Hold That Train; Housekeeping Job; Don’t Call Me; Check My Baby’s Oil; First I Look At the Purse: Love Don’t Live Here Anymore; Life Got In The Way; Candy Sweet; Woman, Take A Bow; My Baby Moves Me; Dying  to Live; Open Invitation; Every Man Needs a Good Woman; Take Five

Lil’ Ed (Williams) and his band, Blues Imperials, have gone full tilt with their high energy and a few slow blues tunes on their seventh album for Alligator Records. Ed and his wife, Pam, wrote eleven of the fourteen tracks, and his bass-playing half-brother, James “Pookie” Young, wote one song, “Every Man Needs A Good Woman.” There are two cover songs, including “Take Five” by Hound Dog Taylor, who Ed sometimes sounds like. The majority of songs are about relationships and two are about life situations. All the songs are easy to relate to. Two saxaphone, baritone and tenor, players and a pianest-organist are guests on this album. They  add special dimensions to a few songs on this CD.

Ed’s wild slide guitar playing is often at a frenzied pace and contributes to the high energy of the tunes. His emphatic and dramatic vocals reinforce the energy level. He sings clearly so all the words can be heard.

One of the three slow blues songs, “Life Got In the Way,” is the longest track on the CD. Ed ends this song by singing, “ It was her life or my life, who could say.” It is hard to believe that the same basic four-core band members have been together for 20 years!

This is an exciting one to hear over and over. It may be some of the strongest playing, singing, and writing that Ed has done. If this band comes to your area, go see them. You will be amazed at all the animated stunts, like duck-walking struts, that Ed does. In the meantime, enjoy this album that has all the stops out!!!

----- Maria Bainer

Artist: The Blues Breakers
Title: ‘Recorded Live’ The Anniversary Album, 25 Years on the Road
Label: Extraplatte records EX-778-2

For more information go to: www.bluesbreakers.at

The Blues Breakers started life in a basement in Steindorf/Ossiachersee, Austria in 1985. After a number of personnel changes over the years and nine albums later, the band are now (according to the sleeve notes) celebrating their 25^th year on the road.

Unlike some ‘live albums’ I can honestly say that this one certainly does not outlive its’ welcome after the first few numbers. The BB’s hit the ground rumbling with a hard and heavy maximum Rhythm & Blues sound that says to hell with the consequences; Lead vocalist Dieter Themel Roars into the microphone with a bluff, gruff no-nonsense growling voice that claws you to the wall, whilst the beefy bass of Helmut Spreitzer; marks time for the highly distinctive crystal clear guitarwork of Jorg Friessnegg that is as twangin’ as a roaring circular saw. Providing an infectious and evocative harp as well as a sharply distinctive accordion is Arthur Ottowitz; underpinning all this frenetic activity is Kiki Oswald; whose robust and unobtrusive drumming holds it all together.

The fourteen numbers on the album are as varied as they are gripping, for the renditions of the likes of; “That’s alright Mama,” “The Hucklebuck” and “Mona” coupled together with “Iko,Iko” simply bounce out of the speakers. One of the most outstanding numbers on the album is their wonderfully pleading version of Tom Waits’ “Jersey Girl” with other numbers such as; “Little by Little,” “Running Shoes and “Pack, Fair & Square,” backing-up this set, the music is how R & B should be full-bodied carefree and footapping.

The atmosphere that is conjured up from the very first number on the album is one of fun, fun fun; in fact I would say jivingly, exciting.

Well worth a listen!

----- Brian Harman

Artist: Bernie Pearl
Title: Old School Blues
Label: BEEBUMP MUSIC BECD008

For more information go to: www.berniepearl.com

At an age (Bernie will be Seventy in October,) when most musicians would be having a career retrospective release Bernie has released his third solo album, a definitive double album why only three albums?. Well, Bernie has been associated with the Blues scene in the Los Angeles area in one way or another for fifty years; he was the first disc jockey on the KPPC radio station to broadcast a programme dedicated to the blues and then went on to become one of the founding members of the team that created the KLON Blues & Gospel Festival which over time became the Long Beach Blues Festival.

He gained a W.C. Handy award for blues producer of 1987 during his twenty years of involvement with live music until 1990 when he focused all of his attention on the music itself.

During his early days he started to spend a good deal of his time at The Ash Grove, on Melrose Avenue. The club, which was owned by his brother Ed, it was the case that a good deal of blues musicians had relocated, after the second world war to the inviting city of Los Angeles, after a while they became regular performers at the Ash Grove and over time as he became more and more immersed in the music he became friends with a number of the musicians. These friendships came about because Bernie was the chauffeur for the artists to and from the club; from these friendships grew into a long term musical apprenticeship with such legendary performers as; Brownie McGhee, Lightnin’ Hopkins, Mance Lipscomb and Fred McDowell, he also played onstage with Big Mama Thornton, J.B.Hutto, Johnny Shines, Walter Hornton, Koko Taylor and Freddie King to name but a few.

During a partnership with Harmonica Fats, which lasted for fifteen years, three albums were recorded for posterity.

Bernie released his first solo album in 2002 “Live From Boulevard Music” and his second in 2006 entitled “Somebody Got To Do It.”

The album is split into two halves, acoustic and electric, the ten acoustic numbers amply display that which is at the heart of Bernie’s playing and his approach, the way the music has a gentle inherent mellowness to it, brought out from the soul, it is very evident in the way he strokes the guitar strings. A loving gentle feel for the delicate pieces, juxtaposed with a more resonant starker and strident style of play for the more evocative numbers.

The electric set of nine numbers has a more expansive feel combined with a deeper edginess of sound, heard, hopefully, as it was intended; no frills, pyrotechnics or distracting solos.

It may be considered by some that Bernies vocals may be a bit on the weak side, but I have found that his voice on this album gives the two sets a more subdued, thoughtful, atmosphere.

Overall the sound of the  nineteen numbers adhere to the feel and original ideas and their true meanings without sounding dated or re-created in a sterile studio.

Assisting Bernie who plays guitar and takes lead vocals on all numbers are; Michael Barry; upright & electric bass, Albert Trepagnier jr.; drums and Dwayne Smith; piano.

Well worth a listen!

----- Brian Harman

Artist: Henry Butler
Title: PiaNOLA Live
Label: Basin Street Records BSR 0803-2

For more information go to:
www.basinstreetrecords.com or www.henrybutler.com

Henry Butler is man of formidable talent and fortitude; he lost virtually everything to “Katrina,” and the consequent flooding with the exception of his library of archive tapes. This album is a collection of live recordings taken from that collection made prior to the disaster. The significant fact is that they are live recordings which make it the first Henry Butler live solo album ever to be released.

Born on the 19^th of May 1949, he has been blind since birth, (the cause being glaucoma) He attended the Louisiana State School for the blind from the age of five, he began formal music lessons aged eight becoming over the years multi talented in the playing of baritone and valve saxophone, drums and piano. After receiving   formal vocal training in high school, he furthered his musical knowledge by studying German Lieder, French and Italian art songs as well as opera at the Southern State University. Moving on from receiving his Masters Degree in Vocal Music he began taking instruction from Alvin Batiste on the art of Jazz Improvisation, after his graduation he went on to improve his craft by studying with Cannonbal  Adderley; George Duke and Sir Roland Hanna  Henry finally went on to teach at  the University of New Orleans and the New Orleans centre for the creative Arts; for a while he was the artist in residence at he Missouri School for the Blind.

Whilst at the same time as taking formal musical training Henry has also extensively worked the club circuit since his teens. This informal form of training has consequently given him a thorough grounding in the art and craft of the blues.

Since the events of “Katrina Henry has found a home in Denver, Colorado; and at this moment in time is touring America and parts of Europe.

The eleven numbers on the album are seemingly diverse and yet, at the same time strangely cohesive for no matter what the subject or style the fluid emotional resonance that is running through them brings you closer to the music that is majestically emerging from the speakers.

Henry weaves different threads and textures throughout; moving in and out of the numbers with alarming ease taking us on different journeys with his sublime keyboard dexterity. Over the hills and back again we go, without us ever knowing we went away. Matched with his low down deep and dirty resonating vocals we are treated to a masterclass rendition of the piano and all of its possibilities.

Essential!

----- Brian Harman

ROCKY ATHAS’ LIGHTNING
Lightning Strikes Twice
Armadillo ARMD00024

www.bluearmadillo.com

Rocky Athas has recorded some excellent blues-rock over the last few years and this is a look at his roots. No, it is certainly not a blues-rock set. Rocky’s first all original rock band was called Lightning, but despite gaining an excellent reputation both inside his native Texas and in the wider world, the band never had much luck with getting recordings out; for example, Capricorn went bust just as Lightning had completed their first album for the label! As the guitarist’s fans have been requesting a retrospective, this set contains modern re-recordings of the songs that Lightning played, with Rocky having got some of the old band members together again (the line-up could be flexible).
Much of this set is seventies American rock, though some of it has a strong southern feel (try ‘Home Again’ for hints of the Allman Brothers). Tracks such as ‘Sanity’, ‘Don’t Feel Free’ and the supercharged ‘Big D Stuff’ would certainly pass as blues-rock these days, whilst ‘I Will Love Again’ is a pretty straight blues ballad. There is also a nicely mellow instrumental tribute to Stevie Ray Vaughn in ‘To My Friend (SRV)’. Rocky’s fans can buy with confidence.

----- Norman Darwen

BECKI SUE & HER BIG ROCKIN' DADDIES
"BIG CITY BLUES"

I've always been a big fan of high energy blues bands featuring a powerful female lead singer.  And now that I've heard "BIG CITY BLUES", by BECKI SUE & HER BIG ROCKIN' DADDIES, I've just become one of their newest fans.



Hailing from the Pacific Northwest, THE BIG ROCKIN' DADDIES consist of: BECKI SUE on vocals;

"T-BOY" TOM BOYLE on guitar; JIM KING on harp, sax and vocals; JEFF HAYES on drums; and "WILDCHILD" LES WHITE on upright bass.  Special guests on "BIG CITY BLUES" include: CANDYE KANE, MITCH WOODS, ERIC "TWO SCOOPS" MOORE", PETER DAMMANN, and "THE DEACON" RON WEINSTEIN.

The disc opens with "YOU'RE KILLIN' ME".  It's one of several band originals and one that will clearly validate the band having the word "ROCKIN" in their name.  This one quickly starts off with flames coming out of JIM'S sax and progressively heats up from there.  BECKI'S steaming vocals, TOM'S smoking guitar, LES and JEFF igniting the rhythm and RON fanning the flames on the B3 make this furious jam a six alarmer.

"THE SUN IS SHINING" is nearly seven minutes of slow, scorching blues - just the way I like it.  BECKI, singing her heart out, and JIM, blowing out his, make this one of the discs best.

On "I GET EVIL", THE DADDIES spice things up a bit with some Cajun Funk.  MITCH WOODS, one of the best there is when it comes to boogie woogie, Nawlin's style of piano, is mostly responsible for that.  Hot rhythm and tenor sax add this being another of the discs best.

One of the discs instrumentals is an absolutely splendid track titled "SOUL SERENADE".  With the rhythm section in a soft and soothing groove, this one is all about TOM and ERIC.  Their command of the tenor sax and B3 organ are truly flawless.

"MAYBE" being old enough to remember the original version of this song had something to do with the effect it had on me.  Listening to BECKI SUE and CANDYE KANE sing the song that rocketed THE CHANTELS to fame back in 1957 sent chills through this baby boomers body.  I'm one of those people who often use the cliche "They just don't make songs like this anymore" - and they don't.  However, it was sure nice hearing these ladies do a job that I'm sure even Arlene Smith, Lois Harris, Sonia Goring, Jackie Landry, and Rene Minus would enjoy hearing.  Replaying this track probably resulted in this paragraph taking an hour to write.....and I couldn't think of anything else I'd rather been doing.

Other tracks on "BIG CITY BLUES" are: "FARMER JOHN", "PARDON ME", "TELL ME WHY", "BIG CITY BLUES", "IF YOU LET ME CALL YOU SWEETHEART", "CUT YOU LOOSE" and "BACKSTROKE".

Check out BECKI and the guys at www.bigrockindaddies.com.  After you buy the disc, tell them Blewzzman said hello and thanks for the goose bumps.

----- Peter "Blewzzman" Lauro

MORRY SOCHAT & THE SPECIAL 20'S
"SWINGIN', SHUFFLIN', SMOKIN"
SPECIAL 20 PUBLISHING

Since leaving the inner city streets of Brooklyn, NY - at the age of fourteen, rarely have I ever yearned to leave the suburban lifestyle I've come to love over these past 45 years.  However, every time I hear another great CD, from another great blues band from Chicago, I can't help but to ponder how cool it would be to live in that city.  The latest band to arouse that fantasy is MORRY SOCHAT & THE SPECIAL 20'S, and their new disc, which swings, shuffles and smokes, just so happens to be called "SWINGIN', SHUFFLIN', SMOKIN".

The SPECIAL 20'S consist of: MORRY SOCHAT on vocals and harmonica; JIM ST. MARIE and SHOJI NAITO on guitar; TED BERANIS on electric and upright bass; DAVE ROSS on piano and organ; NICK KREBS on harmonica; KENNY SMITH on drums.  The recording was produced by a person who has, on several occasions himself, had me wishing I lived in Chicago - NICK MOSS.

It didn't take long for this disc to start impressing me.  The opening track, an original titled "1955", instantly had me shaking in my seat.  This shuffle reminisces about the 1955 blues scene in Chicago.  Man what an era that must have been.....Muddy, Buddy, Junior, Willie, Wolf and so many more.  MORRY, NICK and DAVE heat this one up on vocals, harp and piano.

One of the several reasons this track is "ROCKING" is because of the outstanding rhythm.  TED and KENNY, on the stand up bass and drums, are absolutely phenomenal.  Your feet and fingers will get a workout on this one.

His baby's "MEAN AND EVIL WAYS" seem to be causing MORRY quite a bit pain.  His scorching and emotional vocals will attest to that.  This blues burner features some seriously slow and low down harp and blues guitar.  Being the kind of stuff that floats my blues boat, this is certainly one of the discs best.

Getcha dancin' shoes on for this next one, 'cause "DANCE LITTLE MAMA" is gonna fill the floor.  This one had my fingers doing aerobics on the keypad, yet there was no way I was keeping up.  This swinger features a furious rhythm, hot guitar licks and wild piano playing from DAVE.

On another outstanding original, "I'M IN LOVE", MORRY'S cool style is very reminiscent of DUKE ROBILLARD.  His suave and assured vocals, along with TED, KENNY and DAVE heating things up on bass, drums and organ, all highlight this one.

On "THE TRAIN KEPT A ROLLIN", the guys make it sound more like the trains running at full throttle.  This all out smokin' jam's going so fast I think it finished the three minutes and forty-two seconds it was supposed to be in two minutes and thirty seconds.  This is some hot stuff right here.  Tell me you sat still through this one and I'll tell you you're a liar.

Other swingers, shufflers and smokers on "SWINGIN', SHUFFLIN', SMOKIN" are:
"HUMBOLDT SLIDE", "STANDING AROUND", "SIGNIFYING" (I'M A MAN), "YOUNG FASHIONED WAYS", "CAN'T HOLD ON MUCH LONGER" and "STRAIGHTEN UP BABY".

Swing on over to www.special20s.com and pick yourself up a copy of "SWINGIN', SHUFFLIN', SMOKIN".  While your there, after you tell MORRY that the Blewzzman sent ya, ask him to please send me the real estate section of the Chicago Tribune.

----- Peter "Blewzzman" Lauro

Artist: J.W. Jones
Title: Bluelisted
Label: Northern Blues Music / Crosscut Records ccd11095

For more information go to: http://www.jwjones.com
or http://www.crosscut.de

J.W. and his band have been together now for ten years and in that time his progression, from a guitarist in a provincial blues band from Ottawa, Canada to become one of the world’s youngest blues festival headliners; has been to say the least, somewhat rapid; Yet, it is clearly evident in all of his recordings, that he continues to maintain the utmost respect for the music he clearly loves to play.

Bluelisted, is his fifth album and with guitar players of the calibre of Little Charlie Baty and J. Watson as guests, combined with the talents of; Larry Taylor; bass and Richard Innes, drums, you can only expect something a little bit special. That being said, I can assure you that something special is the case for not only do we hear straight ahead blues but also jump, jazz, and soul, slowburning blues with a passion and some wicked swing.

Of the fourteen numbers on the album only four of them are covers; all of them have a rolling, robust, goodtime rotundness of sound about them, encouraging the listener to have serious toe-tapping time.

J.W.s’ playing has improved immeasurably, becoming tighter, yet at the same time his runs appear more fluid, his vocals have certainly improved with age.

Along with his maturing guitar skills J.W. has equally matured as a producer, since taking over the producers chair with this and his last album (“Kissing in 29 Days,” ) it is becoming  clear that his producing skills have delivered a cleaner, leaner, crisp and fresher performance which in turn has undoubtedly delivered an improved sound.

The stalwart members of J.W.s’ band; Jeff Asselin; drums, Martin Regimbald; bass and Jesse Whiteley; piano & organ are joined by Frank Scanga; baritone saxophone and Martijn “Lewis” Van Toor; tenor saxophone, together they provide outstanding backing and resonance.

A very enjoyable album, the best is yet to come.

----- Brian Harman

Artist: Byther Smith
Title: Blues on The Moon
Label: Delmark Records DVD 1796

For more information go to www.delmark.com

This concert was recorded on the 17^th of August, 2007, which was part of a number of concerts that were recorded in the Chicago area over a five day period between the 17^th and 21^st of August of that year by Delmark Records (two others were Little Arthur Duncan at Rosas Lounge and Dave Specter also at Rosas lounge and Buddy guys Legends; for reviews please go to review section archive).

The venue for Byther was the Natural Rhythm Social Club located in Chicago on the South Side and as the discrete sign stated, it was a club for the over forties! Obviously, only appreciative blues lovers were welcome. Once inside the door, you could see that the stage had neatly replaced the pool table at the far end of the narrow building with tables and chairs all along the right hand side of the wall and the bar ran the length of the left side.

Byther, who carries his age of seventy three years extremely well; was, in fact during his youth a very successful boxer who swapped this career many years ago to pursue a (no less, at times dangerous) musical career in Chicago with his cousin J.B. Lenoir. Originally, Byther had played bass with a country and western band and played the blues between performances. Unfortunately, there was no place in J.B.s’ band, so he changed from bass to guitar and became a jobbing guitarist, playing over the years with the cream of Chicago’s bluesmen such as; Muddy Waters, Otis Rush, Howlin Wolf, Jimmy Reed, Hubert Sumlin and Junior Wells to name but a few.

He had maintained his day job throughout his musical career and when he retired in 1995, he decided to concentrate more fully on his music and recording.

Supporting Byther, who takes lead vocals and guitar are; Anthony Palmer; guitar, Daryl Coutts; keyboards, Greg McDaniel; bass and James Carter; drums. It was pleasing to see (and hear) that at no point during the proceedings were there any pyrotechnics or attempted guitar wizardry on any of the twelve numbers; for in the cosy, urban, grooving atmosphere of the N.R.S.C.  The entire band was as one, following Bythers gritty and at times raw to the bone emotional vocal lead, combined also with his intensely passionate guitar playing on these classic Chicago/Delta based numbers.

Throughout the set, Byther and the band effortlessly drew the audience to them by slowly building up and slowly bringing down the tempo during the evening, as each of the numbers demanded.

The music and the performances were completely enthralling, enticing and exciting; the whole evening was a celebration of good old-fashioned heartfelt blues.

A very interesting and absorbing feature on the DVD is where the concert is replayed, but with Byther being interviewed and during the conversation he indicates that he feels that the cost of touring is becoming more and more prohibitive. I also believe, that I heard him say that in the near future he is going to retire from the business altogether.

----- Brian Harman

Artist: The Detonators
Title: Live at the East
Label: Black Market Music BMM 334.2

For more information go to http://www.detonators.com.au
or http://www.blackmarketmusic.com.au

The Detonators are an Australian band that began life in Melbourne in 1997; their style of music adheres strictly to the principles of early Rockabilly with a little Jump Blues thrown in for good measure. Should you want a clearer indication of what exactly you are listening to, perhaps the suggestion that their sound is similar to a highly infectious mixture of The Fabulous Thunderbirds and the Stray Cats with the Fifties production sensibilities of Dave Edmunds.

With four albums in their arsenal and over ten years of constant touring across Australia the band now have a sufficiently high profile and a considerably large enough following to warrant the obligatory “live album,” which was recorded at the East Brunswick Hotel Melbourne, Victoria Australia on the Fifteenth of December 2007. Now, please don’t let that fact put you off, because this collection of sixteen numbers is seriously good enough to have off your settee and bopping and hopping around the living room! The ferociously strident guitar twangin’ that is belting out from both speakers is deftly supported by a wonderfully big hollow sounding upright slap bass held together with high powered,  clacketty-clacking  speed drumming, brilliantly topped off with some seriously sharp harp playing.

The band are; “Rockbottom” James Moloney; vocals and harmonica, (his playing and voice sound very spookily similar to Kim Wilson.) Paulie “The Kid” Bignell; on guitar, Eddie Fury; provides sticks & skins and “Doghouse” Dave Philpots; on double bass.

Apart from Ike Turners “Rocket 88” and Jay Millers’ “Sugar coated Love,” the rest of the numbers on the album are hot to trot original compositions. The adrenalin rush only stops when the last number is finished.

An unexpectedly bright, light, no-nonsense quality live performance!

----- Brian Harman

Artist: Cabbage Alley
Title: Now With Added Sound
Label: Morelianvibe Records MVB 001

For more information go to: myspace/cabbagealley

It has to be said, Cabbage Alley may not play like your average Blues/R&B combo; also they most definitely do stand out amongst the other emerging bands for all the right reasons. Their self produced debut album gathers together an extremely interesting mixture of sounds and styles combined with a sometimes confusing, yet inspired choice of covers within the eleven numbers on this album. C.A. who reside in Manchester, England are made up of; Andrew Morel; saxophones, vocals, John Ellis; organ, bass and acoustic guitar, Eyrl Roberts; drums and percussion and Steve”Billy” Buckley; guitar, lap steel and baritone guitar. I can distinctly hear a Hammond organ in their music but I cannot find any trace of who is playing it.

Performing throughout the album with such a relaxed easygoing style; C.A. produce a satisfyingly open grooving mixture of; Calypso, Reggae, Cool, Cool lingering lounge Jazz, R&B and Soul.

The lead instrument at times is a rather seductive baritone sax which enables the rest of the ensemble to glide along in its wake, giving all the numbers a particularly high level of sophistication. The very interesting choice of covers which include; Johnny Mercers “I’m an old cowhand,” Bob Marley’s “Keep on Moving” (with very authentic toasting I might add) and quite, quite delightfully surprising is the sax led reggae arranged H. Arlene/E. Y. Harburg “If I Only Had A Brain” from the classic thirties film The Wizard of Oz.

It should also be mentioned that in amongst all this singularly English eccentricity is a number which not only blows all your cobwebs away but also has you wanting to rip up the carpet with the soul zinger “freedom Soul Dance” a seriously toe-tapping Hammond organ, sax and drum led blaster with an infectious sixties vocal urging you on.

Certainly different, certainly interesting, most definitely worthwhile!

----- Brian Harman

BOB LEVIS
"BARSTOOL BLUES"
BIG PAW RECORDS

By now, I don't think it's a secret to many that my favorite type of blues is good old straight up Chicago Blues.  There's no discussing it - there's nothing better.  Which is exactly why I fell in love with "BARSTOOL BLUES" by BOB LEVIS.  Being a member of the OTIS RUSH and LONNIE BROOKS bands and having over 30 years of experience in the genre, makes it very unnecessary for any reinventing.  Just assemble a killer band and play some kick ass Chicago Blues.....and that's just what BOB did on his first solo release.

The BAR STOOL BAND, if you will, consists of: BOB LEVIS on lead and rhythm guitar; BROTHER DAVE KAYE on bass; MARTY BINDER on drums; DENNIS "LINK" LEARY on drums; DAVE WOOD on lead guitar; TED LAWRENCE and WESTSIDE ANDY LINDERMAN on harmonica; JIMMY VOEGELI on vocals, piano and organ; STEVE DITZELL on vocals and lead guitar; BIG JIM JOHNSON on vocals and lead guitar; LARRY PENDLETON on vocals and lead guitar; and special guest LONNIE BROOKS on vocals and lead guitar.

"IT TAKES TIME" takes absolutely no time at all to slip into a real nice groove.  From the opening notes, on this opening track, there's no question as to what you're in for from here on out.  The rhythm's tight as hell and BOB, STEVE and JIMMY are all getting' down on guitar and organ.

"CANT HOLD OUT MUCH LONGER" has more highlights than ESPN after a full day of football.  This one's got LONNIE singing his heart out and joining BOB on some scorching guitar licks, great harp work from WESTSIDE ANDY and JIMMY putting out what just might be the best piano work on the disc.  Good stuff right here.

Have you ever heard a blues song about a train that didn't have a harmonica on it?  Of course not.  And on "MYSTERY TRAIN", the harmonicas of BIG JIM and TED and the guitars of BOB and DAVE have this train smokin' along at a real nice speed.

In spite of some hot rhythm behind them, BOB, JIMMY and ANDY all shine on "BARSTOOL BREAKDOWN".  When featured, they tear it up on guitar, organ and harp on this all out furious instrumental.

There's no questioning LARRY when he says "I'M COMING DOWN WITH THE BLUES".  His gritty vocals and scorching lead guitar will have you coming down with the blues as well.  This one may very well be the best track on the disc.  As a matter of fact, according to liner notes, after LONNIE BROOKS heard the playback of the track he asked LARRY if he wrote it.  Responding "no" and asking why he asked, LONNIE then told LARRY that he sang it like he wrote it......need I say more?

Harp heads will be in their glory listening to "SHUFFLE-ISKO". This one is all about TED and his instrument.  It's a tribute to JOE FILISKO, the harmonica maestro, instructor, historian and technician and it's written by quite a harp player himself - DENNIS GRUENLING.

JIMMY tells us something we already know on "NOW I'M GOOD".  On this smoker, he isn't just good, he's phenomenal.  While tearing it up on piano, he seems to be enjoying himself on his only vocal duty on the disc.  This one's also one of the few tracks that has BOB doing all the guitar work and it gives you a chance to appreciate his ability.

At the bottom of the disc is the track with all the bottom.  "GETTING OUT OF TOWN" is the last of thirteen outstanding tracks and highlight is the rhythm.  BROTHER DAVE and DENNIS are right in the zone on bass and drums on this one.  BIG JIM'S vocals and DAVE'S guitar are two more reasons this is one of the discs best.

Other tracks on "BARSTOOL BLUES" include: "WHY ARE PEOPLE LIKE THAT?", "DOUBLE TROUBLE", "THREE TIMES A FOOL", "JUST TO BE WITH YOU", and "BLUES BEFORE SUNRISE".

If you want to check out BOB - and you really ought to, ya gotta look for him on My Space at http://www.myspace.com/boblevis.  
When you find him, send him two things - the best from the Blewzzman and a check for a copy of  "BARSTOOL BLUES"

----- Peter "Blewzzman" Lauro

Artist: Homemade Jamz Blues Band
Title: Pay Me No Mind
Label: Northernblues Music NBM0048

For more information go to: http://www.northernblues.com
or http://www.homemadejamzband.com

Well; as Sly Stone said all those years ago,”It’s a Family Affair” and this album is most certainly that rare commodity; A home recorded album by a band that is unique on two counts; firstly, the line-up consists of two brothers and a sister, secondly their combined ages only mange to amount to a total of thirty eight years. Their father, Renaud Perry; who has supported them throughout their endeavours; writes all the lyrics for the original compositions; with only the one cover, which makes up the eleven numbers on the album; this is a rumbustious, cobweb blasting version of John Lee Hookers’ “Boom, Boom,” he also provides a startlingly stark and mean harp on four of the numbers.

Whist being stationed in Germany in 2000, Reaund one day returned home to find his son Ryan in the living room, (who at the time was aged eight,) playing blues riffs on his old discarded fender Stratocaster. Shortly afterwards the family returned home to Tupelo, Mississippi; where upon Ryan began to take formal music lessons. Since then Ryans’ musical skills have improved by leaps and bounds; now aged sixteen he plays lead guitar and is joined by his brother Kyle aged thirteen on bass, making up the trio is their sister Tanya, aged nine who provides the drums.

The two brothers play their music on two homemade guitars which, contrary to popular belief does not diminish or detract from the quality of sound or more importantly their musical ability; in fact it rather gives them an advantage by defining for them a particular sound all of their own.

It may be considered by some that because of their stated musical influences which include; B.B. King, Albert King, Jimi Hendrix and the more contemporary Stevie Ray Vaughan. Would lead them away from the path of a truer, more faithful interpretation of the blues; in fact the particular type of blues they play is of a much more harder, almost industrial stomping sound, which is due to the entwined influences of classic Chicago blues and the more harder edged influences of Jimi Hendrix and Stevie Ray Vaughan; with that said, there is, still in the music a haunting presence that contains echoes an older more rural Mississippi sound.

Considering Ryan’s age his vocals are concise, confident and strident, sounding at least twice his age; equally resonant and resolute is his unwavering dexterity on the guitar. Never once does his playing falter or fail to please or indeed inspire the listener to press the replay button. Kyle and Tanya give such enjoyably solid support that you have to remind yourself of their respective ages.

Overall the album embraces not only the continuing evolution of the blues but also shows great respect for the older/earlier forms from which the classic recordings have emerged to become gold standards. You can be certain that at least one band have taken the baton and are striving forward to take the blues to greater heights.

----- Brian Harman

Artist: Jackie Payne Steve Edmondson Band
Title: Overnight Sensation
Label: Delta Groove Music DGPCD123

For more information go to:  http://www.deltagroovemusic.com

I think, one can safely say that “Overnight Sensation,” is at the very least a tongue in cheek remark; yet with only two albums under their collective belts the seasoned members of the JPSEB have quite literally taken the critics and public by complete surprise. Virtually every variation that is possibly available in the blues /funk/R&B/ soul spectrum is represented here within the thirteen numbers on the album. It has to be said that the quality and sheer professionalism of the musicianship is absolutely mesmerising and when the resultant sound is backing the cool, confidence oozing and richly honeyed vocal cords of Jackie Payne; (who, in his career which started at the age of thirteen has worked with T-Bone Walker, Etta James, Freddy king and Albert Collins;) you just simply wave the white flag, sit down and enjoy!

The members of the band are; Jackie Payne; vocals, Steve Edmonson; lead & rhythm guitar, Bill Singletary; bass, Nick Otis; drums, Carl Green; tenor & alto sax , Lech Wierzynski; trumpet, with guest Mitch Kashmar;  on harp.

There are many reasons why this band are so ‘on the money’ with this album but it is mostly due to the fact that Jackie, Steve and Bill have spent a good deal of time playing together in the Dynatones, also Jackie played together with Nick Otis (the son of Johnny) when he became the lead vocalist in the legendary Johnny Otis Band.

Steve served his musical apprenticeship with his father Travis Edmonson who has played with Josh white, Sonny Terry & Brownie McGhee and Lightnin Hopkins. Later in his solo years he has played with the likes of Buddy Miles, James Cotton and Van Morrison.

It would seem that all the previous years of hard work put in by all the members of the band were really a kind of rehearsal for the formation of this quite formidable outfit.

Quite simply essential!

----- Brian Harman

Artist: Scrapomatic
Title: Sidewalk Caesars
Label: Landslide Records

For more information go to http://www.scrapomatic.com
or scrapomatic/myspace

Mike Mattison and Paul Olsen have one way or another been together in spirit if not body for quite some time; they previously had separate tuition in jazz, roots and blues when they originally resided in Minneapolis/St.Paul. After initially meeting in the mid nineties they later decided to team up and in1997 after being nominated for Best R&B Group/Best Male Vocalist by Minnesota Music, they then decided to move to Brooklyn, New York.

Whilst, both have been markedly successful in their own chosen careers; Mike Mattison is the lead singer with The Derek Trucks Band and Paul Olsen is a New York bandleader.

They have also found time to create their own little oasis of sweet sounding blues and soul in the form of Scrapomatic. Which with the numbers on this, their third album (for Landslide Records their second,- their first was for Artist House) has enabled these two charismatic performers to expand, experiment and generally create laid back, mellow, goodtime vocal led musical expeditions, which gives rise to an overwhelming sense of a perennially lazy hazy summer soaked experience on the part of the listener.

Mike Mattisons’ vocals give one the impression of a patient unhurried mixture of Chris Rea and Tom Waits, a syrupy yet hoarse relaxant. Paul Olsen provides not only superb tenor vocals but lead guitar as well. Joining these two, are; Dave Yoke; guitars, Ted Pecchio; bass and Tyler “The Falcon” Greenwell; on drums.

Apart from the two numbers, “Drunken Spree” by Skip James and R.Hazards’ “I Just Wanna Hang Around With You,” all the other eleven are robust original rolling numbers with the accent seemingly mostly concerned with drinking, especially the happy go lucky glow it can sometimes give you.

Throughout the album there are highly satisfying reminders of the syruply gritty, tightly packed low down bass and guitar arrangements that could be heard in the seventies from such master exponents as Curtis Mayfield.

Very summery, very soulful, very nice!

----- Brian Harman

PHILIPP FANKHAUSER
Love Man Riding
Crosscut ccd11098

www.crosscut.de
www.philippfankhauser.com

Swiss singer and guitarist Philipp has journeyed a long way over the last couple of decades, from the leader of a central European blues band with a decent reputation to an internationally known and respected solo act. This release proves that the acclaim is certainly justified as it mainly presents Philipp as a singer – Philipp’s mentor in the nineties was none other than Johnnie Copeland, whose ‘I Got A Love’ is given a slow, sparse, achingly soulful treatment which shows that Philipp certainly learned all he could from the Texas bluesman. Elsewhere there are traditional styled blues, modern blues, and many tracks that hover between soul and blues, in the best tradition of the ‘Robert Cray out of O. V. Wright’ style.

This is no coincidence either as Philipp, besides using his own regular band, has drafted in some who were prime movers in establishing the successful Cray sound (and of course bassist Richard Cousins is a regular member of Philipp’s band anyway). The result is certainly to be in consideration for blues album of 2008.

----- Norman Darwen

FREDDIE KING
Texas In My Blues
Acadia ACAM 8206

www.evangeline.co.uk

Back in the nineties there were several releases of live Freddie King material, but things have been quiet since then. This is apparently a previously unissued, complete ‘warts and all’ live recording made in Texas and Oklahoma in 1976 – Freddie was to die in December of that year, but there is certainly no sign of slowing down in this high energy CD, full of the full tilt boogie and impassioned guitar blues of Freddie’s later career. He is generally way out in front of a small organ-led combo. He draws on his time in Chicago with the likes of ‘Mojo Boogie’, ‘Messin’ With The Kid’, and ‘Sweet Home Chicago’, the King/ Federal years with ‘Have You Ever Loved A Woman’ (which also references Freddie’s student Eric Clapton, who recorded this a few years earlier with Derek & The Dominoes), his seventies recordings via ‘Going Down’ (nothing like as heavy as the studio version) and ‘Woman Across The River’, and some blues standards such as ‘Boogie Chillun’, ‘Stormy Monday’, and ‘Let The Good Times Roll’, guaranteed to please the young white crowds he was usually playing to at this time. He also pays tribute to Big Joe Turner with a medley of ‘Signals Of Love/ TV Mama’.

Having written that though, it should be noted that Freddie is quite happy to throw in verses from all over, in a voice as strong as ever! The entire set is a timely reminder of just what a great bluesman we lost that year.

----- Norman Darwen

Artist: Mac Arnold & Plate Full O’ Blues
Title: Backbone & Gristle
Label: Plantation # 1Productions

For more information go to: http://www.macarnold.com

In the three years since Macs’ last album ‘Nothing to Prove,’ his band Plateful O’ Blues, have all now quit their day jobs to concentrate on the new album. Meanwhile Mac has been busy concentrating his efforts on planting and cultivating his crops on his three acre farm in Greenville County, South Carolina. When he is not toiling in the fields he is actively involved in a range of social and community projects. One of which is the free distribution of his crops to the community and the audience, when he and his band are performing at local venues.

Now that the new album has been released Mac; who takes lead vocals and plays not only bass but also a homemade guitar manufactured from an old gasoline can! and the band, which consists of Max Hightower, harmonica, slide guitar and piano, Austin Brashier; guitar, Dan Keylon; bass, and Mike Whitt on drums. Are more than ready to play and promote the album.

As you may or may not be aware Mac, a former bass player in Muddy Waters band retired from music to concentrate his efforts into co producing the seventies music programme ‘Soul  Train with his old friend Don Cornelius.

Now, at the fine as wine age of sixty seven he is recording and touring with a band that is as tight as a banker’s wallet. The music on this album has a very dominating and powerfully deep blues presence that is steeped in heartfelt emotion.. Numbers that are based on people and everyday events such as; youth, crime, community spirit, work, family and friends; which together combine to create a rich and deeply moving collection of numbers, fifteen in all. Two of which, are live and include stunning gospel choirs. The music that pours from the speakers really does make you sit up and take notice, from the poignant and playful guitar work that is nicely complimented by some highly impressive harmonica performances to the community gospel choir, overall the music leads one to a feeling of well being, verging on the highly pleasant feeling of euphoria.

I feel that this is one of the best blues albums around at the moment.

----- Brian Harman

GINA FOX
"HER NAME IS GINA"
BACKBENDER RECORDS

Over the past several years, the State of New Jersey has had quite it's share of publicity - thanks to HBO and "THE SOPRANOS".  Although Tony, Silvio and Paulie certainly gave a lot of people the blues, a different kind of blues is being dished out by some very talented musicians from the Garden State.  As a matter of fact, for two years running, the Blues Music Awards category for "Best New Artist Debut" has included a native of New Jersey - and from what this writer is hearing, GINA FOX may just keep that streak in tact.

On her debut CD, "HER NAME IS GINA", GINA FOX, on vocals and piano, is joined by: BEN MARKLEY and MICHAEL TROTTA, also on piano; CHRIS VITARELLO, BILL HUNT and PAUL KARWIN on guitar; SCOTT HORNICK on bass; TOM CUTTONE on drums; DOUG SASFAI on saxophone; VINNIE BORSELLI on trumpet; JEFF LEVINE on the B3 organ; PAUL RISHELL on a vocal duet; and last but surely not least - especially in GINA'S eyes, her husband DENNIS GRUENLING on harmonica.

On "NIGHT TIME", the opening track and one of six originals, GINA immediately whisked me away to a crowded dance floor in a small, dimly lit, smoke filled jazz lounge.  You know the kind of place I'm talking about.....a small club with a tight combo cooly playing a nicely mixed blend of jazz and blues while a sultry vocalist seductively belts out the best of the standards.  Oh man, can't you just feel it?  Aside from the steamy vocals, what usually makes songs like this what they are, is great instrumental solos and the ones by DOUG, DENNIS and BEN on the sax, harp and piano are just that.

As I researched the following song I was utterly amazed by the number of duets that have performed it.  Then as I listened to it, I was equally amazed that this version of "YOU DON'T KNOW ME" - a duet on which GINA is joined by PAUL RISHELL - was as good as, if not better than, any of the others.  Together, they nailed this one.  The soothing groove that the band is in on this one is highlighted by the subdued guitar and relaxed harp work of PAT and DENNIS.

You can tell she's feelin' it on "FEELIN' ME".  Showing some versatility, GINA temporarily abandons the slow, sultry stuff and gets right down to some seriously spirited blues.  This smoker features CHRIS dosing out the blues with some hot slide work on guitar.

In spite of her vocals pretty much highlighting most of the tracks, I think some of GINA'S best singing is heard right here on "NOW THAT I BELONG TO YOU".  With the band in a tight and mellow groove, stellar backup from JEFF and DOUG on the B3 organ and saxophone, and GINA leading the way with her powerful and impressive vocal range, this is by far one of the discs best.

With SCOTT and TOM laying down some ever so soft rhythm behind them, "ONE MORE TIME" is pretty much all about the spouses.  As her main support, DENNIS provides a steady stream of delicate harp work for GINA'S velvety vocals.

Other absorbing tracks on "HER NAME IS GINA" include: "LOVERMAN", "NO BIG DEAL", "I WASN'T READY", "HOW LONG HAS THIS BEEN GOING ON?" and "ON THE WILLOWS".

If you know who I'm talking about by just using these ladies first names - ELLA, SARAH, NANCY, NINA, LENA and DIANE - then you'll obviously love this disc.  Check out GINA at www.ginafox.com and pick up a copy of "HER NAME IS GINA". While you're there, tell her that the Blewzzman has a suggestion for her.  Staying with the format of using her name in the title of the disc, I'm thinking her follow up should be called "SHE'S A FOX".

----- Peter "Blewzzman" Lauro

DENNIS GRUENLING
"I JUST KEEP LOVIN' HIM"
(A TRIBUTE TO LITTLE WALTER)
BACKBENDER RECORDS

Using several harmonica maestros on a disc dedicated to one of the all time harmonica giants - LITTLE WALTER - seems like a fitting thing to do and that's exactly what DENNIS GRUENLING did.  Being a formidable player himself, on "I JUST KEEP LOVIN' HIM", DENNIS GRUENLING is joined by: KIM WILSON, RICK ESTRIN and STEVE GUYGER - all LITTLE WALTER enthusiasts - on harmonica and vocals; DAVE GROSS, BILL HUNT, RUSTY ZINN and BOB WELSH on guitar; SCOT HORNICK, STEVE WOLF and KEDAR ROY on bass; MIKE BRAM and MARTY DODSON on drums; DOUG "BIG DADDY" SASFAI on sax; "Choice" and - last but certainly not least - MRS GRUENLING - GINA FOX on vocals.

Attempting to avoid this tribute from being a compilation of overdone covers of LITTLE WALTERS' greatest hits, DENNIS chose some of the legends more obscure works.  The list includes "UP THE LINE", "LOVIN' MAN", "I GOT TO GO", "HOT SHOT", "TOO YOUNG TO KNOW", "CORBELLA", "IF YOU WERE MINE", "MY LITTLE MACHINE", "TEENAGE BEAT", "AS LONG AS I HAVE YOU", "TEMPERATURE", "ONE OF THESE MORNINGS", "THAT'S IT" and "YOU'RE SWEET".

Not being a vocalist himself, DENNIS distributed that duty equally amongst the four band mates that are.  "LOVIN' MAN" is one that features STEVE GUYGER singing like one of the many great Chicago bluesmen he's backed up over the years, with him and DENNIS both getting in their share of hot licks on the harp.

"HOT SHOT" is a hot instrumental.  This one features DENINIS solely, and quite aptly, handling the harp work, great rhythm from MIKE and SCOT on the drums and standup bass, and sharp, steady guitar from DAVE.

RICK ESTRIN, with clearly one of the most distinguishable voices, takes over the microphone on "TOO YOUNG TO KNOW".  On this track, the man, who's magnetism is surpassed by none, also provides some of the best harp work heard on the disc.

Doing what seems to come naturally to her, GINA heats it up a bit on "IF YOU WERE MINE".  Sultry is a word that - if not careful - can easily become redundant when GINA'S the topic.  This one also features tremendous sax work from BIG DADDY, DAVE GROSS at discs best on guitar and DENNIS showing why he is quickly earning himself a spot on many peoples "favorite harp players" short list.

Oddly enough, "TEENAGE BEAT" - an instrumental track - which features DENNIS, RICK and KIM all kickin' it on harp, is highlighted by the rhythm section.  STEVE and MARTY are absolutely on fire on this one.

It's KIM's turn to lead on "AS LONG AS I HAVE YOU", and when he's leading you can never go wrong.  Being one of the most soulful white singers these ears have ever heard and certainly one of the best at blowin' a harp, automatically make this another of the discs best.

The two of you reading this that aren't harp fans need not pay further attention.  However, the rest of you need to head on over to www.dennisgruenling.com and grab yourself a copy of "I JUST KEEP LOVIN' HIM".  While you're there you just might look into taking some harp lessons.  Who knows, maybe in 20 - 30 years I'll be saying all this good stuff about you.

By the way, with the conclusion of this review, I have just - for the first time ever, reviewed back to back discs by husband and wife.  Having said that, I'd like to add that it has been a pleasure working with MR. and MRS. GRUENLING.

----- Peter "Blewzzman" Lauro

JOE BONNAMASSA
From Nowhere In Particular
Provogue PRD 7248

www.provoguerecords.com

This double live CD was produced by Kevin Shirley, who recently remixed Led Zeppelin, and I confess that with track one I thought he’d sneaked one of their tracks in; certainly not a blues, but a prime example of stadium rock. Track two, ‘Walk In My Shadows’ is credited to early seventies UK blues-rock outfit Free, and by now I was expecting the worst – but in fact, I’d forgotten they were quite Albert King influenced, and this cover generally keeps to that pattern, before being followed up by ‘So Many Roads’, the Otis Rush classic which is given the heavy treatment but still retains enough blues feel for those readers who like their blues rocky, I suspect. In fact that comment goes for the whole set; those who have come to the blues from Led Zeppelin – directly referenced on the very lengthy medley of ‘Django/ Just Got Paid’ - or similar outfits will certainly enjoy this set (and there must be plenty as Joe is rapidly gaining a huge following.)

He is backed by a trio of Rick Melick on keyboards, Carmine Rojas on bass and Bogie Bowles on drums, though there are also some acoustic tracks, in acknowledgement of the success of this set’s predecessor, the acclaimed ‘Sloe Gin’.

‘Guitarist’ magazine recently stated that “Joe is the new king of the Blues”. That’s as may be, but personally I feel it should read “rock and blues-rock” instead of “…the Blues”

----- Norman Darwen

CHRIS HARPER and Sharade Band
Blues Is My Life
CHBIML94612

www.chrisharper.ch

Sugar Blue has been one of the most innovative and distinctive blues harmonica players of the last three decades, but unlike Little Walter, Sonny Boy Williamson, Big Walter Horton and a few others, he has not had any disciples as such – until now. Given that Sugar was ‘discovered’ busking in the Paris Underground, it is perhaps fitting that the first member of the ‘Sugar Blue school’ should be a European – Chris Harper from Switzerland.

The first couple of tracks prove beyond doubt that Chris has absorbed the pinched high notes, sometimes jazzy phrasing, and lightning fast runs that are the trademarks of Sugar’s style, and as the set continues it demonstrates that he has also learned well what would I guess is one of Blue’s most important pieces of wisdom – to develop one’s own style. Chris is fine with traditional Chicago blues – try ‘Checkin’ Up On My Baby’ for a good example – and he can also tackle the soulful side of things, as he does with Al Green’s ‘Sweet Sixteen’ or more originally on his own ‘Lie Lie Lie’. The opener is a catchy self-composition in the modern blues style, and the ending of ‘Blues Is My Life’ is definitely experimental, whilst the closing instrumental ‘Soul Bossa Nova’ is an engaging piece of whimsy.  Chris needs to work a little on his vocals, which are OK but nothing more; he drafts in none other than the great Billy Branch for the storming cover of ‘Help Me’ and Chico Banks for the slow ‘Stormy Monday’ – Chico also supplies some formidable guitar work on this 10 minutes long number, ranging from T-Bone Walker and BB King through to Albert King style and on to well, Chico Banks, I guess. The Sharade Band is a very talented Italian five piece outfit, and with this set recorded at Delmark’s studio in Chicago, Chris certainly demonstrates that he is a name to watch. I enjoyed this a lot.

----- Norman Darwen

Artist: Davis Coen
Title: Blues Lights for Yours and Mine
Label: Soundview Productions SP1003

For more information go to; http://www.daviscoen.com
or soundviewproduct@aol.com

Sometimes, I wonder, whether a number of artists belong to a society that secretly record absolutely stunning albums but only a select and privileged few ever get to hear them? Well, if that is the case, I am very grateful to be included on that list to hear this new album from Davis Coen..

Upon hearing the hypnotic playing of Louis Armstrong and at the very young age of six in 1980, Davis began to take trumpet lessons from his uncle. When, at the age of eleven his attention and imagination was further enticed by a combination of influences that ranged from Big Bill Broonzy, Howlin’ Wolf, to Mississippi John Hurt and Jimi Hendrix, he immediately changed his instrument of choice to the guitar.

He decided to leave his home in Charlotte, North Carolina in his teens to perform a solo acoustic & harmonica act in the clubs of Connecticut and New York City; concentrating all his skills on capturing the very essence of post war Country blues.

As time and he progressed Davis became the opening act for artists such as; Honeyboy Edwards, Koko Taylor, Big Jack Johnson and John Mayall’s Bluesbreakers.

Now, with this, his fourth album we have a man that has so steeped himself in the Rhythms and essences of New Orleans life; that this fine, rolling mellow country blues that he plays, oozes through the speakers and wraps itself around you with such a laid back and happy attitude that he could almost be playing horizontal. Whether the numbers are piano led footappers such as; Professor Longhair’s “Baby Let Me Hold Your Hand,” and “Down in the Alley,” or the gospel stomping “Since I Laid My Burden Down,”   Davis maintains a pure, clean and crisp finger twirling approach which would not be out of place in a summer country fair.

Depending upon your taste and memories Davis has a voice that is reminiscent of Tom Waits/John Sebastian/ Randy Newman, but plays like no one else.

Joining Davis; who is on guitar, are Joe Izzo; drums, Trevor Coen; electric bass, Ben Palmer “Doghouse;” bass, Adrian Duke; piano, Lance Ashley; organ. Together they create eleven numbers that are an absolute joy to listen to and slide on the carpet to!

Recommended!

----- Brian Harman