THE HOMEMADE JAMZ BLUES BAND
Pay Me No Mind
NorthernBlues NBM0048

Here is a sure bet for best debut album and it comes from the youngest blues band in America. Their combined age is less than 40. Homemade Jamz is comprised of three siblings. Two are in their teen years and one is a pre-teen. Ryan Perry performs lead guitar (on homemade instruments made from car mufflers) and vocals while Kyle Perry handles bass guitar and Taya tackles the drums. The 11 songs – all recorded at their home in Tupelo – ooze with the repetitive boogie blues of Mississippi. A prime example can be heard on Blues Concerto.

Being a trio, the guitar is naturally the main featured instrument. At this point, Ryan’s guitar solos emulate those of his heroes Albert King, Jimi Hendrix, and Stevie Ray Vaughan. However, to his credit, he resists playing the notes at the pace of a lightning flash. Ryan displays a great potential to blossom into a blues star. He is impressive on Penny Waiting On Change where the guitar crescendos from a leisurely pace and then explodes into fiery passion. The band’s baby, Taya, delivers skimpy beats and some disorderly cymbal crashes.

If you can look past them as being a novelty act, you’ll experience some real blues and will hear true natural talent. The instrumental Shake Rag is assumed to be about dirt-poor, mostly black Shake Rag, Tennessee, which supposedly was a significant influence on a young Elvis Presley. The title track blends a 1950s John Lee Hooker boogie with a trance-like north Mississippi hill drone. Ironically, the least enjoyable track is a cover of Hooker’s Boom Boom. The best of the ten original songs is the gritty minor key Mississippi blues Right Thang Wrong Woman. Here, the sound is so raw you’ll think these kids are being schooled in a smoky juke joint. You wouldn’t think a teen could have experienced the tortured love that is described in the lyrics. Regardless, Ryan sings the song with a deep and serious conviction. Another highlight is Time For Change which lays the foundation for the sound of tomorrow’s blues style.

There is only so much sound that a trio can make. Wisely, harmonica and rhythm guitar – courtesy of Renaud Perry (the band’s proud father) and Miles Wilkinson – have been added to seven songs. This helps with the fills and makes the sound seem larger. Everything about this developing band will improve as their age and experience both increase. Still, this is one of the better releases made by teenagers. Make no mistake. Homemade Jamz are not snotty-nosed rock ‘n’ roll school kids from the playground. These blues siblings play some of the most real deal blues you’ll hear. They need time to further develop but you’ll be blown away by their credibility. In the meantime, they are giving the experienced artists a run for their money and the world an awareness that blues is still alive in Mississippi.

----- Tim Holek

BILLY BOY ARNOLD
Billy Boy Sings Sonny Boy
Electro-Fi E-fi 3405

Here is a heavy dose of old school blues that you thought wasn’t being recorded any longer. I saw Billy Boy Arnold along with this exact same remarkable band perform over the weekend this CD was recorded in Toronto in 2007. I was on cloud nine for the entire time they were performing as it was some of the finest traditional blues that I've heard in a long time. Needless to say, my expectations for this album were extremely high.

John Lee Williamson (the original Sonny Boy) transformed the blues and was a tremendous influence on Arnold. This album is Arnold’s way of celebrating the music of Williamson and it was released on the 60^th anniversary of Sonny Boy’s untimely passing. What a great concept for an album. The vast majority of the repertoire is songs written by Williamson such as Good Morning Little School Girl and Half-A-Pint but there are also three originals by Arnold. Vocally, Billy Boy doesn’t attempt to imitate Sonny Boy but he does emulate Williamson’s harp tone and undulated phrasing especially on New Jail House Blues. How he can play like someone from another generation is astounding.

The 17 songs start to sound similar, and at 71-minutes, the CD is too long in duration to listen to in one sitting. So this loyal tribute CD may be a bit tedious for modernists but traditionalists will be delighted by the electric blues produced by this all star band featuring surviving masters Bob Stroger, Willie Smith, Mel Brown, and Billy Flynn. The best things about the album are it gives awareness to the genuine Sonny Boy and the revelation of Brown as an outstanding keyboard player.

----- Tim Holek

JACK DE KEYZER
Blues Thing
Blue Star CD2506

Jack de Keyzer – a master of many musical styles – is the pride and joy of the Canadian blues music scene. His latest CD came out towards the end of last year and it is so good that it made it on to my top ten list of 2007.

de Keyzer is a good songwriter – he wrote all of the CD’s 14 songs – but his songwriting isn’t as consistently strong as his guitar playing which is always distinguished. The other note worthy contributions includes a Stax Records sounding horn section and Michael Fonfara’s magnificent keyboards. Largely, the song’s lyrics are about the complications involved with love and de Keyzer sings them with affection. On the title track, which sounds influenced by Albert King’s Pretty Woman, Jack’s ambient guitar surrounds you like close friends supporting you when the chips are down. The guitar becomes mournful on Cry The Blues where the outstanding band emotes despair. The smooth and easy Music Is The Food Of Love is a ’30s and ’40s big band swing. Gentle yet abrasive BB King style guitar materializes on That’s The Only Time while both James Brown and Chuck Berry are saluted on Bills and We Go Together respectively. If I Had Your Love is a radio-friendly pop soul song that sounds similar to Soul Lover from a few years ago. Good Life is a highlight because it brilliantly illustrates the dichotomy of money and happiness. The aristocratic melody contrasts with the blue-collar lyrics which preach the advantages of living a simple existence. Via innocence and seduction, Miss America also delivers a valid message regarding what happened to the America that we all once knew.

This isn’t a straight up blues album and the sweaty energy from his live performances are absent on Blues Thing, yet de Keyzer emits a multitude of emotion via poignant lyrics, graceful guitar, and suave arrangements.

----- Tim Holek

KENNY BLUES BOSS WAYNE
Can’t Stop Now
Electro-Fi E-fi 3407

Award-winning keyboardist/singer/songwriter Kenny Wayne is a triple threat. He has the voice, the talent to play in an exciting way, and the look. Though nicknamed the Blues Boss (after the title of an Amos Milburn album), Wayne’s piano style is more deeply rooted in ’50s rock ‘n’ roll than blues. Born in Spokane, Washington in 1944, Kenneth Wayne Spruell spent his early years in New Orleans before relocating, at age ten, with his family to Los Angeles. Piano playing came easy for him and his preacher father wanted him to play gospel music. But Kenny had boogie-woogie in mind.

Can’t Stop Now was recorded at five different studios in five different cities with more than 20 different musicians and to Wayne’s credit, it isn’t disjointed. Wayne’s music shadows the past as much as it transcends the future. From the start of the lead-off song Boogie Woogie Mama, the boogie woogie begins instantly and it is an ivory tickling party for close to 50 minutes. Throughout, Wayne exercises the upper register until it shrieks from pure enjoyment. The piano’s keys are pounded with so much punch, you can feel the wood and strings shaking on the 1954 Fats Domino hit song You Can Pack Your Suitcase. Judge By The Look states how mixed up and shallow our society is to have an obsession with beauty and a flashy image. Here, Wayne’s full-sounding organ gives way to a cheery piano that sounds both beautiful and intellectual. The song’s inspiration comes from the salary paid to a TV anchorwoman based solely on her appearance. A funky ’70s clavinet appears on My Sweet Little Peach where the rapping of Wayne’s son Cory brings the song into the 21^st Century.

The late Johnnie Johnson is honored on a couple songs. The melody of Johnnie J. Was Good is more reminiscent of Johnson’s muscular intensity than the cover of Tangueray. The most moving song – aided by its placement immediately following the contrasting Let’s Have Some Fun – is Ragin’ Storm whose motivational message is to (“bring those folks back to New Orleans”). The heartfelt lyrics, interspersed with the sounds of torrential rain and thunder, illustrates the catastrophe of Hurricane Katrina, a government that failed its course, and hope for tomorrow (“did not destroy the spirit of New Orleans”).

Throughout, the party-style music has a life is good and let’s celebrate it feeling. The happy disposition produced by the Blues Boss’ piano playing can make the sun shine on the cloudiest day. It isn’t all focused on the 88s. There is the occasional guitar solo and the most stirring guitarist is Rich McDonough. This is one of Electro-Fi’s best releases in their 11 year history. The stomping keyboards and smooth almost silky vocals on this excellent mix of blues-based New Orleans R&B are glorious. On Can’t Stop Now, Kenny Wayne easily fills the immense void in boogie woogie piano since Johnnie Johnson departed in 2005.

----- Tim Holek

NEW PONY
"MORE FIRE"

I always thought that it was the Schuylkill River that ran through Philadelphia, PA and that it was the Delaware River that flowed on the city's eastern border - and in all actuality, they do.  However, give a listen to "MORE FIRE", the debut CD from Philly's NEW PONY, and you might just start thinking that the muddy Mississippi River made it's way into the "City of Brotherly Love".  This disc is full of good ol' N'awlins and Delta blues.

The quartet that make up NEW PONY are: CHRIS DEVENNEY on guitar and vocals; PETE GAFFNEY on keyboards, harmonica, accordion and vocals; MAX GUERIN on bass; DWAYNE HOLLOWAY on drums.  The discs eleven tracks are all band originals, and that in itself deserves kudos.

The opening track, a smokin' Cajun, number called "FRENCHMAN STREET", immediately had me craving some Jambalaya, Etouffee, Crawfish Pie and Andouille.  I was ready to jump in the car and make the twelve hour drive to The Court of Two Sisters and The Gumbo Shop.  This one featuring great rhythm, hot piano and guitar licks and funky vocals, is already on the discs best list.

"THE SADDEST PART" about this track is that it's not three times longer than it's three minute length.  This is Delta Blues at it's very best.  Very soulful and emotional vocals, soft yet tight rhythm, good blues guitar riffs and steady background organ all highlight this one.

"RECKLESS" is the first track to feature PETE on the harmonica and his playing already has me hoping there are more.  The distinctly different sounding vocals, make it obvious that it's also him doing a great job on the vocals as well.

It's certainly "FAIR" to say that this track is one of the bluer of the bunch.  The organ intro by PETE makes this track likable from the offset and MAX is absolutely outstanding on bass.  Once again, another good vocal job by PETE as well.

"HOW LONG" had me searching the discs jacket looking to see where BOB MARGOLIN was listed as a special guest, but he wasn't.  Any fans of BOB'S will know that with his vocal abilities and his awesome style of slide guitar play, that a tip of the hat needs to go out to CHRIS for emulating that level of quality.

"MORE FIRE" closes out with a track called "WORD ON THE STREET" and my thoughts are that the interpretation on this one goes something like this........"The "WORD ON THE STREET" is that if you like your music filled with funk, spiced up with some Cajun soul and heavy doses of Delta blues, then NEW PONY is your kinda band.

You can check out the band at www.newponyonline.com.  While your there, tell them they got the Blewzzman's stomach's growling.

----- Peter "Blewzzman" Lauro

ALBERT CASTIGLIA
(Pronounced Ka-STEEL-Ya)
"THESE ARE THE DAYS"
BLUES LEAF RECORDS

Writing the liner notes for this disc, BOB PORTER claims that "Albert's own singing and playing are the equal of many performers who are better known at this stage.  This is his time and "THESE ARE THE DAYS" is the album that will move him to the next level".  I could not agree more with BOB.  As a matter of fact, that quote, coming from me, may have referred to ALBERT as being better than many of those better know performers and if this disc doesn't propel him into the mainstream of the blues community it will be an outright shame.

Since his earlier years touring as JUNIOR WELLS' and SANDRA HALL'S guitarist, "THESE ARE THE DAYS" is ALBERT CASTIGLIA'S third release as a bandleader.  Backing him, on guitar and vocals, are his regular South Florida band members: STEVE GASKELL on bass, SUSAN LUSHER on keyboards and BOB AMSEL on drums.  Special guests include: KEN "STRINGBEAN" SORENSON on harmonica, RIO CLEMENTE on Organ, and "SWEET" SUZI SMITH and NICOLE HART on background vocals.

"THESE ARE THE DAYS" opens with a very clever original - "BAD YEAR BLUES".  Sadly, the song could be true - not just for ALBERT - but the rest of us as well.  Since it all hit the fan in January, ALBERT claims that "It's been a real bad year, only twelve more months to go".  And as he tells of his mounting shortcomings, it certainly sounds as if it is going to be a real bad year.  The track is performed as well as it was written.  With the rhythm guys in a zone,  SUSAN beatin' up the piano and ALBERT vocally making the lyrics sound too real, this is one of the discs best.

With the rest of the band very 'lively' behind him, "HE'S GOT ALL THE WHISKEY" is a forum for ALBERT'S stunning guitar abilities.  Throughout this one his rhythm and lead guitar riffs are routinely amazing.

ALBERT sings his heart out on a slow blues ballad titled "LOAN ME A DIME".  This is my kinda stuff - serious, low down blues with some serious low down blues guitar playing.  With the band in a mellow groove behind him, this one is all about ALBERT and his emotions - vocally and musically.  Another of the discs best.

"GODFATHER OF THE BLUES", a song which ALBERT wrote about his former boss - MR. JUNIOR WELLS, is a toe tappin', knee slappin' rocker.  If this one don't get you shakin' then you gotta be achin'.  Of course, a song about JUNIOR wouldn't do him justice without a harp, and on this one KEN "STRINGBEAN" SORENSON certainly does JUNIOR - and the harp - justice.  More good stuff here.

If this disc was an LP, with the amount of times I replayed "NIGHT TIME IS THE RIGHT TIME", my needle would have worn through the wax by now.  This version of this song is absolutely phenomenal.  With BOB and STEVE setting just the right pace, ALBERT is at discs best on guitar and SUSAN may very well be at career best on the piano.  On top of that, "SWEET" SUZY and NICOLE HART are as fabulous as the 'Rayette's' ever were.  I can't begin to say enough about this track.

Although this is certainly not a complaint, it is however this writer's opinion that "NEED YOUR LOVE SO BAD" is one of the kind of songs that ALBERT just doesn't do enough of.  He's got such a perfect voice for these slow ballads and his slow, burning guitar notes are some of the best - as this track will reveal.  Nice steady background organ by RIO help highlight this one.

If you want to do yourself a favor - and I mean a really big favor - take yourself over to www.albertcastiglia.com and get yourself a copy of "THESE ARE THE DAYS".  I promise you you'll agree with BOB PORTER and the BLEWZZMAN.  And don't forget to tell ALBERT KA-STEEL-YA that his buddy PETE sent ya.

----- Peter "Blewzzman" Lauro

THE DELTA RECORDS STORY
Various Artists
SPV 42772 CD

www.spv.de

Formed in 1950 by Nashville music entrepreneurs Red Wortham and Jim Bulleit, Delta Records enjoyed its earliest successes with gospel group The Fairfield Four, though the first recordings for the label included the excellent country blues titles of Louis Campbell. Over the years the label became a sideline to Bullet Records, and the 22 tracks of this fine collection (recorded in the fifties) include the gospel and country blues of those acts just mentioned, a couple of big-voiced ballads and of course plenty of jumping Rhythm & blues sides – one of them the well-known ‘Certainly All’ by Eddie Jones, who was soon to become better known as Guitar Slim. Towards the end of these titles the influence of Rock and Roll becomes apparent, and several numbers are rockabilly styled, there is a Little Richard soundalike and some classy doo-wop. There may be nothing truly vital here, but fine notes by Nashville R&B expert Fred James complete a fine package.

----- Norman Darwen

Artist: Janiva Magness
Title: What Love Will Do
Label: Alligator ALCD 4924

Form more information go to:
http://www.alligator.com or http://www.janivamagness.com

Thirty years, seven albums (and one cassette only release) later, Janiva is finally on the cusp of international recognition with this, her new debut release on the Alligator label.  In the past, the many plaudits and awards that have been garnered by her, for the high standards and quality of her music is well deserved. She has demonstrated on her previous albums a hard, tenacious determination to learn, improve, refine and define her natural talents.

Janivas’ voice over the passage of time has matured into an extremely sensuous, sultry and softer version of Janis Joplin; with her somewhat raw and scratchy rasping edge emerging only in moments of high emotion.

Janiva has collected together all the necessary elements required; exemplary musicians, a well considered song selection and  the right state of mind, most importantly a vast wealth of experience and knowledge has been displayed here to create an album that manages to be both understated in its’ references and yet full of singular distinction.

To hear and enjoy on this album the warmly rich fat resonating sounds of the saxophone, coupled with some wonderfully understated guitarwork evokes countless happy memories of many classic numbers from the past.

The sleek sophistication which emanates from the thirteen numbers found on this album has been lovingly produced from the musicians backing Janiva; who, takes lead vocals, are; guitars; Zack Zunis, Michael “junior” Watson, Jeff Turmes and Dave Darling;  key boards; Red Young, Arlan Schierbaum, Benny Yee and John Whynot. Bass; Jeff Turmes Gary Davenport and Dave Darling, drums;  Stephen Hodges, tenor and baritone saxophone; Jeff Turmes, trumpet and trombone; Lee Thornburg.

The thirteen engaging numbers on this album range from the fresh vibrantly happy, clappy sounds reminiscent of Motown in their golden period to smooth, rich Atlantic and Stax soul, infused with mid seventies urban arrangements which are at times punctuated by a sharply attacking horn section.

This album joyously harks back to the sounds of ones’ youth at its invigorating best. Whilst simultaneously being thoroughly modern and forward looking.

----- Brian Harman

Artist: Various
Title: 10^th Year Anniversary 1997-2007
Label: CeePeeVee Records CPVCD 1301

For more information go to:
http://www.ceepeeveerecords.se and blues@ceepeeveerecords.se

This album could almost be subtitled Big City Rhythm vol.3 if it wasn’t for the fact that all of the twenty two numbers featured on this CD are from the vaults of CeePeeVee records, which have lain on the shelves untouched for at least ten years. Now that we can hear them for ourselves, I can categorically state that there is not one of these numbers that doesn’t stand not only the test of time but, more importantly the very high standard of quality we have come to expect from CeePeeVee records.

Virtually all the fun loving and heartbreaking genres of the forties and fifties are represented here; Jump blues, swing, vintage R&B, the Blues of Westside, Chicago. Cool, cool Harmonica forays and richly picked Jazz lounge sounding crooners and movers.

Every number sounds as if it was not only written and recorded before the days of Rock’n’Roll were upon us but when people were still spending their demob money.

Footapping, richly golden brown guitar runs juxtaposed with delicate rolling and sometimes crashing piano breaks are interspersed with contrasting sharp or sweetly sublime harmonica; alongside sweeping, crisp, clean drums, that are backed but not overshadowed by honking or highly fattening chocolate brown sounding saxophone, all wrapped up in a glowingly relaxed and comforting production.

Label owner and musician Claes Parmland has not once wavered from his commitment to provide the world with classic quality music which also reaches into the soul and firmly grasps the essence of the Blues with both hands.

It also should be taken into account that all the musicians on this and all previous CeePeeVee recordings are from Sweden; they represent not only a very  talented collection of present day blues players but they can also look back on a rich Blues and Jazz heritage.

If you like the rich creamy blues of the forties and fifties, this is for you. In fact if you like good music it’s for you!

----- Brian Harman

Artist: Josh Boyd and the V.I.P. Band
Title:  Josh Boyd and the V.I.P. Band
Label Self Produced

For more information go to:
http://www.superboyd.com & http://www.myspace.com/eastsideblues

Twelve bar blues, country blues, folk blues, Mississippi delta blues, Memphis blues blue collar roadhouse blues; the list of variations is endless. So, what category do Josh Boyd and the V.I.P. Band neatly file away into?

Well, as far as the purists are concerned, I would imagine that they would prefer to file them into oblivion. For although his roots and underlying inspiration is undoubtedly the blues with the self evident influences of artists such as, Albert Collins, Albert King, James Brown and Jimi Hendrix; one can just hear their influencing flavours in his playing. Nevertheless his interesting interpretation of the music genre he loves so much, could well be (to these ears anyway,) described as a loose combination of vocals reminiscent of Lynyrd Skynyrd, with a playing style that has a number of elements that are not dissimilar to Judas Priest and Z.Z. Top.

Although this description does not seem to bode well for a bright future in the blues world; I would suggest that in the wider world of blues influenced music this band would undoubtedly thrive.

The clean, crisp production values given to each of the ten numbers on this album reveal a particular clarity of sound, which can only ever be achieved by a tight, well rehearsed unit.

Lead guitar and vocals are supplied by Josh and Charles Gaston’s’ drums dominate throughout the proceedings with Junior Springs’s bass providing a firm anchoring at all times. As the numbers march forth from the speakers, each player ratchets up the skill level on their respective solos, as a consequence of this, we are treated to ever faster, and more furious, heavier and seemingly complex guitar runs and drum fills.

This is a very good album overall, with an interesting and very different version of “While My Guitar Gently Weeps.” 

While this album may not be everybody’s ‘cup of tea’ it is definitely a breath of fresh air and also hugely enjoyable.

Certainly worth a listen, most certainly not, for the purists!

----- Brian Harman

WILLIE “BIG EYES” SMITH
Born In Arkansas
Big Eye Records BER394

www.williebigeyessmith.com

Born in Helena, Arkansas on 19^th January 1936, Willie is still best-known I guess for his long stint as Muddy Waters’ drummer, and there is nothing wrong with that, of course, except for the fact that it sometimes overshadows his own considerable talents as an artist in his own right. That is beginning to be corrected, and about time too – ‘Born In Arkansas’ is Willie’s sixth album under his own name, and mighty fine it is. What else would you expect from a band that comprises Billy Flynn and Little Frank Krakowski on guitars, Bob Stroger on bass, Barrelhouse Chuck on piano, and Willie’s son Kenny ‘Beedy Eyes’ Smith (also making a name for himself these days) on drums. That’s right – in case you didn’t know, Willie sings these days and has gone back to his original instrument, the harmonica, the blues harp he blew back in the fifties behind the likes of Bo Diddley, Johnny Shines and Arthur ‘Big Boy’ Spires.

I wonder what he sounded like then, as he sounds great now! Ok, many of the tracks are derivative – but when the inspirations are the fifties Chess and Vee-Jay sounds, the likes of  Little Walter, Elmore James, Willie Dixon, Jimmy Rogers and of course Muddy himself, who’s complaining? Willie learned at the source – and it shows. Highly recommended to all the blues lovers in the house!

----- Norman Darwen

BOTTLENECK JOHN’S DELTA TRIO
First Takes - Acoustic Blues & Spirituals
Bottleneck Records

www.johaneliasson.com

If you have experienced Swedish singer and guitarist Johan Eliasson a.k.a. Bottleneck John before, you will have a good idea what to expect and find it confirmed by the CD title. These were indeed, with the exception of some very minor over-dubs, all recorded first take down. John has an outstanding voice for the kind of early blues and sacred material that he so obviously loves and performs so well, even if it does come via the likes of Eric Bibb or Corey Harris in addition to the original masters like Robert Johnson, Son House, The Mississippi Sheiks, Muddy Waters, the Chicago styled singer and harmonica player Dan Smith or Tampa Red.

This time around though, John features his new act, the Delta Trio, which places his vocals, guitars, banjo, mandolin and kazoo alongside the harp and vocals of Stefan Swén and the violin, vocals, and mandolin of Lars Åstrand. The result can be a joyful noise indeed, or a deep, deep blue. Personally I would have preferred one or two of the more up tempo items nearer the beginning of the CD but that is only a slight quibble. There are few around these days who get as deep down into the blues as Bottleneck John.

----- Norman Darwen          

GEORG SCHROETER/ MARC BREITFELDER
Live In Sweden
LM MusicLMCD0801

www.bluestour.de

This vocal/ piano (Georg) and harmonica (Marc) duo out of Kiel in Germany recorded this double CD in Ange during a tour of Sweden in April 2007. They have known each other a long time and this familiarity is evident throughout the immaculately recorded ninety minute programme. This is certainly no ordinary blues CD, despite the inclusion of numbers such as ‘Route 66’, Elmore James’s ‘Sunnyland’, or Muddy’s ‘Can’t Be Satisfied’. These and the originals are vehicles for experimentation and lengthy improvisation by both men – and both are massively accomplished musicians, willing to go outside the blues box to incorporate jazz, rock, pop, and folk elements to serve their needs. An intriguing release and one that I suspect many harmonica players will listen to in awe.

----- Norman Darwen

Artist: Alvon & the Allstars
Title: Guitars and Cars
Label: Pig Heaven Records

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

Alvon was surrounded by music from a very early age; His grandfather being a Baptist minister ensured that his early influences would be of a spiritual nature. His mother and her sisters sang in church but also went on to form a vocal group that was named ‘The Francis Sisters’  and by all accounts were very popular in the Texas area during the forties.

He therefore not surprisingly; as a youngster became greatly interested in music, after choosing to play the guitar he found that the players he enjoyed listening to most, were the Jazz guitarists Wes Montgomery, Andre Segovia and Charlie Christian; and as consequence the combination of their styles emerges very evidently in Alvons’ relaxed, confident and richly mellow playing style of today.

During his time at Portland state university he became very interested in the conga drum and promptly added the instrument to his repertoire; which in turn led to him touring with The West African highlife group “New World Afrika.” He continued his to expand his knowledge and hone his musical skills by working with local funk bands, for a while he sang with The Jim Little Orchestra.

In 1980  he moved to Los Angeles and over time went on to work with such artists as; The Drifters, The Shirelles, Otis Day & the Knights  and  Country artist Jimmie Rodgers.

In recent years Alvon has toured the world as both a solo artist and as part of a touring band. During this time he has released two solo albums and with this, his third album we are presented with a collection of ten numbers which are a mixture of originals and covers.

Alvon uses his deeply rich and creamy voice to great effect throughout the album, especially on the re-worked, jazz influenced “Route, Sixty Six,” at times his phrasing is reminiscent of the late Nat King Cole.. His relaxed and enticing jazz instrumental versions of “For the Love of You,” “The World is a Ghetto” and “People Get Ready,” are a very pleasant change to the possibility of inferior hackneyed versions.

The blues are not forgotten here with five very tasty and arrestingly played numbers, and lastly a leisurely paced “No Particular to Go;” Works a treat.

Should, you like a change from your normal blues diet then I would seriously suggest you investigate this album.
Seriously relaxing!

----- Brian Harman

Artist: Dave Specter
Title: Live in Chicago
Label: Delmark DVD 1794

For more information go to: http://www.delmark.com
or http://www.davespecter.org

Dave is captured playing live on this DVD over two nights, August the 20^th at Rosas’ Blues Lounge and on the 21^st at Buddy Guys’ Blues Lounge. Joining Dave onstage at Buddy Guys’ are Tad Robinson and Jimmy Johnson; while at Rosas’ blues lounge he is joined by Sharon Lewis. A t both concerts the gentleman providing the stalwart and flawless backing, on both nights are; Brother John Kattke; keyboards, Harlan Tarson; bass and Marty Binder on drums.

Tad Robinson contributes four soul inflected harp led numbers which have resonating echoes of Little Walters’ style about them. Dave’s wonderfully inspired soulful guitar interaction with Tads’ rousing harp produces’ a succulent drenching definition of southern soul.

Whilst Jimmy Johnson brings us back to the windy city with a stark, sharp ferocity of guitar work that belies his seventy nine years. For; he assaults the numbers, with all the vigour and raw enthusiasm of man half his age. The impassioned cries brought forth from Jimmy’s almost hoarse voice command our complete and unadulterated attention; combine all that with his almost duelling scorching solos that are happily exchanged with a good deal of relish and inspiring passion from Dave.

The intimate atmosphere of Rosas’ Lounge seems somewhat small for the expansive vocal talents of the larger than life Sharon Lewis; but when her commanding presence and pricelessly raw voice is harnessed together with Dave’s skilfully dextrous playing you can imagine that you have been transported to the likes of a rough and ready rural juke joint or some smoky, sodden gin palace. The audience here is treated to a down to earth selection of ‘blues shouting’ at its best, with one of the best blues guitar exponents in Chicago.

On this DVD Dave concisely displays exactly why he is so universally applauded not only in the blues world for his consummate and effortless guitar playing abilities but also for his work in the community with youngsters of Chicago who also want to play the blues.

There are also two extras on the DVD; an informative Dave Specter documentary and a photo gallery.
Well worth investigation!

----- Brian Harman

Artist: Mississippi Heat
Title: Hattiesburg Blues
Label: Delmark DE 795

For more information go to: http://www.delmark.com
& http://www.mississippiheat.net

This music contained within this new release on the Delmark label has opened up a yet another new avenue for one of the most hard line traditional Chicago blues bands, an avenue which enables them to enjoy strutting their stuff and yet at the same time deliver a grinding  groovin’ syncopating Latin groove. With these new sounds and textures infused into the blues mix anything is possible; whilst at the same time continuing to embrace the larger ensemble approach wherein guest artists are invited to heighten not only the core bands’ performance but also adding to the listener’s pleasure level.

The thirteen numbers on this album range in style from old fashioned hard edged harp led Chicago blues to irresistible footapping, hip dislocating Latin groovers; with lead vocalist Inetta Visor commandingly taking a firm grip on seven of them, one moment her impressive vocal talent is making the hairs on the back of your neck stand up on end and then just as suddenly gently, leisurely, caressing yours ears.

Pierre Lacoques’ raspingly sharp and tenderly reassuring old school harp playing brings us firmly back to the backstreets of the windy city with an image  that keeps our noses firmly  to the grindstone. The guitar playing and phrasing from Giles Corey, Carl Weatherby and special guest Lurrie Bell creates sparkling images of Albert king, Otis Rush and Magic Sam; the atmosphere on most of the album is low down and lovably dirty.

A simply stunning horn section; courtesy of Kenny Anderson; trumpet, Hank Ford; tenor saxophone, Bill McFarland; trombone and Willie Henderson on baritone saxophone simply ratchets- up the swaying goodtime marching feel. Completing this very evocative line-up is; Chris “Hambone” Cameron; keyboards, Spurling Banks and Stephen Howard; bass, Kenny Smith and Dujas Austin; drums with Ruben Alvarez providing Latin percussion.

Well worth investigating!

----- Brian Harman

Artist: Billy Gibson the “Prince of Beale Street”
Title: Live at the North Atlantic Blues Festival
Label: North Atlantic Blues Records DVD

For most artists it would normally take years of constant touring to gain not only a solid fanbase but also a firm grip in that precarious international rockface known as the public eye. Well, Billy has certainly found himself firmly in the public eye, for in May 2006 he was one of a number of artists that were featured in a BBC World Service programme that was broadcast worldwide, entitled Destination Music; his participation included a live performance and an interview section. The programme was broadcast to more than two hundred countries and quite possibly millions of happy listeners.

Now, adding to his ever increasing fanbase the “Prince of Beale Street” as he is affectionately known as since he gained the award of The Beale Street Entertainer of the year in 2005; has charmed, with his earthy performance the extremely discerning audience of the 2007 North Atlantic Blues Festival in Rockland Maine, during the bands’ first summer tour.

After moving from his hometown of Clinton, Mississippi he moved to Memphis, whilst there he befriended Peter Pedersen; where they studied Jazz harmonica technique. Together they gained a greater understanding and appreciation of the finer points of harmonica musicianship.

This knowledge combined with his many street playing experiences has enabled him to become a fully fledged Beale Street entertainer; also in 2004 he gained a B.A. from the University of Memphis.

The musicians in Billy’s band are the ex Albert King band members, David Bowen; guitar James Jackson; bass with Cedric Keel on drums. They play like the veterans they are, smoothly interacting like well greased gearwheels in a high performance car. An added depth to the overall sound is achieved by the inclusion here of guest keyboard player Charlie Wood tinkling the ivories.

Throughout the set, which lasts for just under an hour; Billy effortlessly manages whilst blowing his harp at full pelt as if his very life depended upon it; to leap, twist, run and dance all over the stage to the obvious delight of the audience who at Billy’s every invitation is involved during the set.

Cedric sympathetically pounds his drums in response to Billy’s acrobatic and rousing harp playing while David provides substantial and satisfying guitar flurries, meanwhile James is their holding it all in place. The pleasing keyboard skills of guest artist Charlie Wood creates an evocative backdrop of sound to the whole set.

On the evidence of this DVD Billy and his band are certainly a force to be reckoned with!

----- Brian Harman

Artist: Christian Dozzler
Title: The Blues and a Half
Label: Blueswave CD-2008

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

This is Christians’ sixth solo release and his second since his relocation from his home in Vienna, Austria to the Dallas Fort Worth area in 2002. He was invited to tour with the Larry Garner band in 2000 and after extensive touring he took the opportunity to settle down in Texas. As, you probably are aware Christian, who had already, been having formal classical piano lessons since the age of five; promptly, dropped these lessons, for the blues at the age of thirteen, after hearing boogie woogie played on the radio.

After many years of playing across Europe exhibiting his masterful keyboard skills he became rightly famous for his work with the highly regarded Mojo Blues band subsequently emerging as one of the bands’ two frontmen. After ten years or so with the band he went solo and over the next few years awards and plaudits were heading in his direction.

Now in 2006 Christian is taking another turn with this album; a collection of thirteen original numbers that are very fine indeed, atmospheric, low-down and dirty.   Ranging from a footappingly splendiforous zydeco noise; alongside with authentic sounding New Orleans piano accompanied by enormously fat Saxes. The razor sharp harp ranges from melancholy stumblings to supremely Chicago confident.  The guitar playing is red raw tight, meaty beaty and very bouncy!  Christians’ voice is at times vulnerable and caustically confident; coupled with his satisfying and stunning well paced keyboard work it all combines together to make undoubtedly a blaster of an album.

Joining Christian who plays, piano, harmonica, Hammond b3 and accordion, is Anson Funderburgh; guitar, Mike Morgan; lead guitar, Jim Suhler; slide guitar, Hash Brown and Chris Zalez; guitar, Ron Jones; tenor & baritone saxophone, John Garza; bass and Kevin Schermerhorn; drums.

Very fine indeed!

----- Brian Harman

Artist: Doug MacLeod
Title: The Utrecht Sessions
Label: Black & Tan Records CDB&T032

For more information go to:
http://www.black-and-tan.com and http://www.doug-macleod.com

With this new album from Doug the overpowering musical sparseness is evident and has an immediately overwhelming feeling of desolation, which seems quickly to be instilled fully into the listener; that sentiment is also further fuelled by the obvious overall starkness of the album.

Doug’s vocal dexterity ranges from a delicate and hesitantly, light gossamer falsetto; to an assuredly powerful, dark, bleak coal black hoarseness.

Doug has created from a combination of guitar, bass and percussion a haunting collection of hugely powerful numbers which are rich in emotional presence. All twelve original compositions are delivered with a succinct and penetrating simplicity.

A cold solitary feeling is strongly evoked throughout the proceedings, which echoes a rural fragility that now in the modern world is possibly lost forever. A fleeting feeling, which is rarely felt, but once triggered, ensures an unwanted grey engulfing coldness.

This album is by no means dark, dank and dismal throughout; there are, one or two shining lights in the darkness, but sometimes we should be reminded about the possibilities of the dark side of life otherwise we would not quite enjoy so much the bright, sweeter side.

One is reminded on some of the numbers of the haunting arrangements used by the late Johnny Cash on his last album. Joining Doug; guitar and left foot, on the album is; Arthur Bent; percussion and Jasper Mortier; double bass.

This is an album that needs to savoured and appreciated like a very old and well matured whisky.

Highly recommended!

----- Brian Harman

BEN WATERS
Hurricane
Hypertension HYP 8260

www.hypertension-music.de

Ben Waters is one of an endangered species – a young guy who plays boogie and rock ‘n’ roll piano. Ben is becoming a well-known name on the UK blues scene, having played with the likes of Robert Plant, Chris Jagger, Skin’ Stevens and Florida harp ace Rock Bottom, and this CD, his first for Hypertension, should spread his name even further. It is a blasting set from the outset, with Ben on vocals, piano and organ fronting a combo consisting of co-writer, guitarist and bassist Richard Hymas, drummer Ady Milward, and Clive Ashley on sax, plus a few occasional guests including the under-rated Ed Deane on guitar. Older hands will appreciate the likes of the storming ‘Helicon Boogie’ (lots of dirty sax on this one!), and the following track, a jumping four and a half minutes long version of Amos Milburn’s ‘Roomin’ House Boogie’, which continues the vintage groove. Ben is not a straight blues/ Rock ‘n’ roll pianist though; his vocals and songs are certainly modern, even his tribute to James Booker. There are elements such as the Beatles or more recent British rock bands like Oasis, whilst ‘Mother Nature’s Molecules’ almost approaches the ‘Phil Spector wall of sound’ style. All of the music on this highly entertaining and sometimes thought-provoking CD is at least blues based, though mostly with a different slant than the usual, and if it brings a younger audience to the music, that’s all to the good.

----- Norman Darwen

RUSSELL JACKSON
"HAVE MERCY"
R J MUSIC

Once again, here I am about to discuss another CD from Canada.  The enormous amount of submissions I get from our neighbor to the north is interesting.  What I also find interesting is the enormous number of musicians that appear on most of these discs.  Rarely, or more accurately - never, do I ever receive a CD from the Canucks that consists of your basic guitarist, drummer and bassist.  Doing their best to keep the unemployment rate down, several different players on several different instruments are very commonly used.  Which, by the way, with the number of very qualified blues musicians living in that country, makes this a good thing.  It's been extremely pleasant to have been exposed to all of this wonderful talent.

Having said that, let me now introduce you to the dozen stars that appear on RUSSELL JACKSONS "HAVE MERCY" CD.  Joining RUSSELL, on electric and acoustic bass, vocals, background vocals and tambourine are: KENNY "BLUES BOSS" WAYNE on piano, keyboards and B3 organ; THEO BROWN on drums; JOHNNY FERREIRA and STEVE HILLIAM on tenor sax; TERRY TOWNSON on trumpet; BRANDON ISSACS on lead and rhythm guitar, dobro, snare and high hat; DAVID HOERL on harmonica; ROBERT STEPHAN on lead and rhythm guitar and lap steel; RICK CHRISTOPHERSON on lead, rhythm and acoustic guitar; JOHN ELLIS on pedal steel; JEFF NYSTROM on background vocals.

On the opening and title track, "HAVE MERCY", the lyrics tell a very real and very disappointing story.  RUSSELL points out that although the blues gave birth to Jazz and Rock & Roll - from which funk, R&B, soul, rap, hop, country and heavy metal all derived, the blues is barely ever mentioned in class and all they do is talk pop, classical, and a whole lot of jazz.  I share his sentiments as he sings to "Have mercy for the blues".

Get ready to put on your "DANCIN' SHOES" when this track comes on.  It starts out with JOHNNY blowin' smoke out of the tenor sax and gets hotter with each players contributions, especially when the BLUES BOSS starts fanning the flames on piano.  Great vocals by RUSSELL and an all out jam session by the band make this one of the discs best.

"TOSSIN' 'N TURNIN'", is sure to get you tappin' and snappin'.  Definitely another of the discs best.  The great rhythm that RUSSELL, THEO and KENNY lock into, the sharp - and I do mean sharp - harp blowin' by DAVID, the tremendous sounds coming from BRANDON'S dobro and the precision vocal harmony between RUSSELL and JEFF make this a hell of a toe tapping sing along.

It seems that a party RUSSELL was at got a bit too boisterous that "THEY RAIDED THE JOINT".  Don't ya just hate when that happens?  This hot shuffle is another of the many highlights on "HAVE MERCY".  This one features KENNY working his usual magic on piano, ROBERT supplying the hot guitar riffs and RUSSELL singing his heart out.

"WORKING WITH MY BABY" is a soft, steamy ballad. The velvet vocals, the rustling rhythm, the gentle guitar, the tender tickling of the ivories and the sultry sounds of the sax make this one smolder.  The slow dancers will swoon over this one.

"Other equally outstanding tracks - of which most are originals - on "HAVE MERCY" are: "SHOW ME THE DOOR", "TALK ATCHA", "A WOMAN NEEDS", "HOWLIN' AT THE MOON", "BRAND NEW LIFE", BECOMING THE BLUES", "LOVE ALL AROUND" and "FUNKY HIDE AWAY".

Like me, you may be unaware that RUSSELL was B B KING'S bass player for about a dozen years.  To find out many of the other notable blues folk he played with, stop by his My Space page at .......... http://www.myspace.com/therusselljacksonbandpage.
While you're there, give him a shout and tell him Blewzzman sent ya.  While you're at it, pick up a disc as well.

----- Peter "Blewzzman" Lauro

THE MANNISH BOYS
Lowdown Feelin’
Delta Groove DGPCD122

www.deltagroovemusic.com        www.themannishboys.com

The Mannish Boys are one of today’s top exponents of the Chicago and southern blues sound of the fifties; hardly surprising given the line-up of veteran blues men Bobby Jones, Finis Tasby or Johnny Dyer on vocals, label boss Randy Chortkoff on vocals and harmonica, Frank Goldwasser, Kirk Fletcher or Kid Ramos on guitars (just check the experience of that trio!), Ronnie James Weber or Tom Leavey on bass and Richard Innes on drums.

As if that wasn’t enough, they have some guests along too: one time Earl Hooker sparring partner Little Sam Davis on vocals and harmonica being perhaps the most notable for the purists, whilst lovers of modern blues will welcome the presence of guitar ace Junior Watson, harmonica men Lynwood Slim and Al Blake, and pianist Fred Kaplan. Put these guys in the studio with a bunch of songs such as Howlin’ Wolf’s ‘Chocolate Drop’ (never thought I would hear any cover of this particular song, never mind one so well tackled by singer Jones!), Junior Parker’s ‘These Kind Of Blues’, a couple from Billy ‘The Kid’ Emerson, some other equally worthwhile borrowings and a few originals (including two by Sam Davis), and the results recommend themselves. If you ever despaired of hearing new recordings of that real blues sound, do yourself a favour and go and buy this right now!

----- Norman Darwen

POPA CHUBBY
Deliveries After Dark
Dixiefrog DFGCD 8635

www.popachubby.com

Popa Chubby stands astride the New York blues scene like a colossus – or maybe for some readers, looking at his tattoos and piercings and taking a quick listen to, let’s say for example, the title track or ‘Sally Can Ride’ (maybe via the video clips included on this release) and the Led Zeppelin styled opener ‘Let The Music Set You Free’, we should more accurately call him Chubzilla, laying waste to everything in his path with volume and a tarmac crunching backbeat. But wait.....

Remember the Smog Monster? – Godzilla kicked its ass good and proper! Chubby tends to do the same to the hot air of the critics. His blues-rock, all high energy and punky, feisty attitude is pretty exciting stuff, and the man isn’t afraid to speak his mind or tell it straight (even his song titles are likely to get censored!) – and isn’t the blues all about strong individuals? Those who quibble that Chubby doesn’t play the blues should take a look at the numerous people who have benefited from the Chubster’s attentions, or better still, lend an ear to the likes of the country-blues derived ‘You Can’t Stop Love’ or such muscular, churning blues items as ‘I’ll Piss On Your Grave’ or ‘Grown Man Crying Blues’. Still want something a little more straightforward – try the instrumental ‘2^nd Avenue Shuffle’ or the Bo Diddleyesque ‘Man Of The Blues’. Popa has a sense of humour too – how about ‘Theme From The Godfather’ reworked as a heavy, blistering surf instrumental? Yeah, right! It works, too – so does his ‘reggae’ piece ‘Woman In My Bed Dub’ so does this whole CD in fact

----- Norman Darwen

MIKE DOLLINS BAND featuring Ginny Becton
Live Love Laugh
Own label

www.mikedollins.biz

This outfit is based in Benton, Arkansas and has been raising some sand recently. This is not too surprising as the Mike Dollins Band is a very versatile outfit which can range from the cool and jazzy sound of the opening (and title) track, with its smooth vocal by Ginny Becton, delicate guitar work and underpinning organ, to the dirty, rocking boogie sound of 'Be Your Man'. Along the way are such delights as the slow 'No One To Turn To' with a blueswailing vocal by Ginny, the out-and-out jazz of 'Summertime', the rocking 'Leaving Chicago' with James Cotton styled harp-playing, the down-home 'Strange Things', or the 'Help Me' groove, excellent organ and tough guitar playing of the closing 'Teaser'.
The other numbers also contain elements of soul, funk, rock and roll and swing to add to the delight of those listening to this very enjoyable and varied CD

----- Norman Darwen

ALEX GOMEZ
Outdoor Kitchen
Deltalectric AGCD0701

www.alexgomez.biz

I’d never heard of Alex before, but this is (I think) his fourth album. His website makes much of his music being the point where blues meets punk; there are probably as many definitions of the blues as there are lovers of the music itself, but I guess many might quibble at the inclusion of Mr Gomez within the hallowed parameters. His music is certainly wild and unfettered and seems at times to rely on the creation of noise. Mind you, wasn’t it the Memphis Jug Band who said, “Aw, make a racket”? Alex has at times taken those words to heart. As his website states, if you like Keb Mo’ and Eric Clapton, you’ll hate Alex Gomez. If, on the other hand, you like music with a definite attitude and edge, then you might go for this.

----- Norman Darwen

FALL IN BLUES
Emotion
Styx CD 1029

www.styxrecords.com

This Austrian combo was formed in 1999 under the leadership of singer and guitarist Hermann ‘Hobo’ Posch, and this is their third CD. The previous two were reviewed by yours truly in Blues Art 03/2006, and I was impressed with the fact that the band has its own take on the blues rather than any slavish copying. That pattern continues on this set, which contains several straight blues numbers in the band’s own individual, relaxed and tight style, and several examples of ‘americana’ for lack of a better term. Hermann has a fine, tough but tender voice which suits his material well and he is ably supported by keyboards player Tom Hornek, bassist Paul Kozakiewicz and drummer Hardy Auer, plus several guests.

The main influences seem to be vintage Fleetwood Mac – the control to be heard on some of the guitar work (particularly on the ten minutes long ‘Blues in The Bottle’) – has only rarely been heard since Peter Green was a young man, the early solo career of Eric Clapton (does the cover of Peter Tosh’s ‘Stop That Train’ equate to EC’s version of fellow Wailer Bob Marley’s ‘I Shot The Sheriff’?), and the laid-back approach of JJ Cale, the latter emphasised by the presence among many fine original numbers of Cale’s ‘I Got The Same Old Blues’. Overall, this is a fine album, maybe not for the purists, but those with a taste for any of those names just mentioned should certainly investigate further.

----- Norman Darwen

ALBERT COLLINS
Live From Austin TX
New West NW 8051

CLARENCE GATEMOUTH BROWN
Live From Austin TX
New West NW 8052

ROY BUCHANAN
Live From Austin TX
New West NW 8053

www.newwestrecords.com
www.livefromaustintx.com

If you call yourself a blues lover, then go and buy these. Simple as that… well, OK then. These three artists are presented at the height of their abilities on a long-running television programme that helped Austin to become one of the world’s musical capitals.

Albert Collins, with his distinctive and electric (in every sense)‘cool’ sound and his tight touring band, shows in this programme recorded in 1991 just why he was so highly regarded, and towards the end of the evening he manages to shake hands with just about everyone in the house (including security!). Texas blues might not come much better than this but one man who could give Albert a run for his money was Clarence ‘Gatemouth’ Brown, whose guitar slinging abilities are more in a T-Bone Walker style on the blues numbers, but who could also turn in some nifty jazz playing and even turn his hand to hoe-down fiddle playing when he felt like it (as he obviously did here). With a big band behind him, Gate is mightily impressive in this just over an hour long showcase recorded in 1996.

Many blues fans will be aware of Roy Buchanan’s tragic demise, and hopefully more will be aware of his music. When his show was recorded in November 1976 he was still very much a cult figure but his playing is monstrously good! Although this only runs for just over half an hour, his many fans will be delighted to see Roy playing some of his most popular numbers and even joshing with the audience during some single-handed playing.

All three DVDs are handsomely packaged, with full notes. Absolutely wonderful…..

----- Norman Darwen

2007 BLUES MUSIC AWARDS, MEMPHIS TN.
Various Artists
The Blues Foundation

www.blues.org

This one hour DVD is edited down from the Awards ceremony in Memphis and features performances by the likes of Watermelon Slim, the duo of Marcia Ball & Irma Thomas, the great Bobby Rush, Lil’ Ed, Rory Block, Dion, Guitar Shorty, Tab Benoit & Janiva Magness, Mark Hummel’s Harp Blowout (with an all-star cast) a slightly disappointing Legendary Rhythm & Blues Revue, and Otis Taylor and cohorts with his ‘Recapturing The Banjo’ project. Though much of the music is fine (with Rush and Taylor easily the standouts), the editing is sometimes clumsy, and many tracks are interrupted in mid-flow to see the performer presented with his/ her award. Guy Davis and Benoit/ Magness are the subject of a couple of special features that are more than worthwhile. A nice souvenir maybe, but many readers can safely pass on this without worrying too much

----- Norman Darwen

RAUNCHY BUSINESS – HOT NUTS & LOLLYPOPS
Various Artists
SPV/ Blue 42542 CD

GREAT BLUES GUITARISTS – STRING DAZZLERS
Various Artists
SPV/ Blue 42552 CD

ARETHA FRANKLIN
Aretha Sings The Blues
SPV/ Blue 43092 CD

www.spv.de

Looks good, doesn’t it? But just hang on a minute. It is generally accepted that when the future Queen Of Soul signed with Columbia in 1960, the label didn’t really know what to do with her. It wasn’t until Atlantic picked her up five years later that her career really took off. However, Aretha did have some hits with Columbia (even if they did not compare with what was to come) and she made nine albums. This compilation cherry picks through that catalogue.