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I started a quest to find terrific blues music and incredible musicianship when I was just a little kid. I also have a tremendous appreciation of fine musical instruments and equipment. One of my greatest joys all of my life was sharing my finds with my friends. I'm now publishing my journey. I hope that you come along!
I just received the newest release, B's Expression, from Al Basile and it has a nice groove. Opening with Whole Lot of Good Good Lovin', a smooth blues with a laid back cornet and vocal lead from Basile and Duke Robillard setting on a real nice guitar lead. Mark Teixeira on drums, Bruce bears on keys and Brad Hallen on bass hold down the bottom. On swinging, It Wasn't That Good, Bears on keys, Doug James on sax and Carl Querfurth form a warm bed for Basile's vocals. Bears takes a melodic key solo and Robillard lays down a sporty jazz/rock solo of his own. R&B based, Not Like I Do, has a cool bass line from Hallen. With a bit of a funky hitch, Basile steps up with a really nice cornet solo. Very cool. Hi steppin, Don't You Ever Get Tired Of Being Right really rides on the solid trombone work of Querfurth. Soulful vocals from Basile are tops and Bears lays out a nice piano solo. Basile sets in a short cornet solo of his own but this track is really about the vocals. Funky, I'm Runnin' Late, has a great bass line from Hallen and James and Querfurth pump up the middle. I really like Basile's cornet attack/soloing on this track. Very nice! Have I Given My Best has an earth spiritual feel (Will The Circle Be Unbroken) with a soulful twist. Some of Basile's nicest vocals on the release, this track is an easy airplay. Another hi stepper, Never Good Enough, has a distinct Al Green feel. Querfurth and James really do a nice job of punctuating this track throughout and Robillard adds some cleverly placed blues riffs of his own. I particularly like his guitar solo on this track nicely blending the funky R&B feel with definite blues riffs. Excellent! Somethin's Missing has an easy funky jazz feel again nicely punctuated by the horn section. Setting itself up nicely for Basile on cornet, he takes front and center laying down a nicely articulated solo. An easy sway led by Querfurth and James opens Answer Me, with it's Fagen like vocals. Robillard again nicely fuses hot blues riffs into this fusion track and Basile has great tone delivering solo lines of his own. Very nice! Funky, I Didn't Come Here To Lie, has a hot bass line by Hallen and solid horn lines keeping the track grounded. Basile's cornet work is so casual and sweet it fits perfectly. Ballad, Even Jesus Fell, has a soulful feel with a swing. Based mostly on horn base and nicely executed key work from Bears, it's a nice showcase for Basile on vocal and nice melodic guitar soloing by Robillard. Super R&B track, That Ain't Bad, has a nice weave of funky bass, horns and stinging guitar. Basile knows how deliver the goods vocally on this best of show and his cornet work is tight. Sweet! Wrapping the release is You Know - You Don't Know is opened by jazzy riffs by Hallen on upright bass. A quiet soothing track with carefully dabbed brushstrokes of cornet, piano, trombone, sax and guitar make this a masterful conclusion.
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I just received the newest release, Modern Classic, from Robin Banks and it has an appeal all it's own. I've listened to this a number of times now and it has a clearness and clarity that is rarely heard in today's music. Opening with A Man Is Just A Man, Banks demonstrates the clarity of her voice and also her intentions of making a album of music that came out of a '57 Chevy. It has that kind of simple human quality. Superhero is a easy bop with really nice guitar work from Duke Robillard. Again the sound is early sixties pop. I Really Dig You goes back even a bit further to possibly Dinah Washington and that early pop jazz sound. Bruce Bears on keys and Robillard spice up the track with clarity and swing and Mark Early lays out a real nice sax solo as well. Crazy has some really cool guitar effects and Doug James really lays in some nice Bari sax. Mark Teixeira keeps the rhythm tight giving it a nice sparkle and again Early steps up and kicks it! My Baby Loves Me has a real nice easy swing and Doug Woolverton hits the muted trumpet. The bluesiest track on the release is also my favorite and possibly the best demonstration of Banks vocal style. Robillard lays down some really nicely articulated guitar solos and Doug James bottom supplied sax is tops. A Little Bit Of Heaven has a Latin feel with Teixeira coaxing pure rhythm out of the track. Bruce Bears riffs sound like they were born in Cuba and Banks is spot on vocally. Robillard lays in a light fingered Latin guitar solo and Brad Hallen takes on the lead instrumentally with Bears as the track steps up to full swing. I'll Meet You There has an Al Green R&B feel but with more southern soul vocals. Early again steps up with a hot sax solo and Banks vocal duet and Woolverton on trumpet gives it that Memphis sound. Bears opens Tonight with spy piano riffs and Banks gets into that pop jazz swing. Bears and Robillard trade instrumental lead on this track and even Hallen and Teixeira get into the action. Cool! Bite Your Tongue has that good southern funky soul with horn punctuation. Bears takes a hot organ solo and Robillard throws down as well. A sassier vocal style on this track really lends itself nicely to the styling. On boogie track, You Boogie Too Fast For Me, Bears and Hallen give the boogie a ride. A slick piano interlude by Bears adds significantly to the overall feel. Ballad, A Place In The City, finds Bears delivering a gospel or Robbins if you will, piano style giving the track a country sound. Robillard lays down some double stop guitar work that even more enforces the overall country sound. Wrapping the release is Some Day Soon, another pop jazz track with Banks swinging out. Bears is light and bright on the keys and Teixeira on brushes allows the warmth of Hallen to come through having the feel of a true jazz trio (quartet with vocal). This is a different kind oof blues for a lighter listen but I believe that there is a strong audience out there for exactly this.
If you support live Blues acts, up and coming Blues talents and want to learn more about Blues news and Fathers of the Blues, Like ---Bman’s Blues Report--- Facebook Page! I’m looking for great talent and trying to grow the audience for your favorites band!- ”LIKE”
I just received the newest release (October 21, 2014), The Blues Soul of Billy Boy Arnold, from Billy Boy Arnold and it's solid. Opening with R&B track Coal Man, Arnold leads the way on vocal with heavy support from Rich Lataille on sax, Mark Earley on sax and Doug Woolverton on trumpet. Hopping right on the harp on the intro of the classic I'd Rather Drink Muddy Water, Arnold plays this boogie out with slick guitar work from Duke Robillard and Bruce Bears who always shines on piano. Taking the last solo spot on the track Arnold rips out a nice one chased by Mark Teixeira on drums. You Give Me Nothing To Go On has a solid R&B feel with Robillard stepping up with a nice solo. Arnold hops on a cool solo of his own and Bears rolls high under the melody. 99 lbs., another R&B laden track is straight up rolling straight to the radio with it's hook. Joe Tex's A Mother's Prayer is a high stepper with warm backing vocals from Anita Suhanin and Jack Gauthier. On classic St. James Infirmary Arnold opens with a solitude harp solo, breaking into a smooth swing number. Arnold really has a relaxed vocal style on this track, complimented as Bears plays a really nice piano solo and Robillard some tight guitar riffs. Don't Set Me Free has a Latin rhythm and a tight fast paced night club sound with round backing vocals and full horn backing. Lataille lays down a really nice sax solo and the deep bottom is nicely complimented by Earley as Woolverton wraps the track with a hot trumpet riff. 12 bar blues number, What's On The Menu Mama, has a great blues feel and Arnold gets a nice groove going. Bears adds substantially throughout the track with great piano riffs and Robillard lays in a real nice guitar solo as well. My favorite track on the release, BB King's Worried Dream, is a perfect blend of Arnold on vocal and Robillard's guitar. Brad Hallen lays down just enough bass to cook this track and Robillard really digs deep creating that eye closing moment when you just sit back and groove. Very nice! Next up is Chuck Berry's Nadine. Holding much of Berry's original feel but with just a little bit more boogie, this is a cool track. Robillard also lays in a stylized Berry like riff closing the track. The classic, Work Song, seems a natural for this band with it's lineup. Arnold sings somewhat "naked" for a bit of the track but building backing as the track rolls. Bears takes a really nice jazzy solo first and as always his style is stellar. Robillard is up next and there's no questioning his unmistakable talent and taste. Very nice! Dance For Me has a basic Hooker form at it's core with raw vocals, uneven timing, stripped down harp and guitar. Very nice! Boogie track Ain't That Just Like A Woman really is the best track to feature bears on piano and he doesn't miss a second. Arnold does a real nice job on vocals and plays a loose harp solo on this track. Robillard spins a hot solo of his own bringing Arnold back to wrap it up on harp. Closing the release is well known, Keep On Rubbing, and Arnold delivers his vocals in a sly style with Robillard adding just the perfect riff to polish up the track.
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I just received the newest release (May 20, 2014), Woke Up In Memphis, from Al Basile and it's a giant bowl of R&B and soul. Opening with Yesterday You Left, a poppy R&B track with solid sax contributions from Rich Lataille and Doug James and cornet and vocals from Basile. Duke Robillard plays a plucky solo on this track supported by Bruce Bears on organ, Mark Teixeira on drums and Brad Hallen on bass. Don't Make Me Beg has a super feel with Basile really getting in the groove vocally. A loose and airy cornet solo followed by a tight guitar riff from Robilard tops this track. When Things Get Tough is a straight up R&B pop track. One More Stone In The Pitcher has a really nice feel along the lines of Al Green with warm vocals and well balanced horns and keys. Bears takes a real nice organ solo on this track also letting the door open for Basile to follow with a really melodic solo of his own on cornet. Title track, I Woke Up In Memphis, is a quick paced almost spiritual track also featuring Robillard playing some finger picked guitar and punctuation from Basile on cornet. Jimmy & Johnny has a traditional Memphis ballad sound and a catchy melody. I particularly like the rich guitar work of Robillard on this track. Saved By The Blues has a great strut with horns pushing the way. Basile's vocals are well integrated and soulful. Both Robillard and Basile lay down some nice solos on this track. Nibblin' Through The Fence is a nice easy ballad with tasty little riffs by each player. Make A Little Heaven features Sista Monica Parker on vocals and classic Memphis horn work making this a nice pop R&B track. Too Tough has a really distinctive swing and Basile really capitalizes on it both vocally and instrumentally. Possibly my favorite track on the release, Robillard really steps it up with a great bluesy guitar solo over bears on organ and Basile also does some of his strongest cornet work on this track as well. Nicely done. You Choose Me is another stand out track with a strong strut. Basile's vocal strength is supported by solid horn work by his own cornet work and of course the work of James and Lataille. Drummers never get the pats they deserve but Teixeira really keeps a tight ship on this release. The release is wrapped by Masked Man, a funky R&B track allowing some of the most effective soloing by Basile on the release. Robillard also hits a nice groove on this track of course supported by Bears, Teixeira, Hallen, James and Lataille. This is a cool release capitalizing on the R&B styling from Memphis and I think that he does a nice job of pulling in cool blues, jazz and rock influences for a unique package.
If you support live Blues acts, up and coming Blues talents and want to learn more about Blues news and Fathers of the Blues, Like ---Bman’s Blues Report--- Facebook Page! I’m looking for great talent and trying to grow the audience for your favorites band!- ”LIKE”
This video is not from the current release but representative of Basile's work.
I just received a copy of Tomorrow, the newest release by Andy Poxon. This is a much more mature release than his earlier release, Red Roots, which came out on Eller Soul records last year. This release, produced by Duke Robillard, opens with Too Bad, a R&B style blues track blending really nice vocal harmonies, horns and flashy Texas style blues riffs. You Lied has a strong melody line and with the Rich Lataille and Mark Earley on sax backing, Poxon is really starting to sound like a young Jimmy Hall in musical style. A tasty guitar player he takes a short guitar break but sticks to the business of what is basically a strong radio track. College Boy brings a rock n roll piano boogie lead by the great Bruce Bear and bringing all of the spirit of JL Lewis. Don't Come Home really starts to solidify Poxon as a vocalist with experience, the great sax arrangement behind the track really warming up the bottom and with an beautifully tasty guitar solo in the middle makes this a choice for crowd pleasers. The title track, Tomorrow, is a bluesy ballad, is a really strong track and Doug Woolverton plays some really crisp trumpet riffs over the melody. This band is killer and it's not surprising that Mark Teixeira, Lataille, Earley and Woolverton show up on a lot of recordings. There is a really strong jazz guitar instrumental in the center of this track that is just right. Duke Robillard and Poxon share the guitar chair and they make a great team. The arrangement on this track is perfect. Just beautiful. Latille takes a great sax solo on All By Myself complimented by some great Nashville picking by Poxon. There are little things about this recording that really make it special like the dixieland horn treatment in one area of this track really set it off. On You Don't Love Me, a basic Latin style blues track, the bluesy breaks are really productive with smokin guitar riffs and using Poxon's voice as an instrument to push the track. Really nice. Please Come Home has a more traditional R&B styling with a real familiar feel. Opening with Bear and his clean piano work, Poxon takes another opportunity to stand up front and sing, with the sax men carrying the bottom. There is a guitar break and extremely melodic guitar riffs. I don't know how much influence Robillard had on Poxon in this recording but the guitar work on his most recent recording, his strongest in years, seems to be carried forward here. On One More Time, Poxon shows his vocal youth but also his willingness to explore other music. This track one of the 13 written by Poxon on this 14 track endeavor, sounds like it could be right out of the Porter Wagoner songbook. Quite a switch from the polished jazz and blues tracks throughout the release but nicely done. Frankie Blandino add some nice steel work to this track giving it some real C&W flavor and I really like the honesty of the track. Last up is Jammin' At Lakewest, the only Robillard composed track on the release. This is a really slick guitar bop jazz jam. Extremely tasty and strong. Robillard has brought a whole new world to Poxon's feet and he has made good use of it. Now we have to wait and see what he does next. I'll be looking forward to it!
If you support live Blues acts, up and coming Blues talents and want to learn more about Blues news and Fathers of the Blues, Like ---Bman’s Blues Report--- Facebook Page! I’m looking for great talent and trying to grow the audience for your favorites band!- ”LIKE”
I just received a copy of Tomorrow, the newest release by Andy Poxon. This is a much more mature release than his earlier release, Red Roots, which came out on Eller Soul records last year. This release, produced by Duke Robillard, opens with Too Bad, a R&B style blues track blending really nice vocal harmonies, horns and flashy Texas style blues riffs. You Lied has a strong melody line and with the Rich Lataille and Mark Earley on sax backing, Poxon is really starting to sound like a young Jimmy Hall in musical style. A tasty guitar player he takes a short guitar break but sticks to the business of what is basically a strong radio track. College Boy brings a rock n roll piano boogie lead by the great Bruce Bear and bringing all of the spirit of JL Lewis. Don't Come Home really starts to solidify Poxon as a vocalist with experience, the great sax arrangement behind the track really warming up the bottom and with an beautifully tasty guitar solo in the middle makes this a choice for crowd pleasers. The title track, Tomorrow, is a bluesy ballad, is a really strong track and Doug Woolverton plays some really crisp trumpet riffs over the melody. This band is killer and it's not surprising that Mark Teixeira, Lataille, Earley and Woolverton show up on a lot of recordings. There is a really strong jazz guitar instrumental in the center of this track that is just right. Duke Robillard and Poxon share the guitar chair and they make a great team. The arrangement on this track is perfect. Just beautiful. Latille takes a great sax solo on All By Myself complimented by some great Nashville picking by Poxon. There are little things about this recording that really make it special like the dixieland horn treatment in one area of this track really set it off. On You Don't Love Me, a basic Latin style blues track, the bluesy breaks are really productive with smokin guitar riffs and using Poxon's voice as an instrument to push the track. Really nice. Please Come Home has a more traditional R&B styling with a real familiar feel. Opening with Bear and his clean piano work, Poxon takes another opportunity to stand up front and sing, with the sax men carrying the bottom. There is a guitar break and extremely melodic guitar riffs. I don't know how much influence Robillard had on Poxon in this recording but the guitar work on his most recent recording, his strongest in years, seems to be carried forward here. On One More Time, Poxon shows his vocal youth but also his willingness to explore other music. This track one of the 13 written by Poxon on this 14 track endeavor, sounds like it could be right out of the Porter Wagoner songbook. Quite a switch from the polished jazz and blues tracks throughout the release but nicely done. Frankie Blandino add some nice steel work to this track giving it some real C&W flavor and I really like the honesty of the track. Last up is Jammin' At Lakewest, the only Robillard composed track on the release. This is a really slick guitar bop jazz jam. Extremely tasty and strong. Robillard has brought a whole new world to Poxon's feet and he has made good use of it. Now we have to wait and see what he does next. I'll be looking forward to it!
