Appaloosa Records artist: Fabrizio Poggi & Chicken Mambo - Spaghetti Juke Joint - New Release review

I just received the newest release, Spaghetti Juke Joint from Fabrizio Poggi & Chicken Mambo and it's a blast! Opening with Sonny Boy Williamson's Bye Bye Bird, Poggi on harp and lead vocals has the joint hopping already. Guitar riff master Enrico Polverari really drives the boogie and with reckless abandon... Boogie! Up next is Slim Harpo's King Bee with a New Orleans feel set up by the drum march styling of Gino Carravieri. Claudio Noseda lays down a really nice piano base and guitar slide king Sonny Landreth trades terrific riffs with Poggi. Excellent! Another boogie track, Little Milton's The Blues Is Alright is a special track being one of the best versions of this track that I have heard. Featuring the smooth guitar flair of Ronnie Earl, driving bass lines of Tino Cappelletti and strong back beat of Caravieri this track is cool! Original track, Devil At The Cross Road, has a real nice gait and stinging guitar riffs from Polverari. Excellent! On Junior Parker's Mystery Train, Noseda lays down some soft organ work and Poggi really lays on the harp. This is Chicago blues as it was when it was. Polverari shows he really knows how to grind the fretboard. Very cool! Tom Waits' Way Down In The Hole has a bit of a Latin feel and nice backing vocals. Poggi squeezes the harp with a seasoned hand, making it cry the blues. Again Polverari steps up and blows the doors open with his hot guitar riffs. Smooth. Sonny Boy's Checkin' Up On My Baby is a straight up 12 bar with a nice groove. Polverari takes full command with great blues riff prowess. Poggi lays back in the groove and rides the wave. Excellent! Blind Lemon Jefferson's One Kind Favor takes a Tex/Latin rhythm with strong blues overtones. Poggi handles vocals nicely and trades really slick riffs with Polverari making this one of the coolest tracks on the release. Bob Margolin feeds a hungry slide guitar on Mojo, a funky blues track backed by Noseda on organ. With excellent riffs from Margolin, Polverari and Poggi's classic harp styling, this track rocks! Even BB King's Rock Me Baby gets a taste of Latin. Noseda adds some New Orleans flavor with accordion and does a really nice job with a funky piano solo as well. Poggi and Polverari both take their turn on solo and never waste a note. Very nice! Nobody takes a very basic blues feel and builds it with rolling harp riffs from Poggi and additional lead vocals from Sara Cappelletti who really adds some spice. Polverari is hot on the frets with stinging lead guitar work and Tino C has the bass hopping. Another excellent track! I Want My Baby has strong New Orleans style rhythms reinforced by Stefano Spina on percussion and Claudio Bazzari on slide guitar. It needs to be pointed out that there is quite a bit of nice slide work on this release by a number of different players. Carravieri gets a chance to open up his drum kit for a tight solo... love it! Wrapping the release is Big Joe William's Baby Please Don't Go, in fairly traditional style but with back beat drumming by Carravieri. Poggi leads the way out on harp. This is quite an excellent release and one that I highly recommend.

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Red House Records artist: Jorma Kaukonen - Ain't In No Hurry - New Release review

I just received the newest release (February 17, 2015), Ain't In No Hurry, from Jorma Kaukonen and it warm and soothing. Opening with a laid back version of classic Nobody Knows You When You're Down And Out, featuring Jorma on vocal and guitar, Myron Hart on bass, Justin Guip on drums and Larry Campbell on mandolin and fiddle. A loose folk country jam creates a very nice opener. The Other Side Of The Mountain has a rockier but acoustic feel with Campbell and Jorma trading riffs. Woody Guthrie's Suffer Little Children To Come Unto Me has a distinctive Jorma/Dead sound with a cool recurring guitar riff. In My Dreams is a quiet acoustic ballad featuring Jorma, Barry Mitterhoff on mandolin and Myron Hart on bass. Very nice! Sweet Fern is a true country classic with a waltz rhythm, my last time hearing it was on the Porter Wagoner show. Joined by Teresa Williams on vocal, and with Campbell on lap steel it definitely has a early country feel and performed much more cleanly than on Porters show. Smooth! Title track, Ain't In No Hurry, is back more in what I would consider more of a pure Jorma sound backed by Campbell on steel this has classic lines with a steel stinger. Depression Era track, Brother Can You Spare A Dime, has a real nice rag feel with only Jorma and Mittenhoff. A fresh feel and cleanly picked, this is one of my favorites on the release. Where There's Two There's Trouble has a simple two step rhythm and features a duet with Teresa Williams. A fuller band with Guip, Hart and Campbell, this track almost takes a full country blues gallop. With a Gary Davis like style with some swing, The Terrible Operation really develops a sweet groove. Campbell and Jorma really do a nice job instrumentally and Guip adds an especially nice punch. With solid radio potential, Bar Room Crystal Ball is a straight forward Jormarocker with cool mando riffs by Mitterhoff and steel riffs from Campbell. The release is wrapped by Jorma alone on vocal and guitar singing ballad, Seasons In The Field.

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Blues 102 Announces Blues Show for Youth

Introducing Half Pint Blues A Unique Show for today's youth Social Media/Internet Radio station Blues102.com has raised the bar again starting in January Blues 102 will be adding an additional show to their list of programs, this show will be titled 'Half Pint Blues'. Half Pint Blues will be a blues show targeted for kids. Kool Breeze, one of Blues 102's radio hosts, approached Blues 102 Program Director Bill Kenton with the idea. Bill immediately agreed saying, "This ties in to our mission statement of supporting the blues and doing our part to keeping the genre alive and flourishing.  It's the children that legacy will fall to."  Kool Breeze adds that, "It's all about the kids." Gizmo Media Stations management team, Rich Strunck, Katrina Kenton, and Bill Kenton are extremely excited about the Half Pint Blues offering including the initiative and follow through exhibited by Kool Breeze. Said Bill, "She has a great idea and she's taken the ball and is running with it." Kool Breeze has been in contact with multiple artists from around the country gathering music for the show which will primarily be geared towards elementary to middle school age children. The show is scheduled to begin on January 5th and will air at 5pm EST on Mondays and Wednesdays, lasting up to 30 minutes. The Half Pint Blues shows will be archived on the Blues102.com website so that children around the world will be able to listen to the shows at their convenience. Currently there are also talks about adding a few one hour segments online for schools to play during lunch hours if so desired. For more information on Half Pint Blues or if you're an artist who wishes to be involved please feel free to contact Kool.Breeze@gizmomediastations.com or Bill.Kenton@gizmomediastations.com In closing: Gizmo Media stations has also added a few new features to their website. Artists can now link videos directly in the 'Community' section viewable from all the station pages. They've also added a 'Featured Artists' page for artist promotion. See www.gizmomediastations.com for more info.

The music is within them - instruments help bring it out got an old instrument lying around? Donate it to a school band director something good will come out of

Shaboo/VizzTone artist: D.A. Foster - The Real Thing - New Release review

I just received the newest release (1/13/15), the real thing, from D.A. Foster and it's a lot of fun. Opening with Good Man Bad Thing, D.A. Foster gets up a funky groove with Mike Finnigan on B3 and Lenny Castro on percussion. Darrell Leonard (trumpet)and Joe Sublett (sax) put down some warm horn work and Johnny Lee Schell blows through with fome hot fret work backed by Julie Delgado, Nita Whitaker and Mike Finnigan on backing vocals. On title track, The Real Thing, Foster gets a real strong sway going with Finnigan on piano and bluesy guitar riffs from Schell. Tony Braunagel on drums and Larry Fulcher on bass set the pace. We All Fall Down has a real nice R&B feel with lead guitar work from Josh Sklair and piano work from David Garfield. With Steely Dan brilliance and smooth vocals, this is the top radio track on the release. Funky Ain't Doing Too Bad gets Foster into a whole new territory with a swampy groove punched up by the horn section. Very nice! Soul track, This Time I'm Gone For Good, shows Foster's vocal prowess with a nice easy pace and light piano and B3 work backing. Schell lays in a really bluesy guitar solo adding a cool edge to the track. Eddie Hinton's Super Lover is a funky swampy R&B smash. Cool! I Need A Good Woman Bad is one of those tracks that just gets into you.. super groove with Finnigan and Foster just getting down. Backing vocals from Finnigan, Whitaker and Delgado, nice guitar work from Schell a hot B# lead from Finnigan and super bass work from Fulcher top this track. Classic blues/jazz track, Smack Dab In The Middle, gets a real tasty swing and light vocal backing chased by Finnigan. A different take on a classic track with a hot horn solo from Sublett really dresses it up. On Bill Wither ballad, You Just Can't Smile It Away, Foster really does a super job and a beautiful melody composed by Withers. Garfield takes the piano on this track and Sklair lead guitar but the star soloist is Leonard on trumpet. Very nice! On Brooke Benton's Lie To Me, Foster does a really nice job of bringing the best to the track. His deep resonate vocals accompanied by the backing vocals of Delgado, Whitaker and Finnigan and a really supple sax solo by Sublett make this one of the best on the release. On jazz classic, Gee Baby Ain't I Good To You, Foster again really shine vocally with the track hitting hiim square in his sweet spot. Finnigan and Sklair both craft nice solos adding to the warmth of the track. Wrapping the release is Down Home Blues, a basic 12 bar with a Jimmy Reed feel. Finnigan takes a cool B3 solo and along with Foster's vocal leadership and strong vocal backing sits on a solid base by Braunagel and Fulcher.

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James Wheeler has Passed - Our thoughts are with his family and friends

It is with great sorrow that we learn that the great James Wheeler has passed away. Our thoughts are with his family and friends. We will release more details as they become available. James will be greatly missed at Rosa's Lounge, in the Chicago blues community and throughout the world. He was one of the sweetest human beings we have ever encountered and what a wonderful singer and picker he was too. Rest in sweet peace our dear James.

Blues guitarist James Wheeler was born in Albany, GA, on August 28, 1937. His earliest musical influences were the big bands of the time, especially Glenn Miller, Duke Ellington, and his first idol, Louis Jordan. Following his older brother Golden, Wheeler moved to Chicago in 1956. Golden had started playing harmonica in the clubs, becoming friends with many blues musicians, including Little Walter. It was after the move to Chicago that James Wheeler picked up the guitar and started jamming with local musicians. Wheeler's first big break came when he played guitar with Billy Boy Arnold, which lead to the formation of the Jaguars in 1963, backing up B.B. King, Millie Jackson, O.V. Wright, and Otis Clay. Clay was so impressed with Wheeler's playing that after the Jaguars broke up in 1972 he asked Wheeler to put together his touring band, which lasted three years. Following a brief tour with the Impressions, Wheeler took a non-music day job, picking up weekend gigs here and there for the next decade. In 1986, Wheeler received a call from Otis Rush asking him to play a weekend gig that turned full-time, lasting until 1993. After recording and touring stints with Mississippi Heat, Magic Slim, and Willie Kent, he released his much anticipated solo recording, Ready, in 1998 on Delmark Records. Featuring ten original tracks plus three covers, his band featured brother Big Golden Wheeler on harmonica and pianist Ken Saydak. Following a hectic tour schedule through Europe and South America, Wheeler's second release, Can't Take It, followed in 2000, again, on the Delmark label. Can't Take It spotlights all original compositions by Wheeler, fronting the same band, with the exception of Ron Sorin replacing Big Golden on harp.

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Delta Baby Music artist: Wumbloozo - House Money - New Release Review

I just received the newest release, House Money, from Wumbloozo and it rocks! Opening with blues rocker, Lucky 13, Michael Richard is up front on lead vocal and guitar and Herbie Katz on harp. Stan Harrison warms the bottom on keys and Mark Peters on bass and Ben Beckley on drums keep it tight. On funky track Losin' Ticket Blues, guitarists Greg Krueger and Richard on guitar add a lot of the funk to Richard on lead vocal and Beckley really has the groove. Very nice! Eric Brown joins on harp on I Lost My Key To The Highway, a straight up 12 bar number hitting a nice duel with Krueger on the bridge. Still Still Night is a quiet bluesy ballad featuring strong vocals from Richard. Subtle harp harmonic lines from Katz nicely appoint the track. Title track, House Money is a pop track with a Dire Straits/country flair. Stylized guitar work from Richard and Kreuger adds a nice touch to this radio styled track. Night Train hits the road running with Joe Bull on lap slide. A driving track with open road, this track has both the hook and the guitars. Very nice! Poh Boy has a New Orleans feel with slinky groove and funky rhythms. I particularly like the piano work of Stan Harrison on this track with the cool slide guitar work. Cadillac Rag has a cool Jimmy Reed style and an almost Billy Powell piano feel by Harrison. With clever lyrics and a catchy beat, this track could easily find radio play. Wake Up Daddy is a cool blues rocker with a lot of swing. With a call and response of vocal lead and harmonies as well as country style guitar riffs and crisp piano work, this track is a real foot stomper. Breaking into a rowdy slow blues guitar riff, this track turns serious in a hurry. Richard is screaming the blues and Harrison is drilling the piano. Katz draws out some really nice harp riffs on this track eliciting crowd response and coaxing a sting guitar solo as well. Excellent! Lulubelle has a real old style country rock sound right down to the vocal delivery. This track from be from the Byrds or the Burritos but it's cool and that's that. Wrapping the release is Sing To The Mule, a simple 12 bar number with a simple bass line and rhythm guitar riffs supporting lead vocals. With it's two step beat and dual lead guitars, this track is a solid conclusion to a pretty cool release. Oh...and I dig the cover photos... very cool!

  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”

 

Acclaimed Guitarist Arlen Roth Convenes a "Slide Guitar Summit" on New CD, Due January 13

Acclaimed Guitarist Arlen Roth Convenes a Slide Guitar Summit on New CD, Due January 13,

with Special Guests Johnny Winter, Sonny Landreth, David Lindley, Rick Vito, Jimmy Vivino, Jack Pearson, Lee Roy Parnell, Cindy Cashdollar and Greg Martin, Produced by Tom Hambridge

CD Release Performance with Special Guests Set for Nashville’s City Winery on January 20 to Include Screening of Film Documentary on the Making of the Album

RIDGEFIELD, CT - Guitarist Arlen Roth, the “Master of the Telecaster,” announces a January 13 release date for his new CD, Slide Guitar Summit, which teams the acclaimed musician with an incredible lineup of fellow slide guitar greats – Johnny Winter, Sonny Landreth, David Lindley, Rick Vito, Jimmy Vivino, Jack Pearson, Lee Roy Parnell, Cindy Cashdollar and Greg Martin – for what promises to be one of the most celebrated albums of the new year. Produced by Grammy winner Tom Hambridge, Slide Guitar Summit was recorded at studios in New York, Nashville and Connecticut. Roth will release the new CD on his own Aquinnah Records imprint.  

Arlen Roth will celebrate the release of Slide Guitar Summit with a special CD release show at the City Winery in Nashville on Tuesday, January 20, where he’ll be joined onstage by many of the guitarists on the new album (http://www.citywinery.com/nashville/). Fans at the album show premiere will also be treated to a screening of the film documentary about the making of the album (Doors open at 5:30 PM; show time: 7:00 PM). An announcement of additional Slide Guitar Summit CD release shows in the northeast will be forthcoming. 

“This Slide Guitar Summit album was a longtime dream come true for me,” recalls Arlen Roth about the recording sessions, “and it's like a group of old friends getting together for a great time that is rooted in our serious mutual love for what we do.”

Recording with the late Johnny Winter was also special for Roth. “Getting to work with the legendary Johnny Winter was such an incredible feeling, and it got the album totally off on the right foot,” says Roth. “It was hard to believe that I was sitting there playing ‘Rocket 88’ with him, when I could remember being 16 years old and watching Johnny from the very front at Woodstock in 1969....this album is of course, dedicated to this slide and blues guitar master who always served to inspire us all.”

Roth has fond memories of all the tracking sessions. “Each player brought something unique to this project and the interaction between me and them is what I was looking for in making each track truly unique” he says. “And Tom Hambridge and I go way back together as musicians and as friends, so I was really happy to be able to see this great producer lend his magic touch to this project. I also loved how so many of the artists came in with some very strong choices for the songs for us to do, and how we got to pay tribute to many of the great slide players before us such as Lowell George, Elmore James and Duane Allman. I suppose the thing about this album that intrigues me the most is how with the common thread of slide guitar we were all able to touch upon so many styles, emotions, traditions and also break new ground at the same time!”

Guitar legend Arlen Roth is considered one of the most influential guitarists of all time, and during the course of his 45-year-career has toured the world and recorded with an amazing list of artists, including Simon and Garfunkel, Bob Dylan, John Prine, Phoebe Snow, Levon Helm, Ry Cooder, Eric Andersen, Dusty Springfield, Janis Ian and The Bee Gees, among others. His teaching and creation of the Hot Licks Video pioneered music and guitar education all over the world, with his videos having sold in excess of 2.5 million copies. His current online lessons and blogs for Gibson.com have over 1 million followers. Arlen was also the man behind the legendary blues film, Crossroads, creating the guitar parts, directing the guitar scenes and working alongside fellow guitarist Ry Cooder and actor Ralph Macchio during the film’s production. He was voted in the “Top 50 Acoustic Guitarists of All-Time” by Gibson.com and in the “Top 100 Most Influential Guitarists of All-Time” by Vintage Guitar Magazine. He has eight best-selling books to his credit, and his book, Hot Guitar, is a compilation of 10 years of his wildly popular column for Guitar Player Magazine.

Roth’s first album Guitarist, won the Montreux Critics Award for “Best Instrumental Album of the Year” in 1978, and his last album, All Tricked Out!, garnered four Grammy nominations. His new Slide Guitar Summit CD is similar in approach to his classic and legendary album, Toolin’ Around (1993), which featured duets with guitar greats such as Danny Gatton, Duane Eddy, Brian Setzer, Duke Robillard, Albert Lee, Sam Bush and Jerry Douglas, and which also became a film documentary. He followed up that album with Toolin’ Around Woodstock, with Levon Helm, Sonny Landreth and Bill Kirchen.

Arlen Roth continues to record and tour all over the world. His current band, The Cordobas, features Eddie Denise on bass, Shannon Ford on drums and Chris Foley on second guitar. His daughter, Lexie Roth, also sings with the band, and has become a superb recording artist, singer and songwriter in her own right, with many credits to her name, such as singing on the recent Les Paul tribute album, plus singing the blues classic, “Night Life,” on the album with Levon Helm.

Arlen Roth is also the founder and CEO of the new “International Guitar Hall of Fame and Museum.”

Slide Guitar Summit Track Listing

Do What's Right: Jack Pearson & Arlen Roth

Dust My Broom: Lee Roy Parnell & Arlen Roth

Stranger on the Shore: Cindy Cashdollar & Arlen Roth

Rocket 88: Johnny Winter & Arlen Roth

Sonny Skies: Sonny Landreth & Arlen Roth

Her Mind is Gone: David Lindley & Arlen Roth

Peach Pickin' Time in Georgia: Greg Martin & Arlen Roth

Paradise Blues: Rick Vito & Arlen Roth

Dixie Chicken: Lee Roy Parnell & Arlen Roth

One Child Born (And When I Die): Jimmy Vivino & Arlen Roth

Steel Guitar Rag: Cindy Cashdollar & Arlen Roth

You Really Got a Hold on Me: Rick Vito & Arlen Roth

Poor Boy Blues: Jimmy Vivino & Arlen Roth

Amazing Grace: Greg Martin & Arlen Roth

Conner Ray Music artist: Steve Krase - Buckle Up - New release review

I just received the newest release, Buckle Up, from Steve Krase and it really cooks! Opening with a fast paced 50's style rocker, Jolene, piano man Randy Wall hits the floor running and sets a healthy pace for Krase on harp and vocals. James Henry lays out the slide and this track is on fire! Cherae Lerie adds rockin background vocals with Terry Dry on bass and Michael Morris on drums. Daddy's Got A Cadillac has an eclectic blues rock feel with steady slide work and nice harp riffs. With just a pinch of country, this track reminds me a bit of early ZZ Top. Blues classic, I Just Want to Make Love To You takes on the characteristics of the remake by blues rocker Foghat but with a flavor all it's own. Featuring round harp riffs from Krase and deliberate vocal style of Krase ad Trudy Lynn, this keeps more of the ruggedness of the original with an updated rhythm. Very cool. Misery is a smooth 12 bar with really nice harp work from Krase. With a solid groove this is a great rhythmic romper. Henry opens Night Train (From Oakland) with red hot guitar riffs leading into a slow paced down and dirty arpeggiated blues track. Krase takes center stage vocally and Henry steps up with some really soulful guitar riffs. If you want to hear someone really dig in on guitar, at over 7 minutes, this is it. Excellent! Blueshound has a really cool feel not unlike some of the early blues tracks from Savoy Brown with a taste of country. Rock Romano adds some nice vocal harmonies and Henry some slippery sliding as well. Bobby Markoff leads the way on keys on I Like Them All, a Chicago style blues track. Krase steps up with a hot harp solo and Henry is hot on his heels on slide. Great track! Title track, Buckle Up, has an easy pop country pace with a blues base. Big Bad Woman has a great groove led by Rick Romano on bass and Bobby Markoff on keys. Krase takes the lead on harp and vocal, setting the pace and Henry steps up with a nicely articulated solo of his own. With a full foot stopmer, Henry and Krase take it home. Wrapping the release is Now, a bluesy War like instrumental with Krase riding high on harp. An excellent completion to a fine recording.

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Joe Cocker has passed - Our thoughts are with his family and friends

British singer Joe Cocker, whose had hits that included "You Are So Beautiful" and "Up Where We Belong," and a contortionist style of performance memorably parodied by John Belushi on "Saturday Night Live," has died. He was 70.
His London-based agent, Barrie Marshall, said Cocker died Monday of lung cancer in Colorado, where he has lived for the past two decades.
  © The Associated Press FILE - In this Sept. 12, 2000 file photo, singer Joe Cocker poses in Central Park in New York. Cocker, best known for the songs, "You Are So Beautiful," and the 1980s duet "Up Where We Belong," with Jennifer Warnes, died Monday, Dec. 22… Cocker, a song interpreter more than a songwriter, first became known through his hit cover of the Beatles' "With a Little Help From My Friends," and a characteristically manic performance at the first Woodstock festival in 1969. His raucous "Mad Dogs & Englishmen" tour of 1970 produced a film and a recording that went gold.
He had a top 10 hit in 1975 on the aching ballad "You Are So Beautiful," with his voice cracking on the final emotional note and won his first Grammy Award in 1983 for his "Up Where We Belong" duet with Jennifer Warnes, which was the theme of the movie "An Officer and a Gentleman."
Cocker, who received an Order of the British Empire in 2011 for his contribution to music, released 40 albums and continued to tour after the hits dried up.
He was known for an intense, twitchy stage presence where his arms would flail and face contort as he wrung notes from his raspy voice. When he performed on "Saturday Night Live" in 1976, Belushi parodied him onstage, exaggerating his movements by flipping to the ground. It was a clip seen as widely as Cocker's own performances.
Years later, Cocker told The Associated Press' Mary Campbell that he was playing an imaginary piano and air guitar while singing — the elements that contributed to this unique style.
"That was the frustration of not being able to play, really," he said.
Cocker moved to Crawford, Colorado, a town of fewer than 500 people, in the early 1990s. He and his wife, Pam, ran a children's educational foundation — the Cocker Kids Foundation — that raised funds for the town and schools, and ran the Mad Dog Cafe for several years in town, said Tom Wills, publisher of The North Fork Merchant Herald, a local community newspaper.
Wills said Cocker bought about 40 acres of property and built a hillside mansion — which he called Mad Dog Ranch — when he moved to Colorado.
A group of Cocker's friends gathered Monday at community radio station KVNF to play Cocker's songs.
"He had a long battle with cancer. We're trying to do a little tribute for him," said Bob Pennetta, a real estate agent and board member of the Cocker Kids Foundation.

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Root Art Records artist: Steve Lury & Andres Roots - Live In Lerwick - New Release Review

I just received the newest release, Live In Lerwick, from Steve Lury and Andres Roots and it's simply cool! This live performance was recorded at the Shetland Blues Festival in Lerwick in September of 2013. Opening with Jr. Wells' Tomorrow Night, Steve Lury handles vocal and harp and Andres Roots on slide guitar with Peeter Piik on bass. Next up is Sonny Boy Williamson's Born Blind. Roots is excellent on slide nicely balancing Lury's harp work. With a very stripped down approach but with modern amplification, the notes soar. On Tampa Red's Rambler's Blues they pick up the pace a bit and Lury really digs in for some great harp riffs. Roots original, Build Me A Statue, has a slow and somber pace. With Roots leading the way on a slide guitar melody and nice harmonizing on harp by Lury, this is one of my favorite tracks on the release. Very nice! On Robert Jr. Lockwood's Take A Little Walk With Me, Roots really winds out the slide, Elmore James style, with lead vocals by Lury. A hot harp solo in the track over a quickly accelerating rhythm guitar by Roots turns into a sliding foot race to the end. Excellent! On Charles Brown's Driftin' Blues, Lury plays a very nice intro prior to taking the lead on vocal. Gradually building from a quiet track to a very fat slide with harp track the dynamics are quite interesting. Next up is Robert Johnson's Walkin' Blues, and Roots again demonstrates his finesse on slide with super tone. Lury handles vocals and Piik the bass. Muddy Water's Gone To Main Street has a real Chicago feel with Lury leading the way on super harp. This track has super tempo and really gets your blood flowing. Roots picks up the slide work after the first chorus accented by Lury on harp. Then Lury on lead with accents by Roots. Lury wraps the track on vocals with Roots really sailing on slide. Super! Another Muddy Water's track, You Can't Lose What You Never Had, finds the addition of Paul Archibald on drums and a real feel of a Muddy Water's band, sans Water's voice. This band is tight. Roots uses the lowest octave for his early slide work which is contrary to Water's own style but very cool. Then taking the higher octaves, he makes his guitar absolutely sing. A nice open roll for Lury on harp is melodic and crisp. Very nice! Wrapping the release is Memphis Minnie's What's The Matter With The Mill with a driving "Messing With The Kid" style. Roots and Lury jam together on harp and slide for a cool ending to a real traditional blues concert.  

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Robin Banks - Modern Classic - New Release Review

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.

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Silver Street Records artist: Josh Hoyer & The Shadowboxers - Living By The Minute - New Release Review

I just received the newest release (January 13, 2015), Living By The Minute, by Josh Hoyer & The Shadowboxers and I really like it. Hoyer's last release, a self titled CD was hot and this one is a super followup. Opening with soul strut title track, Living By The Minute, Hoyer with his strong soulful voice and fine keyboard playing backed by Denny Kushner on guitar and vocal, Justin G. Jones on drums and vocals, Josh Bargar on bass and vocal, Mike Dee on sax and vocal, Tommy Van Den Berg on trombone, Brian Morrow on flute and Hanna Bendler, Kim Moser & Megan Spain on backing vocal really hit the groove. Excellent! Misfit Children has a funky jazz groove with a hot horn/organ thing. I particularly like the drum riffs by Jones on this track popped by Morrow on flute. Great track! Over The City is s soul/R&B ballad with warm backing vocals and cool trombone by Van Den Berg. A Man Who Believes His Own Lies has a strong radio vibe with swinging pace and pop backing vocals. A nice sax solo by Dee nicely compliments the track. Let It Out is a hard roller along the Ike and Tina or Otis Redding line. Full blown horn backing and crisp drumming from Jones keeps this track moving. The First One is a really nice soul ballad giving Hoyer plenty of space to show his strong voice. Easy backing vocals and soft horns surround Hoyer as he sings. Dee steps up for a really sweet sax solo and the song builds in traditional soul style to a very nice crescendo before a quiet ending. Very nice! Real Time has complex rhythms with straight R&B on top with vocal and drums but with a Latin twist under the bottom with Hoyers keys, backing vocals and supporting musicians. 11:11 333 has a direct Latin Beat and Hoyer really works it. Backing vocalist add a really smooth blanket of sound right up to the time change when the band bridges into a James Brown strut. Kushner pushes even higher with a rich distortion filled electric guitar solo taking the track into a full blown jam. Blood and Bone has an absolute hot groove. A James Brown hits Bourbon Street feel with hot horns, and well phrased vocals. Jones is again setting a hot rhythm and Van Den Berg and Dee crank it up. Excellent! Wrapping the release is Don't Turn Away, a funky but mellower track which just has the feel of a closing track. Van Den Berg and Dee each take hot lap and Kushner lays down some hot riffs as well. A very nice conclusion to an overall excellent release!

  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”

 

Arkansas Street Music artist - Bill Phillippe - Ghosts - New Release Review

I just received the newest release, Ghosts, from Bill Phillippe and it's quite true to it's form. Opening with Robert Johnson's classic, Come On In My Kitchen, Phillippe uses an arrangement very similar to Johnson's own with simple accompaniment but with to my ear more of an African influenced guitar style. Very interesting. Father's Lament is a quiet acoustic ballad with a beautiful melody. Broken Cup has a nice 3/4 pace and war vocals with clear acoustic support. One of my favorites, Keep Your Lamps Trimmed And Burning, has a modern approach to a classic track. With a much more rudimentary beat and contemporary vocals it has a new appeal to contemporary listeners. Tightrope is a moody ballad with a haunting melody. Big Bill's Dream has an interesting sound with blues like strumming but with subtle hints of western music. Traditional track, Motherless Children, has an entirely different feel with a contemporary feel but with thumb bass and a country blues root. The Ballad Of Blind Willie has a sound of sorrow but with more of a European style of writing, almost like of early sailors. God Don't Never Change has the stern sound of Son House and it's solid single string bass line but with contemporary melodic vocals. In My Time Of Dying has the finger style firmly based in traditional blues again with modern interpretation. Nice job. Son House's own Death Letter gets my closest listen with crisp finger picking and stylistic vocals. Very cool. Wrapping the release is a very nice version of You're Gonna Need Somebody On Your Bond. This is the most traditional interpretation of the blues on the release and a cool selection for the final track.

  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”

 

Novax Natural Figured Maple 6-string

These guitars feature stunningly beautiful woods, at times distressed by insects, fungi, and mineral spalting. The organic shape of each instrument is a blend of the shape suggested by the particular piece of wood, inclusion of the natural “raw edge” where practical, and ergonomic considerations. Woods that are both structurally sound and stable are hand carved into three-dimensional musical sculptures; woods that are not structurally sound are laminated to woods that are structurally sound, yielding a more traditional aesthetic. Electronic and pickup offerings will vary, with an eye toward minimizing the visual impact of these non-organic components while retaining versatility. Neck woods are typically vertical grain mahogany or eastern maple, with ebony fretboards; some will have custom inlay. Neck details include fretboard binding to match the body wood and a headstock overlay to match the body wood. Finishes are natural oil to enhance grain depth and detail; they are long-wearing and renewable. The featured woods will often be locally harvested Western maple, Circassian and English walnut, and Oregon myrtle, which are fully air-dried and resawn at our shop. Exact specifications for each instrument will be included with photos.


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”

 

Mar Vista Music artist: Donald Ray Johnson - These Blues - The Best of Donald Ray Johnson - New Release Review

I just received the newest release, These Blues - The Best of Donald Ray Johnson, and it's quite good. Opening with Al Green's Ain't No Fun To Me, Johnson hops right on Al Green's rhythm train and sticks it! Cool harp work over the melody gives it a more bluesy taste that Green's original R&B track. Gone So Long has a real nice blues saunter with call and response vocal/guitar riffs. An extended guitar solo with a Taj Mahal feel sets it off. With BB King style, title track, These Blues has a solid drive and stiff guitar riffs. A cool sax solo also sets this track apart. Pop ballad Always On My Mind is performed by Johnson with accompaniment on acoustic guitar. A crisp electric guitar solo add nice flavor. Slow Down Baby has a big swing and fat sax. One of the nicest grooves on the release, the guitar is hot and tasty. R&B style track Here To Stay features Johnson's vocals carried on a warm sax ride and a light percussion bass. Me And Jack (Daniels) has a boogie feel and steel guitar under riffs. Six string electric guitar and a tight back beat give this track a Texas feel. A soulful sax intro on Last Two Dollars leads to a cool soul/R&B track with very nice lead and backing vocals. Nice track. No Guitar Blues has a nice slow 12 bar format and nice vocal phrasing by Johnson. Excellent sax soloing brings the heat on this track and solo guitar work kicks it to the curb. Very cool! It Ain't Easy Being Blue has a real nice easy blues approach and Johnson's solid vocals supplemented by well placed guitar riffs make this a square hit. Thrilling You Killing Me leads off with some really tasty guitar riffs leading into a low key slow blues. Johnson's takes control on this track laying down some of the best vocals on the release and although the guitar takes a back seat, continues with nice punctuation throughout. On funky R&B track, Working Girl Blues, I particularly like the bass line on this track and a well articulated funky guitar solo really hits the spot. Wrapping the release is It's Time, is a organ based R&B track featuring rich vocals from Johnson over a Latin rhythm and searing electric guitar riffs.

  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”

 

Alive Records artist: Swamp Dogg - The White Man Made Me Do It - New Release Review

I just received the newest release, The White Man Made Me Do It, by Swamp Dogg and it's a funky soul party. Opening with funky title track, The White Man Made Me Do It, with a nod to Prince, it's Dogg on vocal and piano leads a large troupe of musicians including Moogster (keys), Charles Hayes (tenor sax), Andy Najara (bari sax), Phil Ranelin (trombone), Roy Weigind (trumpet), Steve "Stoney" Dixon (bass), Billy Haynes (bass), Lucky Lloyd Wright (guitar), Bill Barrett (trumpet), Troy Lombard (trumpet), Larry Williams (tenor sax), Michael Murphy ( organ and keys), Guitar Shorty (Lead Guitar) and Dan Weinstein (string ensemble). Lying, Lying, Lying Woman has more of an R&B sound with a driving beat. Hey Renae has a funky reggae beat and features a nice keyboard solo. Up next is Sam Cooke's, You Send Me, with a different spin on the nicely slung R&B tune. A smooth sax solo dresses this track up nicely against real nice lead vocals. Let Me Be Wrong is a cool R&B track with hot guitar riffs under the melody and hot horns. This track brings an echo of Sly Stone with it's horn vamp but really has it's own story. On classic blues track, Your Cash Ain't Nothing But Trash, with cool vocal lead and harmony the band really gets the house swinging. I'm So Happy has a nice R&B strut and clean vocals. I don't see any reference to fiddle on this track but there sure is something that sounds like a fiddle solo to me. Cool. What Lonesome Is has strong soul ballad bones and Dogg fills the lead vocal spot nicely. Yeah, Yeah, Yeah, Yeah has a bit of a Motown sound with a "Temptations" feel. Where Is Sly has a funky high step sound and nice bass riffs. Lieber and Stoller composition, Smokey Joe's Cafe, saunters down the street helped along with deep sax lines. A cool guitar solo backed by organ tips this one. Light A Candle - Ring A Bell, another soul ballad has fiddle and guitar riffs punctuation strong vocals from Dogg. Predjudice Is Alive And Well has strong R&B bones and Dogg again shows his vocal prowess. Wailing guitar lead and strong bass bottom accents this track. Wrapping disc one is If That Ain't The Blues Nothing Is and a driving R&B beat. Bluesy guitar riffs and hot brass takes this track to a higher level. Disc two is a collection of Soul and Blues tracks starting with Rescue Me by Sandra Phillips. A cool R&B track with nice vocals by Phillips. Lightning Slim is up next on Good Morning Heartaches. A solid blues number, this track also features a strong horn backing and slick guitar riffs. I particularly like the vocals by Slim. Irma Thomas brings her R&B sound on strong with In Between Tears. This is a really nice track and Thomas is on top of her game. Charlie Whitehead's funky Read Between The Lines, is up next and tip top brass and low down sax makes this track rip. ZZ Hill's It Ain't No Use is a nice mixture between blues and R&B and Hill really does have a great voice. Doris Duke's blues ballad, To That Other Woman, has an almost spiritual feel and Duke really grabs it tight and shakes the emotion out of it. Very nice! Woofmoon track, What Is Heaven For, is a classic R&B track with solid horn and string backing. Swamp Dogg takes the last three tracks, Fuck The Bomb, a fast paced R&B track, and it's ultra clean piano work; Synthetic World, a classic R&B style ballad, and wrapping the release with My Life Ain't Nothing But A Blues Song. A high stepper with an almost Johhny Guitar Watson spin is a great track to complete this eclectic release.  

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”

 

Ruthie Foster picks up third consecutive Grammy nomination, plus Blues Music Award nom

RUTHIE FOSTER PICKS UP THIRD CONSECUTIVE GRAMMY NOMINATION FOR PROMISE OF A BRAND NEW DAY Also nominated for the Koko Taylor Award in Blues Music Awards

AUSTIN, Texas — Singer-songwriter Ruthie Foster has been honored by the National Academy of Recording Arts & Sciences (NARAS) with her third straight GRAMMY nomination for Best Blues Album. Foster’s Promise of a Brand New Day, produced by Meshell Ndegeocello, follows nominations for The Truth According to Ruthie Foster in 2009 and Let It Burn in 2012. The GRAMMY Awards are held February 8, 2015 in Los Angeles. Ruthie Foster also received a nomination for the Koko Taylor Award, honoring notable female blues artists, in the Blues Music Awards ceremony to be held May 7, 2014 in Memphis. Released Aug. 19 on Blue Corn Music, Promise of a Brand New Day features special guests Doyle Bramhall II and singer Toshi Reagon. The Austin Chronicle called it “some of Foster’s best work to date,” and the Milwaukee Journal-Sentinel remarked, “…confidently balances soul, blues, gospel, folk and pop,” while Cashbox cited “music from the heart, the pulpit and the soul.” Those who have followed Foster’s eclectic musical history know that she can burn down any stage with her combustible blend of soul, blues, rock, folk and gospel. Ruthie’s astonishing voice has taken her on an amazing ride. She came from humble church choir beginnings in rural Texas, followed by a tour of duty with the U.S. Navy Band, and ended up in Austin, Texas. Her list of achievements include Best Female Vocalist in 2007, 2008 and 2013 from the Austin Music Awards, the 2010 Living Blues Music Award Critic’s Poll for Female Blues Artist of the Year, the 2013 Living Blues Music Award Critic’s Poll for Blues Artist of the Year (female) and recent Blues Music Award wins for Best Contemporary and Best Traditional Blues Female Artist of the Year.  http://www.ruthiefoster.com

Delmark Records artist: Junior Wells - Southside Blues Jam - New Release Review

I just received the newest release, Southside Blues Jam, by Junior Wells and it's great! This is another in a series of reissues from Delmark with in this case 6 additional tracks. This release was recorded in December '69-January '70 at Theresa's Blues Bar and one could only have wished to be at one of these shows! Opening with Sonny Boy Williamson's Stop Breaking Down, Spann hits the first key and Wells unleashes that monster voice. It's really great to hear this band featuring the kings of Chicago blues (Wells, Guy, Myers, Spann, Earnest Johnson and Fred Bellow). Wells has such control and composure with Spann who is one of my personal favorites. Excellent! I Could Have Had Religion is up next and Spann is right there! This track comes and goes so quickly but Spann in crystal clear and Wells has the blues in the palm of his hand. Willie Dixon's Just Make Love To Me (I Just Wanna Make Love To You) is right down in the groove and Spann is stellar. Wells really digs down and Buddy is heard scampering over the vocals with his guitar riffs. Spann steps out with a great intro on one of my favorites, Lend Me Your Love. Wells' vocals are focused and direct and Otis really kicks it on an extended solo. Guy plays some of his notorious riffs, rough and raw. An almost perfect track. On Morganfield's Long Distance Call, Wells pulls out the harp and quietly coaxes riffs from Spann and Guy. Excellent! On Williamson's In My Younger Days, Wells plays a cool intro and Spann keeps a solid piano base under Wells' vocals. Of course a perfect track for Wells to blow it out, that he does and a full out romp starts with Louis Myers adding really nice guitar riffs to the mix. Guy takes the mic on Trouble Don't Last and consequently adds more of his own distinctive guitar riffs in echo to his own vocals. It is a such a great thing to hear Guy and Spann together with Guy singing and Wells on harp. Guy takes a bit more of an extended solo on this track as well. Excellent! The next 7 tracks weren't a part of the original release and are a terrific bonus here. It's Too Late Brother cooks with Wells riding high on vocal and terrific harp work. Myers is just perfect on guitar on this track with an almost jazz attack and Spann plays low on the keyboard creating a super dynamic. At over 6 minutes, this is a cool jam. Warmin' Up is a cool little clip of Spann and Guy jamming. At only about a minute long, a well worthy addition with hot riffs! Love My Baby has a strong Morganfield feel and Guy cuts loose nicely on this track. Spann's signature is ever present and these are not just extras...these tracks are great! An alternate take on I Could Have Had Religion is up next and Wells really sings over the top. At over 7 minutes this turns into a super jam with Wells vocal improv, Spann, Guy, Below and Johnson. Morganfield's Rock Me is up next and Wells sets a really nice groove. Spann's signature is so pure and evident that you wonder how anyone ever listened to Chicago blues without him. Wells rips loose on his harp against a fairly quiet background creating a super dynamic. Got To Play The Blues is a seven plus minute track with a funky blues feel. Myers holds down the guitar spot on this track and Spann and Wells trade riffs. This is an excellent release of materials for both enthusiasts and seasoned listeners. There is also included a 16 page liner notes and super photos from Bob Koester. Also of note is that this is the final studio recording of Spann.

  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”

 

Inspired by mid-sixties Miles Davis and John Coltrane Groups, Aaron Comess Sets Straight Ahead, high-energy jazz quintet CD for March 2015

Drummer Aaron Comess has delivered by far his most straight ahead, purely-jazz album to-date, a high energy collection of originals and seminal covers inspired by an era that changed the course of his musical life: the Miles Davis Group from 1964 to 1968 (with Tony Williams, Ron Carter, Herbie Hancock and Wayne Shorter,) as well as by the John Coltrane Group (featuring Elvin Jones, McCoy Tyner and Jimmy Garrison,) between 1962 and 1965. Comess’ new CD, entitled ‘Aaron Comess Quintet’ and set for March 2015 release, aims to evoke the joyful intensity he felt when exposed to this music. He comments: “The music made by these two groups changed my whole way of thinking -- and to this day are as inspiring as when I first heard them.”
 
This is a traditional jazz project, recorded live on-stage over the course of three sets and featuring Keith Loftis on sax (Roy Hargrove, Michael Carvin,) Barney McAll on piano (Gary Bartz, Kenny Garrett, Jimmy Cobb,) Richard Hammond on upright bass (Patti Austin, Angelique Kidjo,) Teddy Kumpel on guitar (Martha Redbone) and Comess on drums. Listen to samples: https://soundcloud.com/aaron-comess/sets/aaron-comess-quintet <https://soundcloud.com/aaron-comess/sets/aaron-comess-quintet>

The upcoming album is a combination of original compositions by Comess and one by Loftis, as well as covers of ‘Resolution’ by John Coltrane, ‘Freedom Jazz Dance’ by Eddie Harris and made famous by Davis…and more. The collection is highlighted by its contrasting tracks -- ‘Africa’ is intense, melodic and truly memorable, and then ‘Catskills Last Waltz’ shifts to a completely different vibe, humorous, witty, nostalgic...’Intangible’ is smoky and kinda sexy, and ‘Resolution’ soars...

‘Aaron Comess Quintet’ marks Comess’ fourth solo instrumental release and his first to be described as “pure jazz instrumental”. His 2013 ‘Blues For Use’ had more of an overt rock vibe, and 2011’s ‘Beautiful Mistake’ was somewhere in between. ‘Aaron Comess Quintet’ was recorded live, in front of an audience, at Smoke Jazz in NYC. Comess adds, “The time felt right for me to make a record like this, as this music has always been a huge part of my musical makeup."

A CD release concert is in the works for Spring 2015, with venue and details to be announced after the New Year.

Comess’ headlining appearances have previously been previewed in The New York Times, Time Out NY, Modern Drummer and elsewhere, and he has long ties to jazz and Blues. Aaron has played with such greats as Roy Hargrove, Brad Meldau, Robert Glasper, Bilal, Roswell Rudd, Arnie Lawrence, Deanna Kirk and more.  Nate Chinen has shown support for Comess’ shows over the years, saying “Comess has long been a jazz adept.” As a member of the group New York Electric Piano (for the past 12 years,) Comess and band-mates scored a Top 10 jazz album with their most recent CD. Comess is currently studying with legendary drum master Michael Carvin.

More background info:
Comess recently appeared on legendary jazz trombonist’s Roswell Rudd’s record...and played a sold-out concert with him at le poisson rouge  (other noted musicians on the record and show were John Medeski, Steven Bernstein, Bob Dorough and Fay Victor).

Aaron Comess also happens to be the drummer and a founding member of the multi-platinum-selling SPIN DOCTORS. The band recently released an acclaimed album of original Blues music, ‘If the River Was Whiskey,’ which earned the best reviews of their career and was featured in such A-level outlets as CONAN (TBS-TV), USA Today, Elmore Magazine, M Music & Musicians Magazine, RELIX Magazine, NY Observer, Time Out NY and much more.

Comess is a musician’s musician, long respected as a collaborator who has played on, co-written and/or produced over two hundred albums with an acclaimed and diverse roster of artists including Osborne, Edie Brickell, Isaac Hayes, Marc Cohn, Bilal, Rachael Yamagata, James Maddock, and more. Other upcoming and/or recent work includes Phil Ramone, Andrea Bocelli, David Foster, Malcolm Burn and Natasha Bedingfield. Comess is active in the local NYC rock, jazz, experimental music scenes and singer songwriter circuits, and records and produces at his ‘His House Studio’ in Brooklyn. Comess has successfully navigated the tricky music industry for over 20 years, managing to keep his original band (Spin Doctors) together, build an active career as a sideman/session player/producer, and make his own records as a composer/leader. With his 2015 jazz album he shines as a songwriter and continues to distinguish himself and expand his repertoire.