I just received the newest release, Evangeline, from Blind Lemon Pledge and it is cool and quirky. First I've got to say, I really dig his name and sense of humor. Opening with work farm track Buley's Farm, I really think this track is cool and like nothing I have heard recently (except of a Taj Mahal release, Mulebone I think). Featuring solo vocal lead by BLP and backed by the Mississippi State Prison Farm Jubilee Singers and just a stripped down acoustic slide part, this track is about as spartan as they get. Very cool! Next up is Jennie Bell, an acoustic ballad in the flavor of early Bob Dylan. Brimstone Joe is a cleverly constructed ballad with a really nice melody. Breaking the basis of the track and expanding into a ragtime track with Hugh Jorgan on keys and Isaac Izzy Cumming on drums. Midnight Assignation is really a stripped down rocker like a New York poet. With some simple but fluid slide riffs this track is a nice contrast to the balance of the release. Go Jump The Willie is a cool rockabilly track with light jazzy guitar lead behind the vocal harmonies. On The Language Of Love, BLP takes a Latin turn Alvin "Albee" Bakatcha rides tight on percussion. Alex Blaine-Laydor, Lauralyn Hardy, Willie B Hardigan, Don Menchinet, Anita Moorehead and Bess T Wishes add harmony vocals (yeah, look at the names a couple of times...you'll get it!). Ham and Eggs is an easy going pop track that could have been constructed in the early part of the 20th century. Blind Lemon is having fun and if you let yourself go, you will too. How Can I Still Love You has an easy jazzy blues feel with Gene Poole on bass and Cummings on drums. A second simple pop track, You Had Me At Goodbye, has a nice melody and a solid hook. Title track, Evangeline, is a simple blues with sliding cigar box accompaniment. One of the most pleasing tracks on the release and a nice closer.
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”
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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!
Please email me at Info@Bmansbluesreport.com
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!
Please email me at Info@Bmansbluesreport.com
Tuesday, September 23, 2014
Monday, September 22, 2014
Acclaimed Blues Artist Rory Block Salutes Skip James on Her New CD, "Hard Luck Child," Coming October 21 on Stony Plain Records
Acclaimed Blues Artist Rory Block Salutes Skip James on
Her New CD, Hard Luck Child, Coming October 21 on Stony Plain
Records
Latest Album Is the Fifth in Her “Mentor Series” Paying
Tribute to Those Blues Masters Who’ve Influenced Her
Music
EDMONTON, AB – Stony Plain Records announces an October 21
release date for Hard Luck Child: a Tribute to Skip James, the
fifth in acclaimed acoustic blues artist Rory Block’s “Mentor Series” of
recordings saluting those blues masters who’ve had a profound influence on her
music. On her latest album, the multi-Blues Music Award winner pays tribute to
Skip James, one of the most important country blues artists in history, whose
songs have been recorded by a host of contemporary musicians over the years
including Cream, who covered perhaps his most famous song, “I’m So Glad,” on
their debut album in 1966.
The 10 tracks on Hard Luck Child include nine
original Skip James songs and the Rory Block original composition that opens the
album, “Nehemiah James,” which is her telling of James’ story and his impact on
others. Throughout, the lines between gospel and blues are crossed, blurred and
intertwined, showing the derivation of the original country blues sound of James
and the others Block has previously saluted in her earlier albums: Mississippi
John Hurt (Avalon), Rev. Gary Davis (I Belong to the
Band), Mississippi Fred McDowell (Shake ‘em on Down) and
Son House (Blues Walkin’ Like a Man).
“This is
the fifth recording in my Mentor Series—musical tributes that celebrate the rediscovered blues
masters I met in person as a teenager,” Rory Block writes in the album’s
incisive liner notes. “These five great artists to whom these recordings are
dedicated are the blues masters with whom I spent the most meaningful time, and
they have, as a result, affected me the most deeply. There were others, such as
Bukka White, who I sat next to, but really never interacted with on a personal
level—thus these five are the true core of
this series.”
In Rory
Block’s remarkably talented fingers, she caresses and alternately attacks the
strings in a slide guitar virtuoso performance that brings the soul and meaning
of Skip James’ songs to life, as if heard for the very first time over the many
decades since they were first written and performed by the man,
himself.
“Skip James
is often referred to as a man of mystery,” she writes of her experience meeting
him. “Some people have described him as melancholy, even unfriendly. But in my
15 year-old eyes he was deep, soulful, and beautiful. I did not question his
serious demeanor. After all, I was aware of the history, the horrors and evil
treatment he had endured. I did not expect him or any other rediscovered blues
player to be anything but serious. Skip James also had cancer when I met him,
and very few people are cheerful in a hospital.
“To me, his
music, with its intensity and haunting quality, was central to the incredibly
powerful style we called Country Blues. After all, blues was often about sorrow,
hard times, and heartache. But it was also about joy, survival, and even success
in some cases. Skip James was the quintessential blues player; he had it all: style, power, grace,
depth—the ability to change your life and
your way of experiencing the world with a single song. This was the inspiration
and the example set by the masters—the gauntlet that was thrown down. I had to
follow the sound and the passion. While the rest of the world was busy with
modern things, I wandered down the dusty path towards the past in bare feet. I
didn’t have a choice. This is what called to me.”
The liner
notes for Hard Luck Child also include an excerpt from Rory’s
autobiography, When a Woman Gets the Blues, about her encounter
with James in that hospital room, where she was accompanied by her fellow blues
traveler, noted guitarist Stefan Grossman.
Produced by
Rory Block and Rob Davis, the new album was recorded, mixed and mastered by Rob
Davis in the Aurora Productions mobile studios in Kentucky and Upstate New York.
Throughout, Rory plays her signature model Martin Guitars and a 14 mm deep well
socket for a slide. Well-known for her love of animals, Rory’s critters even
make guest appearances creating background noises on some of the tracks, and a
faint phone rings from time, adding further authenticity to the
proceedings.
Rory Block
will support the release of Hard Luck Child with consistent
touring and is booked by Folklore International Artists (www.fli.com). For more information, visit www.roryblock.com
and www.stonyplainrecords.com.
Hard
Luck Child- A Tribute to Skip James – Track Listing
1. Nehemiah
James
2. Special
Rider Blues
3. Cypress
Grove Blues
4. If You
Haven’t Any Hay, Get On Down the Road
5. Little
Cow and Calf Is Gonna Die Blues
6. Devil
Got My Woman
7. Jesus Is
a Mighty Good Leader
8. Hard
Time Killing Floor Blues
9. I’m So
Glad
10. Hard
Luck Child
Rory Block Tour Itinerary
9/27 Valatie
Theater Valatie,
NY
10/3 Historic Blairstown
Theater Blairstown,
NJ
10/4 Godfrey
Daniels
Bethlehem, PA
10/5 Jammin’
Java
Vienna, VA
Vizztone Label Group artist: Skyla Burrell Band - Blues Scars - New Release Review
I just received the newest release (10/7/14), Blues Scars, from the Skyla Burrell Band and it rocks! Opening with title track, Blues Scars, is a funky rocker with a stinging guitar attack. Burrell handles the lead vocals and shares guitar work with co founding guitarist Mark Tomlinson, and strongly supported by Ezell Jones Jr. on drums and Michelle Lucas on bass. Bluesin' For Your Lovin', a nice Texas style blues rock slams back the door and Burrell's vocals very soulful. Rocker Trouble has a bunch of snap. With it's twisting/surf styling, this is a cool rocker with bright guitar riffs. Stuck In A Struggle is a lighter pop rock track but Burrell's unique vocal style gives it teeth. With it's driving beat, this is a cool radio track. Somber ballad, Love Letters In Blue, has some nicely stylized guitar work and crisp drumming from Jones supporting the vocal work of Burrell. Livin' For The Blues is a modern blues shuffle with a cool bass line from Lucas and nice slide work chasing Burrell's sultry vocals. Shut You Down is strongly rhythmic reinforced by Jones and Burrell steps up first on guitar followed closely by Tomlinson. On Life Storms,a boogie track, Burrell pushes her vocal styling and lays down a few cool guitar riffs. One of my favorite tracks, World Wide Blues has a cool Latin beat and chilly blues chords reminiscent of All Your Love (Otis Rush). Burrell steps up with some of the tastiest guitar riffs on the release nicely complimenting her super vocal delivery. Full Time Gambler is a blend of blues styles from Texas to Britain. With it's easy lope and slippery slide this is a cool track. Jace is another of my favorite tracks with a bit of an R&B feel. Burrell uses a light touch with her vocals and an easy going San Francisco style blues style solo, this track hits the spot. Juke Jointin' Tonight is a hot swinger (think Rocket 88) and a nice highlight for Burrell's vocals. Her guitar style works nicely with this tempo and Jones rides it tight. Tomlinson also steps up with a hot solo of his own pushed by Lucas with her walking bass. Very nice. 6 Mile Century Blues has a strong Big Brother styling which I really like. What I really like about it is that the band sounds like what Big Brother sounds like instrumentally with trem bends and arpegiated chords and driving drums but without a bad imitation of Janis Joplin. Really quite nice! 21st Century Blues is a straight up blues rocker right out of Albert King or Otis Rush's song book. With it's straight forward attack and juicy guitar work this release continues to build steam. Wrapping the release is Bad Business, a hard driving blues rocker pushed along by Lucas and with a cool rock n roll rhythm lead. Burrell and Tomlinson both take hot and nasty solos on the track and Jones is on top of it all keeping it tight.
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”
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”
Friday, September 19, 2014
AC Myles - Reconsider Me - New Release Review
I just received the newest release, Reconsider Me, and I really like it! Opening with Fenton Robinson's You Don't Know What Love Is, Myles shows that he has a terrific voice for soul and guitar riffs to match. Joined by Derrick 'D'Mar Martin on drums, Endre Tarczy on bass and keys, Kid Andersen on rhythm guitar and keys, Nate Ginsberg on piano and keys and Lisa Andersen on backing vocals this track is hot! My definite favorite on the release. Rory Gallagher's Do You Read Me is really hot with a funky flavor and Gallagher's intent blended with SVR's flair. This is a really interesting track an one that will likely appeal to a broad audience. One of my favorite old Elvin Bishop tracks, Rock My Soul, is up next and even though it wasn't a Mickey Thomas era track, Myles vocals have a Thomas timbre. A fun track and a feel good track. Breaking into a full rock track, Myles breaks loose with cool rock riffs and Anderson's backing vocals really add a nice touch. Very nice! Title track, Johnny Adams' Reconsider Me, has a real nice sway and a definite gospel feel reinforced by organ filler and finite piano riffs. Myles further shows his vocal range with near falsetto high notes. His guitar soloing on this track is clean and interesting. Sweet! Roman Carter's Queen Bee has that rolling James Brown R&B feel with Myles taking total command with his strong vocal and nicely appointed guitar details. Myles takes the lead on guitar and shows how nicely a man can lead and follow his own voice. Very nice job! Livin' A Lie shows Myles ability on slide guitar with bad intention. A stylized rock track, this track is really the closest thing to a pop track on the release. With extensive flaming slide work on this track, it's a sure winner. Death Bed Blues is the first down the middle blues track on the release. With a standard 12 bar blues with vocal call and guitar response this track is rock solid. Bart Davenport track, What Is Love, is a simple ballad with a taste of country. Myles uses this simple platform to again show his versatility and nicely executed. Call 'em All Baby comes out of the gate hot with a Lynyrd Skynyrd like swagger. A catchy melody and perfect execution make this the sure fire winner for radio play. Boogie track Three Ways To Fall again finds Myles grabbing the slide and he does a real nice job on this track. His vocal styling and simple sliding technique make for a track that most blues rockers will love. Wrapping the release is Fats Domino's Blue Monday, and man does it get a make over. Myles has done a really sweet job of interpretation and I really like the way his voice sounds on this track. Kind of a mix between Thomas and John Fogherty. This funky rocker is definitely one of the best tracks on the release and a super closer for this very cool release. Looking forward to getting it into my car for further review!
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”
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”
Labels:
AC Myles,
California,
Reconsider Me,
Review
Thursday, September 18, 2014
Annika Chambers up for BMA
Aside from her newest release, Making My Mark, Annika Chambers has been busy! She recently completed her degree at the University of Houston, Downtown in December of 2013 in Corporate Communication. She has also been Nominated for Best Blues In Houston by Free Press Houston. Her musical career has continued to flourish as she opened for Shemekia Copeland, Carolyn Wonderland and performed Mess Around at the blues music awards Memphis in May 2014 with Jeff Jensen and gang, Pearland Crawfish Fest, Springboard South Houston, Big Music Festival, Tall City Blues Fest (midland), Navasota Blues Fest and played with Brandon Santini during the IBCs 2014!
Here my review of Annika's most recent 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”
"review"
Here my review of Annika's most recent 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”
"review"
Labels:
Annika Chambers,
Making My Mark
Little Silver Records artist: Iko-Iko - Bullets In The Bonfire Vol.1 - New release Review
I just received the newest release, Bullets In The Bonfire Vol. 1 from Iko - Iko and its flavorful! A fifteen track retrospective of the band it has a lot of variety. Opening with Party Car, a New Orleans flavored track, the band is really hopping featuring strong vocals from Graham Wood Drout, super sax from Ron Dziubla and traditional drumming from Stewart Jean. Cajun tasting (I Never Had An) American Dream is a party track deluxe with cool lyrics. Celebration rolls more into the R&B styling and it's pop nature. A definite hook and familiar melody makes this a radio stopper. Dziubla really blows the walls out on this one giving it just the right spice. Live track Don't Mess With The Voodoo is a swampy rocker. Mike Bauer and Larry Williams lay out some smokin guitar riffs on this track and I particularly like the drum work of Jean. Miller's Woods has a solid pop rock style and some cool guitar slide riffs by Williams. Mike Mennel adds a cool under line on the bass throughout this track. Late Hours is a slow blues track featuring Bob Hemphill on harp. Drout sets a nice bass line on this track joined by Joseph Anthony Smith on drums and understated guitar soloing by Nick Kane. Returning to a New Orleans flavor and the rich sax and organ work of Dziubla, Pet De Kat is a cool track with a playful nature. Funky track, Snowstorm In The Jungle, gets a bit more rowdy with Drout's aggressive vocals, nice harp work from Hemphill and guitar riffs from Kane. Too High To Drive, is a simple rock n roll track based on a common theme... too much! Doug Leibinger adds a lot of depth on keys and Williams shows his rock riffs. Jalapeno Be Thy Name has a definite Latin/New Orleans. Solid bottom provided by Dziubla and Mennel along with some tasty guitar riffs from Williams makes this one of the more memorable tracks on the release. Walk With The Zombie is a bluesy rock ballad. Williams and Dziubla create a really nice feel on this atmospheric story adding musicality to it's clever lyrics. Riding On The Rims stretches more toward a country folk rocker with Leibinger, Mennel and Jean providing mostly a light backing for Drout's vocals. Another live track, the classic Motherless Children, get a totally rework fitting og a festival jam say at the Fillmore with the Allmans or the Dead. Quite different with a particularly cool bass solo from Mark Harris. Ghosts Of Mississippi has a light country rock flavor with Drout and Albert Castiglia sharing acoustic and slide guitar roles. Wrapping the release is The Day The Old Man Died, a bluesy rocker with swagger. Castiglia is back on slide Cam Robb on drums. Drout paints a good story and this track is a solid choice for it's completion.
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”
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”
High Energy Act coming to Phoenix, AZ!
Labels:
Arizona,
Blind Pig Records,
Canada,
International,
JW-Jones,
Phoenix,
Rhythm Room
Wednesday, September 17, 2014
Stony Plain Records Signs Blues Hall of Famer Billy Boy Arnold & Will Release His New CD on October 21; "The Blues Soul of Billy Boy Arnold" Was Produced by Duke Robillard & Features an All-Star Backing Band
Stony Plain
Records Signs Blues Hall of Famer Billy Boy Arnold & Will Release His New CD
on October 21
Legendary
Chicago Blues Harmonica Player’s New Album, The Blues Soul of Billy Boy
Arnold, Was Produced by Duke Robillard & Features an All-Star Backing
Band
EDMONTON, AB – Stony Plain Records announces the signing of
legendary Chicago blues harmonica master Billy Boy Arnold, and will release his
new CD, The Blues Soul of Billy Boy Arnold, on October 21.
Produced by Duke Robillard, Arnold’s new CD showcases his talents as a
songwriter, singer and harmonica player, backed by an all-star cast of
musicians, including the Roomful of Blues horns. This is Arnold’s second album
for Stony Plain, joining his highly-acclaimed 2001 release for the label,
Boogie 'n' Shuffle, also produced by Robillard.
Inducted into the Blues Hall of Fame in 2013, Arnold ably
demonstrates his credentials on this scintillating set that showcases a number
of original songs, as well as compositions from Joe Tex (“A Mother’s Prayer”),
Ted Taylor (“You Give Me Nothing to Go On”), B.B. King (“Worried Dream”), Chuck
Berry (“Nadine”) and Oscar Brown Junior/Nat Adderley (“Work Song”). As its title
indicates, The Blues Soul of Billy Boy Arnold emphasizes the
soulful side of the Chicago blues master that’s always been a part of his
repertoire. His own songs have been covered over the years by a diverse group of
artists that includes everyone from Bo Diddley and David Bowie to The Yardbirds
and The Blasters.
“Billy Boy Arnold’s talent as a songwriter, singer, harp
master and blues historian is still in full swing here,” says Duke Robillard.
“On this album, he demonstrates his flair and love for many different facets of
the blues. This recording is surely a remarkable achievement.” About the
recording sessions, Billy Boy Arnold adds, “I would like to thank Duke for his
outstanding guitar performances and all the great musicians that made this
project a success.”
William “Billy Boy” Arnold was born in Chicago in 1935 and
became enamored with the blues he heard on jukeboxes, especially the sound of
blues harmonica players such as John Lee “Sonny Boy” Williamson. One afternoon
accompanied by his childhood friends, he knocked on Sonny Boy’s door and they
were invited in the house. Williamson played for the boys, and that moment
started a spark in Billy Boy’s heart. Before long, he was playing harp in Bo
Diddley’s band and played on Bo’s “I’m a Man,” one of the classic recordings of
Chicago blues.
During some spare time with Bo in the studio for the “I’m a
Man” sessions, Billy Boy got a chance to record his own song, “You Got to Love
Me,” which kick-started his solo career. A number of his own classic Chicago
blues songs followed, including “I Wish You Would,” which has since been
recorded by a long list of artists such as The Yardbirds, John Hammond and David
Bowie. His singles for Chicago’s Vee Jay label from the 1950s have become
highly-prized collectables.
“The chance to work with Billy Boy on this project was
something I jumped on without a moment’s thought,’ writes Duke Robillard in the
album’s liner notes. “Billy wanted to record an album full of songs that he had
always loved, in a few different genres. These 14 songs include some Billy Boy
originals, early R&B songs, blues/jazz standards and some ‘60s and ‘70s rare
soul gems.”
All bear the unmistakable stamp of The Blues Soul of
Billy Boy Arnold
Roots Blues Traveler Markus James Releases New Album, "Head for the Hills," Recorded in North Mississippi, on October 28th
Roots Blues
Traveler Markus James Releases New Album, Head for the Hills, Recorded in
North Mississippi, on October 28th
“first one’s
free
and
the last one kills
time to head for the hills”
GRATON, CA – Firenze Records announces an October
28th release date for Markus James’ new album, Head for the
Hills. Recorded in Holly Springs, Como, Senatobia and Luxahoma,
Mississippi, as well as in Northern California, Head for the Hills
showcases Markus James on vocals, electric slide, 3 string cigar box, gourd
banjo, slide dulcimer, acoustic guitar, harmonica, beatbox, and a
snakeskin-covered 1- string diddley bow. He’s backed by a “who’s who” of North
Mississippi Hill Country drummers including Kinney Kimbrough (son of Junior
Kimbrough), Calvin Jackson (R.L. Burnside, Junior Kimbrough, Deep Blues
film), Aubrey “Bill” Turner (Otha Turner), and R.L. Boyce (Jessie Mae
Hemphill). Also appearing is drummer Marlon Green, who was the last drummer to
record and tour with the legendary John Lee Hooker, and who is currently
accompanying James live (recent appearances include Montreal International Jazz
Festival, Telluride Blues & Brews Festival).
“After my
Nightbird album came out in 2003, I started getting offers to go
out and play, and one of them was from the University of Southern Mississippi in
Hattiesburg,” recalls Markus James. “I went down there with one African musician
and the reaction we received was so great, and I noticed that nobody was asking
questions about the connection between traditional West African music and Blues;
the people there just dug the music and they let us know. After that, I started
traveling more and more to Mississippi and meeting musicians there, and I was
especially drawn to some of the old-school drummers of North Mississippi.”
After
performing in Mali, West Africa one year, James had an epiphany about the
connections between what he’d heard there and some of the North Mississippi Hill
Country music he saw and heard in the film made from Robert Palmer’s classic
book, Deep Blues. “I came back to the US, saw the Deep
Blues film, and was amazed to see the exact same thing that I had just
seen in the sand dunes outside Timbuktu: three drummers and a guy playing what
they call a cane flute. It was just such an obvious connection between the
musical traditions I had been immersed in in West Africa and some of the
traditional music in North Mississippi. I was on my way back to Mississippi,
this time to perform in Oxford at Ole Miss, and this whole process led me to
seek out, record and eventually start performing with some of these great
drummers. Traditionally, in North Mississippi, like in West Africa, music is
part of life; it’s not just some ephemeral entertainment like a song on the
radio, and these guys also do other things like farming, construction, making
white lightnin, etc. They are not slick session players who work in studios in
a city. So, having recorded in all kinds of rough environments in West Africa, I
felt right at home setting up mics on a porch, hanging mics from barn rafters,
in a carport, and just rolling; and this seemed perfectly normal to them as
well.
“I must have
watched the first part of the Deep Blues movie (about North
Mississippi) a hundred times; and when I found myself playing with Calvin
Jackson in Sherman Cooper’s potato barn in Como, it was like a dream come true.
How this all came to pass is a long story. I had befriended the late, great
Jessie Mae Hemphill and visited her several times in Senatobia. She loved the
film I had made, (Timbuktoubab) and the African instruments we
were playing. We had a great time hanging out and singing together. Jessie Mae
told me about what she knew of the Africans in her family and about traveling
and playing with her grandfather, Sid Hemphill, who is documented in the Library
of Congress. Jessie Mae and I were preparing to record together in her trailer,
but when I showed up the last time she was on her way to her final resting
place.”
James had
similar encounters with many of the drummers who’d wind up on his new CD. Kinney
Kimbrough had stayed at James’ place in Northern California when he was on tour
with another band. They had started recording then, and later in Como, and yet
again in Holly Springs, when Markus stayed with Kinney’s family and they
recorded in his open-air carport. James and Kimbrough have gone on to perform
live as a duo (Beale Street Music Festival, Sonoma County Blues Festival), and
Kinney appears in several videos from the new album. Markus also recorded with
Aubrey “Bill” Turner and R.L. Boyce, both of whom were mainstays of fife and
drum music in North Mississippi.
“I have
recorded a lot of things with these drummers over the last eight years” says
James. “The music on this album includes some of these recordings that work with
the theme of the album. One of the highlights of this recording process was when
I reached Calvin. After talking for a while and telling him I was also doing
some acoustic things now with my gourd banjo, he suggested he could hambone, so
I drove out to his family property in Luxahoma, where we recorded on his
sister’s porch, with him hamboning while I played gourd banjo and cigar box. He
also said buckets, pots and pans were the first things he had played when he was
a kid, so we found two five gallon buckets and recorded with him playing those
on the porch. (The sound of feet stomping on the porch was awesome). Each of
these drummers has special unique qualities, but they are all connected to the
rich musical traditions of Hill Country Music. This is different from Delta
Music and it’s not for me to try to explain what that’s about, but I feel that
the differences are profound. The Hill Country is a beautiful place, with lots
of trees and shade, somewhere you would want to be, especially if you found
yourself in the sweltering Delta or in the big city and out of luck.”
Background
Markus James
has been recording and performing original, blues-based music with traditional
West African musicians since 1994, when he first made his way to Niafunke, the
northern Mali village that was home to the legendary African bluesman Ali Farka
Toure. His five critically-acclaimed Mali-based albums have been warmly received
all over the world and he had tracks included on two European compilation sets
that also featured Robert Plant, Ali Farka Toure, and Tinariwen, among others.
His work with three traditional Malian music masters was the subject of the
award-winning documentary film, Timbuktoubab, which was seen on
PBS stations around the U.S. His last album, Snakeskin Violin,
featured collaborations with trance groove hunters and a shaman in Mali, as well
as Calvin Jackson in Mississippi, traveling Tamasheks in California and African
Diaspora musicians in the U.S. Featured on NPR’s “All Things Considered,” the
album also drew rave reviews from Billboard, Living Blues
and the “House of Blues Radio Hour,” among many
others.
To get a taste
of the excitement, click on this link to watch the video for “Just Say Yes:” http://www.youtube.com/watch?v=KYaCwbErJnE
Labels:
Head For The Hills,
Markus James
Delmark Records artist: Linsey Alexander - Come Back Baby - New Release Review
I just received the newest release, Come Back Baby, from Linsey Alexander and it is full of grooving R&B Blues flavor! Opening with Little Bit Of Soap, a BB King style track with Bill McFarland (trombone), Chris Neal (tenor sax) and Ryan Nyther (trumpet), Alexander takes the lead on vocal as well as guitar shared with Breezy Rodio. High stepper Booze and Blues is driven by a nice bass line from Greg McDaniel and Roosevelt Purifoy weighs in with a sweet organ solo. Slow blues number, I Got A Woman, finds Alexander at his best with powerful vocals and searing guitar solos. Pooky Styx plays a nice simple contrast on drums as Alexander wails on. Very Nice! Come Back Baby is solid soul and Alexander is surrounded by horns. A very cool radio track with a nice melody and light airy guitar work. Harmonica wiz, Billy Branch, joins on Call My Wife, a classic Chicago style track. Branch's featured work on this track as well as simple, soulful guitar riffs from Alexander makes it one of my favorites from the release. Led off my a cool feel and solid snap of Styx, Things Done Changed is another of my favorites on the release. A head bobbing beat and solid horn work behind Alexander complimented by a nice electric piano solo from Purifoy and Alexander make this another track that stands head and shoulders above. Easy swing track Can't Drink, Can't Sleep, Can't Eat again features the masterful work of Branch on harp. Alexander takes an easy but effective ride on the fretboard for a little punch. Quick paced R&B track, Booty Call, is pure and simple with pop hooks and Alexander leading the way with relentless guitar lead. Too Old To Be A New Fool is another slow blues track with nicely articulated guitar work. Alexander really hits his stride on vocals on this track and again joined by Branch, this track instrumentally is tops. Very nice! Snowing In Chicago is a smooth R&B track with steamy guitar work complimenting Alexander's cool vocals. Another radio track for sure. Willie Dixon's I Can't Quit You Baby, is not a direct copy of Dixon (or Rush/Led Zep for that matter) so I find it a bit more interesting as an interpretation. Alexander does the track justice, singing in a much more rich blues styling playing guitar call and response to his own vocals. Purifoy's keyboard work on this track is particularly effective at keeping it tight. Alexander's guitar solo on this track is also one of his richer interpretations on this release. Funky Feeling is...well funky. With a R&B strut and cool horn work adding accents, this is a cool track. Chris Neal steps up with a really nice tenor solo and of course Alexander smokes the fretboard as well. Easy blues loper, Goin' Out Walkin', wraps the track. A bright keyboard solo from Purifoy and a relaxed guitar solo from Alexander take this release home.
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”
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”
Labels:
Come Back Baby,
Delmark Records,
Linsey Alexander,
Review
Tuesday, September 16, 2014
Hurricane Ruth - Born On The River - New Release Review
I just received the newest release, Born On The River, from Hurricane Ruth. A powerful vocalist, Ruth is backed but David Lumsden on guitar, Gary Davis on bass and Jim Engel on drums. Opening with title track, Born On The River, Lumsden creates a wah wah effect with guitar and Ruth sings with a lot of sting. Make Love To Me opens with a modified Elmore James by Lumsden and with Davis create a heavy bottom for Ruth's vocals. Lumsden throws out some fine guitar riffs and Engel holds tight on the bottom. A simple 12 bar this track hits it hard. Blues Rocker Slow Burn has a trace of Voodoo Chile making it instantly cool with a nice bass riff but with an almost metal grind. Lumsden does take a nice guitar ride on this track bringing it to the blues via rock styling. One of my favorite tracks on the release. Blues ballad The Walls is an interesting track with light traces of Robin Trower with sonic guitar work. Ruth's vocals have a different sensitivity making this the overall best track on the release. Cool guitar soloing by Lumsden is pure icing on this track. Boogie track, Dance, Dance, Norma Jean has so much Rattle and Roll in it you'd swear it was cut in a shack in a small Texas town. Do you know what I'm talkin' bout? Money Train has a stiff strut with stiff reinforcement from Engel. I really like Lumsden's aggressive guitar attack on this track in particular. Slim Harpo influenced track Cold Day In Hell crafts a cool track on a James Brown beat. A smooth laid back guitar solo by Lumsden shows his versatility and Ruth shines as bright on this track as any. Big Helen has a real funky beat but believe it or not it reminds me of a Frank Zappa track. With it's visual imagery it's a pretty cool track. Again Lumsden steps up with a nice guitar solo making for a completely entertaining track. Work It opens with a straight up guitar riff but I really like the tone (just saying). A straight forward rocker, Ruth is riding the wave like Jim Dandy. With a lot of kick this track has a lot of southern spunk. Whiskey Chute, another rocker has a distinctive Boxcar Willie feel with a solid Rock and roll feel. Wrapping the release is Real Good Woman, a solid blues rocker. With swagger and saturated guitar leads, this track sews it all together.
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”
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”
Labels:
Born On The Rver,
Hurricane Ruth,
Review
Monday, September 15, 2014
Big Legal Mess release: The Soul of Designer Records - New Release review
I just received the newest release, The Soul Of Designer Records from Big Legal Mess and to say that it is terrific doesn't really do it justice! Packaged like an old 33rpm record (only nicer) this 4 cd set containing over 100 tracks is really off of the hook. Featuring bands such as The Gospel Songbirds, The Dynamic Hughes Singers, The Melody Kings, Twilight Singers, Sensational Family Singers, The Shaw Singers, Soul Singers of Detroit, MI; Echoes of Glory, Alberta Powell, Laura Bradley & the Famous South Land Singers, Jubilee Hummingbirds, The Fantastic Alphonzo Thomas, E.L. Burtis, O'Neal & The Dean Brothers, The Mighty Blytheville Aires, Harps of David, Golden Five, Golden Travelers, Rev. Leon Hamner and Holy City Travelers, Evelyn McGlown & George Shields, The Southland Singers, Sensational Spirit Consolators, The Memphis Spiritual Four, The Silver Leaf Harmonizers, Joe Townsend, Canton Spirituals Silver trumpets, Barnes Singers, of Earl, AR; Rev. Houston Potts Jr. & Sister Mary Pride, Christian All Stars of Akron, OH; Genessee Gospel Travelers, The Mosby Singers of East St. Louis, Illinois and the Wandering Five. The liner notes, a full three pages of narration of the history of how these recordings came about by Michael Hurtt. Another 4 pages of narration is dedicated to Style Wooten who was the man behind the recordings, an additional three pages to band bios and a number of really cool large photos of these talented groups. These recordings are so raw and so alive that it's incredible that it has surfaced as a singular package. I will just say if you have ever loved primitive blues, funk, boogaloo, soul, R&B or spiritual music; unless you are just a taster... you will really love this.
I'm sorry that I can't go into some type of description on a song by song basis but this is just great stuff. Each track different from the next.
Find a copy, put the music on, kick back and groove!
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”
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”
Sunday, September 14, 2014
Joe Sample, Crusaders Pianist, Dies at 75
Joe
Sample, who became a jazz star in the 1960s as the pianist with the
Jazz Crusaders and an even bigger star a decade later when he began
playing electric keyboards and the group simplified its name to the
Crusaders, died on Friday in Houston. He was 75.
The cause was mesothelioma, said his manager, Patrick Rains.
The
Jazz Crusaders, who played the muscular, bluesy variation on bebop
known as hard bop, had their roots in Houston, where Mr. Sample, the
tenor saxophonist Wilton Felder and the drummer Nesbert Hooper (better
known by the self-explanatory first name Stix) began performing together
as the Swingsters while in high school.
Mr.
Sample met the trombonist Wayne Henderson at Texas Southern University
and added him, the bassist Henry Wilson and the flutist Hubert Laws —
who would soon achieve considerable fame on his own — to the group,
which changed its name to the Modern Jazz Sextet.
The
band worked in the Houston area for several years but did not have much
success until Mr. Sample, Mr. Felder, Mr. Hooper and Mr. Henderson
moved to Los Angeles and changed their name to the Jazz Crusaders, a
reference to the drummer Art Blakey’s seminal hard-bop ensemble, the
Jazz Messengers. Their first album, “Freedom Sound,” released on the
Pacific Jazz label in 1961, sold well, and they recorded prolifically
for the rest of the decade, with all four members contributing
compositions, while performing to enthusiastic audiences and critical
praise.
In
the early 1970s, as the audience for jazz declined, the band underwent
yet another name change, this one signifying a change in musical
direction. Augmenting their sound with electric guitar and electric
bass, with Mr. Sample playing mostly electric keyboards, the Jazz
Crusaders became the Crusaders. Their first album under that name,
“Crusaders 1,” featuring four compositions by Mr. Sample, was released
on the Blue Thumb label in 1972.
With
a funkier sound, a new emphasis on danceable rhythms and the addition
of pop songs by the Beatles and others to their repertoire, the
Crusaders displeased many critics but greatly expanded their audience.
For Mr. Sample, plugging in was not a big step. He had been fascinated by the electric piano since he saw Ray Charles playing one
on television in the mid-1950s, and he had owned one since 1963. Nor
did he have any problem crossing musical boundaries: Growing up in
Houston he had listened to and enjoyed all kinds of music, including
blues and country.
“Unfortunately,
in this country, there’s a lot of prejudice against the various forms
of music,” Mr. Sample told The Los Angeles Times in 1985. “The jazz
people hate the blues, the blues people hate rock, and the rock people
hate jazz. But how can anyone hate music? We tend to not hate any form
of music, so we blend it all together. And consequently, we’re always
finding ourselves in big trouble with everybody.”
They
didn’t find themselves in much trouble with the record-buying public.
The Crusaders had numerous hit albums and one Top 40 single, “Street Life,”
which reached No. 36 on the Billboard pop chart in 1979. Mr. Sample
wrote the music and Will Jennings wrote the lyrics, which were sung by
Randy Crawford.
By
the time “Street Life” was recorded, Mr. Henderson had left the
Crusaders to pursue a career as a producer. Mr. Hooper left in 1983. Mr.
Sample and Mr. Felder continued to work together for a while, but by
the late 1980s Mr. Sample was focusing on his solo career, which had
begun with the 1969 trio album “Fancy Dance” and included mellow
pop-jazz records like “Carmel” (1979).
His
later albums included the unaccompanied “Soul Shadows” (2008). His last
album, “Children of the Sun,” is to be released this fall.
He
also maintained a busy career as a studio musician. Among the albums on
which his keyboard work can be heard are Marvin Gaye’s “What’s Going
On,” Joni Mitchell’s “Court and Spark” and “The Hissing of Summer
Lawns,” Tina Turner’s “Private Dancer,” Steely Dan’s “Aja” and “Gaucho,”
and several recordings by B. B. King.
His music has been sampled on numerous hip-hop records, most notably Tupac Shakur’s “Dear Mama.”
Joseph
Leslie Sample was born on Feb. 1, 1939, in Houston, the fourth of five
siblings, and began playing piano when he was 5. His survivors include
his wife, Yolanda; his son, Nicklas, a jazz bassist with whom he
occasionally performed; three stepsons, Jamerson III, Justin and Jordan
Berry; six grandchildren; and a sister, Julia Goolsby.
Mr. Sample’s fellow Crusader Mr. Henderson died in April.
In
recent years, Mr. Sample had worked with a reunited version of the
Crusaders and led an ensemble called the Creole Joe Band, whose music
was steeped in the lively Louisiana style known as zydeco. At his death
he had been collaborating with Jonatha Brooke and Marc Mantell on a
musical, “Quadroon,” which had a reading in July at the Ensemble Theater in Houston.
By PETER KEEPNEWS
Emma G. Fitzsimmons contributed reporting.
Labels:
Crusaders,
Joe Sample,
passed
Saturday, September 13, 2014
Hornbuckle Competing in Denver Blues Challenge for IBC
Pictured:
Michael Hornbuckle
HORNBUCKLE
COMPETING AT "DENVER BLUES CHALLENGE"
CHANCE TO
GO TO IBC'S IN MEMPHIS - SUNDAY, SEPT. 21
(DENVER, CO) - Hornbuckle, "Denver's First Family of the
Blues" fronted by guitarist-vocalist Michael Hornbuckle, competes at the Denver
Blues Challenge, presented by the Mile High Blues Society, Sunday, September 21, at Ziggie's Live Music, 4923 W. 38th Ave. 2 p.m. Info: http://milehighbluessociety.com/. Winner
advances to the 2015 International Blues Challenge competition in Memphis,
January 20-24.
WHAT THE
MEDIA IS SAYING ABOUT HORNBUCKLE'S "VIRTUE &
VICE"
Virtue & Vice is the title of Hornbuckle's
recently-released album, which is quickly gaining critic's acclaim. They
recently celebrated twenty years together as a band.
"Hornbuckle's
sound is fresh and interesting...these guys have managed to find a way to give
the blues a mainstream, pop-driven sound, while at the same time staying true to
their bluesy roots. The songs themselves are nothing short of
excellent."
"Not since ZZ Top and Stevie Ray Vaughn has there
been a band that could wind a mean bar room boogie and bring the blues home like
the Hornbuckle Brothers. One of the
best new independently produced albums of the year."
"Spearheaded
by
Michael's
smooth, soulful voice (a la Paul Rodgers in Tonality), the quartet presents a
thoroughly sophisticated product right down to the subtle instrumentation that
makes "Beautiful Rain," "Angels, Addicts, Poets & Thieves," and "Beautiful
Rain" sound so rich."
MUSIC CONNECTION
In discussing their new album, Brian Hornbuckle says,
"On “Virtue and Vice” we try and cover a lot of ground; sixteen songs of
memories, love, lust, protest and personal discovery. We really
tried to infuse as many influences as possible while still keeping continuity
from song to song. We did some reggae in “Complicated”, funk in “Slave to the
Benjamins,” a Latin feel on “Moment In Time” and a 70’s rock feel in “Ride
Away”. All of it injected with the blues since that is still the main language
we speak musically."
Rock Over America - CD
Review
All Access Magazine -
Interview
Xombiewoof - CD Review
|
Friday, September 12, 2014
Stony Plain Records artist: Duke Robillard Band - Calling All Blues - New Release Review
I just received the newest release (September 23, 2014), Calling All Blues, from the Duke Robillard Band and it has a fresh feel. Opening with Down In Mexico, Robillard takes the lead on vocal on this track with a dose of Memphis rhythm. Bruce Bears has the keys covered and Rich Lataille, Mark Earley and Doug Woolverton add some nice horn work. On boogie track I'm Gonna Quit My Baby, Bears leads the way on piano and the track which actually reminds me of a Neil Young song. Svengali is a very rudimentary track with very cool stumble drums by Mark Teixeira and and slide work by Robillard. With a lot of the traits of early blues this is one of my favorites on the release. Blues Beyond The Call Of Duty features Sunny Crownover on lead vocals and has that polished blues/jazz feel that Robillard has really made as his trademark. Well conceived and executed guitar work by Robillard as well as cool bass riffs by Brad Hallen. Very nice! Emphasis On Memphis has a definite R&B feel with solid horn work and vocal harmonies. Confusion Blues finds Bruce Bears at the mic accompanying himself on piano for a cool jazz feel. I always love Bears' piano styling and this track does a nice job showing it off. Robillard lays down one of the nicest guitar solos on the release creating a very nice groove. Motor Trouble has a Willie Dixon feel and with paired vocals from Robillard this track has a real honest feel. Robillard keeps the riffs less polished and Bears simple giving the track a real gutsy feel. Very cool! Nasty Guitar features Robillard and Crownover sharing the lead vocal duet. With a slow cocky strut the track is highlighted by a cool bass riff by Hallen and a primarily an overdriven guitar sound. Robillard does clean the sound up to clear for his solo but returns to a grinding sound overall. On Temptation, the band has a swampy feel with swirling trumpet, electric piano, and guitar riffs creating a kind of dark ambiance over the funky drumming of Teixeira. Robillard lays down a really nice guitar solo on this track as well as Dr John like vocals making it another of my favorite tracks on the release. Wrapping the release is Carter Brothers tune, She's So Fine. With 60's style guitar riffs and horn backing this track almost transports you back into the 60's. Cool finish to a cool release.
“Like” Bman’s Facebook page. I use Facebook to spread the word about my blog (Now with translation in over 50 languages). I will not hit you with 50 posts a day. I will not relay senseless nonsense. I use it only to draw attention to some of the key posts on my blog each day. In this way I can get out the word on new talent, venues and blues happenings! - click Here
Here's a recent performance by Robillard:
“Like” Bman’s Facebook page. I use Facebook to spread the word about my blog (Now with translation in over 50 languages). I will not hit you with 50 posts a day. I will not relay senseless nonsense. I use it only to draw attention to some of the key posts on my blog each day. In this way I can get out the word on new talent, venues and blues happenings! - click Here
Here's a recent performance by Robillard:
Thursday, September 11, 2014
Drew Nelson - The Other Side - New release review
I just received the newest release, The Other Side, from Drew Nelson and it's quite interesting. Opening with Seven Days, a country influenced blues number, Nelson shows his Dylanesque vocals backed by some of the sweetest slide melodic to be heard in a while. Nelson who plays guitar is backed by Matt Sobb on drums, Steve Marriner on bass, baritone guitar, harmonica, keys and guitar. Make It Right has a little bit of a Jimmy Reed feel with Marriner on harp and keys. There is really a lot going on here instrumentally here and I really like it! On Reggae flavored Stick Around you get a pseudo island feel ... a cool pop track. On Bird On A Wire, is given a real country flavor with nice steel guitar adornment by John Steele. One More Chance is an excellent Chicago style blues with super harp and key demonstrations by Marriner. Nelson does some of his best vocals on this smokin' track. Step back and hear Muddy Waters come alive on slide! Nice! Valentine has a bit of that spaghetti western feel with acoustically altered slide work and rugged vocals making this another strong track. Drifting Away is a C&W styled ballad with cool guitar effects which hits a niche which I personally feel is being neglected on a national basis. This is a nicely constructed and executed track again featuring Steele on pedal guitar. Please Come Home has a bit of new Orleans flair but not stepping out with the big horns. Marriner again steps up on keys and harp warming the track substantially. Did You Ever? is an easy paced ballad featuring a full throated sax solo from Steve Trecarien. Icing the track is a nicely articulated guitar solo in blues ballad style. Get It is a definite rocker, pitting Nelson's vocals against Marriner on slide and harp. Excellent! Wrapping the track is title track, The Other Side, a quiet folk ballad. Ken Kanwisher brings a warm cello interpretation to the track adding substantial warmth.
“Like” Bman’s Facebook page. I use Facebook to spread the word about my blog (Now with translation in over 50 languages). I will not hit you with 50 posts a day. I will not relay senseless nonsense. I use it only to draw attention to some of the key posts on my blog each day. In this way I can get out the word on new talent, venues and blues happenings! - click Here
This track is not from the release but is a flavor of Nelson's work.
“Like” Bman’s Facebook page. I use Facebook to spread the word about my blog (Now with translation in over 50 languages). I will not hit you with 50 posts a day. I will not relay senseless nonsense. I use it only to draw attention to some of the key posts on my blog each day. In this way I can get out the word on new talent, venues and blues happenings! - click Here
This track is not from the release but is a flavor of Nelson's work.
Labels:
Canada,
Drew Nelson,
International,
Review,
The Other Side
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