The Groove Jan-Feb 2019

THE

THE BI-MONTHLY NEWSLETTER OF CROSSROADS BLUES SOCIETY

JANUARY-FEBRUARY 2019 EDITION

Editorial

Steve Jones, Editor and CBS President

2018 has come and gone and we welcome the New Year. Crossroads Blues Society and I hope that you had a wonderful holiday season with a marvelous Christmas, Chanukah and New Year!

What a year we had! We held our Festival, had 11 shows at Hope and Anchor in Loves Park, 22 shows at the Lyran Society in Rockford including a Hurricane Relief Benefit and Ivy Ford IBC Benefit, 8 shows at the BMO Harris Center with the Ice Hogs, 1 show at Rockford’s Nordlof Center, 1 show with our Crossroads Blues Challenge at the Lyran Club, 1 show at Rockford’s Marys Place, 2 shows at Rockford’s Burpee Museum, 2 shows at Rockford’s Rural on Tap, 1 show at Kirkland’s Blind Eye’s Blue Note, 1 show at the Byron Blues Block Party, 1 show at Just Goods Listening Room, and 1 show at Rockford’s Owly Oop Sports Bar for a total of 54 shows in all with over 60 bands participating at those events. Our 6 Groove Newsletter issues totaled 230 pages of articles, hundreds of photos and 161 music reviews. During the calendar year 2018 we did 109 Blues in the Schools Programs for nearly 11,000 students. We also sent the Ivy Ford Band, Warren Beck and Riding Atlas to the 2018 International Blues Challenge. I’d say that was quite the successful year!

November and December were a load of fun. We had BITS with Dave Weld and the Imperial Flames, Billy Flynn, Wheatbread Johnson and the Ivy Ford Band. Hope an Anchor featured Lil Ed and the Blue Imperials and Reverend Raven and the Chain Smoking Altar Boys for two well attended and very hot shows. The Lyran Club jumped to Dave Weld and the Imperial Flames, Billy Flynn, Trinadora Rock’s Sock Hop and The Madtown Mannish Boys and the Ivy Ford Band IBC Fundraiser. With donations, BITS, and money raised, the band cleared almost $2,000 plus tips and merchandise sales, so their trip to Memphis should be covered!

We begin the New Year the way we ended it– with some great music! We begin with the band Written Warning from Lasalle at Lyran on Friday, January 4th. Then on Sat-

urday the 12th we have The Blues Disciples at the Hope and Anchor. On Friday the 18th we have Dave Potter at Lyran with special guest Madison Slim on harp. The International Blues Challenge is January 22 to 26 and we wish Ivy Ford and her band the best of luck as they compete as our band entry!

February starts off with Sistah Sara Blues at the Lyran Club on Friday the 1st. Mike Wheeler returns to the Hope and Anchor on Saturday the 9th and then at Lyran on the 15th we have Recently Paroled returning for a show. Not too bad a month, either!

Blues in the Schools gets back into business after the Christmas break with Wheatbread Johnson at Rockton Grade School January 7 and 11 with 8 programs split between Kindergarten and 2nd Grades and January 9 at Ledgewood Elementary School in Roscoe for 9 programs with their Pre-K through 1st Grades. We expect a big effort after that with Head Start starting up!

2019 also will bring some great shows and events. Advanced planning dates to remember for Crossroads events: • April 3 7 PM Chris O’Leary at Mary’s Place • May 4 3 PM Crossroads 25th Anniversary Concert at Timberlake Theater in Mt. Carroll • June 1 2 PM Steve Jones Block Party with Ivy Ford • June 29 Noon New Glarus Blues, Brews & Food Truck Festival • August 24 Noon 10th Annual Crossroads Blues Festival Thanks so much to all of you who helped make 2019 so successful. On behalf of Crossroads Blues Society and our officers and board of directors William Graw, Terry Keller, Bonnie Fox, Rick Davis, Rick Hein, Dennis Barker, Ken Pearson and Bob Haendler, thank you for helping to keep the blues and live music alive in the Rockford area. We will need your support once again for 2019 and we are sure you will have a great time with the events we present!

Very blues-ily yours,

Contents Editorial………………………………………..……………….…..2 Contents, Board, Local Radio & Application……………………………………….………...….3

BITS Update…………………………….……..………….…....4 Lil Ed and the Blues Imperials..………………………….7 Ivy Ford IBC Benefit……...………………………….……..7 Summer CBS Event Lineups Announced……………..8 Music Reviews……………………………………...……......9 November and December Crossroads Photos….…36 Upcoming Shows…………………………………..27, 37-42 Member Update……………………………………..…......43 Hope and Anchor, Lyran and Ice Hogs Shows…..43 25th Anniversary Plans……………………..….….…....43 Blues News and Upcoming Events……………...…..44 Cover photo by Steve Jones The Groove is a bi-monthly publication of the Crossroads Blues Society. The PDF version (typically 32 to 40 or more pages) is emailed to members of Crossroads. Hard copies (12 pages) are sent out to members without email ($5 membership surcharge).

Editor in Chief: Steve Jones Music Reviewers: Rick Davis, John Mitchell, Marty Gunther, Bill Graw, Lynn Hetzler, Mark Nelson, Steve Jones and Mark Thompson.

All un-credited content by Steve Jones

Blues on Local Radio WNIJ - 89.5 FM •

Friday evenings from 9 PM to midnight with Harold Brown

•

Saturday afternoons from 1 to 4 PM with David Rosik

•

Saturday evenings from 9 PM to midnight with David James

•

Rich Gordon fills in regularly

Crossroads Blues Society Officers and Board Members Contact Info President: Steve Jones

sub_insignia@yahoo.com

Vice-President: Bill Graw

williamjgraw@gmail.com

Secretary: Bonnie Fox

bonitafx@gmail.com

Treasurer: Terry Keller

terry@markpack.com

Board of Directors: Denny Barker Rick Davis Bob Haendler Ken Pearson

harkthebark@mchsi.com rick_davis_937@comcast.net rhaendler@comcast.net cntrylivng@aol.com

Rick Hein

mrrickhein@sbcglobal.net

Best of luck to Ivy Ford and her band at the 2019 International Blues Challenge in Memphis, Tennessee!

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Blues in the Schools Update

We continued our award winning BITS efforts in November and December serving 1,830 students in 8 more programs. We are up to 17 programs for 3,530 students so far this school year with a lot more planned for after the holidays and beyond.

On November 2nd Dave Weld and the Imperial flames did a pair of programs at Rockford’s East HS for a total of 450 students.

Dave had them dancing and moving to the groove as he played on stage and then testified amongst the students with his guitar.

He also broke out his oil can guitar and showed the students some slide work on it. Dave also had a great show at the Lyran Club in the evening that was well attended and enjoyed by all.

November 16th we had Billy Flynn at Froberg ES early in the morning and 300 students enjoyed his performance. About 330 students in the afternoon got to see and hear Billy at Conklin ES. Both schools are in Rockford and in both schools dozens of students got to help Billy play his guitar. The kids loved being able to strum as Billy picked out the melody for them. Billy did a solo

Dave Weld and the Imperial Flames photos by Rick Davis show at the Lyran Club that night and he did an amazing job playing blues, rock, jazz, R&B, soul and surf music.

Ivy Ford and her band were in town for four programs on December 14th. The first two were at Byron MS for 6th and 7th graders, about 150 per session. In the afternoon Ivy did a shorter program for K-2 at Spring Creek ES in Rockford and then did a longer one for grades 3-5. 450 students in all enjoyed her and her band.

We start the new year with more Wheatbread Johnson programs at Rockton Grade School. Dave Potter and Madison Slim are also at a couple of schools. Tas Cru will be here for two programs later, too. Our Head Start efforts with Wheatbread Johnson alone will probably be between 50 and 60 programs. We’re trying to get to RPS 205 preschool facilities with him, too.

Dave Fields will return for a pair of programs in the Spring. We are also going to Rockton Grade School for 23 classroom

short programs for K through 2 in January. We’d like to bring Donna Herula back along with Mark Dvorak and Gerry Hundt.

We’ve got an ambitious set of programs in the works. Our August festival funds all this, so come out to the event and bring lots of your friends to help support our BITS efforts!

Ivy Ford Band at Byron Middle School photos by Rick Davis

Ivy Ford Band at Spring Creek ES Photos by Rick Davis except lower left

Lil Ed and the Blues Imperials

Hope and Anchor hosted Lil Ed and the Blues Imperials on Saturday, November 10th. Ed and the band last appeared in Rockford in 2014 headlining our 2nd Annual Field of Blues Festival at Rockford Aviators Stadium. Ed and the band put on a fantastic show back then and did not lose one bit of that energy in the four years since being here. The show was electric and featured music from most of their Alligator Records releases.

We hope that Ed and the band return again soon. It was a great night!

Dave Weld and Monica Mhyre sat in for a few songs in the final set. Weld was part of Ed’s band in the beginning before leaving to take care of family and starting his own band, The Imperial Flames. Dave and Ed both learned to play West Side guitar from Ed’s uncle J.B. Hutto and remain great friends today.

Ivy Ford IBC Fundraiser The Ivy Ford Band fundraiser held on Friday, December 14th at the Lyran Society was a huge success! The door and donations totaled $835 and another $1,000 combined from Crossroads as a donation and BITS programs payment push the total above what is likely needed to cover expenses.

A healthy tip bucket and merchandise sales by Ivy ensured a very successful evening. Thanks to all who came out– we had over 80 in attendance including Ivy’s mom Evelyn and daughter Vivian.

We wish Ivy, Willie and Dave the best of luck down in Memphis at the 2019 IBC!

Photos by Rick Davis

Three Big Event Lineups Announced May 4th, June 29th and August 24th in 2019 will give blues fans something to write home about! Crossroads 25th Anniversary Show, The 2nd Annual New Glarus Blues, Brews and Festival and the 10th Annual Crossroads Blues Festival at Lyran Park all bring great talent to the stage for our fans to enjoy!

great harmonica player. The day opens at noon with Barefoot Jimmy Schwarz on harp with the Blues Disciples, the great band from Milwaukee. At 2 PM is Kevin “B.F.” Burt, Lee Oskar Harmonica Award winner and winner of the 2018 Solo/Duo International Blues Challenge. A multidimensional artist, Burt also won the Cigar Box Guitar Award at the IBC! At 4 PM it’s the great Westside Andy Linderman on harp with regional favorites Reverend Raven and the Chain Smoking Altar Boys.

Chris O’Leary and his band from NY take the stage at 6 PM; Chris fronted Levon Helm’s band and is an exceptional vocalist and harp player. Last but not least is Dennis Gruenling on harp with his cohorts The Nick Moss Band. The Blues Fest at Lyran Park will feature an assortment of craft beers and wonderful food in addition to workshops between acts. It will be a great way to celebrate our 10th Anniversary Festival and finish out our 25th year!

We celebrate our 25th anniversary with a show in Mount Carroll, IL, at the Timberlake Theater. Just a stone’s throw from our birthplace in Lanark, this will be a fantastic event. Opening at 3 PM with Hall Reed and Mississippi Journey with Zach Harris on guitar, we also feature the IVY Ford Band at 5 PM and Jimmy Nick and Don’t Tell Mama at 7 PM. Tickets go on sale in January and will be $10 in advance and $15 at the door if not sold out.

It may sell out quickly, so get your tickets early! Lena Brewing Company beers on draft, a full bar and food trucks will be available.

Jimmy Voegeli, Steve Jones and the New Glarus Chamber are bringing the New Glarus Blues, Brews & Food Truck Festival back for it’s second year. Madtown Mannish Boys open the day at Noon and at 2 PM is The Jimmys!

Then at 4 PM they have Doug Deming and the Jewel Tones and at 6 PM it’s the Braille Blues Daddy himself, Bryan Lee! New Glarus Brewing Company beers, a fantastic assortment of food trucks and a free festival make this very attractive!

The 10th Annual Crossroads Blues Festival at Lyran Park brings a new theme for 2019– Harp Attack!

Each act features a

Who knows what else summer will have in store for us? Last year we had some great surprises with The Burpee Museum and many other great local shows that popped up. Local festivals like the Chicago Blues Fest, Monroe Balloon and Blues Fest, Blues on the Fox, Madison Blues Picnic, Waukesha Blues Fest, Big Blues Bender in Wausau, Paramount Blues Fest, Illinois Roots and Blues Fest in Peoria and more make for an exciting summer nearby. And the 12th Annual Blues Blast Music awards return to the Tebala Events Center for the second time, this year technically in summer on Friday.

September 13th. It’s going to be a great 2019!

Music Reviews Bryan Lee—Sanctuary Ear-Relevant Records www.braillebluesdaddy.com/ 11 tracks Bryan Lee, the Braille Blues Daddy releases his 14th album with Sanctuary. The idea began as a dream seven years ago. He heard an orchestration of The Lord’s Prayer in his sleep and played it the next day at a festival in Spitsbergen.

Norway. He recorded it before coming home and a chance meeting with produced Steve Hamilton brought it and the rest of the album to fruition in his studio in Milwaukee.

Born and raised in Wisconsin, Bryan became blind at 8 but his passion for the guitar and music had him playing in front of crowds 7 years later. 20 years in Wisconsin and predominantly Chicago led to Muddy Waters predicting ultimate success for Lee which most would admit has occurred with all the albums, world tours and appearances on hundreds if not thousands of stages. A long stint in New Orleans and now in the Sunshine State of Florida, he is a master craftsman of the blues, and lending his spiritual side to his music has resulted in these 10 tracks being laid down to showcase both his musicianship and his faith.

I know when Bryan was working on this he called it his gospel album. While it may not be gospel in the sense of big church productions with choirs backing up robed and glowing lead singers, it is “gospel” in the true sense of the word where it pronounces the good news of Jesus in Bryan’s own unique and amazing style.

Joining Lee, who plays guitar and sings lead, are Deidre Fellner on backing vocals, Marc Spagnone helping on guitar, Jack Berry and David Kasik on bass, Matt Liban on drums, Jimmy Voegeli on keys, Pauli Ryan and Steve Hamilton on percussion and Greg Koch on dobro. Lee had a hand in writing all but three songs here.

Things kick off with a funky New Orleans groove in “Fight For The Light,” a cut where Satan lays in wait for us in the darkness. Cool vocals and backing vocals carry the tune along with the Groove and then there is a bit of a slower respite where Bryan offers a big solo testifying on the guitar. Things get back to the groove after the solo and conclude with a bang. “The Gift” is next up with a solid blues shuffle going and Bryan tells us a bit of his background influences before Jimmy Voegeli lays out some killer piano. Bryan returns to his testifying and Lee informs us that Jesus straightened his out and now he plays for us and Jessu and not himself. Spagnone offers a killer solo and then it’s Lee’s turn as he takes us home. Up next is “Jesus Gave Me The Blues,” a pretty and soulfully dirty slow blues where Bryan offers up some funky vocals and guitar; it make you glad Jesus gave him the blues! No one has ever

seen a U-Haul behind a hearse and in “U-Haul” Lee tells us in this Cootie Stark tune in somewhat humorous terms that you can’t take it with you and that money does not buy happiness; well done!

The title track takes us directly to church with the organ and then dobro testifying to us. Bryan offers up a soulful ballad glorifying Jesus and his mother Mary. “Mr. Big” follows, another pretty and slow blues that begins with some nice finger picking. Lee offers up some advice for those who flash their worldly possessions while flaunting the Lord. Very soulful and direct. Voegeli gives us some more pretty work to savor on the electric piano and organ and Lee then offers up more advice about sharing with the poor and asking for forgiveness. A stinging guitar solo is also there to supplement the poignant words and then a bass and guitar solo take us home.

Nicely done!

“Only If You Praise The Lord” takes us to church as Lee and the backing vocals praise the Lord and testify with aplomb in this song written by Richard Cella. It’s beautifully done and then Jimmy V gives us some more nice piano with a little organ behind himself to enjoy again. “Don’t Take My Blindness For Weakness” has a cool R&B feel to the blues with some hot guitar and just a great vibe.

Lee tells us his handicap is not a weakness and that we are all really the same and that sight does not make anyone any better than a blindman. A big guitar solo is spectacular mid way through showcases Lee’s talents. “I Ain’t Gonna Stop” lets Bryan tell us he’s not giving up despite his age or whatever stands in his way because he’s going to carry his cross until called home by Jesus. Voegeli’s piano once again shines and Lee again offers more pretty guitar.

“The Lord’s Prayer” follows and we get to hear the music from Bryan’s dream. Piano and organ help lead the prayer as Bryan testifies to us in the Lord’s words. Bryan builds to an emotional vocal finish here. He gives writing credits to John the Baptist, which may not be what the Gospel story says directly but what the heck. The CD concludes with “Lord and Saviour,” another slick shuffle with Lee telling of his former ways and how he’s reformed with Jesus help. Spagnone and Voegeli offer guitar and organ solos along with Lee’s testifying and closing with rousing vocals and stinging guitar. Whew!

Well, the subject matter is not your typical blues album’s topic but here were see the masterful blending of the blues with church music which is strong and deep in the genre’s roots. There is enough great stuff here to make the agnostics get up and dance and at least get the atheists start tapping their feet. I think the album is very well done and kudos to Bryan for giving us his testimony along with his music. I think Lee’s done well here and there is a lot of great music and testimony to enjoy!

Reviewed by Steve Jones

The Knickerbocker All-Stars—Love Makes A Woman JP Cadillac Records http://themightyflyers.com/ 10 tracks Four records into their career, the Knickerbocker All-Stars and their guests have hit the superfecta; they are four for four delivering great albums. It would be hard to top the last one, Texas Rhody Blues with Jimmy Vaughn and Duke Robillard, but here they take the soulful approach with music and two interesting and stylistically different singers Darcel Wilson and Thornetta Davis.

Darcel has worked for 20 years at Berklee College of Music in Boston as an singing instructor teaching theory, ensembles and voice. Her style is precise yet gritty, showing her technique comes from years of practice and performing at high levels. Thornetta Davis is the Detroit Queen of the Blues, garnering 30 Detroit Music Awards. Her voice can be tender or tough. She can be solemn and somber or belt a song out like few can. Both deliver some fine performances with the all star band.

The Knickerbocker Café in Westerly, RI has seen a plethora of bluesmen and women on their stage. Jimmie Vaughan, Duke Robillard, Al Copley, Monster Mike Welch, Ricky Russell, Willie J Laws, Brian Templeton, Sugaray Rayford, Rich Lataille, and more have been regulars there. The band here is Mark Texiera on drums, Brad Hallen on bass, Kevin Barry on guitar, Dave Limina on piano, Doug James and Rich Lataille on saxes, Carl Querfurth on trombone, Carl Gerhard on trumpet, Doc Chanonhouse on the trumpet solos, and Michael DeQuattro on percussion. What a band these guys are!

Darcel takes on the first two tunes, “So Soon” and “Higher and Higher.” The former is a funky Van McCoy/Aretha R&B cut with clean vocals and some pretty guitar and backing band and vocals. The latter is a classic that Wilson does with her own twists to the Jackie Wilson original. She hits the high notes with ease and power and the horn section does a great job here. Davis takes her turn with Etta’s “Good Rockin’ Daddy.” Davis perhaps picks up the pace just a bit from the original and more pieces in the band round out things nicely. The piano work , guitar and horns are great. Davis sings with authority whereas Etta’s original was a younger voice with sass but not the experience of Thornetta. Wilson then does “Talk To Me, Talk To Me” and “Love Makes A Woman.” “Talk to Me, Talk To Me” is a pretty and jazzy slow blues originally done by Little Willie Johnson; Wilson sings with lots and lots of emotion here. Barbara Acklin first recorded the latter song and title cut of tis album on Chicago’s Brunswick Records in 1968 on an album of the same title, her biggest hit. Darcel’s version gives it a newer sound with a big band behind her; a welldone cover.

The swinging instrumental “Go Girl!” is next, staying fairly true to the form of Mark “Kaz” Kaznoff jazz cut with The TriSaxual Soul Champs, giving it their own workover. “Don’t Cry Baby” is Wilson giving us this Etta James classic. She again gives us a fine performance with her own emotional spin. She also gives us Ruth Brown’s “Wild Wild Young Men.” The pace here might be one iota slower than Brown, but the piano and sax work I think tops the original and Wilson gives it her all. Davis returns with “Nick of Time,” the title track from Bonnie Raitt’s 1989 Grammy winner. Davis gives it her take with more of an R&B/soul approach and does the song with freshness and funk. Wilson closes with Aretha’s “Wild Wild Young

Men.” Wilson gives us a fine performance and makes it her own, not trying to be Aretha.

Wilson gets twice the songs here than Davis (six vs. three), so the balance certainly is in Darcel’s favor and she does appear on the album cover. Both women sing with great style and passion. The band is exceptional throughout. If you want to here some nice R&B and soul covers by two of today’s great female vocalists and an all-star band then look no further. I enjoyed this CD as most fans of soul and R&B should, too!

Reviewed by Steve Jones

The Flaming Mudcats—Cut Loose Mudcat Music (Self-Released) www.theflamingmudcats.com 12 tracks The Flaming Mudcats hail from Auckland, New Zealand, but easily could be mistaken to be from Chicago’s south side. They played at one of Crossroads Blues Society’s Field of Blues Festivals and at one of their Festivals at Lyran Park, both in Rockford, so I’m familiar with this great band from the other side of the world.

Craig Bracken sings and plays harp, Doug Bygrave is on guitar and Ian Thompson is on drums and backing vocals. Johnny Yu is newer to the band (and from California) as bassist and backing vocalist.

Chris Hartley is a guest on Hammond, piano and Wurlitzer, Ben McNicoll plays the saxes and Louis Bernstone is on keys.

The CD kicks off with “Moving To The Country,” a pretty little cut with a nice groove and Bracken sings about moving out of the city.

The guitar solo rings sweetly and then later we get a little harp to enjoy. “Rooster Blues” is a jump blues that’s a lot of fun in the tradition of great barnyard blues songs. It’s the lone cover here, a Lightnin Slim song. Up next is “Why Why” with a driving beat and gritty vocals. The harp is showcased here first and then another nice little guitar solo is offered up to enjoy. “Cut Me Loose” is a cool, slow country roots tune with Bracken testifying vocally and ten Bygrave testifies on guitar. They offer up “Missed My Chance” next, a mid-tempo swing tune of lost opportunity. Bygrave gives us another solo to enjoy.

“Trying to Get Ahead” starts out with some sweet and greasy harp and a nice beat. Clean vocals and another cool guitar solo sell this one along with Bracken’s harp work.

“Getaway” is another swing cut with some barrelhouse piano and a great vibe. “Hey Margarita” swings with a bit of rockabilly and makes for a fun ride and a nice sax solo to boot. Next is “”Show Me Some Love,” a cool jump blues that keeps the excellent vibe going.

Things slow way down for “Sneakin Around,” a pretty slow blues cut with nice, restrained and mellow guitar work. “Welcome To My Blues returns us to swing and the boys do what they do best. Sax and piano get some good time up front here. The album concludes with “Cry No More” with a slower tempo beat and an old school sound. Nice harp and guitar make this even better.

What’s not to like here? The Mudcats now have three great albums under their belt in their ten year history that they can be proud of. I loved this new CD; if you like to swing and jump, this is the album for you! I really enjoyed this album.

Reviewed by Steve Jones

Jeremiah Johnson—Straightjacket Ruf Records https://rufrecords-shop.de/ Jeremiah-Johnson-Straitjacket/en 12 Tracks Jeremiah Johnson singer, guitarist, and songwriter, now hails from St. Louis, formally from the Houston area where he lived for 10 years. He has an affinity for blues, rock, and country, which comes to the surface on his new album Straitjacket, his third release that is typical of his smoldering vocals that are as bold as his guitar work. Since his last release Heart Attack two years ago, he has built up quite a fan base in his home state.

His new album on Ruf Records, Straitjacket, produced by Mike Zeto, consists of original material, with the exception of the final tune "Rock & Roll Music To The World," written by Alvin Lee Barnes. The band consists of Frank Bauer on saxophone and backing vocals, Tom Maloney on bass, Benet Schaeffer on drums, and Mike Zito on rhythm guitar.

Jeremiah unleashes the energy of this guitar solos on the opening title track "Straitjacket," with a funky rhythm guitar groove established by Zito, and a driving tempo set by the rhythm section.

The tune also features a superb sax performance by Frank Bauer to get the party under way. "Getting Tired" takes me back to that little old band from Texas and "Waitin' For The Bus," delivered now as new material with that raw, traditional Texas vibe. Johnson delivers very hot guitar licks and deep, passionate lyrics on the slow emotional, melancholy R&B track "Blues In Her Eyes," supported by Frank Bauer on saxophone and Lewis Stephens on the organ. This is one of those tunes that is impossible to let go of as it grabs your soul and leaves a lasting impression forever.

"Keep On Sailing," is a country rock tune that is reminiscent the live JJ Cale and Eric Clapton version of "After Midnight & Call Me the Breeze," combined with the slide guitar Lowell George of Little Feat.

"Believe In America" supports that message that tells us to never loose the faith, with strong sax solos, changing tempos, and a world class guitar performance. With gritty vocals and a expressive guitar solos, Johnson makes "King & Queen" a slow smoldering blues classic. Johnson makes his significant other an offer in the early morning hours on the track "Dirty Mind," with the song building with yet another strong sax performance and powerful guitar solos. Johnson reminisces about the South with his Delta blues track "9th And Russell," offering some Southern fried hospitality and delivering some tasty slide guitar to complete this tune. "Old School" talks of Jeremiah's youth and the lessons learned at an early age. "Bonneville Shuffle" is a very well arranged 60's style instrumental, with a steady guitar groove and the jazzy sax of Frank Bauer, the perfect tune for cruzin' down the highway. His vocals seem to be a perfect fit for any genre, as Johnson shows us just how versatile he is with the smooth coun-

ty love song "Hold My Hand." Jeremiah Johnson completes the album with a no holes barred Texas rock and roll classic "Rock & Roll Music To The World."

Johnson is a superb artist and combined with the expertise of Ruf Records and Mike Zito have delivered a special album. With the selection of the talented musicians, this is a blues album you will want in your collection.

Reviewed by Rick Davis

David Julia—Inspired Vizz Tone Records www.davidjuliamusic.com/ 11 Tracks Florida brings us another blues rocker. At the age of 17 David Julia is developing a reputation in his home area and around the south east region of the United States. He released an EP a few years back. This is his first full length release. Julia wrote 6 of the 11 tunes here.

The covers are from modern blues and blues rock artists. Julia sings and plays guitar. He is joined by Elliot Keys (B3), Lonnie Trevino Jr. (bass), Matthew R. Johnson (drums) and Lewis Stephens (piano).

There is high octane in the opening cut “Hey There Sally”. It has some west coast blues guitar in its soul. Things get slow and powerful on “Throw Me A Rope”. It has a 70’s rock feel to its power. The 3rd cut is a cover of fellow Floridian JP Soars.

“Something Ain't Right” is a faster blues rock tune. Up next is the Julia Original “Sunshine Boogie”. This instrumental has some fine county rocking picking. It is a bit short, but it will get your toe tapping. Elliot Keys on the B# sets a nice and easy pace in the intro of “If Only”. This is a love song with a tinge of gospel to it. This is good playing by the band, it is not about just speed, but about touch. From the bayous of Louisiana comes a Tab Benoit penned tune called “Nice And Warm”. The vocals are a bit pedestrian, but the band works through this slower ballad well.

“Don't Get Me Goin’” is a stranger tune. It’s somewhat funky beat seems too choppy to me. I hear almost a Frank Zappa feel to it. The late Michael Burks wrote “Empty Promises”. This one seems to suit Julia well. Keys on the B3 give the guitar of Julia a place to dance. I like the Albert Castiglia penned “Keep Her Around Too Long”. Lewis Stephens adds some good piano to the track. UK guitarist Matt Schofield provides the writing for “Clean Break”. This is a good tune, with the B3 and guitar shining through. Closing things out is “You Don't Need No Shelter”.

This is an easy going country acoustic tune that duets with Mike Zito. I like the change of pace that this tune gives the overall CD. Good job!

We all get a bit hesitant when we see a very young blues performer. We ask will they really take this to a quality level. David Julia may be a good one for a long time. It is too early to tell yet, but he was not just a flash guitar player and he wrote over half of the tunes on this release. I like the influences he chose for the covers and the varied styles that were chosen. We will await his next steps along his musical career.

Reviewed by Mark Nelson

Gaetano Letizia & The Blues Underworld Band – Beatles Blues Blast Self-Released http://gaetanoletizia.com/ 17 tracks/66 minutes The Cleveland, Ohio born and bred blues man Gaetano Letizia has now released three albums with his Underworld Blues Rock Band. Along with Letizia on vocals and guitar are Lenny Gray on bass and Mike D'Elia on drums. They also do the backing vocals for Gaetano. Letizia takes a very jazzy and funky approach to his guitar and vocals and here he takes 17 classic Beatle cuts and returns them to their blues roots.

Letizia was raised in the midst of the British invasion so he is more than familiar with the Beatles and their music. They recorded the album in one day live in the studio and you can tell the boys were having fun with this stuff. The lo-fi approach sounds perfect for the material and how it’s covered. It’s an interesting ride through about 10% of the Beatles’ songbook.

The CD begins with “Come Together,” a cut that lends itself nicely to the blues. Letizia gives us a bluesy, funky groove to savor for this opening song from the Fab Fours’ last studio release.

D’Elia lays out some drum licks to start “Do It In The Road” a la McCartney in the original. Gaetano gives us some pretty guitar licks in his two solos and then goes funky with the effect peddle to make things more interesting. The earlier hit “Drive My Car” gets new treatment with some more nice guitar and a gutsy lead vocal. Cowbell and percussion are highlighted for fun, too. Next up is “Money” which gets s funky and big guitar lead and long solo time along with a fun drum solo. “Taxman” sounds more like a Stevie Ray Vaughn Texas shuffle which makes for an interesting cover. A slower, more deliberate approach seems almost natural and makes for another great cover. The guitar work showcased is quite cool. Harrison’s classic “While My Guitar Gently Weeps” is up next with a bit of a samba treatment going on. Letizia offers up a breathy, metered vocal to fit the samba pacing. He still manages to get some wicked guitar licks in. “She Came In Through The Bathroom Window” is more Joe Cocker than Beatle version but he takes it into a funky direction, too. “I Want You” becomes more psychedelic and proto-metal in its’ approach. The driving guitar gets distorted and the harmonized

vocals turn more into a call and response. “And I love Her” is given a instrumental Latin and Santana sort of makeover and it’s quite cool.

“Can’t Buy Me Love” goes from pop and bubbly to gritty and dirty Chicago blues. Stinging vocals and guitar make this makeover different and well done. The pedals come out again for “You Can’t Do That” with a fuzzed up and raucous approach. The ballad “Yesterday” is turned into a somber blues rhumba which works well. “Get Back” rocks out and the stinging guitar solos give this a new face. ”With A Little Help from My Friends” gets rock dramatical with big vocals and big guitar. The throw in song “Birthday” from the White Album” gets a nice groove going and the guitar work is exceptional. “Blackbird” goes country blues with fingerpicked notes and a simple but punctuating drum groove. The bass counters the guitar and makes it even more cool with long instrumental runs that are neat. Sgt. Peppers ends with “Day In The Life” as does this album. The song builds in intensity as the vocals grow and the guitar gets more rocked out and distorted to build to a climax.

The first time through I was less impressed. But another play showed me that these guys respected the originals and really wanted to give then new life and put their spin on them, which they did. Letizia’s vocals reminded me at times of Jimmy Thackery where he gets that gruff and almost off key stuff going to make a point and then builds back into a more traditional vocal approach. The trio is tight here, the songs are a lot of fun and this will give Beatle and blues fans something new to enjoy.

There has been a lot of resurgence in blues Beatles (and other genres) albums as the body of work celebrates one 50th anniversary after another. Frankly, I’ve not enjoyed most of them but this one was a lot of fun. I think it’s well worth a few spins of the disc to see a cool blues approach to the 17 Beatle songs covered.

Blues and Beatles fans will both enjoy this!

Reviewed by Steve Jones

Mike Zito—Blue Room Ruf Rec ords www.mikezito.com 10 tracks Recorded live in a basement in St. Louis, this is Mike Zito at age 27 and his trio in 1998. Mike and his band played until 6 AM at all allnight club in St. Louis and then hit the studio at 9 AM as they had $1,000 and a day or two to make an album. Beer, rum, bravado and no sleep helped produce this album.

Playing two nights every weekend in the back room at the topless club Lucious Boomers, these guys were in demand for their original cuts which supplanted the covers they were weaned on. Playing 7 nights a week, Mike on guitar and vocals, Doug on bass and

Brian on drums were working their craft. Playing every genre anyone wanted to hear, these guys learned fast. Zito wrote all the songs here except for the last one. Doug Byrkit and Brian Zielie were college boys and Zito was uneducated but supplied the moxie and bravado.

what the young Mike Zito and friends were doing in their heady days back in St, Louis. I think you’ll enjoy it.

“Hollywood” opens the album and it’s a stinging, funky blues rocker. The groove is slick, the sound is fresh and the vocals have grit and attitude. The 28 year old Zito shows his stuff with originality and moxie. Over blown guitar riffs and a deep bass groove get the blood moving. Next is “Pull The Trigger” where the guitar is a little distorted and the vocals are even grittier than before. Zito talks his woman down from the gun pointed at him as he tries to apologize to her. Another big guitar solo that’s a bit over the top, it shows promise and drive. With “It’s All Good” we get more of the edgy, driving, rock sound of the opener. “Gravy Jam” gives us more of than funk in an instrumental. Major guitar riffs, a big bass solo, and then Zito lets it all out with distortion and effects blowing things away. Things take a different tact with “Lovering” where Zito mixes slow blues in a Hendrix sort of style with a West Coast psychedelic guitar sound and traditional blues in A-A-B format.

Things blow up quickly as Zito shreds mid cut; obviously for effect but it’s a bit too much for me yet I can see how folks loved it.

Matt Woods—Tired and Dirty Self Released www.mattwoodsmusic.com/ 10 tracks

The second half of the album begins with “Shoes Blues” where things get off a bit mundane in comparison to the prior cuts. Zito sticks with the old A-A-B format. The solo shreds less but the cut is forthright and drives along smartly. As things progress, the shredding increases as does the wildness. Up next is “Ways About You” where more restraint is shown. The song is sort of a ballad but you can feel Zito wanting to break out. Mike manages to keep things moderately restrained until the end where things bust out a bit again right at the end. “Soundcheck” returns to the big driving rock instrumental sound. The start of “Lightning Bug” sounds as if Zito is going into “Foxy Lady” but then gets a full frontal funk groove going where he growls and groans the vocal lead. Things stay moderately in control but the last third of the cut (which is almost 8 minutes long in total) goes off the deep end again with a little bit of wild vocals and a lot of shredding. Things draw to a close with “Rocket Man,” but not the way Elton John did it. Zito takes the tempo way down and makes it into a somber blues. The last third of the song builds a bit and runs along into a short but major guitar solo that shreds us into the close.

There is a lot of shredding going on. Not exactly what I look for, but one can see that Zito has talent and that he and his band were tight. Hell, they even lived together. The CD garnered lots of local airplay and love and it made its’ way to larger audiences. Walter Trout heard it, fell in love and had Mike and the boys open for him.

Here we are 20 years later after battling alcoholism, leaning on his wife Laura who reintroduced him to life, his great solo work and his run in the first version of Royal Southern Brotherhood and we have the star we have today. Zito says he would not change a thing despite the problems he faced. His first album stands the test of time and this newly remastered Ruf re-release shows us where this young man was and gives us an idea where he came from. It’s rough and tumble, it shreds and pounds and drives hard, but it’s full of emotion and grit. Perhaps not for the faint of heart, but it’s not fun living like that. Give it a spin on your CD player and see

Reviewed by Steve Jones

Iowan Matt Woods is a craftsman whose music takes on the diversity of traditional roots music, from the Delta to hill country to urban electric blues and even getting into Gospel, country and folk music. Woods has now released four albums (two solo) and participated in the International Blues Challenge three times. He was nominated for a Blues Blast Magazine Award for Acoustic Blues Album of the Year in 2015 for his album “Sawdust and Gasoline.”

Woods here has written all the songs and performs solo. He starts his album with “I’m A Bloodhound,” getting a bit of a boogie going and picking out some nice stuff. He sings with authority and grit; here he tells his woman who is ripping him off that he’s “Gonna track her down like a bloodhound.” The threatened end result is a lot worse. “Train Goes By” is an upbeat and quick paced instrumental train song that shows off his chops and a little slide to boot.

“Always Tired” is a cool little blues with a nicely fingerpicked intro and then Woods wailing out the vocals. He bemoans life, trying to make some money tp bring home to his woman as he aches and hurts as he works. Up next is “V8 Ford,” a rollicking number about driving his old V8 Ford to his woman’s house. This has a pretty pre -WWII feel to it, with Woods picking those strings with abandon.

“Bootleg Me Mama” is a dirty old slow blues with a deep guitar riff to start things off. He asks his Mama to take him wherever she wants, even in the trunk of her car as long as he knows where she is.

“Now I’m Busted” is another fast paced slide guitar tune where Woods tells us how he’s busted and expresses his regrets. In “I Ain’t Leaving This Town” Woods picks and grinds out a nice mid tempo folky tune. “Spacement Serenade” is an acoustic guitar instrumental serenade. It’s pretty and light and airy. “You Need Me” is a swinging slide tune with some slightly compressed vocals that make it sound old. The guitar picking is sweet; Woods seems comfortable and completely in his element. Things conclude with the slide guitar folk tune that could be a cowboy song or at least a country tune. The guitar howls and sings along with Woods in a slow and deliberately paced duet. More creative lyrics here– Woods has crafted some interesting and neat songs and performs them comfortably like a good old broken in shoe on a long walk.

This is a very, very nice album of acoustic roots music. Woods in in his zone, delivering ten great new cuts that fans of acoustic music will surely love as I did. Highly recommended!

Reviewed by Steve Jones

Rachelle Coba – Blink American Family Music www.rachellecoba.com 11 songs/41 minutes Rachelle Coba turns up the heat dramatically on this CD, her first venture with the American Family Music label, delving far more deeply into soul -blues and roots than she’s ever gone before. That might come as quite a shocker for her legion of fans who know her as a singer/ songwriter/guitarist. But her leap of faith will definitely prove to be a crowd pleaser.

Born in Fond Du Lac, Wis., to a Cuban father and mother from Wichita, Kan., Coba has split her time between the Midwest and South Florida, where she currently makes her home, for most of the past decade. She’s played both violin and guitar since childhood, eventually earning a bachelor of science degree in classical guitar performance from the University Of Miami.

Because of her classical training, Rachelle’s developed a unique style of finger-picking on the six-string. She became interested in the blues while still in high school after witnessing Lonnie Mack and Stevie Ray Vaughan in performance and getting to see and meet Buddy Guy. She polished her skills at the regular Monday night jams at Tobacco Road, a legendary club that hosted the blues for more than 100 years, playing alongside a host of major talent, including Guy himself.

Before forming her own group, she worked and toured with Coco Montoya, Johnny Winter, Matt “Guitar” Murphy, Albert Castiglia, Super Chikan and Grady Champion. She’s represented both the Wichita and Topeka blues societies in the International Blues Challenge, and her only previous release, Mother Blues, was a 2014 Blues Blast Music Awards nominee for best new debut CD. Her work featured prominently on Liz Mandeville’s 2016 The Stars Motel release, which included six tunes co-written by the duo.

Don’t be fooled by her mild-mannered appearance. She’s a rocksteady guitarist who possesses a singing voice that can blow the roof off of any venue in which she appears.

This all-original album was co-produced by John Ginty, an electrifying keyboard player who’s star in his own right in addition to his work with Poppa Chubby, Sean Chambers, Castiglia and others, and Ben Elliott, who recorded, mixed and edited it for New Jersey-based American Family Music, which he co-owns. It features Rachelle on guitar and vocals backed by Ginty on Hammond B3 and other keys with Paul Kuzik on bass and Andrei Koribanics on percussion. Jimmy Bennett of the Bennett Brothers makes a guest appearance on dobro for one cut.

A simple keyboard arpeggio opens and provides accompaniment to Coba as she delivers the first verse of “High And Dry.” But the music explodes quickly into a driving blues as she complains

about being caught off-guard by a lover who’s both cheated and lied. The feel gets funky for “Dance These Blues Away” as Rachelle plans a new wardrobe and new look for a night of partying that’s guaranteed to reduce her pain. Her single-note guitar run mid-tune is stellar, and her vocals are dynamic.

Up next, “Good Ole Heartbreak” is a soulful, bittersweet ballad with an old-school, slow-dance feel. Like an old friend, its timing is perfect, she says, always knowing when to come around. The mood brightens, the pace quickens and the sound gets funky again for “No Deals,” which assures listeners that she might run across the Devil at the Crossroads, but she’ll never sell her soul -a warning that Satan’s living both in the world and in your mind.

Co-written with Mandeville and first appearing on her CD, the bare-bones “River Of Blood” comes across with a Hill Country feel as it paints a picture about slavery and the ghosts that still inhabit the fields. The title tune, “Blink,” is a jazzy ballad that suggests that dreams – and wishes – do come true. The pace quickens for the driving “Bad Reputation,” the realization that she should have walked away from an ex instead of deciding to stay. The feeling continues in the ballad “You Stole My Heart” with the action so swift that it’s left the singer in a daze.

The medium-paced “Shuffle Ya” is pure funk, while “Maybe” is the first of two unhurried ballads. This one questions the singer’s state of mind and obsessive thoughts about a man while “Blame It On The Blues,” which brings the album to a close, finds Coba still waiting for the man to change his ways.

Rachelle Coba is an understated powerhouse who deserves your attention and your ear. Available through Amazon and other outlets, Blink is a treasure trove of great new songs displayed at their best. Strongly recommended.

Reviewed by Marty Gunther

Kenny “Blues Boss” Wayne – Inspired By The Blues Stony Plain Records www.kennybluesboss.com 12 songs – 49 minutes Kenny “Blues Boss” Wayne reaches back into the past to deliver a totally enjoyable collection of piano blues with this release, his fourth album on the Stony Plain imprint.

Carrying on a tradition initiated by Cow Cow Davenport, Albert Ammons, Pete Johnson, Meade Lux Lewis and Memphis Slim, he’s a boogie-woogie keyboard player of the first order who usually dons a throwback zoot suit when performing. His primary influences are Fats Domino, Ray Charles and Johnnie Johnson.

His smooth, steady, slightly-behind-the-beat delivery swings like a pendulum as it pushes the music steadily forward, breathing new life into a two-fisted technique that originated before the blues migrated from the cotton fields.

But don’t be fooled into thinking that this is a retro album full of familiar covers played in a manner that mimics the past. Inspired

By The Blues truly is inspired with Wayne fashioning 11 originals in a thoroughly contemporary package that could serve as a lesson in the less-is-more approach that’s all but forgotten today in a world of shredders.

A multiple Juno and Living Blues award winner who was born in Los Angeles, but has lived in Kelowna, B.C., 250 miles east of Vancouver, Canada, for years, Kenny handles piano, organ and vocal duties here. Two extraordinary talents -- Chicago harmonica master Billy Branch and Rhode Island-based guitarist Duke Robillard -- make guest appearances.

Produced by the Blues Boss and recorded at Dan/Lyn Studio in Edmonton, Alberta, the lineup also includes Joey DiMarco on drums, longtime B.B. King bandmate Russell Jackson on bass and Yuji Ihara on lead and rhythm guitar. Dave Babcock (saxes) and Bob Tildesley (trumpet) provide the horn section, and Lynne Chwyl adds backing vocals.

The autobiographical ballad “I Knew I’d Be Playing The Blues” opens the action with Branch’s lilting harp lines accenting, answering Wayne’s vocals and delivering stellar solos, taking Kenny from the church to a day job and raising a family, but always leading him to what he does so well now. The music heats up immediately for “Start Rockin’,” the first boogie in the set. The horns provide propulsive accompaniment as the Blues Boss sings that he can’t wait for sunset because his time to shine is rapidly approaching.

The smooth and jazzy “I Like That Woman” delivers a detailed description of the gal with the Blues Boss on organ and with Robillard delivering into a single-note solo during the break. A pleasing jump-time number with a surprise ending, “Jimmy And Johnny,” follows, describing best friends who have a complicated falling out after one comes home with the other’s lady.

A straight-ahead 12-bar blues, “Make Up Your Mind,” urges a woman to decide whether her man should stay or go before Wayne delivers “Lake Country Boogie,” a swinging instrumental honoring his homeland in British Columbia that gives the horns plenty space to shine. Next up, “Mr. Blueberry Hill” pays tribute to Domino. Written by Kenny, it comes across with a genuine Fats feel.

Two more originals -- “An Old Brick Wall” and “That Raggedy Shack” – follow before a slow-and-steady, traditional cover of “Georgia On My Mind,” penned by Hoagy Carmichael and a monster hit for Ray Charles -- serves as a bonus track closer.

Available through most major online retailers, Inspired By The Blues is a winner on all counts. If you’re either a traditionalist or drawn to contemporary sounds, you’ll absolutely love this one.

Reviewed by Marty Gunther

Diane Durrett & Soul Suga—Live Self Released DianeDurrett.com 25 tracks (13 songs and more) Recorded live at two shows at Eddie’s Attic in Decatur, Georgia, this is Durrett’s second album with Soul Suga and her eighth overall. She appears to be in her element here with a rousing and soulful performance. Durrett sings and plays guitar; backing band Soul Suga is Melissa Junebug on drums, Yoel B’nai Yehuda on keys, Gregg Shapiro on bass, Markham White on guitar, Adam McKnight & Deborah Reece with backing vocals, Wes Funderburke on trombone and Kerren Berz on violin.

Durrett exudes soul , charm and power as she gets introduced and songs “Bright Side.” She tells us no one has ever gone blind looking at the bright side of things, a cure for a troubled soul.

“Butters In The Skillet” has a big band intro and then Durrett comes in dripping with sweet butter on her vocals. “It Is What It Is” is next, a song about a relationship gone sour. Diane sings with emotion and power. Up next is “Wish It Would Rain,” a tune she wrote after the last drought, a pretty ballad that she offers up with restraint and builds up as she testifies to the crowd. “Love Has he Right To Be Wrong” gets a little funky groove going and Durrett sings with heartfelt feeling. A dog rescue was the synthesis for “Be Someone’s Angel.” Durrett tells us to go out of our way and do something special for someone. The dog she rescued had gotten away during a funeral and her recovering the dog added some sun to an otherwise dark day for someone; the song tells us to go out and be an angel for someone, too.

“All Is Well” is another pretty ballad, this one inspired by Durrett’s grandmother. The pacing and lyrics are full of grace and charm. “In Between Times” remains low keyed and somber and bilds and builds with emotion and feeling, showing off Diane’s chops. A short percussion solo serves as intro to “Sassy Larue,” an up tempo and swinging cut about an 1950’s singer. Big horns and support from the band help sell this one. “Summertime” is a soulful cover of the classic tune and Durrett does a nice job with it. A big trombone solo gets the crowd going and then Durrett closes with intensity before taking us out sweetly. “Don’t That Bring You Back” is a jumping and fun cut that Durrett and company nail. The organ solo is slick and then the trombone chimes in for a bit. The band takes us home at the end, a rousing and fun ride. The last song is “Woohoo” with a little honky-tonk going.

Durrett sings with humor that she has a little woohoo in her hoohoo. Everyone in the band takes a turn to show off their skills over the 8 minute finale that leaves the crowd wanting more, a fine close to a fine set of shows and album.

I enjoyed Diane’s last album, but live she and Soul Suga are even more intense and fun. I enjoyed this CD a lot and think fans of soulful blues will too!

Reviewed by Steve Jones

Anthony Gomes – Peace, Love & Loud Guitars Up2Zeroentertainment www.anthonygomes.com 12 tracks

Laurie Jane and the 45s—Late Last Night-Elixir of Sara Martin Down in the Alley Records https://lauriejaneandthe45s.com/ 12 tracks

Fans hotly anticipated the new release from Anthony Gomes, and this master blues/rock guitarist and vocalist did not disappoint. Peace, Love & Loud Guitars is Gomes’ best effort yet and one of the best listens of the year.

Laurie Jane and the 45s do much more than simply cover the songs of a blues legend in Late Last Night-Elixir of Sara Martin – they channel the very essence of Martin’s musical soul in a fresh, new way.

After touring and recording for two decades, Anthony Gomes is well versed in the Blues and widely considered a master at his art. He won the European Blues Award for Best Musician/Live Performance in 2017. This Toronto native holds a master’s degree and a deep appreciation for the power of music. In fact, he wrotehis master’s degree thesis on the racial and cultural evolution of blues music. Today, he is a well-regarded Blues historian who puts his thorough understanding of the genre to work making the world a better place. He is also the founder of the Music is the Medicine Foundation, non-profit organization that has already helped children with cancer, young adults with Autism, and war veterans with PTSD. Peace, Love & Loud Guitars is the 13th effort from Anthony Gomes, and it comes across as a celebration of Blues/Rock straight from the heart. It starts with “Come Down,” a plea to the great B.B. King to come down from heaven, “cause this kingdom has no king/There’s no one here that can wear your crown.”

Gomes even treats us to a few of B.B.’s signature ‘swoops’ in the outgoing solo.

Gomes celebrates redneck royalty in “White Trash Princess” with hard-driving guitar work, a bit of wah-wah pedal and a heaping dose of double entendre. “Blues In The First Degree” and “Nasty Good” are Gomes’ signature cold-blooded Rock/Blues. Gomes shows off his traditional slide guitar skills and earthy voice in “The Whiskey Made Me Do It.” “You Are Amazing” is the softest song on the album, but this love anthem is strong and powerful in its own right. Gomes brings the energy to a fever pitch in the title track and holds it there until burns the album down with the scorching, soulful final song, “Take Me Back Home.”

Anthony Gomes laid down these 12 tracks in St. Louis, Nashville and Memphis. Angie Primm, Gale Stuart and Devonne Fowlkes provide backing vocals, with support from Amanda Fish, Albert Castiglia and a few others. Acoustic guitarist Chris Leuzinger keyboardist David Smith, percussionist Greg Morrow and bassist Mike Brignardello bring Peace, Love & Loud Guitars to life.

Peace, Love & Loud Guitars is produced by Peter Carson and Anthony Gomes, and released via the Up 2 Zero label.

Sara Martin is now largely forgotten, but was a big star in her time. She performed with a number of artists, such as Fats Waller, King Oliver, Clarence Williams and Sylvester Weaver, and toured all over the United States, Cuba, Jamaica and Puerto Rico.

With diamonds in her teeth and lavish costumes, Martin had an over-the-top performance style.

Between the confidence and swagger of Jane’s voice and the musical mastery of the band, Laurie Jane and the 45s is one of the few bands that could ever pull off the ambitious goal of bringing Sara Martin to a whole new generation.

Laurie Jane and The 45s have been kicking the blues in Louisville, Kentucky, for years now. On this new release, from Down in the Alley Records, the group revives twelve of “The Famous Moanin’ Mama’s” songs, including five of Martin’s own creations.

From the first note to the last, Late Last Night bursts with energy. Jane’s voice is sincere, sweet and graceful but it is never shy or apologetic. The band sweeps through each song skillfully, with horns and guitars breathing new life into vintage tunes.

Jason Embry’s upright bass and Scott Dugdale’s drums lay down raucous swinging beats that keep your toes tapping. Cort Duggins’ twelve-string slide guitar adds depth and authenticity to an already respectable effort.

Arrangements run the gamut to keep the beat moving. “Pleading Blues, Strange Lovin’ Blue” and “Atlanta Blues” have that oldtimey, scratchy record vibe, for example, while “Late Last Night” and “I’m Gonna Be a Sweet Lovin’ Old Soul” have all the jump and pop of contemporary Blues. Laurie Jane and the 45s slow it all down to tell the tales of aching souls in “Blind Man Blues” and “My Man Blues.”

Laurie Jane and the 45s belt out a spectacular version of “Tain't Nobody's Business,” which Martin recorded in 1922 with Thomas (Fats) Waller. The newest rendition is upbeat and fun without being over the top in cuteness.

Late Last Night-Elixir of Sara Martin is a phenomenal listen for anyone who appreciates classic Blues, new Blues and every generation of Blues in between.

Reviewed by Lynn Hetzler

Reviewed by Lynn Hetzler

Regina Bonelli – Love Letter True Groove Records http://www.reginabonelli.com/ 9 tracks With a name like Love Letter, you might expect delicate, fluffy ballads delivered in a wispy, lovesick reverie.

Nothing could be further from the truth.

Love Letter is no girly-girl heartbreaker – it is a strong, energetic and bold collection of eight band originals and one unique cover.

Regina Bonelli has a confident, powerful voice and upbeat musical energy that is both earthy and pretty at the same time. Released on True Groove Records, the album ranges from sensuous R&B to soul to all-out blues in a single bound.

Brooklyn born, New York Blues Hall Of Famer Regina Bonelli commands your attention with every note. On stage, Bonelli is an electric performer. She recently received a standing ovation at this year’s Gloucester Blues Festival, where she premiered several songs from this new effort. The music of Big Momma Thornton, Brownie McGhee, Sonny Terry, Ann Peebles, and Howlin’ Wolf has clearly made an impression on Bonelli, who now writes songs about her own life and about the lives of others.

Regina struts her powerful voice through “Don’t You Put Your Hands On Me,” an anthem for the #metoo movement. Bonelli says goodbye to a bad lover in the title track, “Love Letter.” She gets back on her feet and remembers her royalty in the next song, “Straighten My Crown.” Regina invites us to get dirty in “Playin’ in the Dirt,” a zesty and energetic song. Gary Schreiner pulls double duty, playing both organ and harmonica in this catchy tune.

Bonelli is backed by her A-List band, The True Groove All-Stars.

Artur Uronen adds depth with his Gonzo pedal steel guitar on “The Ladder,” “Straighten My Crown” and “Paint It Black.” Listen for Tomás Doncker’s guitars and background vocals on “The Ladder” and on the melancholy “A Little Rain Must Fall.” Michael Hilll plays guitars and Nick Rolfe adds organs and keys throughout the album. In addition to guitar, James Dellatacoma lays it out on the washboard on “Playin’ In The Dirt.” Kevin Jenkins and Mike Griot share bass duty, while Tony Lewis and James Coley man the drums. Mark Henry nails it on the sax and tambourine.

Bonelli’s cover of “Paint it Black” is probably one of the best renditions out there. She takes the Rolling Stone classic and makes it her own without straying too far from the song’s original, edgy energy. She pulls the album right back on track and ends it with her original tune, “The Ladder,” that pulls the listener up higher and higher.

All in all, Regina Bonelli’s Love Letter is a good album that leaves you feeling upbeat and empowered.

Reviewed by Lynn Hetzler

Billy F Gibbons – The Big Bad Blues Concord Records www.billygibbons.com 11 songs/41 minutes Rock And Roll Hall Of Famer Billy Gibbons completes the musical journey he started three years ago with the Afro-Cuban-flavored Perfectamundo album with this release, something that’s a treat sure to please both blues traditionalists and the millions of fans he’s acquired through his five-decade career as ZZ Top’s vocalist and guitarist.

Born in Houston in 1949, Gibbons is the son of an orchestra conductor and concert pianist, and he studied percussion under Tito Puente in New York. He picked up the guitar at 13, and was influenced by Jimmy Reed and others. He polished his guitar chops while attending Warner Brothers’ art school in Hollywood, Calif., in a succession of bands that included The Saints, Billy G & The Flames and The Coachmen, but started making a name for himself after founding the psychedelic group, The Moving Sidewalks, when he returned to Texas.

That group released several singles and one LP, Flash, but is best known for being the opening act for The Jimi Hendrix Experience during Hendrix’s first U.S. tour as a headliner. Gibbons formed ZZ Top in 1969, and, despite being one of the most successful bands in the rock world, has always infused his performance with a big dose of Texas-style blues.

“Nobody gets away from the infectious allure of those straightahead licks,” he says. “The inventiveness of that high-andlonesome sound remains solid and stridently strong to this day.”

Other than a compilation album in 2016, ZZ Top has toured but hasn’t released a new CD in six years. But Gibbons has remained busy with other projects, including a tribute album to guitar pioneer Les Paul that included Keith Richards, Steve Miller, Jose Feliciano and Slash in its lineup. While his most recent previous release hinted at blues in the Afro-Cuban mix, this one’s deeply rooted in the blues tradition.

Billy’s backed here by Mike “The Drifter” Flanigin on piano instead of his normal Hammond B3 organ, Austin Hanks on second guitar and a rhythm section of Joe Hardy on bass and Greg Morrow and Matt Sorum on drums. Gibbons also contributes harmonica along with James Harman, who makes a special guest appearance, and the music ranges from full-tilt boogie and straight blues to New Orleans funk.

“Missin’ Yo’ Kissin’,” penned by Gibbons’ actress wife, Gilligan, opens the action. It’s a driving, percussion-heavy pleaser based on the separation from a loved one that any touring musician or actor has to endure. The loping answer song, “My Baby She Rocks,” features stellar solos from Harman and plenty of guitar lines that prove to any doubters that Billy’s a bluesman at heart.

The shuffle “Second Line” has a Big Easy feel as it tips the hat to a New Orleans tradition before Gibbons delivers a faithful, slowblues treatment of Muddy Waters’ “Standing Around Crying.”

The original “Let The Left Hand Know…” follows. It’s an unhurried four-four harp-and-guitar shuffle, and the next line is: “where the right hand goes.”

“Bring It To Jerome,” made famous by Bo Diddley, gets a slower, funkier treatment than the cacophonous rocker original. “That’s What She Said” delivers some of the music folks know Gibbons for, albeit at a gentler pace, a theme that continues with “Mo’ Slower Blues,” before Billy delivers some tasty slide guitar as he professes his love for a lady in “Hollywood 151.” Two more covers – an uptempo take on Waters’ “Rollin’ And Tumblin’” and Diddley’s “Crackin’ Up,” delivered with its original calypso feel – bring the set to a close.

If you love the blues – or ZZ Top, for that matter – you’ll love this one. I sure did.

Reviewed by Marty Gunther

Dennis Herrera—You Stole My Heart Presscott Kobin Records www.dennisherrera.com 11 Tracks Dennis Herrera was born and raised in San Jose, California. He was exposed to many types of music in the Bay Area. At age 15 he saw James Brown, and music stayed a big part of his life. The band is currently based in Los Angeles. This is the 3rd release by Herrera and his fine band. The music is a mix of Chicago and Texas blues with a touch of west coast blues as well. Herrera sings and plays guitar. The recordings were made at Greaseland in northern California and Ardent Studios in southern California.

Separate bands supported Herrera at these locations. At Greaseland (4 cuts) the band was Sid Morris (piano), Frank DeRose (bass), Jack Sanford (sax), Rich Wenzel (B3, piano) and Robi Bean (drums). At Ardent (6 cuts) the band was Denis Depoitre (harp), Lee Campbell (drums), Bill Stuve (bass), Jeff Jorgenson (sax), Gordon Peeke (percussion) and Rich Wenzel (B3, piano). Herrera did one cut solo while at Ardent. All of the tunes were written

by Herrera.

Jack Sanford playing sax and Sid Morris banging on the piano are the highlights of the rocking opener “You Stole My Heart”. It is maybe more rock than blues, but it is hot instrumentally. The vocals by Herrera are just OK. The second cut is an R&B fueled tune “Takes Money”. Wenzel gives this tune a great run with his B3. “Fore” is a golf blues tune, not many of those out there. It has a west coast feel and is well played. I like the boogie woogie feel of “With No Refrain”. This song has fine song, but nobody

plays it too hard, as they just stay together. The R&B sax on the intro to “Look Out” by Jeff Jorgenson is quite good. “Recovery” is a nice jazz tune. Herrera does a nice job on his guitar (reminds me of “Blue Color by BTO). It is a soft tune, Wenzel’s hands on the keyboard being quite good too.

Things stay jazzy on the instrumental track “You Can Name It”.

The guitar work by Herrera is very nice. He stretches out on this longer track. I like the song “Backed-Up”, and its lyrics about traffic in Los Angeles. It has a bluesy feel, and that is what traffic will do to you. The 9th cut is “My Past Time”. It is a slow blues number that sounds very good instrumentally, but is hurt a bit by the less than strong vocals. I like the blues rock tune “Run With The Losers”. The vocals and tune recall a bit of Elvin Bishop. The closer is an acoustic tune called “Bittersweet”. Herrera does this one solo and does a great job. It may be my favorite cut on the disc.

The music here is solid, and does it without wasting any sounds.

The vocals at times are not as strong as one might want. There are no bombastic guitars or overwhelming speed of playing.

This is a good thing, maybe even a great thing. The tunes are solid and well put together. I am sure this is a labor of love for Herrera. I would call this a very good listening CD. Keep your ears open and I think you will enjoy the quality of the musicians.

I hope your ears enjoy it.

Reviewed by Mark Nelson

Alastair Greene – Live From The 805 Rip Cat Records www.agsongs.com 20 songs/101 minutes West Coast firebrand Alastair Greene follows up on his critically acclaimed 2017 studio album, Dream Train, with this two-disc set captured in front of an enthusiastic crowd in his hometown, Santa Barbara, California.

This release solidifies his commitment to the blues-rock idiom after splitting much of the past seven years as lead guitarist for one of the most enduring rock groups of all time, The Alan Parsons Project. It displays Greene’s talents at their best, delivering wave after wave of intense, powerful music that gives listeners little time to catch their breath.

Now in his late 40s, Alastair is the grandson of trumpet player Chico Alvarez, a member of Stan Kenton’s band, and trained as a pianist and sax player. He picked up the guitar in high school and studied at Berklee College Of Music in Boston for two years before returning home and embarking on a professional career, working both in blues and rock.

Greene formed his own band in 1997, but has often shared his talents. In addition to Parsons, he’s worked with guitarists Aynsley Dunbar and Franck “Paris Slim” Goldwasser and harp master Mitch Kashmar. His own unit has opened for dozens of top acts, including Mickey Thomas, Jonny Lang, John Mayall, the Fabulous Thunderbirds and others.

Delivered in a format that might remind some listeners of Gov’t Mule, Cream or ZZ Top on steroids, Live From The 805 is a stripped-down, balls-to-the-wall effort. He’s backed here by Jim Rankin on bass and harmony vocals and Austin Beede on drums.

Their only assistance comes from Chris Chalk, who handles lead vocals on one of the 20 cuts, most of which are live versions of tunes from Greene’s previous four CDs.

Alastair fires out of the gate with “The Sweetest Honey,” the account of “stealing honey” from the sheriff’s wife. Now the lawman’s out to take his life. It’s chockful of the rapid-fire, singlenote runs Greene’s known for. The tempo slows slightly and the rhythm gets a little funky for “Big Bad Wolf.” Three blues shuffles – the speedy “Trouble At Your Door,” which puts his picking skills on display, “3 Bullets” and “Red Wine Woman,” in which Alastair’s guitar runs form a chorus with his vocals – follow before the rhythm section is featured in the percussive “Say What You Want.”

A rock-steady take on Albert King’s “Love So Strong,” the first of four covers in the set, is up next. The rocker “Down To Memphis” precedes an interesting cover of Junior Wells’ familiar “Lawdy Mama” and “Lucky 13,” a blues-rock pleaser.

Disc two opens with “Dream Train,” the fiery title tune from Greene’s latest release while “Back Where I Belong,” up next, is a driving boogie. A military drum beat opens “T’other Way,” which has an airy, almost psychedelic feel before erupting into a rocker. “Last Train Around The Sun” an unhurried, stop-time rocker, flows into “Love You So Bad,” which keeps the interesting beat going, and “Rain Stomp,” which features Alastair on slide.

Green reinvents Jimmy Reed’s “Big Boss Man” next before Chalk takes the mike for “First Born Son.” A cover of Gwendolyn Collins’ and Hugh Williams’ “Shoe On The Other Foot” follows before “Walking In Circles” closes the set.

Available through Amazon and iTunes, this one’s for you if you’re into blues-rock. Fair warning, though: Eat your Wheaties and take your vitamins before you listen to it. At an hour and 40 minutes in length, this one will leave you exhausted unless you’re well-prepared!

Reviewed by Marty Gunther

Joe Louis Walker, Bruce Katz and Giles Robson—Journeys To The Heart Of The Blues Alligator Records alligator.com 12 tracks UK Blues harpist Giles Robson met Joe Louis Walker at the Amstelveen Blues Festival in the Netherelands in 2016 and was asked to sit in with him for a couple of numbers. He recorded a CD that year that returned to basic, traditional styled electric blues and when he met Walker he had the initial idea to develop a joint recording project. He listened to a lot of stuff and wanted to do a stripped down album of tunes. Walker agreed and suggested Bruce Katz, which Robson thought was a great idea. The three rehearsed for three days and recorded and mixed for five days at NRS Studio in Woodstock, NY to put their own spin on songs by many early blues greats. After listening to this CD, I must say they did a wonderful job.

“Mean Old Train” gets things started. Walker howls out the lead vocals, the harp is greasy and the piano is in the groove. This Papa Lightfoot train tune is a nice start for this set that Robson put together. Sunnyland Slim’s “It’s You Baby” offers up some more beautiful traditional blues with Walker picking and singing, Katz tinkling those keys and Robson blowing mean harp.

Things slow way down for “I’m A Lonely Man,” a Rice Miller/ Sunny Boy Williamson II cut. At this point, the minimalistic approach settles in nicely with the listener. Drums and a bass are not needed as the three continue to impress with their prowess.

The harp is dirty and cool, the guitar is restrained but poignant and the piano is beautifully done. Slow and sublime, this is killer stuff. Washboard Sams’ “You Got To Run Me Down” is a rollicking and fun jump tune. Katz strides up and down the keyboard, Walker picks out some nice stuff and sings with authority. Robson sits this one out and the duo nails it. Blind Willie McTell’s “Murderer’s Home” is up next, a song about the despair about a return trip to jail. The tone of the cut is supported nicely by the trio and this slow blues comes off well as we feel the despair in their singing and playing. “Feel Like Blowin’ My Horn” is an old Roosevelt Sykes cut. This midtempo blues has Walker singing with authority and Katz banging the keys with equal forthrightness. The guitar solo is another stinging one and the piano solo follows similarly. Robson’s harp punctuates things sweetly.

“Hell Ain’t But A Mile And A Quarter” is next, a St. Louis Red honky tonk cut. Katz sets the tone on the piano and Walker once again shows his vocal abilities. No guitar, no harp, just a well done piano and vocal duet with lots of charm. The lone original follows. “G&J Boogie” was written by Giles and Joe and features harp and guitar sparring instrumentally in a very nice little boogie. Big Maceo’s “Poor Kelly Blues” gets a great treatment by the threesome as Walker testifies with emotion. The harp, piano and guitar sting and flutter about to match the vocals. “Chicago

Breakdown” is another Big Maceo cut featuring Katz’ piano. He goes solo here on this grand instrumental showcasing why Walker wanted him on this album– so well done! “Hard Pill To Swallow” is a Son Bonds tune where the trio combine to set another great slow blues groove into motion and sell it well. Walker gets big solo here which is quite down home and cool and the Robson follows with his own. Things finish off with “Real Gone Lover,” a song popularized by Smiley Lewis. Stinging harp and a great guitar and piano groove make this special as does Walker’s authoritative vocal work.

This is a great CD. Walkers vocals are superb. He emanates the blues every time he opens his mouth. His guitar work is also interesting and cool. This is not the big, in your face electric guitar we’re accustomed to from him. Bruce Katz is, well, Bruce Katz. Few can make blues piano sound so good; he is a master at his craft. Robson has a unique tone and approach to his harp, maling this collaboration even slicker. I enjoyed their take on the 11 classics and the new instrumental– there is some really cool stuff here. No rhythm section as a backup and you don’t notice.

It’s a stripped down and excellent interpretation and set of performances– if you like traditional blues then this is for you– go out and buy it now, you won’t regret it!

Reviewed by Steve Jones

Eric Bibb –Global Griot Stony Plain Records www.ericbibb.com 2 discs, 13 and 11 tracks I remember the first time I saw and heard Eric Bibb. His lanky stature and the grace and ease of his playing and singing made his performance a bit surreal. The music emanated from his mouth and fingers with such naturalness that it impressed me greatly.

Son of a folk singer and political activist (and unafraid to take a stand himself), Bibb offers up a pair of CDs that tie to the West African storytelling method (griot) and features artists and production support from around the globe. Having grown up in a home where Bob Dylan , Odetta and Pete Seeger were routine visitors and with Paul Robeson as his godfather and a musical family, it is no wonder Eric took so well to music.

After attending New York’s High School of Music and Art, Bibb gave up a formal education at New York’s Ivy League Columbia University in 1970 for Paris and learning blues guitar under Mickey Baker. He later moved to Sweden and toured the blues scene in Europe writing and playing his own songs all over Europe. His career spans five decades and he has been nominated for two Grammy Awards and many Blues Music Awards.

Noted World Music star Habib Koete’and noted West Africa Musician Solo Cissokho who plays the 22 stringed kora appear here along with his long time friend Harrison Kennedy who sings on four tracks.

Crossroads’ fans will know that griot is an oral musical history tradition in West Africa where the tribal and family histories are set to music and passed down orally. Rap music is an off shoot of this tradition. Many think rap sprang from urban music on the East and West Coasts of the US; in reality, it has tie back for centuries to West African tradition, Bibb thinks the words “Global Griots” aptly describe he and his friends and their musical styles and approaches.

Bibb begins with “Gathering of the Tribes,” with Bibb on vocals and guitar, Cissokho on African vocals and kora and a griot choir trio backing them. The kora is delightful and Solo’s chants add to the mood. It’s a great start. “Whereza Money At” features Kuku Ansong on trumpet and Owura Sax on tenor as the horn section on this song about oil money exploiting the poor peoples. Christer Bothe’n plays the six string harp (donso n'goni, also known as the hunter’s harp) and the vocals with Bibband drummer Kwame Yebosh and bassist Glen Scott are cool. Following that is “Human River,” a song about people who tried to conquer cities and nations from Capone and Hitler to Trump but the might human river called love is the ultimate winner. There is some nice slide by Steffan Astner here, in this slow and flowing piece. Bibb’s wife Ulrika backs him on vocals, too. In “What’s He Gonna Say Today” Bibb compares the talk of Trump to that of the cartoon Family Guy.Paris Renita backs Bibb on vocals as Bibb sings of the mess in the White House. “Brazos River Blues” has Bibb singing about a more violent time as he plays 6-string banjo and baritone guitar and Kennedy sings with him. Michael Jerome Browne plays some good harp here in this minimalistic tune. Koite’ and Bibb sing and play guitar on “We Don’t Care.” A seven person griot choir also chimes in on the choruses on this song that describes how we don’t care about the effects on the environment as we live lives of excess. “Black, Brown and White” is a Big Bill Broonzy tune where Kennedy again helps on vocals. The song tells us it alright to be

white and brown can stay around but black has to get back. Kennedy also sings on “Listen For The Spirit,” where Bibb sings we should listen for the spirit in the music to soothe our souls and guide us home. Kennedy again sings with his edgy style and Mats Oberg plays some harp to fills. Next is “Hoist Up The Banner,” where Bibb backed by his wife sing about hosing the banner of love, the flag even flag-wavers should hold up. Koite’ returns for “Mami Wata/ Sebastian’s Tune.” The choir returns in this uplifting tune to the female water spirit Mami Wata. “Send Me Your Jesus” is a thoughtful piece about brotherhood and being like Jesus. “A Room for You” feature Drissa Dembele on balafon, an African xylophone and Bibb on guitar. Mostly instrumental, Bibb and his wife sing the latter third of the cut that tells the listener that there is always a room for you in their house. “Remember Family” closes the first CD. The song hearkens to family should always in our thoughts no matter where they are. Added vocalists and Kahanga “Master Vumbi” Dekula on guitar do a nice job as does Ale Moller on trumpet.

The haunting “Race & Equality” starts the second CD. A beautiful beat and windswept musical sounds glide along as Bibb sings about the unity of man. Baritone sax by Ed Epstein adds to the mix.

“Grateful” is in a sort of calypso style where Bibb sings about how he is thankful for his woman while playing banjo. Next is “All Because,” a pretty ballad of friendship. Ulrika Bibb does some nice backing vocals here and there is some interesting kora, guitar and baritone guitar, too. Solo Cissokho plays kora on “Spirit Day,” an excellent instrumental interplay with the guitar and kora. An occasional chant

by Solo pops in for effect, but the beautiful finger picking on 12-srring resonator and kora here is amazing. “Let God” tells us to let God do what we can’t do and understand we are all one, a wonderful sentiment sung to a peppy and moving beat. In “Last Night I Had The Strangest Dream” Bibb paints a picture of a world without war. A lilting melody soothes the listener and the lyrics match up well. 12string guitar and backing vocals again by Ulrika are nice touches.

The instrumental “Picture A New World” carries that idea from the last one and instrumentally builds into a feeling of unity. Bibb on guitar, Solo on kora and Olli Haavisto on pedal steel make an interesting mix. Linda Tillery is featured on “New Friends,” a song that asks our leaders to join together and to respect everyone equally. Tillery sings with emotion and Bibb and company fill in equally well. “Mole In The Ground” is a song about wanting to be a mole in the ground so he could take mountains down. Bibb and Ken Boothe sing about how simple things in nature have a position of importance. The shared vocal lead and call and response is well done. “Michael Row The Boat Ashore’ is a well known slave tune first noted during the Civil War. Featuring a scratchy sound like an old recording to start, Bibb and company break into a sweet rendition of this classic. Things conclude with “Needed Time” and some interesting string picking and interplay. A long intro and minimal harmonizing vocals basically repeating “Right Now is the Needed Time’ sends us off well. The kora and other strings blend and play off each other and make for a great conclusion.

This double CD will certainly garner recognition and award mention in the acoustic side of the blues award worlds. It is a beautiful and moving tribute to harmony and peace in a world where we are all brothers and sisters, This is a fine and touching set of tunes played with artistry and restraint. Words cannot express how much this is a fantastic album, so suffice it to say it just needs to be heard by everyone.

Reviewed by Steve Jones.

Brigitte Purdy—Still I Rise Dirtshack Records https://www.brigittepurdy.net/ 10 Tracks From Los Angeles We have the Bridgitte Purdy and her initial full length release.

Her father is a blues guitarist and featured her at family functions. As a youngster she trained at the Dorothy Chandler Conservatory and was exposed to all types of music and got to sing on bigger stages. These are all original songs. Supporting her on the disc is Dave Osti (drums, bass, guitar and piano) and Drake Shining (keyboards and B3). There are some special guests to be mentioned later. This release showcases her varied vocal talents.

Blues great Kenny Neal adds her fine harmonica skills to the rocking blues tune “Hoodoo”. This is a hot tune. On “Be The Light” Purdy delivers a fine message song. There is a bit of a gospel and soul feel to this one. I like the upbeat and sassy tune “Home Is In My Heart”.

Osti provides some good guitar licks. On “My Kinda Blues” we get a hard driving piano blues tune. Michael Fell adds harmonica to this one. This one may remind you of Marcia Ball. I like the vocals on “Last Time”. Purdy really shines here on a slower soulful tune with a hint of gospel.

I like the feel of “Get It Understood”. The keyboards hint at Stevie Wonder, and the vocals an Etta James meets Katie Webster delivery.

It starts slower and really builds as the tune progresses. Up next is “If I Could”. It has a bit of a jazz feel to it with a more pop vocal. I like the slow sultry “Lucille Don't You Weep”. There are great soulful backing vocals here. This is a strong tune with reverence to B. B. King’s guitar. The guitar solo by Dave Osti is very good. This is likely my favorite track. On “Blues Angel” Donnell Spencer Jr. handles the drums. This one is more jazzy/pop. It expands her vocal style, but might miss on the ‘blues’ side of things. The closing tune is “Still I Rise”. The piano opening is quite good. There is power in this track from her vocals and the backing band. The instruments support her vocals but don’t overwhelm them.

This release showcases Purdy’s fine vocals. It is not all blues, but there is blues here. I’d go see her just to find out how well this translates to the stage. Brigitte Purdy could be a star with her strong vocals. She is young and the world is out there for her and her ability to crossover styles. I hope the blues remains in her thrust going forward. Certainly she could go in a soul or R&B direction too. Blues rock fans might take a pass, but they will miss a fine vocalist. Everyone give this a listen and choose yourself.

Reviewed by Mark Nelson

guitarist fixture in the Southern California scene since the early 80’s.

The two met at a gig in where he played and she was a waitress.

Aragon love jazz and blues but was too shy to sing in public. Finally after years of trying he got here to join him on stage in 1999. Blue Largo was born from this union, and released their first recording in 2000 called What a Day!. A second release followed in 2002. In November 2006 an illness caused Leiberman to struggle to use his hand.

The band did a few gigs, but did not record again until 2015. This release is their 4th overall. San Diego is the home bade for the group.

They are joined by Marcus Bashore (drums), Mike Jones (bass) and Taryn Donath (piano). There are 10 originals here, with the rest soul/ R&B/jazz covers. Overall the music will step across swing blues to jump, jive, and jazz.

The opening cut is “Wash Away” starts with a cool organ intro before breaking into a blues number that would make a great movie title track. “If I Can Make It To Augusta” is an easy going tune about moving ahead to your goals. Jonny Viau provides some great sax on this one. The next one is a dance number. “Monrovia” will get your feet moving and should fill the dance floor. The Latin rhythm will get you swaying. Mike Tempo adds percussion to the fine guitar work by Lieberman. “Same Race” speaks to current events in a positive message. The tune is soulful, with some sound similarities to the great “Sittin’ On The Dock Of The Bay”. I like the gospel intro to “Before The Devil Steals Your Soul”. The later part of the song keeps a gospel feel while talking about some of the old blues greats.

“Bodas De Oro” is a traditional Mexican tune by Electo Rosell (Buena Vista Social Club). It translates as the Golden Wedding. The Latin percussion and piano are first rate and will get folks dancing. The dance floor will stay full with “I’m Alive”. Steve Ebner adds his trumpet to this one. This is a soulful party tune. “The Long Goodbye” reminds me of an Irma Thomas soul ballad. It is a very pretty tune and shows off Aragon’s voice. I like the cover of Jimmy Ruffin’s (The Temptations) “What Becomes Of The Broken Hearted”. Nathan James adds guitar on this gem. In 1965 Nina Simone covered “Feeling Good”, and it was a gem. The Blue Largo version is pretty good too.

“Grinder's Groove” is a good instrumental of sax dominated R&B music. It is slower and had a good feel to your ear. “Five Till Eight” was written by a friend of the band Nena Cote. It is jazzier than most of the other cuts and had a real upbeat feel. Lieberman wrote “Every Time You Call My Name” while bicycling. It is a happy upbeat R&B tune with fine horn work. I like the cover of “Work Song” from Nat ‘Cannonball’ Adderley. Butterfield Blues Band and Nina Simone also covered this one but Blue Largo stays on the jazz side on this instrumental. As kind of a bonus track, there is an in studio guitar jam tune by Nathan James and Lieberman. “Lose Your Money” is a cool acoustic jam by these fine players. A nice bonus this is.

Blue Largo—Before The Devil Steals Your Soul Coffeegrinds Records www.bluelargoblues.com/ 15 Tracks

I am glad to listen to this one. It has variety and is well played. It is not a blues rocker or even a big time boogie woogie release. Blues is the center of most of the work here. It spins in influences from 50’s early rock & 60’s Motown. There is swing blues, R&B, jazz and a bit of gospel. Give your ears a treat and check this one out.

Blue Largo is a group formed in 1999 by guitarist Eric Lieberman and vocalist Alicia Aragon. Lieberman had been a

Reviewed by Mark Nelson

Bob Margolin—Bob Margolin Vizztone Label Group https://bobmargolin.com/ 15 Tracks Bob Margolin is a blues legend. Once a member of Muddy Waters band, he also learned from and played with Jimmy Rogers, Pinetop Perkins, Snooky Pryor, Johnny Winter and Jimmy Cotton. Margolin played every instrument and sang every song for this recording.

Bob also produced, recorded and mixed this album. Six of the tunes are originals. This is definitely his project. He is also a founder of the label it is put out on. Bob is nearing 70 years young and is still going strong. From his early recording with The Freeborne in 1967, to his work with the blues masters and his 11 solo offerings, Bob always puts out quality work. His live shows are good too.

“One More Day” is an original tune. I like the country blues influenced tune about just wanting more time to play and enjoy life. Up next is a cover of the Dylan classic “I Shall Be Released”.

Certainly this tune is a bit sparser than the version by The Band, but it follows in the same vein. “Detroit” is a Margolin original with some nice guitar work. As an instrumental it carries some Motown feel to it, and maybe a bit of the great Robert Ward.

Margolin gets his blues call and response out on the tune called “Mercy”. I like this one and its solo electric guitar. On “Best I Can Do” Bob calls for sanity in the world. The song reminds me a bit of Elvin Bishop.

Up next is the classic “Blues Before Sunrise”. The Leroy Carr tune has been covered many times. This one is just two guitars playing this Chicago blues classic. I would have like some percussion added to it as it is a bit sparse. “Dallas” is a Johnny Winter tune Bob performs with acoustic guitar and some good pickin’. It is a similar feel to the solo version on the original Johnny Winter LP. Another cover from Leroy Carr is the 8th tune.

“How Long” is a great classic. Margolin plays this one with an almost jazz guitar feel to it. Snooky Prior wrote “Peace Of Mind”. There is a more complete instrumentation to this one.

I’m not sure that the vocals match up with the speed of the tune.

Maybe it is just not the best tune for his voice. “She's So Pretty” was penned by Muddy Waters. It is a natural tune for Margolin as he played with Muddy. It is a bit a faster tune than the previous few tunes.

“Look What You Done” is another Muddy cover. The guitar picking is pretty good. Margolin wrote “Head Held High”. This one would hold up better with a full band around it. The great Jimmy Rogers wrote the next tune “Going Away Baby”. The sparse instrumentation hurts the tune. “My Road” could have been the title song of Bob’s last release. There is some fine guitar work on this one. The slide guitar intro on “One More Mile” is quite fine. This may be the best guitar work of the release.

Bob Margolin is a rugged veteran bluesman. This is work I am

sure he enjoyed making. There is good material, though some tunes start sounding the same. I’d enjoy these with a full band, and thus a fuller sound. Traditional blues fans, and Chicago blues fans should enjoy it. It might not make it for the blues rock crowd. I’ve been a fan since his run of Alligator releases in the 90’s. Check those out if you like this one. Thanks for all the blues you have contributed Bob. Maybe for the next one, grab a full band and do this release as a live record.

Reviewed by Mark Nelson Ron Spencer Band—Into The Blue Real Gone Records http://www.ronspencerband.com/ 10 Tracks New York State brings us the Ron Spencer Band. This is their 5th release, with varying configurations.

Their work with Jimmy Cavallo won a W.C. Handy award in 2003. Ron Spencer plays guitar and handles vocals and he has been performing over the last 25 years. Mark Gibson (vocals), Bob Purdy (bass& vocals) and Ross Moe (drums) provide the music. Band members’ wrote or co-wrote 8 of the 10 songs. The music runs the gantlet of American blues based roots music. It should keep you dancing.

“Closer To The Bone” opens up the CD, with some rocking blues.

The song is about the hard times getting’ by in life. Dan ‘Cato’ Eaton adds some fine piano to the tune. I like the shuffling song “I’m Doing Ah-ight!! The band is tight on this one. I like the Tony Joe White influenced “Addicted To You”. It drips of the swamp blues. Good guitar work Spencer on this one. Moon Martin wrote the fine tune “Cadillac Walk”. It has a bit of ZZ Top and John Lee Hooker in it.

There is some soulful funk in the O.V. Wright cover “Blind Crippled And Crazy”. I like the south of the border feel of “So Wrong For Each Other”. The organ by Mike Davis really sounds great here. On “It's Time” the band sets a Texas type feel to their music. Gibson’s vocals are a highlight here.

There is a soulful blues explosion on “Callin’ to Me”. This one could have come from Memphis. Cato Eaton adds some sweet sax to this one. Things stay in the Memphis area with a great rockabilly rave up called “Fine Fine Woman”. This one rocks!!

The Latin feel returns on “Cold Outside”. It swings a bit too, making it a great dance track. Cato Eaton really rolls on the 88’s on this one.

This is a solid CD. The tracks are varied and well played. The tunes are danceable and relatable. No new ground is tilled, but that is not needed. I have not listened to them before, but will want to check out some past discs. Rocking blues fans will enjoy this. Give ‘em a listen if you want to get dancing.

Reviewed by Mark Nelson

Sean Chambers—Welcome to My Blues American Showplace Music http://www.seanchambers.com/ 11 Tracks The gulf coast of Florida was the breeding ground of the love of blues rock for Sean Chambers. The 3 Kings (B.B., Freddie & Albert), Clapton, Winter & Beck were early influences. The strong blues rock guitar sound of Chambers was built off of those influences. Early in his career Sean played with the legend Hubert Sumlin. He has gone on to release seven CDs. Chambers handles the lead vocals and lead guitar on this release.

He is joined by John Ginty (B3 and keyboards), Todd Cook (bass) and Mo Watson (drums). There are only two covers here. The remaining tunes were written by Chambers, Ginty and Jimmy Bennett who guests on 2 tracks. Almost all of the tunes are fullon blues rock.

“Welcome To My Blues” rolls out of your speakers with a strong blues rock riff and a strong pace. This is a strong opening track.

Up next is “Black Eyed Susie”. Ginty starts this one off with a powerful B3 intro. This one comes from the backwoods and swamp and has some sharp slide guitar work. The first cover is the soulful blues tune “Cherry Red Wine” written by Luther Allison. I have loved this track for years, and the band does it justice. I hear some Texas funky styled blues in “Boxcar Willie” (the old singer who advertised on TV). This one has much more of a rock edge to it.

A blues shuffle breaks out on “Cry On Me”. This is pretty good blues rock for sure. Ginty takes a turn on a keyboard solo on this one. The 6th track is called “One More Night To Ride”. This is another strong blues rock track with strong guitar and an ode to riding motorcycles. Bennett adds his slide guitar and backing vocals to this one. Chambers and his slide guitar roar out on “Red Hot Mama”. This is a hot tune. The hard charged music continues on “You Keep Me Satisfied”. This is a guitar tune at the best. There is power and touch.

The blues slow down to a slower grind on “Keep Movin On” This is a song about the road and I like it. “All Night Long” is a T-Bone Walker cover, with a more modern feel to it. Ginty adds some fine solo work to this one. Things slow down on the last track. “Riviera Blue” is a sweet slow blues instrumental tune.

I’d bet this one gets a long stretched out play in his live shows.

Chambers is a top notch blues rock guitar player. This release will likely increase his stature. I like the touch and passion of the playing. It stays within the song for all the band members. The producer is Ben Elliot who has worked other blues influenced guitar players such as Billy Gibbons, Eric Clapton, Steve Miller and Keith Richards. His work adds to this release. Blues rock fans, go get this one. It may not appeal to purists, country blues or acoustic fans, but open your ears and give this one a try.

Reviewed by Mark Nelson

Jonathon Long—Jonathon Long Wild Heart Records http://www.jonathonlongmusic.com/ 11 Tracks Baton Rouge Louisiana is the home base for Jonathon Long. This is his 3rd release, and the first without the “Boogie” middle name. He is a strong guitar player, showman and singer. This is first release on the new label run by Samantha Fish. Jullian Civello handles the drums and Chris Roberts the bass for this release. I have witnessed several shows by Long at Jazzfest in New Orleans. He has a strong stage presence, and works up the crowd. On this release, Long shifts his blues a bit, and explores a bit more soul southern rock and a hint of country on this one. Fish produced the CD, and Long wrote all but one of the songs included here.

“Bury Me” is a strong rocking power trio opener for the CD. He wants to be buried with his guitar and cheap cologne. Up next is a slower country ballad called “Shine Your Love”. It is a well done tune about suffering through loss in life. A fair bit of soul peeks through on “That's When I Knew”. Samantha Fish adds a bit of guitar to this one and Phil Breen puts his fingers to the keyboards. Civello sets a tight pace with his drums on “The Light”.

This is a more modern country tune. The pace is good and I like the fiddle by Michael Harvey is sweet.

“Living The Blues” is a slower blues tune about making it in today’s economic world. It is very topical. Things crank up on “Natural Girl”. The band cranks it up on the rockin’ tune.

Breen and Fish rejoin the mix on “The River”. It is slower almost swampy tune. Fish’s added vocals fit in well. This one was written by Kenneth Dundrick. “Pour Another Drink” sounds like an old movie jazzy tune. I don’t see it fitting into the flow of this release.

“This Road” is a southern rock tune with powerful playing and singing, without being overwhelming. On “Where Love Went Wrong” Long and the band toss us a soulful tune with maybe a jazz hint to it. It is slower and well done. The closing tune is “Pray For Me”. This is certainly the type of big guitar and song I have been used to hearing from Long.

Overall this is good, and Long is expanding his music. I first saw him in 2012, and he was all guitar work. This is a release of songs. I think his vocals are better too. Certainly blues rock guitar fans will dig this. You will also enjoy his 2 previous releases too. Southern rock and rock fans will give this a good listen too.

This is music from a young man who had built a base of fans and experience. He is on the road in later 2018 with Samantha Fish.

Get out and check them both out.

Reviewed by Mark Nelson

Delta Moon—Babylon Is Falling Jumping Jack Records https://deltamoon.com/ 11 Tracks This is the Georgia based band’s 12th release. In 2003, they won International Blues Challenge, after releasing their first release 2002’s Delta Moon.

Delta Moon plays swamp rock and blues music. This release has but 5 originals, but there are some tasty covers. Tom Gray handles the vocals, guitar, lap steel guitar, harmonica and keyboards. He is joined by Mark Johnson (guitar) and Franher Joseph (bass). Marlon Patton, Vic Stafford and Adam Goodhue share the drums. This is a veteran crew that makes good music.

Their two guitars with a lot of slide are cool with the groove they set.

Tom Gray wrote the first tune called “Long Way To Go”. This is a slower call/response swampy blues tune. The backing vocals add a great deal to the tune. “Babylon Is Falling” the title track, is a southern blues track with a faster pace. The band mates all mesh together very well on this on. Your toe will tap. “One More Heartache” is a Motown tune from Marvin Gay (Written by Smokey Robinson & some of his friends). It gets a southern with a bit of country blues treatment on this release. “Might Take A Lifetime” could be on the new country music radio. It has a nice feel and would play well in that genre or on some blues channels. I thank you Mark Johnson for this one. Up next is a hill county blues tune written by R. L. Burnside called “Skinny Woman”. The band handles this hot picking tune very well. Tom Petty wrote “Louisiana Rain” and it was included on his Damm The Torpedoes album from 1979. This version is a bit more blues, and quite good. On “Little Pink Pistol” the band gets a bit more forceful in their playing, but still keeping it in the groove.

Nice slide guitar on this one too.

The band digs back to a classic from Blind Willie Johnson for the next tune. “Nobody's Fault But Mine” gets a funkier swampy rendition as opposed to the acoustic and gospel blues feel of the original. The band covers Howlin’ Wolf’s “Somebody In My Home” next. I like the feel of this one, and it give the CD a good change of pace. “One Mountain At A Time” is a fast paced blues boogie tune. Closing out the CD is “Christmas Time in New Orleans”. This is a well done tune. Mark Johnson wrote it. It really takes you to the Crescent City and a solid visual appears in your head listening to the lyrics. Well Done guys.

Cary Morin—When I Rise Maple Street Music https://www.carymorin.com/ 12 Tracks Cary Morin is an acoustic guitarist.

His influences come from his Crow Indian heritage, acoustic blues, traditional jazz and dance. This release is his 5th solo release. He also played in local bands The Atoll, and Pura’ Fe Trio in Colorado. Additionally he played with The subdudes members Steve Amedee and John Magnie as the Young Ancients. Morin won the Colorado Blues Challenge Solo Championships in 2013 & 2014. Morin wrote 10 of the 12 on the release, and handles guitar and vocals.

Steve Amedée from the subdudes added drums and percussion.

There are other guests that will be mentioned as they appear.

The spooky opening ballad sounds like it is the opening theme to a movie or TV show. “When I Rise” is an old blues styled tune, with great acoustic instruments used on it. It was performed live in the studio. I give kudos to Dexter Payne on harmonica and Lionel Young on fiddle for their strong performances. I like the old time jazz feel of “Let Me Hear The Music”. It will remind you of Leon Redbone. Dexter Pane returns this time on clarinet.

“Sometimes” is the 3rd cut on the CD. This is a good acoustic tune. His finger style playing is very good. “Dire Wolf” is a Grateful Dead tune from the Workingman’s Dead time period.

There is a bit of a band supporting Morin on this one. It is less of a country version than the Dead did back the original.

I think of “Blackbird” by McCartney when I hear “My Memories Of You” for the first time. It is a quiet ballad, and pretty good.

On “Jug In The Water” Morin sings of fishing for gators to feed his the family. It is an easy rolling country blues tune. The solid playing style of Morin is on display listening to “Devoted One”.

He is entertaining in this style. Morin digs deep in his cover of Duane Allman’s “Little Martha” from the Eat A Peach days. This is an acoustic instrumental with Morin and his guitar out front.

Quite tasty, and it ends with a snippet of “The Last Pint”!

Up next is “Lay Baby Lay”. It is a foot tapping bluesy acoustic tune. Bass and drums give it a fuller sound. “Carmela Marie” starts with a bit of a 70’s west coast rock sound. Jason Lawson adds his piano licks to this one. For “We Used To Be” the sound gets a bit country Morin manning the pedal steel guitar. Track 6 “Jug In The Water” makes a return as an acoustic piece to close out the release. This one is real bluesy and enjoyable.

I like this one. This band just keeps doing the things they do best. The tunes are well played. Get in your comfortable chair with a favorite beverage and play this one with the volume up a bit. It may not hit a home run for the harder blues rock fans, but most everyone should enjoy it. Guitar fans will enjoy the work of Gray and Johnson.

Cary Morin is a top notch acoustic and electric guitar player. I have enjoyed his past work and this new release is no exception.

Finger picking acoustic fans will rejoice. Blues rock, or traditional blues fans, might not grab this one first, but all guitar music fans can enjoy this release. The vocals are not strong, but they fit the music. All of the backup players are good too. If you have not heard Morin before, take a shot and give this a listen. If you enjoyed his past works, that will continue on this release.

Reviewed by Mark Nelson

Reviewed by Mark Nelson

Lindsay Beaver—Tough As Love Alligator Records Alligator.com 12 Tracks When I think of 70s Texas blues, many names like Denny Freeman, Jimmy and Stevie Ray Vaughan, The Fabulous Thunderbirds, Lou Ann Barton, Alan Haynes, and Angela Strehli come to mind, just to name a few. Hailing from Halifax, Nova Scotia, Canada, Alligator recording artist Lindsey Beaver brings back that Texas sound in her vocals released on her new debut album Tough As Love. Recorded in her current hometown of Austin Texas, Lindsey has written 7 of titles on Tough As Love, as well as honoring her inspirational artists with tunes by Little Willie John, Angela Strehli, and Art Neville.

Surrounded by an all-star band, with Brad Stivers, Eve Monsees, Red Casey, and Laura Chavez on guitar, bassist Josh Williams, and other guests Marcia Ball and Matt Farrell on piano, Dennis Gruenling on harp, and Sax Gordon on tenor and baritone saxes, Lindsey is in charge of the percussion and vocals. The album opens with the original "You're Evil," the most tumultuous track on the album. She holds nothing back on vocals, indicating she is in the studio to lay it all on the line, with a voice so powerful and passionate you can't believe it.

With a ferocious West Coast guitar style, a furious harp performance from Dennis Gruenling, and an earth shaking groove from the rhythm section, the opening number is proof that this talented 33 year old blues artist is here to stay! She has a rare ability to deliver vocals with the same conviction and passion as Texas blues legend Angela Strehli, which can be heard in the next original "To Cold To Cry." With Texas legend Marcia Ball on piano, Jimmy Vaughan guitar style guitar solos delivered by Stivers, and Lindsey's vocals, this track is reminiscent of Angela Strehli's version of the 1940 Tampa Red tune "It Hurts Me To." "What A Fool You've Been" is a fast paced, energetic 50s style rock 'n' roll track that demands to be heard at a high volume with sensational early rock guitar, high powered sax, and vocals taking you back to yesterday. Lindsey puts an exclamation point on the 1960 Little Willie John "You Hurt Me" with her impassioned plea for her lover to return, fueled by the blistering guitar solos from Brad Stivers. Beaver and Stivers team up on vocals and blow the roof off with a fast and furious original rock 'n' roll track, with unsurpassed guitar licks and a piano performance that would make Little Richard take notice. The band brings Dennis Gruenling back to the stage to pay tribute to the Texas legend James Isaac Moore (Slim Harpo), for a sensational rendition of Harpo's 1957 "Got Love If You Want It" and his signature swamp blues style. Red Casey and Brad Stivers join forces on guitar and strut their stuff on the next original "Dangerous," with Lindsey belting out her vocals that are still hovering over the Austin recording studio. Next on the agenda is the original "Oh Yeah" delivering a driving groove powered by the rhythm section, with Eve Monsees, who is no stranger to Austin blues scene, joining the party with her guitar expertise. With her very scorching, emotional vocals Lindsey pays tribute to Texas legend Angela Strehli and her 1984 live performance of "Lost Cause," with Stivers matching Beck and Vaughan and their live 1984 guitar solos. Matt Farrell is featured on piano for the Joyce Johnson and Peter Williams tune "She'll Be Gone," with Brad Stivers on guitar and background vocals. The band pays homage to Art Neville and his

1976 tribute to rock 'n' roll with the 60's style "Let's Rock." Matt Farrell continues on piano for this cover and the final original track. As a finale, "Mean To Me" has West Coast blues guitarist Laura Chavez joining Brad Stivers on guitar, featuring Josh Williams on base and Lindsey on her drum solo for this red-hot jump blues original.

Lindsey Beaver's experience as a classically trained vocalist and jazz drummer, with her passion for blues, jazz, R&B, rock 'n' roll, and rockabilly, is evident on her debut album Tough As Love. It is a credit to her and her band to land their first album on Alligator Records, hopefully with many more to come. I think we will hear a lot from Lindsay in the near future!

Review by Rick Davis

Mick Kolassa and the Taylor Made Band—149 Delta Avenue Endless Blues Records www.mimsmick.com/ 12 Tracks Originally from Michigan, Mick Kolassa bases himself out of Mississippi these days. His music is straight from the Delta, and is full of varied blues delights. Nine of the twelve tracks are originals. Mick handles the vocals here. The Taylor Made Band is made up of David Dunavent (guitar), Leo Goff (bass), Lee Andrew Williams (drums), Chris Stephenson (keyboards) with Susan Marshal & Daunielle Hill (backing vocals). There are a number of guests that will be praised later. The music was mostly recorded in Memphis, with some work done in Chicago. I make this to be Mick’s 6th release since 2014, so he is recording at a fine pace. He is a former member of the Blues Foundation Board.

The opening cut is a high octane boogie woogie number called “I Can't Slow Down”. Chris Stephenson tickles the ivories well on this dancing tune. It is a great opening tune. I like the harp intro on “U.S. 12 To Highway 49”. Eric Hughes is the source of the fine harmonica work. Marty Sammons also adds his piano touch to this one.

The tune talks about Mick’s lifelong love of music and how he has followed his life path. “Alternative Man” starts out a bit like Tom Petty’s “Breakdown”, kind of slow and a bit spooky. It is about wanting to a woman’s alternative when her man is away. Jeff Jensen adds some guitar to this one. The best bus driver blues guitarist Toronzo Cannon puts his axe to the test on “Cotton Road”. This tune tells the story of how King Cotton dominated the people and life in the Delta. This is a fine tune.

“American Intervention” is a sad tune about addictions and how it affects so many people and those close to them. A story unfortunately that is more prevalent today than ever before. “Pulling Me Down” is another strong statement about pulling oneself up from your issues and those who hold you back. Jeff Jensen is back on guitar, joined by Marc Franklin (trumpet) and Kirk Smothers (sax). This is a slow dark and haunting tune. The horns add to it very well.

“Whiskey In The Morning” features J. D. Taylor on harmonica. It is slower tune about how good whiskey feels good at night and bad in the morning. The brass is back on the R&B tune “I Don't Need No Doctor”. This oft covered great from Ashford, Simpson and Armstead gets a bit more of a funky rework here.

Larry Garner wrote the tune “She’s The Boss”. It is a toe tapping tune about what you call your woman. Jensen is back on guitar and Marty Sammons adds his organ playing to the tune. Eric Hughes and Jeff Jensen are back for the slower blues tune “35 Miles To Empty”. The music gets a harder feel on “Alternative Man Alternative”.

This is sequel I guess to the 3rd cut of this release with a much tougher feel. Closing things out is the “The Viper”. It is the strong cover of the classic tune. The horns are back along with Mike Wilson (piccolo i.e. whistling). It is a fun tune and a good cover. By the way Stuff Smith wrote this one, and it was first recorded in 1936 by Smith and his band Onyx Club Boys as a B-Side.

This is a fine release of quality music. It is modern with a tip of the hat to the past. Kolassa put together a fine supporting cast. The net proceeds will go to the Blues Foundation. All blues fans should all enjoy this one. These guys got this one right.

Reviewed b Mark Nelson

Colin James – One More Mile To Go True North Records/Stony Plain Records www.colinjames.com 12 tracks/44 minutes Canadian Colin James has always covered a range of bases, having produced rock, Americana, acoustic and big band albums. He explored his blues roots on 2016’s Blue Highways and One More Mile To Go is the sequel, containing a selection of Colin’s favorite blues artists and a couple of strong originals. The album features Colin’s fine vocals and guitar backed by his regular band: Jesse O’Brien and Simon Kendall on keys, Chris Caddell on rhythm guitar, Steve Pelletier on bass and Geoff Hicks on drums. A three man horn section of Jerry Cook on baritone, Steve Hilliam on tenor and Rod Murray on trombone appears on several tracks and MonkeyJunk’s Steve Marriner provides occasional harp; The Sojourners and Colleen Rennison add backing vocals. The album was recorded in Vancouver, Canada, and produced by Colin and Dave Meszaro.

The album opens with two Muddy Waters covers: ‘Miles To Go’ features Steve’s harp in a full-band production with the horns pushing the song along before Colin’s striking solo; ‘Still A Fool’ is played in a more typical Muddy arrangement with Colin playing some tough guitar over the chugging rhythm. Arthur ‘Big Boy’ Crudup’s ‘Dig Myself A Hole’ has the horns behind Colin’s country blues-influenced slide – an attractive combination. Colin’s ‘I Will Remain’ is a beautifully produced ballad in BB King mode with outstanding guitar work framed by sensitive piano and subtle horns while his second original ‘40 Light Years’ bounces along with a hint of Dire Straits in the guitar work – no surprise that it was issued as a single. ‘Ooh Baby Hold Me’ could only be from Howling Wolf with a typical Hubert Sumlin riff underpinning the tune before Colin drops the pace for a late-night reading of Charles Brown’s ‘Black Night’. There is then an acoustic section with Blind Willie Johnson’s ‘Soul Of A Man’, with excellent slide

work, and a very quiet solo take on Blind Lemon Jefferson’s ‘See That My Grave Is Kept Clean/One Kind Favor’ which is beautifully done.

Colin’s version of Little Willie John’s ‘Need Your Love So Bad’ finds pianist Jesse O’Brien twinkling the ivories superbly and the horns adding to the chorus while Colin plays some lovely stuff in a restrained solo. “Tears Came Rolling Down” (a Walter Davis hit in 1952) is also excellent with slide set against a full band backdrop before the album closes with a revisit to the title track, this time in a solo acoustic version.

Colin James remains one of this reviewer’s favorite contemporary artists and these two recent blues albums have been terrific. As Colin is such an eclectic writer and performer one never knows what he will do next, but whatever road he takes it will be worth following. Meanwhile One More Mile To Go comes highly recommended.

Reviewed by John Mitchell

Dennis Jones Band—WE3 Live Blue Rock Records www.dennisjonescentral.com/ 14 Tracks Dennis Jones discovered guitar at his grandfather’s home in Maryland. After getting his own guitar at the age of 13, he made his way through high school bands, the military and family life to go on and release 6 CDs and a DVD. Jones also played with the Zack Harmon Band, and is currently based in California. This is blues rock in a modern vein. Jones plays guitar and sings in his power trio band. He is joined by Sam Correa (bass, background vocals) and Raymond Johnson (drums). This is a live release, recorded at Beaver Creek Brewery in Wilbaux, MT. There is only one cover on this 14 track release.

“Blue Over You” is the opening cut. It is a pretty straight forward blues rock tune with a nice jam in the middle of the song and a strong guitar solo. On “When I Die” the bands kicks out a strong Texas styled blues tune. This tune is about living life now and sleeping when you die. This is a good tune. “Passion For The Blues” is a history of great bluesmen that have ignited Jones’ passion. It is not a fast tune, but it keeps a strong beat and tells a good story. The soulful “Stray Bullet” is a good change of pace here.

This is a love turned bad tune. The band cranks into a rockabilly fueled tune called “Hot Sauce”. The dance floor will be crowded for this one. The band really rips it up at the end of the tune. The next tune is “Don't Worry About Me”. It has a ZZ Top fueled opening that slides into a Gary Moore type feel for a blues rock tune. The 7th tune is “Super Deluxe”. It is a love song that includes riding in his car. Though the stinging guitar of Jones is evident here, the funky back beat of Correa and Johnson pushes “Enjoy The Ride” along. It is about enjoying the ride of our lives.

Things mellow a bit on “You Don't Know A Thing About Love”.

There is certainly some Hendrix guitar being channeled through on this fine tune. I like the message of “Kill The Pain”. It is an anti drug tune set to power paced blues rock music. Up next is “Big Black Cat”. This is a blues rock tune, certainly from a modern urban feel. The band is in good form on this one. There is a soulful texture to the tune “Devil's Nightmare”. It has a funky beat, with a bit of Latin to the feel of the song. Jones and the guys return to Texas for “I'm Good”. It is a straight forward blues with big sound. Hendrix and Trower were influencing Jones on the classic “Born Under A Bad Sign”. This Booker T. Jones (Albert King signature) tune gets a real blues rock workout.

It was a rocking night in Montana as this one was recorded. This is quality blues rock. If you are a blues rock and guitar fan, this is one for you. The originals here all seem to be from past releases.

Dennis Jones and his sidekicks gave it all this night and the crowd got a treat. If you like this, then go see them when they pass through your town. Until then this release will heat up your night.

Reviewed by Mark Nelson

Rod Piazza—His Instrumentals Roseleaf Records http://themightyflyers.com/ 24 Tracks As a disciple of jump blues, West Coast blues, and Chicago blues, Rod Piazza got his start in 1965 with a band called The Mystics.

Rod has traveled many roads with many bands since then, with 27 albums as the featured artist to his credit, five selected collections, and 21 other albums making a guest appearance. As a disciple of George Harmonica Smith, Rod has studied traditional blues harmonica and at the same time developed his own expressive style.

With a new release on Rip Cat Records, Rod has selected 24 hand picked instrumentals from his vast library of blues tunes covering the years from 1986 through 2014. It is a collection of Rod's original instrumentals accompanied by various lineups of the Mighty Flyers over the past two decades. From disc one, he selects two tracks from his 1986 Harpburn, including "The Upsetter" and the title track "Harpburn," one of his hottest original classic jump blues numbers from his vast collection. From another early album, the 1991 Blues In The Dark, he features the tune "4811 Watsworth." The following year, from the album Alphabet Blues, comes "The Bounce." Piazza selects the slow, deeply soulful track "Ghostin'" from his big seller Beyond The Source. For the new album he selects "Stratospheric" and "Greasy Foot" from the 1999 album Here And Now. For the boogie lovers, he plays the "Scary Boogie" from the 1997 Tough And Tender. Get your dancing shoes on for the jump blues favorite "Snap Crackle Hop," his first selection from Thrill Ville. The 1997 Black Top Records California Blues takes center stage with the track "Deep

Fried." To complete the first CD, the 2004 Keepin' It Real is in the spotlight with "West Coast Midnight Blues" and "Devil's Foot."

On the second CD, he opens with "The Teaser," another jump blues favorite from Tough and Tender and continues with "Westcoaster," the second selection from Thrill Ville. Piazza makes another selection from the world renown Harpburn, entitled "Cold Chill," a red hot instrumental that gives you anything but a cold chill. One of the best chromatic jump blues selections on the second disc is "Harp Throb" from the 1995 album Feeling Good. It will keep you on the dance floor for hours! Two memorable live recordings included on the collection are "Ju Ju Cocktail" from the release Live At BB King's and "Eliminator" from the album Jimi Bott Live Vol. 1 Cheap Thrills that are real audience pleasers. The second selection from Alphabet Blues is the slow, soulful Delta blues tune "Nights End," featuring stellar keyboard solos from Honey Piazza and the soulful guitar of Alex Schultz that back the harp and words of wisdom from Rod. With an allstar band on board for Emergency Situation, including Rod on harp, Honey on keys, sax players Ron Dziubla and Jim Jedeikin, Henry Carvajal on guitar, Dave Kida on drums, and Norm Gonzales on bass, they are absolutely on fire for my favorite jump blues instrumental from both discs "Frankenbop." The second selection from the same album gives you a full, explosive band performance with "Colored Salt." From All Mighty Dollar comes the 2011 "Con-vo-looted." To complete this vault of instrumental treasures, from the 2009 Soul Monster comes "Expression Session" and the funky title track "Soul Monster."

As the cover indicates, Rod Piazza is the wizard of the West Coast Blues. Whether he is playing diatonic or chromatic, if you enjoy world class harp performances, you will enjoy this collection from the master himself. This is a good addition to your collection if you are an artist or a fan of Rod Piazza and The Mighty Flyers.

Reviewed by Rick Davis

Midnite Johnny—Long Road Home Mosher St. Records http://www.midnite-johnny.com/ 15 Tracks Johnny Morana a.k.a. Midnite Johnny is no stranger to the blues. Having worked with Harvey Mandel of Canned Heat, a guitarist for the James Cotton and Bo Diddley bands, and band member for Kilmo and The Killers, who opened for Johnny Winter, Jeff Healey and Foghat, he has certainly paid his dues in the blues world. After growing up in The Bronx, New York, his family moved to Florida where he became a well known blues guitarist in South Florida. He has now taken his rockin' blues to the UK to establish himself as a blues legend in a country rich with roots music.

Johnny's latest release Long Road Home with thirteen of the tunes penned by Johnny Morana, keyboard player Steve Zoyes, or both artists, captures your attention from the first note to the last. The band teams up for the explosive shuffle "Your New Occupation," with a driving groove by the rhythm section and a guitar style reminiscent of the late great Freddy King. They continue the album with "Slow Burn Inside," delivering impressive vocals and guitar, with support from a superior horn section and backing vocals. The band unites for some Southern blues and their version of J.J. Cale's "Crazy Mama," with Zoyes laying down some nice keys and Midnight Johnny offering some smooth slide guitar. The title track "Long Road Home" got my attention in an instant with some spectacular North Mississippi hill country blues, taking me to Lafayette County, Mississippi.

The tune cries out like that familiar sound of Robert Lee Burnside and his iconic "Rollin' And Tumblin." The vocals, slide guitar, backing vocals, and overall band performance with send a chill through you. "Lookin' Good" gives you a wild Delta juke joint sound with some New Orleans strut on piano as Johnny explodes on guitar. Keyboards and slide guitar are key in the delivery of "Tired Of Foolin' Around," with some Latin overtones. Stan Waldman takes the spotlight on sax with "All The Blues" for this rousing blues number.

Midnight Johnny morns his life style while his vocals

and guitar solos tell the story in the soul drenched ballad "Motels, Whiskey & Me. The funky rhythm guitar blends well with the strong lead guitar solos on the John Morana penned "Betcha Now." At this point, they add two covers to album with the first being the jazzy, soul struck instrumental "Baby Batter"

by Harvey Mandel, delivering penetrating guitar solos added to the electric piano. That same funky rhythm guitar format, with the hot lead guitar solos, can be heard mixed with strong vocals and backing vocals on another original entitled "Heard That One Before." Johnny switches gears on the second cover for an unplugged version of the legendary Broonz / Segar classic "Key To The Highway." The keys and guitar solos set a solemn, melancholy mood for the distant, desperate vocals echoing in the original "Outta Time." Steve Zoyes penned his second tune entitled "That's All You Gonna Get," as well as contributing his strong keyboard performance to the tune along with the stinging guitar solos from Morana. They band completes the album with a totally different soothing acoustic guitar version of the title track, this time with slide guitar reminiscent of a lap steel ending with a soft string background.

Long Road Home delivers a very diverse selection of blues, showing you just how versatile the band can sound in the studio.

John Morana has a voice perfect for his style of the blues and a guitar style to match. The album is rich with blues content and great sound, making it a top chart selection.

Review by Rick Davis

Frank Bey – Back In Business Nola Blue Records www.frankbeymusic.com 11 songs – 43 minutes Known as the Southern Gentleman Of The Blues, Philadelphia-based Frank Bey is a dyed-in-the-wool survivor who hits on all cylinders on this release, his fourth album as a soloist in a career that stretches back to the ‘60s, and he’s called on a few heavy hitters to bring the CD about.

This album was produced, mixed and mastered at The Switchyard studios in Nashville by multiple Grammy winner and songwriter extraordinaire Tom Hambridge, who contributed six of the 11 songs in addition to playing percussion.

The lineup also includes Delbert McClinton Band guitarist Jeff McNelly, Tommy MacDonald (Buddy Guy, Kenny Neal, Mike Zito and Joe Louis Walker), one of the busiest bass players on the planet, and Marty Sammon, the popular Chicago keyboard player who’s recorded with Guy, Eddie C. Campbell, Clarence “Gatemouth” Brown and Carlos Santana. They’re augmented by Max Abrams (sax), Julio (trumpet), Adam Nitti (bass) and Wendy Moten (backing vocals).

The overall sound is a straightforward mix of old-school blues and deep soul-blues, which should come as no surprise for anyone familiar with Bey, a native of Millen, Ga. The seventh of 12 children born to gospel singer Maggie Jordan, he sang professionally in a traveling gospel group himself at age four and served as opening act for the Otis Redding Revue for several years beginning at age 17.

Now 72 and owning one of the strongest and richest baritone voices in the business, Frank formed the radical funk group, Moorish Vanguard, in the early ‘70s after Redding’s death. But turned his back on the music business for 17 years following the discord that resulted after a failed record deal with James Brown, spending his off time driving taxis, building homes and installing airplane hangars, taming birds and cooking seafood.

Bey has remained a consummate entertainer even at 72 and after surviving kidney failure and receiving a transplant in 2003. His partnership with San Francisco-based guitarist Anthony Paule earlier this decade resulted in two stellar albums, both of which earned him Blues Music Awards nominations soul-blues entertainer of the year and the group two more for albums of the year.

This release, Frank’s first solo effort since 2007, opens with a trio of Hambridge originals. “Back In Business,” a Chicago-flavored shuffle, lays out Bey’s plan for success, while “Gun Toting Preacher” describes a former truck driver who’s a man to be feared as he delivers the gospel. “Take It Back To Georgia,” which concludes the set, is a classic soul-blues that details a troubled life and an urge to go back home.

Penned by Jeff Monjack and Kevin Frieson, Bey’s Philadelphia bandmates, “Cookie Jar” is a double-entendre soul-blues pleaser with plenty of overt sexual references. The Hambridge “The Half Of It” is a bittersweet ballad of longing for a lady who’s long gone. It’s followed by “Where You Been So Long,” a standard from the catalog of the late Mighty Sam McClain, and the jump blues, “Better Look Out,” which gives Sammon space to shine.

Another Monjack-Frieson offering, “Ain’t No Reason,” starts off like a sweet ballad, but quickly reveals itself a bittersweet statement of a world corrupted by divisiveness that affects even the most intimate relationship. Bey’s ample vocal talents are on full display for “Blame Mother Nature,” a hearty soul blues that finds him thinking about his true love before the rollicking “Give It To Get It,” about the need to share in order to be free, and the slow blues pleaser, “Yesterday’s Dreams” bring the action to a close.

If you’re old-school like me and enjoy soul-blues, you’ll definitely love this one. Pick it up through Amazon or iTunes.

Reviewed by Marty Gunther Reviewer’s note: Frank Bey’s kidney problems have returned.

He’s currently undergoing dialysis three times a week as he awaits yet another transplant. If you – or someone you know – would like to help, please visit the “special appeal” section at his website (address above).

Dry Johnson - Long Live Them Blues Vol. 1 Connor Ray Music dryjohnson.com 11 tracks Mike Zito’s big time rhythm section for the last two years have been bass player Terry Dry and drummer Matthew Robert Johnson. Zito plays guitar here on their first album as Dry Johnson and sings a bit in their support. Featuring a host of other talent, this CD is a powerful start for what should become the Dry Johnson era of recordings. Originally the duo met in Fargo, ND, in 1998 and have played together on and off for 20 years.

Zito met them in St. Lois somewhere around 2002 when opening for Hadden Sayers. Dry and Johnson have a tight sound and are a great backline and musicians in general.

The first track is a DJ intro. Track two begins the music with “Daddy’s Got A Cadillac,” a fine cut featuring Zito performing a duo with Houston chanteuse Annika Chambers. Both Zito and Dry play guitar and it’s a driving song with impassioned vocal work. It is a great hook to get you started. “Long Live Them Blues” is next, with Might Orq on guitar , Steve Krase on harp and Miss Trudy Lynn on vocals. The resonator resonates sweetly, the harp blows greasily and Lynn offers up some tasty vocals.

“Hit The Highway” follows with John Del Toro Richardson on vocals and guitar. This is the only cover, a Johnny “Guitar Watson cut. He sings with guts and emotion and plays some restrained beautiful guitar. Well done! Orq returns and plays guitar on “Drunk Girl With A Tambourine.” He plays some pretty licks and Snit sings with a nasal tone appropriate for the tune and witty approach. A mid-tempo swing tune, it’s a fun number.

Orq then plays and sings on “Too Many Hipsters,” a Texas blues rocker with a driving beat and a big guitar sound. Snit does what’s called an old man rant to close out the tune where he complains about Hipsters messing up the traffic patterns.

“Juke Joint” swings nicely with Dry on lead vocals and Orq and James Wilhite on guitar. There’s some well done steel and electric guitar here that adds to the Texas ambience. It is a great dance number that swings and grooves nicely. Dry joins Wilhite on guitar as Wilhite sings for “ I Walk Alone,” a somber and dark song with real grit. Wilhites baritone testifies deeply and his guitar adds to the mood and mix. “Trashy Women and Cheap Guitars” features Zito and Dry on guitar and Dry once again fronting the band. The lyrics are fun and will be a crowds pleaser in this Texas country blues rocker. The slide is out and the guitar pedals are pumping to make this sound like it should. The instrumental “Fried Chicken” features Zito on guitar with a big, beautiful ringing tone and fancy finger picking. Shouts (apparently by Dry) of “Fried Chicken,” “Turnip Greens,” and “Corn Bread” add to the overall “ambiance.” The album closes with “Little Bird” and Dry filling all the parts (vocals and guitars). He does a nice job with this somber Texas blues ballad.

I loved the album from start to finish. It’s got a sweet variety of tunes, a big Texas sound, great musicianship by the regulars and guests and makes for a great listen. I enjoyed this one over an over again in getting ready to review it and I am sure it will get many a listen more as time passes. I highly recommend this one!

Reviewed by Steve Jones

Johnny & Jaalene—Johnny & Jaalene Rip Cat Records http://ripcatrecords.com/2018/09/ johnny-jaalene-on-sale-now/ 12 Tracks Johnny Ramos, the talented son of the West Coast blues guitar legend Kid Ramos, has been surrounded by music his entire life. His musical cohort, Jaalene DeLeon, gained experience in theater before joining Johnny on their road to stardom.

The couple opens their debut album with the 1963 Barry / Greenwich gigantic hit "Baby I Love You" for the Ronettes. This duet by DeLeon and Ramos brings back a blast from the past with their

"spot on" harmonizing, adding their individual vocal parts that make the tune their own. Jaalene takes the spotlight for a tribute to Carla Thomas's top 10 tune "Gee Whiz" from 1961. With her angelic voice at the age of 16, Jaalene is as spectacular as Carla, who was close to the same age at the time of her recording. Johnny and Kid Ramos take the guitar parts on the Eddie Cochran classic "Teenage Cutie." Johnny's vocals are closer to those of Buddy Holly as opposed Cochran's vocals that were reminiscent of Elvis. The young couple has perfect harmony on the 1955 hit "Let It Be Me" covered by both The Everly Brothers and Elvis.

Ron Dziubla is featured on saxophone, as Jaalene steps in with sassy vocals to cover the Etta James tune "Good Lookin." Johnny's vocals are a definite match as the band swings into a Chicano genre tune, paying homage to the famous Mexican-American guitarist and singer Eduardo "Lalo" Guerrero. Joining the group for this tribute is Jesus Cuevas on accordion. With the same innocence and purity heard in her voice, Jaalene covers the 1960 hit for Rosie & the Originals, "Angel Baby," written by Rosie Hamlin.

Another 1960 hit "Why Why Why" from the Tex-Mex child prodigy in country music, Doug Sahm, sets the stage for Johnny's vocals mixed with some Tex-Mex background from the band. The year is 1953 for Jessie May Robinson and her rockabilly hit covered originally by Wanda Jackson and Elvis Presley. The band does a spectacular job of setting the stage for Jaalene's vocals with a blistering guitar performance from Kid Ramos and Tommy Harkenrider for this rockabilly classic. Keeping with the rockabilly genre, the band adds more fire to the guitars for their rendition of the 1958 earth shaking rockabilly tune "Please Give Me Something" by Bill Allen And The Back Beats. Jaalene attempts one of the most challenging tunes on the album as she sings the Carlos Rigual and Mario Rigual Spanish song published in 1961 and made famous by Connie Francis. I believe she meets and exceeds that challenge, covering Connie's "Cuando Caliente Del Sol / Love Me With All Your Heart," extremely well with Johnny joining in towards the end. Jaalene and Johnny opened the album with a duet and conclude their debut album the same way with a tribute to the Danny Webb and his doo-wop classic "One Summer Night" by The Danleers, an American doowop group in the 1950s, with Jesus Cuevas taking this one South of the border on accordion.

Johnny & Jaalene is labor of love for these young artists, featuring a tribute to roots, rockabilly, Chicano rock 'n' roll, and Americana music. Who knows what the future holds for this young West Coast singer and guitar player and his partner "The Queen Of the Teens." The best to both of these talented rising stars.

Reviewed by Rick Davis

The Bob Lanza Blues Band—Kids, Dogs & Krazy Women Connor Ray Music www.boblanzabluesband.com/ 11 Tracks

Kids, Dogs & Krazy Women is Bob Lanza's fifth studio recording and the third on the Connor Ray Music label. It is the follow up to the 2016 release It’s Time To Let Go. Leading the way, is Lanza on guitar and vocals, Anthony Krizan on guitar, vocals, drums and percussion, John Ginty, former keyboardist for the Robert Randolph, as a member of The Family Band, on piano and B3, Dave Lockhart on bass, and Vin Mott on drums and harmonica.

Bob Lanza opens with the title track "Kids, Dogs & Krazy Women," explaining his plight in a tongue-in-cheek tune, declaring "Kids, Dogs & Krazy Women, well they all come to terrorize me."

Anthony Krizan does a superb job on slide guitar accompanying Lanza in his desperate plea to "set himself free." The band continues with the shuffle "Little Mama," with Vin Mott taking center stage on harp on this tune that explodes with energy. Lanza continues with some Magic Sam style guitar on "Not The Man I Used To Be (For Jerry Boy)," for some high powered, old school, Chicago blues as the song progresses. John Ginty gives the song additional electricity with a sellar B3 performance. Lanza combines blues and country to release a fresh new version of the 1957 Patsy Cline "Walking After Midnight," laying down a steady rhythm guitar groove throughout the track. With electrifying guitar solos, the band lays down their version of the Frank Scott / Frankie Lee Jones classic "Full Time Lover," released by The Fabulous Thunderbirds in 1979. The next track is an original, cowritten by Lanza with Krizan as a tribute to the late great James Cotton, with Vin Mott adding superb harp solos for this fast paced guitar shootout. They call on Little Mike and The Tornados and their classic harmonica tune "Problems" penned by Little Mike Markowwitz for a lively new version. The tune "Every Side Of Lonesome," by the Trudy Lynn Review with Steve Krase on harp is the next is the next track, with Vin Mott again taking center stage on harp for this new version. From the 1979 album "Girls Gone Wild," Bob Lanza selected yet another Fabulous Thunderbirds tune, "Let Me In." As a tribute to Nashville legend Dave Perkins, a fellow musician Lanza had the pleasure to work with, the next original selection is a blistering blues number entitled "Hey Baby (For Brother Perkins)." They complete the album with a superb acoustic Delta blues instrumental "Raritan River Stomp."

It is a pleasure to hear old school blues today with a new twist, but still keeping some roots authenticity. One listen and Bob Lanza will capture you attention with Kids, Dogs & Krazy Women.

He surrounds himself with great musicians making this new CD and his other four albums a testament to traditional blues music.

Reviewed by Rick Davis

David Lumsden & Friends—Hues of the Blues Self Released www.davidlumsdenguitar.com 12 tracks The former Hurricane Ruth guitar player David Lumsden ventures out on his own after spending 2011 to 2017 with Ruth. He brings together a group of friends to support him as guest artists with these 12 songs.

Lumsden became enamored with music at age six with “Peter Gunn” theme. He got his first guitar at ten and followed the British Invasion bands like The Yardbirds. By age fifteen (1970) he heard Freddie King’s “Getting Ready” album and the blues have been his love ever since.

Backing Lumsden are a variety of folks including Tim Bahn on organ, Wayne Carter on keys, Ezra Casey on piano/keys/organ, Gary Davis on keys and bass, Rick Leigh on bass, and Arthur Carey Sr. and Jim Engel on drums. Guest artists and cosongwriters are noted with the songs.

“You Got To Lose” opens the album, an Earl Hooker cut.

Lumsden plays some nice guitar and sings with a little grit as he offers a stinging rendition of the song. Bill Evans shares in the vocals and guitars on “Further On Up The Road,” a Don Robey song first recorded by Bobby “Blue” Bland. His vocals are completely gritty and dark and his guitar has a different but equally interesting tone. It’s an interesting duet. Wayne Carter supplies the vocals for “You're Ruining My Bad Reputation,” a Z.Z. Hill song penned by Denise Lasalle. Carter has been at his craft since the 1960s and sings Chicago Blues with style and Lumsden lays out great licks on the slide guitar. Next is “Brush With The Blues,” a down tempo Jeff Beck instrumental recorded live in Decatur, IL at Pop’s Place. Interesting, sublime and quite the finger twister and Lumsden is up to the task. The classic “What’s The Matter With The Mill” features Reggie Britton on vocals and drums. The tune jumps and jukes with honky-tonk piano, organ, pretty harp work by Steve “The Harp” Mehlberg (who also helps on backing vocals) and a swinging beat. Mary Jo Curry sings and help co-write “Raised Me Right” and Lumsden plays some dirty slide. Curry belts out the vocals with attitude and passion; well done!

Mehlberg wrote “On Bended Knee” and does the vocals and harp while his wife Deborah backs him on vocals. It’s a cool little shuffle with dirty harp and a cool sound. Carter returns for “The Thrill Is Gone,” a take on the B.B. King Classic. Lumsden gives the guitar work his own approach and Carter wails the lead vocals with emotion and also plays some piano. The 1963 Ricky Allen cut written by Mel London and covered by Otis Rush and dozens of others gets a fresh coat of paint with a little variety in the guitar licks. Mehlberg fronts the band as Lumsden plays some pretty guitar and Steve gives us more harp to savor.

“Rollin’ and Tumblin’” is Lumsden with just bass and drums.

He opens with a long guitar intro and then when you are looking for the vocals he turns the entire thing into an instrumental; an interesting take for sure. He gets into a little shredding late in the cut but pulls off a very different cover. Carter returns on vocals and piano again for “Georgia On My Mind” and they offer a good little and soulful rendition with sweet piano and guitar.

The CD closes with Led Zeppelin’s instrumental “Rain Song” with Lumsden on acoustic guitar and Andon Davis on slide.

Chicagoan Davis and Lumsden show restraint and it’s a pretty close to an album with some nice variety.

Hues of Blues is an interesting set of tunes with a few well crafted originals and a set of covers showing originality and imagination. Lumsden guitar work for the vast majority of the album is not overdone or overstated. His vocals are good and the artists who sing on the other cuts all add dimension and make for good diversification. There is nothing not to like here; kudos to Lumsden for self-producing and releasing a fine album than makes for a great listen!

Reviewed by Steve Jones

Erin Harpe & The Delta Swingers The Christmas Swing Juicy Juju/Vizztone Label Group www.erinharpe.com 10 tracks Erin Harpe & the Delta Swingers have released their first holiday album which follows their well regarded second album from 2017 Big Road. Erin penned a couple of new tracks and she and the band put their swinging spin on 8 familiar and popular Christmas hit songs. It's a romping and jumping stomp to get you ready for the holidays.

Erin's guitar and vocals lead the charge here while Jim Countryman plays bass, snaps and claps, Matt "Charles" Prozialeck is on harp and Chris Anzalone is on drums and percussion. Richard Rosenblatt appears on harp on "The Christmas Swing," a tune he and Erin reworked from their 2014 "Delta Swing" hit song. Harpe also wrote "The Night Before Christmas."

The tone is set with a dirty, slide guitar version of "Jingle Bell Blues." The beat throbs, the harp greases things up and the slide work and solo make for a lot of fun as Harpe and the Band kick things off with a slow temp swing rework of the holiday classic. It becomes quickly evident this is not like Bing Crosby's or Perry Como's Christmas albums! Following that is "Merry Christmas," delivered as a tasty, slow blues. Harpe exudes her persona and she and the band move Santa towards at least an R-rated celebration that she invites the jolly old elf to. Big, ringing guitar, more dripping with grease harp and a very deliberate beat along with Erin's vocals make this a winner.

The original "Night Before Christmas" gives a nice high pitched harp intro as Erin gets into reciting the Clement Clarke Moore poem to a swinging melody and beat with nice harp support. It's a lot of fun. "At The Christmas Ball" features a piano guest appearance by John Juxo as Harpe delivers an old fashioned music hall performance and the kazoo gets a nice little solo to boot in this Bessie Smith song! Next is an eclectic cover of a 2010 eclectic song

by Lost Lou Psyche entitled "Merry Christmas (Here I Come)," a swinging punk rock-ish song with Ms. Psyche yelling and dirty harp. Harpe adds echo on the vocals and some cool backing vocals along with claps and snaps. She enhances the greasy harp and the guitar is swinging in this, too. It's weirdly fun.

"The Christmas Swing" begins the second half of the CD. Cymbals crash and the guitar and harp get a mid tempo swing going as Harpe testifies vocally. She gives us another nice guitar solo, too. She and Rosie have a nice little new Xmas song here. Leadbelly's "Christmas Is A-Comin'" is next with more swinging guitar and harp blazing. The folky Leadbelly song is transformed into a Texas/Southwest Swing tune and it works well.

Bo Carter's "Drink and Get Drunk" follows, not really a Christmas song but who can recall a Christmas holiday where perhaps drinking to a little excess did not occur? Erin spices up the Bo Carter tune and the harp punctuates here vocals nicely. Her washboard and her kazoo also makes an appearance here. Harpe also gives us some nice Chuck Berry licks and a super solo on guitar in "Run Run Rudolph." The backline and harp work frantically to drive the pace of this and it's another cool cover in an original style. The album concludes with "Auld Lang Syne," sung acapella with interesting harmonies that she adds herself. And just when you think it's done, what to our wondering eyes does appear but her kazoo (which takes us home with the final chorus on the fine instrument).

This is a fun and eclectic Christmas album that I thoroughly enjoyed. Just last week I sifted through my collection and took out my top 85 Christmas CDs to enjoy this season and this appeared for review. I will be giving it many more spins this holiday season and beyond. It was a joy to listen to and if you are looking for a swinging and bluesy new Christmas CD then you need look no further. Kudos to Erin Harpe & the Delta Swingers for this fine new holiday CD! Reviewed by Steve Jones

John Akapo – Paradise Blues Mensch House Records www.johnakapo.com 10 songs/35 minutes Believe you’d heard all of the blues styles the world has to offer? This highly entertaining debut acoustic CD might have you thinking differently.

Taumei “Big John” Akapo is a music nomad who casts a large shadow in his current home of Honolulu. His massive physical presence belies the fact that he’s a giant who delivers some of the sweetest blues sounds on the planet. “I think my music is like a tree rooted in traditional blues but sprinkled with Pacific salt water,” he says.

A man of American Samoan heritage, he grew up in Alaska and his parents tried to shelter him from a career in music because several members of the family were professional musicians and, to their eye, had succumbed to a rock-‘n’-roll lifestyle. Akapo learned how to play guitar on the sly, taking lessons from a friend, and fell in love with the blues after discovering a VHS tape of Eric Clapton performing an acoustic set for the MTV Unplugged TV show.

John began his professional career as a luau musician. For 13 years, he worked as a soloist, bandleader and then hip-hop singer and producer, all the while penning and recording his own tunes on the side – all of which, he says, turned out to be blues.

The music he writes sings and plays today has deep Mississippi roots while incorporating flavors of the Samoan and Hawaiian cultures.

Akapo self-produced Paradise Blues, which finds him delivering a collection of seven originals and three familiar, but wellexecuted covers. His voice and guitar dominate throughout, often accompanied by a harmonica player, percussionist and possibly as second guitarist, all of whom are deep in the mix and unidentified in the CD’s modest packaging.

The disc opens with a take on Robert Johnson’s “Ramblin’ On My Mind.” It’s an interesting interpretation, an unhurried ballad with a slightly jazzy feel that instantaneously puts John’s firstclass fingerpicking and slide skills on display. His vocals are equally impressive – a warm, rich relaxed baritone that’s slightly behind the beat throughout, gentling swinging his tunes forward. It flows effortlessly into “Little Lani,” which inquires why the subject lady’s in his car and home, all the while giving him a bad case of the blues.

The relaxed feel continues on “Maui Drive,” which describes a drive past a sugar mill on an afternoon ride. Muddy Waters’ “I Can’t Be Satisfied” is up next delivered with a honeyed traditional feel and slide work that would have made the master smile.

Next up, “Caramac Blues” is a new tune that’s full of traditional

blues imagery as it compares life to an Island confection composed of crushed macadamia nuts smothered in caramel and then covered with chocolate. As John states: “You can take all you want, but you can’t put nothing back.”

The mood changes dramatically with “Fighting For Love.” All of the previous songs are bright and airy. This one’s a bittersweet ballad that deals with having to move on after a relationship ends. The next tune, “Hindsight (Missionary Blues),” gets political as it comes across with a feel of the ‘30s. It warns Islanders not to let interlopers from the New and Old Worlds come ashore because they come with bad intentions and their world will be forever changed.

“Lord Help Me” finds Apako realizing he’s stuck in a rut. It offers up a plea for divine assistance. It’s followed by “Don’t Believe Her,” which describes a woman who’s “got a smile as dangerous as the Devil,” before a tasty take on Tommy Johnson’s “Big Road Blues” brings the disc to a close.

Available through Amazon and other online retailers, Paradise Blues will be a treasure for anyone with a love of acoustic blues.

An exceptional, albeit it brief, debut by someone who should have worldwide appeal.

Reviewed by Marty Gunther

Paul Oscher – Cool Cat Blues Fidelity - 2018 www.pauloscher.com 13 tracks/53 minutes Paul Oscher is best remembered for his time in Muddy Waters’ band in the late 60’s but since then he has been nominated many times for, and won two, BMAs. He is a triple threat on harmonica, guitar and piano and sings and writes much of his material. However, this is his first release for several years, the reasons for that being detailed in the sleeve notes in which Paul writes at length of his relocation from California to Austin, Texas, and how he has built up a new career in his adopted home.

On this CD he demonstrates the connections he has made with a great collection of local players joining him in the studio where he handles all harp and piano (plus guitar on four tracks): Johnny Ace, Sarah Brown and Chris Alcaraz are on bass, Russell Lee and Ernie Durawa drums, Mike Schermer and Mike Keller guitar, Tom Robinson and Tomas Ramirez on tenor sax, Eric Burnhardt baritone, Sunny Lowdown and Jeremy Dowden add BV’s to one track and Miss Lavelle White sings on one. Additionally one track was recorded in California with Lisa Leuchsner on vocals, Kid Andersen on bass and June Core on drums, other musicians being overdubbed at a later date in Austin. Paul wrote everything bar one cover of a Muddy tune.

We start with a sprightly New Orleans flavoured “Money Makin’ Woman” with great saxes and entertaining lyrics about a ‘lady of the night’ who eventually strikes gold and waves good bye to Paul. Paul’s piano leads on the very traditional “Blues And Trouble” with tales of gypsy women, demons and “sprinkling salt round your bed”, Tom taking a fine sax solo. “Hide Out Baby” is a solid shuffle with Mike Schermer’s wild guitar set against Paul’s Muddyesque slide work, a nice harp feature and saxes in the background too. We return to the streets and ‘backstreet women’ in “Work That Stuff”, a laid-back, almost acoustic, blues with harp and restrained guitar. Muddy’s classic “Rollin’ And Tumblin’” is covered with more of Paul’s slide and a bouncing rhythm track courtesy of Sarah and Russell.

The title of the album “Cool Cat” appears in three versions: an initial monologue, a “Jazz Quartet” version and an extended “R&B Long Version”. This is the story of a ‘winehead’ Paul used to see in Chicago when he lived at Muddy Waters’ house: this person carried a cat he nicknamed “Cool Cat”, a Pied Piper who played a sort of flute which attracted lots of the local kids to watch him, all of which is recounted in the “R&B Prologue”. The “Jazz Quartet” instrumental is superb and reminded me of Cannonball Adderley with its soul-jazz feel, attractive piano motif and fine sax playing by Tomas Ramirez – not blues but an excellent track; the “R&B Long Version” picks up the same refrain and does give it a little more R&B flavour with bass and drum features included.

The remainder of the album includes a second short jazz tune entitled “On The Edge”, recorded by the same team as the “Cool Cat” quartet version, a 30 second “Mississippi Poem” and a heartfelt tribute to James Cotton, mentor and friend to Paul, entitled “Ain’t That A Man” which drummer Russell sings in a deep baritone. “Dirty Dealin’ Mama” is a comic song in which you will be surprised how many sexual double entendres Paul has written for Lavelle White to sing! “Poor Man Blues” brings back the saxes with Russell again on vocals, a classic shuffle with a classic blues lyric about money being in short supply, Paul showing us that he is a fine pianist too.

It is good to hear Paul again and this album is good stuff indeed.

One for the purists – not a loud rock guitar to be heard!

Reviewed by John Mitchell

Award Winner

Ms Zeno The Mojo Queen – Back In Love Blue Lotus Records – 2018 www.mszenothemojoqueen.com 12 tracks/47 minutes Although Blue Lotus is a relatively new label its output to date has been impressive. Two of its previous releases (Roland Johnson’s Imagine This and Gene Jackson’s 1963) received nominations in the Blues Blast Awards and label boss, producer and multi-instrumentalist Paul Niehaus IV has mined soul gold again with this release, the fifth on the fledgling St Louis label.

Verlinda Zeno, originally from Louisiana, was discovered by Little Milton who invited her to join his backing singers in 1989, after which she relocated to Memphis and has been performing on Beale Street for many years. In Memphis Albert King was a supporter and she was a fixture at BB King’s club. Following a gap in her singing career and a divorce, Ms Zeno has signed with Blue Lotus and the resulting album has twelve original songs; Ms Zeno had a hand in eight of them, Paul Niehaus eight and Gene Jackson five. The studio musicians include Niehaus (who plays bass, guitar, drums, keys, sax, mandolin and French horn), Kevin O’Connor (on drums, guitar, keys, saxes and trumpet), Jackson and Johnson on vocals, plus guests Little G Weevil who adds guitar to four tracks, Brandon Santini whose harp features on two, Dustin Shrum on trumpet and Tom Martin on accordion; a string section appears on three songs.

The album kicks off in great style with the title track, the lyrics joyously celebrating a new relationship. The horns are to the fore, the strings and backing vocals add to the chorus and Zeno’s strong soul vocals, a little like Tina Turner to these ears, are terrific. “In My Shoes” shows that Zeno can handle an intense soul ballad but it’s track 3 “That’s How I Know” that is the top pick for this reviewer, the baritone sax pushing the song along over busy rhythm guitar, a track that brings classic soul sounds like Hi to mind. Zeno shows her blues credentials with “Willie Brown”, a downhome tune with harp and resonator guitar before the autobiographical “Mojo Queen” takes us south to Louisiana with accordion giving a Cajun feel alongside an almost rap quality to parts of the lyrics.

“Rise Up” is a song with gospel roots and a clear message to “help your brother man” with lots of reverb on the guitar, Zeno supplying both lead and backing vocals. “Love Is Like A Flower” is another ballad that could have come out of Stax back in the day before a duet with Gene Jackson on “Call My Name”, a funky number with Brandon Santini’s second appearance on harp. The horns return for the busy “Gotta Get Paid” which has some rocky guitar from Weevil while the moody “Mistress” has strings on a big production ballad which shows that the role of a mistress is far from easy when the man returns to his wife. “Hot Sauce” is a dance floor filler with a funky backbeat and horn accents as Zeno extols the qualities of her body in terms of food: “everybody knows we don’t need salt, I got a menu that would make the critics talk. Hotter than anything you ever had, A+ booty, USDA tag – Hot Sauce!” The album closes with “Father Time” which has a country feel, waltz rhythm and steel guitar, a little at odds with most of the album though Zeno’s voice remains strong and central to the song which talks of how none of us can “beat old Father Time”.

Overall a solid album of soul music with a strong singer. The first three tracks in particular are well worth the price of the CD if old school soul is what you enjoy.

Reviewed by John Mitchell

November & December Crossroads Shows

Dave Weld Imperial Flames at the Lyran Society Howard and and the the White Boys at the Hope and Anchor

Breezy Rodio at the Lyran Society Club Lil Ed and the Blues Imperials at the Hope and Anchor

Billy Flynn at the Lyran Society

Trinadora Rocks Sock Hop at the Lyran Society Bar

Reverend Raven and Westside Andy at the Hope and Anchor Photos by Rick Davis

Madtown Mannish Boys at the Lyran Society

Chris O’Leary

Studebaker John with Earl Howell at the Lyran Society

Ray Fuller and the

Ch

Chris O’Leary at Mary’s Place

Blues Disciples at the Lyran Society CLub

The Groove - Crossroads Blues Society Newsletter

Crossroads 25th Year

Membership News

Our 25th anniversary celebration is at the Timberlake Playhouse Theater in Mount Carroll, Illinois, on Saturday, May 4th, There will be three bands and tickets will be $10 in advance and $15 at the door. Tickets will be limited and will go on sale in January.

We continue to grow with new members and renewals continuing! Thank you for supporting live music and helping to keep the blues alive to all our new and returning members!

Unfortunately Patrick Hazell is not available to open the day for us. As noted in our prior newsletter. We do have Davenport Iowa’s Hal Reed and Mississippi Journey featuring Josh Harris on guitar. They start at 3 PM and we will get a tasty traditional blues set from this great band.

At 5 PM we will have the first of two bands that we love and represent that the future of the blues look bright. Ivy Ford and her band will take the stage and we will get to see and hear her high energy performance. She has been dubbed The Chicago Blues Kitten for her sultry and cool performances. She is a rising star in the blues world!

Last but not least is another high energy band, Jimmy Nick and Don’t Tell Mama.

Jimmy is an irrepressible force and is one of the hottest new acts out there. He and

New members: Ellen Burgeson Alyson Broman Conn Gary Koester “Papa Turk” Todd Nichols Family

Renewing Members: Janice Basten Robert Decker Marty Johnson Nancy Keller Steve Langley Jim & Mary Speicher New members get a CD upon joining and new family members get two CDS. If you did not get any please let us know the next time we see you! The Email newsletter averages about 40 pages an issue and is in full color, delivered as a PDF to members. Mail newsletters are 12 pages and printed in greyscale. Mail members have a $5 surcharge to help with printing and postage costs. We produce six newsletters a year with about 30 reviews and all sorts of other great information related to the Society and our events. Again, we thank our members for their support and helping us to keep the blues alive! See the membership form on page 3 of this newsletter to sign up. It’s a great way to help keep the blues alive!

his band hit the stage at 7 PM. Lena Brewing Company beers, great food and more is planned– stay tuned for more info! This is going to be a great day of celebration and

www.bluesblastmagazine.com

Hope and Anchor English Pub Second Saturday Blues The Hope and Anchor Second Saturday Blues is a fun monthly event at a super restaurant and pub!

Shows are from 8 to 11:30 PM. There is a $5 cover charge. Featuring fine English pub fare, the Hope and Anchor is a great spot for dinner, craft beers and liquors, and great live music! Located at 5040 N 2nd Street, Loves Park IL, USA, phone 815-6332552 for info!

1/12/19 The Blues Disciples 2/9/18 Mike Wheeler Band 3/9/19 John Primer 4/13/19 The Cash Box Kings 5/11/19 Corey Dennison Band 6/8/19 TBD 7/13/19 TBD 8/10/19 TBD 9/14/19 Blues Blast Awards Post Party 10/12/18 The Jimmys 11/9/18 Reverend Raven and the Chain Smoking Altar Boys featuring Westside Andy Linderman 12/14/19 TBD

Lyran Society First and Third Friday Blues The Lyran Society featured blues, a fish fry, other great food and a lot of fun.

The Lyran Club has great shows twice a month outside of summer. Located half a block east of 7th Street at 1115 4th Ave, Rockford, IL 61104, you can call (815) 964-0511 for info. There is no cover charge, it’s a free show. Open to our members and friends, all ages are welcome! Shows are 7 to 10 PM. 1/4/19 Written Warning 1/18/19 Dave Potter Band with Madison Slim 2/1/19 Sistah Beth Blues 2/15/19 Recently Paroled 3/1/19 Hobson’s Choice 3/15/19 Milwaukee Slim with Billy Flynn

Ice Hogs Friday Home Game Blues Friday night Rockford Ice Hog home games are also home to the blues at the BMP Harris Center.

5:45 to 6:45 pm features music in the Blues Flame Lounge. A ticket to the game and you are in for music and the game!

1/18/19 Andrew Robinson 1/25/19 Hobson's Choice 2/1/19 Recently Paroled 2/8/19 Wellstrung 3/1/19 Country Night

Crossroads Blues Society

THE

P.O. Box 840 Byron, IL 61010 On the web at: crossroadsbluessociety.com/

THE BI-MONTHLY NEWSLETTER OF CROSSROADS BLUES SOCIETY

Crossroads Blues Festival at Lyran Park: www.crossroadsbluesfestival.com Email us at: sub_insignia@yahoo.com Call us at: (779) 537-4006

Keeping the Blues Alive Since 1994 2014 Blues Foundation Keeping the Blues Alive Affiliate Award Recipient 2014 Chicago Blues Hall of Fame Inductee 2005 Rockford Area Music Award Winner– Musical Outreach Organization

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Blues News and Upcoming Events Happy New Year! We hope that you had a wonderful Christmas and a fantastic holiday season. Now it is time to hit the new year running with some great blues shows!

Details are inside for the show below.

At the Hope and Anchor in January and February we have the Blues Disciples from Milwaukee and The Mike Wheeler Band from Chicago January 12th and February 9th respectively. They are going to be some great shows!

Over at the Lyran Club January 4th it’s Written Warning from Lasalle and January 18th it’s the Dave Potter Band with Madison Slim. Then in February we have Sistah Sarah Blues Band featuring Elizabeth Ray on February 1st and Recently Paroled from Belvidere on February 15th. More great music with no cover charge and a super fish fry and more!

Tas Cru returns to Rockford for BITS and an evening show at Mary’s Place, Tuesday, January

15th. We have lots of exciting BITS planned starting immediately after the winder school break.

2019 starts with a bang– it’s going to be a great year!