The Crossroads Blues Society Newsletter
Ike
The
GROOVE
2017 Festival Tops All Others
Doug Deming Photo by Rick Davis Our Eighth Annual Crossroads Blues Festival at Lyran Park was a huge success and exceeded expectations on all accounts! A record crowd came out for what some called our best festival yet
and a few even ventured that they had never seen a one day fest that was better from top to bottom.
notch musical performance. Doug was on fire and the band was , too! What a superb way to end the day!
We appreciate the love we got from our fest attendees; while we may not really have been the hottest thing ever, we do agree that it was a great day all around and that the music, crowd, beer, food and setting could not be beat!
The Kinsey Report was on stage prior to Doug and they have never been funkier! The performance by brothers Donald, Ralph and Kenny, along with band mate Andy was out of this world and had the crowd on their feet dancing!
Doug Demng and the Jewel Tones ended the day on stage and gave the crowd an exciting and top
continued on page 2
Our totals over 15 years are now 244 programs for over 58,000 students. 30 different sets of artists have done these programs in 90 schools within 15 school districts along with Head Start Facilities, and several private schools and community
Crossroads Blues Festival Review 2017
Donald Kinsey - photo by Rick Davis
BITS Planning Has Begun in Earnest The 2016/2017 school year saw us do 61 programs for 7,300 plus students. We did 25 Head Start and 4 other preschool programs, 12 residency programs, 2 library programs and 18 assemblies.
SeptemberOctober 2017
facilities. That is pretty impressive! We kicked off this new school year with Ron Holm and Steve Jones at the Head Start Program annual kickoff. We have three sets of artists with specific dates available and may other dates in the works. Friday. October 6th two programs with Dave Fields and his band Wednesday, October 25th two programs with Gerry Hundt and Ronnie Shellist
Tuesday, January 9th and Wednesday, January 10th we have 2 programs with Tas Cru and His Band of Tortured Souls
It’s going to be another great year for us!
Advanced ticket sales neared 2,000 331 paid at the door Sponsor and give away tickets about 400 86 volunteers worked the event 27 sponsors donated just over $6,000 10 in-kind sponsors donated many thousands of dollars of value in support 6 food vendors and 5 merchandise vendors offered value and variety We served 34 types of beers and wines, numbering over 4,500 in total sales 190 tee shirts sold Everyone had a great time!!!
Inside this issue:
Dave Fields BITS
News Music Reviews Playlist, Members Membership Application Upcoming Events
1-7, 22-39 8-21 39 40 40
The Groove- Crossroads Blues Society Newsletter
Ike Page 2
2017 Crossroads Blues Fest Was the Best Yet Opening the day was the youngest band leader on the main stage for the day– Ivy Ford. At 24 she is a burgeoning star who everyone enjoyed immensely. Fantastic vocals and guitar work along with a tight band made for a top-notch show and unbelievable way to open a festival! Over in the pavilion the young teen band of Brutal Wedgie gave it their all with blues and rock and it did not go unnoticed! What an outstanding set of teens with a huge level of talent!
Jimmy Voegeli - photo by Rick Davis The Jimmys were what we expected– a party waiting to happen! Jimmy Voegeli on the B3 and keys, Perry Weber on guitar and the Young Horns made everyone get up and enjoy themselves. They were superb and by the time they closed with “Ophelia” the park was going completely crazy for them! The Jimmys are great!
Brutal Wedgie
Joe Filisko returned for his highly sought after harmonica workshop. His protégé David Kachalon joined him and dozens of burgeoning harp players enjoyed blowing harp with him! It was a lot of fun. Paul Kaye hosted a guitar workshop and while not many had guitars with them the tips and pointers he gave were well received and he put on a great show for us. Well done!
Closing the night in the pavilion was Dan Phelps, our 2017 Solo/Duo IBC Entry. He played some Hard Time Cigar Corey Dennison - photo by Rick Davis Box Guitars then switched to his own and put on a fantastic Corey Dennison left his impression on show of Mississippi Delta Blues! Rockford and it was an outstanding one! Ten minute into his set he was out in the 31 types of beer and 3 wines gave fest crowd and they could not get enough of it! goers a great assortment to choose The band is superb and Rockford native from and many brands ran dry. There Gerry Hundt on guitar was also another was always something available to fan favorite. Corey’s guitar and vocals keep everyone going and the food by made everyone take notice! our vendors was equally good. No one went home hungry or thirsty!
Joe Filisko
Paul Kaye - photo by Rick Davis
The merchandise vendors offered some cool stuff and a nice variety of items to peruse.swe appreciate the support of all our vendors in making the day a memorable one! Thanks also to our sponsors who are shown on page 4. We’d like to especially thank our partners from the Lyran Society for their hard work!
continued on page 5
Dan Phelps - photo by Rick Davis
Ike September-October 2017
Page 3
Ike Page 4
The Groove- Crossroads Blues Society Newsletter
Thanks You to All of Our Sponsors!!!
Ike September-October 2017
Page 5
Our partners at the Lyran Society provide us with a great venue and support to make this festival possible. Our volunteers number about 90 between Crossroads and Lyran and they are all super! Thank you so much to all who helped make this happen. Festival attendance was amazing. Advanced ticket sales almost hit 2,000. Over 300 paid at the door. 400 sponsor and ticket give away tickets were distrib-
the blues world is important and we thank them for their assistance. uted and we had 100 volunteers. We may have had nearly 2,800 people out there! Our festival has become a fixture in the Rockford area. There may have been 14,000 people slogging through the mud and watching them just over the Kishwaukee River by the Airport but we had the better venue and the better event as our attendees will attest! Thanks to the media support at WIFR Channel 23, WNIJ 89.5 FM, the Eagle 96.7 PM, Blues Blast Magazine, Chicago Blues Guide and WDCB Chicago! Getting the word out into the community and to
Hard Times Cigar Box Guitars raffled off a pair of guitars to support our BITS program and the Byron Kiwanis conducted a 5050 raffle to support their community efforts. Thanks also to Lee Ann Flynn whose photos grace this edition (Sweet Chica) and toe Rick Davis whose lens is also featured through the newsletter. His shots are featured on this page. It will be hard to top 2017 but we are already working on 2018 and we think it will be as good I not even better! Thanks for your support and we will see you down the road at one of our shows!
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 harkthebark@mchsi.com Rick Davis rick_davis_937@comcast.net Bob Haendler rhaendler@comcast.net Ken Pearson cntrylivng@aol.com Rick Hein mrrickhein@sbcglobal.net
Ike Page 6
The Groove- Crossroads Blues Society Newsletter
Ike September-October 2017
Page 7
2017 Crossroads Blues Challenge– The Road to the 2018 IBC band: any act with three or more musicians. Vocalists are counted as musicians for the purpose of this competition. Both electric and acoustic instruments are allowed. Solo/duo is one or two musicians. 10. The signature on the entry form signifies that the above rules are understood and will be complied with. Failure to perform in Memphis as agreed to will result in immediate disqualification and forfeiture of all privileges and prizes.
Dan Phelps– Winner of Our 2016 CBC
The winners of the 2017 CBC (1 band and 1 solo/duo) will receive: 1. The total of all entry fees received for the 2016 CBC date of their competition. 2. A paid engagement at one of our Crossroads Events. The band will paid at least $600 and $200 for solo/duo (negotiable). 3. Crossroads will assist with other fundraising efforts to be agreed to after the CBC. All judges decisions are final.
The Crossroads Blues Society presents the 2017 Crossroads Blues Challenge RULES 1. Open to all bands and solo/duo entries who live within 150 miles of Rockford AND who have played within approximately 50 miles of Rockford within the last year (August 2016 through August 2017). 2. Entries must complete the entry application and provide a 300 dpi or better photograph of the band. 3. Entries must be accompanied with a $25 entry fee which will be returned only if the band is not selected to compete in the Crossroads Blues Challenge (CBC). 4. Entries must be accompanied by a three song sampler of the band. If more than three songs are provided, the first three songs on the entry sampler will be used. 5. The act must be willing and able to perform in the Crossroads Blues Challenge on Sunday, October 15th, 2017 at the Lyran Society in Rockford. If they win they must be able to perform at the International Blues Challenge (IBC) held in Memphis, Tennessee from January 16 to 20, 2018. If the winning act does not compete in Memphis they will forfeit and refund all travel expenses raised by Crossroads Blues Society back to Crossroads. 6. If an act was ever nominated for a Blues Music Award (or the former W.C.
Handy Award), the act is ineligible to compete in the CBC and IBC. 7. An act is limited to three totqal appearances at the IBC with a maximum of two consecutive appearances at the IBC; after two they must then sit out at least one year before being eligible to compete again. Any act under the same name will not be allowed to compete three consecutive years. 8. An individual may not compete in more than one act in any capacity. A musician cannot compete in the Band Division and the Solo/ Duo Division, even if that musician represents a different Affiliate in each. 9. The CBC and IBC adhere to the following criteria for what constitutes a
The Groove- Crossroads Blues Society Newsletter
Ike Page 8
Music Reviews Royal Mint The Cash Box Kings Alligator Records www.cashboxkings.com 13 tracks The Cash Box Kings are on Alligator Records. Who’d-a thunk? I hired these guys for our first festival back in 2010. They were surely on the rise, given the talent in the band, and they released many great CDs over the years by themselves, on Blind Pig and now on Alligator, the premier label for blues. They’ve headlined festivals, travelled the world and garnered all sort of accolades, and do you know what? They deserve it! The boys have come a long way, with fantastic vocals, some outstanding harp, and two great guitar players. Barrelhouse Chuck has been featured on piano on prior CDs and the band dedicates this album to him, one of the most talented and exciting piano players whom I have had the pleasure to hear, know and love. Joining Oscar Wilson on vocals, Joe Nosek on harp and vocals, Billy Flynn and Joel Paterson on guitar is Lee Kanehira on the piano and he does a beautiful job. No one can fill Chuck’s shoes but Lee is a super piano player in his own right and makes this jumping CD fill out nicely. Kenny “Beedy Eyes” Smith returns on drums for the first, fifth and seventh cuts and Mark Haines is on drums on the rest of the songs with percussion except for one track. All do an excellent job. Brad Ber is an outstanding upright and electric bass player and is he always a stalwart for the band. Mel Ford plays some rhythm guitar on seven cuts and anything Mel ever does is good stuff. I was glad to hear him join in here. Alex Hall is featured on drums on “Flood.” The C-Note Horns join in on the fifth track; they are Al Falaschi on tenor and baritone sax, Darren Sterud on trombone and Jim Doherty on trumpet. These guys are all stars. Falaschi also adds his horns to a couple of other tracks. The band has wisely added some great special guest with these guys and Kanehira on piano! A rousing and stomping version of “House Party” opens up the CD with the CBK’s in their zone. They jump and jive with Oscar howling out he lead and Joe offering up
some greasy and distorted harp. Paterson and Flynn tear it up on guitar and Falaschi’s horns add some nice stuff to the mix, too, along with some piano. “I’m Gonna Get My Baby” is another classic where Wilson gets some response from the band to his calls. More slick harp here, too, and the piano gets a little more exposure here. It’s another one that will get you up to dance. Muddy Water’s “Flood” is next, and Wilson and Company give it its’ due. True to the original, the boys play some slick slow blues for us as Oscar testifies. Kanehira’s piano gets a pretty solo that would make the old masters proud. Billy follows with his own guitar solo and then Nosek builds on that with his harp. One of my favorite slow blues songs and these guys nailed it. The first original is “Build That Wall,” a tongue in cheek narrative and social commentary. Nosek gets his first shot fronting the band with his song and he does a fantastic job. This jump tune features barrelhouse piano, lots of call and response, a huge Chuck Berry-styled guitar solo by Billy and lots lots of hand clapping to add to the beat. It’s a great new song! “Blues for Chi-Raq” follows that, another original penned by Joe and Oscar. This one bemoans the violence and problems in Oscar’s neighborhood. All the horns are here, Flynn and Paterson are both in the fray, Kenny Smith is on drums again, and Nosek’s harp is part of the great mix as Oscar testifies to us. The old Robert Johnson “Traveling Riverside Blues” gets a nice and stripped down cover here with Oscar offering some hot vocals and Joel playing some electric guitar and slide. The next new cut is “If You Got A Jealous Woman Facebook Ain’t Your Friend.” The title tells it all. Oscar wails, Paterson and Flynn tear the house down and Nosek blows some more mean harp. It’s a jumping tune for sure! “Daddy Bear Blues” is also new, a thoughtful and pensive sort of cut with nice piano work, Nosek offering up a tasteful vocal and Flynn tinkling on his Mandolin. Well done! Next up is “Sugar Sweet,” a Mel London song that Muddy first released in 1955 as a Chess side. Nosek amps up the harp here from the original and Oscar’s vocals are smooth in contrast to Muddy’s. Kanehira’s piano also plays a bigger role and Flynn’s guitar was up to the task- well
done again! “I’m A Stranger” is an old Lightnin’ Hopkins’ slow blues and the band does it up nicely. Wilson, Flynn, Nosek and Kanehira all play a big part and make this sound good. Wilson’s “I Come All The Way from ChiTown” is up next, a down tempo, stripped down slow blues with Paterson on electric guitar and Nosek on harp behind Oscar. It’s very cool and minimalistic in it’s approach; it’s got an electric front porch sort of style to it. A rousing version of “All Night Long” follows with Oscar calling out the melody and the boys responding. The sax is back, the piano is huge, Flynn is masterful and the tune rocks as the band obviously has a good time. The CD concludes with Nosek’s “Don’t Let Life Tether You Down.” Haines beats out a great groove, Kanehira plays with great chops and Flynn and Ber add to the mix as Nosek leads the final charge in this optimistic and fun little number that ends up on a positive note. The guys hold nothing back and offer up a juicy and sweet album for all of us to savor. It’s hard to beat their recent prior stuff but they have- this is a really fine album and it belongs in any blues fans collection. These guys can jump and swing with anyone- go buy this one now! You won’t regret it! Reviewed by Steve Jones
2017 Annual Meeting and Election 9/15/27 Our annual Crossroads Blues Society meeting will be held on Friday night, September 15th at the Lyran Society at 6 PM. Following the meeting Studebaker John will ne playing at 7 PM. A fish fry and other foods and inexpensive beverages will be served. A review of our fiscal 2016/207 year and the 2017 Festival will be presented after we elected our officers and board. Current members indicated they will run but nominations remain open through the meeting. Come out for a great night of music and help us celebrate our record setting year at our annual meeting!
Page 9
Ike September-October 2017 Knock A Hole In It Mr. Sipp Malaco Records www.mrsippthemississippiblueschild.com 13 songs/65 minutes Plenty has changed for Mr. Sipp since the release of The Mississippi Blues Child, his debut on the legendary Malaco imprint, which captured the Blues Music Award for best release by a new artist. World tours and continuing acclaim followed. And if you caught the eightepisode CMT Network Sun Records docudrama earlier this year, that was him in heavy makeup and using his birth name, Castro Coleman, in the role of young B.B. King. Since winning the International Blues Challenge in 2014, he’s become a fan favorite around the globe, and this CD picks up where the previous release left off, albeit with a much harder edge. Now in his early 40s, the McComb, Miss., native turned his back on 20-year career in gospel a few years ago after appearing on several Grammy-nominated recordings, fully aware that many folks in that genre still carry their old beliefs forward and consider blues to be the devil’s music and anyone who plays it a pariah. A man of deep faith and married father of four who led the gospel brunch on the Legendary Rhythm & Blues Cruise a couple of years ago, he’s pursued the blues relentlessly despite the slings and arrows coming in his direction from former friends. He is also in the final stages of opening Sipp’s Place, a juke joint in Magnolia, a short drive from the Mississippi-Louisiana border. He channeled his pain and detailed his background in the autobiographical first cut of the previous album before proceeding to deliver a smoking set of soul-blues, and follows the same format on Knock A Hole In It, the title of which comes from the catch phrase he uses frequently on stage before launching into a searing guitar solo. A powerful guitarist, Sipp also plays some strings, percussion and bass on this one, sharing those duties with Jeffrey Flanagan, who adds backing vocals. They’re joined by Carrol McLaughlin on keys and strings, Stanley Dixon and Murph Calcedo on drums and The Jackson Horns: Kimble Funchess (trumpet), Jessie Primer III (tenor sax) and Robert Lamkin (trombone). The first 12 songs in the set are originals, beginning with “Knock A Hole In It.” An
ominous guitar riff kicks off the tune as Sipp’s spoken words announce that he’s back again and won’t give up what he’s always wanted to do: travel the world, play music and touch folks’ lives. Labeled a “stray” by the folks he’s left behind, he believes the music has no secular/ religious limit, launches into a hard-edged rock-blues solo and adds: “Although I made a change/I’m still the same./I praise the Lord.” “Bad Feeling” follows, but the message is completely different. The first in a run of love-related songs, this one’s a soulblues, and the singer’s got a strong suspicion that his woman’s got another man. The perils faced by a touring musician surface in “Stalking Me,” an autobiographical blues that details meeting a woman at a show and subsequently relentlessly being pursued by her through emails, unable to get her to understand he’s not interested. “Sea Of Love” – not the Phil Phillips ‘50s classic – is up next. It’s a sweet ballad, and Sipp is so overwhelmed by the feeling that he feels like he’s about to drown, and it’s a gift he has to share with the world, and he can’t hold back his tears while doing so. In contrast, “Gotta Let Her Go” is a bluesy number with a fiery guitar solo in which the lady tells the singer she loves her when they’re home, then tells her girlfriends that the romance is kaput, while “Going Down,” a blues-rocker, reflects after the act that it’s probably better to keep the woman you’ve got. “Baby You’re Mine,” a tender blues ballad, carries the message forward after the separation’s already taken place. Sipp sings praise for the “Juke Joint” next before the slow blues burner “Strings Attached” delivers a stern warning to a lover that the relationship is falling apart. The action picks up again for the straightahead soul-blues, “Turn Up,” which advises telling the deejay to play your favorite song and get out on the floor to dance your troubles away. “Love Don’t Live Here Anymore” – an original ballad, not the Rose Royce number – and “Love Yourself,” a soul-blues tune directed to good ladies who’ve been mistreated by bad men, follow before a cover of Jimi Hendrix’s “Little Wing” bring the action to a close. Available through most major retailers, Knock A Hole In It is a winner for anyone who likes his blues and soul with a message. Reviewed by Marty Gunther
Ain’t Nothing You Can Do John Primer & Bob Corritore Delta Groove www.deltagroove.com 10 tracks/53 minutes Knocking Around These Blues, 2013’s collaboration between John Primer and Bob Corritore, was a great success, so no surprise that they have followed it up with a second disc. There are three originals and seven choice covers, all in classic Chi -Town style, hardly surprising as John was Muddy Waters’ last guitarist and spent fourteen years with Magic Slim whilst Bob has proved himself in recent years to be the master of the amplified harp sound. Brian Fahey is on drums with either Troy Sandow or Patrick Rynn on bass, Chris James or Big Jon Atkinson on guitar, the late Barrelhouse Chuck or nonagenarian Henry Gray on piano, Bob on harp and John on lead guitar and vocals. The album is bookended by John’s two compositions: “Poor Man Blues” makes a solid opener with a plea for aiding those less fortunate than us while the slow grinder “When I Leave Home” finds Bob on top form, slowly releasing the mournful notes as Chuck tickles the ivories beautifully. Sonny Boy Williamson I’s “Elevate Me Mama” is great, John’s emphatic vocal sounding very much like Muddy while a run through Snooky Pryor’s “Hold Me In Your Arms” sets the toes tapping as Henry plays a rocking piano solo that completely belies his age. John shows us his best Muddy slide guitar style on Johnny Temple’s lascivious “Big Leg Woman”: “Big leg woman, keep your dresses down; you got something down there make a bulldog hug a hound.” John reprises “Gambling Blues”, a song he must have played many times with Magic Slim in a barrelling version before Bob offers us an instrumental feature for his harp work entitled “Harmonica Boogaloo”. The title track is an extended version of a song by the relatively unknown Chuck Brooks who recorded for Malaco in the early 70’s with a solo spot for Big Jon alongside John and more of Henry’s piano playing. With the band creating a “Crossroads”-like riff, “For The Love Of A Woman” is a Don Nix tune before they tackle another one of the ‘greats’ with Howling Wolf’s “May I Have A Talk With You” in a blistering version with lashings of slide – terrific! These guys are masters of the classic Chicago style and this disc comes highly recommended. Reviewed by John Mitchell
Ike Page 10 TajMo Taj Mahal and Keb’ Mo’ Tajmo Records/Concord Records www.tajblues.com www.kebmo.com 11 songs /43 minutes When Taj Mahal and Keb’ Mo’ met in the studio to record this album, the synergy was akin to a supernova, pairing two of the biggest stars in the blues world, and this release, which combines the efforts of two of the music universe’s brightest lights, is certain to be essential listening for perpetuity. The pair share five Grammys, but come from different spectrums. Born Henry Saint Clair Fredericks in the Bronx, Taj grew up in Springfield, Mass., the son of an AfroCaribbean jazz pianist/arranger father and school teacher/gospel-singing mother. Now in his mid-70s, he emerged on the scene in his early 20s during the folk revival of the ‘60s and has been at the forefront of the blues world ever since with dozens of albums to his credit. A multi-instrumentalist who plays guitar, harmonica, piano and banjo, he’s a musicologist of the first order and is recognized as one of the world’s foremost authorities on Western music. About a decade Taj’s junior, Keb was born in South Los Angeles and grew up in neighboring Compton. An actor with major films to his credit, he began his musical career as a steel drum and bass player in a calypso band before backing violinist Papa John Creach, best known for his work with Jefferson Airplane, on four albums. A multiinstrumentalist in his own right, he earned his first gold record in the ‘70s for the song “Git Fiddler,” co-written with Creach, which appeared on Jefferson Starship’s Red Octopus album. But it took another 20 years or so for his star to ascend in the blues heavens. A fan favorite, his voice is familiar to outsiders, too. One of his tunes served as the theme for the long-running Mike & Molly TV show. As powerful and entertaining as the pair are individually, TajMo proves they’re even a more potent force together. And they’ve gathered together some of the best musicians in the business to drive their message home. The lineup includes Joe Walsh, Trevor Linden and Phil Hughley on guitar, Michael Hicks on keyboards, Keith Everette and Quentin Ware on trumpet, Roland Barber and Roger Bissell on trombone, Nestor Torres on flute, Sam Levine on sax and flute, Jovan Quallo on sax, Marcus Finnie, Keio Stroud, Chester Thompson, Thad Witherspoon and Crystal Taliefero on percussion, and Phillip Moore,
The Groove- Crossroads Blues Society Newsletter Tommy Sims and Eric Ramey on bass with Jeff Taylor on accordion and vocal contributions from Bonnie Raitt, Liz Wright, Dain Ussery and Sidney Rudder. In addition to delivering two tunes cowritten by Taj and Keb’ and four more numbers from Mo’s songbook, this sweet, upbeat disc mines covers from several disparate disciplines. While traditional themes flow like a river, don’t expect any gutbucket blues. No matter the subject matter, no matter how bleak, the music will leave you smiling. The Taj/Mo’ original “Don’t Leave Me Here” kicks off the action. It’s a medium-tempo shuffle featuring Taj on harp. The pair trade vocals, as they do throughout, and insist: “If you’re goin’ to Mississippi/Where that Delta sky is sweet/Well you know I’m stuck here in Chicago/Please don’t leave me here.” The lyrics are a stunning reversal of the common theme of poor sharecroppers yearning for life in the Windy City. Some fine picking introduces Piano Red’s “She Knows How To Rock Me” and carries the tune throughout. It’s a great version with Taj providing the raspy lead vocals and Keb’ delivering the response. A pair of Keb’s tunes follow. The duo trade verses for “All Around The World.” Cowritten with Chic Street Man, it features an island beat and female chorus as it delivers the message that people need to find a better path toward peace and understanding. The ballad “Om Sweet Om,” co-written with Jahari and John Lewis Parker, continues the message forward as it urges folks to open up their hearts, that the sun doesn’t care who he shines upon. “Shake Me In Your Arms,” written by Billy Nichols, an artist best known for his work with Martha And The Vandellas and B.T. Express, is a gleefully positive mid-tempo blues that suggests a night of romance instead of a fight with a lover. Keb’s “That’s Who I Am,” co-written by Al Anderson and Leslie Satcher, describes the feeling of finally finding true love and understanding the inability to live without it. A pair of covers -- Sleepy John Estes’ “Diving Duck Blues” and Pete Townshend’s Who classic “Squeeze Box” – receive thoroughly modern makeovers before Keb’s funky “Ain’t Nobody Talkin’, written with John Caldwell, sings about an illicit love affair, and the Taj/Keb’-penned “Soul,” a multi-layered number with a Caribbean beat, simply states that soul power spans the globe. The disc ends with a little hope for the future in a cover of John Mayer’s “Waiting For The World To Change.”
Available through all major retailers, TajMo is a pure delight throughout. Strongly recommended, and a serious contender for awards across the blues spectrum in the year ahead. Reviewed by Marty Gunther
2017 Blues Blast Music Awards Presented at Fest and 2018 BBMA Coming to the Tebala Shrine Bob Keiser was at our festival this year to present the 2017 Blues Blast Music Awards. Assisting him were Linda Cain from the Chicago Blues Guide, Mark Thompson from Blues Blast Magazine and our former President, and Amy Brat from Brat Girl Media. The lone award winner who happened to be in the house was Innetta Visor from Mississippi Heat who accepted the Traditional Blues Album Award. The BBMA ceremony and show was in hiatus this year but returns in 2018 and it’s coming to Rockford! Mark your calendars now for the Blues Blast Music Awards Show and Ceremony on September 29th at the Tebala Shrine in Rockford! It’s going to be a blast! Over 20 bands nominated for the annual awards typically play at the event. Crossroads is proud to be a major sponsor for the event!
Contemporary Blues Album • Samantha Fish – Chills & Fever Traditional Blues Album • Mississippi Heat – Cab Driving Man Soul Blues Album • Thornetta Davis – Honest Woman Rock Blues Album • Mike Zito – Make Blues Not War Acoustic Blues Album • Fiona Boyes – Professin’ The Blues Live Blues Recording • Walter Trout – Alive in Amsterdam Historical Or Vintage Recording • Roy Buchanan – The Genius Of The Guitar – His Early Recordings New Artist Debut Album • Southern Avenue Blues Band • Lil’ Ed & The Blues Imperials Male Blues Artist • John Mayall Female Blues Artist • Beth Hart Sean Costello Rising Star Award • Southern Avenue
Ike September-October 2017 No Black, No White, Just Blues Lightnin’ Willie Little Dog Records www.lightninwillie.com 10 tracks/30 minutes SoCal bluesman Lightnin’ Willie was a frequent visitor to the UK back in the noughties but has not released a CD since Tracks back in 2008, so this new album marks the return of this popular character with his distinctive stetson, songwriting and guitar skills. This new album was recorded at home in California with Willie on vocals and guitar, producer Pete Anderson on bass and harmonica, Michael Murphy on keys, Skip Edwards on B3 and accordion and Jerry Olson or Jesper Kristensen on drums; Ron Dziubla plays sax on several tracks, Doña Oxford plays piano on one and Luke Miller adds strings to one cut. All the material is original, with two songs reworked from Willie’s earlier albums. Opener “Can’t Get That Stuff” rocks out with a hint of country and Doña’s piano to the fore. Willie’s world-weary voice suits his material as he recounts that he has “Eyes In The Back Of My Head”, a driving shuffle with harp and guitar featured on a song that is clearly important as Willie has now issued three versions of it across his albums! Sax and piano embellish the fine slow blues “Locked In A Prison”, Willie sounding saddened by the girl who broke his heart and “Sad N’ Blue” ploughs similar ground lyrically but in an altogether different style as Skip straps on his accordion to add a Tex-Mex flavour to the upbeat tune. Then it seems that she walked out, leaving a “Note On My Door”, Willie taking it pretty well: “I sat down, no tears in my eyes, I couldn’t tell you the reason why.” “Heartache” adds sax to a latin-tinged piece of rock and roll, Willie playing some neat rhythm as well as lead breaks while “Fuss And Fight” is more downbeat with organ providing a rather gloomy background, another tale of a relationship that is not really working. Hardly surprising then that the “Phone Stopped Ringing”, Willie finding himself “sitting next to lonesome” but playing some very fetching guitar over an organ and sax background. “Thinking Of You” is reprised from 2000’s Buy American with sax and strings providing a lush background to this ballad before the album closes with Willie on slide on the upbeat and suggestive “Shake My Snake”. Quite a short CD at 30 minutes but it’s all good stuff and worth checking out. Reviewed by John Mitchell
Page 11 Monarch Chris Antonik FACTOR www.chrisantonik.com 13 tracks/60 minutes Canadian Chris Antonik has toured in the States, including a gig at Buddy Guy’s in Chicago, and Europe. His third album definitely repays repeated listening with its multi-layered sound. Much of the album finds Chris baring his soul about changes in his life following a divorce: the funky, horn-driven “Forgiveness Is Free” and “Gold Star” display some of the bitterness with Chris venting his angst with some ferocious guitar work but for the most part the lyrics reveal a man coming to terms with the rupture and starting to move on, as in the track that gives the album its title, “The Monarch And The Wrecking Ball” with its refrain of “we’ll find a way” and some of the most emotional guitar on the album and “The Art Of Letting Go” which probably best encapsulates Chris’ desire to move on with his life. “New Religion” also finds Chris sorting out his future as he details a new approach to life with another striking solo at the heart of the tune and the infectious “A Slip In The Rain” is another winner as Chris recognises the difficulties in his former relationship: “he was born to be loved, so he’s walking away.” Musically there is a lot to enjoy here. Chris’ vocals continue to develop well and his guitar playing is excellent throughout. The core band of Guenther Kapelle on bass, Chuck Keeping on drums and Jesse O’Brien on keys give solid support, a horn section adds additional thrust to four tracks and harmony vocalists enhance three songs; there is even a string section on “All Of Our Days”, a moving ballad with weeping pedal steel and electric piano solo. Chris had a hand in all but two songs here and several other writers contributed, notably UK musician and writer Ben Fisher with six credits. The album opens explosively with “I’d Burn It All Down (For You)”, a song dedicated to Chris’ children in which he duels with the horns in a complex arrangement and closes on a positive tone with some fine acoustic picking and lovely trumpet on Ben and Scrapomatic’s Paul Olsen’s “Everywhere I Go”. Mike Bloomfield and Nick Gravenites’ “You’re Killing My Love” fits well lyrically with the album and is given an Otis Rush treatment with Chris’ guitar tone and Chuck’s intricate drum patterns, the whole driven by the horns.
The whole album is great but “Love, Bettike” deserves special mention. A slowpaced tune with plenty of Chris’ trademark guitar, the song clocks in at over seven minutes, the lyrics recounting a chance meeting with a mystical figure, the song inspired by the real life Bettike, a lady who worked with the Grateful Dead and Bill Graham back in the day. “Hungry Ghost” tackles addiction with Guenther’s emphatic bass driving the tune along. This is a mature album with thoughtful lyrics and plenty of fine playing – excellent stuff and highly recommended! Reviewed by John Mitchell
Crossroads Announces New Music Scholarship Crossroads President Steve Jones announced at the 2017 Crossroads Blues Festival at Lyran Park that the Society was instituting an annual scholarship to a graduating high school senior going off to college or music school to study music. The scholarship is $500 and will be given in honor of Karen Howard. The Karen Howard Memorial Scholarship commemorates the work of Karen who spent over three decades bringing live music to Rockford via Charlotte’s Web for the Performing Arts. The Web brought thousands of shows to us and made music a regular part of our lives. Our board decided that it would be fitting to honor Karen in this manner and we obtained her family’s blessing, so we will now be awarding this scholarship every year!
Ike 12 Page Montserrat Ivor S. K. Self Released http://www.ivorsk.com/ 10 Tracks Ivor S. K. (SimpsonKennedy) is from Australia, but carries a love of New Orleans and blues. His EP debut, Delta Pines, was released in 2016. Again as on his initial release, Ivor plays all the instruments on this CD. He also wrote all of the songs that were recorded here. Ivor did some gigs in New Orleans last year and again this summer. His style is fresh and somewhat stripped back. The production work is crisp and clear. The title cut opens up the release. “Montserrat”. This one swings as it tells his tale of visiting the fun island in the Caribbean Sea. #2 on the release is “Don’t Say Goodbye”. It is a bit different, but catchy. It kind of crosses a White Stripes vocal and guitar, with a bit of reggae. There is a cool guitar riff towards the middle of the tune. “Ain’t No Cross” is an acoustic tune, telling the tale of being a dope head, but not a priest. It is a nice tune, referencing issues with priests. On “I Been Had”, Ivor starts out with a fine reggae & island beat. The music is fine, especially when you remember he played all the instruments. IT tells the tale of he cheated on a deal. “Take The Good With The Bad” is a great blues tale of grinding through life’s ups and downs. It stays optimistic, as he plows thru issues in life. On “It's Raining”, I first thought it was Greg Lake starting a grand ELP ballad. It has great acoustic guitar playing. There is some Spanish influence here, and what a beautiful tune. The pace picks up with “Take Me Back To New Orleans”. He really gives the listener a feel for the Crescent City. A hint of horns would add to what is still a fine song. The 8th tune had a rougher and tougher feel to it. “Murder Tonight” has a fine modern blues feel to it, but it is still blues. On “Indianola” Ivor goes to the acoustic delta, and shows her belongs performing this music. This is an instrumental that hits home. The recording closes out with “Good Mawnin' Judge”. I like this blues shuffle. The only missing is a bit of harmonica to round it out. Again the guitar work is very fine. This is a solid release. The original songs are quite good. Ivor’s voice is a bit unique. The guitar work is a big plus.
The Groove- Crossroads Blues Society Newsletter The music is modern, and shows some different blues places. I like the mix of Delta, New Orleans and Caribbean sounds. I look forward to see what is next for this talented performer. Maybe next festival season, he can get more dates across America. Reviewed by Mark Nelson Neoprene Fedora Rockin’ Johnny Burgin West Tone Records http:// rockinjohnnyburgin.com/ 16 Tracks Rockin’ Johnny has been a stalwart in the Chicago blues scene for many years. Raised in Mississippi and South Carolina, Burgin came to Chicago to attend The University Of Chicago and be a writer. He got involved with the blues scene. He toured with Sam Lay and Pinetop Perkins before getting his own release in 1998. This is now his 7th overall release. This guy is known for being a hard touring and busy bluesman. Over the last few years he has spent more and more time in California playing, though he still returns to Chicago on a regular basis. For this CD, Burgin sings and plays guitar as usual. He is joined by an array of rotating talent on the CD. Vance Ehlers plays bass on all but 2 tracks. Aki Kumar adds harp on a bunch of tracks. The guitar great Kid Anderson joins on guitar, piano and bass. Others will be mentioned in the track reviews. I believe Johnny write all the tunes here. Opening up the CD is the title track “Neoprene Fedora”. This tune is a nod to the surf music culture that surrounds Johnny when in California. Neoprene is the rubber material that surfers wear to stay warm. Johnny likes his fedora as a hat of choice. The song is a long 7 ½ minute instrumental that combines surf, rock, blues and some zydeco. Chris Core pounds the drums, with Kid Anderson and Bob Welch helping on guitar. Nancy Wright adds her sax to the mix with Billy Wilson on rub board. This is really good tune. Up next is a Chicago shuffle tune called “Guitar King”. Aki Kumar handles the harp on this fine blues tune. “Won't Get Married Again” is a personal tune for Johnny and a strong 60’s type blues tune. Things slow a bit on “Give Me An Hour In Your Garden”. The song is not a ballad, but has a slower king of Memphis feel to it.
The next is a zydeco tune called “Kinda Wild Woman”. Steve Willis mans the accordion and Billy Wilson is back on rub board. Rockin’ Johnny adds his always tasty guitar licks. Things stay in the bayou but slow down on” Please Tell Me”. Nancy Wright kills it on sax, with a fine solo. The Cajun dancers will be all on the dance floor with the Cajun flavored “Our Time Is Short”. The old tune “(Let Me Be Your) Teddy Bear” gets a Memphis/B. B. King treatment. This is a slower version and quite tasty. The band gets slower and funkier on “Smoke And Mirrors”. Alabama Mike handles the vocals on this one. Kumar adds his able harp to this track. Alabama Mike continues on the vocals for “I Did The Best I Could”. This one owes a bit to Stax and a slower blues feel. There is some fine organ work going on here on this tune. The music returns to Chicago on “Self Made Man”. Kumar handles the vocals on this one. It is a slower electric blues track. Buddy and Junior could have done this track. The same feel continues on “My Baby's Gone”. Kumar continues on vocals. Johnny takes back the vocals on “You Gotta Work Fast”. The band is tight on this mid tempo cool blues tune. “I Ain't Gonna Be A Working Man No More brings out Burgin’s inner Muddy. They really lay it down on this one! I like the inner look Burgin puts down on “My Life's Enough For Me”. This is another personal tune. He blisters his guitar during a hot solo on this tune. For the final tune, the influences of Chess are really felt. “Goodbye Chicago”. Johnny sings goodbye to this long time home and tells of heading to California. This is a really personal tune that lays out his feelings. Nancy Wright is killer again on the sax. I’ve always enjoyed Rockin’ Johnny as an acquaintance and a blues player. It is certainly a modern blues feel that will be enjoyed by all blues fans. I admire his do it his way attitude. This is a really good CD. It was recorded at Greaseland studios in San Jose. A tip of the cap to the new area he will continue to play in. Looking at this schedule, there are still Chicago dates, but also dates around the country. Go see this man and his band. Pick up this CD. All blues and music fans will enjoy it. Reviewed by Mark Nelson
Ike September-October 2017 Two Cats Linsey Alexander Delmark Records http://www.linseyalexander.com/ 15 Tracks Linsey Alexander is a fixture of the Chicago blues scene, and has been for quite awhile. Born in Mississippi, he moved to Memphis in his teen years. He was introduced to the guitar then, but later pawned it to buy a bus ticket tofollow a girl to Chicago. Alexander was drawn into the music scene on the south side of the city. He formed a band and performed on the south side singing and playing guitar. An agent paved his way into the popular north side clubs and he is still playing today. This is his 6th release, and 3rd for the famed Delmark Records. All of the tunes were written by the 74 year old Alexander. He is joined on the CD by Anthony Palmer (guitar), Roosevelt Purifoy (piano, organ), E. G. McDonald (bass) and Bryant Parker (drums). Kenny Anderson (trumpet) arranged the horns and is joined by Hank Ford (tenor sax) and Norman Palm (trombone). Up first is the soulful “I'm Not Your Problem”. Alexander plays some fine guitar on this one. The horns are top notch also. Paul Hanover adds a fine harp to a good blues tune called “Where Did You Take Your Clothes Off Last Night”. It is certainly a blues topic! This is a remake of a prior version of the tune back in 2006. The 3rd tune is a funky and soulful tune called “That Ain't Right”. The song is a good example of what modern soul blues should be. The southside feeling “Why I Sing The Blues” continues the quality of music here. Hanover is back with his harmonica to add to the tune. The title track “Two Cats” is filled with double (or maybe triple) entendre and fine guitar work. This has to be a staple of his live performance. I like the slow bluesy feel of “Facebook Woman”. It is certainly a modern blues topic. The soul/funk returns with “User”. There is stinging guitar work here. A modern issue of infidelity is the topic of “I'm In Love With A Woman”. It is a mid tempo blues tune. “'til I Kissed You” opens with some fine percussion by Bryant Parker. It is a soulful slower tune with a bit of funk. Isaac Hayes might has been great singing this one. Powerful relationship tunes continue with “How Could You Do Me Like You Done Me”. This slow grinding blues tune, feature good guitar
Page 13 work and the harmonica of Paul Hanover. This is a good one. The party rolls along with “Reefer And Blow”. Alexander sings about a mean woman and tells her not to turn him in. It’s a modern electric blues tune, with some smart guitar work. “Thinking About Me” is another modern blues tune. It crosses a bit toward Robert Cray and Hi Records soul. I like “Starting Monday”. IT is about the blues and all the issues in life, and the need to change them..starting Monday. I like the guitar work here. A tribute to the current presidential strife comes up in the next song “Comb Over Blues”. It is clever in the lyrics, and a pretty good tune too. The band is pretty tight on this one. The release closes out with a different tune “Kiss Revisited”. Overall it is a cool jazzier track with some rapping rhyme provided by J. Parker. At his age, Alexander still keeps it modern. This is a modern recording, with soul and blues make up. It is about life, and the ups and downs it brings us. He sings and plays guitar very well. It is a solid band to back him up. He is a treat, and everyone should get out and enjoy his work. Delmark has released a winner here. Reviewed by Mark Nelson These Things Shall Pass Davis Coen Soundview http://daviscoen.com/ 12 Tracks Davis Coen has been making music for many years. Based out of Mississippi, all the influences of the mid -south area enter his musical works. This is his 10th release, and is totally made of spirit-based tunes. He has wanted to do an album like this. In his past recordings, you would hear blues, country and gospel influences. He wrote or co-wrote 6 of the 12 tunes here. The notes don’t tell who plays what instruments, but does list the musicians. They are: Eric Carlton, Jonny Ciaramitaro, Stuart Cole, Kell Kellum, Patrick McClary, Nathan Robbins, Ryan Roberts and Damien Wash. “Working for Jesus” is the opening cut. It is a slower tune, with an organ playing a big role. It’s OK, but not very thrilling. I like the piano in “Stand by You”. It gets very country oriented with the steel guitar midway through this original. Coen also wrote “Diamonds in Your Back Yard”. I
like this one better, it is pleasant to the ear. “Saint Christopher” is a traveling song, with some jazzy piano holding it together. This one is a keeper. An old gospel classic is next. “What a Friend We Have in Jesus” gets a bit of steel guitar and some fine piano work. There is a good chorus on “Shifting the Tide”. Coen handles the vocals very well. Again the piano really helps the tune out. I like the revival tent feel of “Jesus' Hand”. It is a solid tune that will tap your toe and cause your hands to clap. On “Lord, Let Me Do Right” you feel the power in Coen’s feelings on religion. It is a slower pleading tune written by Coen. There is an old country blues feel on “You Are the Onliest (God I Know)”. It is a moving country blues ballad with the piano contributing again. The title track “These Things Shall Pass” is next. It is certainly a country tinged gospel ballad, with emotions, but maybe a bit too country for me. Another gospel tinged ballad is next. “Lesser Man” is a fine tune. I enjoyed it . The traditional “Old Rugged Cross” closes out the CD. It is a comforting tune, and it really showcases Coen’s vocals. Overall this is a good Sunday morning or rough time CD that may pick you up. This is a personal project, that I am sure Coen is proud of. I’ll have to check out more of Coen’s blues work. He is talented in guitar work and vocals. If you need some spiritual work for your collection, give this a listen. You will enjoy it. Reviewed by Mark Nelson
Ike 14 Page Live At Blues On The Chippewa The Mark Cameron Band COP Records https:// markcameronmusic.net/ 11 Tracks Mark Cameron and the band come to us from Minneapolis. Overall this is his 9th blues release. The recording was made on an on the spot decision to utilize the quality recording equipment at the festival. Cameron wrote 10 of the 11 tunes. He plays guitar and sings. He is joined on the recording by Bill Keyes (harmonica, vocals), Scott Lundberg (bass, vocals), Dan Schroeder (drums) and (Sheri Cameron (flute, sax, percussion & wife). The gang plays a rockin’ blues style of music that should be enjoyed. They remind me a bit of The Lamont Cranston Band and The Nighthawks. The opening cut is “Doctor In The House”. This is some fine blues rock with good guitar and harmonica. The band immediately goes into “Somewhere Down The Line”. It is a bit funkier, with some fine guitar work during the start of the tune. Cameron slips the band intros in the middle of the tune. Sheri Cameron adds some fine sax to “Dicey”. It is a lower key rocking tune talking about going to places you are not supposed to be and getting into trouble. Things slow down on “Borrowed Time”. It is a fine modern blues ballad, with Sheri adding her flute to the tune. Mark Cameron’s voice is made for this tune. I hear some fine Texas influences in “Mojo Shuffle”. The band gets tight and grinds out this tune. The sax is back and the crowd must have been dancing. Keyes is again sharp on the harmonica. There is a fine harmonica intro by Bill Keyes on “Hammered By The Blues”. The tune then slides into some old time slower grinding blues. Mark Cameron is hot on his guitar on this 6 minute tune. The lone cover is Howlin’ Wolf’s classic “Killin' Floor”. It gets a bit faster pace than the original. The vocals are not as snarly as Wolf’s original, but not many can duplicate that. “Playing Rough” is the title track from Cameron’s 2016 CD release. It is a really good blues rock tune. They give it a good live interpretation on this release. I like the intro to “Done Me Wrong”. Cameron gets his steel guitar out and makes it sing. Overall it has a swampy sound, and
The Groove- Crossroads Blues Society Newsletter sounds like Tony Joe White a bit. “Rusty Old Model T” continues with the steel guitar. The music pace picks up a bit on this song. Keyes chimes in the tune with his harmonica. The set closes out with a faster paced tune called “Back Seat Boogie”. There is a bit of Texas swinging blues in this tune. It is pretty good! I am glad this live disc worked out. Cameron and the group were really on for this festival set. As people hear this set, they will want to see the band whenever they can. I feel this will appeal to all blues listeners. Get your ears and feet dancing with this fine modern blues rock set of tunes. This is a veteran band with lots of licks for year to come. Enjoy it!! Reviewed by Mark Nelson No Time Like Now Steve Strongman Sonic Unyon Recording Company https://www.stevestrongman.com/ 10 Tracks Harkening from Canada, Steve Strongman returns with his 6th CD release. He has been awarded Maple Blues and Juno awards in Canada for his past work as a sing/guitarist and writer. Joining him on this disc are a good group of players, including Jesse O’Brian (keys), Dave King (drums), Adam Warner (drums), Rob Szabo (bass, producer) and Alex Frazier (bass). There is a special guest on the lone cover included here. Keep reading to see who it is! Touring for Strongman seems to be mostly in Canada. The music here is blues rock, and is full of energy. The band comes out smokin’ on “No Time Like Now”. It would make a great TV show title track. Adam Warner lays down the backbeat on this strong track. “Bring The Hammer Down” roars into your ears. This one is much more on the rock side of things, with Strongman’s guitar right there in the center of the tune. Here is the special guest. Randy Bachman joins Strongman for a version of the BTO hit “You Ain't Seen Nothing Yet”. It is not a good as the original, but is not terrible. The music changes to almost a revival tent feel with “Love Love Love”. This gospel tinged number is pretty good, with nice hand clapping pace. The funky “I'm A Man” is strong. The falsetto singing is a plus, as is the stinging guitar work. “Old School” is a song about making old school music. The guitar work is fine, and gives
the song a quirky and likable tone. The backing chorus is also a plus. “Good Times” is a slower more haunting tune. I like this one, with its slower pace full sound and slide guitar. “Sometimes’’ has a 70’s blues rock feel, with maybe a bit of slow Blind Faith. It is a listening track, as opposed to a dancing track. The 10th and final track is “The Day They Carry Me Away”. It is almost 6 minutes of bare bones blues rock ballad. I could see this as a final encore number in the live act. Strongman’s voice could be more powerful. Maybe it is the mix. A grand soaring voice would out this track over the top. Strongman really prepared well for this release. The songs are tasteful, and keep away from being overpowering. I think he had a purpose for all that you hear. The music has a today feel, but it does not forget the past. This is pretty good blues rock, though not your party all night on Saturday stuff. There is depth and quality. Reviewed by Mark Nelson Born In Oakland Delta Wires Mudslide Records https:// deltawires.com/ 10 Tracks Delta Wires ride a soulful brass west coast wave into your ears. A long time band from Oakland, they have been making music in the Bay area for over 30 years. Previously they release 5 recordings and a career spanning anthology. Delta Wires is a 7 piece band. They are lead by Ernie Pinata (vocals, harmonica). The brass section includes Gerry Jonutz (all saxophones), David Bowman (trombone) and John Christensen (trumpet). Tom Gerrits (bass, vocals), Richard Healey (guitar) and Tony Huszar (drums) complete the band. Originally they were a college project for Pineata. Hope he got an A. The music is soulful and swinging, and will make you dance, though not much of a tie to the Delta. The band wrote 7 of the tunes and arranged the rest. Let’s get on to the music. “Sunny Day” opens up the release. The brass section really shines on this jazzy upbeat tune. Huszar sparkles on the drums, especially towards the end. The band pulls an old sun tune next called “Fine And Healthy Thing”. It was first released in 1955 and performed by Billy “The Kid” Emerson. This is more of an
Ike September-October 2017 R&B honker, and they cover it very well. The vocals did miss a bit though. For “Vacation” the bad really cooks. The harmonica work is strong, and the overall band cooks. It is a topic we all like too. Things slow down on “Your Eyes”. The band settles into a firm groove, and the horns add a bit of spice. It is a positive message tune. I hear some old time soul in “Days Of The Week”. It is a mid tempo tune with a good groove. “Devil's In My Headset” is the 6th tune. It has a spiritual feel, with a mix of gospel into the soul we usually hear from the band. It is not a complex tune, but has some nice brass & guitar solos. Up next is a happy tune “Fun Time”. This is another positive tune, well played, but not too driving. The second cover is “I Don't Care”. It was originally recorded by a Bay area band called The Spyders in the late 60’s. This is an obscure gem that will start a crowd dancing. “In The Middle” is a funky tune that hits hard with the horns. It comes from Pee Wee Ellis from the James Brown band, so it has to be funky. It gets stretched out to almost 6 minutes of instrumental fun. Closing out the release is “All I Have To Give”. This is another longer tune at just over 5 minutes. It is OK, but not my favorite tune on the CD. It is less funky and more of a rock leaning to it. Primarily these guys play in the Bay area, so I have not gotten to see the live show. The CD is fine west coast blues/soul. If this is your taste, then by all means check them out. The name of the band my fool you a bit, they are not original delta blues, but their music originated from there. Keep playing guys, be true to your roots. Reviewed by Mark Nelson
Page 15 Better Days Willa Building Records http://www.willaandcompany.com/ 12 Tracks The Hudson Valley area of New York is the home for Willa Vincitore (formerly McCarthy). This is the premier recording on her own, but her voice has been on other recordings including being the vocalist for Chris O’Leary Band. She wrote all of the tunes included here. Supporting her on all the tracks are Lee Falco (drums), Brandon Morrison (bass), Chris Vitarello (guitar), Jay Collins (sax), Reggie Pittman (trumpet, flugelhorn) and Scott Milici (keyboards). Overall the music is a blend of blues, soul, rock and funk. Her voice draws comparisons to Susan Tedeschi, Bonnie Raitt and Shemeka Copeland. The CD opens up with a fine tune called “Love Looks Good on Me”. She croons about how her clothes might not be in style, but love always looks good on her. This is a pretty good tune. Things get funky on “Stop, Drop and Roll”. Vocals are top notch, and Milici really cranks on the keys. This is a really good tune. “Hooked On You” is a sweet soul tune. The production of her voice and the horns is quite good. Chris O’Leary adds his vocals and harmonica to “Hey Little Sister”. This one rocks out, and set a snarly tone with Willa powerful voice. The 5th tune is “Better Days”. It is a softer soulful/pop ballad. The intro to “Caroline” is slow, though there is an interesting solo at about 2:28. It is a really different, but enchanting tune. Pete Hop added acoustic guitar on this one. The lyrics talk about giving up things to sleep better at night. This is a real different tune from the rest, and it shows an even wider range for her song writing. Up next is a bit of a pop tune called “Look What We've Done”. It continues to show her vocal range, and different writing skills. The tempo changes on “Mama Needs Some Company” in a big way. This tune has a swampy tone to it, with certainly a southern feel. Chris Vitarello shines on the slide guitar. I like the funky “Crazy Man”. The band is really cooking on this one. I bet this one gets them dancing in her live show. Old time funk is the description of the next tune “Say What”. Willa’s voice is really home in this type of tune. The band is again top notch! The changing styles
continue with the jazzy tune “Opposite of Lonely”. I like the trumpet of Pittman on this. It adds a nice touch. The song is a bit slower and sultry. Closing out the set is an acoustic, delta blues ballad. The steel guitar work is spot on, giving Willa’s vocals a platform to dance over. In the lore of Las Vegas, a winning bet was referred to as ‘Winner Winner, Chicken Dinner’ as a $2 win could buy the $1.79 chicken dinner special. If you won a bet with this fine CD, it would be ‘Winner Winner, Prime Rib Dinner’. Willa has hit a full house on this release. What a voice, and impressive writing skills too. A top notch band to support her adds to the listening experience. I think this one should earn her honors in the next awards cycle. All you blues fans go get this one. Reviewed by Mark Nelson
Ike 16 Page Kingdom Of Swing Adrianna Marie and Her Roomful of All-Stars Vizztone http:// www.vizztone.com/ 2017/02/14/adriannamarie-and-her-roomfulof-allstars/ 14 Tracks With their sophomore album, Adrianna Marie and Her Roomful of All-Stars once again take you to a place in time when jazz, jump blues, and blues reigned king. I could only imagine what it was like listening to big bands in New York at Three Deuces, the Onyx Club, the Copacabana, or in Chicago at the Aragon Ballroom, or dancing in the “windy city” at the Majestic or the Palmer House. In the 40s Miami had its vibrant clubs like The Latin Quarter or you could travel West to Los Angeles to the famous the Players Club or Ciro’s where the sounds of Guy Lombardo, Glenn Miller, Harry James, Woody Herman, Duke Ellington rang out, when people traveled to hear live music. Well, now you can close your eyes and let Adrianna Marie and Her Roomful of AllStars transport you back to a time of euphoria in the music world with their new release Kingdom Of Swing. Who better to produce an album of this caliber than Duke Robillard, leading this little big band that features Al Copley, L.A. Jones, Duke Robillard, Doug 'Mr. Low' James, Rich Lataille, Mark Earley, Doug Woolverton, Carl Q, Junior Watson, Brian Fahey, Kedar Roy, and Bob Corritore. They explode for the first time with the title track, a tribute to legends like Ellington and Basie, painting a visual with lyrics and music that immediately take you back to those days when “riffs and hot licks a mile long; cats jumpin’all night; still goin’ strong” set the stage for a musical extravaganza. The original tune sets the mood for a great mix of the next 13 originals and classic covers. They follow up with the Johnny Otis cover “Better Beware” sung by Little Esther in 1951. Kedar Roy sets the pace with a steady groove on base, with solos by Jones on guitar, Copley on piano, Earley on tenor sax, and Woolverton on trumpet. The horn section opens the original “Sidecar Mama” and features once again the sassy vocals of Adrianna, with solos from James on baritone sax and Jones on guitar for some red hot jump blues. The band slows things down long enough to cover Ellington’s “Mood Indigo,” featuring the sultry vocals from Adriana and solos
The Groove- Crossroads Blues Society Newsletter from Lataille on alto sax, a trumpet solo from Querfurth, and a guitar solo once again from Jones. You can almost see that smoky haze pictured at the piano bars in the 40’s, as Earley is showcased on tenor sax with a smooth jazz solo and Jones on guitar as well on the original “3 AM Blues,” with steady support from the entire horn section. Adrianna Marie and Her Roomful of All-Stars serve up their own recipe for that big band sound once again with “Gimmie a Roomful.” Adrianna Marie and her band of renown recreate that great big band era with the words “take you back to the day when cats would jump and the room would sway.” Lataille and Querfurth team up for a 1-2 punch with solos, also featuring Kedar Roy slapping that bass for some spectacular original boogie woogie on “Memphis Boogie.” The 1946 blues tune “Drive Me Daddy” sung originally by Helen Humes, features Bob Corritore on harp, a perfect fit for some lowdown gritty vocals from Adrianna and some electrifying slide guitar from L.A. Jones. Earley, Latielle, Jones, Copley and Woolverton are the featured solo artists joining the Adrianna Marie on vocals for the original tune "Baby I Got You." West coast blues guitar play Junior Watson makes a guest appearance, joining Jones on guitar for a red hot arrangement of the 1955 B.B. King jump blues classic "Jump With You Baby." Adrianna Marie gets an opportunity to sing her way into our hearts with the 1958 Eddie de Lange & Louis Alter tune "The Blues Are Brewin," recorded by the world famous Billie Holiday. In addition to the spectacular vocals on this tune, Woolverton, Earley, and Jones are the featured artists with their fine solos. Adrianna Marie delivers the same sassy vocals on the Joe Liggins classic "One Sweet Letter," a song Candy Rivers, a featured singer with Joe Liggins and his Honeydrippers, released originally in 1951 on Specialty Records. In addition to Adrianna Marie and Her Roomful of AllStars on her new release, this tune has been resurrected also by contemporary artists Knockout Greg & Blue Weather, and James Intveld. The band explodes once again on the Walker/Glenn tune TBone Boogie, with L.A. Jones stepping up his game on guitar and also joining Adrianna Marie on vocals. The Roomful Horns were absolutely spectacular on this track, my favorite on the album. They slow the tempo down with a smooth jazz rendition of the Avery/Parrish/Blakeman "Blues After Hours," a 1948 instrumental by West Coast blues guitarist Pee Wee Crayton.
This being the second album by Adrianna Marie, it is everything you want in an album as a jazz and jump blues fan. How could you miss with a support cast like this one? This is truly a collection of allstars that belongs in every blues fan's collection world wide. Reviewed by Rick Davis
The Blues Return to the BMO Harris Bank Center and Ice Hogs Friday Pregame Shows For the fourth straight season there will be pregame music events featuring blues and blues rock artists playing from 5:15 to 6:45 PM prior to each Friday home game for the AHL Hockey Affiliate Rockford Ice Hogs. The season kicks off with music at the Blues Flame Lounge on October 20th with the first Friday home game. Music will be featured prior to each Friday home game this season, twelve dates in all. Admission to the shows is free with a ticket to the game. Check out the schedule and get info for these events here: http://icehogs.com/tickets/Blues-FlameFridays/ and go out for some great music and hockey! Date 10/20/17 10/27/17 11/10/17 11/24/17 12/01/17 12/22/17 12/29/17 01/26/18 02/02/18 02/09/18 03/23/18 04/13/18
Band Andrew Robinson Valarella Paul Hieser Hobson's Choice Paul Heiser Andrew Robinson Matthew Flamm Recently Paroled Valarella TBD Hobson's Choice Recently Paroled
Ike September-October 2017 It's Star Time The Star Time Playboys Martin's Garage/Street13 www.raucousrecords.com/star-timeplayboys-its-star-timecd.html 8 Tracks D.D. Kid Combo Martin's Garage/Street13 www.facebook.com/ D.D.Kidcombo/ 2 Tracks Over the years, big band, R&B, jump blues, rockabilly, blues, western swing, modern swing, jazz, and rock instrumentals have been a part of our musical history. Many instrumental guitar players have paved the way for those who followed in their footsteps and those who forged ahead to create new genres. The early rhythm and blues electric guitarists in the 40's were the pioneers of rock and roll music like Charlie Christian for one, leading the way. Charlie not only popularized the electric guitar, but also influenced those who followed with his sense of swing, releasing tunes like his 1941 "Swing To Bop." Another influential guitarist who was instrumental in developing the West Coast blues, a style that became popular with many modern artists, was T-Bone Walker. With rock and roll increasing in popularity, the fifties brought classic instrumental hits from artists like Duane Eddy, Link Wray, Santo and Johnny, Bill Justis, and Johnny and The Hurricanes, just to names a few. During the late fifties and early sixties, the popularity exploded with rock and roll artists like Dick Dale who was a leader in surf music, The Tornadoes, The Marketts, The Ventures, and blues artists like Lonnie Mack. During the fifties and sixties, the world of rockabilly also became the rage with guitarists like Scotty Moore, Carl Perkins, Eddie Cochran, Roy Orbison, and Buddy Holly. The last genre of guitar styles that was a strong influence in addition rockabilly, was western swing, which crosses into both country and jazz boundaries. The leaders were artists that developed their styles like Eldon Shamblin, the guitarist who became a legend during his years with Bob Wills and the Texas Playboys. I would be remiss in showcasing the western swing genre if I didn't mention, Jimmy Bryant, Roy Lanham, Merle Travis, The Light Crust Doughboys, and Jim Boyd and His Men of the West and their guitarists, once again just to name a few.
Page 17 I think most underrated later American guitarist who fused blues, rockabilly, jazz, and country to create a style called "redneck jazz," was Danny Gatton. Although Gatton could play most genres of music, including jazz, blues, bluegrass, and rock, he was known as a country and rockabilly guitarist. He was sometimes called "The Telemaster" and "the world's greatest unknown guitarist." Guitarist Amos Garrett labeled him "The Humbler" for his ability to defeat other guitarists in head to head jam sessions. With a resurgence of these styles once again outside the United States, (groups like Cherry Casino & The Gamblers and The Wise Guyz), it gives me great pleasure to review two new groups both coming from a new label (Martin's Garage) in Slovenia. Martin Razpotnik has stayed connected to these instrumental genres that have remained strong and given us classic hits for many years. Starting as series of rock and roll events in 2008, Martin's Garage is now a label for blues, country, jump blues, rockabilly, surf rock, and western swing, with their inventory released at Street13. The label began signing groups in 2012. Last year Martin's Garage signed The Star Time Playboys, a three-piece instrumental band from Slovenia with an extraordinary blend of jump blues, western swing, and surf rock, releasing their debut 10" vinyl album It's Star Time! The trio performs with Urban Zotel on guitar, Boštjan Copek on upright bass, and Grega Copek on drums. Only a select few artists today are capable of arranging melodies to resurrect the many instrumental styles of the past. The Star Time Playboys have captured the essence of many of these artists and genres only to develop and deliver a fresh modern version. The tracks they have laid down have been built on a solid foundation. In order to create the music on It's Star Time, I would consider the musicians musicologists, after listening to the 8 new original tunes on the album. With first track, "Barnyard Bop," Urban Zotel will dazzle listeners with a guitar style reminiscent of the late great Les Paul. To me, the 2nd selection, "Sugar Cube" captures all the jazz elements heard in the 1941 Charlie Christians number "Swing To Bop" with a very new, clean, polished recording. The Star Time Playboy's "Havana" has a solid 60's rock foundation, while instrumentalist Jessie Cook's "Havana" incorporates more elements of flamenco, rumba, and jazz, but both instrumentals are arranged to be very danceable. The band hits the floor running with "I'm Surfish" and could rival most any instrumental surf band from the 60's. "Red Rose Rag" is a blend of the rendition of "My Babe" by Paul Pigat with Tommy Harkenrider and Dave Biller's "Panhandle Rag." Once again this band is spectacular with it's
versatility on this number. You never know what to expect next on It's Star Time, as the band captures the artistry of Santo and Johnny on their original "Starless Night." "Don't Wait" features more of the rhythm section, complimenting the fret work of Urban Zotel superbly. The final number "Swingin' With Zotel" does a superior job of showcasing the trio in all aspects. It combines the West Coast guitar of Hollywood Fats and the versatility of Danny Gatton, that defines their own brand of jump blues unsurpassed in today's blues arena. On each creative arrangement, the rhythm section will make you aware of the importance of style and technique, often overlooked by the most listeners. By discretely blending all those elements with time and tempo, they give the band their final coat of polish. As an added bonus to The Star Time Playboys, also on the Martin's Garage label, Martin Razpotnik also included the new 45 release, D.D. Kid Combo for review, featuring "Bad Luck Baby" on the A side and "Goodbye Baby" on the B side. Recorded Live, the new release was recorded in Zagreb, Croatia at the Reel Deal Studio. D.D. Kid Combo is a trio consisting of Branko Radovančević on acoustic guitar, Marko Tizaj on drums, and Fabian Yusuke on slide guitar. A big influence for the band comes from the band's play list with on Facebook, including artists like Albert Collins, Elmore James, Robert Nighthawk, and Houndog Taylor on the blues side, rockers like Chuck Berry, and rockabilly artists like Planet Rockers and their hit "Batteroo." " Badluck Baby" slides in with a high test blues boogie, combined with some rockabilly and steady rollin' classic rock guitar, with Fabian Yusuke taking center stage delivering his house rockin' slide guitar, reminiscent of the late great Hound Dog Taylor's Natural Boogie album. "Goodbye Baby" is a blend of a 60's rock instrumental, rockabilly, and stinging blues slide guitar, being a definitive recipe for success. Branko Radovančević delivers a steady hard driving rhythm guitar with Fabian Yusuke once again penetrating that steady early rock guitar sound with his slide guitar solos. It will wet your appetite only to keep you wanting more of this fresh new approach to an original blend of blues, rockabilly, rock, and R&B from D.D. Kid Combo. Both groups are establishing themselves with their debut music from Martin's Garage with anticipation of delivering much more as time goes on. You will want to add these two groups to your collection as soon as possible and check out more music from Martin's Garage. Review by Rick Davis
Ike 18 Page
The Groove- Crossroads Blues Society Newsletter
Live At Brighton Road Dani Wilde Vizztone www.daniwilde.com 10 tracks/43 minutes + DVD
are seeking to find a new life in Europe as they flee conflict-torn countries. Will’s harp is so high that it could be a flute, Dani on acoustic guitar and Greg’s piano suiting the tune perfectly, another very strong song and performance.
Dani Wilde will probably be best known to US audiences from her appearances on the Ruf Records Blues Caravan where she toured first with Candye Kane and Deborah Coleman and then with Samantha Fish and Cassie Taylor, both resulting in albums. On her own Dani has released several albums but here she is live in the studio in both acoustic and electric modes. Dani handles all guitar work and vocals and brother Will plays harmonica throughout. On the acoustic ‘side’ Alan Taylor plays percussion, Sarah Davison is on cello and Kate Cameron, Faye Streek and Megan Devereux are on backing vocals. For the electric ‘side’ Alan switches to the drum kit, Victoria Smith is on bass and Greg Coulson on keys. There are seven originals, six by Dani and one by Will, and three covers.
The DVD provides footage of each of the songs as they were performed as well as an interview with Dani which sheds light on the songs, her career and her charity work. This is arguably Dani’s best work to date and a well-presented package. Reviewed by John Mitchell Olivia Tucci Self-Release www.tucciband.net 11 tracks/61 minutes
The acoustic part starts with a good version of Memphis Minnie’s “Bumble Bee”, a duet between the Wilde siblings. “My Old Man” was written to commemorate Dani’s grandfather who in these modern times would have been diagnosed as suffering from a nervous breakdown but in fact spent most of his life in stolid silence after the loss of a child. “Glorious Day” is a gospel piece with the backing singers who remain on board for an exquisite take on Mike Rutherford’s “The Living Years”. It’s a wonderful song and Dani’s emotional voice, combined with the mournful cello and choir of vocalists makes a genuinely spine-chilling listen – not blues, simply superb music. “Electricity” is closer to blues, a solo performance by Dani whose expressive, almost breathless vocals convey the lyrics well.
Tucci is a band based in Sarasota, Florida, led by Steve ‘Doc’ Tucci who plays guitar throughout, with Shawn Murphy on sax and vocals, Harry DeBusk on bass and vocals and Michael Tucci on drums and percussion. The band blends Southern Rock and blues but it’s a good listen as they are joined by guests including the late ‘Dangerous’ Dan Toler, former member of the Allmans and long-time collaborator with the band, his guitar contribution here possibly being his final recording. Bob Dielman and Ira Stanley add guitar to a track each and keyboard duties are by either Donnie Richards or Dan Ryan. However, the real bonus here is the significant presence of Larry McCray who sings and/or plays guitar on eight tracks; as Larry has been seriously underrecorded in recent years fans of his work will find plenty to enjoy here. Steve Tucci is the main songwriter though the material is all credited to ‘Tucci’, so one assumes that all the band contribute.
“Deeper Than Black” opens the electric ‘side’ with a resounding bang as Dani’s guitar sits above bubbling bass, organ and Will’s exciting harp work before the final cover, Leiber and Stoller’s “Hound Dog”, performed more as Big Mama Thornton than Elvis. “High On Your Love” is a high energy rocker with excellent piano from Greg, the only surprise being that Will sits out on his own song. “Don’t Quit Me Baby” is another rocker with Will returning to add his harp to the fun but “Refugee” is a more serious song to close the set. Dani is a tireless advocate for child poverty in Kenya and this lovely song puts the spotlight on the plight of the poor souls who
“High Roller” is a lively opener with Larry’s lead lines underpinned by Steve’s rhythm work and Shawn’s sax work, Larry singing of a gambling habit that takes him out all night. Plenty of Larry’s trademark guitar here and also on “I Don’t Need It” which is a more melodic tune with echoes of “Who’s Been Talking” and sad lyrics about “taking the blues out of the sky, I don’t need it”. Larry leaves the guitar work to Steve on “Gimme Some Of Your Love”, a fast-paced rocker with sax and keyboard work beefing up the chorus, but is back on the guitar for the extended slow blues “Without You” which he sings beautifully, making it one of the standout tracks. “You
Hurt Me” is a churning Chicago-style blues with Larry again on vocals and guitar. Shawn handles the vocals on three tracks in solid style: on the title track “Olivia” there is plenty of his sax and slide work by Ira Stanley; “Train Blues” is a slow blues with Larry and Steve sharing lead guitar lines and Shawn adding a good tenor solo, a classic lyric about the girl heading off to Chicago and leaving poor Shawn behind; the album closer “Third Eye” clocks in at 12 minutes, long enough for plenty of Allmans-style dual guitar work as Bob and Steve share the lines, the keys and percussion adding an extra touch of Santana at times. There is lots of exciting guitar work here but whether a three minute drum and bass solo is a great idea on a studio album is probably a matter of taste! Apart from that this makes a good closer with lyrics about following your inner spirit to guide you through life. Larry is also involved in two tracks on which Steve handles vocals. Steve’s voice is not as strong as Shawn’s or Larry’s but “Overtaxed Blues” has plenty of rocking piano and guitar as Steve bemoans the cut of his hard-earned money that the government sees fit to take (though reference to ‘Obamacare’ suggests that there may need to be some additional verses added to reflect the new administration!) Allmans fans will appreciate the hymn to Steve’s home state “Hey Florida” with plenty of percussion and those twin guitars playing in unison. The final song to mention is “Play By The Rules”, probably an older piece with Dan Toler and Steve on guitars and Al Owen on vocals, a relaxed blues with lilting guitar. There are plenty of factors that make this CD worthy of consideration by readers: both blues and Southern Rock, solid songs well played and lots of Larry McCray. Good stuff! Reviewed by John Mitchell
Ike September-October 2017 Trouble & Whiskey Sean Chambers American Showplace Music www.seanchambers.com 10 tracks The latest album by Sean Chambers entitled Trouble & Whiskey on the American Showplace Music label, was produced by Ben Elliott who has recorded notable artists such as Eric Clapton, Keith Richards, Billy Gibbons, and Leslie West as well as others. The band consists of Sean on lead vocals and lead guitar, Michael Hensley on hammond B3 & keyboards, Todd Cook on bass, and Kris Schnebelen on drums. Special guests include Jimmy Bennett on guitar, John Ginty on Hammond B3, and Andrei Koribanics on percussion. Trouble & Whiskey opens with "I Need Your Lovin,'" delivering the same full throttle, no holes barred guitar style of blues rockers past and present. With the same gritty vocals, he has often been compared to the late great blues rocker Rory Gallagher. With his patented fiery guitar electricity, he tears into fretboard with the same slide guitar prowess of Australian blues rocker Dave Hole on the second track, "Bottle Keeps Staring At Me." The title track "Trouble & Whiskey" takes us on an explosive trip, paralleled to a guitar performance of "Still Got The Blues" by the late great Gary Moore. He switches to a funky intro before unleashing his powerful guitar style on the instrumental "Travelin' North," along with a stellar performance by John Ginty on the B3. He returns with smokey, soulful vocals, only to match his powerful guitar solos on "Cut Off My Right Arm." After hearing Gallagher's, Hole's, or Chamber's rendition of "Bullfrog Blues," it is clear they have taken it to a much higher level than the 1928 version by William Harris. "Sweeter Than a Honey Bee" offers a down home Delta style slide guitar performance by Sean. "Handyman" is probably the most powerful rock guitar track on the album. "Be Careful With a Fool" has that same intense blues guitar style heard on the title track. Chambers concludes his sixth release, Trouble & Whiskey, with a tight funky groove entitled "Gonna Groove." Even though he still maintains that same high energy, rock-blues delivery for the most part, he still has style all his own, unequaled by no other blues artist. Trouble & Whiskey has something that every blues-rock fan needs to sample and add to their musical library. Reviewed by Rick Davis
Page 19 Charmed and Dangerous Altered Five Blues Band Blind Pig Records www.alteredfive.com 13 tracks
Went Public” opens to another stinging guitar in an amped up slow blues. Taylor testifies poignantly as Schroedl replies to each vocal line on his guitar. Another big guitar solo is featured here along with a powerful delivery by Taylor.
Altered Five Blues Band’s fourth release Charmed and Dangerous is the first release of an album on the reinvigorated Blind Pig Record label as part of The Orchard organization. Their third release Cryin’ Mercy was nominated as Contemporary Blues Album in the 2015 Blues Blast Awards and the band was also nominated for the Sean Costello Rising Star Award. Additionally, Cryin’ Mercy was chosen as the International Blues Challenge Best Self Produced Album for 2015 all because of their fantastic talents and the production by Tom Hambridge. This album follows closely on the heels of that release, with tight production and all new songs.
“Gonna Lose My Lady” takes up the beat and jumps and jives nicely. A short, blues guitar solo and some nice work on the keys are showcased in this energetic cut. A sweet slow blues with guitar and piano intro “Cookin’ In Your Kitchen” where Taylor then takes the lead in this traditional Chicago blues cut. The take things right back up in the hot and swinging “She’s Still Crazy” The harp returns to banter with Taylor and the organ helps drive the song at 100 miles an hour. The guitar takes things out with everyone joining in; really high energy stuff. The tempo takes a 180 with the ballad “Eight Wonder.” Taylor sings lovingly about his woman who is so wonderful she might be the 8th wonder of the work. It’s a stark contrast to the last cut.
The band is Jeff Taylor on vocals, Jeff Schroedl on guitar, Mark Solveson on bass, Raymond Tevich on keys and Hambridge on drums. The production is what I’d expect from Hambridge, with songs blending blues and rock with the guitar sound often leaning more towards rock than blues. The band is at ease with each other and they are always tight and together. Steve Cohen appears on harp for two cuts and Candice Smith is the backing vocalist on three other cuts. The CD opens to the title track. A solid intro on guitar and keys sets us up for the vibrant vocals of Jeff Taylor. Taylor’s voice exudes power, emotion and soul. He fronts the band with authority and commands the listeners attention. Schroedl’s guitar solo is long and rocking, taking a big place front and center in this cut. The opener grabs the listener nicely. “Mint Condition” is a bouncing cut with a strident guitar lead and organ filling in right behind. Taylor once again showcases his pipes and impresses the listener with his work. Next up is “Three Forks,” a cut built on the music of Robert Johnson’s “Cross Road Blues” with new lyrics by Jeff Scroedl. It is written about the place Johnson was purportedly poisoned in 1938. Featuring stinging guitar, big time harp work, and, of course, big time vocals, this is a high energy take on the classic song with huge solos on the harp and guitar. “On My List To Quit” is up next, another song to showcase Taylor’s powerful vocals and Schroedl’s axe work. Taylor bemoans his job, relationships and other “vices” of things on his list to quit. “If Your Heart
“Three Alarm Desire” follows, with Taylor holding back a bit on the verse then letting loose on the choruses. A big guitar solo is once again featured mid stream and then again takes us home. “Small Talk” is next and Taylor and company show a little restraint here to start, then there is a big guitar solo before Taylor returns as he builds things a bit to finish things off with Schroedl’s help. “Rotten” gets into a dirty groove and continues that way as Taylor sings of a relationship where there is something not right and just rotten within. A nice organ solo is offered up for us here, too, along with the two Jeffs going back and forth on vocals and guitar. The CD closes to “Look What You Made Me Do,” another pretty much traditional slower blues. Taylor gives a gutsy vocal performance, Schroedl offers up a more restrained guitar solo, and the band just sounds sweet as they accompany Taylor in this down home and cool cut. Jeff Taylor’s style is big and no-holdsbarred in his approach; he never takes any prisoners as he attacks each song with his powerful vocal work. Schroedl takes the same approach on guitar, blazing a path on each cut with his fretwork. The keyboards are used effectively to balance out the songs and the harp work begs for maybe even more – it was a nice addition. Charmed and Dangerous is not for the faint of heart – most of the cuts here are big and hot. This is a powerful album. Reviewed by Steve Jones
Ike 20 Page My Roots Are Showing Andy B.AND Self-released www.reverbnation.com/ andyvoodude 9 tracks/32:14 Long-time member of the New Jersey band, the Voodudes, singer Andy B. (Bernstein) has put together a collection that highlights the broad range of his musical influence on an all-original program. “Great Time Comin’” unfolds with numerous biblical references punctuated by stark tones from Gary Ambrosy’s dobro. John Pittas adds a Stevie Wonder – inspired electric keyboard fills. The next track mixes country and gospel a with dueling guitars from Ambrosy and Greg Stier on “One More River”. Andy B. has an easy-going vocal style, delivered with a deep, gruff voice on tracks like “Incandescent Lightbulb Blues,” a tribute to Thomas Edison that harks back to New Orleans traditional jazz, thanks to Tommy LaBella on saxophone and Perry Leandro on fiddle. Bob Bernstein’s pedal steel work in conjunction with Paul Daloia’ upright bass and Jake O’Handley gives “Better Do Something ‘Bout That” a pronounced western swing feel. “My Baby’s Gone” is highlighted by somber notes Dick Paul pulls out of his fiddle while “In My Dreams” has Pittas switching between accordion and keyboards, giving the mid-tempo ballad a touch of the Cajun sound. “Mary Ellis” is modern rendering of a story surrounding a grave in movie theater parking lot in New Jersey. Once again, Dick Paul lays down some impressive fiddle work. “Slow Dancin’ Barefoot” glides along, fleshed out by horns and a backing chorus. “In My Dreams” has Andy B. name-dropping Elvis & Ann Margaret while fantasizing about dancing with the woman of his dreams, urged on by John Asti’s tenor sax. The singer’s finest hour occurs on “Break Someone Else’s Heart,” as his voice takes on a harder edge on a song about love’s betrayal. He finally generates a emotional connection that is lacking in the other tracks. And, in the course of covering all of these musical genres, Andy B. only makes a few fleeting stops at the house of the Blues. It adds up to a wide-ranging project that will be of limited interest to blues fans. Reviewed by Mark Thompson
The Groove- Crossroads Blues Society Newsletter Survivor: The Benny Turner Story Bill Dahl & Benny Turner NOLA Blue Inc. www.nola-blue.com 238 pages hardcover
to the preacher’s sermons. By the time he reaches Crane High School, Turner is singing doo-wop with classmates in several groups. Eventually he ends up with The Kindly Shepherds, touring with the gospel group and recording several tracks for the Nashboro label.
Starting in a small town east of Dallas, TX and finishing off in New Orleans, Benny Turner takes readers through through his life as a musician. The younger brother of legendary guitarist Freddie King, Turner made his living playing bass in a number of high profile bands, including a lengthy stretch with his brother’s group. By enlisting the assistance of noted blues writer and historian Bill Dahl, Turner ensures that his autobiography maintains a focused, easyflowing style that suits the arc of his narrative. Turner doesn’t shy away from commenting on his experiences with racism and the police, issues that are still relevant today.
Meanwhile, brother Freddie is soaking in all of the blues around him and getting some guitar tips from Jimmy Rogers that helped create the Freddie King sound. The day arrives when Freddie asks Turner to join his band, later buying him one of the new Fender electric bass guitars and working with Turner to teach him how to play the instrument. When the opportunity comes to tour with singer Dee Clark, Turner can’t resist the lure of playing venues like the Apollo Theater.
Growing up in the country, Turner lived a simple life with his parents and his older brother. He and Freddie were inseparable despite a five year age difference. When Freddie started picking cotton, Turner would sit on his brother’s cotton sack and get pulled across the cotton field. An accident left Turner with a facial scar when Freddie didn’t pay attention while chopping firewood for the family stove. As was common in those days, the boys started off playing music on a diddley-bow, made with baling wire nail to the side of their house and augmented by a couple of tin cans. Later, it took several weeks of tanning cowhides for the boys to earn enough to pay for an inexpensive Roy Rogers guitar. Even though Turner helped with the workload, his older brother refused to share the guitar with him. When Freddie wasn’t around, Turner would seize the opportunity to practice some of the chords family members had taught the boys. They started developing an interest in the blues, primarily from a radio station in Laredo that broadcast fifteen minutes of blues daily with artists like Louis Jordan and Hank Williams. Around 1950, Turner’s father left the family behind for a job with a steel company in Chicago. By the end of that year, he was able to send train tickets to Texas so that the family could join him. Turner quickly learned to keep his wits about him as big city life was dramatically different than the world he left behind. Several stories are related, including one involving a preacher who lived across the street, and his lady friend who had a unique way of listening
From that point, Turner gets deeper and deeper into a career in music, relating stories of hanging out with Ray Charles, Carla Thomas, and Leon Russell. He returns to his gospel roots for a stint with the legendary Soul Stirrers before returning to his brother’s band, enjoying many highlights of Freddie’s journey before it was cut short in December, 1976. It was a devastating loss that sent Turner reeling. It took a helping hand from Mighty Joe Young to get things under control. Turner spends plenty of pages describing the fun he had during his tenure with Young. When health issues laid Young up, Turner headed for New Orleans, where musicians could earn a good living without going anywhere. He spends some years playing on Bourbon St. before get hired by Marva Wright, a powerful vocalist just starting to make a name for herself. They worked together until a stroke ended Wright’s performing days. Like the survivor that he is, Turner took over Wright’s band and started down his own path. Recent years have seen the release of two recordings under his own name, with a new one coming soon. Last year, his When She’s Gone release was nominated for a Blues Blast Music Award in the Soul Blues Album category and one track, “I Can’t Leave,” received an Independent Music Award for Blues song of the year. The book is effective at chronicling his tale of ups & downs, lacking only enough of Turner’s thoughts and views to give readers a deeper glimpse at the man himself. Included are fifteen pages of black & white photos, with other pictures documenting his life spread liberally throughout the book. It has been a great ride for Turner – and readers will surely enjoy the way he tells his story. Reviewed by Mark Thompson
Ike September-October 2017
Page 21
Soul Blues Night at the Nordlof Center 10/28
Crossroads Blues Society and Rosemary Productions are reuniting the great Dave Specter with Tad Robinson for a big night of blues and soul at the Nordlof Center’s J.R. Sullivan Theater on Saturday, October 28th! This will be a show all blues and soul fans will not want to miss. Tickets at crossroadsbluessociety.com, Kortman’s Gallery, Culture Shock and Guzzardo Music in Rockford, Pig Minds Brewing Co in Machesney Park and Grand Avenue Pub in, Beloit. Blues guitarist, bandleader and producer Dave Specter has earned an international reputation as one of the premier talents on the Chicago blues scene. Since 1985 Specter has performed regularly at top Chicago blues and jazz clubs in addition to festivals and concert halls throughout the USA. Since 1989 Dave has toured internationally with performances in Argentina, Brazil, Israel, Spain, England, Holland, Denmark, France, Italy, Germany, Norway, Belgium, Sweden, Switzerland, Poland, Luxembourg, Mexico and Canada. Among Dave Specter's critically acclaimed recordings, his 1991 release Bluebird Blues reached the #1 spot on both the Living Blues national radio charts and the Tower Records blues charts. Blues Access magazine called his CD, Left Turn on Blue, "an absolutely gorgeous blend of vintage blues and jazz." Specter also appears on compilation CDs with artists such as Eric Clapton, Carlos Santana, B.B. King, Muddy Waters and Junior Wells. Dave's latest album, Message in Blue features special guests Otis Clay, Brother John Kattke and Bob Corritore. It's currently topping the Roots Music Report's blues charts and has received rave, 4 star reviews from Downbeat Magazine and All Music Guide. Dave appeared for us most recently at the Hope and Anchor in 2016 and at our 2015
Crossroads Blues Festival. His former in partner Tad Robinson played our 2016 Festival and also at the Hope and Anchor in 2016. Robinson was born and raised in New York City, attending school at Indiana University's school of music and graduating in 1980. He played regionally with a group called the Hesitation Blues Band, then moved to Chicago, where he became the vocalist for Dave Specter & the Bluebirds, singing on their 1994 album Blueplicity for Delmark Records. In 1994, he released his first album under his own name on the same label; four more have followed, three on the Severn imprint. Robinson has performed at notable festivals in several countries, including the United States, Austria, Belgium, France, Germany, the Netherlands, and Switzerland. He has been a Hohner harmonica endorsee since 1985. "Robinson places near the top of the list of the finest living singers of soul blues according to DownBeat Magazine. He records on Severn Records; he was nominated for a 2016 BLUES MUSIC AWARD for Soul Blues Album of the Year and he was nominated for a 2015 Blues Blast Music Award. In total, Tad has been nominated for eight Blues Music Awards since 2005. Rockford College Radio reports, “Joe Irving began his career playing from Mississippi to Illinois, to New York, NY to Los Angeles, CA, and singing in every major city in the U.S. He was signed by two major record companies and four independents, formerly known by Joey Irving in his early recording years. Joe has a strong base, with a large European following and a lot of Internet listeners.
It takes talent but the real thing is the song. Joe Irving has put out some of the masters he’s kept of those songs. Get ready, I’m getting ready to let some good music flow.” Check out Joe Irving and listen o his music and interview at: http://rockfordcollegeradio.com/ podcast/RockfordOriginals/JoeIrving.mp3. The RED Band is a Rockford original. The "RED" Band (Ready Every Day) is a uniquely dynamic band consisting of well rounded musicians that have seen, performed in and traveled all of the US and abroad. The "RED" Band enlightens audiences of all genres: R&B, Blues, Funk, Country, Jazz, Neo-Soul and Gospel to name a few; performing as a quartet to a ten (10) piece full band. They have entertained many venues from Tokyo Japan, Amsterdam, China and Europe with great performers such as: James Brown, The O'Jay's, Natalie Cole, Dave Koz, Denise LaSalle and Sheila E to name a few. The "RED" Band enjoys the GOD given talent they have and live by the statement...'Music is not what we do, Music is who we are! Doors open at 5:30 PM. See the event poster on page 38 for more information!
The Groove- Crossroads Blues Society Newsletter
Ike 22 Page
Crossroads Shows and Local Events July and August 2017
Dave Weld and the Imperial Flames at Hope and Anchor (photo bty Rick Davis)
Andrew Duncanson Josh Stipple Kilborn Alley at Sinnissippi Park (photos by Rick Davis)
Mike Ledbetter and Dan Carelli Chicago Blues All Stars (photos by Rick Davis)
Donna Herula and Tony Nardiello at Byron Public Library ummer Adult Program (photo by Rick Davis)
Dwayne Dopsy and the Zydeco Hellraisers at Sinnissippi Park (photo by Rick Davis)
Ike September-October 2017
Page 23
Brutal Wedgie at the Rock And Roll Institute Show at Culture Shock
Justin Gates at All Saints Church
Hoodoo Rhtym Kings at the Hope and Anchor
Ron Holm at the Head Start Kickoff Breakfast for BITS Eddie Taylor Jr. and Matthew Skoller at the Lyran Club
Ike 24 Page
The Groove- Crossroads Blues Society Newsletter
Crossroads Blues Festival from the Lens of Rick Davis
Ike September-October 2017
Page 25
Ike 26 Page
The Groove- Crossroads Blues Society Newsletter
Ike September-October 2017
Page 27
Ike 28 Page
The Groove- Crossroads Blues Society Newsletter
Crossroads Blues Festival from the Lens of Lee Ann Flynn
Ike September-October 2017
Page 29
Ike 30 Page
The Groove- Crossroads Blues Society Newsletter
Ike September-October 2017
Page 31
Ike 32 Page
The Groove- Crossroads Blues Society Newsletter
Ike Page 33
The Groove- Crossroads Blues Society Newsletter
Ike September-October 2017
Page 34
Ike September-October 2017
Page 35
Ike 36 Page
The Groove- Crossroads Blues Society Newsletter
Ike September-October 2017
Page 37
Ike 38 Page
The Groove- Crossroads Blues Society Newsletter
Ike September-October 2017
Top Blues Releases May and June 2017 Sunday Morning Blues WKGL-FM 96.7 The Eagle July
The Cash Box Kings / Royal Mint / Alligator San Pedro Slim / In Times Like These / Mojo King Music Don Bryant / Don't Give Up on Love / Fat Possum Willa / Better Days / Building Records Jim Allchin / Decisions / Sandy Key Music The Sherman Holmes Project / The Richmond Sessions / M.C. Records Omar & The Howlers / Zoltar's Walk / Big Guitar Music Martin Lang / Ain't No Notion / Random Chance Records Joe Bonamassa / Live at Carnegie Hall - An Acoustic Evening / J&R Adventures Sonny Landreth / Recorded Live in Lafayette / Provogue Oscar Wilson / One Room Blues / Airway Karen Lovely / Fish Outta Water / Self Release Doug MacLeod / Break the Chain / Reference Recordings Anthony Rosano and the Conqueroos / Anthony Rosano and the Conqueroos / Self Release Dani Wilde / Live at Brighton Road / Vizztone Catfish Keith / Mississippi River Blues / Fish Tail Records Patrick Recob / Perpetual Luau / Mr. Lucky's Blues The Jimmys / Live from Transylvania at Sighisoara Blues Festival / Brown Cow Productions Lil' Ed and the Blues Imperials / The Big Sound of Lil' Ed and the Blues Imperials / Alligator Marcia Ball / The Tattooed Lady and the Alligator Man / Alligator
August
Rick Estrin & The Nightcats / Groovin' in Greaseland / Alligator The Nighthawks / All You Gotta Do / Eller Soul Altered Five Blues Band / Charmed & Dangerous / Blind Pig George Thorogood / Party of One / Rounder The Sherman Holmes Project / The Richmond Sessions / M.C. Records Matthew Skoller / Blues Immigrant / Tongue 'N Groove Carolyn Wonderland / Moon Goes Missing / Home Records Tucci / Olivia / Hideaway Music The Cash Box Kings / Royal Mint / Alligator Joanna Connor / Six String Stories / M.C. Records Kenny Wayne Shepherd Band / Lay It on Down / KWS Music - Concord Catfish Keith / Mississippi River Blues / Fish Tail Hamilton Loomis / Basics / Ham-Bone Music Gregg Allman / Southern Blood / Rounder Walter Trout / We're All in this Together / Provogue Doug Deming & The Jewel Tones / What's It Gonna Take / Vizztone - DemBlues Productions
This list is submitted to Living Blues Magazine for inclusion in the July and August 2017 National Radio Chart. This list is compiled from actual radio air play statistics. WKGL-FM broadcasts 2 hours of the blues per week. Rich Gordon Sunday Morning Blues WKGL-FM 96.7 The Eagle 3901 Brendenwood Road Rockford, IL 61107
Page 39
Membership News We continue to grow with new members and renewals continuing to sign on! Thank you for supporting live music and keeping the blues alive to all our new and returning members! New members: Marc & Mary Dicklin Family Luke Fredrickson & Jill Greenig Phil Hughes Eileen Ahlgren Thomas Bassett Robert Brilbeck Steven Califf Gary Foreman Jon Gates Doug Greason Anne Hendrickson Alva Lewis Jeff Nielsen Dan Pace Nancy Peeso Jeremy Pribble Harold Sturnfield Mike Walsh Renewing Members: Robert Ramirez Rob Andersen Patrick Caragher Jim Didier Ric & Donna Douglas Delores Fair Avis & Jeff Fisher Bill Futymoski Peter Krampert Mark Rodseth Terry Stauffacher Diane Swiderski Paul Thompson Matt Webb Sandi Kelly Will Perrin Dayle Coburn & Leann White Bret Winzenreid Ross Youngberg Bill and Pamela Graw New members get a CD upon joining and new family members get two CDs. Membership has been $15 (individual) and $25 (family) for over 15 years. Mail newsletter members have a $5 surcharge to help with printing and postage costs; it’s expensive to produce and distribute the 12 page print newsletters. We produce six PDF version 32 page newsletters a year with about 30 reviews and all sorts of other great information related to the Society and our events.
www.bluesblastmagazine.com
Hope & Anchor English Pub Second Saturday Blues
The Hope and Anchor Saturday Blues runs from 8 PM to 11:30 PM, $5 cover after 7 PM or free prior to that for dinner guests. Featuring fine English pub fare, the Hope and Anchor is a great spot for dinner, craft beers, liquors, and great live music! At 5040 N 2nd Street, Loves Park IL, USA, phone 815.633.2552 for info! Sep 9th: Tweed Funk Oct 14th: Corey Dennison Band Nov 11th: Toronzo Cannon Dec 9th: The Jimmys Jan 13th: Reverend Raven & the Chain Smoking Altar Boys with Westside Andy Feb 10th: Ray Fuller & the Blues Rockers Mar 10th: TBD- John Primer may be out Apr 14th: Chicago Wind w/Matthew Skoller and Deitre Farr
Lyran Society Third Friday Blues
The Lyran Society continues their Fish Fry and Steak Dinners with performances mostly on the third Friday of each month at their club. 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 the public, all ages are welcome. Sep 15: Studebaker John Oct 6: Dave Fields Oct 20: Birddog Blues Band Nov 3; Duct-Taped Cadillac Nov 17: Trinadora Rocks Dec 1: Joe Irving and the Flames of Fire Dec 15: JB Ritchie Band Jan 5: Don Collins and the Night Shift Jan 19: The Blues Disciples
All Saints First Sunday Blues
Sep: No Show Oct 8: TBD Nov and Dec also TBD
Ike Crossroads Blues Society
P.O. Box 840 Byron, IL 61010
The Crossroads Blues Society Newsletter
The
On the web at: http://crossroadsbluessociety.com Crossroads Blues Festival at Lyran Park: http:// www.crossroadsbluesfestival.com
GROOVE Keeping the Blues Alive Since 1994
2014 Blues Foundation Keeping the Blues Alive Affiliate Award Recipient 2014 Chicago Blues Hall of Fame Inductee
Email us at: sub_insignia@yahoo.com
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 The Eagle - 96.7 FM Sunday Morning Blues now from 8 AM to 10 AM with Rich Gordon
News and Upcoming Events Studebaker John and other great acts will be at the Lyran Society throughout the year. The Hope and Anchor is booked through next April. See inside on page 39 for the particulars.
The fest is done but the blues are hot and alive with some great fall shows coming up!
Membership Application http://CrossroadsBluesSociety.com Yes! I’d love to be a part of the Crossroads Blues Society!
Name_____________________________________________ Street Address___________________________________
Also, we are having a big event on Saturday, October 28th at the JR Sullivan Theater at the Nordlof Center. Dave Specter and Tad Robinson rejoin forces for a spectacular show! The hot R&B great Joey Irving also will perform before the headline act and the RED Band opens up with their funky grooves!. $20 in advance, $25 at the door. 6;30 PM start, see page 38 for a poster. We are going to have some fun!
City________________ State______ Zip Code________
September features Tweed Funk at the Hope and Anchor and Studebaker John at the Lyran Society. October has the Corey Dennison Band at the Hope and Anchor and two shows at Lyran– Dave Fields and the Birddog Blues Band. See inside on page 39 for specifics.
Please check all applicable interests: Festival Volunteer Serve as Officer/on Board BITS Volunteer Volunteer at Shows/Events Review CDs Public Relations Edit Newsletter Other:_________________________
Phone_____________________________________________ Email Address____________________________________ New -or-
Returning Member
This will be a membership for an/a: Individual ($15) -or-
Family ($25)
$5 extra for newsletter via regular mail
Please cut out/copy & mail form & payment to: Crossroads Blues Society P.O. Box 840 Byron, IL 61010
Bring this to our next meeting and get a free CD!