Cover photo by Bob Kieser © 2012 Blues
Blast Magazine
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In This Issue
We have the latest in Blues Society news from around the globe. Terry Mullins has our feature interview
with Rick Estrin.
We have six music reviews for you! Rainey Wetnight reviews a new CD from Mac
Arnold’s Blues Revival. Jim Kanavy reviews a new release from Lisa Mills.
Greg “Bluesdog” Szalony reviews a new CD from Ron Beer. John Mitchell
reviews a new release from James Armstrong. Gary Weeks reviews a new release from
Mare Edstrom & Kenn Fox. Steve Jones reviews a new CD from Suzanne & the
Blues Church. All this and MORE! SCROLL DOWN!!!
From The Editor's Desk
Hey Blues
Fans,
The 2012
Blues festival season is looking good. Many major fests have announced
their lineups for this year. Here is a sample of a few we have attended
or worked with in the last few years.
The Chicago Blues Festival is June 8, 9 & 10th. Some of the artists
scheduled to perform include The Jimmy Reed Family, Quintus McCormick,
Zora Young, Joe Louis Walker, Eddie C. Campbell, Matthew Skoller Band,
Big James & The Chicago Playboys, Cash Box Kings, Rev. K M Williams,
Milton Hopkins and Jewel Brown and Texas Johnny Brown on Friday June 8,
Tommy McCracken, Diunna Greenleaf, Billy Branch, Terry “Big T” Williams,
Homemade Jamz Blues Band, Sam Lay Blues Band, a tribute to Hubert Sumlin
featuring Bob Margolin, Eddie Shaw, Dave Specter, Bob Corritore, Johnny
Iguana, Kenny “Beedy Eye’s” Smith & Bob Stroger, Bob Riedy and Bob
Corritore, Nigel Mack Band, Paul Kaye, Mud Morganfield, Kenny ”Beedy
Eye’s” Smith, Barrelhouse Chuck, Lil Frank , Bob Stroger & Joe Filisko
and Floyd Taylor on Friday June 9th and Demetria Taylor, Mary Lane,
Charles Wilson, Lil’ Ed & The Blues Imperials, Eden Brent, Lurrie Bell,
Omar Coleman, Eddie Shaw & The Wolf Gang, Pistol Pete, Kilborn Alley
Blues Band with special guest Deak Harp, Liz Mandeville & Donna Herula
Duo, a tribute to KoKo Taylor, featuring Melvia “Chick” Rodgers, Jackie
Scott, Deitra Farr, Nora Jean Brusco and The KoKo Taylor Blues Machine
Band and Mavis Staples on Sunday June 10th.
The 7th
Annual T-Bone Walker Blues Fest in Linden, TX is June 22 & 23 and
features The Peterson Brothers, Emily Elbert, a tribute to Louisiana Red
and Honeyboy Edwards featuring Michael Frank and Rocky Lawrence, Michael
Burks, Buddy Flett, Matthew Davidson, Lightnin' Malcolm, Robin & the
Bluebirds , Jonathon "Boogie" Long, Kirby Kelley, Texas Johnny Brown
and
Bill Lynch & the Mid Western Icons with Special Guests.
The Mississippi Valley Blues Festival
in Davenport, Iowa is June 29th & 30th, and July1st. Scheduled
performers include Mathew Curry and The Fury, Earnest ‘’Guitar’’ Roy,
Sugar Ray and the Bluetones, Liz Mandeville and Donna Herula, Kenny Neal
and Super Chikan Johnson on June 29th, Terry Quiett, Bryce Janey, Ray
Fuller and the Blues Rockers, Doug MacLeod, Preston Shannon, Ernest
Dawkins Quartet, Guitar Shorty, Moreland and Arbuckle, Coco Montoya and
Kelley Hunt on June 30th and Lady Bianca, Paul Geremia, Johnny Rawls,
Trampled Under Foot and the Brooks Family Blues Dynasty featuring Lonnie
Brooks, Ronnie Baker Brooks and Wayne Baker Brooks, plus Bobby Rush with
“The Double Rush Revue” on Sunday July 1st.
The 2012 Blues, Brews & BBQ
Festival in Urbana, IL is June 29th and 30th and features Robert
Sampson & Blues Gumbo, Moreland & Arbuckle, Nick Moss plus The Royal
Southern Brotherhood featuring: Devon Allman, Mike Zeto, Cyril Neville
and Charlie Woothen on June 29th and Diva and the Dude, Candy Foster,
Hurricane Ruth, Lightning Malcom featuring Cameron Kimbrough, The
Mojocats, John Nemeth, Chicago Rhythm and Blues Kings, Tinsley Ellis,
Ronnie Baker Brooks and Michael Burks & The Delta Guitar Slingers on
June 30th.
The 15th Annual Briggs
Farm Blues Fest in Nescopeck, PA is July 6th and 7th and features
Eddy “The Chief” Clearwater, Linsey Alexander, Alexis P. Suter Band,
Chris Beard, Lonnie Shields, The CKS Band, Clarence Spady, and Mikey Junior
on July 6th and Bernard Allison, Moreland and Arbuckle, The Butterfield
Blues Band, Rory Block, Sarah Ayers, Michael Packer and Sam Lay on July
7th.
Ain't Nothin
But The Blues Festival in Bloomington, IL is July 20th and 21st and
features Sugarcane Collins, Hurricane Ruth, Dave Chaistain Band and
Teeny Tucker on July 20th and Alex Jenkins & The Bombers, Rooster Alley,
Tallan Latz, Kilborn Alley Blues Band, The Legendary Sam Lay and Ana
Popovic on July 21st.
The Pennsylvania Blues Festival in Palmerton, PA is July 27th, 28th
and 29th and features a Friday Night Jam –on July 27th featuring Mikey
Junior & The Stone Cold Blues Band, Marquise Knox, Michael Burks, Big
Sam’s Funky Nation , Joe Louis Walker, Billy Branch & The Sons of Blues
With Lurrie Bell, Carlos Johnson & Demetria Taylor , Dawn Tyler Watson &
Paul Deslauriers, Wallace Coleman and Steve Guyger And The Excellows on
July 28th plus Naomi Shelton & The Gospel Queens, Eugene Hideaway
Bridges, Teeny Tucker, Earl Thomas, Brooks Family Blues Dynasty
Featuring Lonnie, Ronnie & Wayne Baker –Brooks and Corey Harris on July
29th.
If you are
looking to fill in dates on your summer Blues fun calendar, we suggest
you check these first class operations out!
Wishing you
health, happiness and lots of Blues music!
Bob Kieser
Blues
Wanderings
We had a
GREAT Blues week last week. There was lots of talent within driving
distance starting with Blues rocker Chris Duarte in Rock Island, IL on
Thursday night.
We caught a great set to a packed house at Rascals. Look for an
in depth interview with Chris in a future issue soon. Then Saturday night we made it to Springfield, IL to hear a set by Cee
Cee James and her band.
Cee Cee is working on a new album after a successful kickstarter
fundraising project. The new CD will be released soon.
To cap off a great live Blues run, we made it back to Springfield for
Blue Monday at the Alamo to hear Brad Vickers and The Vestapolitans
 
With Margey Peters switching off on vocals, bass and fiddle and Bobby
Michaels soloing on sax and clarinet, theses guys covered a wide range
of style variations for an interesting and entertaining set.
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NOTICE: All submissions must
be received before 4/15/12 So Hurry!!!!
 The 2012 Blues
Blast Music Award Nominations
We are accepting
submissions from labels and artists until April 15th, 2012. Artist do not
necessarily have to submit their releases to be considered but any
that do will have their recordings actually screened by the nominators.
(Our Nominators can't nominate something they haven't heard!)
We have 30 nominators so you need to send 30
individual copies to be considered before April 15th, 2012. Any
received after that date may not get sent to the nominators.
There is no charge for this. We will
cover the cost and effort to get your eligible CD or DVD release
into the hands of the nominators if you send them in.
We reserve the right to change this policy in
future years. CD's received after April 15th, 2012 may not reach the nominators so hurry
and get your submissions in today! For complete details,
CLICK HERE
Nominators begin submitting their nominations May
1st and final nominations will be announced after May 31st, 2012.
Voting Begins in July.
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Featured Blues Interview - Rick
Estrin
 The King of
Cool shouldn’t sweat, should he?
From the
sharply-pressed shark-skin suit - one that would rival a fire engine for
attention - to the shiny, matching alligator loafers on his feet – and
not forgetting the custom-made Ray Bans and pompadour that serve as
frames to a mischievous ear-to-ear grin - there’s no doubt that Rick
Estrin is the living, breathing Sultan of Suave.
But despite
all the window dressing on the outside, the High Priest of Hipness felt
a bit uneasy and unsure of himself on the inside.
And
rightfully so.
His
longtime friend and foil – Charlie Baty – had just given notice that he
was hanging up his guitar and retiring, leaving Estrin, along with the
rest of Little Charlie and the Nightcats, with a most uncertain future
in front of them.
“I didn’t
know what I was going to do. I didn’t think I would retire, but after I
realized that he was actually going to retire and pull the plug, I
started to get some things in place for myself,” Estrin, long-time
singer, harpist and master of ceremonies for Little Charlie and the
Nightcats said. “Because for decades, 75-percent of people would see me
and go, ‘Hi, Charlie.’ So I needed to somehow start to establish an
identity on my own. I needed to get name recognition.”
That was
back in 2008 when Baty decided to say goodbye to the day-to-day
activities of the group that he and Estrin formed in the Sacramento area
in 1976.
The effort
to carve a name for himself outside of the comfortable niche he enjoyed
with Little Charlie and the Nightcats for more than three decades
started with an under-the-radar CD of lowdown blues that were focused on
the harmonica, called On The Harp Side, featuring the guitar work of one
Chris “Kid” Anderson.
“I didn’t
really shop it to a label because I was hoping to get back on Alligator.
But prior to Charlie leaving the band, I had booked a tour of South
America with the Igor Prado Band. And we e-mailed back-and-forth, we me
sending him a list of the songs I was planning on playing. He would go,
‘Wow. That song’s a classic’ and he’d go, ‘I dig that song,’ and they
were all my songs. So I started to realize at that point that there were
a lot of younger guys – really excellent players all over the world -
that already knew my stuff because they had grown up playing along to
all those records from the 80s and 90s,” said Estrin. “So, I thought
maybe I would be like a low-budget, poor man’s version of Chuck Berry
and just fool around and use different bands in different regions and
not have to worry about anybody else. It would have been an easy way to
keep things going.”
But as fate
would have it, the direction that Estrin ended up turning to featured a
couple of familiar faces.
“The bass
player and drummer (Lorenzo Farrell and J. Hansen, from the Nightcats)
really wanted to keep the band going. But I couldn’t really think of
anyone that could fill the slot of Little Charlie, because he was so
unique, and to me, he’s really an all-time great,” Estrin said. “Then
out of the blue, I got a phone call on an unrelated matter from Kid
Anderson, who I thought was still playing with Charlie Musselwhite, but
he wasn’t. I always knew whenever he (Anderson) would sit in with us
that he was the kind of fearless nut on the guitar that would be a
perfect fit. He’s a great musician and he’s ready to go for it all the
time. I know so many great guitar players, but he’s really the only guy
I know who could fit in with us.”
With the
newly-recruited Anderson on board, and the name of the band modified to
become Rick Estrin and the Nightcats, it was back to business as usual
for the unit, complete with a booking agent and tour of blues clubs, to
boot.
“Bruce (Iglauer)
came out and saw us and said, ‘Let’s go make a record,’ and we’d already
been working on some songs, so we went in the studio and knocked out
Twisted (Alligator Records),” Estrin said. “And it did pretty well and
we’ve been hitting it ever since. There’s a great chemistry in this
band. Having been in bands for a long, long time, I’ve never had a
situation where the group dynamic was so compatible and with so much
synergy. Sometimes it’s really magical.”
 Estrin
recently did a tour of duty as part of Tommy Castro’s Legendary Rhythm
and Blues Revue and he also took to the high seas aboard the Legendary
Blues Cruise. More than just jamming or soaking up the sun, Estrin took
the opportunity to road-test some of his new material on the big boat.
“We’ve got
a new CD coming out on Alligator in a couple of months and I premiered
one of the songs off it on the cruise,” he said. “I wrote a song called
“I Met Her on the Blues Cruise” and I premiered it at a songwriter’s
workshop on the cruise. And it went over well. We also shot some video
for YouTube to put out when the album comes out. So I did a lot of
things on there – a songwriter’s workshop, a duet with Nick Moss - which
was really not pre-planned – and I also got to do a presentation about
the 100th anniversary of one of Sonny Boy Williamson’s birth dates, so
that was great.”
It goes
without saying that most blues harp players have been influenced in some
shape or form by the iconic Sonny Boy’s style at some point in their
career, but Estrin takes things a step further and has been known to
pull off one of the trickier things to do with a harp – play it strictly
by moving it back and forth using just the mouth, keeping the hands
completely off it. That was one of Sonny Boy’s calling cards and Estrin
is quick to credit its originator.
“Yeah, I
did that at the Sonny Boy thing (on the cruise), because that’s where I
got it from. Although, I actually saw another guy do it, because when I
learned it, there was no video of Rice Miller - that anyone knew of - at
the time,” he said. “But I had seen still photos of him playing with no
hands. But I saw a guy named Harmonica Frank Floyd, who recorded for Sun
during the 50s, do it. And he could really do that stuff. But I really
got into Sonny Boy’s style early on in my development. And then it was
on to Little Walter. I was very parochial in my approach. I wanted to
sound like the real shit.”
The sound
of the harmonica cast a spell on Estrin from the very first time he
heard it and although he really couldn’t play the thing the first time
he cupped one in his hands, that didn’t stop him from believing he had
found his true calling.
“I was
really totally unrealistic - I’ve pretty much been a dreamer my whole
life,” he said. “The first time I ever picked up a harp – I went in this
room at the house of the guy who gave it to me and I made a bunch of
senseless noise on this harmonica for about an hour. And when I came
out, I said, ‘Yeah, I think I can figure this thing out.’ And from that
point on, I have played that sucker all day and all night long.”
That work
ethic is one big reason why Estrin is up for a Blues Music Award in the
Instrumentalist – Harmonica category at the upcoming 33rd annual BMAs.
Growing up
near the hotbed that was the musical scene in San Francisco back in the
60s, it didn’t take Estrin long to decide what kind of music he
preferred. And it also didn’t take him long to figure out just who could
actually play that kind of music, and who couldn’t.
“My sister
had some Jimmy Reed records and that’s really where I first heard the
harp,” he said. “And something - I don’t know what – just really spoke
to me. And right from the beginning, I wanted to sound like the real,
lowdown blues that I liked. And growing up in San Francisco, of course
Paul Butterfield was a huge deal to me. Him and (Michael) Bloomfield
really tore up the Fillmore. They could really play the blues, compared
to bands like the Grateful Dead and Quicksilver Messenger Service that
tried to.”
From there
Estrin would go on to hook up with Baty, forging a Hall of Fame career,
although at first, the going was pretty rough and tough as the duo set
out to make a living and create a name for themselves.
“When
Charlie and I first started out, we couldn’t make a living playing
blues,” Estrin said. “Part of that was because it was right at the
height of the disco era and part of that was because, frankly, the band
was lousy. It was just not a good time for this music.”
 But instead
of throwing in the towel, they rolled up their sleeves and by the time
the 70s turned into the 80s, Little Charlie and the Nightcats had worked
their way from a regional following on the West Coast into becoming a
must-see attraction all across the United States and beyond.
Estrin and
the Nightcats’ follow-up to Twisted is due to hit store shelves in the
upcoming weeks and according to Estrin, the group is excited for it to
see the light of day.
“I’m really
happy with it and so is the band. I think we really put more into it and
worked harder on it than the last one, or really any others that I can
recall,” he said. “I think we really came up with some good songs and
I’m anxious to get people’s reaction to it. I don’t want to jinx myself
by saying this, but I think we’ve really got some infectious, catchy
songs that are pretty memorable on this album. I know I can’t get them
out of my head. Although I sure wish I could, ‘cause they’re driving me
nuts! But I think that’s a good sign. There’s some really different
stuff – for us – on it. Some different kinds of grooves and some things
we hope are really radio friendly. We’ll see what happens, but we had a
really great time putting this thing together. We can’t wait to get out
there and tour behind it.”
As much of
a dynamic, larger-than-life character that he is when under the bright
lights of the bandstand, Estrin is every bit as flamboyant and
successful when it comes to penning the material that he and his mates
crank out. It’s evident by listening to the tunes he’s given birth to
that Estrin has spent as much time working on his songwriting craft as
he has to developing his harmonica style. And that goes way back.
“Probably,
subconsciously, the first people I can trace it (his songwriting
influences) to would be Lieber and Stoller. I didn’t realize that till
much later, but I just always loved songs, especially story songs,” he
said. “And then there was a guy by the name of Roger Collins, who wrote
a song called “She’s Lookin’ Good” which was a national hit for Wilson
Pickett. And he took me under his wing, took me on the road with him,
when I was about 18. He would let me play a couple of songs before he
would come on stage and he taught me how to emcee. He was just a great
entertainer and also a great songwriter. He had been coached in
songwriting and in turn, he coached me in songwriting. I got to see how
his process worked. And a lot of that fell right in line with what I had
read about songwriting. It’s a real blessing to have had the
encouragement of people like Roger Collins and later on, Percy
Mayfield.”
That
encouragement would help fuel him to pen songs like “My Next Ex-Wife,”
which won Estrin a W.C. Handy Award for Song of the Year in 1993.
“So much of
songwriting, a big percentage, is about editing. It’s about getting it
to flow like a conversation, make it sound effortless,” he said. “I’m a
fan first and I think I notice a lot of things about songs that most
people might not. And I am also kind of naturally peculiar, so I think
that also helps me have a certain vantage point to write from. I look at
things a bit skewed, although it seems normal to me. And I gotta admit –
sometimes I even get a kick out of myself.”
It didn’t
take long before Estrin’s writing style caught the ear of other blues
artists, further cementing his reputation as a top-flight author and
resulting in a number of his songs appearing on other people’s albums.
“Well, it’s
a different kind of blast (when another artist covers one of your
tunes). It’s probably more of a blast of it does well by us, because
there’s multiple benefits to that,” he said. “But for internal
gratification, when Little Milton did one of my songs, or Koko Taylor or
John Hammond or Robert Cray … you know, that just makes me feel like I
must be doing something right. That kind of validation is still really
gratifying.”
After
playing the blues for over four decades, and after seeing his longtime
partner Charlie Baty ease off into the easy chair, Estrin still has no
plans at cutting back his busy workload.
“I don’t
plan on retiring, I want to go out like Johnny “Guitar” Watson or
Pinetop or Robert Lockwood,” said Estrin. “I’m just lucky to have had
the kind of life I’ve had and been able to survive a bunch of stupid
behavior, you know. I’m managed to avoid the labor pool for all these
years … I’m just ridiculously lucky. Other than this, I’m really pretty
worthless. And if people are still doing some of my songs after I’m
gone, that would be great.”
Photos by Bob Kieser © 2012
Interviewer
Terry Mullins is a journalist and former record store owner whose
personal taste in music is the sonic equivalent of Attention Deficit
Disorder. Works by the Bee Gees,
Captain Beefheart, Black
Sabbath, Earth, Wind & Fire and Willie Nelson share equal space with
Muddy Waters, The Staples Singers and R.L. Burnside in his compact disc
collection. He's also been known to spend time hanging out on the street
corners of Clarksdale, Miss., eating copious amounts of barbecued
delicacies while listening to the wonderful sounds of the blues.
For other reviews and interviews on our website
CLICK HERE
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Featured Blues Review 1 of 6
 Mac
Arnold’s Blues Revival - Live at the Grey Eagle
Vizztone
Label Group and Plantation #1 Productions
10
songs; 54:44 minutes
Styles:
Traditional Electric Blues, Classic Chicago Blues Covers
Upon
hearing the word “revival,” one might imagine an enormous tent, crowd,
and “altar call.” As dozens of people rush forward to profess their
faith, whether for the first or hundredth time, one feels a presence so
powerful that it’s impossible to ignore! Chicago blues veteran and South
Carolina resident Mac Arnold taps into this presence, and his unshakable
faith in blues music by presenting his “Blues Revival: Live at the Grey
Eagle.” The first five songs are performed by Mac Arnold and Plate Full
O’Blues. Accompanying him in the second half of the CD, where the blues
rocket really takes off, is the “Muddy Waters Reunion Band” featuring
such mavens as “Steady Rollin’” Bob Margolin, “Fabulous” Kim Wilson and
the late Willie “Big Eyes” Smith. Out of ten renditions at this live
concert, several are covers. However, listeners likely won’t mind
because Bob Margolin in this album’s liner notes states: “The Chicago
Blues set delivers not only some classic songs and playing, but the raw,
urgent fire that is as much an essential part of that style as the old
riffs. We were entertainers on a bandstand in 2010, not a museum
exhibit.” That said, here are three of the best numbers from Mac
Arnold’s Blues Revival, original or not:
Track 2:
“Back Bone and Gristle”-- Composed by Arnold and his Plate Full O’Blues
band, this is his ode to his tenacious father. Mac pulls no punches with
his aged but broiling vocals, and neither does Max Hightower on piano!
This danceable mid-tempo stomp is just too much fun for a song about a
man who “taught us manners and respect” and ripostes Mac’s backtalk with
“Speak once--think twice!” instead of a whipping.
Track 5:
“Ghetto Blue”--This outstanding autobiographical track is the finest on
this CD. Our lead vocalist recounts his life and sugarcoats nothing: “I
used to live in Chicago long years ago. I never will forget all the hard
time living in the wind and snow….” Eventually meeting such icons as A.C.
Reed, Muddy Waters, Tyrone Davis and Buddy Guy, Mac fondly remembers his
other (now-departed) comrades: “I thank God for saving me and letting me
grow old.” This artist has sung and lived the blues for more than half a
century, and “Ghetto Blue” proves and re-lives it.
Track 9:
“Big Boss Man”—drummer Willie “Big Eyes” Smith performs lead vocals on
this masterful Jimmy Reed cover. One can picture Big Eyes’ protagonist
making big, goofy faces behind his supervisor’s back as he jeers: “Well,
you ain’t so big--you just tall, that’s all.” Check out the wicked
Margolin guitar and Wilson harmonica solos smack-dab in the middle of
this harangue.
The point
of any revival is to bring something back to life, but the Blues never
died. What Mac Arnold’s Blues Revival truly rekindles is the classic
Chicago blues sound, and more importantly, fans’ love for it!
Reviewer Rainey Wetnight is a 32 year old female Blues fan. She brings
the perspective of a younger blues fan to reviews. A child of 1980s
music, she was strongly influenced by her father’s blues music
collection.
For other reviews and interviews on our website
CLICK HERE
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Featured Blues Review 2 of 6
 Lisa
Mills - Tempered In Fire
10
Tracks; 49:31
Lisa Mills
was born in Mississippi and grew up on gospel and soul music. Her voice
sounds like Janis Joplin without the cracking and cackling which is a
good thing. Mills’ powerful voice earned her Joplin’s old position of
lead singer with Big Brother & the Holding Company for three years of
touring and she has also performed with Dr. John, Junior Wells, Albert
Lee, and Delbert McClinton. Mills has produced a few albums of her own
and Tempered In Fire on her own Mills Bluz label focuses squarely on her
vocal talents, offering seductive takes on R&B, Blues, and Jazz.
Tempered In
Fire starts off slow and sultry with “Tennessee Tears” which sets the
overall tone of this album. It is a relaxed affair, like blues for
lounging on a rainy afternoon. The arrangements are stark, the volume is
low and Mills sings sometimes softly, sometimes sweetly, and
sufficiently spirited to carry you through. Mills moves on to a stripped
down, somewhat subdued take on Wet Willie’s “Keep On Smilin’,” with a
fine horn accompaniment and a dynamic vocal performance. I never really
understood the popularity of this song and it’s “serenity now” –style
refrain. Wet Willie always seemed like the reliable but not particularly
impressive second-string of the 70’s Southern Rock movement. Yet Mills
covers two of their songs here, the other being “Country Side Of Life”
which to me is a better choice if one had to be made. “Keep on Smiling”
has a positive message which is nice but the hook is definitely lacking
and it doesn’t get any better for me here. If you like the original and
like singing along, you’ll probably like this take on it too.
“Blue
Guitars Of Texas” shimmers like a hazy highway in 100 degree heat. The
song sways sideways with economy of motion, suppressed by heat, barely
breaking away from the lethargic beat until it gains a little life
around the four and a half minute mark. “I’ll Never Fall In Love Again”
and “Why Do I Still Love You” are as close as this album comes to being
upbeat. “Why Do I Still Love You” in comparison to the rest of the album
is a rambunctious rocker that breathes some life into an sedate album.
“I’ll Never Fall In Love Again” has a modified Bo Diddley beat and the
guitars actually come alive in the choruses.
“My Happy
Song” is anything but, and maybe that’s the point. Maybe singing the
blues makes her happy as it does for many people out there. Blues can a
soothing music and Tempered In Fire is a perfect soundtrack for a
tranquil day. Lisa Mills does break through the tranquility often
however, with powerful vocal explosions that might shake you off your
hammock and make you wonder what you were thinking. The album closes
with one of the albums most energetic vocal performances with “Someone
Very Close.” The arrangement is stark and smoldering with passion,
ending the album with a standout performance.
I must
admit I’m a guitar fanatic and there is not much here for listeners like
me. I was hoping to hear more from Andy Fairweather Lowe but he offers
little more than competent rhythm work. I realize Mills’ voice is the
focus point of the record but I was still surprised at the lack of lead
guitar, or even harmonica or piano. Obviously Blues isn’t just about
self-indulgent lead instruments, but they do add a lot of flavor and
excitement when done well. There are some excellent horn parts on
Tempered In Fire, but most of the songs retain their
singer-songwriter structure, in the sense they could easily be arranged
for one or two instruments - a vocalist and guitar for instance. While
this may be a drawback for me, it won’t be that way for everyone.
Altogether, Tempered In Fire is good album with dynamic vocals,
judicious arrangements, and competent song writing. Lisa Mills in an
artist we can expect to build great things upon the sturdy foundation
she has created with this release.
Reviewer Jim Kanavy is the greatest guitar player in his house. He
has been reviewing albums in his head for 30 years and in print since
2008, and is deeply committed to keeping the blues alive and thriving.
For more information visit
http://jimkanavy.com.
For other reviews and interviews on our website
CLICK HERE
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Featured Blues Review 3 of 6
 Ron
Beer - The Blues Don’t Say It All
Self Release
Time-36:54
Ron Beer’s latest effort, another in a long line of recordings by
Canadian blues singers, displays the capable songwriting skills of
himself and lyricist Lou Sabatini and some very good backing musicians.
The lead guitar chops of Neil Chapman shine throughout. Although the
liner notes don’t mention it, the very effective horns were played by
producer Paul Schofield. Talk about multi-tasking! This collection of
all originals runs the gambit from blues and jump blues to slow ballads.
The title song features Ron’s voice, one that is heavy on the twang.
This is the listener’s first taste of the punchy horn section and the
flowing lead guitar licks. The band establishes their “blues cred”
quickly with this and the following selection. Neil’s guitar really
burns on “If We Don’t Talk”, taken at a fast pace, again abetted by that
horn section that adds just enough push. “I Understand” is a slow
R&B-blues that benefits from the use of female background vocals. The
horns get close to big band territory on the jump blues of “Close To The
Fire” that also employs the fine piano work of Bill Evans. This song
works, it doesn’t come off as just an attempt to get a jump tune on the
record. The guys get ragtime-y with clarinet, banjo strumming and some
nice stride piano on the sprightly romp that is “Call Me A Doctor”. One
of the songs in a singer-songwriter mode that work is “Give Me Shelter”
that features some brilliant and sexy sax playing. “Who’s Fooling Who”
is successful with much the same approach.
The production values and sound quality are of the first caliber. There
are some flaws and possible flaws. A few songs get a little too sappy
and overly sentimental. Ron’s twang can get too pronounced and hard to
understand at times. I guess that’s his Canadian accent, eh? I suppose
it sounds fine to a fellow Canadian. After repeated listening it gets to
be less of a bother and integrates into his “sound”. The fine
instrumental music and intentions contained here cannot be faulted. Some
more imagination could be given to the lyrics. Some of this may be a
matter of personal taste. This isn’t a perfect effort, but what is good
is good.
Reviewer Greg “Bluesdog” Szalony hails from the New Jersey Delta.
For other reviews and interviews on our website
CLICK HERE
|
Featured Blues Review 4 of 6
 James
Armstrong – Blues At The Border
11 tracks – 45.10 minutes
Californian bluesman James Armstrong has been round the blues block
before. He issued three CDs on Hightone but the last of those was in
2000 so it is some time since he had a recording contract. A meeting
with Bob Trenchard (bass player for The Rays and frequent collaborator
with Johnny Rawls) resulted in James acquiring a new label, a bass
player and a songwriter: Bob produced and co-wrote three of the tracks
at his studio in Texas while the other eight tracks were recorded in New
York. James is the only common denominator, completely different
ensembles playing on the two sets of recordings. However, the
instrumentation is similar (drums, bass, keys, backing vocals) so the
album maintains a consistent sound throughout.
The CD opens in funky style with “Everything Good To Ya”, a Sam Taylor
song that picks up on what his granddad used to say to him: “Not
everything that’s good to ya, ain’t always good for ya.” Bob Trenchard
and Sandie Carroll’s “Somebody Got To Pay” is the first of the Texas
recordings and the catchy melody floats on an organ riff and a chorus of
backing vocalists. The smooth sound continues on “Baby Can You Hear
Me?”, another Bob Trenchard song, this time in collaboration with Kay
Greenwade. The song is about loneliness and James’ vocal expresses those
emotions beautifully.
Title track “Blues At The Border” is James’ own composition and
expresses some of the frustrations that travellers feel travelling in
the post 9/11 era. “You might take a bus, you might take a train. Even
if you walk it will be faster than a plane” James sings and those who
travel by plane will recognize the frustration at having to spend as
much time going through the procedures as actually flying! From this
song alone you can see why James’ songs have been used in the movies on
several occasions as he has a nice touch with a lyric. The track also
features some fine slide guitar playing.
The next two tracks are James Armstrong originals, both written in
collaboration with John Hahn. “Devil’s Candy” again features some nice
slide work as James sings of the addictive attractions of the opposite
sex. “Nothing Left To Say” has an attractive rhythm and a catchy guitar
motif which help to sweeten the lyrics of regret at the failure of the
relationship. There then follows a pair of contrasting songs from the
pen of Dave Steen. “High Maintenance Woman” is a mid-paced tune with an
amusing lyric: “She’s got more anger than a picket line, more troubles
than Robert Johnson, more issues than the New York Times. If she wasn’t
any work, it wouldn’t be no doggone fun”. A funky guitar break adds to
the enjoyment of a well-crafted song. “Good Man, Bad Thing” was covered
by Michael Burks on his “I Smell Smoke” album and in keeping with that
background the song features one of the heavier guitar riffs (and
catchiest numbers) on the CD.
“Young Man With The Blues” is the final James Armstrong song on the
album. The longest cut on the album, it’s a stately slow blues and
features some excellent guitar. Lyrically we are again in the area of
failed relationships but the quality of the playing and singing raise it
above the standard slow blues. I particularly enjoyed the change in
rhythm, swirling organ and clean guitar lines that separate the vocal
verses. From the pen of the late Texan Oscar Perry, “Brand New Man” has
something of a jazzy feel and more strong organ/guitar ensemble playing.
Final track “Long Black Car” is the third Bob Trenchard production, on
one of his own compositions. As on the earlier Trenchard songs, the
chorus of backing vocalists definitely adds to the sound and James
brings some nice soulful playing to the party as we are told that “You
won’t get to heaven in a long black car” – bad news if you already own
such a vehicle!
My summary is that this is a very good CD of well played and catchy
material. It is good to welcome James back to recording after a long gap
and he deserves to do well with this album. Recommended.
Reviewer John Mitchell is a blues
enthusiast based in the UK. He also travels to the States most
years to see live blues music and is currently planning a visit to the
Tampa Bay Blues Festival.
For other reviews and interviews on our website
CLICK HERE
|
Blues Society News
|
Send your Blues Society's BIG news or Press Release
about your
not-for-profit event with
the subject line "Blues Society News" to:
Maximum of 175 words in a Text or MS Word document
format.
Mississippi Valley Blues Society - Davenport, IA
The Mississippi Valley Blues Society is proud to sponsor the first
Quad-City appearance of Too Slim and The Taildraggers at The Muddy
Waters, 1708 State Street Bettendorf, Iowa for a show on Wednesday,
April 18th, beginning at 7:00 pm. Admission to the general public is
$10. For MVBS members the admission will be $8.
The 2012 Iowa Blues Challenge Semi-final Rounds will be held April
19, at Zimm's, Des Moines, IA, and April 22, at The Muddy Waters,
1708 State Street, Bettendorf, IA. Five bands will play
thirty-minute sets at The Muddy Waters starting at 5:00 p.m.
Admission is $7 for ANY blues society member or $10 for non-members.
Competitors are The Mississippi Misfits, Slack Man & the Smokin' Red
Hots, Judge #3, Serious Business, and Phineas J's. One of the bands
from the IBC semi-final round in Des Moines and two of the bands
competing in the semi-finals at The Muddy Waters will earn the right
to move into the 2012 Iowa Blues Challenge Final Round, to be held
in Des Moines on May 26, at the Downtown Marriott.
The Mississippi Valley Blues Festival
in Davenport, Iowa is June 29th & 30th, and July1st. Scheduled
performers include Mathew Curry and The Fury, Earnest ‘’Guitar’’ Roy,
Sugar Ray and the Bluetones, Liz Mandeville and Donna Herula, Kenny Neal
and Super Chikan Johnson on June 29th, Terry Quiett, Bryce Janey, Ray
Fuller and the Blues Rockers, Doug MacLeod, Preston Shannon, Ernest
Dawkins Quartet, Guitar Shorty, Moreland and Arbuckle, Coco Montoya and
Kelley Hunt on June 30th. Lady Bianca, Paul Geremia, Johnny Rawls,
Trampled Under Foot and the Brooks Family Blues Dynasty featuring Lonnie
Brooks, Ronnie Baker Brooks and Wayne Baker Brooks, plus Bobby Rush with
“The Double Rush Revue” on Sunday July 1st.
http://www.mvbs.org
River City Blues Society
- Pekin, IL
River City Blues Society presents: Bringing The Blues To You with
the following shows - April 11th at 7PM • Sean Chambers,
Friday April 27th at 7PM Johnny Rawls :Location Goodfellas 1414 N. 8th St, Pekin, Illinois
$5.00 non-members $3.00 members. For more info visit:
www.rivercityblues.com
or call 309-648-8510
Illinois Central Blues Club -
Springfield, IL
The Illinois Central Blues Club presents "Blue Monday" every Monday
night for the last 25 years - BLUE MONDAY SHOWS - Held at the Alamo
115 N 5th St, Springfield, IL (217) 523-1455 every Monday 8:00pm $3
cover. Apr 9 – JP Soars &
the Red Hots, Apr 16 – Too Slim & the Tail Draggers, Apr 23 – Andrew
Jr Boy Jones. icbluesclub.org
The Friends Of The Blues - Watseka, IL
Friends of the Blues present 2012 shows:
Tues, April 10, Sean Chambers, 7 pm, Bradley Bourbonnais Sportsmen’s Club Tues, April 17, Too Slim & Taildraggers, 7 pm, Kankakee Valley Boat Club Thur, April 26, Al Stone, 7 pm, Kankakee Valley Boat Club
West Virginia Blues Society
- Charleston, W.V.
The West Virginia Blues Society, Inc. and Thornhill Auto Groups
present the 5th Annual Charlie West Blues Fest May 18, 19 and 20,
2012 at Haddad Riverfront Park, Charleston, WV including headline
performances by Kenny Wayne Shepherd, Rod Piazza & The Mighty Flyers
and Ruthie Foster. For more information visit
http://wvbluessociety.org/
Prairie Crossroads
Blues Society – Champaign-Urbana, IL
Prairie Crossroads Blues Society shows: Friday April 6, 1st Friday Blues, Johnny Rawls. For more
info:
www.prairiecrossroadsblues.org
Rosedale Crossroads Blues Society - Rosedale, MS
Rosedale Crossroads Blues Society presents The Crossroads Blues and
Heritage Festival, Saturday, May 12, 2012 at the River Resort at
Highway 1 South in historic Rosedale, MS featuring Bill Abel,
Cadillac John, Big Joe Shelton, DSU Ol’ Skool Revue and other area
artists.
Gates open at 12:00 noon, music starts at 1:00 Admission $5 –
adults, $1 – children under 12 Bring your own ice chest – $10 No
beer sold – No glass – No pets, please Parking $5
|
Featured Blues Review 5 of 6
 Mare
Edstrom & Kenn Fox – Way Beyond The Blue
Time:
50:27
Though Mare
Edstrom and Kenn Fox aren’t re-inventing the wheel on the CD release Way
Beyond The Blue, kudos has to be given for the arrangements and the
approach they take on tunes written by the likes of Snooky Pryor, Fred
McDowell and other masters who specialized in the acoustic genre of its
presentation. While Edstrom and Foxx are not a household name to blues
aficionados doesn’t mean they can’t offer a perspective that’s unique
and refreshing.
Using
several background vocalists not only fleshes out the sound but breathes
ethereal and a spooky atmosphere to the tracks which makes for an
enticing appeal to listeners who wish to loose themselves in the sound.
Mare
Edstrom’s vocals aren’t on the same ground as Susan Tedeschi’ but it
doesn’t matter. Her deep and throaty singing is the perfect fit for a
selection of tunes that would be right at home for a church service.
Not too
often do you find the Mississippi Fred McDowell tune “Woke Up This
Morning With My Mind on Jesus” as a leading track off a CD. But it’s the
perfect choice and certainly serves as a highlight for Kenn Fox’
slashing slide guitar. The tolling of a church bell leads into the old
traditional “Do Lord” that starts off as a ghostly number abetted by
Fox’ acoustic which morphs into an ending with what seems as backwards
slide guitar. Who says you can’t find funeral parlor psychedelia in the
blues?
Having Fox
handling the production chores and arrangements of the songs is a good
choice. The man has a good sense of creating an ambience that makes
obscure blues numbers stand out in their own way. Drummer Tim Rush and
bassist Dave Finley do their jobs well as a rhythm section whose
steadfast support is sturdy enough when needed to give a rocky edge.
Blind
Willie McTell wrote “Statesboro Blues” but believe it or not he had a
feel for church soul as shown in the cover “I Got To Cross The River of
Jordan” with Edstrom’s vocal delivery taking it all home.
But it is
on the Blind Willie Johnson track “Rain Don’t Fall On Me” that Edstrom
really hits the mournful notes with Fox guitar work proving strong
counterpoint.
You can’t
just cover only one Fred McDowell song. While the world has been
subjected to repeated listenings of “You Gotta Move” doesn’t mean you
won’t appreciate this take. With the background vocalists creating a
choir effect and the familiar bass drum stomp, the tune personifies that
Baptist church vibe we’ve become accustomed too before Fox’ dobro
playing steers the song into a rockier territory with drummer Rush
emerging to the forefront to jump-start the rhythm for a little pick me
up.
There’s no
escaping the fact that church music plays a role in instrumental in the
overall concept of the songs. But that doesn’t mean the music can’t
swing with a groove and it does just that in Reverend Pearly Brown’s
“You’re Gonna Need That Pure Religion” with Fox’ slide work bearing the
imprints of North Mississippi All-Stars Luther Dickinson. It’s a shuffle
but a damn good one upbeat enough to shake the pews and make for a fun
time jubilee.
The songs
may not sound like they were christened at the crossroads. It seems it
was done with the best intentions of not so much of directing a listener
on a path to find true religion, but in seeking an alternative rather
than making the material too authentic or turning it into over-driven
blues rock . It’s a fine line to walk and Mare Edstrom and Kenn Fox do
it well without losing their balance.
Reviewer
Gary Weeks is a contributing writer. He resides in Marietta, GA.
For other reviews and interviews on our website
CLICK HERE
|
Featured Blues Review 6 of
6
 Suzanne
& the Blues Church - The Cost of Love
Self-Released
10
tracks
Suzanne
Thomas is not the average blues woman; Korean-American by birth, raised
in an African-American household, tutored by Jimmy Smith on Hammond
organ at 6 years of age, attended music school in Los Angeles, became a
guitar player in her 20’s are but a few of the interesting things listed
in her bio. She played in the Blind Racoon Showcase at the 2012 IBC’s in
February after releasing this CD on January 17th. Thomas had at least a
hand in 8 of the 10 tracks here and selected two great cover tracks to
highlight her skills. She plays with a heavy, rocking tone and sings
with great conviction.
“Damn Right
I Got the Blues” and “All Your Love I Miss Lovin’” are the Buddy Guy and
Otis Rush covers on the CD. As in the original, Guy’s song has a massive
guitar sound, and Jimmy “Z” on harp adds even more to this big cut.
Rush’s track is smoothly and effectively done; both do not stray a lot
from how they were intended, and Thomas does them justice.
“Musta Been
Gone 2 Long” features a scratchy record sounding overlay on top of a
retro sound where mentor Ray Bailey (guitar, bass and drums) fills in
well, too. The title track shuffles and grooves in a minor key as it
follows the opener, “Cheatin’ On Me” which is a medium tempo and minor
key song that sets the stage for this great new artist to get you ready
for some hot stuff. These two cuts are impressive and tell the listener
that what is to come is some serious stuff.
Also
joining her on the CD are Jerry Jones-Haskins (drums), Frank W. Garrett
(bass), Bruce Edwards (organ and Fender Rhodes), “Rev” Charles Jones
(B-3), Tyree (organ), and BR Millon (guitar). This is a very solid set
of musicians who are together and play well together. Whether in a down
tempo song singing for her lover to Set Her Free” or blasting away in
“Mr. Bailey”, Suzanne is adept at her craft. Even the spoken story track
“Dusty Six String Box” is intriguing and not over done; Thomas tells us
of her brother’s “inheritance” and lays on some licks and a groove as
she tells her story in a mythical manner.
Suzanne
Thomas is an accomplished and interesting musician who understands and
feels her blues. She bares her emotions as she performs, giving
authenticity to what she sings about; she gives the listener a great
ride as they go from song to song together on this well-done debut CD. I
think we will be hearing a lot more from this musician!
Reviewer
Steve
Jones is secretary of the
Crossroads Blues
Society and is a long standing blues lover. He is a retired Navy
commander who served his entire career in nuclear submarines. In
addition to working in his civilian career, he writes for and publishes
the bi-monthly newsletter for Crossroads, chairs their music festival
and work with their Blues In The Schools program.
For other reviews and interviews on our website
CLICK HERE
|
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