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John 'blueshammer' Hammer
Blue Monday Monthly Magazine
www.bluemondaymonthly.com
Hammered By The Blues Weekly Radio
KRUE 1170am/ 100.9fm
510 West McKinley
Owatonna, MN 55060
This email was sent to you by blueshammer@bluemondaymonthly.com
Sunday, July 15, 2012
John Hammer Blues News
John 'blueshammer' Hammer
Blue Monday Monthly Magazine
www.bluemondaymonthly.com
Hammered By The Blues Weekly Radio
KRUE 1170am/ 100.9fm
510 West McKinley
Owatonna, MN 55060
This email was sent to you by blueshammer@bluemondaymonthly.com
Illinois Blues Blast
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 Cee Cee James. Bob Kieser has a photo
essay on the 2012 Mississippi Valley Blues Fest.
We have six music reviews for you! Rainey Wetnight reviews a new release
from Rick Estrin and The Nightcats. John Mitchell reviews a new release from the late
Pinetop Perkins. Sheila Skilling reviews a new CD from Mark May. Greg
“Bluesdog” Szalony reviews a new release from Anthony Moser. Steve
Jones reviews a new CD from Johnny Rawls. Mark
Thompson
reviews a new book by blues legend "Steady Rollin" Bob Margolin. All this and MORE! SCROLL
DOWN!!!
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Friday, July 20th
Saturday, July 21st
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General Electric Employees Club
1750 General Electric Rd, Bloomington, IL www.aintnothinbuttheblues.com |
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Featured Blues Interview - Cee
Cee James
 At
times, it can really suck being an independent artist in a genre like
the blues.
Days are filled with long and tedious hours of calling club owners to
secure gigs, keeping up with all the requisite accounting duties and tax
filings, calling to make travel reservations and dealing with the media.
All extremely-boring, but highly-necessary, tasks.
That doesn’t really leave a whole lot of time for writing and playing
music by the time those other chores are put to bed.
But according to St. Louis-based blueswomen Cee Cee James, the grind and
toil of all those daily mundane duties can quickly be wiped away.
“The minute you hit the stage, all that goes away,” she said. “I guess
it’s like some women say about childbirth – I’ve never had a child – but
they say you go through all that labor and then you’re holding that
sweet, little thing and all the other stuff just goes away. You don’t
even think about it. Just the feeling I get when I’m on stage and the
fans out there are showing me love and I’m showing them love from the
bottom of my heart … I don’t even know how to explain it.”
Just like any business requires a certain balance of things in order to
come out with success at the end of the day, so too does the business of
the blues.
“Well, sometimes you just want to throw up your hands - it’s beyond
overwhelming. Getting all the promo stuff out for the album, dealing
with the clubs … and you can only do so much,” James said. “And for
awhile, I was letting my health suffer because of it. But you’ve got to
eat right, exercise and then do the business; otherwise you won’t be
able to do the business. It’s great to have your own record label and
not be in the dark on stuff all the time, but the booking part and the
bookkeeping part can be totally overwhelming. That part I would gladly
give up.”
James has been nothing but a whirlwind of furious activity since the
calendar switched to 2012 - first writing and recording and now
promoting – her newest CD, Blood Red Blues (FWG Records).
Even though the disc doesn’t hit the street until mid-July, according to
James, the initial response has been positive.
“Pre-release sales have been going on for a couple of weeks now and
we’ve got it out to radio and so far, it’s gotten a good response,” she
said. “We’re really close to it – we’ve been recording since January –
back-and-forth between Tennessee and St. Louis - just a crazy time
trying to get it done. So, we’re real close to it. But we feel really
good about it, but it takes me a while to figure out whether I’ve done a
good job or not. I just did the best that I could do and did everything
from my heart. But when I listen back to my other CDs, it takes me
awhile, but I go, ‘Hey, that’s pretty good.’”
‘Pretty good’ might not fully capture the power of James’ fourth disc.
Dubbed the ‘Vocal Volcano’ for obvious reasons, James sings every line
of the title track as if her very life depended on the response it
evokes from listeners.
It’s redemptive, it’s uplifting and it’s certainly soul-stirring.
It also sets the stage perfectly for the 11 songs that follow. Combine
James’ explosive vocals with some hot guitar courtesy of Rob “Slideboy”
Andrews and Rocky Athas, and what you have is one album destined to
catch the attention of blues lovers everywhere.
 And
then there’s the messages contained inside the songs.
“This CD is a very positive CD. And there are probably a couple of
common themes that run through it. One would be the very positive
aspects of love and the other would be the poignancy and the truth of
life,” James said. “And there are a couple of heavy songs about what
goes on in the world and how to set ourselves free from that.”
Blood Red Blues was produced by the one-and-only Jim Gaines.
And for James and her band-mates, hanging with the Grammy-winning legend
was like a small slice of Heaven.
“It was very, very cool. The guys were just in awe – they were kind of
like little puppies during the sessions,” laughed James. “And Jim made
everybody sweet and happy with all the doughnuts he always had around.
But I don’t think it really hit me until after we were done who I was
working with.”
The list of blues artists that Gaines has helped bring their music to
life is a long and well-recited one. But Gaines’ magic is not strictly
limited to the 12-bar blues. Not by a long shot.
“He took us to his house one time and showed us all the Grammy Awards
and gold records on his wall,” James said. “And I was like, ‘The
Spinners? Wow. And you were the guy that produced all those great Huey
Lewis records?’ And the Neville Brothers?’ And then of course, there was
Santana and Stevie Ray … and there I was in his humble little studio
there in Stantonville, Tennessee.”
Gaines’ reputation as a strict task-master for six-string slingers has
been well-documented. But the master producer can be equally demanding
on singers, as well.
“I’ve never had trouble going into the studio and expressing myself as
if I’m on stage. I just don’t have that issue. I’m a performer whether
I’m in a room in a studio or on a live stage or in a living room with
one person watching. I’m just a live performer – it’s in my blood,”
James said. “And when I got up to the vocal mikes for the first time
(during the sessions for Blood Red Blues), Jim said, ‘Cee Cee, I’ll tell
you, I’m really hard on vocalists.’ And I said, ‘Jim, I’m ready for
you.’ And I was. I didn’t have any fear. I had worked really hard on the
songs at home and I knew what I wanted to do to bring each song to life
with the melodies. But what Jim did for me was to steer me a little bit
harder. He’d say, ‘That’s a great line, but I don’t quite feel it.’ Or,
‘That’s a great line, but I don’t understand that word.’ It was very
minimal stuff - we really made a great team. He pretty much let me do
what I wanted to do.”
And the end result, in addition to another outstanding album in her
canon, was some well-deserved praise that money just can’t buy.
“He gave me a really good compliment. He said I was one of the best
singers he’s ever worked with,” said James. “I’ve worked very hard over
the years and to get that kind of accolade coming from someone like that
was, ‘OK, this has paid off.’ But I don’t get a big head about it,
because I’m always trying to get better and expand myself. When I hear
some of the singers out there that I really admire, I think, ‘Yeah,
you’re doing OK, but you could do better.’”
Along with her dynamic, heat-seeking vocal prowess, one of James’ true
strengths lies in her abilities as a song-writer. James and her
husband/band-mate/guitarist Rob “Slideboy” Andrews penned all 12 tunes
on Blood Red Blues.
“It’s kind of an interesting process between the two of us and I have to
tell you, I’m very grateful and thankful that he’s my co-writing
partner, because I’ve worked with other writers in the past, but to have
someone in-house like this is really handy,” James laughed. “Plus, we’ve
kind of started to create our own style, and that started with Low Down
Where the Snakes Crawl. He comes from a very traditional blues
background - he played with a lot of the old blues cats in Oakland,
California for years. And I’m kind of a 70s blues/rock baby and kind of
a soul child. So our influences kind of come to the table and mix and I
think what’s come out is starting to feel pretty damn good. But he’s my
best friend and he’s been a real gift in my life. But we’re friends
first. It’s wonderful.”
While it would seem – based just on her undeniable talents – that Cee
Cee James was born to sing the blues, in reality, she actually had to
find her way to the music through a lengthy and sometimes painful,
process.
 “I
always liked to sing and perform, but I was kind of un-decisive (on a
career in music) for awhile. I got into modeling and acting and like a
lot of young girls, I wanted to be pretty and to be loved for what I
looked like,” she said. “I thought that’s what I was supposed to do. All
the glamour magazines tell you that. And you learn pretty quickly as a
young girl that you can get attention for what you look like. But that’s
a double-edged sword. That was not the kind of attention that I wanted.
The kind of attention you get for being a pretty young girl is not
always the right kind of attention.”
After stepping off the modeling catwalk and moving to San Diego, James
picked up a bass guitar and started messing around by playing songs from
the Scorpions and AC/DC.
Her next step was to hook up with some of the local groups – mostly
heavy metal and hard rock outfits – to play the songs of the day.
James really served up notice of her amazing talents with Spiritually
Wet, a highly-acclaimed pop/funk CD that was issued just before the dawn
of the new millennium.
Just as it looked like the Funky White Girl was poised to hit it big, a
hiking trip changed everything for James.
That, along with an echo from the long-departed Stevie Ray Vaughan.
“I was hiking one day while going through a major, major personal
transition. I was going to leave my marriage of 20 years and was
releasing that my pop-funk career was not going to take off because I
was not Britney (Spears), nor did I want to be,” said James. “But I was
hiking and I heard Stevie say, ‘You need to go back to your roots, girl.
You need to go back to what you do best.’ And at that moment, I had no
idea what that meant, but I knew it meant the blues. I had never done
much blues – a little blues/rock – but I left my husband, put the Funky
White Girl project to rest and started going to blues jams. That was the
beginning of the journey. But looking back, there was no deciding point.
It just kind of started rolling in this direction. I don’t know, but I
think its destiny.”
 Although
she may not have been belting out the blues at the time, James still
came to an important self-realization during the time of the Spiritually
Wet sessions – something that has served her well over the course of her
three blues-based discs.
“The producer was really trying to fit me into a box and I’m a real raw
singer and I got home from one of the sessions and for the first time
was watching the Tina Turner biography,” said James. “And she got up on
stage and just opened up her mouth and wailed. There was no box, no
restriction, no nothing. That probably completely turned me around
inside myself. It made me realize that I don’t have to try to fit myself
into something. I don’t have try to control myself 100-percent. I went
into the bedroom that night and just started wailing my songs. I just
opened up and let them fly. And that was a big, big turning point for me
when the box on my vocal chords opened up to another level.”
Forgoing any kind of a slick, paint-by-numbers approach to the blues,
James issued Low Down Where the Snakes Crawl in 2008, followed by
Seriously Raw – Live at Sunbanks in 2010.
Blood Red Blues manages to combine the best of those two discs -
well-crafted songwriting with all the fire and fury of a live Cee Cee
James show.
That should help to boost James up another rung or two on the ladder to
reaching an even wider and more diverse audience.
“I hope that it reaches more and more people’s hearts and that they can
feel the messages that I’m trying to bring to the world,” she said. “At
this stage in my life, it’s real important that I feel like I’m doing
good for the world. It’s not about me or how I look on stage, or how
cutesy I am or anything like that. It’s about me bringing my heart and
the deepest core of my soul – interpreting the songs for the people to
hopefully touch them in some way. And if Blood Red Blues lets me get
that out to more and more people, I’d really love that.”
That and maybe obtaining a booking agent over here in the good ole’
United States of America.
“Yeah, I sure could use a booking agent over here. I’ve got one for
Europe, but don’t have one for the United States,” James laughed. “That
would really be helpful to have one over here.”
Visit Cee Cee's website at
www.ceeceejames.com
Photos by Bob Kieser © 2012 Blues Blast Magazine
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
 Rick
Estrin and the Nightcats - One Wrong Turn
Alligator Records
12
songs; 49:59 minutes
Styles:
Modern Electric Blues, Harmonica led Blues, and Blues Rock
Rare are
the blues artist and blues album that never make “One Wrong Turn.” Fans
must look long and hard to find them, but in the case of multi-talented
Rick Estrin and the Nightcats, the search is over! These four
Californians have taken their huge blues knowledge and spun it through
their slightly warped musical vision to create an album of tough yet
often-hilarious blues. It’s genuinely difficult to decide which songs
(out of twelve originals) are the best, but here are major kudos for
three of them found on this second release by the now Estrin-led group:
Track 04:
Best Lyrics: “(I Met Her on the) Blues Cruise”--Name-dropping can be a
cardinal sin in literature and blues songs, but here it works perfectly.
Rick Estrin narrates the tale of a hapless Blues Cruiser looking for
love in all the wrong places--specifically, the places tattooed with
portraits of blues stars on his lover’s body! “She had a heart right
above her heart that said ‘Ronnie Baker Brooks’. Bobby Rush was on her
muffin top, grinning at me non-stop, and the Tommy Castro tramp stamp
was tough to overlook….” The YouTube music video of this song is a hoot,
but don’t watch it with little kids around!
Track 09:
Best Guitar: “Broke and Lonesome”--This lament’s theme is perennially
familiar, yet Chris “Kid” Andersen’s roaring shredder brings it to crisp
new life. Each note falls like a drop of acid rain on listeners’ ears,
possessing a lingering hypnotic effect. This is the type of blues song
in which one can let one’s imagination wander, especially during the
tail-kicking solo in the middle! “What’s so happy about a Happy Meal?”
Estrin wonders as Kid launches into a swinging tempo. One thing’s clear:
his guitar’s not “Broke”!
Track 11:
Best Harmonica: “Old News”--The only two instruments played on the
almost-final song are Estrin’s voice and his mouth harp, to marvelous
effect. It’s a wry commentary on the bewildering nature of today’s top
stories, posing questions that might be asked by the uninformed: “Hey,
what’s a jumbo shrimp, and what’s a high-class pimp? Hey, what’s a civil
war? What’s up with less is more?” To Estrin, “That’s old news!” His
gritty harmonica riffs are perfect background music for an old-fashioned
hoedown, prompting listeners to dance on the floor or in their seats.
This ditty is so catchy that it should have finished out the album!
Other
featured musicians include Lorenzo Farrell and J. Hansen, along with
guest sax and trumpet players such as Doug James, Terry Hanck, and Chris
Barnes. Blues fans, if you’re weary of “baby, baby, baby” permutations,
you won’t make “One Wrong Turn” if you give Rick Estrin and the
Nightcats a shot!
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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Live Blues Review -
Mississippi Valley Blues Fest
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The
Mississippi Valley Blues Fest has been going strong for 28 years now and
it is obvious that theorganization that put this on knows their Blues.
The Mississippi Valley Blues Society's signature event is regarded as
one of the best festivals in the world by fans and musicians. And this
years event continued the fine tradition with a great lineup in a
fantastic venue. (Full Disclosure - I am a lifetime member and former
board member of the Mississippi Valley Blues Society!)
The 3 day
festival is always held over the Fourth of July weekend. This year
because of the holiday falling on a Wednesday, the fest ran Friday June
29th through Sunday July1st.
On Friday
the fest kicked off with young guitar sensation Matthew Curry and The
Fury.
At 17 Matthew is a seasoned pro and he
put one hell of a show
featuring many songs from his debut album If I Don't Got You. The
CD is nominated for New Artists Debut in the 2012 Blues Blast Music
Awards. Matthew is nominated for a total of three 2012 Blues Blast Music
Awards. You can vote for him or any of the 2012 BBMA nominees now just
CLICK
HERE
Near the
end of the Fury's set, as if on cue, the wind began to blow and a
thunderstorm complete with lots of lightning and pouring rain halted the
rest of the acts scheduled to appear on the main band shell stage.
On the
fest's other stage, the tent stage, the opening act was Ernest "Guitar"
Roy. Ernest did a solo performance which was quite enjoyable.
In spite of
the raging storm the acts on the tent stage continued and next up was
Liz Mandeville and Donna Herula. They played to a packed crowd trying to
squeeze into the tent to avoid the pouring rain and got a fantastic
response to the set which included many songs from their new CD
Clarksdale.
Next up on
the tent stage was Blues legend James "Super Chikan" Johnson.
Bringing
his whole band from Canton, Mississippi, they had a great set as rain
continued pour down.
Last up for
the Friday lineup was Kenny Neal. Kenny had a great set to finish off
the night. Kenny then headed back to the fest hotel to do another great set
in the after fest jam.
 
SATURDAY
On Saturday
the rain was lone gone replaced by simmering temps in the mid 90's. The
days lineup stated off with The Terry Quiett Band on the main band shell
stage.
He was
followed by Ray Fuller & The Blues Rockers.
Meanwhile
Bryce Janey performed a solo set to get things rolling in the tent
stage.
Bryce was
followed by slide guitar master Doug MacLeod.
Doug showed
he knows a thing or two about the business end of a dobro.
Back on the
other stage, Preston Shannon started off the evening acts as the sun
began to move behind the band shell providing much appreciated shade for
those photographing the days performers.
He was
followed by the great Guitar Shorty. Shorty had
a surprise rhythm guitar player, Joe Moss, much to the delight of all the
fans. Joe Moss is a phenomenal guitar player and got the chance to strut
his stuff playing a cool looking Gibson Flying V guitar.
Back in the
tent stage The Ernest Dawkins Quartet played a cool set of jazz on a hot
afternoon. Each year the Mississippi Valley Blues Society entertainment
committee includes a jazz band. There is a fair amount of fan crossover
between Blues and jazz. The jazz band choice over many years has
always been guided by longtime MVBS board member Jimmie Jones. Jimmie
was not able to make the fest this year but you could feel the influence
his leadership has had on the MVBS entertainment committee by the
selection of this great jazz quartet.
Following
Dawkins was Moreland & Arbuckle. Moreland & Arbuckle is a blues duo
founded in Kansas, in 2002. The group, consisting of guitarist Aaron
"Chainsaw" Moreland, and vocalist/blues harp player Dustin Arbuckle.
They were accompanied as usual with a drummer sitting in.
The last
act of Saturdays lineup was Coco Montoya. One lovely lady dancing near
me crooned, "His music is sooo smooth. And yes it really was! If you
haven't seen Coco, PUT IT ON YOUR LIST!
 
He told the
crowd that he wanted to bring up a friend and song writing partner, Doug
MacLeod. They did a couple numbers which Coco said they had written
together. GREAT set to finish off Saturdays lineup of talent.
SUNDAY
On Sunday
we were treated to a kick ass set by Lady Bianca. Our first time
covering her, this lady has it all. She looks delightful and you can't
help liking her the moment you see her smiling face. When she kicked off
the set with powerful keyboard style and soulful lead vocals, you knew
you were in for a treat. Lady Bianca led a tight band through a nice
selection of material. Don't miss this one if you get the chance to see
her.
Next up was
Trampled Under Foot. This band won the 2008 IBC. The three pieces family
blues band from Kansas City consists of Nick Schnebelen on guitar and
vocal, Schnebelen on Bass and vocals and Kris Schnebelen on drums
and vocals.
Kicking you
in the head with talent, the band starts of with Danielle belting at
powerful tune. This band is as tight as anything I have ever heard!. In
Last years Blues Blast Music Awards, fans voted them Blues Band of The
Year and also gave them the Sean Costello Rising Star Award. They were
nominated for Blues Band of the year again this year. You can vote for
them or any of the 2012 BBMA nominees now just
CLICK
HERE
 
On the tent
stage Paul Geremia kicked off our afternoon with a solo set that had him
singing, and playing harmonica and acoustic guitar.
Johnny
Rawls was up next and he had an entirely different band then when we saw
him at a club recently. The band clicked and it made for a great set.
The
headliner act on the tent stage was none other then Bobby Rush. His set
was accurately named the Double Rush Review. Bobby started out with just
himself sitting at the front of the stage playing his telecaster,
singing, playing harmonica and telling stories. He is a master of stage
presence and the audience was loving every minute of it.
Then he
left the stage and returned with his whole band including his famous
dancing girls. His act with the band is quite risqué and really
entertaining. If you have not seen Bobby Rush before, you are
really missing out! Bobby Rush is nominated for Male Blues Artist in the
2012 Blues Blast Music Awards. You can vote for Bobby or any of the 2012
BBMA nominees now just
CLICK
HERE
The
headliner act of the night on the main stage was also the headliner of
the entire fest, The Brooks Family Dynasty featuring sons Wayne Baker
Brooks, Ronnie Baker Brooks and their pop, the legend himself, Lonnie
Brooks.
 
All three
members of this talented family tour the country doing festivals
by themselves, but to get to hear them all together is a real treat!
Hats off to
he Mississippi Valley Blues Society for another great festival!
Photos by
Bob Kieser and Gary Eckhart © 2012 as marked.
For other reviews and interviews on our website
CLICK HERE
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Featured Blues Review 2 of 6
 Pinetop
Perkins - Heaven
12
tracks – 44.45 minutes
When
Pinetop Perkins died in 2011 all blues fans felt a mixture of sadness at
his passing, tinged with joy that he had led such a full and colorful
life. We had no expectation that we might hear his piano and voice
again, but Blind Pig have dug into their archives and discovered a
previously unissued NYC session from 1986. Here we have Pinetop at just
73 years young, mostly solo but on four cuts he is joined by Brad
Vickers on bass and Pete DeCoste on drums; on one of those four tracks
Tony O adds guitar and Mike Markowitz harmonica. Two additional vocal
tracks were recorded in 2011 featuring Willie ‘Big Eyes’ Smith (on
possibly his last recordings) and Otis Clay.
On this
session Pinetop mixes some of his original compositions with classic
blues and a couple of standards. The album opens with “44 Blues” with
which Roosevelt Sykes had a hit as early as 1929; who knows, maybe
Pinetop heard that record when he was growing up! His version is classic
barrelhouse with lots of rolling left hand notes. Pinetop’s own “4
O’Clock In The Morning” is a slower piece in which you can really hear
his piano skills. John Nicholas’ “Relaxin’” is exactly that, a solo
piano instrumental, medium-paced with a catchy refrain.
Howling
Wolf’s “Sitting On Top Of The World” is the song on which Willie Smith
sings. It is eerie to hear two of our recently lost bluesmen combining
on this performance as we know that they were never together for it.
However, you would never realize that from this seamless recording:
Willie’s voice fits like a glove with Pinetop’s playing, not surprising
if you have heard their Grammy winning Joined At The Hip.
(Editor's Note - Joined At the Hip also won the 2012 Blues Blast
Music Awards for Best Traditional Album)
Pinetop’s
own “Just Keep On Drinking” is the first band performance, the addition
of bass and drums supporting the beat without reducing the importance of
Pinetop’s piano. It’s a jaunty piece that gets the toes tapping with an
amusing lyric about using alcohol as a way of forgetting hard times.
“Since I Fell For You” has been sung by countless singers but Otis Clay
does a great job, using the deep gospel tone of his voice to convey the
desperation of the lyrics. Pinetop returns to solo mode with “Pinetop’s
Boogie Woogie”, a sprightly boogie with Pinetop delivering the
instructions in a fast-speaking style. His own “Ida B” is the track with
added guitar and harp, the longest cut on the CD at just over five
minutes. It’s a slow blues in which the harp is up front from the start,
the guitar in supporting role.
Three solo
pieces follow, starting with “Sweet Home Chicago”. A song often covered
badly, this is how it should sound, Pinetop’s vocal sounding cheerful
about that possible return to the Windy City. “Pinetop’s Blues” is a
slow, melancholy tune with Pinetop’s left hand playing mournful chords
before his voice enters to recount a classic blues tale of waking up to
the dawn without anyone “to hold my aching head”. “Willow Weep For Me”
is another of those standards that have been played by many jazz artists
and Pinetop’s interpretation is excellent, again demonstrating what a
fine pianist he was. The CD concludes with a final band outing on Jimmy
Rogers’ classic “That’s All Right”, Pinetop’s voice capturing the
essence of the familiar lyrics and his right hand flourishes more than
adequately replacing the more usual guitar and/or harp on many versions
of the song.
Putting
aside the obvious question of why these tracks have never been issued
before, let’s celebrate the fact that Blind Pig found them so that we
can all enjoy a little more Pinetop! The only question is whether there
are any more in the archives somewhere…
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
enjoyed the Tampa Bay Blues Festival in April.
For other reviews and interviews on our website
CLICK HERE
|
Featured Blues Review 3 of 6
 Mark
May Band – Release My Soul
Bad Fork Records
11 tracks; 65:10 minutes
It seems the phrase “blew me away” is overused to the point of losing
its clout, so I’m going to raise the stakes and say that Release My
Soul, a new CD by the Mark May Band, touched my soul. From lyrics
that got under my skin to solos that left me speechless, this set of 11
original songs (10 of them written or co-written by May) evoked an
almost spiritual experience.
Mark May was born into a musical family, where he was exposed to a
variety of musical styles. He started playing guitar at the age of 5,
and was performing at local nightclubs by age15. This former guitarist
and vocalist for Dickey Betts and Great Southern has opened for the
Allman Brothers Band; and the influence of Betts and the Allman Brothers
is obvious in May’s work. After over 20 years of performing in Houston,
Texas, May has recently returned to his native Ohio, and the majority of
his current tour dates are there.
This CD (May’s 5th) starts off with a fun tune that will rock your socks
off, “Six Strings or Two Legs.” The cute and clever – though likely
somewhat true – lyrics of this honky-tonk song basically tell you that
the singer is “a woman-lovin’ blues man,” and don’t be expecting him to
mow the lawn or do chores around the house. But in his defense, he says
he’ll “be at bar tonight, if you want to hear some blues.”
In this song, you’ll hear some classic Hammond B3 organ, and some really
nice slide guitar, as well as a duel between their harmonica and their
two lead guitars, playing in harmony. I found this technique, no doubt
adapted from Dickey Betts and the Allman Brothers, to be a Mark May Band
trademark. This duel lead or double solo (which would seem to be
oxymorons) can range from flowing, pleasant harmony to skirting a
strategic clash, if the mood calls for it, as in some of the later,
jazzier cuts.
The skies start to cloud up, almost immediately, in the second track,
“Move On.” This one features a darker sound, with minor chords and a
guitar solo with a little harder edge. Still there’s at least a hint of
sun on the horizon, and the 3rd cut, “I Gotta Know,” lightens up
considerably, featuring a strong horn section and bright guitar harmony
provided by May and his co-lead guitarist, Paul Ramirez.
The 4th track, “Eyes Of India,” starts out sounding much like a
contemporary Christian or country ballad, with lovely harmonizing
vocals; but then adds some Indian musical elements - with May on
electric sitar - making it one of the most beautiful songs on the disc.
(You’ll hear some of this Indian influence again in cut 8, “Vindablues.”)
From here, the dark storm clouds roll back in with a vengeance, and the
next three tracks, “Release My Soul,” “World of Suffering” and
“Drifter,” up the emotional ante, with the mood running from sinister to
plaintive to (slightly) hopeful. “Drifter” is heavy on the sax and horn
section, with a scorching guitar solo. In all of these songs, there is a
distinct move towards jazz, and May’s solos sometimes reminded me of (if
I may invoke the “B” word) Jeff Beck.
“Devil’s Playpen” has a funky, SuperFly-style scratchy wah wah, while
“She Don’t Shine” is a heart-felt ballad but includes an ominous, almost
agitated riff. But then the set calms down to close with “Sweet D,” a
pretty little instrumental, with a chord progression reminiscent of Eric
Clapton’s “Change the World.”
Throughout this disc, May’s voice is smooth and pleasing enough for the
ballads, with just the right amount of sincerity and gravel to handle
the blues.
Release My Soul by the Mark May Band did touch my soul with its
search for the hard truth in life and its pure, emotion-laden beauty.
I’m not sure why I loved it so much. Was it the perfect storm of my
favorite musical techniques and elements? Or is it that I’m a bit
bewildered by life and on my own search for the hard truth? Or is that
May is just that talented? Whatever the reason, I did love this CD and
give it my highest recommendation.
Reviewer Sheila Skilling is a self-professed “blues fan by
marriage,” who was hooked by her husband’s musical preferences, but
reeled in by the live performances of Stevie Ray Vaughan, Buddy Guy and
others. She lives in the Minneapolis area .
For other reviews and interviews on our website
CLICK HERE
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Featured Blues Review 4 of 6
 Anthony
Moser - Transhuman Blues
Self Release
The first thing that jumps out of my mouth on hearing this Chicago
native’s first release is the word unrealized. Sounds mostly like “works
in progress”. His desire to sound different mostly ends up sounding
unusual. Something like David Bromberg gone wrong. His guitar technique
is refreshing at times. Marty Sammon who currently tours with Buddy
Guy’s band offers his fine piano playing in a jazz or traditional blues
style. The rhythm section is adequate.
“One Percent” and the other track that is recorded in front of a live
audience suffer from the loud crowd noise throughout. Anthony’s guitar
playing veers from swinging to amateurish on this tune. The lyrics and
delivery of “Got It All” are just plain dopey. The boogie-woogie piano
on this tune is just superb. A mesmerizing Dobro riff out front is the
highlight of the title track. Sort of like a modern day Son House.
“Back & Forth” is an old timey sounding swing tune with a slapped
upright bass providing the push. An attempt at being current, “Google Is
Listening” falls on its face. An alternative tango is offered on “Test
II”, were mundane lyrics such as “Will you take me home with you and
wrap me in a tire?” mars an otherwise musically sound song. What sounds
like a whistling tape defect pervades the slow and deliberate “Blue
Darkness”. A cover of T-Bone Walker’s “That Old Feeling Is Gone” is the
only blues here. It has that sloppy after hours vibe, which is meant as
a compliment.
What transpires here is more like a rehearsal that wasn’t ready or
intended for release. The production values shouldn’t have allowed for
loud audience noise throughout two songs. Anthony’s voice is reminiscent
of Steve Forbert, hence I suppose the goofy vocals are intentional. Ok I
understand this is a debut effort, but the songs and guitar playing
could have used some tightening up. Hopefully he gets it together with
stronger material. The band he uses here is topnotch. If he looks upon
this release as a training ground for the big leagues, the effort will
not have been wasted. Here’s hoping for good things in the future.
Reviewer
Greg “Bluesdog” Szalony hails from the New Jersey Delta.
For other reviews and interviews on our website
CLICK HERE
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Blues Society News
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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.
The Western New York Blues Society
- New York, NY
The Western New York Blues Society presents harp master Dennis
Gruenling along with guitar ace Doug Deming in concert at Paradise
Island, 4701 Transit Rd., Depew, Friday, July 13. 7 p.m. $12.
advance, $15. at the door. Info: (716) 656-7946 or
http://wnyblues.org. One of
today's most compelling duos in Contemporary Blues, harmonica master
Dennis Gruenling and guitarist Doug Deming (and his band, The Jewel
Tones), perform swinging jump blues rich with gritty shuffles and
driving boogies. Harpist Gruenling and guitarist Deming (the later
who fronts longtime group, the Jewel Tones) have once again joined
forces for an ambitious twenty-eight city tour in just twenty-six
days, each in support of a new CD ("Rockin' All Day" by Dennis
Gruenling; "What's It Gonna Take" by Doug Deming).
Minnesota Blues Society - St.
Paul, MN
The Minnesota Blues Society presents our Annual Members Picnic and
Food Drive on Sunday, July 15, 1:00-6:00 at Ken and Marilyn Zieska's
home, Plymouth, Mn (ken@mnbs.org). It is also our 10th anniversary
celebration as a blues society! Music starts at 2:00 with Everett
Smithson Band and then Crankshaft (2012 RTM winner/2013 IBC MnBS
representative), Jam after. Hot Dogs/Brats provided, bring side
dishes,chair,instruments, Food donations for PRISM Rain or Shine,
free to members, $5.00 suggested donation for non-members More
detailed info @ www.mnbs.org
Also MNBS 2012 Minnesota Hall of Fame inductees announced. MnBS
would like to congratulate this years' honorees: Big Walter Smith,
"Blues Performer"; James Samuel "Cornbread" Harris, Sr., "Blues
Legend"; Dan Schwalbe, "Blues Sideman"; Electric Fetus, "Supportive
of the Blues (non-performer)"; Cyn Collins, "West Bank Boogie",
"Blues Art and Literature"; Lamont Cranston, "Tiger in your Tank",
"Blues Recording"; Will Donicht, "Blues on the Bank", "Blues
Song".
2012 Minnesota Hall of Fame event will be held, Sun, Oct 14,
Wilebski's Blues Saloon, St. Paul. Mn details to follow @
www.mnbs.org
River City Blues Society
- Pekin, IL
River City Blues Society presents: Bringing The Blues To You with
the following shows at Goodfellas 1414 N. 8th St, Pekin, Illinois
- July 18th • Peter Karp and Sue Foley: Wednesday , Time:7:00 pm –
11:00 pm Admission: $5.00, July 25th at 7:00PM • Laurie Morvan, Aug 8th at 7:00PM • Chris
Beard Admission: $5.00 or $3.00 for members For more info visit:
www.rivercityblues.com
or call 309-648-8510
Long Island Blues Society -
Centereach, NY
The Long Island Blues Society will be hosting the following events:
7/17/12 Randy Oxford Band w/Special Guest Tommy Keys at 7PM Bobbique in Patchogue NY. Free to LIBS Members, all others $10.
7/18/12 IBC Symposium & with LIBS General Membership Meeting.
Discussion on going to Memphis as a competitor, fan & supporter.
What to expect & what is expected of you. Location TBA.
Free to all.
8/12/12 Tas Cru. Frank Celenza opening, at 2PM Bobbique in Patchogue
NY. LIBS Members $8, all others $10.
9/16/12 Long Island Blues Talent Competition (LIBTC) to select a
representative for IBC. $10 donation to help defray winners expenses
in Memphis. Location TBA. Now accepting applications for Band,
Solo/Duo categories. Requirements on website
www.liblues.org
Dayton Blues Society
– Dayton, Ohio
The Dayton Blues Society will be holding our “Road to Memphis” Blues
Challenge on July 22nd at Gilly’s Nite Club in downtown Dayton. We
are now accepting applications for our Band and Solo/Duo categories.
Please go to
www.daytonbluessociety.com for complete details.
The Blues Kids Foundation - Chicago, IL
The Blues Kids Foundation presents Fernando Jones’ Annual Blues
Camp. This fun-filled experience awards scholarships to over 120
Blues Kids (ages 12 to 18), affording them a “priceless” fun-filled
experience. They will learn and perform America’s root music in a
fully funded, weeklong program with like minded others under the
tutelage of national and international instructors. Blues Camp is in
residence at: Columbia College Chicago, Huston-Tillotson University
(Austin, TX) and the Fender Center (Corona, CA). This series is
designed for America’s youth and educators. To be a sponsor
call us at 312-369-3229.
CAMP DATES & CITIES
July 15 - 21 / Columbia College, Chicago, IL
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. •
7/16/2012 - Bill Evans Birthday Party • 7/23/2012 - Roger
"Hurricane" Wilson • 7/30/2012 - Biscuit Miller and the
Mix •
8/6/2012 - Matt Hill • 8/13/2012 - Rockin Johnny • 8/27/2012 -Dennis
Gruenling • 9/3/2012
- Eric Guitar Davis • 9/24/2012 - The 44s •
10/1/2012 - Levee Town • 10/8/2012 - Rich Fabec 10/15/2012 -
Jason Elmore. Other ICBC
sponsored events at the K of C Hall, Casey’s Pub, 2200 Meadowbrook
Rd., Springfield, IL from 7:30pm - Midnight - Jun 30 – Matt Hill . icbluesclub.org
The Friends Of The Blues - Watseka, IL
Friends of the Blues present 2012 shows:
Thur, July 12, Dave Riley (outdoors opening dinner hour set by Sugarcane Collins), 7pm, The Longbranch Restaurant, L’Erable IL Tues, July 17, Sugarcane Collins, 7pm, Kankakee Valley Boat Club Tues, July 24, Laurie Morvan Band, 7 pm, Bradley Bourbonnais Sportsmen’s Club Thur, August 9, Too Slim and the Taildraggers, 7 pm, Kankakee Valley Boat Club Wed, August 22, Smokin’ Joe Kubek w/ Bnois King, 7 pm, Kankakee Valley Boat Club Thur, Sept 6, Ivas John Band, 7 pm, venue TBA Tues, Sept 18, Smilin’ Bobby, 7 pm, venue TBA Thur, Sept 27, Jerry Lee & Juju Kings, 7 pm, venue TBA Thursday, Oct 18, Morry Sochat & The Special 20s, 7 pm, TBA |
Featured Blues Review 5 of 6
 Johnny
Rawls - Soul Survivor
10
tracks
At 61 Jonny
Rawls continues to tour heavily and push out quality albums every couple
of years. Spawned from the O.V.Right and Little Johnny Taylor line of
soul music, Johnny Rawls has a captivatingly smooth and easy approach to
his tunes. At times and in a good way it’s almost like a sedative that
just woos you into a captivating trance, where you just listen and feel
good from a subconscious level. He learned well as bandleader to some of
soul’s great men, and his solo work is also pretty damn good. He got 3
BMA nominations for his last CD and while the competition to win is
tough to win he is certainly in the mix!
We have
nine original cuts here, written by Rawls, Bob Trenchard (his bass
player) and other band members along with one cover of his original
mentor’s works, O.V. Wright; “Eight Men, Four Women” isa very soulful
ballad where O.V. did and now Rawls bemoans the guilty plea he has to
submit to his jury of love. It’s a nice tribute and Rawls is convincing.
Jessica and Jillian Ivey are great on back-up vocals.
I would
have to say my favorite original cuts are the first one and last two. On
the first, Rawls gives us the title cut and describes soulfully how he
is a “Soul Survivor” in the biz. The instrumental cut “J.R.’s Groove”
features Rawls on bass and Johnny McGhee on guitar. Andy Roman on sax,
Mike Middleton on trumpet and Robert Claiborne on trombone also stand
out as does Dan Ferguson on keys. Richy Puga on congas and drums is also
featured. It is a cool and driving groove.
Lastly,
“Yes” gives us Rawls on bass and guitar here. It’s more of a rough and
tumble slow soulful bluesy tune with an acoustic opening and a strident
vocal by Rawls- really nice stuff.
The rest of
the CD is also well done, a Soul Survivor working his craft. I enjoyed
this CD a lot as will any soul music fan looking for traditional stuff
done professionally and tastefully. Rawls is a steady fixture on today’s
scene and it’s nice that he continues to produce really good new stuff
for us to enjoy.
Reviewer Steve Jones is president 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 since 1996, he writes for and
publishes the bi-monthly newsletter for Crossroads, chairs their music
festival and work with their Blues In The Schools program. He resides in
Byron, IL.
For other reviews and interviews on our website
CLICK HERE
|
Featured Blues Review 6 of
6
 Steady
Rollin' – Blues Stories, Snapshots & (Intentional) Blues Fiction
Written by Bob Margolin
Kindle E-book
96 pages (estimated)
Over the years, many fans have heard veteran blues guitarist Bob Margolin tell a story – or have read his
writing for Blues Revue
magazine or it's on-line publication, BluesWax. They have encouraged
Margolin to write a book to share his tales from his life on the road
and recollections about all of the legendary blues musicians that became
his mentors and friends. After failing to arrange a deal with a
traditional publishing company, Margolin decided to use technology to
his advantage by selecting some of his Blues Revue material, updating
each piece and bringing it all together in the E-Book format along with
photos that he gathered during the last forty-plus years. To sweeten the
endeavor, Margolin includes several pieces of “blues fiction”, which he
describes as being”..the closest to songwriting and playing music for
me, because it combines my experience with my imagination in a story.”
The first article finds Margolin reflecting on his life as he celebrated
his 60th birthday in 2009, making music at the Carolina Blues Festival.
He shares some of the guiding principles of his life, including making
decisions based on asking himself if something will lead him to have a
good time on the bandstand. After briefly touching on the changes
brought on by new technologies, the author begins to describe his
cherished friends, Muddy Waters and Willie “Pinetop” Perkins.
One lengthy chapter is devoted to Margolin's seven year stint in Muddy's
band, leading to a friendship that the author describes with a touching
honesty. Another piece relates Margolin's experience when he joins Muddy
and Pinetop as guests at the famous Last Waltz concert for The Band in
1976. Also included is Margolin's touching tribute to Pinetop that
paints the picture of a wonderful musician and an even better human
being. The author's easy-going writing style allows Margolin to connect
with the reader, getting you to feel the depths of his emotions on
Pinetop's death.
Another chapter covers Margolin's career that started with him playing
in several Boston rock bands, the Indigo's and Freeborn. There are
photos of both bands along with the cover of a 1968 album recorded by a
later version of Freeborne, now with an extra letter. The author
describes getting hired by Muddy Waters in 1973 to replace Sammy Lawhorn
because Muddy appreciated his efforts to play in the classic Chicago
blues style. After leaving Muddy's band, Margolin never quit playing,
sharing the stage with an ever-changing cast of musicians who shared his
passion for the music. There is a chapter centered on another big part
of Margolin's life, his love of dogs – specifically his border collies –
that was written in the aftermath of 9/11 as Margolin sought to bring
some measure of comfort to Blues Revue readers. The piece includes a
description of an impromptu front-porch jam with Margolin and Hubert
Sumlin playing guitar three dogs, who seemed to favor Sumlin's picking!
The heartfelt rendering of moments like that one is one aspect of the
book that make it a worthwhile read. Another key element of the project
are Margolin's insights into the business, comments that stand the test
of time like the 2004 column simply titled, “Blues is Dead”, where he
refuses to accept the notion that only music from the “innovators”
deserves to be heard. “Hope in Tough Times Feels Like a Blues Song to
Me” uses song lyrics to aid Margolin's assessment of the state of the
blues business circa 2008 mixed with recollections of Big Bill Broonzy
and a visit to the White House, adding as a coda the lyrics to one of
his songs. Another high point is the piece that finds him shouting the
praises of the blues women he has worked with, from Etta James to Diunna
Greenleaf.
The final section offers a sampling of Margolin's fictional work, all
with a musical theme sparked by his real-life experiences. His first
fictional writing was a series he did for Blues Revue that imagined what
things might have been like had the great blues harp player, Little
Walter, lived a longer life. The stories included here depict the
not-so-sexy life of a working musician, a rock star attempting to honor
the bluesman who inspired him and the poignant examination of a musician
well-aware of his fate in “I Believe My Time Ain't Long”.
This was a fun read and, at the end, I wanted more. Margolin's home-spun
style lends an extra layer of depth to his reminiscing while his decades
of experience lend credibility and flavor that make his stories
all-the-more believable. Let's hope that Margolin will continue to share
his writing with us. On the evidence here, a full-length work of fiction
could prove to be quite memorable. In the meantime, do not miss this
celebration of the man, the music and life itself!
The book is available at Amazon Kindle, iTunes Bookstore, Barnes & Noble
Nook and Sony eBookstore.
Reviewer
Mark Thompson retired after twelve years as president of the Crossroads
Blues Society in Rockford. IL. and moved to Florida. He has been
listening to music of all kinds for over fifty years. Favorite musicians
include Howlin' Wolf, Muddy Waters, Little Walter, Magic Slim, Magic
Sam, Charles Mingus and Count Basie.
For other reviews and interviews on our website
CLICK HERE
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