Steve Guyger is a Philadelphia blues harmonica player who deserves more attention than he gets.  Radio Blues (Severn Records, 2008) is a good showcase of his talent.  This is laid-back swamp blues in the tradition of Slim Harpo.  Not surprisingly, the recording often sounds like radio music from the fifties.  The harmonica playing is constrained yet full bodied - no extra notes here but a lot of feeling.  The sound of the harmonica is a good match for Steve’s mellow, heartfelt vocals.  This is blues with a lot of conviction from someone who has been playing professionally for the last 40 years.

The South is where blues, rock, and soul come together, and Larry McCray’s new CD is an excellent example of this mergence.  Larry McCray (Magnolia Records, 2007) features Larry’s guitar, vocals, and songwriting in a set of up-tempo blues songs, with some New Orleans style syncopation, soul, and funk thrown in for good measure.  Larry’s guitar playing has a sharp blues edge, closer to Freddie King than B.B. King (although he cites both as influences).  McCray’s smooth voice is a nice counterpoint to his searing guitar work.  The mostly original set of songs address classic blues themes reset in contemporary situations.  The varied rhythms, sophisticated guitar work, and rich vocals make this a great blues CD.

Guitarist Mike Welch burst onto the East Coast blues scene at the age of 13.  Now, 15 years later, he has matured into a soulful bluesman whose singing and guitar playing is restrained, yet expressive.  Early on, Welsh’s guitar virtuosity verged on the overwhelming.  Today, the subtle promise of his controlled and intelligent guitar leaves the listener craving more.  Just Like It Is: Monster Mike Welch Plays the Blues (Vizztone, 2008) is the work of a mature blues performer who plays a wide range of classic blues styles.  Given that Mike is only 28 years old, there is probably a lot more great blues recordings in his future.

Eric Lindell’s Low on Cash, Rich in Love (Alligator, 2008) explores the territory between roots music and rhythm and blues.  Guitarist and vocalist Lindell comes from Northern California where he played with several blues bands during the 1990s.  After a brief stint in New York, he settled in New Orleans in 1999.  It was here that his laid-back native California vibe merged with lively New Orleans rhythm and blues to form the restrained soulful beauty of his current sound, which could be described as Van Morrison meets Robert Cray in New Orleans.  His tight touring band backs Lindell’s soulful voice and funky guitar licks, with a few saxophones added for that R & B flavor.  This is a relaxed, naturally flowing style of blues with an unstoppable groove.

Few musicians successfully surf the interface between rock and blues, and Popa Chubby is one of them.  After the release of his two-volume tribute to Jimi Hendrix (Electric Chubbyland), he is back to recording his own songs on Deliveries After Dark. This CD is more rock oriented than previous Popa Chubby releases, but blues influences are obvious in the phrasing of the his guitar and the pacing of the rhythm section.  The theme of the CD is proclaimed in the high-energy first song, “Let the Music Set You Free”.  From there, Popa Chubby sets off on an exploration of the edges of the blues.  “Grown Man Crying Blues” and “Man of the Blues” showcase the searing blues guitar playing he is famous for; “You Never Loved Me” is a romantic ballad reminiscent of Meatloaf; and “Women in My Bed Dub” is a Reggae tribute.  He ends the CD with an acoustic blues lament, “Oh Rock and Roll You Heartless Bitch,” that describes his youthful struggle to break free from rock and into the blues. 

There are many holiday CDs available for the blues audience.  Alligator Records Christmas Collection (Alligator, 1992) has many up-tempo, danceable songs, like Lonnie Brooks’ “Christmas in the Bayou” and Katie Webster’s “Deck the Halls with Boogie Woogie.”  Aaron Neville’s Soulful Christmas (A&M Records, 1993) is a collection of traditional Christmas songs (White Christmas, Silent Night, etc.) performed Louisiana style.  Leon Redbone’s Christmas Island (August Records, 1989) brings a tropical flair to Christmas, with “Blue Christmas,” “Christmas Ball Blues,” and “Frosty the Snowman” with Dr. John.  Soul Christmas (Rhino, 1968 reissued in 1994) has Otis Redding and Ray Charles singing Christmas standards, and Clarence Carter’s unforgettable version of “Back Door Santa.”  Charles Brown’s Cool Christmas Blues (Bullseye, 1994) is the definitive Rhythm & Blues Christmas CD.  Of course, it includes pianist Brown’s two Christmas masterpieces: “Merry Christmas Baby” and “Please Come Home for Christmas.”  Blue Christmas: Christmas Collection 20th Century Masters (Hip-O Records, 2003) has plenty of the classics, like Albert King’s “Santa Claus Wants Some Lovin’” and Charles Brown’s “Please Come Home For Christmas,” and selections from contemporary artists, such as Keb' Mo's “Jingle Bell Jamboree”. The Best of B.B. King: Christmas Collection 20th Century Masters (MCA, remastered 2003) has blues versions of the holiday hits, including “I’ll Be Home for Christmas,” “Bringing in a Brand New Year,” and “Auld Lang Syne.”  Blue Yule: Christmas Blues and R&B Classics (Rhino, 1991) includes John Lee Hooker’s “Blues For Christmas,” Charles Brown’s “Merry Christmas Baby,” and Sonny Boy Williamson’s “Santa Claus.”  Jingle Blues (House of Blues, 1998) is a mix of blues and jazz.  Anson Funderburgh & The Rockets with Sam Myers contributed “Sam's Christmas Blues” and the CD also includes Louis Jordan’s “Santa Claus, Santa Claus” and Bessie Smith’s “At The Christmas Ball.” 

Singer and songwriter Nappy Brown rose to fame in the R&B world during the 1950s. He recorded such classic hits as “Don’t Be Angry” and “The Right Time” and wrote the Ray Charles hit “The Night Time is the Right Time”.  Along with Ray, he introduced gospel to R&B, a mixture that by 1970s would lead to the creation of soul music.  He stopped recording in the late 1960s, but has continued performing in various all-star bands.  At the age of 80, he decided to make another recording, and it is an instant classic.  Long Time Coming (Blind Pig Records) takes you on a tour of Blues history, from big band swing tunes like “That Man”, R&B hits from the 1950s like “Keep On Pleasing You”, to Chicago blues of the 1960s with Willie Dixon’s “Who” and “Aw Shucks Baby”.  For variety, there is an acoustic version of Joe Turner’s “Cherry Red”, the soul ballad “Give Me Your Love”, and the CD wraps up with the gospel tune “Take Care Of Me”.  Backing up Nappy is a tight group of younger blues performers who are committed to creating a vintage blues sound.  They also get some help from Junior Watson, Kid Ramos, and John Nemeth along the way.

If you are looking for some fast-paced dance music, check out the Insomniacs Left Coast Blues (Delta Groove Music).  This is West Coast jump blues in the tradition of Junior Watson and Little Charlie & the Nightcats.  These young musicians aren’t copying the blues masters, but redefining the jump blues tradition by successfully combining vintage swing, blues and classic rock ‘n roll.  The Insomniacs are well known for highly energetic live performances, and the reason why is apparent on this CD.  This is a band that is obviously having fun performing and you can’t help but want to dance listening to their music.

Yes, the Corey Stevens release Albertville (Ruf, 2007) features nine songs written or recorded by Albert King.  Several are instantly recognizable (“Blue Suede Shoes,” “Breaking Up Somebody’s Home,” “Cold Women With Warm Hearts,” “Got To Be Some Changes Made,” and “A Real Good Sign”) and Corey Stevens returns them to their roots.  Stevens has captured the spirit and sound of early electric blues, where the phrasing is like overhearing an intimate conversation between the vocalist and his guitar; they may be discussing relationships or laying down the law, and while the overall tone is amicable, every once in a while it gets heated.  It’s one of those CDs where every cut is outstanding and some absolutely redefine familiar material. 

Cuban born Eddie Turner grew up in Chicago listening to the blues, soul, and rock music of the 60s and 70s.  After playing guitar and singing for several punk and rock bands, he abandoned performing during the disco 80s.  He returned to the blues in the 90s with an approach that pushes the blues envelope.  The Turner Diaries (Northern Blues Music, 2006) combines Afro-Cuban rhythms, haunting vocals, and a laid back, Hendrix style approach to the guitar.  This is blues meets psychedelic rock.  It has an otherworldly atmosphere that is punctuated by Turner’s searing guitar.  This is not your traditional blues album; it is both retro and ultra-modern at the same time.  His innovative approach to blues earned him a  Blues Music Award nomination for best new artist in 2006.

Swamp boogie with a bit of surf, the new Elvin Bishop, Booty Bumpin’ (Blind Pig, 2007), pays homage to the dirty blues.  The first cut on the CD, “Stomp” is an effective instrumental introduction to the band, which features slide guitar, accordion, trombone, harmonica, and rubboard.  Bishop gives the slide guitar a workout, Ed Earley’s trombone is a treat, and Steve Willis contributes plenty of rollicking keyboards.  The CD includes up tempo covers of “Keep a Dollar in Your Pocket” and Allen Toussaint’s “I’m Gone” along with lots and lots of innuendo on the cuts authored by Bishop.  There was some disagreement in our household over whether “My Dog” is euphemistic or if this is merely the result of a priming effect.  The reviewer who described this release as a “timeless, no-nonsense party album” (Al Campbell, All Music Guide) pretty much summed it up.

For those who like blues women with gritty, growling voices, Koko Taylor is still the one.  Old School is Taylor’s first release in seven years.  The five cuts written by Taylor are complemented by selections from Memphis Minnie, E.G. Kight, and Willie Dixon.  “Piece of Man” with Koko’s rough and rueful vocals and Billy Branch’s hard driving harp, captures the classic Chicago sound.  Bob Margolin’s slide guitar expresses perfectly the sentiment of “Black Rat,” a Memphis Minnie song that includes the lyrics “someday I’ll find your trail, then I’ll hide my shoe somewhere near your shirt tail.”  Criss Johnson contributes a notable guitar solo on “Money is the name of the game” and just the right amount of chicken plucking on “Bad Rooster.”  The recording includes a classic version of Dixon’s “Don’t go no further,” that features Mark Kazanoff on snarling tenor saxophone.  Most of the cuts are uptempo dance blues, with a couple of ballads mixed in.  It’s almost like being at Silvio’s in 1955.

The sound of Cleveland Fats' new release will charm blues purists.  Fats played guitar with Robert Lockwood Jr for nearly 20 years, and it shows in the arrangements and the beat.  The guitar work is flawless, ranging from measured single string solos to up tempo country-style chording.  The album features Robert Lockwood Jr on 12 string and Billy Branch on harmonica, backed by a terrific rhythm section (Dave Jefferson & Aron Burton), keyboards, and saxophone.  It has a rich and complex sound; just a touch of distortion that ages the guitar, a bass and saxophone interlude, interesting transitions between solos, and stellar interplay between Lockwood and Fats.  Topically, it’s good post-breakup music; if “Stay Away Baby” and “Cheaters Never Win” don’t keep you from picking up the phone, nothing will.

The newest release from the Jackie Payne Steve Edmonson Band, Masters of the Game (2006, Delta Groove), is a dynamic paring of Jackie's soulful Southern vocals with Steve's Chicago style blues guitar.  “Payne, Edmonson, and their compatriots have delivered an eclectic set of blues, soul, and vintage R&B with a fusion of elegance, musical dexterity, and hot blooded passion that's become all too rare” (Living Blues). This is soul infused, horn accented blues at its best. This sextet delivers a prismatic sound embedded in captivating original tunes.

Years ago, national record companies pushed regional music out of the marketplace.  But with the lower costs of recording and producing music, regional music is coming back.  Inside Sounds is a Memphis based music company that produces Southern blues and rock.  A worthwhile recent release is Daddy Mack Blues Band’s Bluestones.  Although Daddy Mack hasn’t given up his day job as a mechanic, his latest CDs have started to garner the national recognition he deserves.  This is down home Southern blues, which means there is a fair amount of soul mixed in.  Mack’s emotional guitar playing alternates between laidback melody lines to accompany his sweet voice and fiery guitar attacks that show he’s an authentic bluesman.  This mixture of originals and classics from the soul era show that Memphis is still a great place to get the blues.

Putumayo is a world music company that has produced several CDs of interest to blues fans.  Blues Around the World (2006) is the fifth release in their Blues series.  With music from Africa, Europe, and the Americas, it is a world tour of the blues.  Previous Blues CDs from Putumayo have focused on the connections between U.S. and African blues, while this CD also shows the mixing of blues and Latin music with songs from Spain and Brazil.  The highlights here are the collaborations of Bonnie Raitt with Mali’s Habib Koite and Taj Mahal with the Culture Music Club of Zanzibar.  For listeners who want to further explore the influences of blues around the world, there are two other recent Putumayo releases.  Acoustic Africa (2006) is a collection of contemporary African folk music, which includes some wonderful blues ballads from Mali.  Swing Around the World (2005) showcases the variety of swing styles of the 1930s and 40s.  The music on this highly danceable CD sounds authentic, regardless of whether the performer is from New Orleans, Zimbabwe, or Greece.

Lynwood Slim’s Last Call (Delta Groove, 2006) mixes blues with jazz and R&B.  His suave vocals and jazzy harmonica style is backed by blues guitarists Kid Ramos and Kirk Fletcher.  This varied collection of classic blues and jazz songs includes Clifton Chinier’s “All Night Long,” Joe Turner’s “Wee Baby Blues,” Duke Ellington’s “I Got Nothing But the Blues,” Billy Holliday’s “Me, Myself, and I,” and Bo Diddley’s “I’m Sorry.”  These songs flow together to create a laid back, swinging CD with a distinctive sound.  Play this one for your friends who like world music and jazz.

Harmonica wizard Mark Hummel has released his tenth CD, Ain’t Easy No More (Electrofi, 2006).  It contains tributes to Chicago blues greats with songs by Muddy Waters and Sonny Boy Williamson, jump blues from Ray Charles, and original tunes.  Mark’s original songs, ranging from humorous lyrics about the life of a bluesman (“I didn’t need another headache”) to political satire about the rebuilding of New Orleans (“Big Easy ain’t easy no more”) are always entertaining; and the instrumental tunes (“Harpoventilating”) provide a powerful vehicle to show off his mastery of the harmonica.

Bernard Allison’s Energized ( Ruf, 2006) wins for the tightest ensemble, which is remarkable given that the CD was recorded live.  The interplay between the percussive guitar and the rollicking keyboards, complimented by stellar bass and drums, gives this four piece a wonderfully complex sound.  The instrumentals stand out; there are some jams that made me feel like I was out on Chicago’s Navy Pier under the stars; it’s 1970 something and the blues are on a collision course with funk.  Honestly. 

Much of Bill Perry’s Don’t Know Nothin’ About Love (Blind Pig, 2006) is inspired dance music.  The title track has a nice spare sound that is blues through and through.  On some of the other tracks, the guitar solos stray to the rock side of blues, but the overall sound fits into the blues groove, thanks to the rhythm section.  This CD was produced by Popa Chubby, and it sounds like it, with just a little bit of Hendrix thrown in. 

Shoulder to Shoulder is the tenth release from bluesmen Cephas & Wiggins (Alligator, 2006).  This guitar and harmonica duo keeps the Piedmont style alive, on both the new compositions (“I did do right” to git rid of you) and vintage selections like “Three Balls” and “I won’t be down” (the lyrics of which include some familiar cautions about LA women and peaches).  This CD features Ann Rabson on piano as a bonus. 

There was a time when you could go and hear blues bands with large horn sections.  Well, trumpeter extraordinaire Calvin Owens remembers those days, and he is dedicated to “keeping big band blues alive”.  Calvin and his Blues Orchestra have released a set of CDs that will get you swinging to the blues.  I Ain’t Gonna Be Yo’ Dog No Mo’ (Sawdust Alley Records) has the orchestra backing a series of guest performers, such as Tommy Castro and Guitar Shorty.  I’m Still Here  (Sawdust Alley Records) features blues diva Trudy Lynn performing with Calvin’s orchestra backing her.  This is a classic sound that is rare in today’s guitar-dominated blues.  Check them out at www.calvinowens.com.
 

Reverend Billy C. Wirtz’s “Sermon from Bethlehem” (Blind Pig Records) mixes driving blues piano, an expansive command of blues history, and a wacky somewhat irreverent sense of humor.  This live recording on CD and DVD was made at the Godfrey Daniels Theater in the Pennsylvania steel town of Bethlehem.  Billy assumes the persona of a televangelist as he presents his musical and comic sermon: “Love the sinner. Hate the haircut”.  The music will have your feet tapping to the boogie-woogie sounds of Billy’s piano, while you laugh out loud at the non-stop satirical humor.  Although the CD and DVD have the same title, the collections of songs have little overlap, and the DVD contains several comedy monologues (like the “Reverend’s Homily to the Faithful”).  If you want to add some fun to your blues, check this one out.

“When a women gets the blues, she hangs her head and cries. When a man gets the blues, he catches a train and rides.”  (traditional blues verse). Welcome to “Blues Guitar Women” (Ruf Music, 2005).  It is a delightful collection of contemporary and traditional blues music assembled by Sue Foley.  This two CD set presents a variety of women playing contemporary (electric) and traditional (acoustic) music.  It includes many well-known performers, such as Debbie Davies, Sue Foley, and Deborah Coleman on the contemporary side, and Rory Block, Jessie Mae Hemphill, Etta Baker, and Memphis Minnie on the traditional side.  However, it is also filled with musical gems from lesser-known blues women, such as Lara Price, Barbara Lynn, and Beverly “Guitar” Watkins.  This is not a collection of blues standards, but instead contains blues music that explores themes of love, social conscience, and the independence of women.  It captures the contribution that women have made to the blues with a spirit that is often lacking in the slashing guitar sounds of rock saturated blues CDs.

This DVD, Rod Piazza & the Mighty Flyers Big Blues Party, gives you a chance to see and hear this great blues band performing live at the Sierra Nevada Brewery in Chico. The DVD is a straight ahead video recording of the performance. The special effects are limited and the camera is always right where it should be. The musical highlights include “Sinister Woman,” “Southern Lady” and “The Stinger,” which features Miss Honey. This format really shows Honey off; the high angle shots of the keyboard are very effective. The DVD includes additional material, including a worthwhile interview with Rod and Honey. The quality of the recording does not match other Mighty Flyer CDs, but the people attending the performance seemed to be having a good time, and the scene is reminiscent of our Vets Hall shows in SLO.

On Shemekia Copeland’s new release The Soul Truth (Alligator, 2005), the soul groove and the big, big voice that powers this CD is apparent in the first 30 seconds.  In part, the distinctive sound can be attributed to the fact that Stax guitarist Steve Cropper produced the CD and plays guitar on nearly all the cuts.  It is also clear that Copeland has her own vision.  In her recent NPR interview, Shemekia talked energetically about a range of topics, including empowering women through music; how blues music is stereotyped; how she used to get in trouble in school for singing nasty Etta James songs; and about the redeeming value of attitude.  Blues and allied radio stations are airing several selections from the CD, including “Who stole my radio” (about the demise of the independents, Motown style), “Honey do that voo-doo” (a zydeco flavored love song), and “All about you” (a clueless guy meets Memphis horns).  The rest of the CD is just as good

Debbie Davies has been nominated for seven W. C. Handy awards and was selected as best contemporary female blues artist in 1997.  She is also one of the only female guitar players with a Fender endorsement.  In 1993, she came out with her solo debut release, Picture This, which featured a cameo appearance by Albert Collins on “I Wonder Why.”  Since then, Debbie has released nine CDs with her band and in collaboration with guitarists such as Tab Benoit, Coco Montoya, and Anson Funderburgh.  On the CDs, she continues to develop the cutting guitar style she learned from Albert (“Ice Pick”) Collins.  Davies most recent (August 2005) release on Telarc Records, All I Found, contains all original songs by Debbie and song writing partner Don Costagno.  Packed with fluid solos alternating with relentlessly rhythmic guitar, this CD explores the guilty pleasures of excessive food and explosive relationships.  Highlights include the guitar/keyboard duet on “All I found,” the swing sound of “I won’t be your baby too long,” and the extended note bending demonstration on “So What.”  As Blues Revue describes it, “She pulls out all of the stops.  She can play it all: seductive, soulful material, down-home Delta blues or humorous tales of life on the road.”

Hear what they are saying about the newest release from Kenny “BLUES BOSS” Wayne, Let It Loose (Electro-Fi Records, 2005): Living Blues magazine hails Wayne as “an artist bringing the piano back to the front ranks of contemporary Blues,” and Juke Blues says, “Wayne plays boogie with the piston-beat of a Pete Johnson while his blues style is reminiscent of Memphis Slim.”  This release contains both a three song tribute to Amos Milburn (“Blue and Lonesome,” “Let Me Go Home Whiskey,” and “Bewildered”) and showcases Wayne’s songwriting and storytelling talents: if the kids are still living at home at 29, this CD is worth buying just for the lyrics to “Be A Man.”  And don’t you just hate it, when you’re out having an innocent drink with one of her friends (“Don’t Rush to Judge Me”) and you end up on the TV news?!  The allusive “Blackberry Wine” and the uplifting “Blues Carry Me Home” are memorable as well; this CD is an outstanding reminder of the pleasures of blues piano.

The third release from Li’l Ronnie and the Grand Dukes do what’cha do (Trust Me Baby Records, 2005) is remarkable for capturing a wide range of musical influences within a framework of electric blues.  These 11 original compositions by band members Ronnie Owens (harmonica) and Michael Dutton (guitar) primarily emphasize Texas swing, Chicago shuffles and West Coast jump, but other rhythmic influences slither in and out; a hint of Dixieland, a fragment of soul, and allusive boogie woogie piano; there’s lots of variety packed into this uptempo blues CD.  In addition to Owens and Dutton, the band includes Steve Utt (keyboards), Tommy Hannigan (bass), and George Shephard (drums).

Hubert Sumlin’s newest recording About them Shoes (Tone-Cool, 2005), is a tribute to Muddy Waters, featuring 7 Muddy Waters compositions and 5 by Willie Dixon.  As always, Sumlin captures the essence of blues guitar, where each deliberate note carries the maximum emotional impact.  The crew who made this CD won’t be playing in San Luis anytime soon; the supporting musicians are an intriguing mix of blues and rock performers including Eric Clapton, Keith Richards, James Cotton, David Johansen and others.  The arrangements are stellar and the sound is strictly blues.  Nathaniel Peterson transforms “Evil” with his ultra cool delivery, and that’s just the beginning; “Still a Fool” and “Walkin’ thru the Park” are standouts too.  In fact, all the cuts are excellent, and the CD gets better with each playing.

Tommy Castro’s newest release, Soul Shaker (Blind Pig, 2005), starts with a scream and ends with a howl.  The first two cuts have a rock edge (as in Bonnie Raitt); the balance of the CD has the classic Castro soul infused blues sound, as it should, since all the songs were co-written by Castro.  There are several selections that have a stay-in-your-head quality: “Anytime soon” (a blues ballad with a great refrain); “The next right thing” (a soul shuffle); and “Big love” (gospel blues with a twist).  This is a CD for guitar enthusiasts with a taste for soul and big horns.

The ever changing ensemble of Roomful of Blues is back with a faultless collection of jump blues and horn-driven swing on Standing Room Only (Alligator Records, 2005).  The CD includes eight originals which mesh stylistically with time-honored covers from Little Milton and others.  It’s all high energy, with impeccably balanced vocals, horns, guitar, and rhythm; which accounts for the two W.C. Handy awards received in 2004, for “Blues Band of the Year” and “Blues Instrumentalists Horns”.

Blowin' My Horn (Electro-Fi Records, October 2004), is the first live recording produced by Mark Hummel & The Blues Survivors; and it does a wonderful job capturing the sound and feel of a live blues performance.  Over the years, many great musicians have been members of the Blues Survivors, but the current version is one of the best.  The current members include Charles Wheal (guitar), Steve Wolf (bass), and Marty Dodson (drums).  The Blues Survivors’ individual skills are showcased on Johnny Otis’ classic “Willie and the Hand Jive”.  Mark’s harmonica is featured throughout the CD, from his tribute to James Cotton on “The Creeper” to his understated version of “100 Years”.  This CD demonstrates that Mark is still growing as a musician, bandleader, and songwriter, and he is one of the best harmonica players working today.

Although Janiva Magness is best known as the queen of West Coast jump blues, her new CD Bury Him at the Crossroads (NorthernBlues Music) features a wide variety of blues tempos and styles.  The first track, "A woman knows," combines stomping fat sax, lowdown percussion, sassy lyrics, and vocals that range from a purr to a roar to achieve a burlesque-flavored blues.  The CD includes recordings of traditional blues compositions from JB Lenoir ("The whale ate me") and Robert Wilkins ("That's no way to get along"), as well as a trio of contemporary compositions with the feel of blues standards.  Two tracks are reminiscent of Nat King Coles's approach to the blues ("Soul of a man" and "Bury him at the crossroads") with emotionally charged vocals emphasized by feathery instrumentation.  Two tracks, "Everything gonna be alright" and "Eat the lunch you brought," have the jump sound that is often identified with Magness.  Throughout, the focus is on Janiva's voice, highlighting the range of emotions a talented vocalist can express, as Magness alternates between sultry, sobbing, and sophisticated.  The CD features guest musicians Colin Linden, Stephen Hodges, Richard Bell, and Jeff Turmes.

The biographical material credits Guitar Shorty with influencing Jimi Hendrix, and certainly both the vocal and guitar attack of this cd is edgy, aggressive and exaggerated, without crossing the fine line from blues to rock.  Mocking lyrics highlight the humorous side of betrayal and other assorted setbacks.

This is the second album from the unlikely partnership of Kubek, known for his raucous guitar work, and King, a smooth soul singer and jazz guitarist.  Articulate dual guitars, appealing vocals, and the generous use of slides, tremolo bars, and other note bending techniques make the Kubek and King version of mostly Texas blues stand out.  Late 80s Robert Cray occasionally comes to mind and so does Freddie King.

In the 50s and 60s, Jody Williams played with Howlin’ Wolf, Billy Boy Arnold and other prominent blues performers before he tired of the music business.  After a 30 year hiatus, he released Return of a Legend in 2002, garnering a W. C. Handy award.  With a gravelly, gospel-tinged voice that complements his deliberately melodic guitar work, Jody Williams crafts a rich and relaxed sound reminiscent of a live performance.  The retro Chicago-style quality of this recording is enhanced by appearances by Robert Jr. Lockwood and Lonnie Brooks.  A horn section is featured on five tracks, and the arrangements are exceptional.
 

Chris Thomas King is one of the most innovative blues musicians today.  His first six recordings successfully meld diverse styles of rock, blues, soul, and rap into music that is nothing short of visionary.  Besides his musical credits (including a Grammy Award), he has acted as a bluesman in “O Brother, Where Art Thou?” and “The Soul of Man” (from the PBS Blues series).  The Roots: The Soul of Chris Thomas King (21st Century Blues Records) is his tribute to blues legends Blind Willie Johnson, Lead Belly, Skip James, and Robert Johnson.  This acoustic recording mixes original with classic blues songs (such as Killing Floor, Come on in my Kitchen, and Midnight Special).  What makes this CD stand out is the expressiveness of King’s singing and guitar playing.  You don’t just hear someone playing a Skip James song; you feel what James meant by the song.

There are many Christmas CDs available for the blues audience.  Several are Christmas blues collections put together by record companies such as Alligator, Bullseye, and Rhino.  It is a lot of fun hearing blues versions of Christmas classics such as Charlie Musselwhite performing “Silent Night” or Johnny Winter performing “Please Come Home for Christmas”.  Occasionally, these CDs have blues songs written for Christmas, such as the memorable Clarence Carter’s “Back Door Santa”.  But in the blues world, the Christmas star is pianist Charles Brown.  He is the author of two Christmas classics (“Please Come Home for Christmas” and “Merry Christmas Baby”).  His rhythm and blues Christmas collection, Charles Brown’s Cool Christmas Blues (Bullseye Blues), is the standard for all Christmas blues CDs.  Add this one to your holiday collection.

Gratitude (Heart and Soul Records) is Tommy Castro’s seventh CD release and it is destined to be a classic.  The CD is a tribute album to Tommy’s rock-n-soul heroes and includes songs made famous by Sam & Dave, Ray Charles, Otis Redding, Howlin’ Wolf, B.B. King, Chuck Berry, John Lee Hooker, James Brown, Albert King, Wilson Pickett, Muddy Waters, and Guy Budd.  In order to create the fuller soul sound of his heroes, the CD includes extra horn players along with Curtis Salgado and Sista Monica on backup vocals.  The high energy and skillful blues musicianship of Tommy is evident throughout the CD.  This CD takes Tommy back to his roots, and the pleasure he had performing these songs is evident.  This is some good time music ad yu can dance to it.

Deborah Coleman is one of the most exciting young talents in blues music.  Her singing, songwriting, and incredible slide guitar playing has captivated audiences around the country.  Her four studio albums from Blind Pig Records have established her reputation in the blues.  With the release of Soul Be It!, you can now hear one of her live performances.  Recorded at the Sierra Nevada Brewery Theater, this album showcases her ability as a performing artist and passionate guitarist.  The musical energy displayed on the CD should not be missed.

Ernie Hawkins
Mean Little Poodle
Say Mo' Music, 2003
 
 
 
 
 

To blues guitar players, Ernie Hawkins is best known for his instructional videos, especially those teaching the guitar style of his mentor Reverend Gary Davis.  Mean Little Poodle (Say Mo' Music) is his third CD and a prime example of why he is considered a master of acoustic blues. 

The CD includes a  mixture of country blues, gospel, and dance tunes from Freddie King, Blind Boy Fuller, Blind Blake, Willie McTell, Reverend Gary Davis, and originals from Ernie.  There are some surprises here: songs that you may be used to hearing as electric blues (Freddy King's “Hideaway”) played as acoustic; a soulful version of “Dehlia” that reminds you why it is a blues classic song; and “Mean Little Poodle” with its delightfully weird blues lyrics.  Like the other Hawkins' CDs, you get to hear a master of acoustic blues whose arrangements and playing have an incredible eloquence.  If you have trouble finding the CD at the store, try contacting www.erniehawkins.com.

It is not often that one can describe a blues album as beautiful, but that is an apt description of Guy Davis' latest Give In Kind (Red House Records).  This is the fifth album Davis has recorded for Red House, and they just keep getting better.  The album contains mostly original material along with a few classic songs from Fred McDowell, “Big” Bill Broonzy, and “Sleepy” John Estes.   Davis is an authentic acoustic blues musician who plays six and twelve string guitar, banjo, harp, washboard, and even digeradoo on the album.  Guy stays true to his mission of reviving the classic sounds of country blues, while being able to keep the material fresh and alive.

Kid Ramos - Greasy Kid Stuff (Evidence) 
Swingin', stingin' and sharp guitar playing from this west-coast cat. Plus a slew of harp playing guests like Paul Delay, Rod Piazza, James Harman, Rick Estrin and more. Hot stuff! 

Albert King - More Big Blues (Ace) 
Early sides from this master (and past Blues Society performer). Pre-Stax era. Mostly early sixties tracks from the Bobbin and King labels. Essential blues guitar at it's best. Early versions of some of his classic tunes. Don't miss it. 

Jody Williams - Return of a Legend (Evidence) 
The title tells it all. Williams played on tons of blues hits in the '50's and '60's. He played on lots of Howlin' Wolf's songs, and a bunch of others. His songs were ripped off and made into hits by many others, including Otis Rush's "All Your Love." After a 30+ year retirement he comes back STRONG on this new album. One of the most unique guitar players alive and always has been. Tinsley Ellis, Billy Boy Arnold, and Ronnie Baker Brooks are a few of the guests. Really Good!
 

Michelle Wilson
Wake Up Call

Say Mo’ Music
 

Recently, I encountered the music of Ernie Hawkins – a guitarist who was a student of Rev. Gary Davis in the early 70s and who has remained dedicated to the blues styles of an earlier era.  Hawkins music shows an affection and reverence to the Delta and Piedmont blues masters of the 1960s, but it does not simply copy their music.  His CDs contain a mixture of blues, gospel, and ragtime with arrangements that are new, but recreate the styles of the earlier blues performers. 

Blues Advice (Say Mo’ Music) contains mostly ”classic” acoustic blues from Gary Davis, Skip James, Willie McTell, and Blind Blake.  The music is close to the originals, beautifully arranged and performed.  It may contain the only version of “Cocaine” better than the Davis original. Bluesified (Say Mo’ Music) is the more recent release from last year.  It starts from the same roots, but includes some originals and less traditional arrangements.  In some ways, it is more modern than his first CD, with original songs, supporting musicians on some songs, and a duet with Maria Muldaur.  However, there is a stronger gospel sound here that connects even more deeply with music of Rev. Gary Davis. 

Earthbeat Records

Eric is touring in support of his new CD Painting Signs (Earthbeat Records).  If you are not familiar with his music, it is a mixture of blues, gospel, and folk.  His latest CD is more contemporary folk music than traditional blues.  Although Eric writes most of the songs, there are some traditional blues songs, such as “I Heard the Angels Singing” by Rev. Gary Davis.  The instrumentals are fairly simple, but the quality of the songs and his singing keeps improving.  There is an uplifting quality to the music that reflects his gospel music background.  Bibb's version of  “Angel” (Jimi Hendrix) is particularly compelling.