Keepin' it alive for the future.

	The Groove Hogs Blue Rhytms, White Lies Pixel Max Records - PMX111
Review by Brian Augustine

      I wasn't expecting much from a band named the Groove Hogs on an unknown label. Boy was I pleasantly surprised! I got my first clue that my perceptions might be wrong, when I saw the name Jim Gaines listed as the CD's producer. This is a guy whose name has been associated with some of the greatest blues and rock releases in the last 15 to 20 years. I'm talking classic's like Stevie Ray Vaughan's 'The Sky Is Crying', Steve Miller's 'Fly Like An Eagle' or Albert Collin's 'Ice Man', to mention only a few. If I listed all of Gaine's credits, it would take up pages and the classics would amaze most readers. 
      So I wondered how a band virtually unknown outside of their Wisconsin precinct garnered such a well known producer. My curiosity was aroused. So by the time I put the disc in the player I was getting pretty anxious.
      The first strains of the opener 'Soul Infatuation' begin with funky J.B. Horns style charts, and then a smooth polished vocal entered the mix. By the end of this first tune the band was reminding me of the soulful Alex Chilton led The Association of the 60's, or Ides Of March of the 70's or even a slick Tower Of Power. Basically this was a great white, horn dominated, R&B influenced band that draws its influences from that era. Throughout the disc Jim Gaines sure hand was evident, there is a certain pop sheen that predominates the whole recording.
      The Hogs themselves are a ten man aggregation led by Adam Enevoldsen on vocals and slide guitar. He's a new member added to the roster only recently after the departure of their long term front man, Ron Hanson. He's backed up by Pat Kiel on guitar. The bottom is held down by John Laws on bass and John Stelzer drums. Keyboards and back-up vocal chores are handled by, Brian Gruselle. Last, but with this band, certainly not least, the horn section, Greg Garcia and Tom Vanden Avond brass, while the saxes are manned by Adam Plamann, Steve Cooper and Doug Daniels. This is basically a bands album with only some additional vocals added on two cuts.
      Five of the eleven tracks are originals written by different band members. The six covers they've selected are mostly obscure tunes. Examples are the Bruce McCabe and Jonny Lang song 'Stop Pushin' On Me', Elvin Bishop's, 'Got To Get My Groove Back', or Dennis Walker's 'Too Little, Too Late'. These are not tunes that are widely known. Consequently, even these covers have a fresh feel.
      Musicianship throughout the disc is top notch, whether it be the funky 'J.B. Horns' style opener, the Huey Lewis like pop sound of 'How Wrong Can You Be' to the Tower Of Power strutting feel of 'Shoulda' Read The Rules' or the soulful Muscle Shoals take on the ballad 'Too Little, Too Late'. They certainly aquit themselves as a veteran unit they are, they have three CD's already behind them. This is a band we should be hearing a lot more of and with the assistance of a talent like Jim Gaines, they have every chance to exponentially increase their exposure.

www.groovehogs.com

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	Jelly Roll All-Stars Must Be Jelly Severn Records - CD-0029
Review by Brian Augustine

.... Here the title is not hollow, we do have an aggregation of All-Stars. Most of them are heroes of the heyday of Chicago and backwoods blues. These guys aren't trying to imitate a sound they helped create it and perfected their chops with legends like Muddy Waters, Howlin Wolf, Elmore James and Robert Nighthawk. You hear this authenticity right from the first note, all the way to the last.
     This crew includes Arthur Williams, long time Chicago player who mounted a well received comeback CD last year. He provides the harmonica and the spoken word pieces and several vocal leads. Then there is Sam Carr, drummer extraordinaire and veteran Robert Nighthawks band and the "Jelly Roll Kings". He provides solid drumming on four cuts. Willie 'Big Eye' Smith drums on the other ten numbers and provides vocals on two numbers and tambourine on one. Calvin 'Fuzz' Jones along with Smith and Williams, is an alumnus of the Muddy Waters Band and provides bass throughout. Coming out of B.B. King's entourage, Jesse Hoggard provides several songs and most of the guitar. Bob Lohr keyboardist for everyone including Chuck Berry, adds the same kind of tasty licks here. So as you can see "All-Star" is an appropriate name.
     The styles represented are Chicago blues, mostly Jimmy Reed in style, or country blues like, Robert Nighthawk's acoustic offerings predominant. On the instrumentals, especially 'Jelly Roll Strut', a more early rock'n'roll feel is accomplished, think 'Honky Tonk'. In fact, in the listening to this number, think of a non-descript band playing an out-of-the-way roadhouse on a Saturday night.
     This CD presents equal covers to the original material. Most of this original material was penned by either Arthur Williams, Willie 'Big Eyes' Smith, Jesse Hoggard or, as in the case of the two instrumentals the entire group. As for the covers, most of the tunes represented here are, three from Jimmy Reed.
     Production chores fell into the capable hands of, James Mathus who most recently oversaw Buddy Guy's foray into stripped down primitive blues Sweet Tea. He is also well known for his work as leader of the Squirrel Nut Zippers and with Govt. Mule . This experience as a musician gives him a definite simpatico with the members of the band which show in the disc's panache.
      If you missed this style of blues music the first time around don't miss this edition it'll positively turn you on.

www.severnrecords.com 

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	Smokin' Joe Kubek & Bnois King Show Me The Money Blind Pig Records - BPCD5090
Review by Brian Augustine

     This release finds this inimitable pair, exploring the outer reaches of the Blues Rock idiom from the very first cut 'I Saw It Coming'. Smokin' Joe's guitar can often be related to the strident force of Charlie Sexton at his most youthful exuberance. On another cut, the instrumental 'Armadillo Blues', is where his guitar takes on a ominous, plodding feel, think Link Wray's 'Rumble'. Oh, his playing may touch on a primarily blues approach, as in 'She Can Smell Another Woman' with it's 12-bar playing and juke joint feel, but the overall feel of this release is Rock or Rock'n'Roll.
     Bnois is responsible for most of the vocals on this disc. His singing here can often be compared to Boz Scaggs. This it's effective, but always has a smooth, laid-back feel. This is used to best affect on the lonely, disaffected, 'Crazy World'. On this number you get the feeling of isolation, regret and helplessness.
This edgy, stripped down recording was produced by Smokin' Joe and he's credited with having a hand in writing all twelve tunes on the disc. Eleven of these were in conjunction with his long-time partner Bnois King. The propulsion for the music was a combo consisting of, Smokin' Joe doing what he does best, guitar ,but also adding a bit of B-3 and even bass. Bnois King offers up rhythm guitar and vocals, while Paul Jenkins (Bass) and Ralph Powers (Drums) hold down the bottom. The only guest is the guitar contribution of Anson Funderburgh another Texas guitar slinger on 'Invitation Only'.
     This music may not be something that you've not heard over many times, but it is well done and presented and if you're a Smokin' Joe fan you won't be disappointed.

www.smokinjoekubek.com 
www.blindpigrecords.com 

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	Volker Strifler Band Volker Strifler Band Blue Rocket Records - BRCD135
Review by Brian Augustine

.....Volker is the German-born guitarist for the Ford Brothers Band, who on this debut is now stretching his wings, forming, recording and releasing his own disc. Volker wrote eleven of the thirteen songs contained on this CD. His choice for the two covers are an odd mix, they include Bobby Bland's vehicle "I Smell Trouble" and Hoyt Axton's enigmatic "Never Been To Spain, popularized by Three Dog Night. The reason I call these covers odd is that he is definitely not neither a Memphis Soulman nor a Country/Folkster. In fact, the predominant influence running through this recording tends toward a jazzy, swing, and jump feel.
    Vocals here are pleasant, but Volker is not an especially expressive, powerful or emotive singer. He seems to understand his limits and dosen't try to compensate and overdo the singing. In fact, this is primarily a guitar-based album that leans heavily toward the jazzier side of the blues. His most important foil on this disc, is the keyboards. This counterbalance puts Volker's guitar in stark relief. This is ironic since Tony Lufrano is listed as a guest on this release, rather than an integral part of the band. 
      The band itself is a trio consisting of Volker on guitar and vocals, Claus Bubik bass and back-up vocals and Stefan Bollack on the drums. All other musicians' keyboard, sax and additional percussions are listed as guests. This band would find it hard to replicate this music on stage. At least without again inviting along some friends to fill in the missing parts.
     As mentioned above Volker himself takes credit for penning eleven of the thirteen cuts on this CD. Through this, he shows he's a solid songcrafter. However, due to the understated singing the lyrics never seem to jump out. They do sound solid though, but nothing spectacular.
     This first solo disc, finds Volker shedding the chains of his American apprenticeship and moving away from the Blues/Rock direction of his mother band, into a more jazz influenced sound. Coupled with his group work, it does succeeds in demonstrating he has mastery over a variety of guitar styles. It also confirms his solid songwriting talents. Therefore, it would seem his first endeavor gives him a firm launching pad for his solo career.

www.volkerstrifler.com
www.bluerockit.com 

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	Alice Stuart Can't Find No Heaven Burnside Records - CD0044
Review by Brian Augustine

.... Given Alice's resume, as a primary influence for Blues Rock superstar, Bonnie Raitt, respected musical collaborator of Van Morrison and ex-old lady of Frank Zappa, to chip just at the top of the iceberg, one has to wonder at her anonymity. What unlucky star was she born under? That she hasn't gained fame and fortune yet is amazing. This album though with proper exposure and promotion could change all that. It is a far ranging effort that at once seems stripped down, while revealing great complexity as the listener pays more attention with repeated listening. This effect is accomplished by the judicious use of other musician's only forward a songs arrangement. There are no superfluous flourishes or indulgences.
     Of the eleven songs that populate this disc, Alice wrote or co-wrote six. A couple of collaborators are with some pretty high falutin' company, such as Mississippi Fred McDowell on 'Drop Down Daddy' and Mance Liscomb on 'Sugar Babe'. Maybe the best example of her songwriting in the blues idiom is found on 'Blues In The Bottle'. The most interesting tune lyrically on this disc is the cover of the socially conscious D.Amy song 'Night Patrol'.
     In terms of arrangements, she tends to range across a variety of blues styles, though mostly acoustic. Especially noteworthy, is her Piedmont guitar pickin' on the Furry Lewis tune 'Turn your Money Green'. A stylistic break is when her folk roots show through on the traditional tune 'Wild Bill Jones' or the soulful R&B styling of, 'Night Patrol'.
     Alice recently relocated to Seattle, and on this CD gathers around her the cream of the Northwest blues scene. Terry Robb a guitar virtuoso, not only produces the recording, but contributes slide guitar on 'Drop Down Daddy' and 'Sugar Babe' and uncharacteristically even plays bass on 'The Man's So Good'. Paul DeLay provides harmonica, while Duffy Bishop chips in some back-up vocals on 'The Man's So Good'. All three of these musicians are locally prominent and have their own solo careers.
     The core backing band on this effort are Fred Chalenor, bass, Kevin Cook on drums, Louis Pain organ and Janice Scoggins piano. These are musicians that Alice has drop in and out, from cut to cut, as music demands. As previously stated, this is a lean recording utilizing only the essentials necessary to make a song work. 
     In all with this release, Alice contributes a solid entry in the arena of blues music. The question remains, well it get the exposure it deserves and Alice finally get the recognition that she so richly deserves.

www.alicestuart.com 
www.burnsiderecords.com

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	Terraplane Bound By Love Cold Wind Records
Review by Brian Augustine

.....This local, Minneapolis, harmonica focused, blues band seems to specialize in the Chicago style of the blues. The harmonica and vocals features the bands obvious leader, a musician by the name of, Foster Willey. Foster's voice sounds eerily like that of the 70's front man for Stealers Wheel, Gerry Rafferty. Foster is also credited with writing or co-writing half of the ten songs on this debut disc. He's also is given the lead billing for production. So clearly, this project wouldn't have stayed afloat without him.
     Given the CD's overwhelming Chicago Blues bent, some of the covers chosen are interesting. Two are from Texas Blues-Rock or soul artists, T-Bone Walker's 'Hardway' and the closing instrumental 'Tilt-A-Whirl' written by Jimmie Vaughan. A third cover is from rock diva Annie Lennox entitled 'Little Angel". This variety of material forces the band to strain the parameters of their chosen Chicago Blues genre. 'Hardway' takes on a Bossa Nova rhythm, while 'Little Angel' has a voodoo edge. Both though continue to maintain that chugging Chicago feel. 'Tilt-A-Whirl', one of highlights on this CD, gives each of the musicians in the band an opportunity to stretch out a bit musically. They accomplish this through the time honored jamming technique of trading solos. The extemporaneous nature of the live performance also gives the song a certain level of energy missing elsewhere. 
     Other highlights, are the Earl Hagen composition 'Come-n-Home Baby' with its echoing harmonica and languid guitar line by Dave Hofgren. This lends the ballad a haunting quality. Another standout number is the lilting tune written by Foster and keyboard player Mark Vandermyde 'She Takes My Lov'. 
     The playing throughout is solid, if not spectacular. They tend to focus a bit too much on just the Chicago roots style and could benefit from the more eclectic approach as used by their labelmate Steve Vonderharr of his recent debut. Can't really say they make any serious mis-steps, it's just that the highlights point out, that there is still a lot of talent in this band that remains untapped potential.

www.terraplaneblues.com 
www.coldwind.com 

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	Various Artists Blues Around The Clock Pablo/Fantasy Records - PACD-2310-973-2
Review by Brian Augustine

.....This is over an hour of classic blues music from the vaults. Nothing new here, just a snapshot of what a few of the music's siminal sources were doing when they were joined by some of the music legendary players. This disc includes three song sets by Joe Turner, Eddie 'Cleanhead' Vinson, 'T-bone' Walker and Muddy Waters with a two song set by Joe Turner and Jimmy Witherspoon together. This isn't your daddy's blues; it's your grand daddy's, most of these principals go back that far. Everything on this CD was recorded between 1969 and 1985. The music represented here is early swing, jazz inflected and Chicago electrified blues. 
.....These guys were all headliners and their music is the source of influence for most contemporary blues artists. Then you look at who's playing with them. 'The Count Basie Orchestra' gives a hand to Joe Turner and Eddie 'Cleanhead' Vinson. Also a couple of these cuts, Joe Turner's 'Kick The Front Door In' and his number with Jimmy Witherspoon, the Jimmy Reed standard 'You Got Me Runnin' Baby' includes the 50's saxophone hero's, Lee Allen and 'Red' Holloway. These are the guys were the solo God's of their day, cited for the sax work on the old 'Little' Richard and 'Fat's' Domino singles. Then to further solidify this blues/jazz axis you have Dizzy Gillespie. He adds his spicy trumpet to T-Bone Walkers contributions. Especially, noteworthy is his work on 'Woman You Must Be Crazy'. So, even with these old pros playing together, it's more about old time pedigree than old time recordings. Walker also includes the all time classic attributed to him 'Call It Stormy Monday'.
.....Then to wind matters up, there are three live cuts from Muddy Waters. These are three classic songs as well. Tunes closely associated with him like 'Rollin' 'n' Tumblin', 'Walkin' Blues' and 'Got My Mojo Workin'. These songs were all taken from a live show in Paris in 1972. They feature his most celebrated aggregation, that includes 'Pinetop' Perkins on piano, Willie 'Big Eyes' Smith on drums and Cal 'Fuzz' Jones on bass.
.....In all, this CD has the makings of something you might want keep as a sampler to show succeeding generations to demonstrate and understand the influences for the blues.

www.fantasyjazz.com

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	Various Artists Gary Davis Style: The Legacy Of Reverend Gary Davis Inside Sound - ISC-0508
Review by Brian Augustine

.....This CD as a collection, really struck me as a haphazardly thrown together, a veritable hodge-podge. It seems stylistically scattered coupling straight out country treatments then surrounding it with folk numbers and even Piedmont blues segueing into acoustic gospel. There seems no logic to the sequencing or placement of some songs next to another. This at times leads to jarring listening experience. Inconsistencies also exist in the recorded quality; older cuts contain snap, crackles and pops you'd expect from well-worn entries into someone's private collection. While on other more recently recorded numbers, the sound is still a bit fuzzy. I suppose, that's to be expected from older recorded material.
.....Now to the content! It starts out with some real nifty country acoustic blues pickin' and singing. This is by such artists as, Ari Eisinger 'I'm Throwin' Up My Hands', Willie Walker 'South Carolina Rag', and Blind Boy Fuller 'Rag, Mama,Rag'. The latter two numbers are obviously the oldest recordings presented on this disc. They obviously didn't clean up to well, but I think they made the right decision including them because they are still quite appealing. As a comparison, think back to the The Complete Recordings Of Robert Johnson package a few years back. The recordings themselves were not the best of quality but the performance by the original artist made their release important.
.....From that point, the disc becomes spotty and the song selection more like a folk hootenanny. An exception in this middle section of the CD are, Maria Muldaur's number 'I Am The Light Of The World' and Ernie Hawkins, lilting instrumental 'Will Be Stars In My Crown"' These numbers stand out from their surroundings in this middle two quarters of this CD.
.....After the doldrums of the middle, things pick-up once again over the disc's last four cuts. They include Penny Lang and Friends 'God Knows How Much We Can Bear'. A beautiful guitar instrumental version from Jerry Ricks of 'Hesitation Blues' and Dave Van Ronk with my favorite tune on the CD, 'Soon My Work Will All Be Don'". Finally, there's Rick Ruskin with 'I Will Do My Last singing In This Land'. In my opinion, this equals out to approximately half the disc that I feel comfortable recommending. It's just unfortunate that the good stuff isn't lumped together.

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	Boom Boom Steve V. & The Knockout Blues Revue From The Shadows Cold Wind Records
Review by Brian Augustine

     This is definitely a harmonica-based disc, it fluctuates between a Swing/Jump style and chugging Chicago shuffles all the way to steamy Louisiana swamp boogie. This recording represents the 10-song debut for Steve Vonderharr, better known in the Twin Cities blues circles, as Steve V. This coming out is on the local imprint Cold Wind Records. He is apparently well known in the mid-west blues scene, beginning his career 22 years ago apprenticed to the well-known local harp legend R.J. Mischo (reviewed by this writer several years ago).
     In these years of experience he has obviously dabbled in a variety of styles and what he's learned is on display here. He penned four of the ten songs, two are swing numbers 'The Cost Of Your Love" and 'Boyz Will Be Boyz' that have vocal choruses that harken back to Louis Jordan. The other two are 'Minor Mother"'a plaintive social commentary about a negligent mother and the Texas style soul rocker 'My Party Song'. For his six covers, he picks some lesser known material from some major blues figures 'Messin' With My Bread' from John Lee Hooker and Willie Dixon's 'Mellow Down Easy'. A few numbers from some relative unknowns, Marion Jacobs 'Juke (Your Cat Will Play)', 'Blue Midnight" and Al Duncan's 'It's Too Late Brother'. Finally, the most familiar tune to blues fans found on this disc, is Eddie Taylor's 'Big Town Playboy'.
     Steve employs at least three totally different aggregations on this CD. John Keefe seems to be the guitarist he uses on the Jump and swing tracks, while the more straightaway blues numbers brings on Mic McCormack's guitar. To front the soulful material, the guitar chores were turned over to John Franken. This seems to be the way Steve divided the labor. One of the more dramatic contributions was the back-up vocal provided by Mary Rancone. Her vocal response to Steve on the lilting social ballad 'Minor Mother' gives the song its sense of poignancy. She also adds an air of party exuberance the Texas blues rocker 'My Party Song'. Steve's vocals serve his songs, but he was wise not to stretch himself beyond his capability. His strength as a musician was most fully realized on the plaintive and dreamy instrumental closer 'Blue Midnight"' It will literally carry you away if you're not careful.
     I'd have to conclude, this disc represents a solid debut for an artist emerging from the shadows of band anonymity. He showed that he is capable of musical diversity within the blues genre. More importantly, he demonstrated he will not stagnate by avoiding experimentation.

www.bluesonstage.com/stevev 
www.coldwind.com 

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	W.C. Handy's Beale Street Where The Blues Began Inside Sound - ISC-0516
Review by Brian Augustine

.....The inventor of the third and seventh flat notes that ushered in the blues, the composer, of arguably the most oft recorded blues tune ever, 'St.Louis Blues', W.C.Handy receives his due on this wonderfully off beat CD. The prime mover behind this project is Carl Wolfe. He's credited not only with producing, organizing the band and arranging the music, he is also one two sax players listed. His goal was to recreate the sound of Handy's own turn of the century blues band.
.....This he accomplishes by carefully arranging the songs in the same manner in which Handy himself crafted them. Then Wolfe went about using the same instrumentation Handy employed. In this case that meant a trumpet, trombone, tuba, clarinet, two saxophones a piano, banjo and violin. He used musicians who were all formally trained, many with military band experience, and loved this old-timey music. Next, he selected twenty-one of Handy's most loved tunes, including the famous 'St.Louis Blues', 'The Memphis Blues'and 'John Henry Blue', a virtual primer for the icons catalogue. 
.....He wisely stayed away from adding vocals, to recreate the style of singing popular in the couple of decades of the 20th century; a time before even effective microphones, would have sounded silly at best. It also wasn't necessary in order to be authentic since it seems the pattern in those days was to write music both with and without lyrics. Therefore, Wolfe decided to concentrate here on the band sound.
.....What this achieves is a feeling that allows you to imagine what it might have been like sitting in a grassy park picnicking on a Sunday afternoon in 1919 0r 1920. As you leisurely ate you enjoyed listening to the band playing in the nearby pavilion. A feeling that unfortunately, could never happen listening to the real masters recorded output, no matter how good the digital cleanup was. For the real blues historian then this album is an adventure exploring the music's deepest roots.

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	Robert 'Bilbo' Walker Rock The Night Rooster Blues Records - ROB-CD-2643
Review by Brian Augustine

.....  This is the third album from this itinerant, late blooming, farming bluesman and his second for the Rooster Blues label. It is his third overall release and his first live set. Bilbo's second album Rompin' & Stompin was on the Fedora label in 1998 and must have come as quite a surprise to Rooster Blues to which he was already signed. 
.....  Bilbo's career is an odd tale, full of twists and turns. He was born in Clarksdale Mississippi, then moved to Chicago to follow the life of a bluesman. This was the traditional path to follow in those days. Unfortunately it didn't work out too well for him and he ultimately ended up as a full-time cotton farmer and part-time musician in the unlikely locale of Bakersfield, California. This was after several years spent as a sideman in Detroit for Motown Records. 
.....  Once in Bakersfield, he played in not only blues bands but also in that city's burgeoning country and western music scene. Several times a year when the crops were in, accompanied by some musician friends, mostly Bakersfield musical cronies, he'd travel back to his ancestral home and swing through the local juke joints. Most of these gigs centered around his old hometown and a place called Bobo's Store. It wasn't until age 60, in 1996, that he parlayed that into a contract and recorded his first solo album Promised Land on Rooster Blues Records. 
.....  This live CD was conceived as an effort to capture Bilbo's legendary energy and raucous, uninhibited juke joint performances. Unfortunately, repeated attempts to record him in his natural habitat failed. Sometimes it was because of the technological difficulties; other times it was just the unpredictability of sidemen or the audience. Whatever the reason, this mission was never accomplished. So, what you hear on this CD was in fact recorded inside the cozy confines of the Hideout Club in Chicago, Illinois.
.....  Well the question of this review is, to relate my opinion as to the success or failure in their stated goal. This of course was to capture the essence and energy of Robert 'Bilbo' Walker's live show. I must also render my judgement as to the extent of their success or failure in this endeavor. 
.....  Since the beginning of Bilbo's solo recording career in 1996, I've put him into the same school of raw primitive blues inhabited by Junior Kimbrough and the late R.L. Burnside. His influences in comparison to these other two bluesmen of course are much broader. They not only include Muddy Waters and John Lee Hooker but also extend to Chuck Berry and Merle Haggard. At times his music bears a distinct country western edge. It is most clearly heard here on this disc's rendition of, "Truck Driving man" but hinted to elsewhere on the album.
.....  For me, this effort can be divided in three parts, the part where he exceeds expectations, meets expectation or doesn't quite make it. Fortunately, for Bilbo, the record company and the listener, the last category is by far the smallest. Ironically, the less successful tracks seem to represent his most direct nods to his most divergent influences. That is the afore mentioned straight out country number 'Truck driving man" and the Chuck Berry tribute medley, "Robert U. Goode/ Little Queenie".
.....  The most successful cuts are where you hear all these disparate influences integrated into one song such as in, "Cut you loose", "Rooster Blues", "Why I sing the blues" and finally the irresistible, "Hide away". Check out David 'Pecan' Porter's bass on "Why I sing the blues", as he make it sound like a tuba at times. 
The remaining five tracks succeed in the terms of being solid, enjoyable musical efforts. They just don't stand out. They also represent his takes on often-covered songs such as "Found love", "Linda Lu", and "Stagger Lee". On these tunes, I've got to believe that most active listeners likely can think of four or five previously released versions and have probably already chosen a favorite. 
.....  Throughout musicianship is hard to fault. Credit must be given to ensemble that included Bilbo on guitar and vocals while David 'Pecan' Porter countered with some amazing and intuitive bass playing. Then there is the incomparable Sam Carr who kept the rhythm going regardless of what the other two were doing. Not an essential album but definitely a fun one.

www.roosterblues.com 

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	Calvin Owens Show Keeping The Big Band Blues Alive Sawdust Alley Records
Review by Brian Augustine

     No truth in advertising problems here, this certainly is, as it's title suggests, a big band swing disc and much more. It's a clash between decades, Clavin has no problem with allowing a modern blues guitar solo, crash headlong into the traditional big band arrangement. After all he's the leader, of likely, the only trumpet focused blues band around. At least, it's the only one I know of! Instead of allowing this uniqueness to constrain him, Calvin takes this as license to explore all variety of musical approaches.
     Imagine the soulful vocals of Trudy Lynn being juxtaposed against a full orchestral arrangement. Or Gloria Edward's Creole sty lings playing off the same sort of traditional almost, but not quite, Dixieland arrangements. Throughout Bert Wills and Charles Davis guitars run unrestrained. This gives the disc a modern blues feel that is only accentuated by Ron Coles B-3 and other keyboard offerings.
     This is probably the most eclectic of Calvin's last three discs. He infuses his traditional sensibilities with modern innovations. This makes this CD sound at once traditional, yet Avante Garde. He's able to accomplish this hat trick without sounding a bit confused.
     The material is both Calvin Owens creations (six self-penned numbers) and eight covers. Some of these covers are standards like 'Hucklebuck', 'This Little Light Of Mine' and the Christmas classic 'Santa Claus Is Coming To Town'. Others are more obscure numbers, like the ones contributed by guest Gloria Edwards, 'I Gotcha' Hoochie Mama' and 'H-Town, French Town, Git Down' or John Robert's 'Love On A Silver Platter". It doesn't matter, he makes all of these covers his own by infusing them with his own unique arrangements. 
     If there is one minor critcism though, it's enough already, four Christmas songs over the last two CDs. Make your own Christmas long player already, it's obvious you want to.

www.calvinowens.com 

	Carey & Lurrie Bell Second Nature Alligator Records - ALCD4898
Review by Brian Augustine

..  Here we have an interesting combo, a father, son duo. It's an all acoustic set, with some great guitar from son Lurrie and harmonica from father Carey, it's a treat listening to the interplay. Both take turns on vocals. They stick mostly to familiar and traditional material. The whole project reminds me a lot of the Buddy Guy, Junior Wells acoustic set released a few years ago. In fact this impromptu recording actually occurred several years ago itself, it was in 1991 when they were doing a blues tour of artic Finland.
..  Ironically, the appeal of this disc comes from the warmth the father, son duo exude in this project from a frigid clime. Lurrie handles most of the lead vocals and all the acoustic picking and slide guitar, while dad, Carey contributes harmonica and vocals. The musical affinity between the two men is evident from the first note to the last. It's obvious that each can intuit where the other is headed immediately with each shift. There is simply no hesitation, whether it be a shuffle or delicate picking number as the music just naturally flows.
..  Carey had a hand in writing five songs recorded here, and Lurrie one. The other half is six cover tunes that should be abundantly familiar to most blues fans. These are tunes such as Arthur Crudup's "Rock M', Eddie Boyd's 'Five Long Years', Big Bill Broonzy's 'Key To The Highway', or the traditional "Trouble In My Way".
..  Although this recording may have been the result of an afterthought by tour promoter Chip Covington when he heard a pre-show tune-up, it's one of the most appealing acoustic sets released in years.

www.alligator.com 

	Dan Treanor & Frankie Lee African Wind SNorthernblues - NBM0023
Review by Brian Augustine

..  A couple of years ago Frankie Lee released a Memphis/Muscle Shoals soul influenced disc that had the feel of a classic recording. It made it perfectly clear he was among the elite soul singer recording today. This year finds him teaming up with a blues/world beat multi-instrumentalist, Dan Treanor. For the second year in a row it seems Frankie is involved in another release that smacks of being a classic. This project tends to seamlessly contrast traditional American soul and blues vocals and sensibilities with African instrumentation and musical arrangements. This gives the listener the unique experience hearing how these two seemingly disparate approaches blend together.
..  On this song cycle, Frankie's voice is called upon to be a more nimble instrument than on his last recording. He certainly proves he's a match for the task, sometimes soaring other times controlled. His vocal expression had to support the Bo Diddley style propulsion of 'A Woman Blues', the Voodoo urgency of 'The Groit Man', the yearning of 'African Wind' and the plaintive wailing of 'Got No Lifeline'. On yet other songs, he's called upon to use his voice as another rhythmic instrument. No matter, Frankie makes his voice a force that becomes central to the recording.
..  The other main man Dan, is a multi-instrumentalist who takes the lead utilizing a variety of African instruments of his own manufacture, his playing doesn't take a back seat but finds him sharing the focus with Frankie. These instruments he uses include the diddley bow, ngoni, khalam and cane flute. He also plays more traditional instruments like acoustic guitar, Dobro, harmonica and keyboards. When you add his other credits like he wrote all but one song on the disc and is given production credits, it's fair to say this project would have gone nowhere without him.
..  They have gathered around them a solid supporting cast of musicians that provide yeoman services. There is David Henderson on guitar. He also adds some slide and lap steel to the mix. R.D. Jones is on bass, Gary Flori adds drums and percussions and Tom Quinn give some additional drumming. These guys hold down the bottom in admirable fashion. Beyond that they only add a few guests to provide back-up vocals, some woodwinds and percussions. The sum of it all these parts is one of the more unique listening experiences to be released this year.

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