Alicia Blue: “Inner Child Work” (2022) CD Review

Alicia Blue is a singer and songwriter based in Los Angeles. She started out writing poetry, then after getting a guitar, began setting her words to music. It wasn’t long before she had written a good amount of material. She released her first EP in 2019, and followed it with a full-length album, Bravebird, in 2020. Now she has a new EP out. Titled Inner Child Work, this disc features original material. Joining Alicia Blue on this release are Ben Greenberg on lead guitar and backing vocals, Ryan Ladd on bass, Jason Goldstein on keys, and Max Meizlish on drums.

The disc opens with “Don’t Tell Me To Smile,” which is the song that initially drew me to this release. Check out these lines: “I’ve been acting like a child/You should try it once in a while/So don’t tell me to smile/I’m not your puppet/Hanging on your silly string.” The strength and attitude and honesty remind me a bit of early Liz Phair combined with Amy Rigby and a dash of Dar Williams. “Know that sometimes the sun’s not going to shine/So don’t tell me to smile/No point in faking it.” It’s crazy that it needs to be said, but it does, and Alicia Blue says it so well. This is an excellent song. Toward the end of the disc, there is a second version of this song, this one labeled “Clean.” So far as I can tell, just one word is missing, and it’s kind of jarring, the way there is space where the word should be. Just play the regular version (fuck the FCC).

“Saline Waters” is a powerful and striking song. Here are the opening lines: “Walking on white sand with my best friend/Talking about when it’s all gonna end/Laughing when we realized it was bones, not sand/Skeletons taking up a piece of dry land.” Those lines grab hold of us and let us know we are not being handed the usual fare, as this pop song immediately takes us into darker territory. This song also mentions Joni Mitchell’s “Circle Game,” one of my favorite songs (and one that always makes me sad): “Listening to ‘Circle Game’ for a year/The friendliest version of bad news you’ll hear.” “Saline Waters” is followed by “Dog Days Of LA.,” a song that mentions walking the canyons of Los Angeles, which of course also makes me think of Joni Mitchell. Plus, this song has more of a folk vibe. It features a heartfelt and moving vocal performance. “And still we call it beautiful/When the sunset meets the smog/And still I say that I’m doing well/Even when I’m not.” I think all of us in Los Angeles are in touch with that feeling. This song perfectly captures what many of us experience in this city. This is my personal favorite track of the EP.

“Fine” begins on guitar. Here is a taste of the lyrics: “You can run and hide, but I’m still on your mind/I cannot deny that you’ll give me a better life/I could waste your time and say I’m doing fine.” The song suddenly kicks in with a delicious pop force. “I just need a little time, take a little off my back.” Alicia Blue then changes gears with “Dirty Hippie,” which begins with a strong beat and is seriously catchy. “I don’t want to fight, what’s so dirty about that?/You can be right and stay on my side of the tracks/I get you, why don’t you get me?/A little space is all I’m asking.” Another line that stands out for me is, “You walk around senseless with your gun ready to shoot,” briefly addressing a major problem in this country. The disc ends with a second version of “Dirty Hippie,” this one labeled “Clean.” Honestly, I didn’t even notice the one offending word the first time I listened to this disc, but now I hear it louder in its absence. Again, just go with the regular version. Also, it’s 2022; can we really not say “shit” on the radio? Crazy.

CD Track List

1. DTMTS (Don’t Tell Me To Smile)
2. Saline Waters
3. Dog Days In LA
4. Fine
5. Dirty Hippie
6. DTMS (Don’t Tell Me To Smile) – Clean
7. Dirty Hippie – Clean

Inner Child Work was released on July 15, 2022 through Magnetic Moon.

Pete McCabe: “Mister Right” (2022) CD Review

Pete McCabe is a singer and songwriter based in the Los Angeles area. He put out his first album back in 1973, and then in more recent years has been releasing several new recordings of original material. His latest is titled Mister Right. As with 2019’s Head Tones and 2020’s Many Storyed, this new release is largely a solo effort, with Pete McCabe providing most of the vocal work and playing the majority of the instruments. He does, however, get some help from a few guests on various tracks. He also wrote or co-wrote all of the songs.

The album opens with its title track, “Mister Right,” the only track of this album to have a co-writer. Pete McCabe wrote this one with Alfred Johnson.  Interestingly, it opens with horns, then settles into an easygoing groove, with something of a 1970s pop vibe. “I feel lucky tonight/With my hair and my wardrobe so nice and tight/Still, I’m distressed/Will she be impressed?” There is something light and playful about this song, about its subject, hoping to be chosen as Mister Right. It is a contest, likened to a dog show. “I never win/Sink, never swim/Chances are slim.” Yet he is still optimistic, saying, “But I swear I could be Mister Right.” Grant Geissman plays electric guitar on this one, delivering some nice work, particularly toward the end. Then Richard Barron joins Pete McCabe on accordion on “Tryin’ Not To Dream,” a title that strikes me as terribly sad. And the main line is “I’ll be tryin’ not to dream about you,” which is also sad. This is a mellower, pretty song told from the perspective of a man who is filled with longing and wishes to hold onto the past. Check out these lines: “With beauty all around me/You’d think I’d feel at ease/While you’re out there in city lights/I’m lost in the shadows of the trees/I’ve been counting up mistakes I made/This aching in my heart is the price I paid.” By the way, Richard Barron also co-produced most of this album’s tracks, and mastered the album.

The mood lightens for “The Drawers Song,” a song about how divided space within a couple’s bedroom is now being invaded by his partner.  He finds himself having to defend his choices to her as she questions his need for certain items contained within that space. And so in this song he lists some of those things, such as eight-track tapes and greeting cards, which of course seem silly, even as he tells us, “All that stuff I crammed in there has got a special meaning/Don’t throw it all away to satisfy your need for cleaning.” But of course when cleaning, it is easier to start with other people’s stuff. It’s always easier to see what someone else should toss. The playful line here is: “But, men, don’t ever let your woman get into your drawers.” Interestingly, the song’s final line, its final thought, is, “My best advice is try to understand what’s in her head.” It’s a rather surprising line. That’s followed by “Love Lives Matter,” a song to remind folks to pay attention to their love lives, regardless of their age. After all, what else is there? Arthur Seltzer joins Pete McCabe on vocals on this one, and John Thomas delivers some pretty work on piano. “When you’re chasing a buck/You’re pushing your luck/If you think that’s a shortcut to pleasure/Your time’s better spent on finding a love you can treasure forever.”

In “The Fly In The Ointment,” Pete McCabe describes a woman who has apparently caused him a good deal pain, referring to her as “the rock in my shoe.” And she “left a bruise that I still feel.” But of course he still loves her. And who can say what is the right course of action for another person? Should he let her go? Can he? That’s followed by “The Running Girl.” There is a certain humor to this one, a song about a man who loses himself while watching a pretty woman jogging. “When I see her running down the sidewalk/In her designer shoes and shorts/I fantasize that she will stop to talk/And I’ll mention my high school year in sports.” That last line made me laugh the first time I listened to this song, but of course there is also something sad about that line, and about this song. How quickly it all goes. Our youth, all that potential we were told we had, it all just goes. And even this moment of reverie is fleeting. “The magic only lasts so long/Then I realize the running girl is gone.”

“Quarantine Tune” is an instrumental track. It has an introspective sense about it, but also is hopeful, and even cheerful. While a lot of things seem to be back to normal, the pandemic is not over. In fact, after two and a half years of taking all the suggested precautions and getting four shots, I tested positive this past week and was having my own personal additional quarantine time while listening to this disc. So of course I’ve projected my own experiences and thoughts onto this piece of music. Richard Barron adds some beautiful work on flute here. The album then concludes with “Anti-Obsession Man.” In this one, Pete McCabe sings, “In this hurried, hectic nation/A growing population/Is worried and distressed.” Ah yes, worry and distress have been on the menu for several years now. And when everything was shut down due to the pandemic, many of us became even more obsessed with the news. After all, there were new things to worry about. This song creates a character who might be able to save people from obsessions and keep them from depression. Clearly, such a person would be a hero. Arthur Seltzer and Momo McKellop provide some vocals on this one, while Harry Orlove is on electric guitar and John Thomas delivers some cool work on organ.

CD Track List

1. Mister Right
2. Tryin’ Not To Dream
3. The Drawers Song
4. Love Lives Matter
5. The Fly In My Ointment
6. The Running Girl
7. Quarantine Tune
8. Anti-Obsession Man

Mister Right was released on July 4, 2022 on Man8Plant Records.

The Grass Roots: “Let’s Live For Today” (2022) CD Review

I was fourteen years old the first time I saw The Monkees in concert. That tour wasn’t just a Monkees reunion, but a celebration of 1960s music, and the lineup also included Herman’s Hermits, Gary Puckett & The Union Gap, and The Grass Roots. Of those three groups, the one I was most excited to see was The Grass Roots, in large part because of “Let’s Live For Today,” a song I loved then and still love. I’m not sure how many original or early members took part in that tour, but I know that none of them are in the band any longer. Yet, Let’s Live For Today, a new album that is a celebration of the band’s music, does feature the vocal work of lead singer Rob Grill, who died more than a decade ago. His vocal parts were recorded in 1997. On these tracks, he is backed by different musicians, including Wayne Kramer and The Fuzztones.

This album opens with “Wait A Million Years,” a song that was a hit for The Grass Roots in 1969. This version features The Courettes. Flavia Couri is on vocals, guitar, bass, piano; and Martin Couri is on drums and percussion. They are joined by Soren Christensen on mellotron. And they totally rock this song. This track has a great, full sound that explodes around you, and is certainly one of the disc’s highlights. It is the first of two versions of this song included on this disc. The second version is a bit shorter, and is more in line with what you are likely used to regarding this song. It is good, but not quite as exciting as that first track. Then Wayne Kramer, from MC5, plays guitar on “Midnight Confessions.” This is the first of three versions of this song included on this disc, and, as you might guess, the guitar work is the focus here. There is even some cool guitar work in that short section toward the end where we usually hear mainly the vocals. This track rocks. The second version, listed as “The KVB Remix,” has quite a different sound and vibe, giving us a fresh look at the song. There is a cool and strangely haunting feel, making this the most interesting of the album’s tracks. This is a much longer version too. The third version of this song is the disc’s final track, and is much closer to the band’s original version.

There are two versions of “Let’s Live For Today” on this disc, and the first features The Fuzztones, a band I’ve been digging for a while. Rudi Protrudi is on guitar and bass, Lana Loveland is on organ, and Marco Rivagli is on drums. And, yeah, this is probably my personal favorite track. It’s such a great song, and The Fuzztones do such an excellent job with it. It is a faithful rendition, but still manages to sound fresh. The second version is slightly shorter, and is a good track to listen to with headphones. “We’re never meant to worry the way that people do/And I don’t mean to hurry as long as I’m with you.” This disc also includes two versions of “Temptation Eyes.” The first is labeled “Night Beats mix,” and features Danny Lee Blackwell, who is the only permanent member of Night Beats. This is a kind of pretty rendition, a bit slower than the original version, and it works really well. I especially like the instrumental section at the end. This version is approximately a minute longer than the original Grass Roots version. The second version contained on this disc is approximately the length of the original.

This disc contains two versions of “Sooner Or Later,” the first featuring Dead Ghosts. That’s Bryan Nicol on guitar and vocals, Andrew Wilkinson on guitar, Michael Wilkinson on drums, Craig Pettman on organ and percussion, and Maurizio Chuimento on bass. It’s a fairly fun rendition, with some cool work on guitar. I particularly like the way they conclude it, with that brief instrumental section. This song was a hit for The Grass Roots in 1971. The second version is a bit shorter, but with a good energy. “Sooner Or Later” is followed by “Bella Linda.” This was originally an Italian song, with English lyrics then written by Steve Barri and Barry Gross for The Grass Roots. It’s an unusual sort of pop song, and has become one of my favorites. “Heaven Knows” is a song that was included on The Grass Roots’ 1969 LP Leaving It All Behind, and was also released as a single. It has a cheerful sound. “With a song in my heart/And a chance to be yours forever/I couldn’t feel more secure/I couldn’t feel any better.” “Things I Should Have Said” was included on The Grass Roots 1967 LP Let’s Live For Today, where it is the lead track. It was also released as a single. “Things I should have said to her/That maybe would have changed her mind to stay.”

CD Track List

1. Wait A Million Years
2. Midnight Confessions
3. Let’s Live For Today
4. Temptation Eyes
5. Sooner Or Later
6. Bella Linda
7. Heaven Knows
8. Midnight Confessions
9. Things I Should Have Said
10. Sooner Or Later
11. Wait A Million Years
12. Temptation Eyes
13. Let’s Live For Today
14. Midnight Confessions

Let’s Live For Today is scheduled to be released on September 9, 2022 on Cleopatra Records, and will be available on both CD and vinyl.

Junior Wells: “Blues Legend” (2022) CD Review

Who doesn’t have the blues these days? And who isn’t looking toward other times with some longing? Blues Legend is a two-disc collection of fantastic blues numbers from Junior Wells, focusing on the early part of his career, before he put out his first LP. The tracks are presented largely in chronological order by recording date, covering the time between 1953 and 1962 (with the bonus track coming from 1966), so we can get a sense of his progress. And check out the list of musicians playing with Junior Wells on these tracks! Otis Spann, Muddy Waters, Earl Hooker, Willie Dixon, Johnny Walker and Fred Below are just a few of the incredibly talented and storied musicians performing on these recordings. Also, this set includes new liner notes by Dave Thompson, recounting the impact of Junior Wells on the Chicago blues scene and beyond.

Disc 1

The first disc begins with four original songs recorded on June 8, 1953, beginning with “Cut That Out,” which was released as his first single. Right away this track gives us some great stuff on harmonica. Here Junior Wells offers some advice: “Now when you get drunk/You want to fuss and fight/You shouldn’t get drunk/Because you know that ain’t right/You better cut that out/Yes, cut that out.” Johnny Jones delivers some nice work on piano. Dave Myers is on bass, and Odie Payne is on drums. Interestingly, there is some question about just who plays guitar on these first four tracks. It is either Elmore James or Louis Myers. Either way, it is the harmonica that is focus here anyway. “Cut That Out” is followed by “Eagle Rock,”a fun, hopping instrumental tune, led by Junior Wells on harmonica. This song was introduced as the flip side to “Cut That Out.” Junior Wells then slows things down with “Hodo Man (Hoodoo Man),” a classic gem featuring some cool work on guitar and piano, and of course plenty of power behind that harmonica. In this song, he addresses himself in the line “Everybody tells little Junior.” The final of the original numbers from 1953 is an instrumental tune titled “Junior’s Wail.” And indeed, his harmonica wails, and that is over a relatively easygoing blues rhythm, which seems to put even more focus on the power of that harmonica.

There is one more track from 1953, but first this disc takes us to 1954 for the album’s first cover, “‘Bout The Break Of Day (Early In The Morning),” which was written by Sonny Boy Williamson (one of only a few instances of stepping out of chronological order regarding recording dates). By the way, there is a record being re-issued later this month titled Chicago/The Blues/Today! Vol. 1, which includes five tracks from The Junior Wells Chicago Blues Band, recorded in 1965, beginning with “A Tribute To Sonny Boy Williamson.” That record also includes tracks by Otis Spann. Otis Spann is on piano here, and as you might expect, he delivers some wonderful stuff. And Muddy Waters is on guitar, and Willie Dixon is on bass. What more could you want? This is a seriously enjoyable rendition, and obviously a track of some historical importance. That’s followed by an original tune, “Lawdy! Lawdy!,” where he asks, “How come you do me like you do?” Fair question, I suppose. But it is the harmonica that speaks most eloquently here, and over a cool rhythm. Then “Tomorrow Night” is the last of the 1953 tracks. It features some energetic work on harmonica. Then we go back to 1954 for “So All Alone,” its first line being “Prison bars all around me” (more on that in a bit). This is a slow, sexy blues number, featuring a strong vocal performance. And Otis Spann delivers again on piano. Every track in this collection is great, but this one still manages to stand out.

Then we move to 1957 for four tracks recorded in autumn of that year, beginning with “Two Head Woman (Two Headed Woman),” which was written by Lucious Porter Weaver and Willie Dixon. This one features a delicious groove, plus some great stuff on guitar. Syl Johnson and Dave Myers play guitar on these 1957 tracks. Eugene Lyons is on drums. That’s followed by “Lovey Dovey Lovey One,” a totally fun track written by Mel London and containing more excellent work on guitar. “You are just one big bundle of joy, and I’m so glad you’re mine.” “I Could Cry” is an original composition with a more intimate vocal performance and some cool work on drums. Plus, it includes some great stuff on guitar. That’s followed by “Cha Cha Cha In Blue (Cut My Toe Nail Instrumental),” which has a kind of goofy, playful vibe, particularly that percussion. This is an instrumental track.

The first disc includes a couple of tracks recorded in 1959, beginning with an original composition titled “Little By Little,” a very cool song. Willie Dixon and Mel London provide backing vocals here. Lafayette Leake is on piano, and Earl Hooker is on guitar, along with Dave Myers. This is another of my personal favorites. It has a Stroll-like vibe and pace. The harmonica wails at the beginning of “Come On In This House,” the other 1959 track, also written by Junior Wells. The first disc then concludes with a couple of songs from 1960. The first is “You Don’t Care,” a fun song that rocks and grooves. Then “Prison Bars All Around Me” of course reminds us of “So All Alone,” for they both open with the same line, “Prison bars all around me.” This one has a livelier vibe, but seems to be a reworking of the earlier song. The two songs share many lines. Interestingly, Junior Wells shares writing credit on this one with Mel London, while he alone is credited for writing “So All Alone.”

Disc 2

The second disc picks up where the first one left off, in 1960. The first six tracks are all from that year, but are not quite in chronological order with regards to recording date. The first track, “Galloping Horses A Lazy Mule,” was recorded in August of that year. This is a playful number, and it features Earl Hooker on guitar and Johnny Walker on organ. “Now come on, mule/What’s the matter with you?/I ain’t gonna kiss you.” He then changes his mind: “I don’t know, I just might kiss just you/But you’re so ugly though.” A.C. Reed is on tenor saxophone on this track, and on the one that follows, “Calling All Blues,” a good instrumental track recorded in May 1960, and featuring Earl Hooker on guitar. The next few tracks are from October of 1960 and feature Jarrett Gibson and Donald Hankins on saxophone. “So Tired” is another of this release’s highlights, an original composition. That ache in his voice is believable as he tells us, “So tired of being alone/Oh, my baby’s gone/Yes, my baby’s gone.” Junior Wells changes gears for “Love Me,” which is also an original tune. This one has a much more cheerful vibe, in part because of the work on piano. That’s followed by “Messin’ With The Kid,” one of the songs Junior Wells is known for. Another version of this song is included on Chicago/The Blues/Today! Vol. 1. He clearly is having a good time with it here. Then “Universal Rock” is a delicious and lively instrumental track that moves at a good clip and features some good work on saxophone.

“I’m A Stranger” is seriously cool, raw blues number recorded in 1961 and featuring Lafayette Leake on piano, Johnny Walker on organ, Earl Hooker on guitar, Earnest Johnson on bass, and Bobby Little on drums. That’s followed by “The Things I’d Do For You,” which was written by Mel London. This is one of those glorious declarations of love, in which he claims, “Now I would fight with a tiger and wrestle with a lion/If it would make you happy and make you mine” and “Well, I would crawl across the country on my hands and my knees.” I love that saxophone. Julian Beasley is on alto saxophone, and A.C. Reed is on tenor saxophone. We then return to 1960 for “You Sure Look Good To Me,” another delicious, slow number that has that Stroll vibe, particularly in the vocal work. That’s followed by “It Hurts Me Too,” a song that I love. A different version of it is included on that Chicago/The Blues/Today! Vol. 1 compilation. The version here has more of a raw sound. Then some delicious work on guitar begins this version of “I Could Cry,” the only song to be included twice in this compilation (unless you count “So All Alone”/“Prison Bars All Around Me”). Interestingly, it is the eleventh track on both discs. A different group of musicians is backing him on this rendition, and I especially like Johnny Walker’s work on organ on this version. “Seems like everything I do, baby, everything I do is wrong.” The final of the 1961 tracks, “I Need Me A Car,” begins with a knocking upon the door and a bit of spoken word silliness. Oh, is there a more serious woe than that caused by a lack of car? Not sure, but this song is fun. “Every time I come to see you/You’re gone for a whirl/The guys with the cars/Seem to get all the girls.”

The next four tracks were recorded in 1962, and all of them were either written or co-written by Willie Dixon. There is no information on the musicians that back Junior Wells on these tracks. “I’ll Get You Too” was written by Willie Dixon and William Emerson, and features some nice work on saxophone.  I love the playful way Junior Wells sings the word “baby” just after the one-minute mark. Little touches like that make this track stand out. That’s followed by “Every Goodbye Ain’t Gone,” also written by Willie Dixon and William Emerson. This is another fun track, the organ playing a prominent role. Then “She’s A Sweet One” has a good groove, and is a song that makes me smile every time I listen to it. There are a couple of false starts, and just a bit of studio banter at the beginning of “When The Cat’s Gone The Mice Play.” And once it gets going, this track features some nice work on harmonica. This compilation then concludes with a live track from 1966, a cover of “What’d I Say.” This track contains some good energy, including some great stuff on drums, the audience clapping along.

CD Track List

Disc 1

1. Cut That Out
2. Eagle Rock
3. Hodo Man (Hoodoo Man)
4. Junior’s Wail
5. ‘Bout The Break Of Day (Early In The Morning)
6. Lawdy! Lawdy!
7. Tomorrow Night
8. So All Alone
9. Two Head Woman (Two Headed Woman)
10. Lovey Dovey Lovey One
11. I Could Cry
12. Cha Cha Cha In Blue (Cut My Toe Nail Instrumental)
13. Little By Little
14. Come On In This House
15. You Don’t Care
16. Prison Bars All Around Me

Disc 2

1. Galloping Horses A Lazy Mule
2. Calling All Blues
3. So Tired
4. Love Me
5. Messin’ With The Kid
6. Universal Rock
7. I’m A Stranger
8. The Things I’d Do For You
9. You Sure Look Good To Me
10. It Hurts Me Too
11. I Could Cry (1961 Version)
12. I Need Me A Car
13. I’ll Get You Too
14. Every Goodbye Ain’t Gone
15. She’s A Sweet One
16. When The Cat’s Gone The Mice Play
17. What’d I Say (Live 1966)

Blues Legend was released on July 8, 2022 through Cleopatra Blues, and is available on both CD and vinyl.

Hank, Pattie & The Current: “Letters” (2022) CD Review

Hank, Pattie & The Current are a bluegrass band led by Hank Smith and Pattie Hopkins Kinlaw, offering original material that combines bluegrass with folk, soul and jazz elements. This band has its own particular sound and vibe, certainly not tied to any rules of what bluegrass is supposed to be. The band is based in Raleigh, North Carolina, and is made up of Hank Smith on banjo and vocals, Pattie Hopkins Kinlaw on fiddle and vocals, Billie Feather on guitar and vocals, and Stevie Martinez on bass and vocals. Work on this new album began when everything was shut down at the beginning of the pandemic, and the songs were developed remotely over that time. So when they did get into the studio to record them, the songs were ready. The album features all original material, with all four members contributing. The theme of this album seems to be perseverance, the message that we will make it through.

The group kicks off the album with its title track, “Letters,” which starts with a good groove on guitar. There is immediately something catchy about this music, and then the chorus has a bright energy, all of it working to raise our spirits. “I took the wrong way/Now the right way seems so far away/Send me a letter when you get there.” This song was written by Stevie Martinez, Billie Feather and Pattie Hopkins Kinlaw. That’s followed by “First Time,” which was written by Billie Feather. This one begins with the vocals before the song’s groove is established. “Walk me down to the edge/I feel the moss between my toes/Your voice whispers deep below/Like sunlight through the leaves.” There is a good deal of passion to the vocal performance. This one is over all too soon. There is another strong vocal performance on “Sunset Neon Lights.” I love that delicious jazzy vibe on this song’s chorus. This track also features an interesting instrumental section halfway through, taking us to a rather contemplative place, giving us the space to breathe. And the piece then builds again from there. This one was written by Hank Smith, Pattie Hopkins Kinlaw and Billie Feather.

“Grady’s Song” eases in, with Pattie Hopkins Kinlaw plucking the strings of her violin, and soon builds in a beautiful way, creating a strong sense of atmosphere, of possibilities. There is warmth and love at the center of this song. “When you think you have it all/You can reach and never fall.” That’s followed by “Interlude – Sandbox,” an instrumental track that is absolutely delightful. I love the way this music transports us, the instruments sometimes like characters that you want to spend time with, characters that draw us to them, making us want to immerse ourselves in their world. I especially love that work on violin. This one was composed by Stevie Martinez. “Lost in my thoughts, lost in my dreams/Where nothing is as it seems,” Pattie sings in “Steady,” another track taking us to an unusual and interesting place. This track features some great stuff on banjo, and I love that instrumental section in the second half, led by the violin and banjo.

“Why Don’t You?” begins gently in the folk realm. “Why don’t you hear me when I talk aloud/The words seem meaningless, like shouting in a crowd.” Then there is this incredible moment when the song gains in intensity, grabbing us just as Pattie sings, “Take me in your arms.” There is a gorgeous power, especially on violin. This is one of my personal favorites. Then “Hold On” moves at a good pace, and contains a positive message. “Dark clouds gonna come/We’ve got to hold on/We can overcome/We’ve got to hold on, hold on.” That’s followed by “Down The Hall,” a song that seems to reach out to us in an uncertain world. “Did you find what you were seeking?” Then “Interlude – The Rüetschi Forge” is the album’s second instrumental track, this one featuring some excellent work on banjo. It was composed by Hank Smith, and is a piece that has a good energy, a track that is able to transport us.

“The Freedom We Seek” is a pretty song, with a pleasant, dreamlike vibe at moments. “Call to me/Whenever you’re ready/To be anything/You missed from the start.” That’s followed by “I’m Going Out.” In this song, they sing, “I’m going out tonight/Some place I feel free.” It seems a simple statement, but for a long time none of us was going anywhere. And even now the pandemic is not over, and going out carries with it a certain risk, as well as a certain joy. The lines “Don’t you worry/Everything will be all right” are repeated until we believe them ourselves. There is a good energy about this track, and more good work on banjo. The album concludes with its third instrumental track, “Postlude – The Pub At The Gate,” this one with more of a traditional sound, feeling like a dance.

CD Track List

1. Letters
2. First Time
3. Sunset Neon Lights
4. Lullaby
5. Grady’s Song
6. Interlude – Sandbox
7. Steady
8. Why Don’t You?
9. Hold On
10. Down The Hall
11. Interlude – The Rüetschi Forge
12. Take Time
13. The Freedom We Seek
14. I’m Going Out
15. Postlude – The Pub At The Gate

Letters was released on June 3, 2022 on Robust Records. By the way, on the band’s website, the band mentions that fans are encouraged to record the concerts and share those recordings. A lot of artists allow recordings, but I can think of very few that actually encourage it. Very cool.

Chicago/The Blues/Today! Vol. 1 (2022) Vinyl Review

Some albums just demand to be heard on vinyl. It seems the only fitting and natural way to listen to them, you know? Such is the case with the three volumes of Chicago/The Blues/Today!, originally released in 1966. The first volume is now being re-issued on 180-gram vinyl by Craft Recordings. It contains tracks from three artists – The Junior Wells Chicago Blues Band, J.B. Hutto And His Hawks, and Otis Spann’s South Side Piano. Yes, some of the best mid-1960s Chicago blues. And the music sounds just exactly right on this new vinyl issue. It features an all-analog mastering from the original stereo tapes. Each artist gets five tracks on this record.

Side One

The album opens with music from The Junior Wells Chicago Blues Band, beginning with a track titled “A Tribute To Sonny Boy Williamson.” Interestingly, this track begins with a spoken word introduction, in which he says he wants to pay tribute to an outstanding musician. “It’s a number that he made that I think that will linger in your hearts forever.” The song he covers is “Help Me.” And it has a sound that is exactly what you think of when you think of Chicago blues. And of course it features some delicious work on harmonica. In the middle of the track he adds another spoken word section, saying that he was one of Sonny Boy Williamson’s students. It is a personal and wonderful rendition. “Goodbye, old man, goodbye,” he says toward the end. Sonny Boy Williamson died in 1965. The Junior Wells Chicago Blues Band is made up of Junior Wells on harmonica and vocals, Buddy Guy on guitar, Jack Myers on bass, and Fred Below on drums. “A Tribute To Sonny Boy Williamson” is followed by a fantastic rendition of “It Hurts Me Too.” Just listen to that bass line. This is a song I first heard done by Chuck Berry on a cassette I had when I was a kid, and loved it immediately. Then I heard several recordings of the Grateful Dead covering it. But the version on this compilation might be the best I’ve heard. It features more excellent work on harmonica, plus some cool stuff on guitar and a passionate vocal performance.

It is on “Messin’ With The Kid” that the band really cuts loose and has some fun. Check out that vocal performance. This song has a catchy rhythm, one to get you sharking and grooving. And yes, there is another good lead on harmonica. They then slow things down with “Vietcong Blues.” This is one of many blues songs that open with a variation of the line “I woke up this morning,” in this case “I woke up early this morning.” Interestingly, later in the song he sings, “You wake up early in the morning, baby,” the song shifting to another person who is struggling. “You might not have no respect for your country, darling/But that’s why, that’s why I’m singing these blues.” This track features some excellent work on guitar, which should come as no surprise. After all, it is Buddy Guy. “How would you feel if it was your brother over there, huh? /How would you feel?” The final track from The Junior Wells Chicago Blues Band is “All Night Song,” which has a familiar blues rhythm and features some fantastic and fun work on guitar. “Lord, you just don’t know how good, baby, just how good you make me feel.”

The first side concludes with two tracks from J.B. Hutto And His Hawks. The first is “Going Ahead,” and immediately that guitar takes charge, sounding so good. J.B. Hutto And His Hawks are made up of J.B. Hutto on guitar and vocals, Herman Hassell on bass, and Frank Kirkland on drums. “Down on my knees I beg/Baby, I want you to help me if you please.” It is interesting that in several of these songs the singer is seeking help. This side opened with a call for help, and it likewise ends with one, “Please Help.” This song moves at a good clip, immediately giving us the sense of motion, of a train or car. So the opening line comes as a surprise: “Well, I couldn’t do nothing but stand on that road and cry.” This track is a whole lot of fun. At one point, J.B. Hutto repeatedly calls out “Help.” Oh yes, we could all use some help.

Side Two

The second side of the record continues with three more tracks from J.B. Hutto And His Hawks, starting with “Too Much Alcohol,” a totally enjoyable tune. I love how earnest he is about trying to just get himself a drink. Also, this is one of those blues numbers where the singer calls himself out by name: “My baby said, hey J.B., J.B. you ain’t no good at all.” That’s followed by “Married Woman Blues,” a slower gem with a powerful vocal performance. You can hear the pain and angst as he sings, “Yeah, you ask me how I feel, baby/How would you feel when you just lost your girl/Yes, she’s a married woman/But she’s the only thing I ever loved in this world,” lines near the beginning of the song. The guitar work on this track is phenomenal. What is interesting and great is that it does not overpower the vocals, the lyrics remaining the focus. The final of the J.B. Hutto tracks is “That’s The Truth,” a tune with a lot more movement to it. I dig that rhythm. This is blues that makes you feel good, and that’s the truth.

Then we get into the Otis Spann’s South Side Piano tracks. Otis Spann was the pianist in Muddy Waters’ band, and here he is backed only by S.P. Leary on drums. Leary played drums in Muddy Waters’ band. The first of Otis Spann’s tracks is “Marie,” an instrumental number that is great fun. It feels like a blues party, one you want to take from the clubs and bar rooms out into the streets until the whole world is grooving. I still think music has the power to put an end to violence and hatred. He then slows this down with “Burning Fire,” a sexy and delicious love song. Check out these lines: “I’d walk through a blaze of fire, baby/If I’d known you was on the other side/Just to put my arms around you/Baby, to keep my love alive.” This track features some fantastic stuff on piano. Does he cough at one point? Well, that works, you know, if he walked through fire and smoke. This song ends with him waiting for his love to call him. It is an incredibly cool track.

“S.P Blues” is another cool tune, this one an instrumental featuring some great stuff on drums. This one has a kind of playful mood. That’s followed by “Sometime I Wonder,” another slower blues gem, with some delicious work on piano. This music is just so good, the perfect thing to help lift my own personal blues while I have been isolated with COVID. “If I don’t go crazy, baby/Little girl, I’m gonna lose my mind/I’m in love with you, woman/Keep me bothered all the time.” The album concludes with a completely fun instrumental tune titled “Spann’s Stomp,” just the thing to help us all shake our remaining cares away.

Record Track List

Side One

1. A Tribute To Sonny Boy Williamson
2. It Hurts Me Too
3. Messin’ With The Kid
4. Vietcong Blues
5. All Night Long
6. Going Ahead
7. Please Help

Side Two

1. Too Much Alcohol
2. Married Woman Blues
3. That’s The Truth
4. Marie
5. Burning Fire
6. S.P. Blues
7. Sometime I Wonder
8. Spann’s Stomp

This special vinyl re-issue of Chicago/The Blues/Today! Vol. 1 is scheduled to be released on September 16, 2022 through Craft Recordings. My copy is on black vinyl, but I see that on the Craft Recordings website an olive vinyl rendition is also available.

Brief Notes On New Jazz Releases

I wonder why people like Marjorie Peach Tree Dish Greene even exist. I asked her that very question a couple of times via social media, but she has yet to respond. Some people seem to be here just to make life more difficult for everyone else. What a horrible and pointless way to spend one’s brief and fleeting time on Earth. Fortunately, there are musicians to counteract that kind of destructive energy, to remind us of our better natures and of what can be accomplished when we reach out to each other. Here are some brief notes on a few new jazz releases you might be interested in.

Henry Godfrey Jazz Orchestra: “Attitude & Gratitude” – Henry Godfrey is a drummer and composer. The second release from Henry Godfrey Jazz Orchestra contains all original compositions. The album opens with “For McCoy,” which is a tribute to pianist McCoy Tyner (and not to Doctor Leonard McCoy, which is where my brain initially went). This track is dramatic and exciting at times, other times settling into a cool place, and features some excellent work by Rowan Barcha on piano, and by Pritesh Walia on guitar. And of course there is plenty of great stuff on drums. There is something cinematic about the style and presentation. That’s followed by “Mad Max,” which begins with the good groove. With that title, I was expecting something perhaps frantic, with an ominous edge, but this track is a lot of fun, with some great funky energy. Nicholas Suchecki offers some delicious work on baritone saxophone. And then check out Eli Block’s cool work on trumpet. It is easy to get completely caught up in the vibrant power and joy of this track. And before the end, there is even a drum solo. So, yes, this is one of my favorite tracks. Henry Godfrey Jazz Orchestra changes gears with “Forgetting What Will Never Be,” which has a more contemplative air as it begins, and develops a nostalgic vibe. This one clearly has its own tale to tell, and takes us on an interesting journey. That’s followed by “Hot Water,” and almost immediately there is the sense of something building here, getting ready to explode. There is a certain excitement, expressed mainly by the brass section. The album then concludes with “We’ll Get There,” as hopeful a title as any I’ve seen lately (assuming “there” isn’t Florida or Texas or Kentucky). I think many of us have been repeating this to each other and ourselves over the course of the last few years. That we’ll get through this pandemic, that we’ll through this crisis to our democracy, that we’ll all get back on course somehow. And it is music that still makes me believe it (even as I am stuck at home with COVID). And this track does feel like a path forward. Plus, I love that drum solo. This album is scheduled to be released on September 23, 2022.

The Jazz Professors: “Blues And Cubes” – On this album, the group is inspired by the work of Pablo Picasso, particularly during his blue period, as the title suggests. This release contains mostly original material, and opens with “Blue Lamp,” which was composed by saxophonist Jeff Rupert (Rupert also contributes the disc’s liner notes, by the way). The piece has an easygoing vibe as it begins, featuring some nice work on tenor saxophone. Dan Miller’s trumpet then takes the track in a slightly different direction, and the rhythm is developed more. I really like Marty Morell’s work on drums here. This track also features a wonderful lead by Per Danielsson on piano. That’s followed by “Dora Maar,” which was composed by Danielsson. Dora Maar was a photographer who was depicted in several of Picasso’s paintings. There is a strong sense of movement as this track begins, in large part because of that cool rhythm, the way the piano is part of that force. And the saxophone takes off over that rhythm. There is a good deal of joy in the playing. And in the second half of the track, there is a good bass solo from Richard Drexler.  “Les Demoiselles d’Avignon,” a piece composed by Jeff Rupert, takes its name from a 1907 Picasso painting which shows five nude women, who seem to me to be leaning against a large upright mirror, perhaps even emerging from it in great flat shards. This track too seems propelled by its rhythm, and there is a certain excitement. I love the way that lead on piano flies. In the second half, guitarist Bobby Koelble delivers an excellent lead that likewise cooks and dances. His guitar lead in the next tune, “Blue Steel,” is a major part of that track’s appeal. That is followed by the album’s first cover, a seriously enjoyable and exciting rendition of Charlie Parker’s “Segment.” Talk about movement, this one races along like a determined beast. I especially love Jeff Rupert’s work on saxophone here. Things then turn more romantic with “View Of Heaven,” composed by Per Danielsson. Then the group’s cover of “Promenade aux Champs- Élysées,” written by Sydney Bechet, is absolutely delightful, with that great French flavor. I have not visited Paris, but I imagine it is exactly like this music (don’t disappoint me, Paris). That’s followed by “Promenade In Blue,” a track that is several shades of cool, the tone set immediately by Jeff Rupert, who also composed this piece. Richard Drexler contributes “Picasso’s Blue Lobster,” another incredibly cool track that draws you in and maintains its hold on you. As you might guess, it features a good lead on bass. The album concludes with “The Iberian,” a lively track written by Jeff Rupert, who plays alto sax on it. This album was released on August 5, 2022.

Doug MacDonald: “I’ll See You In My Dreams” – For someone as prolific as guitarist Doug MacDonald is, for him to also be consistently releasing excellent albums is remarkable. It seems like a mediocre one should have sneaked in by now. But no. And his new release is in fact one of his best. From the moment the title track begins, there is a delicious joy to the playing that seems capable of brightening the day of the saddest among us. On this album, MacDonald is joined by Tamir Hendelman on piano, John Clayton on bass, and Jeff Hamilton on drums, and each of them shines on that opening track. They then slow things down with a rather warm rendition of “I Got It Bad (And That Ain’t Good).” This track will make you feel good too, but of a different sort, giving you a more relaxed, peaceful feeling. Doug MacDonald delivers a wonderful and unusual rendition of “My Ship” that begins with drums, announcing this version will have a good energy and faster tempo. Approximately halfway through, I realize how much I am loving the groove of this track. Such great stuff on drums, and that helps this become one of my personal favorites. This disc also includes a nice rendition of “Easy To Love” that contains a wonderful section of bass and drums interacting. Then “‘Tis Autumn” contains some beautiful and passionate work on both guitar and piano. In additions to standards, there are two original compositions written by Doug MacDonald. The first is “New Mark,” which begins with a delicious blues groove that immediately has me tapping my toes and smiling. Interestingly, it suddenly changes gears after a minute or so, moving into a different but equally enjoyable direction. And soon it goes into a delightful rhythm and blues place, featuring some excellent work on guitar. This track is full of movement and surprises, and everything about it works perfectly. And it ends back in the blues, with a short guitar solo. The second, “More Yesterdays Than Tomorrows,” is a sweet waltz, and perhaps fittingly is the shortest track on the album (the CD case erroneously lists the final track as being shorter). Hey, who doesn’t have the brevity of existence on his or mind these days? The album then concludes with a breezy version of “Will You Still Be Mine” that features some great work from all four musicians, and includes a short drum solo. This album was released on August 30, 2022.

Ana Nelson: “Bridges” – This album is Ana Nelson’s debut full-length release as band leader, and it includes all original material.  Ana Nelson plays both alto saxophone and clarinet on this album. She is joined by Jamaal Baptiste on piano, Brendan Keller-Tuberg on bass, and Carter Pearson on drums, as well as by some special guests on a few tracks. The album opens with a track titled “Wanderlust,” which has a gentle, easygoing, yet playful opening, like someone who is thinking of taking a journey. And then the saxophone takes us on that journey, gathering energy and excitement as it goes. And when a rest is required, the piano takes up the story. Ana Nelson switches to clarinet for “Waltz,” a mellower, more serious-sounding number. I particularly like the work on drums here, giving the sense of something brewing within. Ana Nelson moves back to alto saxophone for “LCB,” and is joined by Garrett Fasig on tenor saxophone. When it begins, there is a contemplative and comfortable air about it. Then it starts to take off in a playful way, like a spirit beginning a dance. The piano picks up on this vibe, on this dance. On “Blue Flower,” one of the album’s most beautiful pieces, Ana Nelson is joined by a string quartet. Marina Alba López and Jodi Dunn are on violin, Alice Ford in on viola, and Kevin Flynn is on cello. The mood changes for “NelBap Choro,” a light and joyous number, on which Ana Nelson plays clarinet. On this delightful track, Ana Nelson is joined by just Jamaal Baptiste on piano. Both musicians seem to be dancing with their instruments, and calling us to join in the feeling of joy. Ana Nelson also pays clarinet on “Let The Light In,” where she is joined by the string quartet again. This time, it is just Nelson and the quartet, so this track has quite a different sound and vibe from “Blue Flower.” There is a sweet and peaceful beauty to this piece. The album concludes with “Fruit Of The Groove,” a lively and fun tune featuring some great work on piano. Here she is also joined by Bill Nelson (her father) on tenor saxophone, Jeremy Allen on bass, and Steve Houghton on drums. This album is scheduled to be released on September 2, 2022.

Dave Slonaker Big Band: “Convergency” – The new release from Dave Slonaker Big Band features original material, with all but one of its tracks composed by Dave Slonaker. It opens with its title track, which grabs our attention immediately with that first section, which seems to be issuing a warning of sorts, or a calling, a summoning. And soon the tune is off and running, building from those initial moments, and featuring a nice lead by Clay Jenkins on trumpet and a groovy bass line by Edwin Livingston. Interestingly, in the second half there is a sudden break in the action, and then Ed Czach leads things into a different direction for a moment, again aided by that bass. That’s followed by “Uncommonly Ground,” the title a playful reference to coffee. This one eases in, and features a somewhat mellow, but wonderful lead on guitar Larry Koonse. Then “Duelity” swings and moves right from its opening moments, with that delicious rhythm. Peter Erskine is on drums, by the way. Yeah, a seriously talented group of musicians was gathered for this release. That’s followed by “A Gathering Circle” which begins slowly, then, seemingly when all the pieces are ready, develops a good groove, and that’s when the communication can begin. This track features some excellent guitar work by Larry Koonse. But perhaps the album’s best track is “A Curve In The Road,” which is catchy and exciting, and breathes and dances. It features cool leads by Clay Jenkins on trumpet, Tom Leur on tenor saxophone, and Brian Scanlon on alto saxophone, as well as more delicious work on both bass and drums. Everything about this track seems to move just right. Another of the disc’s highlights for me is “Sometimes A Notion” (the title of course reminding me of a certain Ken Kesey novel, as well as the line from “Goodnight, Irene”). This one features some nice work by Alex Iles on trombone and by Rob Lockart on tenor saxophone. We then enter a more contemplative, space with “Vanishing Point,” which is at times pensive, at times more whimsical, and is yet another of the highlights. I love Bob Sheppard’s work on soprano sax here, as well as the interesting work from the rhythm section. The album concludes with its only cover, “I Had The Craziest Dream,” which was written by Harry Warren and Mack Gordon. This album was released on August 19, 2022.