Roy Gaines is getting his proper dues after 50 years in the business of the Blues. He amassed a reputation as a major domo axeman who backed up a “who’s who” of 50’s and 60’s soul and R&B legends, including Chuck Willis, Roy Milton, and Ray Charles, while restricting himself to the odd single on several obscure labels.

By the mid 90’s, the Texan-born Gaines finally got down to making his mark as a solo artist, introducing a new generation to his fire-and-brimstone axe work, with tasty touches of T-Bone to boot, thrown together with some of the nastiest vocals that can be imagined. It clicks with sonic clarity on ‘New Frontier Lover’: twelve gritty tracks piggybacked on “tough-as-nails”, no-nonsense lyrics.

“The World’s Biggest Lover” was co-authored with Audry Williams (Hank William Sr.’s wife and Roy’s ex-manager), but Roy transforms it into a smoldering tour-de-force. “Hind Ends and Elbows” is semi-autobiographical: a throbbing salt-of-the-earth remembrance of a time and place when a man’s worth was gauged by the number of bales of cotton he could tote. “Texas Millionaire” is a juicy steak drenched in Southern Soul, while “W.C. Handy Sang The Blues” has the earmarks of a Blues anthem.

There is total believability to Roy Gaines: a top shelf player who simply dubs himself as a “Bluesman For Life”. Well I’m a true believer.

ORDERING DETAILS:
www.severnrecords.com

THE RICK FINES TRIO: RILEY WANTS HIS LIFE BACK (INDEPENDENT)

---by Gary Tate

Rick Fines has long been one of Canada’s leading blues practitioners, but he decided to temporarily put aside his delta muse and focus attention on another inspirational source, namely the sophisticated blues trios that enjoyed their heyday back in the 40’s and 50’s. Countless fancy nightspots featured the polished stylings of acts such as Nat King Cole, Charles Brown, Ivory Joe Hunter, and even The Big Three Trio featuring Willie Dixon.

Rick has put together a trio which features himself on vocals and guitar, and also has Rob Phillips on piano, and Richard Simpkins on bass. Consisting entirely of originals, the tunes on ‘Riley Wants His Life Back’ perfectly suit the piano/bass/guitar format, while leaving plenty of spaces for swinging improvisational runs-all of which are taken full advantage of. Rick’s string work is an amalgam of T-Bone Walker, Lonnie Johnson, and Django Reinhardt, so soulful brevity, pure tone, and impeccable taste abound. There are just so many delight-inducing reminders of a time past when music was much more accessible, undoubtedly which gives ‘Riley Wants His Life Back’ so much of its wistful charm. There is never a hint of waste, clutter, or excess to found anywhere on ‘RWHLB’.

The title track is built around the “common man” theme, and I will guarantee that its melody will continue to swirl around your mind for weeks and weeks to come. This high standard continues on the ensuing menu items. “Let Me Please You” can’t possibly do otherwise---simply because bouncy Phillips piano and bopping Fines guitar take turns gently ricocheting off each other. Half-spoken vocals, full of mischievous wit and droll humour, put Fines into the same rarified company as the legendary Fats Waller. “Perfect Politician” is so deliciously bizarre and so off-the-wall that, it seems culled from the Musical Theatre. Who said political double-speak can’t ever be put to good use?

Some special guests drop by and add some neat ideas, including Peter Andree with spicy accordion on the happy-go-lucky Cajun-drenched “Just Had To Ask.” Chris Whiteley is brought on board for some duties as well, including some horn work (a little touch of Louis Armstrong never hurts), such as on “Just A Little Kiss”-perhaps the most nostalgia-inducing piece on the entire CD. It--along with “Can You Forgive Me” and “I Miss Her”-seemed indebted to the Hokum Blues and Music Hall traditions.

The pacing is impeccable, as one song virtually sets the table for the next. A radical departure, however, from the prevalent cheerfulness is the poignancy of “You Can’t Trust The River” where tranquil waters are a metaphor for some kind of irreversible loss. Rick’s vocals assume a brooding, almost somber feel, and the instrumentation adds to the mood with a throbbing bass line furiously offset by a curiously upbeat piano finale. This one will touch your soul at its deepest corners! “Got To Get My Rest” is the most guitar-friendly track, and at over five minutes the longest one too. But who’s counting time when you’re enjoying yourself so much?

The trio interacts with such unerring fluency throughout, and the ideas flow by so effortlessly, that the only time you’ll experience any sense of disappointment is when it’s all over. ‘RWHLB” is the perfect non-human late night companion, and, moreover one that won’t ever wear out its welcome. For those who dig jazzy blues at its very best, ‘RWHLB’ is an absolute must-have.

So here’s to Rick Fines, man of many interesting hats: teacher, writer, producer, and historian. But the coolest part of his wardrobe is the impeccably tailored suit he’s just woven: The one with the label reading ‘Riley Wants His Life Back’.

ORDERING DETAILS:
www.rickfines.com

RONNIE EARL & THE BROADCASTERS: NOW MY SOUL
(STONY PLAIN 1298)

---by Gary Tate

That guitarist Ronnie Earl has managed to cope with the emotional crises and physical ailments that have recently bedeviled him, without any discernible impact on his artistry, is cheering. His comeback started with ‘I Feel Like Goin’ On’, and continues on ‘Now My Soul’, signifying that the Ronnie Earl who released a series of groundbreaking all-instrumental jazzy/blues releases in the early nineties (‘Still River’, ‘Language of the Soul’, ‘Grateful Heart: Blues and Ballads’, etc.) is again fully engaged.

Passion and intensity, the hallmarks of Ronnie Earl’s sound, are abundant on ‘Now My Soul’. It stays on message with ‘I Feel Like Goin’ On’, although the latter, with one exception, was all-instrumentals, whereas ‘NMS’ is evenly apportioned between instrumentals and vocals. Earl’s re-emergence as a lyricist is noteworthy too: his writing always incorporated that “stick-to-your-soul” quality. It seems like just yesterday that pearls such as “After All”, featuring soulster Darrell Nulisch, or “A Soul That’s Been Abused” done with brooding intensity by Sam McLain, flowed from the pen of Mr. Earl. On ‘Abandoned’, it’s Kim Wilson who opens the floodgates of despair, with Ronnie’s always emotionally dripping guitar providing pinpoint accompaniment. Another revelation is ‘Feel Like Goin’ On’, ironically the title of Ronnie’s previous Stony Plain release, providing some binding linkage to that release. Whatever the case, Greg Piccolo performs a most admirable job vocally, and of course, his always-tasteful saxophone most welcome.

Earl’s musical vista is broad, while simultaneously mirroring his inner demons and path toward enlightenment. Not coincidentally, legends that have also dug deep within get honoured. Otis Rush remains one of Earl’s abiding mentors, much of his repertoire seemingly suspended by that thin razor edge separating normalcy and delusion. Kim Wilson pleads, coaxes, and testifies like a tormented soul on Rush’s ‘Double Trouble’, while Earl’s crying strings respond in kind. A blistering classic for the ages! “Black and White”, with its topical commentary, could have plunged the entire project into intensity overkill. Instead it’s a good-natured shuffler: proof that subtlety and understatement can often get across the point just as effectively.

On the instrumental side, there are many highlights, none as effective as ‘Kay My Dear’, a spiritually infused tribute to a colleague who touched Ronnie’s life. Built upon a simple cluster of notes, it’s a demonstrates how masterful Earl is at sculpting notes into numerous texture, shapes, and tones, thus achieving an understanding greater than mere words can convey. It’s not all about the endless struggle however, there’s also plenty of joyful vibes, including “#7”, a cascade of groove-alicious jamming featuring the new Broadcasters (Dave Limina: piano/organ, Jimmy Mouridian: bass, Lorne Entress: drums).

Positivity gets another boost on “My Buddy Buddy Friends”, a funk-heavy soul blaster served up by Kim Wilson. The Silver Leaf Gospel Singers are back too, testifying gloriously on “Walkin On the Sea”, while Ronnie’s guitar gently blesses the proceedings. “The Magic of Sam” is Ronnie’s stunning tribute to Magic Sam. Passionate, dynamic, and unforgettable! “Walter Through Kim” is a tribute to Walter Horton, and Wilson’s performance is soaring. The Charlie Parker of the blues harmonica!

Negativity or illness often form the platform upon which life-affirming accomplishments take root, but finding the proper medium for such expressive outlet is the key to awareness: The Blues, which favors instinct and release above technique and structure, meets that test. And Ronnie Earl is the artist who proves the point conclusively.

ORDERING DETAILS:
www.stonyplainrecords.com

BILL DOGGETT: WOW! (VERVE RECORDS 314 549 372-2)

--by Gary Tate

Recorded in 1964 on ABC-Paramount, ‘Wow!’ has recently been re-issued on Verve’s imprimatur, and it’s still considered the bluesiest opus from the legendary Bill Doggett Twenty-three years earlier, Doggett was anchoring the piano chair in Lucky Millinder’s band, which also happened to feature a young singer by the name of Sister Rosetta Tharpe. Following years would find Doggett recording, touring, or arranging for the Ink Spots, Eddie “Lockjaw” Davis, Willis Jackson, and Louis Jordan.

But it would be those spectacular early fifties sessions with Ella Fitzgerald that convinced Doggett to hit the road full-time and start recording under his own name. Still, nobody could have predicted the impact of that recording session of June 16, 1956. Honky Tonk--a 2-part single--would help usher in the Rock ‘n’ Roll era, along with such seminal recordings as “Rocket 88” and “Rock Around The Clock”. Saxophonist Clifford Scott (who had left the band just prior to ‘Wow!’) and guitarist Billy Butler laid down a series of such intoxicating grooves, that to this day, Honky Tonk’s phrases have been incorporated into the basic vocabulary of any respectable saxophonist or guitarist.

A brilliantly conceived and multi-varied work, ‘Wow!’ succeeds on many levels. Doggett was always closely attuned to changing musical winds (but not fickle public tastes), so while all the disparate elements that defined the classic Doggett sound are in evident abundance--that cool juxtaposition of the elegant and the gritty, the sophisticated and the primitive, the secular and the sacred---he was also drawing nourishment from the rising tide of gospel and soul. Doggett’s music is impossible to pigeonhole, although he aptly described ‘Wow!’ as being “down the middle between Jazz and Rock ‘n’ Roll.” And such tracks as “Fatso” and “Oo-da” prove conclusively that they could co-exist magnificently. There are also two cool re-workings of Doggett hits from the Honky Tonk era: “Ram-Bunk-Shush” and “Slow Walk”. But the rest of ‘Wow!’ is very much tuned into an equally adventurous future.

The exclamatory title track is as refreshing as a waterfall on a humid summer day, the result primarily of Doggett’s ebullient liquid organ tones. “Oo-da” is upbeat, but etched by more reflective shadings, and with Butler’s impeccable blues runs in full splendor; it hints that something sublime is near at hand. Ol’ Mose Blues is that realization, a soulful masterpiece, a gloriously searing exposition of the close linkage between Blues and Gospel, and a stunning eight-minute tour-de-force of the best in modern and traditional sounds. It struck such an immediate response with its lazy, drifting ambience and “way-down-south” groove. And it drew further sustenance from some downright righteous alto sax from Elvin Sheppard. “Mudcat” has a similar vibe, and serves as a reminder that Doggett, along with Wild Bill Davis, is generally considered the father of the organ and sax combo within a Jazz setting.

On “Happy Soul Time”, the hallelujahs mingle with happy-times sax and bouncy organ. “The Kicker” has a melody that is immediately identifiable, almost as if it was plunked out of thin air. Which says a whole lot about Doggett’s craftsmanship: while the parts therein may be intricate and detailed, the whole comes off sounding unforced, intriguing---and eminently accessible. If you’re looking for the definition of a tight and funky band, look no further than Bill Doggett. ‘Wow!’ should also satisfy the hunger pangs of any Jazz, Big Band, Rhythm ‘n’ Blues, or Blues fan, while simultaneously uncovering a crucial chapter of the Bill Doggett legacy.

ORDERING DETAILS:
www.vervemusicgroup.com

RAUNCHY:ERNIE FREEMAN & HIS COMBO
(ACE RECORDS OF ENGLAND 659)

--by Gary Tate

I’ve written many reviews over the years, but never one that required a preface. But I’ve come to the realization that this CD is currently missing in action-at least based upon my investigations. Issued on the Ace Records of England label, it now shows as deleted on its website, while Amazon lists it as an out-of-stock item. However, the decision to publish this review is in the public interest. Fundamentally, this is a slice of immaculate musical history by a band that would serve as the prototype for an entire generation of R&B combos. It goes without saying, that this CD is worth going that extra mile to get your hands on, whether that means cruising cyberspace like an eagle, or taking the old-fashioned route of attending memorabilia & collectors show, or by frequenting specialty shops that cater to audiophiles who crave hard-to-find releases. So here it is:

Ernie Freeman had a Top Ten hit in 1958 with “Raunchy” (other popular versions were by Bill Justis and Billy Vaughan). However, this was a minor component of Ernie Freeman’s impact on the musical legacy of the era encompassing the mid-fifties to late sixties. Freeman was involved with the Platters, Paul Anka, Johnny Otis, Johnny Burnette, Frank Sinatra, Dean Martin, Connie Francis, the Crickets, etc. Do you remember that 1961 hit “Nut Rocker” by B. Bumble & The Stingers? That’s Mr. Freeman masquerading as Mr. Bumble.

Freeman was regarded--along with Maxwell Davis--as the most in-demand studio presence on the West Coast, eventually signing up with Lew Chudd’s Imperial label. Freeman weaved his magic there: A&R maestro, arranger, and of course, studio musician---helping Imperial churn out a slew of chart topping hits (Ricky Nelson, Fats Domino, etc.). ‘Raunchy: Ernie Freeman & His Combo’ features all those delectable Imperial sides released under his own name, including a spiffy version of Domino’s “River Boat”. There’s also an impromptu studio jam: “Jiving Around Pts. 1&2” (some astute engineer kept the tape rolling) which reached #5 on the r&b charts

Everything clicks with bedazzling vibrancy! No surprise, given the absolutely superb components in Freeman’s all-star combo, including the likes of brilliant saxophonist Plas Johnson (he did the sax on “The Pink Panther Theme”), guitarist Irving Ashby (Nat King Cole, Oscar Peterson et al.), and Earl Palmer who’s universally acclaimed as the King of Rock ‘n’ Roll drummers. Freeman’s unit was second to none for pure listening excitement and groove generation, and that dynamic never takes a break (not even for a nano-second), creating a constant glow on all 25 tracks.

Back then, lots of artists were trying to forge an in-between sound, one that incorporated those boisterous rockin’ vibes geared toward the teenage crowd, while incongruously dampening the beat somewhat to appeal equally to the more affluent easy-listening folks. Virtually all such attempts were pitiable failures, and in retrospect, they seem such a terrible waste of vinyl. Ernie Freeman was the one exception to all that!

His supposedly lighter, romantic sides still retain their hypnotic spell fifty years later, so “Lost Dreams”, “After Sunset”, and “Night Sounds” have a haunting forever feel to them. Two reasons are paramount: Talent like this cannot be denied, and “Freeman/Ashby/Freeman/Johnson” ticked to their own inner clock, never forsaking that crucial rhythm ‘n’ bluesy spontaneity. Their sound was special and unforgettable.

Freeman also had a sixth sense when it came to capitalizing on material that went against the grain. “Indian Love Call” was getting big airplay (an especially cheesy version by a yodeling Slim Whitman was the culprit), so Freeman decided to wholly re-invent it in the form of a rhythm ‘n’ blues-style instrumental. He turned it into a groove excursion that became the group’s highest ranking pop chart release after “Raunchy”.

A stopover in Cleveland yielded another release that provided more evidence of this knack for finding inspiration on the weird and wacky side of the street. “Theme from Igor” was another instrumental that again was an instrumental re-working of a vocal, this time John Zacherle’s goofy novelty, “Dinner With Drac”. It was provided with a complete soul transplant, resulting in such an innately infectious hook fest that it’ll have you tickling that CD repeat button like a baby. It ranks as one the best rock ‘n’ instrumentals ever committed to wax, light years beyond Zacherle’s lame paean to Dracula. The B-side of the single, “Shape Up”, is equally intoxicating.

Other selections had titles that obviously catered to the adolescent market: “Walking The Beat”, “Swing It”, and “Junior Jive”. “School Room Rock”, “Dumplin’s”. They’ll take you wherever you want to go! There’s also a vaulting version of Bill Doggett’s “Leaps and Bounds”, while “Puddin”--the B-side of “Raunchy”---was just as strong, and deserved to be a big hit too.

Ashby, in particular, is supreme throughout. This cat could switch from Jazz to an R&B riff faster than a speeding bullet!. But I could also wax poetic about the vibrant bouncy organ and keyboard stylings of Freeman, total master of the ivories. I’m sure he had a huge influence on Dave “Baby” Cortez who had a No. 1 hit with “Happy Organ”. As for Plas Johnson, he was truly the Pied Piper of the R&B Saxophone. In a class unto himself!

All in all, this is an essential pearl in the nineteen-fifties musical necklace. Music this cool demands recognition---and utmost respect. It also ranks as some of the most tantalizingly delicious instrumentals from any era.

LEON REDBONE: ANY TIME (BLUE THUMB 314 549 704-2)

--by Gary Tate

Few artists summon up the ghosts of a kinder, gentler era as convincingly as Leon Redbone: a private and rather mysterious figure with a voice steeped in vintage bourbon. Relying on that laconic, nasal-edged baritone of his, Redbone culls a repertoire consisting mainly of standards associated with the Golden Age of Tin Pan Alley, from approximately 1912 until 1945. It was when melody reigned supreme, lyrics were tasteful and intelligent, and the favoured tempo was generally a waltz that would move into swing mode as legions of jazz players let their imaginations take flight.

Successfully translating such impeccable classics into a contemporary setting has foundered for a variety of reasons: pallid arrangements and rampant over-production being near the top of the list. Pop affectations and/or ersatz jazz simply do not mesh with material that is witty, elegant, and understated. Redbone’s nostalgic renderings, however, are true to the past, both in content and spirit. Adopting a sparse, minimalist approach, Redbone is a master of the “less-is-more” school, both in singing and playing. And he’s always surrounded himself with unimpeachable jazz players, who invariably lend thoughtful extensions to the rhythmic ideas inherent in so many of these chestnuts.

Blues and jazz buffs will find a lot to savour on Redbone’s latest Blue Thumb release, ‘Any Time’. It remains true to a blueprint that’s spawned ten splendid albums. On ‘Any Time’, the song titles themselves transport us back into the ethers of a bygone era (“Moonlight Bay”, “Sitting On Top Of The World”, “Sweet Lorraine”, the title track). It’s quite probable that Jelly Roll Morton, the founding father of New Orleans jazz, is Redbone’s ultimate inspiration, so two Morton compositions are featured. “If You Knew” and “Sweet Substitute” both feature a quartet which incorporates the luscious tones of clarinetist Bob Gordon and the fluid brilliant work of pianist Tom Roberts.

Personal highlights are three relatively unknown selections that resonate with brevity, passion, and beauty. “Louisiana Fairytale” is a dream-like fantasy ride that rolls down the Mississippi river where it meets up with the Magnolia state. It was actually written by Dizzy Gillespie and Mitchell Parrish in the nineteen-forties, but, within this context sounds like it could’ve been written a century earlier by Stephen Foster. Again, Gordon and Roberts craft a drifting trance-like mood, a perfect backdrop to Redbone’s “lazy-bones” summertime vocals.

Equally fascinating is “Blossoms on Broadway”, a Leo Robins number written for a Depression-era musical. The instruments (tuba, harmonica, clarinet, piano, guitar) are a strange mixture indeed, but this is no novelty, as they simultaneously weave a delicately bluesy spell. Notable is the tuba’s eerie contributions, an instrument normally associated with strident marches. But John Elliott’s admirably restrained playing had me joyously mistaking it for a violin.

It’s these delicious little surprises that afford ‘Any Time’ so much of its rootsy charm, but nothing accomplished that objective more resolutely than that “turn-of-the-prior-century” classic, “In The Shade Of The Old Apple Tree”. The use of fife-and-drums, a North Mississippi tradition that pre-dates the blues, yields a thrilling musical ride-part shuffle, part march. Leonard Pickett is a commanding presence on fife, and Giampaolo Biagi drums provide a haunting percussive undertow. Add in Redbone’s tasty guitar/banjo pickings, the gospel background humming provided by the Persuasions, and the impact is sweepingly majestic.

There are many, many other quality musicians that contributed to Any Time’s artistic success, such as Frank Vignola (guitar), Herb Gardner (trombone), Alan Gout (piano), and Jay Leonhart (bass). Leon Redbone and his mates are illustrative not merely of how the lessons of the past can be immaculately absorbed; but also how they can be synthesized in ways that shed new insights and light into a distant universe abounding with intense memories.

ORDERING DETAILS:
www.bluethumbrecords.com

JW-JONES BLUES BAND: MY KIND OF EVIL
(NORTHERNBLUES 0021)

--by Gary Tate

‘My Kind Of Evil’ is the kind of release that makes a career. The JW-Jones Blues Band has two prior efforts on NorthernBlues, but they were mere appetizers in preparation for this main course.

With years of performing behind him, JW-Jones has emerged as a mature 23-year old artist, a bandleader in full control and command. Any youthful tendencies to over-impress on guitar have been reined in. Compared to other prodigies, JW was always the epitome of taste, and now his guitar work is the essence of impeccability.

There’s a “devil-may-care” attitude surrounding every track on ‘MKOE, announcing a royal fine time’s in the offing. The opener, “Shake That Mess”, is vintage West Coast, an original “get-down-and-boogie” number featuring a super horn arrangement. JW’s voice has acquired some heft with the ripening benefits of age. Special guests Kim Wilson and Colin James, however, handle all four covers.

The curtain raiser also acts as a splendid introduction to that delightful stratocaster: Which is supremely nasty and exquisitely dirty-sounding, with tones as thick and layered as a 16-ounce “T-Bone Walker” steak. Yummy yummy! The finale, “Let’s Have A Ball”, is another super-charged up-tempo thrill ride, but with that lacquered axe providing a tantalizing side show. Between start and finish, however, there’s loads of fascinating stuff.

Like “Ain’t Gonna Lie”, an original that also features another bright light in the Blues Youth Movement: Ottawa compatriot, Roxanne Potvin. Reminiscent of the early Yardbirds, it’s quite “sixties-ish” in spirit. Whether it qualifies, as even blues-rock is debatable: It’s highly appealing, however, and that’s what counts. Any blues act that can mine that elusive crossover market (without sacrificing integrity) gets my commendation.

The title track could open lots of non-blues doors too, and I detect a Jimmie Vaughan-like tremolo effect here. Evil’s never sounded better! Another hard-to-classify track is the Excello classic: “You’ve Got Me (Where You Want Me)”. Sung by James, it alternates between a slinky Guitar Slim-like vibe and a turnaround into a Cajun rockabilly direction. “Cheating Woman” is another original, but it’s also a tribute to the legendary Otis Rush, and Jones pulls it off admirably, abetted by some fantastic Kim Wilson harp.

The three instrumentals are all brilliantly realized pieces: each one a highlight unto itself. “Code Blue” re-visits the glories of the Big Band era, gift-wrapped in that cool Fender Stratocaster. “Nothing On Me” has Stax written all over it, with constant parallels to Sam and Dave, the Mar-Keys, and Booker T. & The MGs. Funky to the max! But the piece de resistance is the deceptively-titled “Slow Down”: a rockin’ blues symphony, quite reminiscent of B.B. King’s all-instrumental album “Talk To Me Lucille’. It’s amazing how many blues guitar influences JW-Jones brings so convincingly to the table.

Kim Wilson (who also produced ‘MKOE’) foments a raucous celebration on Willie Mabon’s “I Don’t Know” and Fats Domino’s “Blue Monday”, demonstrating how a slight re-arrangement and some spontaneous letting loose can breathe new life into retreads. Stomp time! The only selection that doesn’t quite register is “You Can’t Fool Me”. Aside from this quibble, there’s not a false note heard anywhere on ‘MKOE’, including “Aching Pain”, a slow Chicago blues that brings it all home.

Colin James also contributes to the mirth quotient on a Johnny Otis number, “What You Do To Me”. James has reached a level of international success that Canadian blues acts only dream about. With any kind of justice, ‘My Kind Of Evil’ will make JW-Jones into a similar presence.

ORDERING DETAILS:
www.northernblues.com
www.jw-jones.com

NEW PRINCE OF THE BLUES CROWNED ON
KEY TO MY KINGDOM
ENRICO CRIVELLARO: ELECTRO-FI RECORDS (3379)

--by Gary Tate
.
Ever since guitarist Enrico Crivellaro garnered the attention of Ontario audiences--- usually while accompanying harmonica ace Dave Rotundo--his name’s been on the lips of “those-in-the-know”. Here was a superbly gifted virtuoso, diffident by nature, yet an awesomely commanding presence onstage. Crivellaro’s solo debut is on Toronto’s own Andrew Galloway’s Electro-Fi label (Fathead, Eddy B., Mel Brown, Snooky Pryor, Kenny “Blues Boss” Wayne, etc.)

‘Key To My Kingdom’ will be a revelation for those unfamiliar with Crivellaro. Many blues connoisseurs associate Crivellaro with Janiva Magness: He was the “gun-for-hire” on her superb 1999 Blues Leaf label release. This boyishly handsome Italian-born artist also cemented his reputation backing up James “Icepick” Harman. Recently, he’s been touring with soul guru Finis Tasby. Harman and Tasby handle the eight vocal tracks on ‘Key To My Kingdom’.

Lyrical content was a guiding factor on song selection, so celebrated soul composer and cutting-edge wordsmith Percy Mayfield had the inside track. Two Mayfield classics became obvious picks, and Crivellaro’s burning improvisations adorn Tasby’s dignified vocals. “Stand By” has a knockout arrangement by any standards and the result is total fulfillment, while “You’re In For a Big Surprise” is brimming with thoughtful horn riffs, a thundering organ solo by Bruce Katz, and a heavy Magic Sam-feel that Crivellaro and Company pull off expertly.

“Drinkin’ Cheap Champagne” features Icepick at his demented best, and Crivellaro layers it with such raucously bent guitar work that Harman must have been chortling in his beer. Few singers ride the groove more assuredly than Harman, just witness “Help Me Flip Another Flop”---a funky uptown blues that seduces the ears. It features guitarist Alex Schultz dishing up a thick-toned solo, heavily influenced by Bay Area axe legend Johnny Heartsman.

B.B.’s “Key To My Kingdom” is majestic, and Enrico and Finis give it the royal treatment. “Walkin’ and Walkin”-- the Little Milton reliable--is re-worked to haunting effect using a swampy guitar feel that would gladden the heart of Guitar Gable.

Crivellaro has a predilection for twisting the predictable into sounding fresh, as evidenced on Ramsey Lewis’ “The In Crowd”. Crank up the tempo, spin a Buddy Guy-guitar vibe, simmer with a modern r&b groove, add in Bruce Katz doing his best impression of Les McCann, and voila----a new instrumental delicacy.

No song rattled my cage more convincingly than “Rain Is A Bringdown”, a heartfelt Ruth Brown song that had slipped into undeserved obscurity. Finis does a magnificent version, while Crivellaro’s guitar digs deep into the crevices of the soul. A thunderbolt from the blue!

Crivellaro is more than another accomplished guitarist with a wide-ranging knowledge of the blues, jazz, and soul idioms at his fingertips. The edginess and intensity of the blues is often a dynamic counterpoint to the more relaxed vibe of the soul/jazz idioms, and this juxtaposition is especially apparent on the half-spoken soulful blues of “Makin’ Money”. Delight to the acerbic commentary of Finis Tasby, tagged by the hard-edged icy tones of Crivellaro’s slicing guitar work.

The cool soulful/jazz stylings of the sixties are sublimely re-created on the instrumental “Train to Venice”, a groove-alicious workout brimming with cascading keys, bossy horns, and especially Crivellaro’s funky guitar, which hearkens back to the heyday of the Meters.

‘Key To My Kingdom’ marks the coronation of a new Prince of the Blues. Enrico Crivellaro should have ranks of willing new subjects, with bountiful reasons to enter his musical castle.

Ordering Details:
www.electrofi.com

GREG DEMCHUK & THE DU-RITE ACES: DEAL ME IN
(BIG BOX RECORDS)

--by Gary Tate

Greg Demchuk’s name packs a lot of clout on the Canadian blues/bluesabilly scene. In a career spanning two decades, this retro-drenched guitarist has been an integral part of two highly acclaimed bands that’ve cheered many of us north of the 49th parallel. He established his initial rep as main string-bender for the Twisters, at the same time helping to define---along with Junior Watson, Kid Ramos, and Hollywood Fats---the distinctive style of the modern West Coast sound. Later, he became a key part of the recently disbanded, and fondly remembered, Rockin’ Highliners.

Currently based in B.C., Demchuk’s solo debut, ‘Deal Me In’, rocks the house with a relentless verve, while shuffling a cool array of styles, ranging from traditional rockabilly, to crunching reverb-drenched surf, to contemporary rock ‘n’ roll-cum-swing, to groove-heavy electric blues, and even a touch of Memphis soul. It all comes gift-wrapped with explosive energy and fun lovin’ excitement.

The first five tracks blast out of the starting gates with engines in full throttle mode. “Shake ‘em up Baby”, has a Brian Setzer vibe, so oodles of wailing saxes (courtesy of Jerry Cook and Johnny Ferreira) engage in playful combat with Demchuk’s thunderous guitar. “Matchbox” is next up, and Demchuk re-arranges the Carl Perkins’ chestnut in such an interesting manner, that you’ll be very pleasantly surprised-and delighted. T-Bone’s illustrious legacy permeates “Fairmont Stomp”, the first of four smoldering instrumentals.

“Lookin’ for Trouble” is an Eddie Taylor (Jimmy Reed’s guitarist) cover, Taylor being one of the most fluid and rhythmic players to ever come out of Chicago. Greg’s trouble is our good luck, as he celebrates and elaborates upon those classic guitar riffs with total proficiency. “Goldtop” is an instrumental tsunami; catapulted by Dick Dale-indebted feedback---and it’ll have you bouncing off the walls!

“Somebody new” shows off Demchuk’s harp work, while simultaneously re-enforcing his credentials as a top-notch blues man. “Mole Mambo” transports shut-ins to Rio for rumba boogie therapy, with Jimmy Roy (of Big Sandy & His Fly-Rite Boys) summoning his pedal steel to further dissolve our troubles away. If they still played good old-fashioned rock ‘n’ roll on the radio, then “Trucker from Tennessee” would be the obvious hit single. It throbs with non-stop momentum, a roadside feast of guitar and sax mayhem, especially on that 3-minute guitar fadeout that blows the lid wide open.

There’s tons of other great stuff, such as the sinister sinewy blues of “When my Love comes Down”, and a funky helping of southern soul stew on the mighty fine instrumental “Down Yonder”. “Kissing Fool” and “She’s Gone” are rocketing rockabilly bookends, akin to a revival of Johnny Burnette, Huelyn Duvall, and Jimmy Lloyd. Go Cat Go!

The sparkling piano/organ accompaniment from Graham Guest consistently enchants. Demchuk and Guest make a rhythmic pairing comparable to the legendary template of Chuck Berry and Johnnie Johnson, the one that set the standard fifty years back.

‘Deal Me In’ is loaded with aces, a musical deck of happy times playing cards. And it’ll keep you in a partying mood for a very long time to come.

ORDERING DETAILS:
Email to: duriteaces@yahoo.ca
Or via: www.pacificblues.com

JOHN HAMMOND: READY FOR LOVE (BACKPORCH RECORDS)

---by Gary Tate

Blues master John Hammond just keeps a-rolling along like a nourishing stream. ‘Ready For Love’ sprouts another solid branch onto that roots music tree, and finds Hammond backed up by the sturdy likes of such top-of-the-line rootsy musicians as David Hidalgo, keyboard guru Augie Meyers, drummer Steven Hodges, and bassist Marty Ballou. ‘Ready For Love’ might not always make the spine tingle, but it sure raises the spirits.

Producer and guitarist David Hidalgo’s contributions are central to the success of this project. The head of the legendary Los Lobos, Hidalgo’s imprint is singular, whether as arranger, writer, or instrumentalist (he also co-penned two very fine tunes on this CD).

Many selections have been thoroughly road-tested, whether on endless modern highways or off-the-beaten-track crossroads. Featured examples of such dashboard delights include: “Money Honey”, “Spider and the Fly”, and, particularly Willie Dixon’s exquisite “Same Thing”, which is given an especially dramatic and forceful reading by Hammond.

John Hammond has not only absorbed all the important lessons from Muddy Waters, Johnny Shines, Sonny and Brownie, and countless others, but he’s also plugged into songs that have an eternal quality to them. Included in this pantheon are three heartbreak ‘n’ hurtin’ tunes that have contributed to several tons of quarters being swallowed up by country and western jukeboxes over the decades, namely “Easy Loving” (originally done by Freddie Hart), and a couple George Jones’ classics, “Just One More” and “Color of The Blues”. Hammond hits those high, lonesome notes like a confirmed honky tonker--- almost as if he’s been doing it his entire life.


Hammond is an infrequent composer, but he’s knocked off a quality paean to the Ford Crown Victoria on “Slick Crown Vic, etched by a John Lee Hooker-like vibe and hearkening back to Chuck Berry car classics like “No Particular Place To Go” and “You Can’t Catch Me”. Tom Waits has cut a reputation as this era’s principal blues songwriter, although he’s seldom been cast as straight-up bluesman, and Hammond is quickly becoming Waits’ lead interpretative blues voice (check out). Two more Waits songs grace ‘Ready For Love’, and they are both superb, especially “Low Side of the Road”.

Imagine how Slim Harpo would have sounded had he hooked up with the Latin Playboys, and you’ll get a hint of the delights emanating from “No Chance”. Hidalgo’s other composition, “I Brought The Rain”, is a stripped-down beauty, that is different and hard to classify, yet quite fascinating! “Comes Love” was written in 1939 and was considered a commercial side at the time, but Hammond provides an object lesson in the art of convincingly translating this quality pop song into a simmering piece of blues.

‘Ready For Love’ is another eminent addition to the Hammond discography. It’s a very interesting blend of a lot of different styles that meld together into a coherent whole. And it also proves that John Hammond is a blues magician that can still pull out a lot of new rabbits from that venerable hat.

ORDERING DETAILS:
www.backporchrecords.com

DAVID JACOBS-STRAIN:'STUCK ON THE WAY BACK’
(NorthernBlues 012)

--by Gary Tate

Jacobs-Strain is another fine addition to Fred Litwin's NorthernBlues label--the Toronto-based roots and blues outfit that made its debut some three years ago. That he's eighteen fades to irrelevancy, once his adroitness on the strings and his emotionally charged vocals are heard. NorthernBlues has already recorded two of the best acoustic-oriented blues musicians in the world, Otis Taylor and Harry Manx, and has also released quality recordings by earlier generational artists like Johnny Jones and Archie Edwards.

'Stuck On The Way Back', Jacob-Strain's debut on NorthernBlues, was produced by bassist/keyboardist Kenny Passarelli, who also produced some of Otis Taylor's multi-award winning CDs. Recorded in Santa Fe, New Mexico, the sound is pure and natural---and about as inviting as a cool breeze floating across the Mojave Desert.

A little background is in order. Jacobs-Strain felt the calling at age nine, just after starting guitar lessons. By ten, he had heard hometown (Eugene, Oregon) blues legend, Walker T. Ryan. At a very gut-level those intense blues profoundly impacted this young man.

Jacobs-Strain's guitar work is highly percussive, giving each track a palpable sense of rhythm. But with "Linin' Track" (a traditional prison work song) there's an intensity similar to churning wheels of a locomotive.

"Wild Bill Jones" is an effective showcase on how slide guitar can effortlessly marry up with the human voice. Two classy instrumentals grace this CD as well: "Sidewalk Rag" features some of the nimblest finger-picking this side of the Clinch Mountains, while "Old Man Dancing" is a more thoughtful piece.

David's unafraid of a stretching out, even expanding the boundaries of the blues. One tack is the incorporation of African instruments (kora, mbira, cajon, and djhembe) on several tracks, such as "Black and Blue", and especially R.L. Burnside's "Poor Black Mattie". Meanwhile, one foot remains firmly in the modern world, contemporary themes being explored in two of his more forceful tunes, "Dark Horse Blues" and "River Was Green".

Respect for the past and a maturity way beyond his years, are hallmarks of this energetic and intelligent performer. With acoustic musicians it all boils down to one-on-one communication.

David explains his muse in the following quote: "I've always been attracted to the darker, more spiritual side of the blues. I play very little party blues". Of this CD he says: "It has some of the feel of an old blues album, but it's not a traditional album. It's not a repetition of the past just because it's acoustic." I concur.

ORDERING DETAILS:
www.northernblues.com

BRIAN GAUCI: GUITAR ROMP (INDEPENDENT)

--by Gary Tate

Opting for a “below-the-radar” profile, veteran guitarist Brian Gauci remains a largely unknown entity. Those invited into Brian’s private circle, with ‘Guitar Romp’, will soon gain an understanding of the gratification felt by his community of admirers at his long-running Saturday afternoon gig at Hartnett’s Pub in Toronto. His music appeals as much to the mind as to the heart, and testimonials to his passion, taste, and inventiveness are routine. Yet he’s concentrated the bulk of his spare time in composing and recording those ideas that’ve been bubbling in the back of his mind.

An all-instrumental outing, ‘Guitar Romp’ provides bounty for this perseverance, a fascinating showcase of one man’s variant musical moods, feelings, and insights. Utilizing a variety of six-stringed instruments, it maintains a fine balance between its slightly experimental feel and the accessibility derived from every track having an invitingly appealing melody. ‘Guitar Romp’ delightfully stretches those blues boundaries at every opportunity, with guitar influences too numerous to delineate, though seemingly tilted toward such soulful/jazz pioneers as Al Casey, Wayne Bennett, Irving Ashby, Clarence Holliman, Kenny Burrell, and Grant Green. And that’s great news!

“Memphis Groove” garners immediate attention, a throwback to the halcyon days of the Meters, and Booker T. and the MGs. Propelled by Gauci’s soulfully delicate phrasings, responded by Michael Fonfara’s brilliant B-3 flourishes, it delivers a groove that just can’t be topped. “That’s Cool” has a relaxed Kenny Burrell-like vibe, and could double as a therapeutic aid in any psychotherapist’s office. Another mind-expanding cut is “Space Garden”, Smokey Robinson-inspired droplets of dreamy slide guitar, beautifully counter-pointed by emotional harmonica from long-time partner-in-crime, Danny B. Continuing the soul parade is “Come Take My Hand”: an infusion of Ray Charles.

“Blues A La Francaise” is an acoustic homage to Charlie Christian. Its gaiety, sweetness, and buoyant mood are captivating. “One Shot Deal” was based on a Professor Longhair idea (per Brian), while yours truly was captivated by its old times country spirit, prompting an interesting perspective on how artist and listener often discern different things from the same piece of music.

The rumba line starts at the papaya hut on the Brazilian-tinged “Sunshine Coast”. Shake your hips to exquisite Gauci guitar, and shimmy to exotic rhythms circulated by drummer John Adames (of the Bebop Cowboys), Uli Bohnet (bass), and Eugene “The Wandering Minstrel” Smith (djembe). “Apples and Oranges” provides more optimism to brighten up your day. “Love Is Here To Stay” started out as a slice of Mississippi John Hurt, but Brian acknowledged that it soon evolved into something entirely different--albeit still entirely gorgeous to listen to.

Three of the thirteen tracks are unapologetically bluesy. “Dat Blu” dramatically alternates between brooding intensity and sensitive playfulness, as bloodlines from Robbie Robertson and Otis Rush course through its veins. “Black Cat Blues” ventures back to the Mississsippi delta, an intoxicatingly traditional potion of Robert Johnson and Blind Willie Johnson. “The Backstroke” is laid back and funky, and it’s intriguing how Gauci mixed the lead and rhythm guitars in such a transparently effortless manner. As for Pat Carey’s saxophone---it was more sweet icing on the cake.

Other important contributors to the cause include John Adames, Jim Casson, and Gord Montgomery (drums), Garth Vogan (bass), Martin Aucoin (piano), and Joe Allen (trumpet). A beguiling connoisseur of the guitar, Brian Gauci seamlessly extracts a sound rainbow from this most adaptable of instruments. Every track on ‘Guitar Romp’--including the Gatemouth Brown-influenced title track---crackles with spunk and charm, and depending on your particular mood, any one of them might become your listening post favourite. This is what we’ve come to expect from Brian Gauci: an unheralded but exceptional instrumental poet.

ORDERING DETAILS:
www.iridescentmusic.ca
www.generalcreative.com