New Releases From Eden Brent and Joe Louis Walker

By Silver Michaels

The Blues Music Awards have been embraced by the blues music community, artists and fans alike, as "our Grammys," and rightfully so. All you have to do as a fan is attend one of the ceremonies to see exactly how much a nomination and (of course) a win means to the artists involved. My reviews this time around focus on two "reigning champions;" Eden Brent took home this year's "Pinetop Perkins Piano Player of the Year" award, and Joe Louis Walker was honored with this year's "Blues Album of the Year" nod. These are two excellent follow-up discs, worthy of the status of either artist.

Eden Brent

Ain't Got No Troubles

Yellow Dog

No sense even hinting or beating around the bush here... plain and simple, "Ain't Got No Troubles" is on my short list of the very best blues releases of 2010. Recorded in New Orleans, this disc is chock full of heart, heartbreak, cautious optimism, deep blues, serious funk and soul and writing and playing that cement Eden Brent's status as among the elite of the blues world. Brent's playing is every bit as good as you'd expect from the reigning Pinetop Perkins Piano Player of the Year, her vocal work just keeps getting better and her songwriting (eight of the album's twelve tracks are originals) is just about off the charts here. Even the graphic presentation adds to the album's effectiveness; the superb cover photo shows Brent caught somewhere between longing and reminiscence, one of those photos so good that you find yourself thinking, "I wish I had taken that shot." It's just one of many excellent photos presented; kudos to photographer Julia Bailey.

With the opening track Someone To Love, it's obvious right from the start that this was recorded in New Orleans. The sound and feel are pure Big Easy, and Brent's voice wraps itself around a lyric that's part pleading, part matter-of-fact; "If you can't commit I will understand / I will find myself another man."

The album's title track is an absolute gem, not just within the context of this album but within the realm of contemporary piano blues. The vocal is deceptively light-hearted and playful; essentially, she sings that, since she has no job, no man, no social status and even no real plans... well, then, she's got no troubles at all! The melody is immediately infectious, the production carries the New Orleans theme of the album with light horn and funky touches and Brent's playing and vocals are an absolute joy. I won't be surprised if this track garners a "song of the year" nomination at the next BMAs.

Blues All Over is a nice midtempo piano-and-vocal blues, lamenting some of the problems to be found in a romantic relationship. Her man is sorely missed; he didn't come home again; he's passed out on the bed and cannot hold her tight... this one could have come off as trite and shopworn, but the smokey vocal treatment nicely compliments some well written lyrics and keeps this well out of the realm of the ordinary.

She follows with a couple of covers; Later Than You Think (written by producer Colin Linden) and Delbert McClinton's Right To Be Wrong are embraced as though they were Brent's own material. When interpreting the material of another writer, performance is of course the benchmark, and these tracks both shine in that regard.

Leave Me Alone is a fine slow, aching blues. Brent's voice is tailor-made for lines like "I can't remember the last time you smiled / We haven't made love in such a long, long while / If it's over, we better move on / But when you leave me, leave me alone." Some sweet and subtle horn flourishes add a lot to the overall feel of the track and again, the vocal work here ranks among the finest of Brent's young career. Let's Boogie-Woogie is pretty straightforward; while this could have easily fit on her last album, the feel is still gently New Orleans and it fits well here. No doubt this one will be a concert fave.

My Man is the most upbeat track on the release, both in sound and attitude. Here, Brent shows that she's equally as skilled at singing the praises of a good relationship as she is at singing the blues. You can hear the excitement and joy in her voice, and the lyrics are enough to make an even-tempered woman smile or a sad woman jealous. Beyond My Broken Dreams is another cover (written by Carol Ann Brown Jones); it's a moderately slow blues with very touching lyrics and yet another heartfelt vocal, another strong candidate for "best of show" on this release.

If I Can't is very much in keeping with the spirit of the title track; it's a little whimsical, but under the surface, one can't help but wonder if Eden is singing about the goodness or the sadness of the chronicled relationship. The song is full of clever lines like "if I can't kiss you, honey, don't want to keep these idle lips," or my favorite, "if I can't hold you, lover, I'll have to give my arms away." This one is unusual on the album in that it's strictly an acoustic guitar blues; the focus, then, is more on Brent's vocal, which is easy and convincing. The track ends with a sweet little laugh, and it lends a lot of feel to the overall effect.

In Love With Your Wallet is as New Orleans as it gets. Brent's piano has that rollicking roll to it, the backing musicians lend the necessary dose of funk, and I haven't yet decided whether I like Brent's singing or playing better on this track. After the title track runs its course on the radio, this would be my next choice for a radio friendly pick; "she's in love with you wallet, not your personality" is the type of line that can easily catch the ear of the world and hit "endless repeat" status.

Brent closes the disc with Will Kimbrough's Goodnight Moon and she knocks it out of the park. The piano lends a tender, soft accompaniment to Brent's convincing vocal. In keeping with much of the album, the theme is one of longing for love that passed, and the arrangement (hinting at a funereal sounding sadness) is quietly perfect here.

We already knew (and have known for a long time by now) that Eden Brent was a good pianist and singer; with "Ain't Got No Troubles," she makes the transition to great artist.

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A little hint of things to come... I had the pleasure and honor of interviewing Eden recently. She's every bit as fun and emotional and whimsical and sweet as you'd expect her to be. Be watching this space for an article based on that interview soon!

Joe Louis Walker's Blues Conspiracy

Live On The Legendary Rhythm & Blues Cruise

Stony Plain

The title of this one pretty much says it all... it's the already legendary Joe Louis Walker, it's a live album, and it was recorded over two nights on the January, 2010 Blues Cruise. The Cruises have become something of a landmark event for many blues fans, and why not? A healthy batch of superb blues musicians and a whole bunch of rabid blues fans all stuck on a boat together with nothing more to do than party and share blues music... what's not to like?

Being a live album, you don't really judge this release on the material presented; most of these tracks have either appeared on earlier Walker releases or are bonafide blues staples, the sort of tunes you pretty much expect to find in any blues repertoire. What you look for in a live release, then, is the excitement and memorability of the performances captured. Walker has been doing this for a long time, but gratefully, he never sounds bored on this release. Part of that is due to the excellent band he travels with; Walker, of course, on guitar, slide guitar and vocals, Linwood Taylor on guitar, Kevin Burton on piano and organ, Henry Oden on bass and Jeff Minnieweather on drums. The other (and probably primary) reason this one doesn't sound like a rehash of past successes is the parade of guest musicians who contribute to the recording. Once again - it's a bunch of great musicians stuck on a boat with nothing to do but play music, and Walker takes full advantage of the situation and his own status to gift us with some solid combinations.

Among the album's highlights - Johnny WInter guests on Ain't That Cold, and as you'd easily expect, the chemistry and riffing are all first class. Curtis Salgado and Mike Finigan add guest vocals to You're Gonna Make Me Cry, and the result is a prime example of how well three excellent, soulful singers can work together. Eyes Like A Cat features appearances from Tommy Castro on guitar and Deanna Bogart on tenor sax, and the track provides us with some of the best interplay on the entire release. Duke Robillard and Todd Sharpville both add guitars on Tell Me Why, and it's very easy to tell that there's a lot of history between these folks; the music flows with easy and comfortable precision. The disc closes with 747, featuring Tab Benoit and Mitch Woods and it's truly a killer closing track. Contributions are also heard from the likes of Kenny Neal, Watermelon Slim, Kirk Fletcher, Nick Moss, and Jason Ricci, among others; you'd be hard-pressed to fin a more all-star cast than that assembled here. Nice to have friends, huh?

"Live On The Legendary Rhythm & Blues Cruise" is a nifty little chronicle of what sounds like a real good time. Besides the music being well-performed, the mix and sound are both very good. This probably won't go down as one of the benchmarks of Walker's illustrious career, but at the very least, it's a helluva lot of fun.

Reba Russell: Soulful, Successful and Fiercely Independent by Silver Michaels

In a career that has now spanned more than 25 years, Reba Russell has established herself as a perennial favorite in Memphis and well beyond. She's done it "the old fashioned way," combining her gifts as a vocalist with soul and style, recording and releasing albums of superb quality, and adding the sheer force of will that comes with believing in herself and having both the courage and talent to back up her convictions.

The current release from The Reba Russell Band, "8," not only carries on in her tradition of quality music but shows Russell is still willing and anxious to explore variations in style and form. She's assembled a near "dream band" of musicians - Russell on lead and all backing vocals, Robert "Nighthawk" Tooms on keyboards and harp (and yes, it's the same Nighthawk who so ably contributes to American Blues News), husband Wayne Russell on bass, Doug McMinn on drums and percussion, and rapidly rising star Josh Roberts on all guitars. In a business known for volatility, Russell's current band is not only stunningly talented, but also stunningly stable. The lineup has remained virtually the same for the band's last three releases (including "Bleeding Heart" from 2008 and "Brokedown But Not Out" from 2006), the only exception being drummer McMinn, who joined right after the release of "Brokedown." Adding to the theme of continuity, Russell's longtime friend and business partner Dawn Hopkins engineered, mixed and co-produced the album; Hopkins has worked with the band on all eight of their releases and "as far as I'm concerned, is the best recording engineer within a thousand miles of here," says Russell.

The cohesion has paid huge dividends on this album - "8" sounds and feels like an album recorded by great musicians who not only enjoy working with one another but also know each other so well that they truly become a single unit within the music. This has the added advantage of allowing the band to push their own boundaries in regards to style and presentation. The album's opener, Almost A Memory, is a bit of a departure for Russell and company; it's a light, jazzy number with a real swing to it. Once this one gets into your head, it won't be leaving for a good long time. While absolute blues purists might take umbrage to this being the lead track, Russell's skilled vocal makes this an outstanding choice for a single that has serious hit potential to these ears. About half of the disc is comprised of emotional, slow ballads full of the gritty vocals Russell has become known for, songs where her soulfulness and depth truly shine. Of these, I'd have to pick Soul Wreckin' Saturday as a personal favorite, not only for the gut wrenching emotion, but for the excellent interplay between guitarist Roberts' earthy Delta tones and Nighthawk's keyboard and harp accents. There's a few well-crafted midtempo pieces, most notably Waters Only Water, which features very tasteful and melodic guitar lines that give the track a nice, contemporary feel to compliment a relaxed vocal. Good Woman's Gone is a fine uptempo number that has "concert favorite" written all over it ("I hope I ain't gonna wait too long / To get that good man when his good woman's gone").

Perhaps the most poignant pieces on the disc are two songs and a spoken word disclaimer that pay tribute to Jim Dickinson, an absolute Memphis legend much beloved by the music community. Dickinson passed during the recording of this album; says Russell, "I've got a couple of songs on this one where I'm giving a nod to my friend and guru, Jim Dickinson. Those two songs mean a lot to me." In keeping with the diversity of the album, the two songs span a wide range of emotions; Asshole, another absolute concert favorite, is a matter-of-fact, straightforward declaration that's none too complimentary, and Hitler Lives (prefaced by Dickinson's spoken disclaimer in regards to the song's subject matter) is a somber and intense reminder to us all that "Hitler lives when you hate your fellow man / Hitler lives if you forget all the heroes that have died..." It's a classic performance from Russell, showcasing not only her vocal talent but also giving a glimpse of the strong moral convictions she holds to.

Conversation with Reba Russell is a real joy. As you might well expect from the latest disc, she's an artist of great depth with a wide range of emotion. She's fiery, passionate, self-confident and a very loving fan of her own band and blues music in general. Reflecting about the recording of "8," she begins with, "Well, I liked it when we cut it and I still feel like it's pretty good. We're getting some airplay, so that's a good sign. I have a love affair with all my records... I like 'em all for different reasons. On this record, we cut it as live as we could... we did very few overdubs. The tracks basically went down like you hear them on the record. Just the fact that the band is so in sync with each other and with what we're doing and the direction that we're going in all made recording this album a beautiful thing. It was much easier all the way around."

Much of that ease, as mentioned, comes from the stability of the organization. "The core of the band has been together for a long time," says Russell. "Dawn Hopkins and I have been business partners since 1994 and this is the eighth record we've done together, so she and I pretty much have it down how we like to do things. Wayne and Robert are well aware of that... but I think this time Doug and Josh were way more comfortable because they had done a record like this a couple of times by now. By the time we got to the studio for this one, everybody was real comfortable. Josh has been with us full time for about six years, and Doug has had a chance to become assimilated during the last two records. At this point, it's one of the best bands I've ever had in my career." Reba gives a laugh (she laughs easily and frequently) and adds, "Hopefully we'll be able to maintain it and stay together for a while!"

Further reflecting upon the making of the album, Russell comments, "It also speaks to the virtuosity of the talent in this band. Most of the overdubs come from the fact that Robert can't play two instruments at one time. We have to go back and put harp or piano or organ on top of what he already recorded, but Josh, Wayne and Doug's tracks went down virtually live in the studio, no punching things in and out or anything. We just didn't have to do any of that. When people listen to the songs, I think it's evident that it's not over produced. The beauty part of that is when we go out to play live, the record sounds like the band. Even though we did add horns in a few places and a fiddle on one song for a little seasoning, you're basically hearing the band as it sounds and as we're going to play live. That's really important to me."

The diversity of the album is no accident. After more than a quarter century of recording and performing, perhaps the most daunting challenge facing an artist is remaining interested in their own work. Not a problem here. "I don't make the same record over and over again," states Russell. "I try specifically to stay away from repeating styles over and over again. If you ask why, I'll tell you simply that I don't want to hear the same record done three times from the same artist. That has been part of the game plan every time we set out to make a new record. Now, we have been criticized for being 'all over the place.' We've had reviewers say that our records aren't cohesive or don't have a theme... but I don't pay attention to any of that conventional wisdom or formulaic crap. That's not a part of my psyche. We're gonna make a record every two years; that's just how it's been working out, and whatever has happened to us and whatever we've written in that two year time... well, that's what goes on the record! We don't sit around and study what we should be doing. We just offer up what we have. That's how we do things, and we've made eight records now, so we're doing something right. We do what we wanna do."

Doing what she wants to do is, for Reba Russell, an obvious example of art imitating life. In private conversation with her or in more public forums (Facebook, for example, or her own songwriting), Russell is completely unafraid to express her views, be it current events or observations on the music industry. She has a much-deserved reputation as an artist unafraid to buck the system, especially in the name of her own art. "Well, I do go against the system a lot because there's a lot about the system that I resent. I have been signed, and I have done things in the past for other producers and songwriters early in my musical career, and all it taught me was that it wasn't how I wanted to do it. When it starts to become about the business part, you just lose so much. When you start concentrating on the common meaning of the word 'success,' or the socially accepted meaning of the word 'success,' you lose so much of what is meaningful to you about the music, about the camaraderie within the band. For me, I am more successful than I could ever have dreamed. I have lived my life as a musician, I've got a roof over my head and food in the refrigerator, I can pay my bills most of the time and I can do what I want to do without answering to anybody else. To me, that's success. Of course, everybody would love to make more money. It's not like I don't wanna make money, but I will not kiss ass for people to do things for me when I know good and well I can do it for myself. That's how we've done things for the past fifteen years, and I don't have a whole lot of fear anymore about doing what we do, because it has been successful. I've had loads of criticism, especially in the last five years from heavyweights in the blues world who have told me time and time again that I need to get signed to a record company, I need management, I need an agent, I need a publicist... just all these things. I don't buy into any of that. I guess if you wanna win a Grammy or be all over the television set or you want fame, that's what you need to do. I'm not really interested in fame. I'm just interested in playing music. I don't want and don't need to be a celebrity, let's put it that way."

However, Reba already considers her own band to be well worth celebrity status. "Oh, yeah, I'm a huge fan of my own band," she declares emphatically. "How could I not be? They are so good. The whole thing is amazing to me. I can't wait to make another record with these guys. I can't wait to get back into the studio and do another one." Perhaps most notable is the attention being given to her guitarist, 22 year old sensation Josh Roberts. He's on a lot of "can't miss" lists for his astounding virtuosity, particularly when it comes to slide guitar. Roberts receives a lot of accolades wherever he plays, and one might wonder if this is a bother to Russell.

No worries there. "Absolutely not! Are you kidding me?" Russell seems genuinely surprised at the question. "I've had some of the greatest musicians in the history of Memphis play with me and in my bands. The list is enormous, but I have to tell you that the two people of whom I'm most proud are (previous guitarist) Joe Schicke and Josh Roberts. Both times, instead of going with something that was a sure thing, I was smart enough to take a chance on these two young guys, and I was right. I was RIGHT! I love the fact that I can say, 'I told you so!' The fact of the matter is I know talent when I see it. Joe was 17 or 18 when I hired him, and Josh was barely 17 when I hired him. I love it when my guys shine. I see Josh as someday being 'The Guy'. He's already 'The Guy' around here, but I mean around the whole world. I think the sky's the limit for him. Stuff like that inspires me to do better. So, not just no, but hell no, I would never take his spotlight away."

With what looks like another successful release under her belt and demand for concert performances remaining steady, what does the future hold for Reba Russell? Most likely, more of the same. This is a woman still very much in love with music and the musical community that surrounds her. "I love music," she says, "and the bottom line is that I love artists and musicians. Musicians are my family. There's always somebody who's going to inspire you, so when you close your eyes to all that and think of nothing but yourself, you just miss out on a lot of good things, especially when you buy into your own hype. You might find that you're leaving some things behind that are very precious. I've found out that songwriting and making records is what I love to do. I adore it, and my only goal is to keep making music."