Brian Setzer's Don't Mess With A Big Band, CD Review - by J. Blake

(New York, NY)

Brian Setzer has never been considered a “blues guitarist”, but as one of the most respected and revered players to ever pickup the instrument, he has always attacked the guitar with the passion and intensity of a bluesman and the virtuosity of a jazz player. His skill is arguably unparalleled in the world of “rock music” and he has done for both rockabilly and big band jazz, what the British players did for the blues in the 1960s.

His latest live release, The Brian Setzer Orchestra’s, aptly titled, DON’T MESS WITH A BIG BAND (2CD set) highlights many of the guitar-slinger’s biggest career hits and, as usual, some astounding musicianship. Disc 1 pulls almost entirely from his big band catalogue; with the exception of fun versions of the “Batman Theme” (for the 1960s ABC television series) and Eddie Cochran’s “Summertime Blues”. Definite highlights here include the always breathtaking “Sleepwalk” (from 1998’s THE DIRTY BOOGIE) and Setzer’s unconventional take on Nikolai Rimsky-Korsakov’s “Flight of the Bumblebee”; a guitar tour de force titled “Honey Man” from 2007’s WOLFGANG’S BIG NIGHT OUT.

Disc 2 finds Setzer looking back to his days with The Stray Cats, as he tackles the bulk of their biggest hits with more recent big band swing arrangements. Crowd pleasers like “Stray Cat Strut”, “Rumble in Brighton” and “Rock This Town” sound huge here, recorded live with the 18-piece orchestra. The disc closes with Setzer and company blowing the roof off of the joint with a booming big band encore of Stevie Ray Vaughan’s “The House Is Rockin’”.

DON’T MESS WITH A BIG BAND is a sizzling live of album from one of America’s greatest guitar heroes. Its only real noticeable flaw is that it doesn’t quite live up to the precedent set by The Brian Setzer Orchestra’s 2004 live effort, THE ULTIMATE COLLECTION.

It may not be “blues”, but with 19 tracks of pedal to the metal, “no-holds-barred” rockabilly/swing…is it really that far off?


If you enjoyed this article, you may also enjoy: Jimmy Vaughan Live in NYC

Thanks and keep reading American Blues News and also check out Media Wah Wah for more of this writer’s thoughts and opinions about Movies, Music, TV & More.

NYC blues fans, make sure you check out Al Green live at B.B. King's Blues Club and Grill on September 2nd and Jerry Lee Lewis on the 13th!!!

Copyright © 2010 - J. Blake. All Rights Reserved

"Mississippi" Fred McDowell's Come And Found You Gone, CD Review - by J. Blake

(New York, NY)

Devil Down Records boldly throws their hat into the distribution ring with a great debut release; a previously unheard collection of “Mississippi” Fred McDowell recordings titled COME AND FOUND GONE: THE BILL FERRIS RECORDINGS.

Taken from the official press release:

“This release, the first from Devil Down Records, provides never before heard recordings of McDowell, and also include his wife Annie Mae, friend Napoleon Strickland (a legendary blues harmonica and fife player in his own right), and another unidentified musician. These recordings are different from any other of Fred McDowell due to their very nature: rather than conducted with the production of a record in mind, the recordings were made casually over the course of a night. McDowell is here heard at his best, relaxed and energetic, performing many of his most famous songs as well as songs never before heard. With the his foot tapping on the hardwood floor and laughter in the background, COME AND FOUND GONE brings the listener into that host night in August, 1967, immersing them in the world of the blues house party, and guiding them through the night as it unfolded.”

Given the circumstances of the recording, the sound quality is surprisingly good. Aside from the occasional bit of mic noise, one would never guess that these intimate performances were never intended for official release. McDowell and company are in fine form, serving up a collection of fantastic acoustic blues; with a raw and often fun energy that simply will never be duplicated. These are fascinating recordings that beautifully capture a moment in time.

In addition to 16 musical performances listeners are treated to an entertaining bit of banter between the musicians and a worthwhile audio interview with Dr. William Ferris; the world renowned blues scholar that is responsible for these recordings. The CD also features gorgeous packaging, wonderful photographs and informative liner notes from Dr. Ferris, Luther Dickinson (of the North Mississippi Allstars) and distinguished French blues scholar Vincent Joos.

This is a great first effort from Devil Down Records. If they put this kind of effort into their future releases, blues fans will have a lot to look forward to.

If you enjoyed this article, you may also enjoy: Geoff Muldaur's TEXAS SHEIKS

Thanks and keep reading American Blues News and also check out Media Wah Wah for more of this writer’s thoughts and opinions about Movies, Music, TV & More.

NYC blues fans, make sure you check out Al Green live at B.B. King's Blues Club and Grill on September 2nd!!!

Copyright © 2010 - J. Blake. All Rights Reserved

Derek Truck's Roadsongs, CD Review - by J. Blake

(New York, NY)

I recently observed an interesting thing while attending Fathom Event’s “one-night-only” screening of Eric Clapton’s 2010 Crossroads Guitar Festival. Of all the magnificent talented featured in the “film”, the only one to elicit applause was Derek Trucks (and his band). Watching a concert in a movie theater is an odd experience. It is like being there, but at the same time it is far from it. On July 27th, 2010 an NYC audience sat quietly, watching a 2hour+ HD presentation that included a whole lot of blues and even more guitar. Proper movie theater etiquette was being observed until the Derek Trucks-Susan Tedeschi Band took the stage (with guests that included Warren Haynes). It was only then that the audience, collectively, forgot where they were and lost themselves in the music. It was actually an amazing thing to witness and I’m pleased to say that The Derek Trucks Band’s latest CD captures at least some of that magic and energy.

ROADSONGS marks The Derek Trucks Band’s first live album since 2004’s LIVE AT GEORGIE THEATRE and is by far, Trucks’ most sonically satisfying live recording to date. The slide-guitar virtuoso and his group of talented collaborators are in fine form here, delivering 14 tracks (on 2 discs) that span the entirety of his career; with a definite bias toward 2009’s Grammy-winning ALREADY FREE.

Recorded over two nights at Chicago’s Park West, ROADSONGS exhibits the band’s proclivity for brilliant dynamics and their amazing ability to straddle the line between complete control and raw, spontaneous live energy; things that are never more present than on the album’s 14 and a half minute version of "Afro Blue" and its 13 minute (blues turned funk) medley of "Get Out My Life Woman/Who Knows”. Other highlights include the blues standard “Key to the Highway”, covers of Bob Dylan’s "Down in the Flood", Bob Marley’s "Rastaman Chant" and Eric Clapton’s "Anyday" as well bluesy DTB originals "Get What You Deserve" and "Don’t Miss Me".

Derek Trucks continues to shine as a compelling live performer and as a (somewhat) recently crowned “Guitar God”. His specific way of melding blues, jazz, rock and soul creates a sound that is uniquely his and ROADSONGS captures it and his (and his band’s) talent beautifully. This particular lineup of the band may be currently on hiatus as Trucks tours North America with his wife Susan Tedeschi, but this latest live release gives us something exciting to cherish until the DTB is touring again.

If you enjoyed this article, you may also enjoy: ALREADY FREE CD Review

Thanks and keep reading American Blues News and also check out Media Wah Wah for more of this writer’s thoughts and opinions about Movies, Music, TV & More.

NYC blues fans, make sure you check out Al Green live at B.B. King's Blues Club and Grill on September 2nd!!!

Copyright © 2010 - J. Blake. All Rights Reserved

Bettye LaVette's Interpretations, CD Review - by J. Blake

(New York, NY)

When I first heard that Detroit soul-singer Bettye LaVette was putting out an album of British rock covers, I was a little skeptical. LaVette’s voice has never been one of my favorites and in recent years it has taken on an even more raspy quality that is just not my cup of tea. The thought of her belting out songs from Led Zeppelin to Pink Floyd seemed like a horrible idea to me, but as the album quickly climbed to number one on the Billboard Blues Charts upon its release, I have to admit I got a little curious.

I managed to get my hands on a copy of LaVette’s INTERPRETATIONS: THE BRITISH ROCK SONGBOOK over a month ago and I wish I could say that I fell in love with it the minute I slipped it into my player, but if that were the case you would’ve read a review of it weeks ago. The truth is I wasn’t thrilled with it upon my first listen. I was willing to give her credit for rearranging an amazing collection of British rock standards and making them her own, but it wasn’t a vibe I was feeling at the time and seeing how it was not really a “blues album”, I didn’t really feel that it was worth shining the American Blues News spotlight on; especially in a negative way.

With that said it has now had time to settle and I’ve gone back and given it a few more listens; not because I felt I should, but because I wanted to. So I’m here to confess that INTERPRETATIONS: THE BRITISH ROCK SONGBOOK has grown on me. It is still not a blues album, why it is on the blues charts I’m not sure, but it is often an emotionally moving meditation on the words and melodies of some of the finest songwriters of the 2nd half of the 20th century.

At age 64, LaVette brings a soulful feminine maturity to tracks like “Isn’t It A Pity” (Harrison), “Wish You Were Here” (Gilmour/Waters), “Maybe I’m Amazed” (McCartney), “Salt Of The Earth” (Jagger/Richards), “Don’t Let The Sun Go Down On Me” (John/Taupin) and “Love Reign O’Er Me (Townshend); giving a new emotional weight to material that was originally written by British white guys in their 20s.

On the other end of the spectrum, slightly more upbeat material like “The Word” (Lennon/McCartney) and “Why Does Love Got To Be Sad?” (Clapton/Whitlock) get the funk treatment as “All Of My Love” (Jones/Plant”) takes on a more traditional Detroit soul attitude. But perhaps the biggest surprise is that the album’s highlight comes in the form of a Ringo Starr composition! “It Don’t Come Easy” is redefined with a slow and bluesy slide-driven groove that leaves you longing for more.

With LaVette’s aptly titled exploration into the British rock songbook, the key word really is “interpretation”. Even though every new arrangement may not be a gem, the fact that she successfully managed to make such well-defined material truly her own, is more than commendable. It may prove to be an acquired taste, but with a little time and patience, I believe that most music fans will find INTERPRETATIONS: THE BRITISH ROCK SONGBOOK to be a rewarding listening experience.

If you enjoyed this article, you may also enjoy: Beck & Clapton Rock NYC!!!

Thanks and keep reading American Blues News and also check out Media Wah Wah for more of this writer’s thoughts and opinions about Movies, Music, TV & More.

NYC blues fans, make sure you check out Jack Bruce & Joey Molland live at B.B. King's Blues Club and Grill on August 10th and John Mayall on the 13th!!!

Copyright © 2010 - J. Blake. All Rights Reserved

Robert Cray's Cookin' In Mobile, CD/DVD Review - by J. Blake

(New York, NY)

Recorded and filmed at Alabama’s Saenger Theatre in early 2010, the 2-disc set titled COOKIN’ IN MOBILE marks both Robert Cray’s forth live album since 2006 and the first performance video of his career. With this latest release celebrating Cray’s 30th anniversary as a recording artist, his fans will revel in exciting performances of past classics like “Right Next Door” and “Smoking Gun” as well as current favorites from 2009’s studio effort THIS TIME, such as “Chicken In The Kitchen”, “I Can’t Fail”, “Love 2009” and “That’s What Keeps Me Rockin’”.

Like all great blues artists, Cray has developed a sound that is undeniably his own. It may not cater to those critics looking for “edge”, but his custom blend of blues, soul, rock and gospel has helped make him (arguably) America’s most successful contemporary blues singer/guitarist. COOKIN’ IN MOBILE may not bring anything new to the table, but it marks a milestone in Cray’s ongoing journey as a bluesman and documents where he is today as a live performing artist; and with 2008’s LIVE AT THE BBC (recorded in 1988 and 1991) and AUTHORIZED BOOTLEG: AUSTIN TEXAS 5/25/87 (released earlier this year) we can now track his evolution as a stage performer for the first time.

Ultimately COOKIN’ IN MOBILE captures Robert Cray doing everything that he is known for. His voice is in fine form and his guitar-playing (though not my particular taste) is as twangy, disjointed and heartfelt as ever. The band is tight and their energy is fun. If you’re a fan of Cray’s past work, you will undoubtedly be satisfied with this latest live CD/DVD release…and at $13, it is a great value.

Highlights include the laid back cover of Howlin’ Wolf’s “Sitting On Top Of The World”, the driving instrumental outro on “Chicken In The Kitchen” and the (DVD only) performance of Cray’s classic “Phone Booth”.

If you enjoyed this article, you may also enjoy: Robert Cray’s This Time

Thanks and keep reading American Blues News and also check out Media Wah Wah for more of this writer’s thoughts and opinions about Movies, Music, TV & More.

NYC blues fans, make sure you check out Jack Bruce & Joey Molland live at B.B. King's Blues Club and Grill on August 10th and John Mayall on the 13th!!!

Copyright © 2010 - J. Blake. All Rights Reserved

The Steve Miller Band's Bingo!, CD Review - by J. Blake

(New York, NY)

This summer Steve Miller delivered his first studio effort in 17 years and with it he has decided to pay tribute to his blues and R&B roots. BINGO! may feature compositions from such notable blues greats as B.B. King, Lowell Fulson, Otis Rush, Howlin’ Wolf, Earl King, Jimmy Reed and Jimmy Vaughan, but it is far from a copycat blues-tribute. From signature harmonies and guitar-style to production quality, BINGO! feels and sounds very much like a “Steve Miller” album.

Look, is he attempting to redesign the wheel here? No not at all. In fact I’d go as far as to say he’s not even really challenging himself too much musically, but with the help of artists like Joe Satriani, Sonny Charles, Kenny Lee Lewis and (the now late) Norton Buffalo, Miller has put his own recognizable musical stamp on a collection of familiar blues standards and contemporary blues covers; miraculously making often recycled material feel fresh and at times even new. Tracks like Hey Yeah, Who’s Been Talkin’, Rock Me Baby (featuring Joe Satriani), Come On (Let The Good Times Roll) and All Your Love (I Miss Loving) sizzle with shades of Hendrix and Stevie Ray, without ever crossing over into rip-off territory. .

Ultimately, BINGO! is a solid piece of contemporary blues that highlights Miller’s guitar chops and shows off his prowess as an arranger and producer. Though his rock sensibilities may boil to the surface at times, they never become overpowering or get in the way of the album’s apparent goal…to deliver a collection of fun, toe-tapping, head-bobbing blues. It’s definitely worth checking out.

If you enjoyed this article, you may also enjoy: Al Kooper Live & Kickin’ At 66

Thanks and keep reading American Blues News and also check out Media Wah Wah for more of this writer’s thoughts and opinions about Movies, Music, TV & More.

NYC blues fans, make sure you check out Jack Bruce & Joey Molland live at B.B. King's Blues Club and Grill on August 10th and John Mayall on the 13th!!!

Copyright © 2010 - J. Blake. All Rights Reserved

Blues CDs To Look For - by J. Blake

(New York, NY)

CDs have been pouring into the American Blues News offices and some of them definitely deserve an honorable mention.

Singer/guitarist Marshall Ruffin serves up a 5 track CD (and Independent Music Awards Nominee) on Jammates Records called MORNING GLORY. Ruffin’s promotional material accurately describes the album as "soulful blues meets stimulating grunge". Ruffin’s style may not appeal to blues purists, but he is taking the 'feel' of the blues and making it his own. With a thick and crunchy fuzz tone, slightly redundant grooves and sometimes experimental attack on guitar-leads, MORNING GLORY will not be everyone’s cup of tea, but fans craving something new and interesting, may find that this is exactly what they have been looking for…think a younger, more contemporary take on a Tom Waits-esque attitude.

The good people at Jammates Records are also responsible for BACK ON MY GOOD FOOT by Rick Fowler; a fun, riff-driven blues-rock album that embodies the term 'cliché' in the best way possible. With this 2008 studio effort, Fowler delivers a sensibility that is more akin to the blues-rock of the 80s and 90s than anything from the past decade. Poetically, he’s no Shakespeare, but his lyrics often project the type of fun over-the-top 'kitschiness' that made George Thorogood a star. Guitar-wise, Fowler has a great tone and the chops to back it up. BACK ON MY GOOD FOOT is not artistically pushing the envelope and contains nothing blues-rock fans haven’t heard before, but it appears to know exactly what it wants to be and unapologetically goes for it. You’ve got to respect that.

On a more traditional front, Rick Taylor’s LUCKY ROOM (Volunteer Records) and Nasty Ned’s ROOTS 52 (American Showplace Music) each deliver a beautifully authentic take on both acoustic and electric blues.

With LUCKY ROOM, Rick Taylor shows off his musical prowess as he tackles a (somewhat) lesser known collection of blues covers with nothing more than his voice, his six strings, his harmonica and an unorthodox percussionist (Hensall "Washboard" Fats). LUCKY ROOM is a wonderfully executed album of stripped down blues that is sure to satisfy any fan that just can’t get enough of traditional blues formulas.

Nasty Ned’s 2010 studio effort is another album that exudes that "if it ain’t broke, don’t fix it" attitude. ROOTS 52 is comprised of Chess-style originals and familiar Muddy Waters classics. Nasty Ned’s thick Muddy-esque voice lends itself to the material in a way that many contemporary blues artists should envy. His harmonica playing-style is simple, but effective and his band (most notably guitarist Michael Krizan) is exceptional. Lovers of 50s-style/shoutin’ blues are sure to be satisfied with ROOTS 52.







If you enjoyed this article, you may also enjoy: Ten Foot Ploe Cats CD Review

Thanks and keep reading American Blues News!!!

NYC blues fans, make sure you check out Jack Bruce & Joey Molland live at B.B. King's Blues Club and Grill on August 10th and John Mayall on the 13th!!!

Copyright © 2010 - J. Blake. All Rights Reserved

Johnny Winter: Live at The Fillmore 10/3/70, CD Review - by J. Blake

(New York, NY)

Until recently 1971’s LIVE JOHNNY WINTER AND has been considered the definitive officially released live document of the albino blues-rocker in his prime. With material taken from two 1970 performances (Fillmore East, NY & Pirate’s World, FL), LIVE JOHNNY WINTER AND unfortunately clocks in at a mere forty minutes and focuses heavily on the rock side of Winter’s 1970 repertoire. Luckily over the past decade, fans have been sporadically treated to previously-unreleased live recordings featuring Winter during the early stages of his now 40+ year career. Al Kooper and Mike Bloomfield’s FILLMORE EAST: THE LOST CONCERT TAPES 12/13/68, The Allman Brothers’ LIVE AT THE ATLANTA INTERNATIONAL POP FESTIVAL: JULY 3 & 5, 1970, JOHNNY WINTER: THE WOODSTOCK EXPERIENCE and Winter’s LIVE BOOTLEG SERIES, VOL. 1 all help paint a much more detailed picture of the guitar-slinger as an artist and collaborator during the late-60s and early-70s.

Now, thanks to Sony and Collectors’ Choice Music, fans can revel in a Johnny Winter live experience that arguably surpasses all of his other previously released early live recordings. Released in May of 2010, LIVE AT THE FILLMORE EAST 10/3/1970 captures the “Johnny Winter And” group (featuring Rick Derringer) live, just weeks before the performances that would eventually make up LIVE JOHNNY WINTER AND. Though the two live collections highlight different performances of some of the same material, as a whole, the October 3rd Fillmore East recording focuses slightly more on the blues than its predecessor and miraculously runs a whopping twenty-seven minutes longer; while only upping the track count from six to seven. With LIVE AT THE FILLMORE EAST 10/3/1970, Winter classics like “It’s My Own Fault” (22:25) and “Mean Town Blues” (18:08) run significantly longer than the versions featured on LIVE JOHNNY WINTER AND and surpass those previous versions with not only length, but energy and musicianship.

That is not to say that the 1971 live album is flawed. On the contrary, LIVE JOHNNY WINTER AND is a wonderful collection of performances, but with this newly released Fillmore show, the bar for live Winter recordings has been set higher than ever before. The interplay between Winter and Derringer is what really sets this recording apart. The two guitar-titans push each other to a new standard of six-string blues excellence and in the process, drag the rhythm section along with them; making for an incredibly energetic blues-fueled performance.

In addition to “It’s My Own Fault” and “Mean Town Blues”, “Good Morning Little School Girl” pulses with the “head cutting” energy of Winter and Derringer’s dueling guitars, while renditions of Bob Dylan’s “Highway 61 Revisited” and Muddy Waters’ “Rollin’ and Tumblin’” showcase Winter’s classic “throw caution to the wind” slide playing-style. Blistering versions of Winter’s original blues-rock composition “Guess I’ll Go Away” and the Derringer penned “Rock and Roll Hoochie Koo” round out the performance’s set list; making for a thoroughly satisfying blues-rock listening experience.

LIVE AT THE FILLMORE EAST 10/3/1970, is easily one of the best blues oriented releases of 2010 so far. 1970 was an exciting time for rock and blues music and that excitement is captured in spades on this recording. LIVE AT THE FILLMORE EAST 10/3/1970 is a treasure from the annals of blues-rock history. Like all live recordings, it captures a specific moment in time and luckily for us, that moment was captured beautifully. This live album is an absolute “must have” for all Johnny Winter fans and any fan of blues guitar…or guitar in general.

If you enjoyed this article, you may also enjoy: Johnny Winter-A Bluer Shade of Pale
You may also like to read American Blues News' interview with Johnny.

Thanks and keep reading American Blues News!!!

NYC blues fans, make sure you check out Albert Lee live at B.B. King's Blues Club and Grill on June 19th and Johnny Winter on June 23rd!!!

Copyright © 2010 - J. Blake. All Rights Reserved

Exile On Main St. (Deluxe Edition), CD Review - by J. Blake

(New York, NY)

The Rolling Stones’ EXILE ON MAIN ST. is an album that has been the subject of much debate over the years. It was released in May of 1972, after a string of three wildly successful studio efforts, and was greeted with lukewarm reviews. Since then it has found its audience and has been raised to masterpiece status; not only being considered among the band’s personal best, but often hailed as one of the greatest rock ‘n’ roll albums of all time.

Now, 38 years after its original release, EXILE MAIN ST. gets the “Deluxe Edition” treatment; remastered, 2CDs with 10 previously unreleased recordings. The ‘Super Deluxe Edition’ also includes 1 DVD, 2 vinyl LPs and a 50 page book. Though fans have been chomping at the bit for “Exile” session outtakes and lost gems, many reviewers are calling these recent reissues a disappointment.

Disc one features the album in its entirety, remastered and arguably sounding better and clearer than ever before. With that said, there are certainly purists out there that will say that it was its gritty lack of clarity that made the album sound so great in the first place. So as with any album that has multiple releases, mixes and masterings, it is really going to come done to personal taste. Which release sounds best to you? Ultimately the casual listener may not even notice the differences.

Disc two features ten previously unreleased recordings. An early version of “Tumbling Dice” is presented here as its original incarnation “Good Time Woman”. Early versions of “Loving Cup” and “Soul Survivor” (with Keith Richards on vocals) also find their way on to the bonus disc with seven other rare gems. With the exception of the occasional track that was actually finished and simply never released (like “I’m Not Signifying”), the majority of the material on Disc two consisted of nothing more than primitive instrumental beds before being completed specifically for this reissue. A great amount of care was taken by Jagger, Richards and producer Don Was to make these newly completed tracks feel and sound seamless when compared to the rest of the album. Jagger wrote and recorded new lyrics and (reportedly) Mick Taylor was even brought in for guitar overdubs. Some reviews have called these tracks “a misguided attempt to update an album that needs no updating”. Whether or not the tracks succeed in sounding organic to EXILE ON MAIN ST. is up for debate, but most fans will probably agree that they do manage to capture the feeling of the classic Taylor era.

Aside from the music, a lot of the album’s appeal has always come from its mystique; with stories of it how it was recorded in Keith Richard’s dingy dark basement in the south of France. For better or for worse, this latest re-release pretty much leaves that air of mystery intact. Even with liner notes, photographs and rare documentary footage, this Deluxe Edition does little more than simply skim the surface on what really went down in that dank cellar in the summer of 1971.

The DVD (for those of you that can afford it) consists of short excerpts from several different Rolling Stones film projects. First, fans are treated to a taste of the forthcoming documentary STONES IN EXILE. Though the 11 minute segment is interesting, it unfortunately does not shine a whole lot of new light on the sessions or the band’s creative process. Also included is 11 minutes of footage from the long bootlegged (93 minute) documentary about the band’s 1972 tour, titled COCKSUCKER BLUES and lastly, fans will cherish the disc’s concert footage of the band performing “Happy” and “All Down The Line”, taken from the 1974 concert film titled LADIES AND GENTLEMEN…THE ROLLING STONES.

Ultimately EXILE ON MAIN ST. is moody rock album that pulls heavily from influences that include blues, country and soul. It was recorded during a very fruitful time in the band’s creative history, with a short-lived lineup that many fans consider to be their best. Tracks like “Shake Your Hips”, “Casino Boogie”, “Ventilator Blues” and the cover Robert Johnson’s “Stop Breaking Down” are among the band’s most authentically executed blues efforts. Even the album’s country-driven tracks have an air of legitimacy to them that many or their previous country efforts seem to lack. EXILE ON MAIN ST. is a solid collection of music that captures a mood and a certain artistic maturity that was pivotal to the development of “the greatest rock & roll band in the world”.

Rolling Stones fanatics and specifically lovers of this album will find this new Deluxe Edition (and maybe even the Super Deluxe Edition) to be an absolute necessity for their music library. Casual fans, on the other hand, will probably find that the “extras” presented here may not be worth the extra money. Whichever version of the album you choose to buy, EXILE ON MAIN ST. is a “must have” for any music collection and for those of you that can wait, STONES IN EXILE will be released in its entirety, on DVD, on June 22, 2010.

*If you enjoyed this article, you may also enjoy: Strange Brew (Book Review)

Thanks and keep reading American Blues News!!!

NYC blues fans, make sure you check out Jimmie Vaughan live at B.B. King's Blues Club and Grill tomorrow, May 19th!!!

Copyright © 2010 - J. Blake. All Rights Reserved

Renegade Creation CD Review - by J. Blake

(New York, NY)

When an album is released, featuring such extraordinary talent as Robben Ford, Jimmy Haslip and Gary Novak, it is perfectly reasonable to assume that ‘jazz-rock fusion’ will be on the menu, but when the presence of guitar virtuoso Michael Landau is added to the mix, music fans are treated to a heaping helping of expertly executed guitar-driven blues-rock…with a complimentary serving of ‘fusion’ on the side.

With RENEGADE CREATION, Ford and Landau split guitar/vocal responsibilities equally, each singing four of the album’s tracks, each contributing a jazz-infused instrumental to the song list, each bringing their distinct guitar-styles and musical sensibilities to the table and each seemingly checking their egos at the door. Though there is no shortage of guitar from either of these gifted players, the album never feels like a vehicle for senseless showboating. The chemistry between Ford and Landau is impeccable and it is never more evident than when they are squaring off on tracks like “God and Rock ‘N’ Roll” and “Who Do You Think You Are”. As they gently push one another to new levels of guitar greatness, they do so with poise and grace; never getting in each other’s way and never hogging the spotlight.

Vocally the two artists’ styles differ greatly. Ford delivers his four vocal tracks with passionate clarity, as Landau does so with a gritty Knopfler-esque swagger. This contrast from track to track keeps things fresh and interesting, in a way that a sole front-man can never achieve. Because Ford and Landau also split the bulk of the writing duties, the tracks that feature them on vocals are catered to their strengths and styles, providing the album with a diverse combination of flavors that manages to highlight each of their individual sensibilities, while never seeming out of place on the album as a whole.

In the wake of blues-rock releases from promising young talent like Joe Bonamassa and Jonny Lang, RENEGADE CREATION is an album that separates the men from the boys. Ford and Landau are exceptional talents that simply operate on a different plane than most other guitarists tackling the sub-genre. They, along with Haslip and Novak, have paid their dues with decades of experience backing the likes of James Taylor, Joni Mitchell, B.B. King, Ray Charles, Miles Davis, Chick Corea, Alan Holdsworth, Anita Baker and George Benson…to name a few. With RENEGADE CREATION the members of this “super-group” have returned to their bluesy roots, while staying true to their artistry. They’re taking blues-rock to new levels of sophistication, often shying away from typical/tired conventions and in the process, hopefully, paving the way for the entire sub-genre to move forward.

*If you enjoyed this article, you may also enjoy: An Interview With Robben Ford

Thanks and keep reading American Blues News!!!

NYC blues fans, Mick Taylor's show at B.B. King's Blues Club and Grill, originally scheduled for tomorrow (Wednesday May 5th), has been postponed. New date TBA.

Copyright © 2010 - J. Blake. All Rights Reserved

Jonny Lang's Live At The Ryman CD Review - by J. Blake

(New York, NY)

The 1990s saw a strange influx of teenage blues-rock guitar prodigies. At the forefront of that movement was a 15 year-old kid from North Dakota named Jonny Lang. Now 13 years after his solo debut, Lang is still going strong with a new Concord Records release titled LIVE AT THE RYMAN.

Lang has always been touted as a performer that is better live than in the studio. So with his latest release he openly puts that theory to the test. LIVE AT THE RYMAN is the artist’s first live album and as it was recorded in front of a capacity crowd, at one of Nashville’s most beloved and historic venues, it would appear that the conditions for such a test are perfect.

Happily Lang manages to live up to expectation on many fronts. With the exception of “Breakin’ Me”, which unfortunately features more than just a few sour notes, his vocal performance is strong. He delivers a lyric with a verve and soulfulness that his beyond his years and his meaty baritone voice gives the material a weight that few of his contemporaries manage to achieve. His guitar-work also displays a surprising amount of maturity; often masterfully straddling that fine line between tasteful restraint and furious self-indulgence.

As a frontman, perhaps Lang’s strongest attribute is his ability to surround himself with talent. Guitarist/vocalist Sonny Thompson, keyboardist Tommy Barbarella, bassist Jim Anton, drummer Barry Alexander and percussionist/vocalist Jason Eskridge all deserve honorable mention. They manage to bring new life to Lang’s material, finding the delicate balance between polished professionalism and reckless abandon, but unfortunately it is Lang’s material that proves to be the album’s weakest link.

With only five previous studio efforts to pull from, Lang’s original songbook is not nearly as accomplished as his veteran counterparts or even many of his contemporaries. LIVE AT THE RYMAN is sadly burdened with being recorded after the 28 year-old musician’s artistic ‘about-face’ from promising blues-rock guitar savior to average rock-gospel/adult Top 40 singer. Not that Lang’s material was ever particularly strong, but more recent compositions like “Red Light”, “Don’t Stop (For Anything)” and “Thankful” (to name a few) are not doing him, his band or this live album any favors.

A cover of Tinsley Ellis’ “A Quitter Never Wins”, on the other hand, plays to Lang’s strengths and stands out as arguably the album’s best performance. Also worth mentioning is a marvelously energetic 12 and half minute version of Stevie Wonder’s “Livin’ For The City”. Unfortunately it can only be found on select downloads of LIVE AT THE RYMAN, but it is definitely a highlight of the album and is worth scouring the internet for. Why it isn’t provided on the album’s standard release, boggles the mind.

With his first live album, Jonny Lang and his band deliver skill, energy and passion in spades, but at the end of the day it is the songs that make a performance. Lang is a fun performer to see live and LIVE AT THE RYMAN is certainly worth a listen, but without better material he will never fully meet his potential as a singer/guitarist…but then again that is just one man’s opinion.

*If you enjoyed this article, you may also enjoy: Derek Trucks' ALREADY FREE

Thanks and keep reading American Blues News!!!

NYC blues fans, make sure you check out Mick Taylor at B.B. King's Blues Club and Grill on May 5th and read the review of the show here the following Tuesday!!!

Copyright © 2010 - J. Blake. All Rights Reserved

Jeff Beck's Emotion And Commotion CD Review - by J. Blake

(New York, NY)

There are rock guitar players, jazz guitar players, classical guitar players, blues guitar players and then there is Jeff Beck. Though his roots may be firmly planted in the blues and his solo career mostly revolving around the worlds of jazz-fusion and progressive rock, Jeff Beck is a guitarist that continues to choose not to limit himself to any one genre; and his latest release, EMOTION AND COMMOTION, is a prime example of that.

Coming off of a stint of concert dates alongside fellow guitar legend Eric Clapton and in the midst of an international solo tour, Beck’s first studio effort in 7 years hits stores today (April 13^th). EMOTION AND COMMOTION (for the most part) finds the aging guitar-god forgoing the frenzied and confrontational playing-style that he has become known for and instead focusing on tastefully executed melodies.

It is actually a difficult album to review, because it explores so much musical ground; and one can’t help but think that perhaps that is exactly what it is for Beck…an exploration. With a song list that consists of signature-Beck jazz-funk grooves (like “Hammerhead”), smooth bossa nova rhythms (like “Never Alone”) and covers that vary in style from Harlod Arlen and Yip Harburg’s “Somewhere Over the Rainbow”, to Screamin’ Jay Hawkins’ “I Put a Spell on You” (featuring Joss Stone) and classical pieces like Benjamin Britten’s “Corpus Christi Carol” and Puccini’s “Nessun Dorma”, categorizing EMOTION AND COMMOTION is no easy feat.

What is for certain is that the album, though it may not be for everyone, is an interesting and thoroughly enjoyable 40 minutes of music. Much of the material is ‘low key’ and soothing, but the Beck that listeners have come to expect is not completely absent. Many of the tracks find Beck playing alongside a 64-piece orchestra, voicing the classical arrangements with his 6 strings, while other tracks find their voices with a little help from Joss Stone, Imelda May and Olivia Safe. As mentioned earlier, the tone of this album varies, but as much of it is mixed in a way that one track carries into the next, it plays almost like a concept album; a string of cohesive thoughts.

Jeff Beck has never been one to strive for chart success in the music industry. For over 40 years as a recording artist, he has managed to stay true to himself and his artistic vision and because of that, his music has, at times, not found a large audience. EMOTION AND COMMOTION may require the listener to keep an open mind, but it is a fascinating installment into the discography of a master-craftsman; that is executed with a great deal of maturity, poise and grace.

As for blues fans, they may not find what they are looking for with this album, but then again what is the blues really? According to Beck, from a recent interview with Alice Cooper, “When I hear some opera singers…they’re belting out blues, I mean they’re just screaming blues really; a sophisticated form of it.” The album may not be saturated with12-bar chord progressions, but it is full of soul and emotion...and maybe even a little bit of commotion. Perhaps Jeff Beck is showing us that ‘blues’ is really just a state of mind. Maybe it is a musical term that needs redefining.

*If you enjoyed this article, you may also enjoy: Beck & Clapton Rock NYC!!!

Thanks and keep reading American Blues News!!!

Copyright © 2010 - J. Blake. All Rights Reserved

Joe Bonamassa's Black Rock CD Review - by J. Blake

(New York, NY)

For the past decade, 32 year-old, Joe Bonamassa has been a very busy man; releasing eleven CDs in just ten years. His latest release, BLACK ROCK, finds the young bluesman once again working with producer Kevin Shirley and dishing out covers by artists that include Blind Boy Fuller, Otis Rush, Jeff Beck, John Hiatt, Willie Nelson and Leonard Cohen.

Throughout his career Bonamassa has acquired a strong fan-base and the respect of many of the blues’ most beloved living legends; B.B. King’s participation on this album’s cover of Willie Nelson’s “Night Life” is undeniable proof of this. He is unquestionably a very skilled guitarist and he continues to prove that he’s got a knack for picking interesting covers, but as I listen to this latest studio effort, I can’t help but feel that Bonamassa is perhaps….slightly overrated.

Yes, he is technically a very talented player, but the blues is not a genre of music that relies purely on technical ability. His singing voice, at times, comes off as an uncanny blend of John Mayall and Robben Ford and despite the fact that I am a fan of both of those artists (as well as Bonamassa), two blues singers with that vocal sound may already be two too many. It is a quality that I affectionately call “the ‘white’ bluesman’s burden”.

As Bonamassa tackles material with the electric blues-rock vibe that he has become best known for, it feels a little too 'ordinary' for my taste. It saddens me that this is what the blues has ultimately become. Tracks like Bobby Parker’s “Steal Your Heart Away”, Jeff Beck’s “Spanish Boots”, Otis Rush’s “Three Times a Fool”, the B.B. King duet “Night Life”, James Clark’s “Look Over Yonders Wall” and the original compositions “When the Fire Hits the Sea” and “Wandering Earth” are 'fine' recordings, but sound like they could have been recorded by almost anybody. His style on these tracks is one that seemed fresh and full of potential in his early career, but now a decade later, more often than not, seems recycled and a little tired.

Stylistically, BLACK ROCK’s standard blues-rock fare does not differ greatly from most of the CDs I receive for possible review. What separates the blues (and blues-rock) greats from the average player is ‘delivery’ and unfortunately, to my ear, Bonamassa’s seems a little forced and insincere. There is a certain authenticity that comes across in great performances. It has been proven that one does not need to be a black man growing up in the 20s, 30s or 40s to be able to sing the blues, but to make it seem authentic there does need to be a certain amount of pain and heartbreak; or at least some empathy and an understanding of it. The same can also be said for blues derived rock or any other conventional soul-based music for that matter. Technically Bonamassa delivers a lyric proficiently, but too often it doesn’t seem like he totally understands what it means.

Thankfully BLACK ROCK is not entirely a work of modern blues/rock mediocrity. Bonamassa’s cover of John Hiatt’s “I Know a Place”, may start out sounding like more of the same, but by its end, manages to exceed expectation with a 'ballzy' instrumental break that tastefully highlights his guitar playing ability. His rendition of Blind Boy Fuller’s “Baby You Gotta Change Your Mind” bounces with a lightheartedness that unfortunately eludes the rest of the material and the album’s remaining four tracks (including a well executed cover of Leonard Cohen's "Bird On a Wire") seem to incorporate Celtic and Mediterranean influences; that may not cater to my tastes per se, but at least show an ambition for artistic growth.

I have no doubt that most of Bonamassa’s fans will be thoroughly satisfied with this latest studio effort. It is a bit of a return to some of his early electric blues-rock roots, but does contain tracks that share some of the same sensibilities as his 2009 critical hit, THE BALLAD OF JOHN HENRY

Unfortunately BLACK ROCK does not display the same amount of growth as his previous studio effort and for that reason it is not really my cup of tea…but this is just one man’s opinion.



*If you enjoyed this article, you may also enjoy: Mike Zito’s Pearl River

Thanks and keep reading American Blues News!!!

Copyright © 2010 - J. Blake. All Rights Reserved

Jimi Hendrix's Valleys Of Neptune CD Review - by J. Blake

(New York, NY)

The way the media seems to be carrying on about the release of Jimi Hendrix’s VALLEYS OF NEPTUNE, one would think that this is the first time an album featuring never-before-released Hendrix material has made its way to store shelves. Since his death, the market has been flooded with bootlegs and official releases featuring “new” material from the late guitar-god and now 40 years later, the well still shows no signs of going dry.

VALLEYS OF NEPTUNE has a total running time of over 60 minutes and features 12 previously unreleased recordings (though iTunes and other editions offer 2 bonus tracks). Reportedly, the majority of the material was recorded between February and May of 1969 and documents the beginning of a major transition in the guitarist’s career; featuring recordings from his final sessions with the original Jimi Hendrix Experience as well as his first efforts with future Band of Gypsys bassist, Billy Cox.

Eddie Kramer, who was the sound engineer for all of Hendrix’s initial albums, has once again taken the helm; mixing and producing this latest release. Songs like “Valleys of Neptune”, “Mr. Bad Luck” and “Lullaby for the Summer” have all been previously featured on earlier CD sets, but until now have only been known to collectors in excerpt or primitive/demo form. Kramer’s recent mixes of these tracks make them sound better and more complete than ever before and his work on truly never-before-released tracks like “Ships Passing Through the Night” and “Crying Blue Rain” will undoubtedly be equally as thrilling to Hendrix enthusiasts; who have been chomping at the bit for the rarest of Jimi-gems.

Casual fans will be happy to find “new” versions of a few familiar classics. Studio versions of “Stone Free”, “Fire” and “Red House” are featured here, not as alternate takes from their original sessions, but as slightly different arrangements; in some cases more akin to the way they were performed on stage. Other songs like Elmore James’ “Bleeding Heart”, “Hear My Train Comin’” and Cream’s “Sunshine of Your Love”, which were staples of Hendrix’s live shows, get the studio treatment here while staying true to the energetic and improvisational spirit that made them captivating when performed live.

Blues fans may not be as satisfied with VALLEYS OF NEPTUNE as they undoubtedly were with the 1994 MCA Records compilations JIMI HENDRIX: BLUES, but this new release still features plenty of material for them to salivate over. “Hear My Train Comin’” and “Red House” are pretty par for the course in terms of their arrangements, but feature enough brilliantly executed guitar-work to satisfy even the most skeptical of blues fans. “Lover Man” and “Crying Blue Rain” are taken slightly more into the Jimi-rock direction, but undeniably keep their foundations firmly planted in Hendrix’s blues roots.

Interestingly, the cover of Elmore James’ “Bleeding Heart” featured here, strays away from the slow 12-bar version that Hendrix typically performed live (as featured on JIMI HENDRIX: BLUES) and instead embodies a more high-energy R&B/funk vibe; in the vein of the version featured on 1997’s SOUTH SATURN DELTA and even the 6 minute 46 second instrumental version of “Sunshine of Your Love” manages to give a little nod the blues, by seamlessly incorporating the signature riff from Cream’s cover of Blind Joe Reynolds’ “Outside Woman Blues”.

As a whole, this new Hendrix release is perfectly enjoyable; with enough “new” and enough “familiar” to safely satisfy just about every fan, but one can’t help but question whether this is material that should actually be made available to every fan. Hendrix was notoriously known for being a perfectionist in the studio, frequently overdubbing his band-mates’ drum and bass parts himself at the eleventh hour; as well as his own. The majority of these recordings probably were never intended to be released to the public and the ones that were, clearly are not finished. The fact that almost all of these tracks either inexplicably fadeout before their time or feature an ending that is painfully tagged on, seems to be evidence of this.

Thankfully none of the tracks featured on this album appear to do a disservice to the man’s legacy, but perhaps it is only a matter of time before such posthumous compilations begin to do just that. Ultimately, is releasing this material something Hendrix would have wanted? The answer will never be known, but it is a question that the proprietors of his estate may want to consider more carefully in the future.

"Valleys of Neptune" Music Video:


*If you enjoyed this article, you may also enjoy: Psychedelic Blues Power

Thanks and keep reading American Blues News!!!

Copyright © 2010 - J. Blake. All Rights Reserved

Ten Foot Polecats CD Review - by J. Blake

(New York, NY)

It is clear from Ten Foot Polecats’ bio that they take great pride in being more than your average blues band; calling themselves a “Punk Blues band” and boasting about how they are ”one of the few blues bands booked across the state in the rock, punk and psychobilly circuits”. Unfortunately (or fortunately, depending on how you look at it) their debut release on Hillgrass Bluesbilly Records, I GET BLAMED FOR EVERYTHING I DO, presents no evidence that these guys are playing anything other than good ol’ fashioned blues.

Sure they pick up the pace on a few tunes and guitarist Jim Chilson may, at times, be playing with a little more “fuzz” than your average blues player, but these middle-aged white guys from Massachusetts are no more “punk” than Robert Johnson or Howlin’ Wolf; and that is not necessarily a bad thing. Their sound may be a little more raucous than some blues fans are used to, but at the same time it is completely drenched in the style of the Mississippi delta.

As a guitar/vocal/drum trio, they boldly play sans bass and the fact that the instrument is not as missed as one would expect, is quite a testament to Chilson’s talents on guitar. A bass would definitely give their sound a little more depth, but Chilson’s finger picking-style, like that of the delta-masters, is full and rhythmically spot on. He is doing things with the guitar that not many electric bluesmen are pulling off these days….and things that punk players have never pulled off.

As for the rest of the band, despite Dave Darling being a technically proficient and solid drummer, he definitely takes a bit of a backseat to his band-mates. Like Chilson’s guitar playing, Jay Scheffler’s vocals successfully hark back to the blues of old. He attacks the material with the same kind of raspy whine as Howlin’ Wolf and though there’s a chance that Scheffler may be comparing himself to someone more like David Johansen, it is undeniable that this is the vocal-style that “The Wolf” introduced and mastered half a century ago. With that said, successfully pulling off that style and making it work in contemporary music, even if it is still just blues, is no small feat and Scheffler should be commended for it.

Ten Foot Polecats may not be doing anything all that new or progressive and their music may not be as “punk” as their bio claims, but there sound is one that has been tested and approved. They’re debut album is loud and fun, but also steeped in tradition. It is recommended for any fan that doesn’t mind their blues a little bit raunchy.

*If you enjoyed this article, you may also enjoy: Meantooth Grin CD Review

Thanks and keep reading American Blues News!!!

Copyright © 2010 - J. Blake. All Rights Reserved

John Pizzarelli's Rockin' In Rhythm CD Review - by J. Blake

(New York, NY)

John Pizzarelli has been called one of today’s “prime interpreters of the American Songbook” as well as a “jazz guitar virtuoso” and even “The Sultan of Swing”…ok, maybe I made that last one up, but it certainly is a title that fits. Whether it is playing guitar duets with his legendary father, leading his trio or quartet, fronting a big band or an orchestra or backing the likes of Rosemary Clooney and even James Taylor, Mr. Pizzarelli has been at the forefront of American jazz for over 25 years. His ability to interpret a lyric is masterful and his guitar-style brilliantly blends the technical proficiency that the genre has become known for, with an energy, feeling and soulfulness that is more a kin to the blues greats than many of today’s modern jazz “heroes”.

With his latest Telarc release, ROCKIN’ IN RHYTHM, Pizzarelli honors one of jazz’s most beloved and greatest stars, Duke Ellington. No stranger to the “tribute album”, the 49 year-old guitar-playing-crooner approaches this latest studio effort with the same amount of detail, care and unpredictability that made his previous tributes to Nat ‘King’ Cole, Frank Sinatra and Richard Rogers wonderfully unique and specific. Unlike so many albums celebrating the work of a single artist, Pizzarelli consistently manages to put his own personal stamp on familiar favorites while also highlighting slightly less recognized (and often forgotten) gems.

“East St. Louis Toodle-On” and “Don’t Get Around Much Anymore” get the John Pizzarelli treatment here by being skillfully woven into a single track; while not only paying tribute to “The Duke”, but also Steely Dan, whose 1974 recording of “East St. Louis Toodle-On” admittedly served as inspiration of this album’s arrangement. Other laidback highlights include a solo-guitar rendition of “Just Squeeze Me” and “Satin Doll”, which features some of the album’s most beautiful guitar-work; courtesy of Pizzarelli’s legendary father Bucky.

Ballads and vocal standards aside, Pizzarelli and his horn-heavy band, affectionately known as the “Swing 7”, are at their best when they are living up to their title and thankfully a tribute album to one the finest big band leaders of all time is the perfect venue. “C Jam Blues” (featuring saxophonist Harry Allen and violinist Aaron Weinstein) and a medley of “Cottontail” and “Rockin’ in Rhythm” (serving as the album’s finale) highlight not only the music of a jazz legend and the individual talents of a magnificent band, but also the art of swing and bebop. Pizzarelli is in top form here as he and conductor/arranger Don Sebesky navigate their seemingly fearless crew through well-charted, yet still treacherous waters. These tracks alone are worth the price of the CD and as a bit of a suggestion; when you’re listening to them...turn it up!

ROCKIN’ IN RHTYHM expertly explores the work of one of America’s greatest musical treasures and Pizzarelli once again proves that he’s not just a talented guitarist and singer, but a gifted artist, interpreter and leader. This is jazz at its finest.

*other guests on the album include vocalists Kurt Elling & Jessica Molaskey

John Pizzarelli and The Swing 7 will be performing at the historic Birdland jazz club in NYC from tonight (Tuesday, March 9th) through Saturday, March 13th. Visit http://www.birdlandjazz.com/ for more information.


*If you enjoyed this article, you may also enjoy: The First Family of Jazz


Thanks and keep reading American Blues News!!!

Copyright © 2010 - J. Blake. All Rights Reserved

Meantooth Grin CD Review - by J. Blake

(New York, NY)

Don’t be fooled by the cover of Meantooth Grin’s debut CD. Meantooth Grin is not a dapper, dobro-wielding black man. It is in actuality 3 white guys from Wisconsin, but don’t let that deter you from checking out BEFORE THE DEVIL KNOWS YOU’RE DEAD.

Released on KAM Records in 2009, MTG’s first officially released album is overflowing with hard-rockin’ blues raunch. Frontman Tom Jordan’s vocals and guitar-wizardry may be reminiscent of artists like Warren Haynes and George Thorogood, but his beefy slide-work and borderline metal tone push the blues into heavier territory than most bluesmen would dare to venture.

Purists may cringe at the hard rock grooves of tracks like “Tommy Gun” and “Necessary Evil”, but luckily BEFORE THE DEVIL KNOWS YOU’RE DEAD has a little something for every blues fan. Tracks like “Homeless and Homesick” and “Insomnia” find the trio exploring a more traditional blues landscape, while songs like “Killing Time” and “Telephone Blues” sound more like high voltage interpretations of Elmore James and Howlin’ Wolf.

Drummer Brian Miller and bassist Seth Heffner lay down a solid foundation for Jordan’s fuzz-soaked guitar heroics and Cole Holliday’s contributions on harmonica should not go unnoted. Holliday achieves a thick and meaty tone that most harp players would sell their souls for and his ability to work in tandem with Jordan’s ferocious slide-work, without getting in the way, is commendable.

Meantooth Grin’s debut is not exactly a picture of perfection; its flaws lying more in the strength of the songwriting, but BEFORE THE DEVIL KNOWS YOU’RE DEAD is a strong first showing for the Midwest blues-rockers. Their attempts to push the genre to its rock limits are exciting; making their next release one to look forward to. If Meantooth Grin is the future of the ‘Power Blues Trio’, then the tradition is in good hands.

*If you enjoyed this article, you may also enjoy: Tinsley Ellis CD Review

Thanks and keep reading American Blues News!!!

Copyright © 2010 - J. Blake. All Rights Reserved

Al Kooper Still Live & Kickin' At 66 - by J. Blake

(New York, NY)

On Friday February 5th, 2010, a Brooklyn native and musical icon celebrated his 66th birthday with a night of jamming at B.B. King’s Blues Club & Grill in the heart of NYC’s Time Square. Al Kooper took the stage at one of The Big Apple’s last true blues venues and entertained a sold out crowd with a night of stories, expletives, friends and music.

Kooper, who got his start as a professional musician in his early teens, playing with bands like The Royal Teens on early rock and roll hits like “Short Shorts” and “Believe Me”; has been around the block more times than most of popular music’s most seasoned artists. In addition to playing the keyboards in New York City’s answer to the British Blues Boom of the mid-1960s, The Blues Project, Kooper was also the founding member of Blood, Sweat & Tears in 1967 and has participated in several legendary studio sessions for some of the industry’s most notable artists; including Jimi Hendrix, The Who, George Harrison and The Rolling Stones (on their hit “You Can’t Always Get What You Want”). In 1972 Kooper discovered Lynyrd Skynyrd in an Atlanta bar, formed his own record label called “Sounds of the South” and produced the band’s first three albums; including hits like “Sweet Home Alabama” and “Free Bird”.

Despite all of his accomplishments (and clearly there are many), perhaps Kooper’s most defining musical moment was at a recording session in 1965, when at age 21, he sat down behind the organ and laid down the signature riff to Bob Dylan’s “Like A Rolling Stone” for the now legendary HIGHWAY 61 REVISITED album. In addition to a lifelong musical relationship with Dylan, this session also spawned a series of fruitful collaborations between Kooper and a then relatively unknown blues guitar prodigy named Mike Bloomfield.

Kooper and Bloomfield’s first (non-Dylan) collaboration, SUPER SESSION, with Stephen Stills, was an enormous financial success and featured numerous covers of songs like Donovan’s “Season of the Witch”. It also featured some inspired blues guitar playing by Bloomfield on tracks like “Albert’s Shuffle” and “Stop”. The duo’s follow up, THE LIVE ADVENTURES OF MIKE BLOOMFIELD AND AL KOOPER, was recorded over three nights at the Fillmore Auditorium in San Francisco in 1968 and has proven to be one of the seminal live recordings of the late-60s. The album’s cover-art features a now famous portrait of Bloomfield and Kooper painted by Norman Rockwell and musically, the double album captures amazing playing from not only the duo, but also Elvin Bishop, Steve Miller and Carlos Santana (all of which substituted for Bloomfield on the night he was hospitalized for exhaustion).

Thankfully, in 2003 Columbia Records released yet another live collaboration by the dynamic duo titled FILLMORE EAST: THE LOST CONCERT TAPES 12/13/68. Though, this recently unearthed performance was recorded in New York, two and a half months after THE LIVE ADVENTURES OF MIKE BLOOMFIELD AND AL KOOPER, it features much of the same material; songs like “59th Streets Bridge Song (Feelin’ Groovy)”, “Together Till The End Of Time”, “That’s All Right With Mama” and Albert King’s “Don’t Throw Your Love On Me So Strong”. Blues fans will be thrilled to also find versions of Elmore James/Sonny Boy Williamson’s “One Way Out”, Bloomfield’s original composition “(Please) Tell Me Mama” and B.B. King’s “It’s My Own Fault” (featuring a then unknown Johnny Winter).

Beyond performing, Kooper is a celebrated author. His book BACKSTAGE PASSES & BACKSTABBING BASTARDS: MEMOIRS OF A ROCK ‘N’ ROLL SURVIVOR is often sited as being one of the best literary works on the subject of rock music. He has also received honorary Doctorates from Five Towns College in Long Island and the Berklee School of Music in Boston and taught songwriting and record production at the latter for several years.

Al Kooper’s achievements are many (too many for one article) and as the music veteran took the stage last Friday night in front of a capacity crowd in NYC, he celebrated his birthday with new friends like female-vocalist Kristina Train and his band of Berklee Music professors “Funky Faculty”; as well as old friends like The Blues Project’s Danny Kalb and The Max Weinberg Seven’s (formally the new Tonight Show Band) Jimmy Vivino. It was a wonderful night of music (and blues) that not only celebrated Kooper’s day of birth, but also his 50+ years in the music business.

*If you enjoyed this article, you may also enjoy: B.B. King Live at the Regal

Thanks and keep reading American Blues News!!!

Copyright © 2010 - J. Blake. All Rights Reserved

Photo by Arnie Goodman