CD Review Archives - Page 11 of 23 - Cascade Blues Association Archive

Ian Siegal

Man & Guitar
Nugene Records

With some people all you need to do is set them alone in a chair with a guitar and magic appears. So it seems with Ian Siegal, the British blues master who consistently is named one of the finest artists of the genre throughout Europe. Usually Siegal works with a band for his recordings and so when a solo release comes out it is certainly something to celebrate. Many fans had been clamoring for a new solo disc. Many more for a live album to capture the pure energy and guitar tenacity erupting from his strings onstage. So this new release, Man & Guitar delivers on both counts.

Recorded in London’s famed Royal Albert Hall in late 2013, it is everything you could hope for from Siegal. Running through his own ingenious originals alongside beautifully rendered covers, this live performance easily offers the guitar man at his best.

Selections for this live performance ranged from numbers from his most current release at the time The Dust, to his Blues Music Award nominated Candy Store Kid, to traditional blues by Son House, Charlie Patton and Fred McDowell,” to Texas troubadour Tom Russell and even a little 19th century Stephen Foster. All are done to perfection . . . well almost, the only time something is out of place is when Siegal tells us he goofed on the Charlie Patton’s “Pony Blues.” But as he states in the liner notes, “This is all the songs from start to finish imperfections and all.” But that is exactly what makes live performances unique and inspiring in the hands of the right person. Ian Siegal is such a person. His take on Taj Mahal’s arrangement of “T’ain’t Nobody’s Business” is every bit as lively and tongue-twisting as Taj’s, right down to his impersonation of Wolfman Jack.

Throughout it all the guitar work of Siegal is not only impressive, it is superb. If you have never heard Ian Siegal perform before, or may only be familiar with his electric band output, Man & Guitar is something to definitely seek out. He may come across as a diamond in the rough on stage, but this is a pure gem in all its polished finery. For what everybody in Great Britain may already know, it’s time for the rest of us to wake up too. Ian Siegal is a blues master.

Total Time: 45:54

The Silver Spurs / Mary Don’t You Weep / Interlude: Big George / Mortal Coil Shuffle / Interlude: Charlie / Pony Blues / I Am The Train / T’ain’t Nobody’s Business / Interlude: Young Mickey / Falling On Down Again / Medley: Preachin’ Blues – Live So God Can Use You – You Got To Move / Gallo Del Cielo / Hard Times (Come Again No More)

Bottleneck Blues Band

CD Review

Twenty First Century Blues
Self Produced

If you prefer your blues straight ahead with no frills, played the way it should be, then the Bottleneck Blues Band may just be up your alley. The group is made up of four long-time friends who have been enjoying performing for fans and friends for the past four years in local venues such as The Blue Diamond, The Stickman Brewery, The Lehrer and Biddy McGraw’s as well as a few festivals like Hempfest and the Kalama Blues Festival. Led by guitarist/vocalist Noah Bell and keyboard master Seth Zowader, the quartet is completed with the solid rhythm section of drummer Devon Shazier and bassist Dave Cushman.

Twenty First Century Blues is the first release from the Bottleneck Blues Band and most of the tracks were first take recordings, as stated on their website, which make for a true sampling of the way the band actually sounds live. The delivery is authentic. There is no over-embellishment that you’re likely to find with a lot of newer acts these days, and because there is no over-playing you are treated to a steady pulse that is raw and natural. Everything flows nicely. The sound mixes well throughout with the individual soloist brought to the forefront when appropriate and the solos work exceptionally well as noted on tunes like “Riverboat Blues” with Zowader and Bell trading the lead spots, and also Bell’s slide on “Jack & Jill.” The disc opens with a short Delta styled acoustic run on guitar that leads into a more rockin’ pace with “Life Gets You Down.” The band can certainly display a lot of fresh angles to their blues approach and even give a bit of country taste on the song “Barstool” that features guest Jerry Aasen providing a little extra flair with his harmonica.

Bottleneck Blues Band are the perfect way to spend the night with the blues, whether catching them onstage at a club or by spinning the Twenty First Century Blues CD. The band wanted to pay tribute to the genre’s past and they got it right.

Total Time: 39:32

Where We Come From / Life Gets You Down / Jack & Jill / Say To You / Love Dat Girl / Downtown / Hold Me Down / Social Security Blues / Riverboat Blues / Barstool / You End Up With The Blues

Liz Mandeville

CD Review

Heart O’ Chicago
Blue Kitty Records

Liz Mandeville has long been a figure on the Chicago blues scene and with her latest release Heart O’ Chicago she pays tribute to the city and its music that she loves. This is her second album on her own Blue Kitty label, following her well received Clarksdale from 2012. Prior to that she had a handful of discs that had come out on Earwig.

Great listening here, as Mandeville delivers with her smooth vocals and is backed by an incredible band of Chicago blues veterans, including Blues Hall of Fame inductee Eddie Shaw on sax for a couple numbers and the always sensational Billy Branch offering harmonica on a couple more. The core band includes Mandeville on guitar alongside Minoru Maruyama, Daryl Wright on bass,Jermiah Thomas on drums and Joan Gand on keys. Terrific horn work provided by trumpeter Wade Baker, trombonist Eric Campbell and saxophonist Oz Landesberg. Also, aside from Billy Branch, Dizzy Bolinski adds harmonica on one track, making his debut recording.

On “Quit Me On A Voice Mail” Mandeville emotes her best Etta James-like phrasing, just one of her on the money singing approaches. There is truly a lot of vocal highlights throughout the album provided by Mandeville, and two of those of note are the duets with Charlie Love on “Don’t Doubt My Love” and “Smart Women Foolish Choices.” The first is just soulful bliss as the two share the spotlight. With a funky guitar riff and snappy horns, Mandeville gives a new original reading behind BB King’s theme on “Why Would A Woman Sing The Blues,” while detailing how since day one in the garden of Eden and throughout history she’s still paying her dues. Throw in a couple of stinging guitar solos and this song takes off. It’s obvious that Mandeville has a knack for writing clever and fun lyrics, such as her ode to quitting smoking “every silver lining has a black cloud” stated on the song “Silver Lining (Shirley’s Blues).”

Heart O’ Chicago is a tremendous album, full of the variety of blues, soul and R&B that make up the musical textures of the city. And Liz Mandeville gets it right every time on these eleven prime tracks that showcase her abilities to make you take note that she is a force to reckon with. Very much recommended.

Total time: 49:12

Cloud Of Love / These Blues / Don’t Doubt My Love / So Called Best Friend / Quit Me On A Voice Mail / Party At The End Of Time / Silver Lining (Shirley’s Blues) / Tic Tok / Why Would A Woman Sing The Blues / Smart Women Foolish Choices / (Life Is Like A) Wave

Missy Andersen

CD Review

In the Moment
Main Squeeze Records

Missy Andersen has released a delicious sophomore recording with In The Moment. Based in San Diego, by way of Detroit and New York, she has built a reputation that is well deserved for her soulful and powerful voice that has been featured in the past working with Earl Thomas and backing at times people like Ray Charles, Cissy Houston and BB King.

A truly exciting band including husband Heine Andersen on guitar, Hammond master Ben Moore, and one of California’s premier rhythm section in drummer Marty Dodson and Bill Stuve on bass. The sound also receives a lot of power from the horns of Robbie Smith on trumpet and saxmen Gerald Nolan and Bob Mathes. Other guests of note are James Harman blowing harp on “Better Or Worse,” Nathan James on guitar for a couple tracks and pianist Sue Palmer who also wrote the number “Ladies Shoes.”

The album bursts out of the gates with the lively “Rent Party” which sets the jumping theme for the disc. Missy tells us all that she is proficient as a “Night Stalker,” able to catch a cheating man. There are eleven tracks on this superb disc including eight originals, five that Missy co-penned with Heine. The remaining three offer exceptional takes on Snooks Eaglin’s “I’ve Been Walkin’” with Sue Palmer’s burning keyboards, Benny Clark’s aforementioned “Rent Party” and “Same Things Make You Laugh Will Make You Cry” from Sly & The Family Stone’s repertoire comes across with that perfect sense of soul groove. Tracks like “Reach Out” and “More Than Enough” also bring about that feeling of classic 60s/70s soul.

Missy Andersen is a natural talent, full of passion in her singing and a seeming ease with her presentation. This is an artist to keep a watch on. She certainly has a winning disc with In The Moment that should be a cross-over delight for fans of blues, soul and jazz.

Total Time: 50:17

Rent Party / Whole Lotta Nuthin’ / Night Stalker / More Than Enough / Better Or Worse / No Regrets / Same Things Make You Laugh Will Make You Cry / Reach Out / Ladies Shoes / Hey Now / I’ve Been Walkin’

Sister Mercy

CD Review

Head Over Heels
Self Produced

Is there something in the moist Portland atmosphere that brings out the best in female vocalists? The city is filled with sensational singers that easily rival any other scene in the nation. Well now you can add to the mix the voice of April Brown. Originally from the Los Angeles area where she worked the music and comedy clubs, she relocated to the Portland area and put together an exciting band made up of well-seasoned local veterans of the community under the name of Sister Mercy. Their self-produced debut release Head Over Heels is packed full of vocal pleasure and should become a favorite within Portland’s blues and R&B in no time.

Musically, this is a band that delivers. With brilliant guitar playing from Steve Savoie tearing into songs like Blind Willie Johnson’s “Nobody’s Fault But Mine,” “Sister Mercy,” “Heavy Load” and “I’m Done” accented with nicely executed piano from Debby Espinor, the album consistently captures attention deeper with each listen. Former Rose City Kings drummer Roger Espinor, who also produced and wrote many of the songs for this disc, paces the rhythm with Gary Giacci on bass (the band is now filling the bass position with another former Rose City King member Ron Camacho). Add to this Kelsey Brown as vocal partner alongside Brown and it comes across with depth and passion.

Head Over Heels is an exceptional debut that will garner a lot of attention for a band brimming with talent. Sister Mercy is destined for success and this is the right step in that direction. Well done!

Total Time: 44:58

My Mind’s Made Up / Upside Down Inside Out / Syrup & Honey / Nobody’s Fault But Mine / The Way / Holding On to Love / Come To Me / Sister Mercy / Heavy Load / I’m Done

Thorbjorn Risager & The Black Tornado

CD Review

Too Many Roads
Ruf Records

This is the eighth album released by Danish bluesman Thorbjorn Risager and it is truly a testimony to his prolific songwriting abilities and his knack for creating high quality sounding music. He has an authentic feel for a European performing American-based music. It is catchy and the lyrics are intensely deep in their emotions and delivered through a variety of musical angles that can be deep down home bluesy and haunting (“Too Many Roads”) with nice slide acoustic guitar, maybe a bit jazzy perhaps loungy (“Drowning”) and sometimes soulful (“Through the Tears”). But whatever direction, this is an act to be heard. It’s certainly quite a fresh sound and maybe something you didn’t expect from a European blues band. The band, the Black Tornado, consists of seven over the top players that includes a sharp horn section. Risager himself has a rich voice with a range that can read gritty or smooth depending on the song at hand, and his guitar playing is also well done.

“High Rolling” is a rocker that builds in momentum and has a biting guitar solo midway through, telling the story about how love can be sometimes like a gamble, capable of going in either direction. “Rich Man” with its horn punctuations reminds me of classic New Orleans R&B that may have been at home being sung by Ernie K-Doe or Bennie Spellman. That is followed by “Play On” that easily brings to mind the frenetic piano boogie styling of Jerry Lee Lewis. There is even a cover of an old Nat King Cole, “China Gate.” In fact, that is the only cover on the disc. The original material was penned one each by guitar player Peter Skjerning (“Backseat Driver”) and drummer Martin Seidlin (“Rich Man”), with all the others written by Risager himself.

All of the selections are modern, but they still draw from traditional bases such as failing relationships and choices made throughout one’s life, be they good or bad. Too Many Roads is an exceptional album in every sense. Who would’ve thought that one of the most refreshing new blues directions of the year would come from Denmark. Well worth hearing.

Total Time: 48:27

If You Wanna Leave / Too Many Roads / China Gate / Paradise / Drowning / Backseat Driver / Through The Tears / High Rolling / Long Forgotten Track / Red Hot & Blue / Rich Man / Play On

R.J. Mischo

CD Review

Everything I Need
Self-Produced

R.J. Mischo may have moved from Minnesota many years back now, and has landed in both California and Arkansas in the ensuing years since, but he has always maintained a great relationship with those he’s worked with in the Midwest as he is often joined by former bandmates guitarist Jeremy Johnson and keyboard master Bruce McCabe, along with a number of other pals like Little Frank Krakwoski on guitar, Billy Black on bass, percussionist Richard Medek, and Victor Span on drums, there to give him a needed hand whenever the call is made.

Mischo returned to the Twin Cities to record his latest release Everything I Need and indeed made the call to all of those aforementioned friends. And as you would expect from “The King of a Really Good Time,” Mischo delivers more of that delicious, classic sounding blues that he’s known for. St. Paul may not be too far of a stone’s throw from the Windy City, but these tracks sound as if they came directly from the South Side of Chicago, with harmonica work that would make Sonny Boy, Little Walter or Junior Wells proud. In fact, he does a couple tribute pieces in the styles of two heroes, “Little Walter Shuffle” and “Big Walter Boogie.”

For his twelfth recording, Mischo wrote nine original tracks and offers three covers, including Buster Brown’s “Sugar Babe” and Muddy Waters’ “Got My Brand On You.” Whether he draws strong harp instrumentals such as “In & Out Boogie” or chilling “Soul Swamp” or his insightful songwriting that may lament the downside of a cheating woman as on “Leave Your Man” where he states that you left your last man for me, you’re likely to do the same thing to me for somebody new, R. J. Mischo brings the blues to life. And whether it’s a Chicago-based track, a swampy feeling piece or even a West Coast groove filled with pounding rhythm as on “Keep On Lying,” this is true blues as displayed as only somebody who has been churning out one great album after another and sweating out his music on stages from one side of the country to the other only can. R.J. Mischo just does not put out mediocre blues recordings; always top notch every time out. Everything I Need is not an exception to that path.

Total Time: 45:09

Got My Passport / She’s My Baby / Big Walter Boogie / Everything I Need / Sugar Babe / Soul Swamp / Leave Your Man / Little Walter Shuffle / Keep On Lying / Got My Brand On You / Wait On Me / In & Out Boogie

Michael Osborn & The Drivers

CD Review

Driven By A Sound
Checkerboard Records

When it comes to traditional blues in Portland, you certainly cannot go wrong with Michael Osborn & The Drivers. Four heavy-duty musicians who have been laying down that bluesy groove together for several years locally and individually or with other groups for a lifetime. Led by guitarist Michael Osborn, who spent 13 years playing with John Lee Hooker and touring the world, as well as releasing a trio of solo recordings before moving to Portland, with string work that is spot on for blues stylings with tone and knowledge of when and how much to play effectively. Joining Osborn is bassist and vocalist Ken “K.G.” Jackson, an award winning band leader in Portland himself; harmonica monster Dave Mathis who has burned the reeds with locals such as Kelly Joe Phelps, Steve Cameron and Sheila Wilcoxson and also knows a thing or two about singing himself; and drummer extraordinaire John Moore who has worked with the likes of Bill Rhoades in Portland, as well as Albert Collins and William Clarke nationally. The four combine as if they’ve worked together their entire lives, sounding as close to being brothers as you can get. You’ll always know exactly what you’re in for at any Michael Osborn & The Drivers’ performance, straight ahead blues and nothing but the blues.

It has been more than four years since the band released their initial album, The Glamorous Life, in 2010, so hearing new material on disc by these guys is always highly anticipated. With that in mind, I’m jumping up and down with excitement over the band’s new entry to their catalog, the five-song EP titled Driven By A Sound. Five new original numbers that continues that bluesy sound that drives us all to this band. Four tracks are written by Michael Osborn and the fifth, “Retirement Blues” is a Dave Mathis number.

Driven By A Sound opens with a searing guitar line that is punctuated by harmonica and a full horn section as Osborn, Jackson and Mathis trade vocals and harmonize together on “When I Listen To The Blues.” The horns are sharp, tight and really bring an attraction that draws you into the music from the get go. Osborn’s guitar playing is terrific and tasteful, especially on the solo, working to perfection alongside the horns and the regular band. The horns were arranged masterfully by trumpet player Joe McCarthy and include Portland greats Brad Ulrich and Chris Mercer (who has played with practically the definitive who’s who in the music business world wide) on sax.

Dave Mathis displays his brilliance on the tin biscuit on his own composition “Retirement Blues” as he explains “growing old isn’t easy, it’s so hard to adjust, one day you’re working steady, the next you’re collecting dust.” “Live Wire” is an instrumental focusing wholly on the stringing of Osborn with a walking pattern rhythm section. Both stinging and ultra-pleasing, this is dynamic blues guitar at its best. “I’ve Been Daydreamin’” takes us to those thoughts of wishing for a better life and wondering if it’ll be our time to get ahead. The band takes a Bo Diddley approach to close the disc with “Through With You.” John Moore’s drums carries this number with a harp solo offered by Mathis, who also leads the vocals. Not to be outdone, Osborn carries the track with another sensational guitar solo.

Driven By A Sound is exactly the type of recording you would expect from Michael Osborn & The Drivers. It is blues done just right. The only drawback is it leaves you wanting to hear more. Five songs is just getting my appetite wet. Hope that there is more coming down the road soon. But in the meantime, yes, yes, yes, this is some mighty fine guitar blues, absolutely driven by a sound. And a fine one at that.

Total Time: 22:33

When I Listen To The Blues / Retirement Blues / Live Wire / I’ve Been Daydreamin’ / Through With You

Joe McMurrian

CD Review

Old Blood
Self-Produced

Joe McMurrian seems like a buried treasure here in Portland that we’ve kept to ourselves. One of the most inventive, innovative, creative and fresh sounding artists on the scene today, he should be a household name for anybody who enjoys listening to acoustic blues and roots music. There are very few people who have explored the sounds as deeply as he has. His music is modern, yet extremely influenced by the masters of the blues like Robert Pete Williams, Skip James, Lightnin’ Hopkins, Bukka White and Son House among many others. He channels those musicians in his own original compositions, yet this music does not mimic, it is highly pursuing new ground and laying the foundation for blues artists of the future.

Old Blood is Joe McMurrian’s first solo studio outing since his award winning Get Inside This House CD, that was recognized by The Blues Foundation as the Best Self-Produced CD in 2011. Studio recording did I say? Well, not exactly. Joe took to the out-of-the-way confines of an old pine cabin on Snow Mountain in Oregon and spent four days baring his soul and music by himself using vintage recording equipment, mics and instruments to collect a raw and natural feel to his songs. The wooden floor of the cabin helped enhance the sound on the tracks, most of which were completed in first takes.

With just his voice, guitars (both slide and finger-picked) and banjo, there is a lot of intimacy behind these selections. Every one is an in-depth story that requires close listening to grab the gist of Joe’s writing. But this music is so beautifully recorded and intensely crafted that it’s hard to do anything but let it capture your ears. And it goes in a variety of directions, often leaving you with the impression that the man has no boundaries. The only track on the disc that has been previously recorded is “Scrap Iron Pete” that was released in a live take on the Cascade Blues Association’s Puddletown Blues, Volume One. But that take was done with Joe’s band Woodbrain, and this solo outing adds so much more emotion and bares so much more with his banjo work.

What can be said about Joe McMurrian? His songwriting and performances stand on their own merit. He just does not release music that you’re going to hear from anybody else, and if you do, it is not going to match the quality and originality you’re going to find here. He has picked up right in step where he left off with Get Inside This House. Old Blood is more than just a great album, it is an acoustic masterpiece.

Old Blood is available as a download at http://joemcmurrian.bandcamp.com/album/old-blood.

Total Time: 55:08

My Mind Was Fire / Scrap Iron Pete / Big Wad O’ Dough / Cold Fall / Blue Meadow / Off to Sea / Old Blood / Black Pony / Mexican Soldier / Mercy for Tomorrow / Angel City / How to Breath / Snow
Mountain Blues / Lost in the Country

E.G. Kight

CD Review

A New Day
Blue South Records

E.G. Kight, The Georgia Songbird, has returned from a scary life-threatening double illness of both meningitis and encephalitis that kept her from her work for many months. Going through such an ordeal gives time for many thoughts and Kight, inspired by this time to herself, has penned a collection of songs that she has released on a new recording titled appropriately enough, A New Day. Of the ten tracks presented on the disc, Kight was credited as the writer on each, with half co-written by Tom Horner, and assistance from her close friend Lisa Biales on one (“Graveyard Dead Blues”) and the late Ann Rabson of Saffire – The Uppity Blues Women fame on another (“Bad Times”).

A New Day falls in line with past Kight releases, meaning that it is highly exceptional material that focuses on her incredible vocals. The musicians behind her are all sensational, including such notable artists as guitarist Tommy Talton, drummer Bill Stewart and a trio of keyboardists laying down sharp licks, Paul Hornsby, Mike Harrell and Randall Bramblett. Michigan-based bluesman Greg Nagy joins Kight to blend his soulful voice with hers on “Bad Times.” Now that is a vocal pairing to be reckoned with, as each brings out the best in one another. Wow!

Kight reflects on her recent illness with the song “Holdin’ On.” “Now life is so much sweeter, I’m glad I’m here to tell you that, I’m a true believer, Where I have been I don’t want to go back.” Strong and emotional words and delivery. Pure E.G. Kight. And this album is filled with outstanding pieces, such as the gospel-inspired “Don’t Give Up” with hand claps and backing vocals that take us directly to church; the painful realization of watching your love walk away and knowing you “Can’t Catch The Wind”; on “Graveyard Dead Blues” she informs her partner that she can make a loving home, but do her wrong and she has “a stick broom in her kitchen and a big ol’ frying pan” and she’ll be ready to use them; and a new anthem for modern women, “Low Mileage Woman,” just slightly used, but you’ll love what you’ll be getting. There is also a couple terrific bluesy guitar pieces that are on completely different sides of the coin, with “Comin’ Down With The Blues” being a slow burning number and the closing “Time To Move On” taking on a more country blues approach.

Yes. E.G. Kight is definitely back. And A New Day places her right back where she belongs bringing us the blues as only she can. This is a terrific recording, ranking right along her best. I can hear her now, “Hey y’all, did ya miss me? Well wait’ll you get a load of what I have here.” And I’m telling you, this is something you need to hear. The Georgia Songbird flies again.

Total Time: 40:24

Holdin’ On / Graveyard Dead Blues / Comin’ Down With The Blues / Don’t Give Up / Can’t Catch The Wind / Let’s Get Down / Bad Times / Misunderstood / Low Mileage Woman / Time To Move On