Blues Roadhouse

Rick Vito — “Slidemaster” — MoMojo Records

Music without words isn’t all that unusual — Mozart didn’t write any lyrics — but a wordless album of blues and roots music is unique, and in Rick Vito’s hands, excellent music.

(It’s not too unique this month, though, since my previous post was on another fine instrumental album just released by Tom Principato, “Twangin’!”)

Vito is probably best known for his role in the legendary supergroup Fleetwood Mac from 1987-1991, when he revived the rootsy blues feeling of the band’s early years. In 2008 he partnered with Mick Fleetwood to form the Mick Fleetwood Blues Band and was nominated for a 2010 Grammy in the Best Traditional Blues category as both artist and producer for the album “Blue Again.”

Rick’s solo albums began with Atlantic Records in 1992 with “King of Hearts,” after which he began performing worldwide with his own band. His guitar work has also appeared on hundreds of recordings by such artists as Bob Seger, Bonnie Raitt, John Mayall, Albert Collins, John Prine and many, many more. He also received the 2024 Blues Music Award for song of the year, “It’s Two A.M.,” and his compositions have appeared in numerous movies and TV shows, including the TV series, “Blue Bloods.”

But, to paraphrase one of the songs covered here, a change was gonna come.

“For many years now, friends have asked, ‘when will you release an instrumental album?’ Having recorded even more instrumental tracks this past year, I finally decided to do just that,” says Vito. “To my knowledge there have not been many slide guitar instrumental albums, and out of this came the idea for “Slidemaster.” These new works are paired with some of my very favorite cuts from previous albums resulting in a soulful collection of all-instrumental slide guitar tracks. This album comes from years of recording in a style that I hope you will love as much as I do.”

It’s hard to understate the elegance of Vito’s slide work here, Vito remastered and remixed versions of five previously released songs and recorded seven new takes. Five of the total are smartly selected covers covering a range of styles. And he plays acoustic and electric bass and percussion, along with aan outstanding supporting cast. (Musicians and credits listed at end of post.)

Everything jumps out with the upbeat blues, “Vegas Jump,” a masterclass in super-slide work written by Vito, followed by the enchanted lines of “Steal Away” with undertones of a sweet Hawaiian guitar. “The Big Beat” rocks with … a big beat, and “The Danger Zone” is another haunting slow blues. “Red Hot Baby” is tough blues shuffle, and you can almost hear a “red hot baby” chorus line.

“Albatross” is a dreamy interlude from Peter Green, with sensuous slide; “Soul Shadows” add a funky percussion intro, and the original “Slide the Blues” is a slinky slow-drag shuffle made for a belt-buckle-polishing slow dance.

“A Change Is Gonna Come” removes those words from Sam Cooke’s anthemic recording and translates them into gorgeous slide language. “River of Blues” flows effortlessly into the sublime “The Supernatural,” another Peter Green composition, all wrapped up with a reverent, ethereal reading of “The Lord’s Prayer.”

With “Slidemaster,” Rick Vito demonstrates the depth of expression he coaxes from his slide, using tone and nuance to say more than mere words. His musical mastery will leave you speechless — the slide rules!

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“Slide the Blues” from the album:

Tracklist & credits:
Vegas Jump — 3:05
Steal Away — 3:12
The Big Beat — 3:30
The Danger Zone — 3:40
Red Hot Baby — 3:15
Albatross — 2:50
Soul Shadows — 3:20
Slide the Blues — 3:25
A Change Is Gonna Come — 4:05
River of Blues — 4:10
The Supernatural — 2:58
The Lord’s Prayer — 2:17

Musicians:
Guitars: Acoustic & Electric Bass, Keys, Percussion: Rick Vito
Drums: Rick Reed (tracks 1, 5, 6, 8, 9), Lynn Williams (track 11), Charles Johnson (tracks 2, 3, 4, 7)
Electric Bass: Charlie Harrison (tracks 1, 6, 8, 9)
Organ: Mark Horwitz (track 9), Kevin McKendree (track 12)
Songs: Rick Vito, Vitone Music, BMI, plus: “Albatross” and “The Supernatural” by Peter Green, Primary Wave Music; ” Steal Away” by Jimmy Hughes, Screen Gems-EMI Music; “The Lord’s Prayer” by Albert Hay, Malotte, G. Schirmer Inc..; “A Change Is Gonna Come” by Sam Cooke, Abkco Music Inc.

Tom Principato — “Twangin;’ — Powerhouse Records

Tom Principato has been delivering “roots music for you soul” with his guitar and his voice for more that 40 years, 18 albums and countless gigs.

For the first time, the Washington, D.C.,-based artist is delivering an album filled with his rootsy blues, boogie and rock, and a little country, without his voice — the instrumental “Twangin’!” that lets his guitar do the talking.

It’s Principato’s first studio album in 13 years, with five originals and six covers, each highlighting aspects of his guitar style and virtuosity. He gets some fine help from Dave Elliott, Big Joe Maher and Jim Brock on drums, Steve Wolf and Jim Robeson on bass, and Tommy Lepson on organ.

The rousing opener, “Night Walk,” an old Ventures song, lets you know what’s in store, as Principato’s phrasing and tone do all the talking necessary. “Kentucky” adds a vintage country flair. “Drop D Boogie” is a rollicking original, followed by another Principato creation, “Smoky Blue,” that sounds just like its title — a late-night blues riff filled with a subtlety and swing.

“The Bone Head Shuffle” is a tough-enough original shuffle that sings its own blues lyrics. “All Night, All Day (Angels Watching Over Me)” is a gentle, gospel-flavored exercise with sweet guitar refrains. “Champagne,” a Merle Haggard recording, is filled with crisp country picking.

The originals “Beyond The Stars” and “Head First” both flow effortlessly and melodically into the gorgeously phrased Ketty Lester classic “Love Letters.” Another Ventures creation, “Blue Star,” brings the session to an eloquent finale.

It’s great to have new music from Tom Principato. His guitar work has always been magical, and now it speaks for itself. Do yourself a favor and listen to what it’s saying. It will leave you speechless!

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Here’s “Night Walk” from the album:

Tracklist & Credits

1. Night Walk 2:51
   (Wilson, Bogle, Edwards, Taylor) Capitol Records LLC
   Tom Principato guitar, Dave Elliott drums, Jim Robeson bass
   2. Kentucky 3:20
   (Karl Davis) Tom Principato guitar, Dave Elliott drums, Steve Wolf bass
   3. Drop D Boogie 2:54
   (Tom Principato) French Lady Music BMI
   Tom Principato guitar, Big Joe Maher drums, Jim Robeson bass
   4. Smoky Blue 3:24
   (Tom Principato) French Lady Music BMI
   Tom Principato guitar, Jim Robeson bass, Jim “Sticks” Stickman drums
   5. The Bone Head Shuffle 2:50
   (Tom Principato) French Lady Music BMI
   Tom Principato guitar, Jim Brock Drums, Steve Wolf upright bass
   6. All Night, All Day (Angels Watching Over Me) 3:33
   (Otis L. McCoy) Public Domain
   Tom Principato guitar, Tommy Lepson organ, Jim Brock Drums, Jim Robeson bass
   7. Champagne  2:31
   (Roy Nichols & Norman Hamlett) Shade Tree Music BMI
   Tom Principato guitar, Dave Elliott drums, Steve Wolf bass
   8. Beyond The Stars 3:05
   (Tom Principato) French Lady Music BMI
   Tom Principato guitar, Jim Robeson bass
   9. Head First 4:16
   (Tom Principato) French Lady Music BMI
   Tom Principato guitar, Jim Robeson bass, Jim “Sticks” Stickman drums
   10. Love Letters 3:08
   (Victor Young & Edward Heyman) Sony/ATV Music Pub.
   Tom Principato guitar, Steve Wolf upright bass
   11. Blue Star 3:16
   (Victor Young & Edward Heyman) Sony/ATV Music Pub.
   Tom Principato guitar, Jim Robeson bass, Jim “Sticks” Stickman drums

Seth James — “Motormouth” — Qualified Records

The music of Seth James is a heady brew of his native Texas blues, Memphis soul and Southern rock, all distilled for decades into the grit of his authentic rootsy voice.

His latest album, “Motormouth,” follows James’ 2024’s “Lessons,” a tribute to the music of Delbert McClinton, a major musical influence. This session finds the veteran singer/songwriter exploring his Texas roots in a more expansive set, emphasizing his own sharp musical sensibilities.

The result is an album filled with bluesy bravado, Texas swing, soulful vocals and greasy roadhouse vibes driving a set of covers and originals filled with sharply told tales of love and life. All of those deep roots bear honey-dripping fruit in James’ music.

A pair of insistent original blues rockers — “Why Should I Suffer” and “Motormouth” — pull you right in with slyly perceptive lyrics, razor-sharp music, and a stunning chorus of backup singers (Alice Spencer, Nick Jay, Etta Britt, Miss Jackie Wilson). “I’m In Trouble” finds him admiring a woman and admitting the obvious: “I been dodging trouble for most of my life / But this kind of trouble is the kind I like.”

“I’ll Be Gone” is joyous Texas swing with an old-fashioned message: “If you don’t wanna sell me bacon, don’t open up the store,” while an especially soulful original, “I Can’t Find Your Mind,” looks in vain for a personal connection. There’s a sensitive cover of McClinton’s “Just A Thought,” while “I Can’t Wait” finds Delbert joining in, leading another McClinton cover, the churning R&B of “I Got To Know.” A swinging version of the Doc Pomus classic “Lonely Avenue,” is filled with extra joy from the backup singers.

“I Feel The Burden” is an uplifting gospel-drenched track, raised higher by the rousing fervor of the backup chorus, and the closer, “Start A Brand New Day” is a gently swung invitation to do just that, bringing this joyous session to a conclusion full of hope and optimism.

Seth James has given us a crackling good album filled with the down-home honesty and vitality of his singing, songwriting and the musicians who bring it all home.

“I don’t want to do a good job so that I can be successful and sell more records,” James says. “Don’t get me wrong – that would be great, too. But that moment where everyone is together, their glasses cheers-ing while they shake off the blues a little bit –
I want to be part of that.”

If “Motormouth” doesn’t shake off your blues, you need to listen to it again. And again. It’s damn fine music!

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Delbert McClinton says: “With the release of this new CD, Seth James has become one of the most important vocalists I’m aware of!”

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Here’s a live performance by Seth James: “Cigarettes, Anger and Wine”:

Tracklist & credits:

1. Why Should I Suffer — S. James, G. Nicholson, B. Britt • 2:56
2. Motormouth — K. McKendree, S. James • 3:08
3. I’m In Trouble — D. Bryant • 4:04
4. It’s Later Than You Think — S. James, K. McKendree, P. McLaughlin • 2:46
5. I’ll Be Gone — C. Linden • 2:49
6. High Horse — L. Russell • 4:08
7. I Can’t Find Your Mind — S. James, G. Nicholson, B. Britt • 3:03
8. Just A Thought — D. McClinton, A. Anderson • 3:52
9. I Can’t Wait — D. McClinton • 3:13
10. I Got To Know — D. McClinton • 2:37
11. Lonely Avenue — D. Pomus • 3:16
12. I Feel The Burden — G. Clark • 2:51
13. Start A Brand New Day — C. Allen • 2:42

• Seth James (vocals, guitar)
• Kevin McKendree (keyboards)
• Rob McNelley (guitar)
• Steve Mackey (bass)
• Lynn Williams (drums)
• Jim Hoke (saxophones)
• Vinnie Ciesielski (trumpet)
• John Hinchey (trombone)
• Alice Spencer, Nick Jay, Etta Britt, Miss Jackie Wilson, The Time Jumpers

The musicians:

• Seth James — vocals; lead guitar (Dick50); horns; BGVs
• Dick50 — house band providing guitars, horns, BGVs
• Kevin McKendree — piano, organ
• Rob McNelley — guitar
• Steve Mackey — bass
• Lynn Williams — drums
• Horns (arr. Jim Hoke)
  • Jim Hoke — saxophones
  • Steve Herrmann — trumpet
  • John Hinchey — trombone
• The Time Jumpers — featured on multiple tracks
  • Andy Reiss — electric guitar
  • Larry Franklin — fiddle
  • Joe Spivey — fiddle
  • Kenny Sears — fiddle
  • “Ranger Doug” Green — archtop guitar
  • Jeff Taylor — piano
  • Billy Thomas — drums
  • Eddy Dunlap — steel guitar
  • Brad Albin — upright bass

Brooks Milgate — “Roll with the Punches” — MoMojo Records

Here’s another recent album (Jan. 2026 release) for which I’m late to the party, but is worthy of my — and your — attention.

Brooks Milgate grew up with his family’s fondness for Southern rock, but it wasn’t until he attended the Berklee College of Music in Boston from 2002 to 2005 that he began to understand the deep blues roots of that music.

A little farther on down the road in Worcester, he found friends and clubs and a new appreciation for the blues.

“A lot of blues songs I knew and had heard, but I didn’t realize the Allman Brothers, for example, didn’t write those songs,” Milgate told Meg Trogolo of Worcester Magazine. “As I was playing music around Worcester, I got to know a lot of people that played blues, and they really gave me an education on the history of it, learning about Little Walter and all these guys that created the genre and don’t get the credit they deserve.”

Since then, Milgate has played alongside performers such as Sugar Ray and the Bluetones, Darrel Nulisch, Kid Ramos, Ana Popovic, Chris O’Leary, and Mark Hummel. He’s also been writing and arranging music for others but has now taken his career in a new direction with his first solo album, “Roll With The Punches.” It was released just about the time in January that he was holding down a piano stool at the piano bar on the Legendary Rhythm & Blues Cruise.

The session is filled with nine finely crafted originals and two covers, and demonstrate his original approach, but also reflect his influences ranging from boogie-woogie to blues to rock.

Everything takes off with the rocking “Cheap Airline,” a catchy tale of finding love on in the sky, soaring on the wings of his piano and organ riffs, with stinging guitar from Charlie O’Neal. He follows with an unusual but effective honky-tonk flavored version of Lead Belly’s classic “Goodnight Irene,” including a fine and raunchy sax solo by Mark Earley. About this song, Milgate says in the Worcester Magazine interview: “There’s even some folklore to say that song got (Lead Belly) released from prison in Louisiana. I love the New Orleans piano players – James Booker and Dr. John – and they had done a cover of this song, and that was what I was trying to channel.”

Other highlights include: “Worry,” a gorgeous little bluesy romp through some self-reflection, with Milgate handling all the backup — piano, Wurlitzer and drums; “Roll With The Punches” is more introspection with an easy-rolling blues theme; the second cover, Little Walter’s massive hit (by Willie Dixon) “My Babe” gets a hint of Latin rhythm and adds smart sax from Early; the elegant instrumental “Blueish Gray” with Milgate handling piano, Hammond organ, acetone organ and drums, adding David Westner on upright bass. It’s a fitting closer for this thoroughly entertaining album, a showcase for Milgate’s impressive musical talents. Other tracks are: “Best That We Can Do,” “I Should’ve Known,” “Interstate Shuffle,” “Why’d I Wait So Long” and “So Long.”

Brooks Milgate is a multi-talented singer/songwriter with keyboard chops that make the listening extra special. His first album demands an encore!

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Here’s the instrumental “Interstate Shuffle” from the album:

Tracklist & credits:

Cheap Airline – Brooks Milgate, vocals, piano, Hammond organ; Chris Anzalone, drums; Charlie O’Neal, guitar; David Westner, bass; Mark Earley, saxophone.
Goodnight Irene – Brooks Milgate, vocals, piano, Hammond organ; Chris Anzalone, drums; Mark Earley, saxophone. Songwriters: Huddie Ledbetter, John Lomax.
Best That We Can Do – Brooks Milgate, vocals, Rhodes, Hammond organ; Chris Anzalone, drums; Mark Earley, saxophone.
I Should’ve Known – Brooks Milgate, vocals, piano, Hammond organ; Chris Anzalone, drums; Monster Mike Welch, guitar; Mark Earley, saxophone.
Interstate Shuffle – Brooks Milgate, Hammond organ, Rhodes; Chris Anzalone, drums; Chris Vitarello, guitar; Mark Earley, saxophone.
Worry – Brooks Milgate, vocals, piano, Wurlitzer, drums.
Roll With The Punches – Brooks Milgate, vocals, piano, Hammond organ; Chris Anzalone, drums; Monster Mike Welch, guitar; Mark Earley, saxophone.
Why’d I Wait So Long – Brooks Milgate, vocals, piano, organ, bass, drums; Charlie O’Neal, guitar; Lydia Harrell, Andrea Capozzoli, Kit Holliday, background vocals.
My Babe – Brooks Milgate, vocals, Rhodes, piano; Eli Lito Mateo, percussion; Chris Anzalone, drums; Mark Earley, saxophone. Songwriter: Willie Dixon.
So Long – Brooks Milgate, vocals, piano, Rhodes, Hammond organ; Chris Anzalone, drums; Mark Earley, saxophone.
Blueish Gray – Brooks Milgate, piano, Hammond organ, acetone organ, drums; David Westner, upright bass.

It’s time to take another look back into blues history at some of the music and musicians who helped shape America’s classical music.

The inspiration for this post is my favorite (and only) radio show, The Rhythm Revival on WMNF Tampa. It’s hosted by the Rev. Billy C. Wirtz and Marvelous Marvin Boone, who combine weekly to play music that runs from gospel to blues to country, illustrating how their roots are historically interlaced.

A few weeks ago, they played some Francis “Scrapper” Blackwell and Leroy Carr records, noting their impact on artists that followed them. They created an influential chunk of blues history that signaled a smoother, more urbane musical style developing in the late 1920 and ’30s.

Carr, who played a light, bluesy piano, is probably best known for his 1928 masterpiece, “How Long, How Long Blues,” recorded with the then little-known Blackwell on guitar. That song was based on a 1925 recording of “How Long Daddy” by Ida Cox, but Carr is credited with the lyrics and music of “How Long.”

Carr’s laid-back and sophisticated vocal style influenced such singers as T-Bone Walker, Charles Brown, Amos Milburn, Jimmy Witherspoon, and Ray Charles. Count Basie and Jimmy Rushing recorded some of Carr’s songs, and Basie’s band shows the influence of Carr’s piano style. Music historian Elijah Wald has called Carr “the most influential male blues singer and songwriter of the first half of the 20th century”.

Carr was one of the most prolific and popular blues artists from1928 until his early death in 1935, and he produced a large body of work, including “Papa’s on the House Top” (1931), “When the Sun Goes Down” (1931), “Blues Before Sunrise” (1932), “Midnight Hour Blues” (1932), and “Hurry Down Sunshine” (1934). His music has been recorded by artists such as Robert Johnson, Ray Charles, Big Bill Broonzy, Moon Mullican, Champion Jack Dupree and Memphis Slim.

Carr and Blackwell, both living in Indianapolis, worked primarily as a team in those years, but Blackwell withdrew from music after Carr died of illness at the age of 31, in 1935, His career was revived by a new generation of fans in the 1950s, leading to concert performances and solo recordings, part of the folk-blues revival of the late ’50s and early ’60s.

Although he was mainly self-taught as a guitarist, Blackwell was later influenced by the recordings of Willie Harris and Blind Lemon Jefferson, and probably by the East Coast Piedmont style of his South Carolina birthplace as well as Chicago blues.  He didn’t consider himself a professional musician until Carr persuaded him to join the “How Long” recording session.

Blackwell’s guitar work was light and airy and often jazz-like in its lyrical style but could also be raw and assertive. His vocals are lean and spare, quietly soulful and expressive. One of Blackwell’s trademarks was his fingerpicking technique, using his thumb and fingers simultaneously, allowing him to create intricate melodies and harmonies. Blackwell’s influence was widespread, and Lonnie Johnson, who would become one of the most influential guitarists of the 20th century, credited Blackwell as one of his key inspirations, and his influence can be heard in Johnson’s recordings.

Some of Blackwell’s notable songs include “Kokomo Blues,” “Penal Farm Blues,” and “Back Door Blues,” and his recordings remain a testament to his innovative techniques. Blackwell’s life ended tragically when he was shot to death, presumably in a robbery, in 1962, when he was 59.

Both Carr and Blackwell have tended to disappear when early blues artists are catalogued, and that’s a shame. Their music was not just innovative and influential; it was great music on its own. Here are a couple of samples:

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And something by Lonnie Johnson

Lil Ed’ & the Blues Imperials — “Slideways” — Alligator Records

You could pick a whole lot of words to describe the music of Lil’ Ed and his Blues Imperials.

But they better include blistering, dynamic and fiery — because that’s exactly what slide guitar wizard Ed Williams brings to his tough, traditional Chicago blues.

And that’s what you get on “Slideways,” the band’s tenth album, its first in 10 years. Williams is 70 now, but the raw power of his music is undiminished.

His voice is a little deeper, but so much the better to power his dynamic music. His guitar work is a little different here, with more single-note playing, but there’s still plenty of snarling blues in those strings.

Ed and his Imperials have been careening through the blues for nearly 40 years, but their music remains refreshingly true to its barroom roots. The band was elected to the Blues Hall of Fame in 2024.

The origins of Williams’ power and skill lie deep in Chicago blues history — his uncle was the legendary slidemaster J.B. Hutto.

“J.B. taught me everything I know,” Williams says. “I wouldn’t be where I am today without him.” Ed and his half-brother and bassist James “Pookie” Young, spent their teen years making music together, and in 1975 formed the first incarnation of The Blues Imperials.

Since 1989, the band’s lineup has remained rock steady — Williams, Michael Garrett on rhythm guitar and vocals, Young on bass and Kelly Littleton on drums. Ben Levin adds terrific piano and organ on eight tracks on this session. Alligator President Bruce Iglauer checks in with Williams as co-producer, a testament to Williams’ exalted place in the Alligator blues universe. The album’s release also helps the record label celebrate its 55th year.

The band comes out blazing with its first three songs: The insistent boogie of “Bad All By Myself, the rocking “One Foot On The Brake, One On The Gas” and the sly humor of “The Flirt In The Car Wash Skirt.” The haunting slow blues of “Homeless Blues” (the only non-original song here) and the solemn warning contained in “Wayward Women” reach deep for their emotional impact, both in dark contrast to the raucous blues that surround them.

Oher highlights include “13th Street and Trouble,” with Levin’s rollicking piano chasing Williams’ slide in a furious take. “What Kind of World is This?” offers a thoughtful look at a troubled world, and “Make a Pocket for Your Grief” offers its own lessons in life. More blistering blues awaits in “More Time,” “Crazy Love Affair,” “Cold Side of the Bed” and the closer “You Can’t Strike Gold From A Silver Mine” — all filled with the raw power of great Chicago blues.

So yes, you could use a whole lot of words to describe the music of Lil’ Ed and his Blues Imperials. I just did. But it would’ve been a lot simpler just to say: This is a vital album filled with the increasingly rare honesty of living Chicago blues. Get it while you can!

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Here’s a recent interview with Lil’ Ed in the Chicago Blues Guide.

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Here’s “Bad All By Myself” from the album:

Tracklist & credits

1. Bad All By Myself
2. One Foot On The Brake, One On The Gas
3. The Flirt In The Car Wash Skirt
4. Homeless Blues
5. 13th Street And Trouble
6. Make A Pocket For Your Grief
7. More Time
8. If I Should Lose Your Love
9. Wayward Women
10. Crazy Love Affair
11. Cold Side Of The Bed
12. What Kind Of World Is This?
13. You Can’t Strike Gold From A Silver Mine

Lil’ Ed Williams: Guitar and Vocals
Michael Garrett: Guitar (middle solo on Homeless Blues , first middle solo on More Time, middle solo on Crazy Love Affair)
James “Pookie” Young: Bass
Kelly Littleton: Drums
with
Ben Levin: Piano (3,5,7,10) or Organ (4,6,9,11)

Charlie Barath — “Issaquena Getaway” — Self-Release

I was going to write an entire blog post praising “Issaquena Getaway,” the new album by blues harpman Charlie Barath.

Then I found this quote by blues — and harmonica — legend Charlie Musselwhite, which says pretty much what I was going to say.

“Charlie Barath is a friend of mine. He’s not only a really good guy but a fine harmonica player. Charlie has recorded a heck of a good blues album right here in good ol’ Clarksdale, Mississippi. You won’t be disappointed. Take my advice—get ‘Issaquena Getaway’.”

Barath is indeed a fine harp player. And this is indeed a fine album. The music has a down-home, laid-back feel that speaks well of the blues, and a handful of related songs smartly created and wisely chosen for this session.

The band is a small, tight-knit group that sounds relaxed and informal, and doesn’t waste a note in backing Barath, whose fluid harp work is lean without being mean — its power lies in its subtlety and ability to swing effortlessly between styles. His vocals flow like a musical conversation.

Barath handles the harp and vocals, and his bandmates include guitarists Johnny Burgin and Andrew Sherer; keyboardist Mark Yacovone; bassist Mike Law; drummer Danny Banks of the John Nemeth Blue Dreamers; and guest vocalist Shari Richards of Pittsburgh, where Barath could be found until his recent move to Oklahoma. The album features twelve songs by Barath, with two intriguing covers.

They open the album with a relaxed blues shuffle, “I Gets Around,” with an easy-rolling beat featuring Burgin on lead guitar and Barath’s harp swinging in the break, and his wry vocals on display: “Oh I ain’t got no job, but I stay busy all night long / I keep myself occupied with wine women and song.”

“The Weekend Song” is joyfully upbeat with swinging piano from Yacovone: “Well I like my job, but I love it when it’s done.”
Then “Waitin’ For The Queen” takes a deeper blues groove blues behind a swampy beat from Banks. “Cuban Getaway” is a swinging Latin instrumental written by Ike Turner and Joe Josea (who was actually Joe Bihari of the Bihari brothers, who owned multiple record labels). Similar flavors return later in “Can I Have This Dance?”

“I Might Fall In Love” works a snaky midtempo blues groove and the possibilities of romance: “Last thing I wanna do is to fall in love with you / But I just might.” Barath leads with his harp on “The Best Thing You Can Do,” featuring swinging guitar by Burgin and piano by Yacovone, all with a meaningful message: “Life is full of choices / They affect more than just you / So do the right thing, it’s the best thing.” The traditional “Brass Monkey” chills out over his cold, cold woman: “You’re so cold baby, brass monkey gonna stay home tonight.”

“Just Wanna Walk With You” is an upbeat take on an old-fashioned blues theme about his fine woman: “Ever since I first saw you honey, I just wanna walk with you,” with a delicious harp solo. Other highlights include a 6 1/2-minute harp-fueled version of “Sugar,” Stanley Turrentine’s 1971 jazz instrumental, “That Wasn’t Me,” “Renee,” “I’m Gonna Let You,” and “Honey I Got No Money.”

“Issaquena Getaway,” recorded in Clarksdale, Miss., grows from its Delta blues roots and offers the fruits from many of its musical branches. Charlie Barath has harvested some of these fruits to create this gem of an album. It’s filled with an upbeat attitude, joyous music and a refreshing old-fashioned vitality. It’s also a great album!

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If you wanted to take an Issaquena getaway, where would you go? Issaquena County is a small, sparsely populated county deep in the Delta on the western edge of Mississippi, bordered on the west by the river itself, possibly still shrouding the mysteries of the blues. But there’s also an Issaquena Avenue farther to the north, in Clarksdale. Either way, take this music along for the ride

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Here’s a recent interview with Charlie Barath on BluesGr by Michael Limnios 

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“I Might Fall In Love” from the album:

Tracklist:
01. I Gets Around
02. The Weekend Song
03. Waitin’ For The Queen
04. Cuban Getaway by Ike Turner and Joe Josea
05. I Might Fall In Love
06. The Best Thing You Can Do
07. Brass Monkey traditional blues
08. Just Wanna Walk With You
09. That Wasn’t Me
10. Renee
11. Can I Have This Dance?
12. I’m Gonna Let You
13. Sugar
14. Honey I Got No Money

Musicians – Johnny Burgin & Andrew Sherer (guitars), Mark Yacovone (piano/organ), Mike Law (bass), Danny Banks (drums) & Shari Richards (vocals).

Performers by track:

1. Lead – Johnny Burgin (JB)
2. Lead – Andrew Sherer (AS)
3. Lead – JB
   4.1st Lead – AS, 2nd Lead – JB
4. Rhythm – JB, Fills – AS
5. Lead – AS
6. Lead – JB
   WEBLINKS
7. Rhythm – JB & AS
8. Lead (call and response w/ Harp) – JB
9. Lead – JB
10. Lead – JB
11. Fills & Lead – JB
12. Lead – AS
13. Lead – JB
    

Peter Veteska & Blues Train — “Key of V” — Self-Released

Peter Veteska is one of those unsung, hard-working bluesmen who needs much wider recognition than he gets.

He’s in the New York Blues Hall of Fame and a member of Jersey Shore Jazz & Blues Foundation, but he and his band, Blues Train, have brought their swinging blues sound up and down the East Coast, creating a series of albums that have defined their career.

The Train has left the station once again with its latest effort, “Key of V,” the eighth album since the band formed in 2013.

I’ll let Veteska tell the latest album’s origin story:

“When I began working on a new recording project in November 2024, I wasn’t sure where it would lead me. I took it one song at a time every month or so, not rushing to a finish line as I had with past albums. “Key of V” is a collection of ten songs – five originals and five covers – ranging from the 40s, 50s and into the 60s.

“This time around I opened myself to drawing on sounds and genres that spoke to me, regardless of whether each song I covered or wrote fit neatly into the blues “box.” The result is my most personal album to date – one that reflects the variety of musicians and songwriters who have influenced my artistic choices and the band’s path over the years.“

Those choices were excellent. They include standards by Frank Sinatra and Peggy Lee and blues classics from Big Bill Broonzy and Otis Rush. Veteska’s originals are smartly crafted songs with effortless musical backing. The core band for this session includes Veteska on guitar and vocals, Chuck Hearne on bass, Jeff Levine on keys and Alex D’Agnese on drums. Guests are Coo Moe Jhee and Rick Prince on bass, Mikey Junior on harp and Danny Walsh n sax.

Everything gets under way with a deep blue cover of “Checking On My Baby, the Otis Rush version. Veteska’s vocal captures its gritty essence, rocked by a driving B3 solo, leading into a stinging guitar riff. Another blues chestnut follows, a scorching guitar-driven take on Big Bill Broonzy’s “Key to the Highway.”

“Home of the Broken Hearted” is an original upbeat blues with fiery guitar intro to a message from a broken heart: “Drifting in a sea of sorrow, I’m lost without you.” The original rocker “Falling Out of Love Again” spins another lovelorn tale driven by the fierce interplay between Veteska’s guitar and Levine’s throbbing B3.

The original “Tuning Out the Noise” adds Mikey Junior’s harp and Walsh’s sax, creating a touch of ’50s Memphis soul. That leads into another ’50s memory, “Learning the Blues,” a Frank Sinatra track from 1955 given an intimate jazzy feel. “Watch the Love Grow” is a rocking original with a relentless groove that sweeps you into the music. “I Did All That I Could” is another original, an easy rocking blues shuffle with a steady rolling guitar at the wheel.

“Walking by Myself” is a Jimmy Rogers tune, updated here with some tasty Levine piano with a solid Veteska vocal. Everything wraps up with a smoothly sung version of Peggy Lee’s “I Don’t Know Enough About You.” Veteska plays acoustic guitar and brings a sophisticated crooner’s touch to this 1946 gem.

Peter Veteska & Blues Train have engineered a superb session of blues styles in “Key of V.” The songwriting is sharply real, the music is crisp and authentic, and Veteska’s versatile vocals shine in the key of V. Get on board the Blues Train for one great musical ride!

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Here’s a sampling of Peter Veteska’s music:

Tracklist:

1. Checking on My Baby
2. Key to the Highway
3. Home of the Broken Hearted
4. Falling Out of Love Again
5. Tuning Out the Noise
6. Learning the Blues
7. Watch the Love Grow
8. I Did All That I Could
9. Walking by Myself
10. I Don’t Know Enough About You

Altered Five Blues Band — “Hammer & Chisel” — Blind Pig Records

The Altered Five Blues Band is one tough mother for ya!

This powerful Milwaukee-based band creates muscular blues with relentless power and passion, putting them at the forefront of contemporary blues musicians who’ve mastered — and channeled — the essence of America’s classical music.

Their eighth studio album, “Hammer & Chisel,” includes the main Five: Jeff Taylor, vocals; Jeff Schroedl, guitar; Mark Solveson, bass; Steve Huebler, keyboards; Alan Arber, drums; with special guests Jason Ricci, harmonica; Max Abrams, saxophone and Julio Diaz, trumpet. The producer is the gifted and prolific Tom Hambridge, whose presence guarantees that the blues is in the house.

The title is a metaphor for the band’s creative process, as they’ve been “hammering away, scraping and chiseling our way forward, carving out our own corner of the blues” — doing it through their compelling songwriting partnered with music that throbs with superheated authority. Taylor’s deep-blue vocals alone are spine-chilling exercises encrusted with grit, delivered with torrential force.

“I Got It Good” roars out of the primeval ether to open the session, fueled by Arber’s propulsive drumming, kickass horns and Huebler’s churning Hammond behind Taylor’s magnificent vocal. This smoldering track leaves you wondering if the band has anything left to say after this scorched-earth take.

Indeed it does!

“Dare Me to Do It” is a scorching slow blues featuring Ricci’s furious other-worldly harp and a lilting piano counterpoint. Taylor outdoes himself with a smoldering vocal. “Who Can You Trust” is a driving shuffle with Ricci soaring in the background, followed by “Lotta Love Left in Me, “a luxurious slow blues, just right for that belt-buckle polishing slow grind. A smoky late-night piano interlude adds an elegant note.

Arber’s percussive beat hammers home the title track, with Taylor’s vocal punching out its message: “I’m breakin’ all the rules….” The uptempo “Can’t Shake It” rocks hard, adding Ricci and a rollicking piano midway. Fierce guitar opens “Headline Blues” and sets the pace throughout for its tough social commentary. The underlying lyrical poignance of “Hell or High Water” finds Taylor in a gorgeous soulful groove.

“My Love Ain’t a Lie” turns on the funk for this loving pledge. Honky-tonk piano drives the rollicking vibe of “Crazy One,” a simply joyous track. The closer, “The Will of Man,” opens with a gospel feel that eases into a soulful exposition filled with optimism. It’s a profound finale, both musically and philosophically.

With “Hammer & Chisel,” the Altered Five band has put together another outstanding album showcasing their smartly crafted songs, their musical prowess and the vocal majesty of Jeff Taylor.

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Here’s “Hammer & Chisel” from the album:

Tracklist and credits:

01.I Got It Good (Schroedl, Arber, Huebler, Solveson, Taylor)
02. Dare Me to Do It (Schroedl, Hambridge)
03. Who Can You Trust (Schroedl, Arber, Huebler, Solveson, Taylor)
04. Lotta Love Left in Me (Schroedl)
05. Hammer & Chisel (Schroedl)
06. Can’t Shake It (Schroedl, Taylor)
07. Headline Blues (Solveson, Schroedl, Arber, Huebler, Taylor)
08. Hell or High Water (Schroedl, Taylor)
09. My Love Ain’t a Lie (Schroedl)
10. Crazy One (Huebler, Schroedl, Arber, Solveson)
11. The Will of Man (Schroedl, Taylor)​

Jeff Taylor on vocals
Jeff Schroedl on guitar
Mark Solveson on bass
Steve Huebler on keyboards
Alan Arber on drums
Special guests:
Jason Ricci: harmonica on tracks 2, 3, and 6
Max Abrams: saxophone and Julio Diaz trumpet on track 1

Duke Robillard and his All-Star Band — “Blast Off” — Nola Blue Records

I am grateful — and old enough — to have seen Duke Robillard perform with his first band, Roomful of Blues, at the legendary Decade club in Pittsburgh. And a few times since.

More than half a century later, I’m grateful that the Duke is still making great music, and that I’m still here to enjoy it.

And Robillard’s latest album, “Blast Off,” is a thoroughly enjoyable set of the blues, swing and R&B that he’s mastered over the years. He’s accompanied by his All-Star Band, a crackling good roster including Bruce Bears, keyboards; Marty Ballou, bass; Mark Teixeira, drums and percussion; Doug James and crackling good Mark Earley, sax; Billy Novick, clarinet and Doc Chanonhouse, trumpet. Robillard handles the guitar work, with vocals by Chris Cote.

Robillard is a master of many musical styles, and he celebrates some of them here. The album opens with Cote’s muscular vocal on a rousing Floyd Dixon jump blues, “When I Get Lucky,” setting the tone for all the great music that follows.

“I’ll Be Glad When You’re Dead (You Rascal You)” revives a 1930s taste of hot, horn-filled jazz with a New Orleans flavor, first made popular in 1931 by Louis Armstrong and Cab Calloway. Robillard makes a rare vocal appearance, swapping vocals with Cote.

“Feel My Cares” is a torchy blues written by Robillard when he was 17. I actually wrote a lot of blues songs when I was around that age,” Robillard says, “because I started Roomful right after high school and realized early on that it was important to make my own music.” Then “Lowdown” rumbles into view, a hard-driving Tom Waits song, filled with tough rock ‘n’ roll vibes.

“Play Boy Hop” is an instrumental from the Rocking Brothers, its 1950s spirit flavored by greasy sax lines. “Confusion” is New Orleans R&B by Allen Toussaint;” then “Blast Off!” itself launches another Robillard original instrumental featuring Robillard’s guitar throughout. “Stand By Me,” a churning shuffle by Guitar Slim, gets a rugged blues shouter treatment from Cote, complete with swampy sax.

“The King” is a swinging Count Basie instrumental, leading into Cote at his most achingly soulful vocal on “Warm and Tender Love,” a Percy Sledge classic. “Galactic Grease,” another original instrumental, adds a pulsating organ and stinging guitar that speaks highly of Booker T. & the MGs. “That was a nod to Steve Cropper, of course,” Robillard says. “Look a There Look a There” is a classic post-war Chicago blues from the influential slide guitar wizard Tampa Red that swings the session to a glorious close behind Cote’s rollicking vocal.

Duke Robillard has made much great music over the course his long and illustrious career, all of it pure enjoyment. “Blast Off!” is saying that even the sky may not be his limit.

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I should note that with this new album, Robillard has ended his long-standing relationship with Stony Plain Records in Canada. Instead, he’s blasted off into a new career with Nola Blue Records, a Lancaster, Pa., blues-centric label that seems determined to keep the blues alive.

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Here’s “Lowdown” from the album:

Tracklist and Credits

1. When I Get Lucky – Floyd Dixon, El Camino Music Publishing
2. I’ll Be Glad When You’re Dead (You Rascal You) – Sam Theard, EMI Mills Music Inc.
3. Feel My Cares – Duke Robillard, Blue Duchess Music
4. Lowdown – Tom Waits & Kathleen Brennan, Jalma Music
5. Play Boy Hop – A.M. Brunner, Screen Gems-EMI Music Ltd.
6. Confusion – Allen Toussaint, Sony/ATV Publishing
7. Blast Off! – Duke Robillard & Marty Ballou, Blue Duchess Music
8. Stand By Me – Eddie Jones, Sony/ATV Songs LLC
9. The King – Count Basie & Jon Hendricks, Wc Music Corp.
10. Warm and Tender Love – Bobby Robinson & Irral Berger, Warner-Tamerlane Pub.
11. Galactic Grease – Duke Robillard, Marty Ballou & Mark Teixeira, Blue Duchess Music
12. Look a There Look a There – Hudson Whittaker, Boot House of Tunes

Duke Robillard – guitar (all tracks), vocal (track 2), background vocal (track 12)
Chris Cote – vocal (tracks 1,2,3,4,6,8,10,12), lead guitar (track 10)
Bruce Bears – piano, organ (all tracks), background vocal (track 12)
Marty Ballou – electric and acoustic bass (all tracks), background vocals (tracks 6,12)
Mark Teixeira – drums and percussion (all tracks), background vocals (tracks 6,12)
Doug James – baritone and tenor sax (all tracks except 7,11)
Mark Earley – tenor sax (all tracks except 7,11)
Billy Novick – clarinet (tracks 2,9)
Doc Chanonhouse – trumpet (track 2)