Blues Roadhouse

Albums by Duke Robillard, Mitch Woods, Blue Moon Marquee, Colin James, Kid and Lisa Andersen, Eric Bibb, J.P. Reali

Well, 2024 is finally over, which means (what else?) that 2025 is finally here — not that I was breathlessly awaiting its arrival. It also means another welcome year of new blues and blues-related music to enjoy and write about.

But first, I can’t let go of ’24 without mentioning some albums I probably should have written about but didn’t. And I probably missed some others. So, here’s a handful of mini-reviews of worthwhile releases that are very deserving of a mention. In no particular order.

Duke Robillard — “Roll With Me” (Stony Plain) — This a rocking blues album with plenty of honking sax and blazing guitar from the veteran Robillard that he began in 2005 and finally got around to finishing. It’s filled with originals and great blues covers like “Built for Comfort,” “Boogie Woogie Country Girl,” and “Are You Going My Way,” a rollicking update of “Good Morning, School Girl.” first recorded by John Lee “Sonny Boy” Williamson (the original Sonny Boy) in 1937. It’s fine, fun listening — some of Duke’s best.

Mitch Woods — “Happy Hour” (MoMojo Records) — Pianoman Woods and his Rocket 88s jump out with his trademark boogie ‘n’ blues that fill this album with the kind of joyous music that spawned rock ‘n’ roll back in the ’40s and ’50s. The 88s add raunchy horns and flashy guitar work to Woods powerful piano-pounding. His growling vocals complete this swinging session. A happy hour indeed.

Blue Moon Marquee — “New Orleans Sessions” (Bigtone Records) — Canadian guitarist/vocalist A.W. Cardinal and standup bassist/vocalist Jasmine Colette are Blue Moon Marquee and together they’ve created a delicious session of old-timey New Orleans-flavored music, recorded on location in just two afternoons with a swinging cast of New Orleans musicians. They reach back into the 1920s and ’30s for inspiration and songs to cover. The live-to-tape production and Cardinal’s raspy vocals give the album a raw, authentic feel that lends just the right atmosphere to this lively set. A highlight is their raucous treatment of Charlie Patton’s “Shake It and Break It.” A genuine Big, Easy treat.

Christoffer “Kid” Andersen — “Spirits” / Lisa Leuschner “Little Baby” Anderson — “Soul” (Little Village double album) — Kid Andersen runs Greaseland recording studios, and in the past 15 years or so, has produced more than 150 albums. He’s also the guitarist in Rick Estrin & the Nightcats band. His wife Lisa Leuschner “Little Baby” Anderson has a stellar history as a singer. Together they run Greaseland, with Lisa providing backup vocals on many of Kid’s productions. Finally, they’ve recorded themselves on this excellent double-disc set, with Kid offering a crackling bluesy session and Lisa contributing her own soulful sides. They’re backed by the considerable talents of Greaseland studio musicians, plus a few extras. A fine outing all around.

Colin James — Chasing the Sun” (Stony Plain) — James is veteran Canadian singer (this is his 21st album) whose rootsy guitar work and smooth vocals enable the folksy story-telling style emphasized on this smartly crafted. Despite his genius at Americana, James isn’t all that well known in this part of the Americas. This album should help. It’s filled with musical gems that speak honestly about the human condition.

Eric Bibb — “In The Real World” (Stony Plain) — Bibb says of this richly conceived collection: “Musically, the album feels like a self-portrait because it truly represents my influences.” His influences are many and varied, fueling this insightful music and allowing him to create another thoughtful album, deep in the blues and roots tradition, but also, rooted in the real world. And that’s the best of both worlds.

J.P. Reali — “Blues Since Birth (Reali Records) — Washington D.C. music veterans Reali and Jim Larson combine on this pandemic project of eight bright and bluesy originals and one splendid cover of Bob Dylan’s “It Takes A Lot To Laugh, It Takes A Train To Cry.” Reali handles the vocals and plays the guitar parts (including some sharp slide) plus harp, with Larson on percussion — and a little help from some musical friends. Their originals span a variety of vintage blues styles and are well worth a listen.