The most Reverend Freakchild opens his latest and 18th album, “Bare Bones,” by offering the philosophical track “All I Got Is Now,” with a lyric that sets the tone for the musical thoughts that follow – an exercise in bluesy Buddhism and other mystical delights:
“Yesterdays are history / Tomorrows are a mystery / All I got is now / But I keep forgetting that somehow.”
But that’s just a fraction of the lyrical output on “Bare Bones,” all of which springs from the fertile Freakchild mind, which seems unceasingly occupied by erudite elucidations of the mysteries of life through music. The magical mystery tours of his lyrics easily flow from the delicate to the desolate, but never fail to fascinate.
The Rev has said that he’s a Buddhist, but considers music his religion. Both the blues and Buddhism, he says, can be seen as ways of confronting reality and the truth of human suffering: “I seek transcendence through song.” If you add that the blues is a healer, you might have just the right medicine for the hole in your soul.
For this “Bare Bones” transcendence, the Rev has reprised the nine tracks on his 2023 album, “Songs Of Beauty For Ashes Of Realization,” and pared back its more experimental musical vibe to a solo acoustic effort. The session was recorded live with no edits at the Chattanooga Public Library Studios, making it as close as possible to a musical stream of consciousness.
Following the opening track, “Dial It In” takes us on the road, humming with song: “Gonna drive ’til I get lost and found again / Gonna turn on the radio and dial it in.” The Rev’s raspy vocals add a world-weary elegance here and everywhere, fueled by his sharp acoustic work, all nicely flavored with the blues.
The introspective “All Across America” asks: “Is that me in the mirror, oh lord, what have I become / Yes I do believe that’s the dude that I’ve been running from.” The shuffling whimsy of “Hippy Bluesman Blues” laments a bad Frisco trip: “There ain’t no problems only solutions / I think I’m gonna join the revolution / I got the Hippie Bluesman Blues.”
“Amsterdam Blues” is twice reprised, having first appeared on the Rev’s 2001 debut album, “Blues & Spirituals.” He makes a spiritual journey for secular pleasures: “Just grooving there in Amsterdam, trying to get my senses satisfied / Sex and smoke everywhere, think you went to heaven and died.” The guitar work could easily just have arrived from the Delta.
“Tears Of Fire” offers a melancholy message to rhythmic guitar: “She got words in her hand / Well it seems like she’s always got her tongue wrapped around the name of another man.” “Skyflower” is as delicate as its name: “Now I’m secretly sending magic mettā with my mind / The wind blows around the edges of the wise and the kind.”
For Freakchild fans and would-be aficionados, there’s a second album in this package, aptly titled “Odds, Ends & Interviews,” filled precisely with odds, ends and interviews that may help expand your awareness of the consciousness of the Reverend Freakchild.
And by the way: Just who is the Reverend Freakchild? Just ask him:
“When folks ask me if I’m a real reverend I often say that the Reverend Freakchild character is really a philosophical investigation of the American experience through the music of the blues and spirituals.”
Say amen, somebody.
“All I Got Is Now” from the album:
CD 1 (The music) 01. All I Got Is Now (3:33) 02. Dial It In (2:50) 03. All Across America (3:42) 04. Hippy Bluesman Blues (3:57) 05. Amsterdam Blues (3:59) 06. Tears Of Fire (6:14) 07. Skyflower (4:29) 08. Don’t Miss Nothing ’til It’s Gone (4:50) 09. Keep On Trucking (4:33)
CD 2 (Odds & Ends) 01. The Dead? ( 1:05) 02. Dark Star / Truckin’ (10:31) 03. Preaching The Freak Gospel ( 3:43) 04. Good Shepherd ( 5:02) 05. The Spiritual & Musical Journey ( 1:22) 06. All I Got Is Now (Live) ( 5:58) 07. Truckin’ On With Stu & Hugh (15:28) 08. The Power Of Music ( 3:56) 09. Spiritual Warrior Chant! (27:47)
Sweet soul music – It’s that magical music whose classic sounds made history with legendary artists like Ray Charles, Sam Cooke, Aretha Franklin, Al Green, Solomon Burke and many more. Those greats have disappeared, leaving only the echoes of their soulful essence.
But there’s one soul stirrer whose voice still caresses a lyric like a lover should – Chicago’s Gerald McClendon. He’s a shamefully unheralded classic R&B stylist with a voice so smooth and a feeling so deep that he’s known as the soul keeper. And best of all, he’s got a new album to showcase his rich vocal style. Plus, it’s got very cool cover art.
McClendon’s latest, “Down at the Juke Joint,” on Delta Roots Records, overflows with throbbing old-school soul, songs created by songwriter, drummer and producer Twist Turner, and brought to life by the soul keeper’s passionate pipes. The dozen songs here offer a heartfelt selection of lover’s laments and smooth ballads meant for late nights filled with languorous glances and slow dancing.
The opener, “Back Where You Belong,” sets the mood with a sensual sax wrapped around remorsefully smooth vocals: “She didn’t leave a card or a letter, not even a see you later / Come on home, back where you belong.”
The regrets flow on with the tearful “It’s Too Late, She’s Gone” – “I tried to apologize, teardrops in my eyes / But it’s too late, too late, she’s gone”
The mood shifts with the upbeat “Down at the Juke Joint,” a rhythmic ode to good times: “You can come as you are, check your attitude at the bar / sit down and have a taste, don’t let the whiskey go to waste.” Then the mournful “House Ain’t a Home” opens the door to more love lost: “You see a house ain’t a home / When your baby pack up and gone.”
On the melodic “So Long,” McClendon smoothly turns the tables on a lover as he’s the one to say it’s over – “I can’t take it no more, think I’ll walk out the door / I said so long, baby I’m gone, so goodbye.” There’s a funky feeling to open “Talkin Smack,” with another strong vocal turn – “Tryin to play me, for a fool, you see / But your only foolin’ yourself, it don’t matter to me.”
“Only Time Will Tell” is a gorgeous love song, built atop a towering vocal effort and subtle sax work: “Our love grows stronger, every day / deeper and deeper, in every way.” The whimsical “She’s Tryin’ to Drive Me Crazy” takes a lighthearted approach to an over-eager suitor: “Well she’s tryin’ to drive me crazy, but I just won’t give her the key.”
In the melancholy of “Cryin’ Time Again,” McClendon weaves a tapestry of despair: “Darkness is all around me, I wonder will I ever see the light.” Somehow the unspoken joy in his voice suggests that he will. As if to answer “Cryin’ Time,” the lilting lyricism of “You Make Me Happy” promises a love-filled life: “More precious than diamonds, shine just like gold / Our love grows stronger, it never grows old.”
The promise of undying love sparks “I’ll Be In Your Corner” with the vow that “I’m the one who’ll treat you right.” All of which leads into the closer, “You’re So Fine,” where he makes a poignant request: “if you’d only give me a chance, to make you smile to make you laugh.”
“Down at the Juke Joint” is a soulful journey of deeply rich vocals and luxurious musical arrangements, all elegantly wrapped around the many shades of love by the soul keeper – Gerald McClendon. Sweet soul music, indeed.
“Down at the Juke Joint” trailer video:
Tracklist: 1. Back Where You Belong (3:36) 2. It’s Too Late, She’s Gone (4:49) 3. Down At The Juke Joint (3:38) 4. House Ain’t A Home (4:41) 5. So Long (3:40) 6. Talkin’ Smack (3:20) 7. Only Time Will Tell (3:22) 8. She’s Tryin’ To Drive Me Crazy (3:08) 9. Cryin’ Time Again (3:57) 10. You Make Me Happy (4:30) 11. I’ll Be In Your Corner (5:24) 12. Your So Fine (3:16)
Toronzo Cannon is making a lot of noise with his music these days.
He’s combining his powerful, traditional fiery Chicago blues licks with smart contemporary lyrical themes that pack their own punch. That combination makes for a passionate package of modern blues firmly planted in its primal roots.
The 12-song session, co-produced by Cannon and Alligator president Bruce Iglauer, features a crackling crew of Cannon on guitars, vocals, and percussion; Brian Quinn on electric and upright bass; Cole DeGenova on keyboards and clavinet; Jason Edwards on drums; Phillip “Dante” Burgess, Jr. on drums on “Him” and “Had To Go Through It” and Matthew Skoller on harmonica on “My Woman Loves Me Too Much.”
Everything kicks off with screaming guitar and tough vocals lamenting the sentiment of “Can’t Fix the World.” The scorching “I Hate Love” adds more ferocious guitar solos behind a painful lyric. “Him” shuffles funkily into view, dipping into relationship issues by a former rival.
“Had to Go Through It to Get to It” describes racial barricades to success in a rousing bit of hand-clapping gospel. “Something to Do Man” rocks hard to describe a late-night call from a woman who knows him as her “something to do man” with something on her mind. “Message to My Daughter,” turns lyrically gentle with a promise to sstick with his daughter despite a broken home. “Unlovable” opens with high-quality blues licks acknowledged by Cannon, who uses the shuffling rhythms and gutty vocals to support his woman though hard times.
“Guilty” is a lilting statement about the role of responsibility in life — “everybody knows they’re guilty; guilty for what they say and do.” The slyly salacious “Got Me by the Short Hairs” documents the perils of a one-night stand with a surprise twist at the end. Nothing says deep blues like a down-home, back-porch acoustic gem. With Cannon’s guitar, Quinn’s upright bass and Skoller’s elegant harp licks, “My Woman Loves Me Too Much” grins with sexy humor. Tasty keyboards lead into “If I’m Always Wrong,” with Cannon admonishing, “If I’m always wrong, then leave me alone.”
The musically psychedelic aura of the title track brings the album full circle from the philosophic opener, with Cannon’s biting response to the idea that he should forego activism and just “Shut Up and Play.”
This is how Cannon explains the personal nature of songs: “I write what I know, what I feel,” he says, “I like to put myself in the shoes of the subjects of my songs. This record is about the things going on in my life since 2019—it’s a document of what I’ve seen and been through, but the stories are universal. And it’s my way to get past negative things and keep my own sanity. Listen to the lyrics. I am a black man in America. These are NOT protest songs. I try to create honest, common-sense understanding with my songs.”
And the music that accompanies that honest, common-sense understanding is pretty darn good, too.
“Can’t Fix the World”
1. Can’t Fix The World 4:15 2. I Hate Love 4:27 3. Him 4:44 4. Had To Go Through It To Get To It 3:54 5. Something To Do Man 4:08 6. Message To My Daughter 5:47 7. Unlovable 3:28 8. Guilty 4:07 9. Got Me By The Short Hairs 3:44 10. My Woman Loves Me Too Much 3:48 11. If I’m Always Wrong 3:55 12. Shut Up And Play! 5:58
Toronzo Cannon: Guitars, Vocals, Percussion and Handclaps Brian Quinn: Electric and Upright Bass Cole DeGenova: Piano, Organ, Nord and Clavinet Jason “Jroc” Edwards: Drums Phillip “Dante” Burgess, Jr.: Drums on “Him” and “Had To Go Through It” Matthew Skoller: Harmonica on “My Woman Loves Me Too Much”
Billy Price is indeed a person of interest to me. Being a native Pittsburgher myself (it was New Jersey native Price’s adopted hometown), I’ve had the good fortune to know him and listen to his soulful music for much of the half-century-plus that he’s been a Pittsburgh institution.
I’ve seen him perform with the Keystone Rhythm Band, the Billy Price Band, and in small groups with just a keyboard or combo behind him. I’ve seen how he packed venues around Pittsburgh with appreciative fans. I’ve watched him perform tough, rocking shows with the Nighthawks. I’ve enjoyed seeing him joyously paired with his greatest musical influence, legendary soul man Otis Clay. I remember when he had hair!
In addition to his performing, Price is a knowledgeable fan and articulate advocate for the music he loves, with its deep, wide roots in American music. He has always paid tribute to those roots by performing and recording covers of songs by his favorite — always soulful — artists.
What makes “Person of Interest” more interesting, besides all the great music, is that: “This is the first time I tried to do an album with exclusively my own material, and I think it holds up very well.” Very well, indeed. This West Coast session with a group of crackling bandmates shows off Price’s still vigorous pipes that have ripened with age (he’s 74), displaying a smooth depth and richness.
The album opens in a funky vein with “Inside the Box” punctuated by a horn section that stomps relentlessly through the session. “Song I Never Heard Before” has an upbeat R&B flair with a lyric that pleads for music that does more than revisit its own past. “She Checks All the Boxes” is full-throated praise for a woman who, yes, checks all the boxes for a meaningful relationship.
The slow-burning “Mercy” is an emotional highlight, a throwback to an ’80s Price song that never made it past live shows onto an album, with its testifying vocals and passionate tenor solo by Eric Spaulding, a member of Price’s regular band. The title track follows, a funky soul/blues take on that crime-show phrase turned into a watchful eye on a cheating lover.
“Can’t Get Enough” is another pulsating dance track with an obvious theme: “I can’t get enough of my woman, she’s a hungry man’s dream.” Guitarist Joe Bonamassa guests on “Change Your Mind,” a tribute to Roy Buchanan, with whom Price recorded in the 1970s. Bonamassa captures the flavor of Buchanan’s stinging guitar style on this dramatice rendering.
“They Knew” is a sturdy vintage Price song, reworked for this album, “A Certain Something” has an easy-going Latin feel. “The Gift” is a smoothly turned-out soul-blues ballad about a painful financial relationship, with a striking guitar solo by Shane Theriot: “I’m the gift that keeps on giving but all you ever do is take.”
“Crying at the Stoplight” romps through Price’s musings about why a woman in the car next to his at a stoplight appeared to be so unhappy. “I Lose It (When I’m In Love)”is a gentle, rhythmic ballad – sweet soul music at its best. The strong closer adds punchy horns to a funkified “Damage Control” with Price stepping out on vocals and another sensuous sax solo from Spaulding.
The entire session benefits greatly from the expert musical cast assembled by Little Village. Musicians include: bass – Larry Fulcher, James Fulch and Reggie McBride, guitar – Josh Sklair and Shane Theriot, lead guitar – Joe Bonamassa, keyboards – Jim Pugh, drums – Tony Braunagel (who also produced), tenor and baritone sax – Ron Dziubla, tenor solo – Eric Spaulding, trumpet – Mark Pender and percussion – Lenny Castro. Background vocals are by Maxayn Lewis, Fred White and Will Weaton (full credits for each song on the track list below).
“Person of Interest” is Billy Price at his soulful best, creating original heartfelt stories from his own life. If you’ve never experienced this Pittsburgh musical treasure and soul survivor, you owe it to yourself to give him a try. If you’re already a fan, you know what I’m talking about. Either way, enjoy it soon. And often.
Here’s another informative interview with music writer Scott Mervis at the Pittsburgh Post-Gazette.
Here’s “She Checks All the Boxes” from the album:
Tracklist and credits: Billy Price, Person of Interest Tracks recorded 10/17/23–10/20/23 at Ultratone Studios, Studio City, California Produced by Tony Braunagel Engineered and Mixed by Johnny Lee Schell
1. Inside That Box (4:32) Writers: Billy Price (50%), Jim Britton (50%) Publishers: Overpriced Music, BMI, 50%; Zella Ru Music, 50% Bass – Larry Fulcher, Guitar – Josh Sklair, Keyboards – Jim Pugh, Drums – Tony Braunagel, Background Vocals – Maxayn Lewis, Fred White, Will Wheaton, Tenor and Baritone Saxophone – Ron Dziubla, Trumpet – Mark Pender, Percussion – Lenny Castro 2. Song I Never Heard Before (4:24) Writers: Billy Price (34%), Fred Chapellier (33%), Anthony Braunagel (33%) Publishers: Overpriced Music, BMI, 67%; Toe Knee Music, ASCAP, 33% Bass – James “Hutch” Hutchinson, Guitar – Josh Sklair, Keyboards – Jim Pugh, Drums – Tony Braunagel, Background Vocals – Maxayn Lewis, Fred White, Will Wheaton, Percussion – Lenny Castro 3. She Checks All the Boxes (4:07) Writers: Billy Price (25%), Jim Britton (50%), Anthony Braunagel (25%) Publishers: Overpriced Music, BMI, 25%; Zella Ru Music, BMI, 50%; Toe Knee Music, ASCAP, 25% Bass – Reggie McBride, Guitar – Shane Theriot, Keyboards – Jim Pugh, Drums – Tony Braunagel, Background Vocals – Maxayn Lewis, Fred White, Will Wheaton, Tenor and Baritone Saxophone – Ron Dziubla, Trumpet – Mark Pender, Tenor Solo – Eric Spaulding, Percussion – Lenny Castro 4. Mercy (5:38) Writers: Billy Price (50%), Mike Karr (50%) Publishers: Overpriced Music, BMI, 100% Bass – Larry Fulcher, Guitar – Josh Sklair, Keyboards – Jim Pugh, Drums – Tony Braunagel, Tenor and Baritone Saxophone – Ron Dziubla, Trumpet – Mark Pender, Tenor Solo – Eric Spaulding 5. Person of Interest (4:44) Writers: Billy Price (50%), Jim Britton (50%) Publishers: Overpriced Music, BMI, 50%; Zella Ru Music, 50% Bass – Reggie McBride, Guitar – Shane Theriot, Keyboards – Jim Pugh, Drums – Tony Braunagel, Tenor and Baritone Saxophone – Ron Dziubla, Trumpet – Mark Pender, Percussion – Lenny Castro 6. Can’t Get Enough (3:39) Writers: Billy Price (50%), Jim Britton (50%) Publishers: Overpriced Music, BMI, 50%; Zella Ru Music, 50% Bass – Larry Fulcher, Guitar – Josh Sklair, Guitar Solo – Johnny Lee Schell, Keyboards – Jim Pugh, Drums – Tony Braunagel, Background Vocals – Maxayn Lewis, Fred White, Will Wheaton, Tenor and Baritone Saxophone – Ron Dziubla, Trumpet – Mark Pender, Percussion – Lenny Castro 7. Change Your Mind (in memory of Roy Buchanan) (5:31) Billy Price featuring Joe Bonamassa Writers: Billy Price (50%), Jim Britton (50%), Publishers: Overpriced Music, BMI, 50%; Zella Ru Music, 50% Bass – Larry Fulcher, Guitar – Josh Sklair, Keyboards – Jim Pugh, Drums – Tony Braunagel, Tenor and Baritone Saxophone – Ron Dziubla, Trumpet – Mark Pender, Lead Guitar – Joe Bonamassa 8. They Knew (4:34) Writers: Billy Price (34%), Jon Tiven (33%), Sally Young (33%) Publishers: Overpriced Music, BMI, 34%; Uncontrolled Compositions, BMI, 33%; Full Rate Music, ASCAP, 33% Bass – James “Hutch” Hutchinson, Guitar – Josh Sklair, Guitar Solo – Johnny Lee Schell, Keyboards – Jim Pugh, Drums – Tony Braunagel, Tenor and Baritone Saxophone – Ron Dziubla, Trumpet – Mark Pender, Percussion – Lenny Castro, Lead Guitar – Johnny Lee Schell 9. A Certain Something (3:41) Writers: Billy Price (25%), Jon Tiven (25%), Sally Young (25%) Anthony Braunagel (25%) Publishers: Overpriced Music, BMI, 25%; Uncontrolled Compositions, BMI, 25%; Full Rate Music, ASCAP, 25%; Toe Knee Music, ASCAP, 25% Bass – Larry Fulcher, Guitar – Josh Sklair, Keyboards – Jim Pugh, Drums – Tony Braunagel, Background Vocals – Fred White, Tenor and Baritone Saxophone – Ron Dziubla, Percussion – Lenny Castro 10. The Gift (3:55) Writers: Billy Price (50%), Jim Britton (50%) Publishers: Overpriced Music, BMI, 50%; Zella Ru Music, 50% Bass – Reggie McBride, Guitar – Shane Theriot, Keyboards – Jim Pugh, Drums – Tony Braunagel, Tenor and Baritone Saxophone – Ron Dziubla, Trumpet – Mark Pender, Percussion – Lenny Castro 11. Crying at the Stoplight (4:48) Writers: Billy Price (50%), Jim Britton (50%) Publishers: Overpriced Music, BMI, 50%; Zella Ru Music, 50% Bass – Reggie McBride, Guitar – Shane Theriot, Keyboards – Jim Pugh, Drums – Tony Braunagel, Tenor Saxophone – Ron Dziubla, Trumpet – Mark Pender, Percussion – Lenny Castro 12. I Lose It (4:07) Writers: Billy Price (50%), Jim Britton (50%) Publishers: Overpriced Music, BMI, 50%; Zella Ru Music, 50% Bass – Reggie McBride, Guitar – Shane Theriot, Keyboards – Jim Pugh, Drums – Tony Braunagel, Percussion – Lenny Castro 13. Damage Control (4:31) Writers: Billy Price (25%), Jim Britton (50%), Anthony Braunagel (25%) Publishers: Overpriced Music, BMI, 25%; Zella Ru Music, BMI, 50%; Toe Knee Music, ASCAP, 25% Bass – Reggie McBride, Guitar – Shane Theriot, Keyboards – Jim Pugh, Drums – Tony Braunagel, Background Vocals – Maxayn Lewis, Fred White, Will Wheaton, Tenor and Baritone Saxophone – Ron Dziubla, Trumpet – Mark Pender, Tenor Solo – Eric Spaulding
Big Harp George — “Cooking With Gas” — Blues Mountain Records
George Bisharat, the chromatic harmonica wizard known to the music world as Big Harp George, has released his seventh album — “Cooking With Gas” — one which describes both BHG’s career trajectory as well as the joyous excitement of his latest exuberant session.
George didn’t begin his recording career until his first album in 2014, following distinctly unmusical careers as a criminal defense attorney, law professor at UC Hastings College of the Law, and commentator on law and politics in the Middle East.
Since then, his mastery of the chromatic harmonica has allowed him to expand on his musical themes in a way that traditional blues harp work does not — with a more elegant, jazzlike sound. He’s also one heckuva songwriter, casting an often-sardonic eye at the world around him and turning what he sees into lyrical delights.
On this session, George has hooked up with West Coast Kid Andersen’s Greaseland production studios and added some of Andersen’s backing band members. The core band of guitarist Andersen includes drummer Derrick D’Mar Martin, keyboardist Chris Burns, trombonist Mike Rinta, saxophonist Michael Peloquin, baritone saxophonist Doug Rowan, and bassist Joe Kyle Jr. The Sons of the Soul Revivers (James, Dwayne, and Walter Morgan) sing enthusiastic background on all but three tracks. That group, plus a handful of extras on selected tracks, make for a rousing album filled with both lyrical and musical delights.
The title track is the fast-paced opener, as “Cooking With Gas” burns brightly with Burns turning up the heat on piano. “Cellphone Hater 2.0” dials up a satirical lyric plus swinging jazz on the chromatic, all kicked along by crackling horns. “Doom Loop,” is filled with more horns and Latin rhythms.
“Wine Is My Friend” is sparkling fine old-fashioned R&B with a smooth doo-wop vintage. The funky instrumental “Maceosity” is a tribute to James Brown’s musical director Maceo Parker, with George flexing his harp in yet another style. “Awkward Me” features a smooth band sound with an elegant sax solo behind an amusing self-deprecating lyric. “What the Missus Misses” swings hard behind the Big Harp with more lyrical delights.
The instrumental “June’s Tune” is for drummer June Core, from Charlie Musselwhite’s West Coast bands. Andersen takes a notable retro turn on upright bass. “DIY Mama” is a slyly salacious take on a woman who prefers to take her satisfaction alone. “Paradise Is Burning” takes a more serious, slow-burning turn with an apocalyptic bent.
George takes some philosophical digs at his own self and others who are getting along in years on “The Older We Get” — “The older we get, the better we was” — with an easy big-band feel. Bluesy chromatic swing polishes off the session with the lovely instrumental ballad, “When I First Held Valerie.”
Big Harp George has stepped up his game in a swinging way on “Cooking With Gas.” It’s more than just an easy pun to say that he’s cooking better than ever here, with his clever lyrics, easy singing style, and the power of his big chromatic harp.
Here’s the official video of “Cooking With Gas”:
Tracklist: 01. Cooking with Gas (3:52) 02. Cellphone Hater 2.0 (3:34) 03. Doom Loop (4:35) 04. Wine Is My Friend (3:46) 05. Maceosity (5:28) 06. Awkward Me (3:43) 07. What the Missus Misses (3:46) 08. June’s Tune (3:55) 09. DIY Mama (4:10) 10. Paradise Is Burning (3:47) 11. The Older We Get (3:22) 12. When I First Held Valerie (3:42)
Jeff Pitchell — “Brown Eyed Blues” — Deguello Records
Jeff Pitchell is, among other things, a talented singer/songwriter from Connecticut whose eclectic musical style revolves around the blues, in all of its myriad shapes and sizes.
When he was just 15, Pitchell won a Best Guitarist contest in his home state. In the four decades since, he’s been making the kind of music that fills his latest album, “Brown Eyed Blues.”
Pitchell, with his band Texas Flood, is talented enough to hold his own here, but a stellar musical cast adds considerable punch to these sixteen tracks (yes, that’s sixteen, a few more than your average album these days.) That lineup includes the criminally talented Tom Hambridge (co-composer, co-producer and drummer), Reese Wynans, Duane Betts, Rick Derringer, and Charles Neville.
The tough, rocking opener, “Now You Know,” emphasizes Pitchell’s robust vocals surrounded by fierce guitar lines, leading into the driving rhythms of the title track, “Brown Eyed Blues,” ridden hard by honky-tonk roadhouse piano from Dan Fontanella. “Wait” steps it up next with jitterbug dance-floor rhythms fueled by Pitchell’s hot lead guitar.
Rock-steady drumming from Hambridge kicks in with the call and response behind the strong vocal on “Caught Up In The Wave,” followed by the smooth R&B groove of the philosophically optimistic “Every Day.”
More highlights include:
The sweetly sung shuffle “Do Right Girl,” co-written by Hambridge, the pulsating B3 by Bruce Feiner on “Beg, Steal And Rob,” the first of two tracks featuring Charles Neville on sax on the blues chestnut, “Meet Me (With Your Black Drawers On)” by Jim and Jeannie Cheatham.
The mournful harp of the great James Cotton opens a funky trip down an easy-rolling “Whiskey River,” the Willie Nelson classic. “When It All Comes Down” is another sturdy shuffle, then the torchy ballad “Soulshine” features Michael Allman on vocals. The closer and bonus track is the Latin-flavored “Welcome To The Beat,” a Tex-Mex styling that adds its own seasoning to this fine collection.
Every track here is crisp and clean, with the backers razor sharp. “Brown Eyed Blues” is a joyous, full-throated exploration of blues themes from a veteran singer/songwriter/guitarman whose talents deserve a much wider audience. Treat yourself to a listen. Then repeat.
Jennifer Lyn — “Live from the Northern Plains — J&R Collective
Jennifer Lyn & the Groove Revival make good old-fashioned rocking blues, fronted by passionate vocals from Lyn, who fearlessly tackles classic covers and writes her own originals in the same spirited style.
Lyn kicks off her latest album, “Live from the Northern Plain,” with her own hard-rocking “Gypsy Soul.” The band is tough and tight behind Lyn’s powerhouse vocals.
Next is a slow-burning electrified version of Chris Smither’s “Love Me Like a Man,” raised to extraordinary popular heights by Bonnie Raitt. The Revival’s keyboard flair and stinging guitar solo add an extra dimension to this flamboyant cover.
The first of two classic Allman Brothers covers follows as Lyn chases the “Midnight Rider” with a soulful vocal turn. The Revival breathes new life as they revive John Fogerty’s “Long As I Can See The Light.” Then more furious southern rock from another brother, Gregg Allman, on “Whipping Post.”
“Going Round In Circles” is another Lyn original, a torchy blues with a scorching vocal turn around a fierce guitar solo. Lyn takes another dramatic vocal on the traditional “House of the Rising Sun” with a tasty organ break.
Two originals close the set: “Low Down Dirty Shame” is another down and dirty rocker; “You Can Take t All” is a soulful, pensive slow rocker.
“Live from the Northern Plains” is a tasty set of blues with a heavy dose of rock —if any music was ever made for the roadhouse, this is it!
Christone “Kingfish” Ingram was the big winner at the 2024 Blues Music Awards last night (May 9, 2024) in Memphis, with four awards, including “Album of the Year” for Live in London (video at end of list). The Blues Foundation announced all its winners for the 2024 Blues Music Awards at last night’s celebration.
Other multiple award winners included Mike Zito, Bobby Rush, Ruthie Foster, and John Primer.
Here’s the complete list of nominees and winners:
B.B. King Entertainer of the Year Beth Hart Bobby Rush (WINNER) Lil’ Ed Williams Mr. Sipp (Castro Coleman) Vanessa Collier
Album of the Year TEARDROPS FROM MAGIC SLIM, John Primer Live In London, Christone “Kingfish” Ingram (WINNER) SoulFunkn’BLUES, Blackburn Brothers Soul Side of Sipp, Mr. Sipp (Castro Coleman) Get Your Back Into It!, Nick Moss Band Featuring Dennis Gruenling
Band of the Year Larkin Poe Nick Moss Band (WINNER) Selwyn Birchwood Band Southern Avenue Tedeschi Trucks Band
Song of the Year “Bobby’s Blues” written by Brooke Blackburn “Horns Below Her Halo” written by Selwyn Birchwood “Midnight Heat” written by Tom Hambridge & Richard Fleming “The Bait In the Snare” written by Nick Moss “What Kind Of Fool” written by Ruthie Foster, Hadden Sayers & Scottie Miller (WINNER)
Best Emerging Artist Album
When the Levee Breaks: The Music of Memphis Minnie, Candice Ivory The Right Man, D.K. Harrell (WINNER) Up Next, Mathias Lattin Everybody’s Buddy, Nic Clark Motel Mississippi, Tony Holiday
Acoustic Blues Album Wild Ox Moan, Catfish Keith Raw Blues 1, Doug MacLeod (WINNER) Sticks & Strings, EG Kight Ridin’ the Blinds, Hudspeth & Taylor Ghost Hymns, William Lee Ellis
Blues Rock Album POWER, Anna Popovic Writing On The Wall, Coco Montoya Blues Deluxe Vol. 2, Joe Bonamassa Blood Brothers, Mike Zito/ Albert Castiglia (WINNER) What Key Is Trouble In?, Nick Schnebelen
Contemporary Blues Album Live In London, Christone “Kingfish” Ingram (WINNER) Ridin’, Eric Bibb Behind The Veil, Jason Ricci and the Bad Kind Healing Time, Ruthie Foster Exorcist, Selwyn Birchwood
Soul Blues Album Stuff I’ve Been Through, Alabama Mike SoulFunkin’ BLUES, Blackburn Brothers All My Love For You, Bobby Rush (WINNER) Walking Heart Attack, Johnny Rawls Soul Side of Sipp, Mr. Sipp (Castro Coleman)
Traditional Blues Album TEARDROPS FOR MAGIC SLIM: John Primer (WINNER) Nothing But Time, Monster Mike Welch Get Your Back Into It!, Nick Moss Band Featuring Dennis Gruenling Savoy, Taj Mahal Oscar’s Motel, The Cash Box Kings
Acoustic Blues Artist Catfish Keith Doug MacLeod Eric Bibb Keb’ Mo’ (WINNER) Kevin Burt
Blues Rock Artist Anna Popovic Joe Bonamassa Kenny Wayne Shepherd Mike Zito (WINNER) Warren Haynes
Contemporary Blues Female Artist Carolyn Wonderland Danielle Nicole (WINNER) Janiva Magness Teresa James Vanessa Collier
Contemporary Blues Male Artist Chris Cain Christone “Kingfish” Ingram (WINNER) Marquise Knox Mr. Sipp (Castro Coleman) Selwyn Birchwood
Soul Blues Female Artist Annika Chambers (WINNER) Kat Riggins Terrie Odabi Thornetta Davis Trudy Lynn
Soul Blues Male Artist Alabama Mike Billy Price John Nemeth (WINNER) Johnny Rawls William Bell
Traditional Blues Female Artist (Koko Taylor Award) Diunna Greenleaf Rhiannon Giddens Shaun Murphy Sue Foley (WINNER) Teeny Tucker
Traditional Blues Male Artist Billy Branch Cedric Burnside John Primer (WINNER) Jontavious Willis Nick Moss
Instrumentalist – Bass Bob Stroger (WINNER) Larry Fulcher Michael “Mudcat” Ward Rodrigo Mantovani Willie Weeks
Instrumentalist – Drums Derrick D’Mar Martin June Core Kenny “Beedy Eyes” Smith (WINNER) Tom Hambridge Tony Braunagel
Instrumentalist – Guitarist Christoffer “Kid” Andersen Christone “Kingfish” Ingram (WINNER) Derek Trucks Laura Chavez Sue Foley
Instrumentalist – Harmonica Billy Branch Bob Corritore Dennis Gruenling Jason Ricci (WINNER) Kim Wilson
Instrumentalist – Horn Deanna Bogart Jimmy Carpenter Mark Kaz Kazanoff Trombone Shorty Vanessa Collier (WINNER)
Instrumentalist – Piano (Pinetop Perkins Award) Ben Levin Dave Keyes Jim Pugh Kenny “Blues Boss” Wayne (WINNER) Mitch Woods
Instrumentalist – Vocals Billy Price Diunna Greenleaf John Nemeth Ruthie Foster (WINNER) Shemekia Copeland
Here’s a video of “Hard Times” from Christone “Kingfish” Ingram at the “Live in London” sessions:
Anthony Geraci has been playing blues piano gigs since the mid-1970s, when he opened for a week of Muddy Waters’ shows in Boston.
That’s about half a century of music-making experience that’s available for Geraci to pour into his latest album, his second for Blue Heart Records, “Tears in My Eyes.” The result is a session filled to overflowing with fine piano-centric blues from this veteran musician and his guests.
Geraci and his band, the Boston Blues All-Stars, are joined on his ninth album by violinist Anne Harris and old friend and former Bluetones bandmate, Sugar Ray Norcia on vocals. The All-Stars are their usual sparkling selves for these eleven original cuts: guitarist/vocalist Barrett Anderson, drummers Marty Richards and Kurt Kalker, and bassist Paul Loranger. The album was recorded in two sessions, the first four tracks in the Boston area, and the others in Prague, capturing the band at its performing peak during a European tour.
Norcia does the vocal honors on the pulsating opening cut, the down-home “Broken Mirror, Broken Mirror,” a tough blues lament. The swinging, rhythmic “Owl’s Nest” is the first of five instrumentals, sparked by a spicy sax solo from guest Drew Davies. Guitarist Anderson’s vocal leads the way through the title track.
Another instrumental, the lyrical “Blues for Willie J,” is dedicated to the late Willie J. Campbell, who was Geraci’s bandmate in the Proven Ones blues-rock group. Norcia returns with a world-weary vocal on the slow-drag blues, “Judge Oh Judge.” The horns add power to the jazzy blues instrumental “Oh No,” followed by Geraci add vocals to his keyboard on the romping “Ooeee,” featuring a classic honking sax solo.
Harris adds elegant violin lines to the gentle instrumental caress of “Memphis Mist,” followed by the powerful southern rock riffs of “Witchy Ways” behind gritty Anderson vocals. Norcia returns with another mournful slow blues, “Now What,” and Geraci closes the set with a deliciously sweet instrumental, “Lonely Country Road Blues.”
“Tears in My Eyes” is another excellent original album from piano man Anthony Geraci, filled with a variety of expressive blues styles from sweet to sassy, all finely crafted by these talented veteran musicians.
Here’s the title track from “Tears in My Eyes”
Here’s a video of “Tears in My Eyes”
Tracklist: 1. Broken Mirror, Broken Mirror (6:14) 2. Owl’s Nest (3:06) 3. Tears in My Eyes (4:28) 4. Blues for WillieJ. (4:06) 5. Judge Oh Judge (5:44) 6. Oh No (4:32) 7. Ooeee (4:29) 8. Memphis Mist (3:41) 9. Witchy Ways (4:02) 10. Now What (5:36) 11. Lonely Country Road Blues (3:07)
Living Blues Magazine has announced its 2024 award nominees. Here is a list of the nominees, although voters have a write-in choice in each category. You can vote using the online ballot by clicking here. The deadline to vote is June 15.
Best Blues Album of 2023 (New Recordings)
Eric Bibb: Ridin’
Taj Mahal: Savoy
Cash Box Kings: Oscar’s Motel
D.K. Harrell: The Right Man
Nick Moss Band feat. Dennis Gruenling: Get Your Back Into It!
Bobby Rush: All My Love for You
Mike Zito & Albert Castiglia: Blood Brothers
Ally Venable: Real Gone
Selwyn Birchwood: Exorcist
Buffalo Nichols: The Fatalist
Christone “Kingfish” Ingram: Alligator
Candice Ivory: When the Levee Breaks: The Music of Memphis Minnie
Larry Taylor & the Taylor Family with the Soul Blues Healers: Generations of Blues: West Side Legacy
Chris Thomas King: Big Grey Sky
Arthur Adams: Kick Up Some Dust
Jimi “Primetime” Smith & Bob Corritore: The World in a Jug
Stan Mosley: No Soul, No Blues
Walter “Wolfman” Washington: Feel So at Home
Best Live Performer
Duke Robillard
Bobby Rush
Shemekia Copeland
Buddy Guy
Christone “Kingfish” Ingram
Victor Wainwright
Cedric Burnside
John Primer
Mr. Sipp
Selwyn Birchwood
Blues Artist of the Year (Female)
Rory Block
Sue Foley
Diunna Greenleaf
Shemekia Copeland
Irma Thomas
Trudy Lynn
Ally Venable
Candice Ivory
Anne Harris
Anna Popović
Blues Artist of the Year (Male)
Taj Mahal
Duke Robillard
Eric Bibb
Christone “Kingfish” Ingram
Bobby Rush
Mr. Sipp
Bob Corritore
Cedric Burnside
John Primer
Joe Louis Walker
Most Outstanding Musician (Guitar)
Duke Robillard
Eric Bibb
Lurrie Bell
Christone “Kingfish” Ingram
John Primer
Buddy Guy
Ana Popović
Mr. Sipp
Joe Louis Walker
Kirk Fletcher
Most Outstanding Musician (Keyboard)
Kenny “Blues Boss” Wayne
Marcia Ball
Roosevelt Purifoy
Victor Wainwright
Eden Brent
Anthony Geraci
Ben Levin
Mitch Woods
Dave Keyes
Bruce Katz
Most Outstanding Musician (Harmonica)
Billy Branch
Bob Corritore
Phil Wiggins
Big Harp George
Mark Hummel
Andrew Alli
Charlie Musselwhite
Rick Estrin
Jason Ricci
Omar Coleman
Best Blues Album of 2023 (Reissue Recordings)
Floyd Dixon: Time Brings About a Change
Written in Their Soul: The Stax Songwriter Demos
Delmark Records 70th Anniversary Blues Anthology
Billy “The Kid” Emerson: My Blues are Red Hot
James Booker: Behind the Iron Curtain Plus . . .
Ike & Tina Turner: River Deep – Mountain High
Down Home Blues – Chicago, Vol. 3: The Special Stuff
The Memphis Blues Box: Original Recordings, 1914–1969
Eddie Bo: The Other Side of Eddie Bo
Lazy Lester: All Over You
Best Blues Book of 2023
Biography of a Phantom: A Robert Johnson Blues Odyssey by Robert “Mack” McCormick and John Troutman
The Chicago Blues of Washboard Sam by Guido van Rijn
The Rise and Fall of Paramount Records: A Great Migration Story, 1917–1932 by Scott Blackwood
Tell It Like It Is by Aaron Neville
Hot Time Blues: On the Trail of Long-Gone Blues and Gospel Singers by Alex van der Tuuk
Dynamite! Ike Turner’s Recorded Legacy by Fred Rothwell
Deep Inside the Blues: Photographs and Interviews by Margo Cooper
The Chicago Blues of Jazz Gillum by By Guido van Rijn
Blues Roadhouse 