Blues Roadhouse

The Blues Foundation has announced the nominees for the 46th Annual Blues Music Awards, to be held in Memphis, Tenn., on May 8 at The Renasant Convention Center.

The BMAs are generally recognized as the highest honor given to blues musicians and are awarded by vote of Blues Foundation members.

Here are the nominees:

Acoustic Album Naked Truth, Tinsley Ellis One Guitar Woman, Sue Foley Raw Blues 2, Doug Macleod The Legend of Sugarbelly, Guy Davis Things Done Changed, Jerron Paxton Acoustic Artist Doug MacLeod Eric Bibb Guy Davis Keb’ Mo’ Kevin Burt Album of the Year Blame It On Eve, Shemekia Copeland Fine By Me, Curtis Salgado Hill Country Love, Cedric Burnside Person of Interest, Billy Price What Are You Waiting For?, Anthony Paule Soul Orchestra featuring Willy Jordan B.B. King Entertainer Duke Robillard Mr. Sipp (Castro Coleman) Rick Estrin Shemekia Copeland Sugaray Rayford Band of the Year Anthony Paule Soul Orchestra John Nemeth and the Blue Dreamers Nick Moss Band Rick Estrin and the Nightcats Southern Avenue Best Emerging Artist Album 8000 Miles to the Crossroads, Prakash Slim Carry On, Destini Rawls Drifter, Jovin Webb Go Be Free, Sonny Gullage Revelation, Piper & The Hard Times Blues Rock Album About Time, Dennis Jones Broken, Walter Trout Life is Hard, Mike Zito Righteous Souls, Albert Castiglia Struck Down, The Fabulous Thunderbirds Blues Rock Artist Albert Castiglia Mike Zito Tab Benoit Tommy Castro Walter Trout Contemporary Blues Album Blame It On Eve, Shemekia Copeland Blues In My DNA, Ronnie Baker Brooks Do It My Own Way, Vanessa Collier Good Intentions Gone Bad, Chris Cain The Hits Keep Coming, Rick Estrin & the Nightcats Contemporary Blues Female Artist Beth Hart Carolyn Wonderland Danielle Nicole Ruthie Foster Vanessa Collier Contemporary Blues Male Artist Chris Cain Johnny Sansone Mike Zito Mr. Sipp (Castro Coleman) Ronnie Baker Brooks Instrumentalist – Bass Benny Turner Bob Stroger Jerry Jemmott Michael ”Mudcat” Ward Rodrigo Mantovani Instrumentalist – Drums Chris Peet Derrick D’Mar Martin June Core Kenny ”Beedy Eyes” Smith Tony Braunagel

Instrumentalist – Guitar Chris Cain Christoffer ”Kid” Andersen Christone “Kingfish” Ingram Eric Gales Ronnie Baker Brooks Instrumentalist – Harmonica Billy Branch Bob Corritore Kim Wilson Mark Hummel Rick Estrin Instrumentalist – Horn Jimmy Carpenter Doug James Deanna Bogart Trombone Shorty Vanessa Collier Instrumentalist – Pinetop Perkins Piano Player Anthony Geraci Ben Levin Bruce Katz Eden Brent Mitch Woods Instrumentalist – Vocals Beth Hart Billy Price Curtis Salgado Danielle Nicole Ruthie Foster Song of the Year “Blues For My Dad” performed and written by Chris Cain “Blues In My DNA” performed and written by Ronnie Baker Brooks “Mama, I love you” performed by Albert Castiglia and written by Albert Castiglia, Kevin Burt, & Jerry Jemmott “Tough Mother” performed by Shemekia Copeland and written by John Hahn & Will Kimbrough “Mother Watch the World Go By” performed by Eden Brent and written by Bob Dowell & Eden Brent Soul Blues Album Fine By Me, Curtis Salgado Human Decency, Sugaray Rayford Person of Interest, Billy Price REVIVAL, Kat Riggins & her Blues Revival What Are You Waiting For?, Anthony Paule Soul Orchestra featuring Willy Jordan Soul Blues Female Artist Annika Chambers Candice Ivory Kat Riggins Thornetta Davis Vaneese Thomas Soul Blues Male Artist Alabama Mike Billy Price Curtis Salgado Johnny Rawls William Bell Traditional Blues Album Crawlin’ ’Kingsnake, John Primer & Bob Corritore Getaway Blues, Eden Brent HAPPY HOUR, Mitch Woods Hill Country Love, Cedric Burnside Roll With Me, Duke Robillard Koko Taylor Award (Traditional Blues Female Artist) Diunna Greenleaf Eden Brent Rhiannon  Giddens Sue Foley Teeny Tucker Traditional Blues Male Artist Cedric Burnside Duke Robillard Jimmie Vaughan John Primer Jontavious Willis

Tomislav Goluban / Crooked Eye Tommy — “Nashville Road” — Overton Music

It’s not very often that an old-school Croatian harp player hooks up with a West Coast blues band to create an album, but when they do, what else could it be called but “Nashville Road”?

Croatia-born Tomislav (Tomi) “Little Pigeon” Goluban says he owes his passion for the blues harp to the likes of Sonny Terry and Slim Harpo, which gives him a fine head start on the blues. (“Little Pigeon” just happens to be a translation of his last name.) The Crooked Eye Tommy band roars out of Ventura, Calif., with fierce blues-rock intentions. Together, they create a masterful blend, pulsating with music from both their worlds, driving hard on “Nashville Road.”

The album is filled with original material by Tomi, with an assist from Crooked Eye Tommy (Tommy Marsh) on “There Is A Train,” and lyrics by Anamarija Nekić on “Life Is Good.” They share the vocals, while Tommy adds guitar to the mix, with Tomi’s blues-inspired harp. The smartly crisp backers are Eric Robert on keys, Jasco Duende on guitar, Doug Seibert on bass, and Alphonso Wesby on drums.

The opening instrumental, “Hard Run,” lives up to its title, offering a taste of what’s to come with Tomi’s soaring harp runs kicked along by the crackling Crooked Eye band. Tommy opens the vocal duties on “Rock Dog,” chugging along over a percussive beat and wicked harp with an optimistic message: “When the world is dark as night I’ll be your light / When everything is wrong I’ll sing this rockin’ song.”

“Up Is Down” opens with a delicious pairing of harp and roadhouse piano before giving Tomi a gritty vocal turn to explain how “You can knock me down but I’ll get back up / I been through it all, you know I’ve had enough.”

An elegant, jazzy blend of harp and guitar opens “Bad Choices Make Good Stories,” handing the vocals back to Tommy for a philosophical turn: “Sometimes when I’m feeling down / I think about the road I’ve run / I been bad and I been good / But now I’m doing just what I should.”

“Hop Hop Shake” is a throbbing instrumental blues-rock that gives the band a chance to cook up something tasty as an ensemble, featuring a delicious piano break and searing harp lines. “Hard Candy” continues rocking with Marsh letting his sweet tooth do the talking: “Hard drivin’ and heavy drinkin’ / Hard candy, she’s a hard candy / Hard candy from the candy store.” Tomi returns to the mic for the bluesy “Keep On Moving On,” with sensuous harp: “I hope one day I’ll be far away / I don’t care what the people say / Cause I’m moving on, I’m moving on.”

Tommy offers a relaxed, easy-swinging vocal on “Life Is Good,” with a lyrical piano accent and some liquid guitar phrasing: “My days are beautiful, ’cause I’m not alone / And the nights are incredible when you love someone / Yeah life is good.” The closer is the ethereal “There Is A Train” with Tommy’s haunting vocals accented by his lap steel, Grady Clark’s slide guitar, and Bill Gilliam’s upright bass. The finale of this musical journey raises a fitting existential question: “Are you gonna live a life of love and spread good cheer? / Or will you choose he road of desolation? / This train gonna take you to heaven or to damnation.”

It’s most likely musical heaven, as Tomislav Goluban joins Crooked Eye Tommy with straight-ahead, hard-rocking blues on their international journey to “Nashville Road.” You’ll want to make sure you’re along for this joyous ride.

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Here’s “Rock Dog” from the album:

Tracklist:
1.Hard Run/2:39
2.Rock Dog/4:03
3.Up Is Down/3:17
4.Bad Choices Make Good Stories/5:08
5.Hip Hop Shake/2:51
6.Hard Candy/3:07
7.Keep On Moving On 3:35
8.Life Is Good/3:27
9.There Is A Train/6:08

Frank Bey — “Peace” — Nola Blue Records (Jan. 17 release)

Some singers sing. And they do it well. Some pour their heart and soul into their vocals, creating magical musical moments — that’s the late Frank Bey.

Who is Frank Bey? He’s not exactly been a household word in blues circles. Although his regal vocals and soulful style should have certainly placed him there.

Bey’s backstory, like many of his contemporaries, began in gospel music, his in his native Millen Ga. At the age of four, Bey, his brother and two cousins formed “The Rising Sons” and toured the South. At 17, Bey joined the Otis Redding Revue as the opening act for several years. In the early 1970s, Bey formed a funk group, the Moorish Vanguard. A failed record deal and dispute with James Brown subsequently pushed Bey out of the music business for 17 years. He later opened a Philadelphia club called Smith’s, where Jeff Monjack and his jazz band were hired. Eventually, Monjack was recommended to put a band together when Bey decided to return to performing in 1996.

Bey’s debut album, “Steppin’ Out,” was released in 1998, but health issues interfered with his performing, and his second album, Blues In the Pocket,” came in 2007. Three more albums followed between 2013 and 2015: “You Don’t Know Nothing,” “Soul for Your Blues,” and “Not Goin’ Away.”

That brings us to Bey’s Nola Blue recording career — a revival of sorts, for his richly expressive vocals and impeccable singing style. This excellent posthumous collection, “Peace,” caps a pair of albums on the label: 2018’s “Back In Business,” which he certainly was, and 2020’s “All My Dues Are Paid,” which they certainly were, and which was nominated for a Grammy as Best Traditional Blues Album that year, shortly before Bey’s death at age 74.

“Peace” is filled with eleven tracks culled from Bey’s career that celebrate both its terrific musicality and Bey’s tremendous voice. The opener is Little Milton’s “That’s What Love Will Make You Do,” a tough and bluesy romp with the band crackling all around Bey’s deeply soulful vocals — it’s a 2015 recording, released here for the first time. “One Thing Every Day” is an upbeat ode to the joy of trying to make the world a better place. “Midnight and Day” adds a little funk to the mix.

“City Boy,” by Keb Mo’, is a gorgeous acoustic ballad, full of soul and the Frank Bey spirit, with an ethereal harp solo by Sark Damirjian. “Blues Comes Knockin'” is the first of a handful of songs created by Monjack, and this one deals with the blues directly — “When the blues come knockin’, don’t you let him in….”

“Walk With Me” is another enthusiastic blues that gives Bey more room to soar. “Bed For My Soul” is an acoustic gem with just Monjack on guitar behind Bey’s heartfelt vocals in a country blues throwback: “Got a bed for my body / but got no bed for my soul.” “If You Want Me” is a soul-stirring slow blues that simmers with emotion. “Blues in the Pocket” is tough and funky with a raunchy sax solo, then the mood shifts to a dramatic reading of Sam Cooke’s anthemic “Change Is Gonna Come.” The closer is a Bey favorite, his passionate rendering of John Lennon’s “Imagine.” It’s a fitting emotional finale to this outstanding tribute.

Monjack says of his years with Bey: “For over 25 years show after show, going on stage with Frank Bey was a joy. Frank’s connection to whatever that spiritual part of music is, was strong. His singing came straight from the depths of his ancestors and connected to the deepest part of everyone’s soul who was there. There were no wrong notes – it was beyond that. Pure music.”

Nola Blue president Sallie Bengston says of this album: “Peace was Frank’s vision. Peace was Frank’s mission. Peace is his legacy. And now, “Peace,” the Frank Bey compilation album, will be released on his birthday, January 17, 2025; an enduring tribute to The Southern Gentleman of the Blues.”

Give this album a serious listen. Add Frank Bey to your list of great blues singers. Imagine the possibilities.

Peace.

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A 2012 live version of “Imagine”

Tracklist:

01. That’s What Love Will Make You Do
02. One Thing Every Day
03. Midnight and Day
04. City Boy
05. Blues Comes Knockin’
06. Walk With Me
07. Bed for My Soul
08. If You Want Me
09. Blues In the Pocket
10. Change is Gonna Come
11. Imagine

Ed Alstrom — “Flee Though None Pursue” — Haywire

He calls himself an “itinerant musician and musical disaster relief specialist.” He’s performed with the likes of Chuck Berry, Leonard Bernstein, Bette Midler, Herbie Hancock, Steely Dan and, yes, even the New York Yankees, where he reigns as the stadium’s weekend organist.

He is Ed Alstrom, a veteran musician, singer and songwriter with unrivaled skills on the organ, and not incidentally, many other instruments. On his latest release, “Flee Though None Pursue,” Alstrom deftly handles lead and background vocals, Hammond/Farfisa/pipe organs, piano, Fender Rhodes, clavinet, synthesizers, guitars, bass, mandolin, melodica, alto sax, accordion, theremin and percussion, weaving them all into his original musical style, with a varied group of talented musicians. He’ll be representing the North Jersey Blues Society in the Solo/Duo competition at the International Blues Challenge in Memphis in January.

The album is also filled with the wit and wisdom of Alstrom’s masterful songwriting, with an often otherworldly lyricism devoted to his eloquent storytelling in the 18 original tracks. The title cut illustrates that internal and eternal dilemma: “So i remain marooned with this insanely troubled mind / And try to map a future while I run from what’s behind / But what’s behind me is not there, so what is there left for me to do? / Face eternity uncertain and keep fleeing though none pursue.”

Other themes surface as a question in the sprightly opener, “Be Nice,” with Alstrom asking “I wonder what it might be like / If folks would just be nice.” As if in response to Little Milton’s classic “The Blues is Alright,” Alstrom takes a more introspective view with the organ-fueled “The Blues Ain’t All Right” – “Nobody’s blues are unimportant / Nobody’s misery is trite /

Nobody’s served right by sufferin’ – and the blues ain’t never all right.” A slashing slide guitar highlights the melancholy vocal of a deep “Slow Blues” – “MIsery has found you – and you just can’t be free / Until you hear these slow slow blues, and then you’re in mighty good company.”

The bouncy shuffle of “The Truth” serves as counterpoint to its message: “On the road to truth you take, there’s only two mistakes: don’t go all the way or don’t even start.” The hypnotic rhythm of “Sick” is reminiscent of the classic Doc Pomus song “Lonely Avenue” by Ray Charles, but adds its own lyrical strength: “Sick of livin’ and dyin’ all at the same time / Sick of tryin’ / Sick of cryin’ / Sick of this saga that’s nobody’s drag but mine.”

“Always Near” is a gorgeous, melodic love song with jazzy overtones and lyrics by Kay Murcer: “Hold my memory, make some new ones, take me on where you go.” “The Record People” is a bit of honky-tonk piano behind a whimsical complaint about the music business: “The record people came tonight,,. they came to dig my grave.” The uptempo “Sometimes” floats along, followed by the witty take of “Screwed” – “Bein’ a fool’s too expensive – I’m gonna stop gettin’ screwed.” A bit of optimism shows up in the clever wordplay of “H-O-P-E-L-E-S-S,” – “Gonna rise up from the depths and gonna grab that big brass ring.”

The easy-swinging “Great Notch” describes a favorite watering hole where “You can decompress or just plain debauch.” Then “Fruitcake” rolls in with some New Orleans piano, dedicated to a loopy girlfriend. “Yours Is a Place” is a delicate love song: “I long to live my lifetimes at your place.” More rollicking piano leads into “Success,” which, alas, “just can’t be achieved.” The “Crossfire” of love is a bittersweet ode to lost romance. “I Drunk You Drive” rocks hard with the message of its title. The closer, “Don’t Cry at My Funeral,” is a spiritually uplifting conclusion to an album overflowing with thoughtful lyrics: “Don’t cry for me, I’m happy, I’m free / And I won’t be cryin’ for you.”

With “Flee Though None Pursue,” Ed Alstrom has created a magical lyrical journey crafted with lively, imaginative storytelling that draws you in with his word wizardry and carries you along on his instrumental genius. You are hereby invited along for the joyous ride.

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Here’s an interview with Ed Alstrom by Michael Limnios at Blues.gr

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Here’s the album title track, “Flee Though None Pursue”

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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.

The Two Bad Jims — “Over The Hill – A Tribute To RL Burnside” — Thunder Town Music

There are many shades of blue in the blues — music that has often shape-shifted in the century-plus that it’s been busily creating its unique place in the history of American music.

One of those musical hues is a shamefully lesser known but powerful and influential style known as Hill Country Blues — or sometimes North Mississippi Hill Country Blues, based on its origins in the hill country of northern Mississippi bordering on Tennessee. It’s a style that leans heavily on percussion, which has been traced to influences from West Africa that were brought to America by African slaves. R.L. Burnside was one of its most well-known practitioners, with his original dramatic and hypnotic style.

Which brings us, where else, to the United Kingdom and a pair of Washington state transplants who call themselves the Too Bad Jims, after Burnside’s album on the Fat Possum label, “Too Bad Jim.” The Jims are veteran guitarists and Burnside aficionados Little Victor and Son Jack Jr., who added Nick Simonon on drums. This tribute album is their debut, featuring ten songs from Burnside that range from the well-known (to blues fans) to more obscure tracks.

The trio leans heavily into the Hill Country style, with their aggressive guitar work and hypnotic percussion. “Miss Maybelle” launches their effort, with dual vocals adding another layer to the already dynamic mix. “Going Down South” adds razor-sharp slide that brings eerie overtones to an already other-worldly feel. “Long Haired Doney” increases the tempo without decreasing the intensity, and then “Peaches” shakes the tree with a touch of melody.

“Black Mattie” is classic Burnside, faithfully freshened by the Jims’ talented enthusiasm, with an invitation to hit the dance floor with trance-like moves. “Out On The Road” shuffles in with thumping Delta-Chicago riffs, then “Jumper on the Line” leaps out with a wicked beat. “Over The Hill” is a droning chant with intervals of hand-claps and a gospel feel. “Alice Mae” and “Skinny Woman” close the set in fiery style and guitars blazing.

With this passionate Burnside tribute, the Too Bad Jims give the slogan “keeping the blues alive” fresh meaning. They’re reviving a valuable piece of blues history before it gets lost in the primeval mist that cloaks the often-hidden origins of this music.

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A brief history of Hill Country Blues

Who are the Too Bad Jims?

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From 1978, a video of R.L. Burnside performing “See My Jumper Hanging On The Line”

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The Too Bad Jims perform “Black Mattie”

Track Listing
1. Miss Maybelle 2:36
2. Going Down South 4:30
3. Long Haired Doney 3:32
4. Peaches 2:35
5. Black Mattie 3:29
6. Out on the Road 3:32
7. Jumper on the Line 2:28
8. Over The Hill 2:18
9. Alice Mae 4:05
10. Skinny Woman 2:24

Various Artists — “Walking in a Winter Wonderland — Nola Blue Records

I know, I know. Christmas holiday music is everywhere. But I like to think that some of it is a little different — especially if you’re a blues (or even close to blues) fan, as am I.

So, here’s a sparkling session featuring artists from Nola Blue Records with a handful of songs designed to provide some memorable blue Christmas music.

The nine tracks (just enough to enjoy without shopping mall overload) range from the ribald — “Slim Down Santa” by Jim Koeppel to the spiritually soulful — “Go Tell It On the Mountain” by Trudy Lynn.

“I Want Some Christmas Cheer” by Benny Turner is a sweet, soulful opener with a bouncy, bluesy beat that’s good all year round. Trudy Lynn’s “Go Tell It On the Mountain” is spiritually suitable for any season. Tiffany Pollack’s plaintiff “River” is a gorgeous song, beautifully sung, for any season. “Christmas on Bourbon Street” is an appropriate Nola tribute from Gregg Martinez, and Sugar Ray Norcia lends his romantic pipes and soulful harp to “That’s What I Want for Christmas.”

“Every Day Will Be Like a Holiday” is a soulful gem from the late Frank Bey, then Clarence Spady struts in with a bouncy “Christmas,” leading into the horn-laced closer, “Funky Mistletoe,” by Willie J. Laws.

Altogether, this eclectic collection adds just the right note for the holiday season. Or, really, good music has no season. But if your holidays threaten to be unnecessarily blue, some of this bluesy music just might help.

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Trudy Lynn’s version of “Go Tell It On the Mountain,” from the album:

Tracks and personnel:
I WANT SOME CHRISTMAS CHEER
Benny Turner: Bass, Vocals
Jack Miele: Guitar
Keiko Komaki: Keyboards
Jeffery “Jellybean” Alexander: Drums and percussion
GO TELL IT ON THE MOUNTAIN
Trudy Lynn: Vocals
Steve Krase: Harmonica
David Carter: Guitar
Tamara Williams: Drums
Jon Cometta: Rhythm guitar
Eugene “Spare Time” Murray: Bass
Barry Seelen: Organ
SLIM DOWN SANTA
Jim Koeppel: Guitar and Vocals
Gene “Daddy G” Barge: Tenor Saxophone
Tennyson Stephens: Piano
Welton Gite: Bass
James Gadson: Drums
Backup vocals: James Gadson, Tennyson Stephens, Cash McCall, Welton Gite, Stanley Behrens
RIVER
Tiffany Pollack: Vocals
Eric Johanson: Vocals, guitar
Jack Miele: Bass, Additional Guitar, Percussion
Brentt Arcement: Drums, Organ, Piano, Percussion
CHRISTMAS ON BOURBON STREET
Gregg Martinez: Vocals
Kris Landrum: Keyboard
Shawn Faulk: Drums
Tony Goulas: Guitar
Ronnie Eades: Saxophone
THAT’S WHAT I WANT FOR CHRISTMAS
Sugar Ray Norcia: Vocals, Harmonica
Marty Ballou: Bass Guitar
Ricky Russell: Guitar
Bobby Christina: Drums
EVERY DAY WILL BE LIKE A HOLIDAY
Frank Bey: Vocals
Anthony Paule: Guitar
Paul Revelli: Drums
Paul Olguin: Bass
Tony Lufrano: Hammond B3 and keyboards
Nancy Wright: Tenor saxophone
Mike Rinta: Trombone
Tom Poole: Trumpet
Loralee Christensen: Background vocal
CHRISTMAS
Clarence Spady: Vocals, Guitar
Andy Galore: Bass Guitar
Dave Archer: Organ
Dave Archer: Piano
Barry Harrison: Drums
FUNKY MISTLETOE
Willie J. Laws: Vocals, Guitar
Roberto Morbioli: Guitar
Steve Bigelow: Bass Guitar
Bobby Christina: Drums

FreeWorld — “More Love” — Swirldisc

Imagine a band so joyously creative that for 37 years, dozens of its current and former members have perpetuated a magical Memphis musical tradition as a popular Beale Street jam band, filled with multiple styles from funk to psychedelia, offering a spiritual union of Memphis, New Orleans, and San Francisco.

Meet FreeWorld: A musical ensemble that’s been evolving since a young bassist Richard Cushing met legendary saxophonist Herman Green in1987 and formed the band’s nucleus. Green passed in 2020, but Cushing remains a driving force as bassist, lead singer and writer or co-writer of most of the songs on this session, along with sax player Peter Climie.

“More Love” is FreeWorld’s eighth album and showcases the band at a creative high point in musical breadth and originality. There are whiffs of Bob Marley, the Grateful Dead, Frank Zappa, Booker T. & the M.G.’s, Steely Dan, Chicago, and the Meters. But the unique music they weave from this eclectic tapestry belongs only to FreeWorld.

The “More Love” core members are a band of brothers and sisters from many grooves: Cushing, Climie, Cedric Taylor on keyboards, Alex Schuetrumpf on trumpet, Courtney Reid as a lead and backup singer, Frank Paladino on sax, Freedman Steorts on trombone, Walter Hughes on guitar and Matt Sweatt on drums. There are cameo turns by more than a dozen special guests and FreeWorld alumni – including the Tennessee Mass Choir on the title track.

The band roars out of the gate with “Outta Sight,” horns soaring and a B3 pulsing, copping an attitude for everything that follows: “So get the message / Just catch the vibe / Take the journey and enjoy the ride.” Expressive songwriting makes a statement on the horn-fed “Give Until You Live”: “Sometimes you’re sure you’ll win / Sometimes you’re full of doubt / If you don’t go within / Then you will go without.”

The title song, “More Love,” with Jerome Chism as lead vocalist, offers a spiritual and musical hint of Bob Marley with its rich emotional appeal: “Every time you get a chance / Don’t leave it to happenstance / Spread your Love to those around you / What’ll happen will astound you.” For the eloquent instrumental “Red Moon,” Cushing brought together five of the six original FreeWorld members from 1987 as a tribute to its composer and band founding father Green, with his spoken words bringing it to a solemn close.

Joyful music highlights the somber plea of “To Arise” — “It’s time for justice to arise / We’ve got to up our eyes / And start listening to the wise.” “Rush Hour” is a heart-pounding instrumental musical rush; “Heart On the Table” bids for an open heart: “Lay your heart out on the table / Seek the truth / Stop chasing those fables.”

“11:11 on Beale” conjures the spirit of Beale Street and its musical heritage with a musical intro and a spoken ode to its late-night mysteries: “We be Bobby “Blue” Bland’s moan, / Aretha’s gospel home / We are home of the blues, / Birthplace of rock & roll.” The heartfelt “Life for Tomorrow” offers sage advice: “So don’t live your life for tomorrow / Live it today.”

The instrumental “Who Knew?” soars on a magnificent horn section, then “Nothin’ Wrong” adds a little funkified whimsy: “In our world here we belong / We just dance and sing our songs / Ain’t nothin’ wrong with bein’ strong.” The jazzy instrumental “Color Trip” takes flight and you can almost see the colors on this effervescent seven-minute trip.

As if all that glorious music isn’t enough, two bonus tracks offer an alternate take of the title track featuring Walter White on vocals, and an audio cut from the award-winning video “D-Up (Here’s to Diversity)” featuring a soulful vocal turn from Courtney Reid – “Sink or swim, we’re all in this together / And there’ll be times where it’s more than we can weather / With communication, respect, and harmony.”

FreeLove members are definitely “all in this together,” effortlessly creating the emotional richness of “More Love” with smartly vivid lyricism framed by their joyous music.

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Here’s “D-Up (Here’s to Diversity)” from the album:

Tracklist:
1. Outta sight 4:18
2. Give until you live 4:48
3. More love 3:59
4. Red moon 4:12
5. To arise 4:16
6. Rusk hour 3:39
7. Heart on the table 4:48
8. 11:11 On Beale 5:35
9. Life for tomorrow 5:27
10. Who knew? 5:08
11. Nothin’ wrong 4:15
12. Color trip 7:04
Bonus tracks:
13 More love {Alternate Version} 3:59
14. D-UP (Here’s to diversity) 4:38

Ollee Owens — “Nowhere to Hide” — Ollee Owens Music

Canadian singer Ollee Owens’ luminous second album, “Nowhere to Hide,” blows in like a cool breeze out of the farming community of New Bothwell, Manitoba, fresh and bluesy, a soulful session filled with music shaped by her own life and feelings.

Owens is not a newcomer but a veteran singer-songwriter who took a 15-year break to raise a family and now finds herself ready to tell her musical stories with a rich, emotional vocal style that gives life to her passionate lyrics.

The album features a varied cast of excellent backing musicians, pulled together by producer and drummer Bobby Blazier. They float creatively through arrangements that carry inflections of jazz, blues and soul.

The opening (and title) track, “Nowhere to Hide,” strides in with a Southern blues-rock feel, heavy with guitars and pulsating organ behind a tough vocal message: “Trouble, trouble, trouble, ain’t no trouble gonna bring us down.” A sensuous sax and rippling organ help drive “Solid Ground” into jazzier territory, with Owens’ seemingly effortless strong vocals.

The rhythmic, upbeat in spirit and style, “Some Days” grows out of a faith in human resilience. A gentler, slightly funky “Roots” features a softer Owens vocal turn, giving her a chance to emphasize the eloquent lyrics. “Love You Better” rocks in with a chuckle and bouncy beat. “Still In Pieces” is a lovely ballad with an almost-whispered intro and a mournful lyric: “All in pieces now, don’t know what to do.”

“Shivers and Butterflies” is an elegant ballad exploring the feelings of love: “You light up my eyes, you make me feel so alive, I just love, love, lovin’ you.” The soaring, rollicking blues of “My Man” continues that sentiment. “Love Hung Around” continues a recurring love theme that fills much of Owens’ music with gentle passion driven by the blues. “The Neighborhood“ pushes its horns front and center, giving this track a different edge.

“Lord Protect My Child, a Bob Dylan song, is a glorious bit of singing and musical backing in the finest gospel tradition, dedicated to one of her three daughters who has a cognitive disability. “My daughter is twenty-three now, but there’s still a lot of vulnerability…the desire for protecting and taking care of her will never go away.”

“Nowhere to Hide” is a superb sophomore effort from Ollee Owens, whose powerful singing and smart songwriting deserve a much wider audience. You owe it to yourself to hear her music.

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Here’s “Some Days” from the album:

Track List and Credits:
1. Nowhere To Hide 3:55
2. Solid Ground 2:47
3. Some Days 4:15
4. Roots 4:52
5. Love You Better 3:45
6. Still in Pieces 4:14
7. Shivers and Butterflies 4:42
8. My Man 3:22
9. Love Hung Around 3:59
10. The neighborhood 4:06
11. Lord Protect My Child 6:29

Musicians:
Guitar: Will McFarlane (Tracks 1,2,4-6,8-10) Phil Hughley (Tracks 1,2,4-6,8-10) Chris Rodriguez (Tracks 3,7,11)
Bass: Tommy Sims (Tracks 1,2,4-10) Craig Young (Tracks 3,11)
Drums/Percussion: Bobby Blazier (All Tracks)
Keys/Organ/Piano: DeMarco Johnson (Tracks 3,4,6,7,10,11) Gabe Klein (Tracks 1,2,5,8,9)
Horns: Rahsaan Barber (Sax on tracks 2,10) Cord Martin (Sax on track 11) Roland Barber (Trumpet on track 10)
Background Vocals: Joey Richey (Tracks 2-11) Gene Miller (Tracks 2-10) Minnie Pearl (Track 11)

Songwriter Credits
Ollee Owens, Kornelius Colyn: Some Days/Love You Better/Still in Pieces/Roots/Shivers and Butterflies
Ollee Owens, Will McFarlane: Solid Ground/My Man
Ollee Owens, Phil Hughley: Nowhere to Hide
Will McFarlane, Tommy Coomes: Love Hung Around
David Hidalgo, Louie Perez: The Neighborhood
Bob Dylan: Lord Protect My Child

Jovin Webb — “Drifter” — Blind Pig Records

Jovin Webb is finally getting a chance to tell the story of his musical life.

The Baton Rouge-based bluesman had just about given up on his dreams when he got a rousing welcome on American Idol in 2020, and then his newfound fame led to this powerful bayou-drenched debut album.

It’s also the emotional story of a young man searching for — everything. “It’s me trying to figure out religion, women, my career, and everything I’ve gone through,” Webb says.

“At a young age, the longing and pain expressed by Southern Black Baptist church music spoke to me, but as I experienced my own trials and tribulations, I felt the pull of the blues,” Webb says. “I soon realized that gospel and blues are related. Someone with the blues is in a low place, and when you seek salvation you’re also usually in a low place.”

All of Webb’s searching comes together in this splendid 12-song set that features classic down-home blues, soulful ballads and a few hard-rocking tracks, fueled by his eloquent harp work. The mostly original songs here, mainly from Webb and producer Tom Hambridge, speak to Webb’s personal and very emotional quest for meaning. Hambridge also plays drums, with Kenny Greenberg on guitar, Mike Rojas on piano and keyboards, and Rob Cureton on bass.​

“Drifter” roars to life with “Bottom of a Bottle,” a wicked harp riff intro to a down and dirty blues that unlocks the rawness of Webb’s vocal grit and personal pain: “Take a shot for my troubles, take a shot for pain, at the bottom of a bottle, I’ll wash your sins down the drain.” “Save Me” is a gentler take: “I was raised not to judge another of a man by the color of their skin.”

“I’m A Drifter” is the title theme, with a percussive feel that pays tribute to The Temptations “Papa Was a Rolling Stone” and Muddy Water’s “Rolling Stone.” “Drunk On Your Love” is a love song that turns Webb’s vocal style into a soulful gem. “Wig on Wrong” is good old-fashioned rock ‘n’ roll with Rojas on barrelhouse piano, and Little Richard’s spirit lurking in the background. “Livin’ Reckless” is another sensuous slow blues that Webb’s voice, aged beyond its years, was born to sing:  “So many mistakes I’ve made… I’ve been fearless, foolish, but still here somehow, Lord, help me find my way.”  “Blues for a Reason” is an uplifting ode that explains why he sings: “I got my own story to tell, I sing the blues for a reason.”

Webb pours his soul into the heartfelt “Mine Someday” — “I have been trying so hard to get your attention / I would do anything to make you my girl.”  “Hand on the Bible” is laced with R&B rhythms and a vow to gain her love. But the her “Bad Deeds” “is messing with my mind / I bring home the bacon, you feed me crumbs,” filled the spirit of classic blues turned out with a funky harp flurry. “It’s The Hawk” rocks in on a fierce cold Chicago wind that greets him on his arrival from Louisiana.

Everything gets wrapped up nicely with a tough cover of the Albert King classic, Booker T’s “Born Under a Bad Sign” with Max Abrams adding sax and Julio Diaz on trumpet. You get the feeling that this is also Webb bringing some of his own personal pain into the mix.

But the pain of the blues is also tempered by its pleasures, and that’s what the talented Jovin Webb has graced us with on his superb “Drifter.” Let’s hope it’s just the beginning.

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“Drunk On Your Love” from “Drifter”

Track List:
1. Bottom of a Bottle (Jovin Webb, Tom Hambridge, Richard Fleming)
2. Save Me (Jovin Webb, Tom Hambridge, Richard Fleming)
3. I’m a Drifter (Jovin Webb, Tom Hambridge)
4. Drunk on Your Love (Jovin Webb, Tom Hambridge)
5. Wig on Wrong (Tom Hambridge, Richard Fleming)
6. Livin’ Reckless (Jeff Schroedl, Tom Hambridge)
7. Blues for a Reason (Jovin Webb, Tom Hambridge)
8. Mine Someday (Jovin Webb, Tom Hambridge)
9. Hand on the Bible (Jovin Webb, Tom Hambridge, Richard Fleming)
10. Bad Deeds (Jovin Webb, Tom Hambridge, Richard Fleming)
11. It’s the Hawk (Tom Hambridge, Richard Fleming)
12. Born Under a Bad Sign (Booker T. Jones, William Bell)