Blues Roadhouse

Jad Tariq — “Jad Tariq Sings” — MoMojo Records

Jad Tariq may not sound exactly like the name of someone deeply into American roots music, R&B and jump blues.

But he is. And he’s very good at it.

And you can thank world-class bluesman, harp player and fellow Memphis resident John Németh for bringing him to our attention.

As a senior at Rhodes College in Memphis, Tariq began turning up at Németh’s gigs, and John eventually let him sit in with the band. Németh says Tariq’s blues and R&B work is impressive, but “I really love when he incorporates his Palestinian heritage and those sounds into his music. It’s super unique.” Tariq would later go on the road with Németh and appeared on his 2023 album, “Live From The Fallout Shelter.”

Tariq found his blues calling when: “My guitar teacher played me some Stevie Ray Vaughan, and my parents bought me that record of Albert King and Stevie together. It was so clear that Stevie got his influence from Albert.  Albert was such a monster.  He completely changed how I saw guitar.  He got me into the more traditional blues.”

“In the end,” Tariq says, “I guess I classify what I do as rhythm and blues, but there’s a lot of different kinds of music in there too,” he added.  “It’s all the stuff I love and listen to. I’m just trying to put my own spin on it.”

This debut album includes five originals and three classic covers, all smoothly executed by Tariq and his Memphis bandmates — Art Edmaiston on saxophone, Carl Caspersen on upright bass, Gerald Stevens and Wyly Bigger on piano and organ, and Earl Lowe on drums. Tariq handles guitar and vocals with a passion and polish that belie his 28 years.

The album kicks off with the original “Flapjack,” splashed with liquid guitar notes firing a swinging rhythm with a big band feel behind Tariq’s deceptively relaxed vocals. “You Think You’re Too Good For Me” follows, another original, with sizzling horns biting into another swinging session. “Had You Told It Like It Was” covers a recording by Albert King with a hint of a Latin rhythm behind big fat guitar notes.

“Fortune’s Fool” shifts back to an original, and shifts the mood to a dreamy ballad effortlessly crooned by Tariq — you’d swear you were sipping an icy martini in a classy ’50s cocktail lounge. “Shame, Shame, Shame” strips down the backers to guitar, upright bass, drums and piano for an original that adds a sensuous R&B feel to its doowop flavor.

Tariq reinvigorates the jump blues classic “Bloodshot Eyes” from R&B legend Wynonie Harris, swinging it appropriately hard and fast, then adds a lyrical guitar and tasty piano to the equally legendary T-Bone Walker’s “No Sleepin’est Woman.” Tariq closes with his own easy-rocking “So Much Water,” brightly lit by a sharp horn intro, carried along by stinging guitar riffs, and more slow-rolling vocals that complete this outstanding musical package.

“Jad Tariq Sings” is an impressive debut from this multi-talented guitarist/singer/songwriter/bandleader. Tariq dips deftly into the deep well of classic blues, jazz and R&B and comes out swinging as he filters these classic sounds though his own musical sensibilities.

It’s great listening, and you can dance to it!

Just who is Jad Tariq? Here’s a profile from Blues Blast Magazine.

Here’s “Flapjack” from the album:

Tracklist:
1. Flapjack
2. You Think You’re Too Good For Me
3. Had You Told It Like It Was
4. Fortune’s Fool
5. Shame, Shame, Shame
6. Bloodshot Eyes Harris
7. No Sleepin’est Woman
8. So Much Water

Bob Corritore & Friends — “Doin’ the Shout” — VizzTone Label Group

Bob Corritore, who’s been a keeper of the big blues flame for decades, is back with another scorching album for your front burner.

“Doin’ the Shout” is another of Corritore’s masterful efforts to present fresh takes on the classic Chicago blues sound. He does it by using a seemingly endless supply of his talented Friends, who all just happen to be gifted musical veterans. And that includes Corritore himself, who weaves his magical harp throughout.

“Shout,” which VizzTone says is Corritore’s 30th release, is comprised of recording sessions from 2023 and 2024, and which represent a simply gorgeous collection of fine blues from extra-fine artists. And the album cover art, in the style of many Corritore releases, is its own artistic pleasure.

The Friends here include Bobby Rush, Thornetta Davis, Bob Stroger, Francine Reed, John Primer, Dave Keys, Nora Jean Bruso, Oscar Wilson, Tia Carroll, Bob Margolin, Jimi Primetime Smith, Carla Denise, Johnny Burgin, Kid Ramos, Johnny Main, Johnny Rapp, Anthony Geraci, Ben Levin, Lewis Nash, Steve Ferrone, Chester Thompson and Mark Earley.

The rollicking opening track “Say, Baby, Say” is a swinging take on a 1950 tune by Alberta Adams, done here by Thornetta Davis, with Corritore rocking his harp. The slow-blues scorcher “Woman Wanted” is handled by big-voiced vocalist Oscar Wilson of The Cash Box Kings, with Bob Margolin on steamy slide guitar. The title track follows, written and terrifically sung by Nora Jean Bruso.

The heartfelt ballad “I Guess I’m A Fool,” written by Memphis Slim (Peter Chatman), gets a soulful treatment from the ageless Francine Reed and mournful Corritore harp. Bruso struts in again with the powerful shuffle, “It’s My Life,” then Wilson returns with another wicked slow blues, “Just A Dream,” his vocal turning rich and soulful.

Bobby Rush lends his legendary talents to the session by writing and delivering a slyly libidinous “I’ve Got Three Problems,” with some deep blue Corritore harp and rolling B3 by Chester Thompson. Davis wrote her next tune, the joyously uptempo “That Don’t Appease Me,” with Dave Keys on piano. Tia Carroll offers the swampy “I’ve Got To Be With You Tonight,” from the Slim Harpo (James Moore) songbook, with stinging guitar from Kid Ramos and Johnny Main.

John Primer holds forth with the tough shuffle, “Twenty Room House,” featuring Anthony Geraci romping on piano. Jimi “Primetime” Smith and Carla Denise join on a romping duet, “Same Old Thing.” The closer is an original by Bob Stroger, the slow-dancing, belt-buckle polishing languid blues of “My First Love.”

Just because I didn’t mention him on every track, Corritore’s impeccable harp work enhances every song, while the multitudinous Friends add just the right blues notes.

“Doin’ the Shout” is an album packed with real-deal blues the way they were meant to be played — and meant to be heard — from the heart and soul of the music. Bob Corritore just keeps finding new ways to revitalize America’s classical music.

Here’s “I’ve Got Three Problems” from the album:

Tracklist:
 1. Say Baby Say – 3:25
 2. Woman Wanted – 3:16
 3. Doin’ The Shout! – 4:34
 4. I Guess I’m A Fool – 4:14
 5. It’s My Life – 3:35
 6. Just A Dream – 4:54
 7. I’ve Got Three Problems – 4:16
 8. That Don’t Appease Me – 3:57
 9. I’ve Got To Be With You Tonight – 4:00
10. Twenty Room House – 4:43
11. Same Old Thing – 3:41
12. My First Love – 4:04

Steve Howell — Yeah Man” — Out Of The Past Music

Fingerpicking guitarist and songster Steve Howell is a man of many talents, but his biggest superpower is time travel – that’s how he and his band, the Mighty Men, journey back into the past in search of music they love in order to make it fresh again.

Howell was thirteen when he first heard Mississippi John Hurt’s fingerpicking country blues. That experience became a revelation that opened the door to a new musical universe – and a 30-year career. “Since I was very young, I have loved the music from the early twentieth century,” the Texas native says. “This has been a constant in my life and been reflected in my repertoire.”

Howell’s latest album “Yeah Man,” is another cool collection of fine old and even older fine music that he adds to that repertoire. Joining him are his regular Mighty Men, Chris Michaels on electric guitar and vocals, Dave Hoffpauir on drums and vocals, and Jason Weinheimer on bass, keys, and vocals. They float effortlessly from blues into jazz, some old soul, a touch of doo-wop, spirituals, and a little dash of rock ‘n’ roll, ranging from the early 1900s to iconic mid-century melodies. Howell plays acoustic and electric guitars, and, of course, sings. Their music is vital, with an easy-rolling feel enhanced by Howell’s world-weary vocals.

Howell dips back nearly a century for the opener, swinging easily with “Long Lonesome Blues,” recorded by Blind Lemon Jefferson in 1926. Next, Howell is achingly soulful on the title track, a 1978 gem from Eddie Hinton, a lead guitarist for the Muscle Shoals Rhythm Section. “20% Alcohol” is a whimsical whiskey-flavored blues from J.B. Hutto in 1968, with tough guitar work from the Mighty Men.

“One Mint Julep,” a libidinous 1952 romp by the Clovers, gets a jazzy instrumental treatment, with a little vocal assist from the Mighty Men, introduced by a lilting organ from Weinheimer and filled with bright guitar riffs. “Little Ol’ Wine Drinker Me” is a blast of country pop from the ’60s about a man drinking away his romantic troubles, an unlikely hit by actor Robert Mitchum in 1967. “I’m Glad For Your Sake” is a dreamy ballad with a doo-wop dance beat, by Peter Tinturin and Jack Lawrence. First released in 1937 by Andy Kirk and His Clouds of Joy, Howell says his favorite version is the 1968 cover by the Sir Douglas Quintet.

“Just Like Romeo and Juliet” is a bouncy ode to young love from Freddie Gorman and Bob Hamilton, and was a hit for the doo-wop group, The Reflections, in 1964. Organ and guitar interplay with an R&B twist highlight the instrumental version of “Mercy Mercy Mercy,” by Joe Zawinul and a hit for jazz saxman Julian “Cannonball” Adderley in 1967. Howell reaches into rocker Bo Diddley’s songbook for 1958’s “Dearest Darling,” with Bo’s signature beat percolating at its bottom. Howell’s dusky vocal enhances “Lover Please,” the rhythmic Clyde McPhatter hit from 1962 written by Billy Swan. Traveling deep into musical history, Howell offers an uplifting version of the traditional spiritual “Wade In The Water,” published in 1901 and based on a version by the Fisk Jubilee Singers. The closer is a sensuous instrumental take on Bob Dylan’s 1964 anthem “Chimes Of Freedom,” with an elegant guitar solo that does poetic justice to its title.

The bright musical memories living in the tracks of “Yeah Man” represent another gorgeous trip back to the future with some of America’s classical music from Steve Howell’s master class in music appreciation. It deserves to be mightily appreciated – it’s a classical gas!

Here’s “991/2” from the album

Tracklist:

01.Long Lonesome Blues [Blind Lemon Jefferson]
02.Yeah Man [Edward Craig Hinton]
03.20% Alcohol [J.B.Hutto]
04.One Mint Julep [Rudolph Toombs]
05.Little Ol’ Wine Drinker Me [Dick Jennings]
06.I’m Glad for Your Sake [Peter Tinturin – Jack Lawrence]
07.Just Like Romeo and Juliet [Freddie Gorman – Bob Hamilton]
08.Mercy Mercy Mercy [Joe Zawinul]
09.Dearst Darling [Ellas Otha Bates McDaniel > Bo Didley]
10.Lover Please [Billy Swan]
11.Wade in the Water [traditional; spiritual]
12.Chimes of Freedom [Bob Dylan]

Jimmy Vivino — “Gonna Be 2 of Those Days — Gulf Coast Records

Multi-talented Jimmy Vivino is probably best known for his 30-year gig with The Basic Cable Band, as Conan O’Brien’s longtime musical director.

And he’s held down a few other jobs, too. He’s a member of the Beatles tribute group The Fab Faux and plays in the current lineup of Canned Heat. He’s in demand as a multi-faceted sideman. As Vivino puts it: “I’ve worked in every form of media in the business from movies and TV to Broadway, radio, recordings and concerts all the way down to funky little clubs. After all, I always say, ‘I’m just a bluesman with a job’.”

With that sterling resume in his pocket, he’s still only recorded a pair of albums on his own, the most recent being 2013’s live session with his band: “Jimmy Vivino and the Black Italians – 13 Live.”

Vivino’s latest, at age 70, the blues-hued “Gonna Be 2 of Those Days,” almost makes up for that lack of recording. It’s a gem of an album, filled with sturdy originals, sly lyrics and great blues licks. Plus Vivino’s vintage vocals.

The caustic opener, “Blues in the 21st,” finds Vivino paired with Joe Bonamassa in a fiery guitar-laden track bursting with powerful riffs and lyrical images of desperation in the 21st century. “Ruby Is Back,” is a little wordplay Kenny Rogers’ “Ruby Don’t Take Your Love to Town,” with Vivino rolling out heavy B3 lines.

The title track is a whimsical exploration of some bad luck and trouble themes with a nice guitar break, then some tasty piano, and Vivino shouting the blues. “Beware the Wolf” features John Sebastian on a lively barrelhouse piano-forward shuffle, then “Ain’t Nuthin’s Gonna Be Alright” is another sturdy blues.

The mid-tempo “Better Days Past” gets it blues power from Healy’s piano, some tough guitar, Vivino’s crisp vocals, and sharp lyrics. “Fool’s Gold” is a slow blues scorcher with Vivino on a soulful B3. “Crossed My Mind” is a loping blues shuffle, leading into New Orleans-flavored “Goin’ Down Fast.” “Shady Side of the Street” eases along with a vocal flourish before John Sebastian’s lyrical harp work leads the acoustic closer, “Back Up the Country,” with a sly wink and a nod to Canned Heat’s classic “Goin’ Up the Country.”

“Gonna Be 2 of Those Days” is a smartly written, musically astute session, with Vivino’s vintage vocal style adding perfect notes of bluesy wit and wisdom. Give this one a spin.

Here’s a live version of “Blues in the 21st”

Tracklist:
1. Blues In The 21^st (featuring Joe Bonamassa
2. Ruby Is Back
3. Gonna Be 2 of Those Days
4. Beware the Wolf (featuring John Sebastian)
5. Ain’t Nuthin’s Gonna Be Alright
6. Better Days Past
7. Fool’s Gold
8. Crossed My Mind
9. Goin’ Down Fast
10. Shady Side of the Street
11. Back Up the Country (featuring John Sebastian)
Musicians:
Jimmy Vivino: Acoustic and Electric Guitars, Hammond B3, Piano, Vocals
Jesse Williams: Upright and Electric Bass
Rich Pagano: Drums and Percussion
With:
Joe Bonamassa: Guitar (“Blues in the 21^st”)
John Sebastian: Harmonica and Acoustic Guitar (“Beware the Wolf,” “Back Up the Country”)
Mark Teixeira: Percussion
Scott Healy: Accordion, Piano (Gonna Be 2 of Those Days, Beware the Wolf, Better Days Past)
Mark Teixeira: Percussion

HeavyDrunk and Watermelon Slim — “Bluesland Theme Park” — HeavyDrunk Records

“Bluesland Theme Park” is an exotic blues album filled with music that reflects two different amusement park thrill rides: The roller coaster exhilaration of the band HeavyDrunk and the primal scream of Watermelon Slim’s wicked slide guitar.

Watermelon Slim is William P. Homans III, a multi-award-winning singer/songwriter whose raw intensity pours out through his razor-sharp slide, soulful harp and passionate vocals, and whose nickname comes from his work on a watermelon farm many years ago. HeavyDrunk is Rob Robinson’s gritty vocals leading a superb nine-piece band that effortlessly blends blues, soul and musical creativity. The band’s name is credited to the legendary Clarence “Gatemouth” Brown, speaking about a musician who wanted to sit in on a song with Brown: “Man, he’s a no-playin’ so-and-so … and a heavy drunk!”

Slim has released 14 albums; Robinson 11, and this is Rob’s fourth with HeavyDrunk. They joined forces for this session of original songs after Robinson and Slim first met in Clarksdale, Miss. “Once I heard Slim play ‘Little Bighorn’ I was blown away,” Robinson says.

The raucous, horn-filled title track opens with an invitation to join the fun at Robinson’s original “Bluesland Theme Park,” looking through the glass darkly at what’s to come and what you never know you’ll find in this musical carnival: “Sneak down the alley with junky in the dark / at the bluesland theme park.”

“New Wine” adds a chorus behind a funky beat with lyrics that make a spiritual point: “In the winners circle, pointing up to god / on the mountain top, pointing up to heaven / must be something to it, pointing up to god.” Slim’s “Little Bighorn” features his slide and laconic vocals on a philosophical lament: “Well I’ve had some bottles / And I’ve had some women / But the bottles get empty / And the women drift away.” A handclapping chorus welcomes the gospel enthusiasm of “Church Bells (Little Zion)” by Robinson and Eddie Wilson: “Church bells ringing in the delta / Guiding lost souls through the night.”

The lilting melody of “Watermelon Girl” (no relation to Slim!), by Robinson and Tony Joe White, offers a fruitful observation: “Watermelon girls make the world go round.” Slim slides in again with his observations about life on the road in “Road Food & Cheap Motels” “I know them beds and I know them smells / Rolling down this highway while my song still sells.” The delicate balladry of “You Make Me Want To” offers a gentle take on unfulfilled desires: ‘You make me want to up and run astray / And leave the only one that was ever truly mine.”

The foreboding rhythms of “4 Better Worser 2” surround cryptic observations: “Voodoo woman and the preacher looked in his bible / “Shook their heads, looked down at me and you / “washed their hands in holy water / 4 better worser 2.” Slim reprises “Little Bighorn” with just his starkly eloquent acoustic guitar, then leads a chant-like “Australia” that is almost a capella, except for his mournful harp interlude, in an ode to the perils of the outback: “Now underneath the southern cross / Every man is his own boss / But you better take some water on the outback / Cause if you drink alkali know your gonna die….”

The closer, “Fresh,” with its chunky rhythms and backup singers, is a good old-fashioned R&B dance number with Motown overtones and a joyous message: “Hold steady baby, I’m focused and ready / Gonna lift you up and celebrate you.”

“Bluesland Theme Park” combines the inventive music of Rob Robinson and Watermelon Slim for a trip through a portal into another musical dimension, filled with imaginative lyrical adventures spun on ethereal slide guitar moans and floating on brassy big-band carousels. Buckle up and enjoy the ride!

Here’s the album title track

Tracklist:
01. Bluesland Theme Park – Rob Robinson 2:15
02. New Wine – Rob Robinson 2.54
03. Little Bighorn (feat. Watermelon Slim) – William B. Homans 3.26
04. Church Bells (Little Zion) – Rob Robinson & Eddie Wilson 3.58
05. Watermelon Girl – Rob Robinson & Tony Joe White 3.06
06. Road Food & Cheap Motels (feat. Watermelon Slim) – William B. Homans 2.48
07. You Make Me Want To – Rob Robinson 4.07
08. Better Worser Too – Rob Robinson 3.37
09. Little Bighorn Acoustic (feat. Watermelon Slim) – William B. Homans 3.29
10. Australia (feat. Watermelon Slim) – William B. Homans 2.57
11. Fresh – Rob Robinson 2.18

Jennifer Porter — “Sun Come And Shine Redux” — Overton Music

The luminous voice of songstress Jennifer Porter shapes the elegant tapestry of her lyrics into a musical style that blends its worldliness into other-worldly dimensions. Her seductive vocals breathe intimate stories of love and loss against a backdrop of sublime instrumentation.

All of this imaginative and original magical music comes together again on “Sun Come and Shine Redux,” the remixed and remastered reprise of Porter’s impeccable 2021 release, “Sun Come and Shine.” The title song was then honored with the We Are The Music Makers award for Best Roots/Americana/Blues song.

The title song itself, “Sun Come and Shine,” which opens the album, features multi-instrumentalist Porter on the Hammond B-3, and a delicate harp and piano intro leading into the mystic of its lyrics: “Sun come and shine in my door / Let your light creep gently cross the floor / ‘Til my thoughts don’t scare me no more.” On Show Me Your Love,” Porter provides her own backing vocals as well as B3 and Fender Rhodes work, highlighting ethereal vocals in a tender love song: “In the tone of your voice and the words that you choose / In the moves and the grooves that you use / Won’t you show me your love.”

A lilting melody envelops the dreamy optimism of “When Its All Been Said And Done: “Let’s roll the rug back and we’ll have a dance / I’ll bring you violets and we’ll take a chance.” A gorgeous burst of horns slips into “Satin Shoes,” with its esoteric imagery: “We’ll feel sad when we sit very still / To ask for joy and pray for time / We can’t recall we ever knew / How desperately we need a happy ending.” The sultry-voiced, upbeat “Stop Your Talkin’” is an earthy warning framed in jazzy horns: “You better stop your talkin’ talkin’ / Or I’ll be going, going, gone.”

The bluesy “In and Out With You” is a rhythmic adventure of love featuring a razor-sharp guitar solo by George Naha punctuating delightful lyrics with and a joyous shout at the finish: “Cross the ocean dark on this night-light flight / Holding hands while cycling in the rain / Sleeping by your side on this midnight train.” Porter’s airy touch on the B3 encircling a sensuous sax leads into the lovely refrain of a “Bitter New York Night” warmed by luscious vocals: “And when we’re old and dance real slow / I will dream…”

The rousing accordion of C.J. Chenier and a taste of Porter’s honky-tonk piano introduce the New Orleans rhythms of “You’re So Easy To Be With” and its colorful vibrations: “You’re so easy to get lost in / I forget to find my way.” The only non-Porter song, “Something On Your Mind,” is a poignant ballad by Dino Valenti: “I have seen the writing on the wall / Who cannot maintain will always fall.” The haunting strains of Cindy Cashdollar’s pedal steel warm the finale, “I’ll Be Here,” with its gentle promise of everlasting love: “I’ll take your hand and I’ll walk without shame / For as you go, so will I / ‘Til the day that I die.”

“Sun Come and Shine Redux” is layered with the sophistication of Jennifer Porter’s smart, sensitive lyrics and the eloquence of her unique voice. It’s filled with expressive musical creations torn from Porter’s personal vision for you to experience with her. Let her explore your mind.

Here’s the title song, “Sun Come And Shine”