nov-dec 2014 newsletter

the globe) since 1975, Rich

Gordon is approaching his

40th year on the air. His

sonorous baritone voice is a

warm and pleasant way to

wake up for his current

weekly Sunday Morning

Blues program at 6 AM on

WKGL-FM 96.7 “ The Ea-

gle.” His two hour program

is a treat for area fans and

continued on page 3

Momentum grew and a

second annual festival was

planned for July 29, 1995

with Patrick Hazell return-

ing and with the Port Bluez

Band and Gloria Thompson

and her band performing.

Membership had grown to

over 190 by the festival and

peaked at around 220 by

fall of 1995. Expenses to

produce the newsletter

grew and even with in-

creased membership fees

finances were tight and a

third annual blues fest be-

came impossible for 1996.

Interest in changing the

focus to Blues in the Schools

was expressed by the offi-

cers, board and member-

ship. Membership dipped

to about 160. Festivals like

On The Waterfront in Rock-

ford offered blues acts as

did the Missisippi Valley

Blues Festival. In 1997 the

Fathers Day Blues Events at

Lyran Park with Lonnie

Brooks also came into be-

ing, adding another big

event that Crossroads mem-

bers supported.

continued on page 2

Crossroads Celebrates with a 20th Anniversary Issue November-December 2014

Inside this issue:

News 1-5, 20-21

Music Reviews 6-19

Playlist, Members 21

Membership Application 22

Upcoming Events 22

This issue hon-

ors 20 years of

the Crossroads

Blues Society.

We have just

completed two

decades of exis-

tence and things

are as exciting

as ever for us!

For those who

are not familiar

with our history,

we began in

Lanark, Illinois in

1994. Lanark is a small town

24 miles south and west of

Freeport and 46 miles in the

same direction from Rock-

ford. If one continues due

west from Lanark you will

find yourself in Savanna, IL

and at the Mississippi River

well south of Dubuque and

just north of Clinton, Iowa.

Proximity to the Quad Cities

and their blues scene helped

seed interest as did the blues

scenes in Freeport and Rock-

ford. While at the Palms in

Sterling, IL in April 1994, Liz

Sarber approached Patrick

Hazell to perform in Lanark.

He was available on

July 30th, so Liz ap-

proached the Jay-

cees to run an event

where they would

take the risk and

gain the profits with

the event which was

eventually entitled

the DOWN THE

ROAD BLUES FEST.

Plans for all this

were made at Lan-

ark’s watering hole

– Dave’s Place. The

blues fans would

accept donations which

would become the seed

money for Crossroads Blues

Society. The event was a suc-

cess and Crossroads was

born shortly after the festival.

Craig Lang served as the first

president and by December

1994 Crossroads boasted

having 83 members. A

monthly newsletter called

the Blueseye was in it’s 5th

month of production, having

begun in August. Printed by

the Prairie Advocate, the

newsletter was filled with all

sorts of great music news,

interviews and articles.

Factoids- 20 Years of Crossroads

20 continuous years of newsletter publication

131 Blues in the Schools (BITS) Programs for 40,000 students in Rock-ford and the Northern Illinois area; all profits from fundraising supports BITS

9 festivals held

Sponsored hundreds of bands and shows in doz-ens of area venues

100% volunteer organized and run

There have been 4 presi-dents, 8 VPs. 8 secretar-ies, 6 treasurers, and 22 different people have served on the board. That means the average terms have been 5 years for presidents, 2-1/2 years for VPs and secretaries, 3—1/3 years for treasurers and almost 5 years for board members.

Rich Gordon Begins 40th Year on Air Nominated for KBA

Few commercial radio per-

sonalities measure up to Rich

Gordon when it comes to

producing a quality blues

program with the longevity

that he has demonstrated to

local area blues fans. Broad-

casting to northern Illinois

and southern Wisconsin fans

(and for a period on Podcast

with regular fans locally and

in far-away places around

Patrick Hazell

Headlined the 1994 and

1995 Down

the Road Blues Fests

years we managed to expand the talent

involved in out festivals and had 4 suc-

cessful events in Byron, Illinois. We also

added a second event at Aviators Sta-

dium and for 2013 and 2014 the Field of

Blues Festival was held there in late

June. Two great events with attendance

at 600 people allowed us to break even

but given the number of local fests and

effort needed to run two festivals we

decided to focus on the August event.

The Byron Crossroads Blues Festival

became the Crossroads Blues Festival at

Lyran Park and on August 23, 2014 we

had a great even despite a very rainy

start. We still managed to turn a profit

and draw over 1,000 fans. Steve Jones

took the lead on these and now since

2012 as president he has worked to help

the Society grow and work to keep the

blues alive.

Crossroads began sending bands to the

International Blues Challenge in January

2014 with our first blues challenge in

October 2013. Alex Wilson and his band

won and wound up in the semi-finals.

We repeated the challenge in October

2014 and added a Solo/Duo challenge

and a Youth Showcase so we are sending

three acts to Memphis is January 2015.

We also were selected as the 2014 Affili-

ate of the Blues Foundation recipient of

the Keepin’ The Blues Alive Award, the

top honor any Blus Society can receive.

We were humbled by this and got the

award during the IBC week last January.

The 2014 Chicago Blues Hall of Fame

also inducted us this past June for our

efforts in blues promotion.

Many shows have been sponsored by

Crossroads and our members as indi-

viduals over the years. We don’t risk

large amount of Society funds but we do

get help from members and other or-

ganizations which allows us to bring in

high quality national acts that would not

be able to perform in our area without

their help. The Carolina Chocolate

Drops, Kim Wilson, Jimmy Thackery,

Walter Trout, Candye Kane, Janiva Mag-

ness, Trampled Under Foot, Ana Popovic

and dozens of other bands have played

Rockford due to our efforts.

20 years of Crossroads and we’re going

strong. It’s a lot of work. We need lots

of members and volunteers who are in-

terested in helping up keep the blues

alive. It’s a lot of work but it’s satisfying

to know we can make a difference!

students.

The last of the Lonnie Brooks Father’s

Day Events was held in June 2004 at Ly-

ran Park which enticed Karl Dahlin, Har-

monica Joe Poluyankis, Rick Hein and

Steve Jones to be added as officers and

board members who all took a big inter-

est in BITS and the program expanded

more and more with their help. By the

end of the 2006-7 school year 52 pro-

grams were held for almost 14,000 stu-

dents. In the midst of this, Crossroads

won a RAMI award in 2005 for their com-

munity service efforts. The BITS efforts

have been expanded year after year and

we now have 24 artists/duos/bands that

have done programming for us. Rick

Davis, Bob Haendler, Denny Barker and

Bill Graw have also taken an interest in

helping with BITS and we have now con-

ducted 131 programs for over 40,000

students in 13 school systems and even

some private schools.

Steve Jones took over the newsletter

with the July-August 2004 issue and con-

tinues to publish it today. The newslet-

ter lost the Blueseye name and simply

became the Crossroads Blues Society

Newsletter and grew in breath and

scope. Mark, Steve and an ever expand-

ing slate of reviewers added more and

more reviews and interviews. The news-

letter was back and the fine content re-

stored the quality to what it had been in

the past. The July-August 2007 edition

was the first to be done in color print

thanks to Steve Roach’s contributing the

use of his laser printer. Special editions

for April Fools Day, BITS, Christmas and

other occasions have popped up in addi-

tion to the bi-monthly editions. Content

grew and the newsletter ranged from 12

to 24 pages over the years. This year,

the board decided to go to a profession-

ally printed 12 page edition in black and

white when Steve Roach moved to Indi-

ana and keep the PDF version that went

out via email in the expanded, color for-

mat. 25 to 30 reviews are usually con-

tained in each issue now, rivaling the

big time blues magazine in number and

certainly beating them in the depth and

content in the reviews.

Festivals came back into focus in 2010.

Partnering with the Downtown Byron Bar

Association offered us the opportunity

that we had a formula that would work

successfully and we held our first festival

in 15 years with outstanding results–

over 2,000 attendees and a financial suc-

cess in the first year. The next three

Fundraising and membership dues kept

the newsletter going with its’ excellent

content through 1997, 1998 and 1999 and

by then the meetings and membership

were centered in Rockford instead of

Lanark for over a year. Craig and Liz

completed their years of service and

Bob Lowther took on the presidency.

Newsletters dropped off and were less

regular by the fall of 1999 with the loss of

Craig and Liz and their publishing ex-

perience, but the newsletter lived on

until fall of 1999 when it went dormant

for a year as the club reorganized and

renewed focus. Participation in the local

blues events also continued but to a

lower extent. Mark Thompson was

elected president in 2001 and looked to

begin anew.

Mark, Ted Ippen, Rich Gordon, Dan Klef-

stad, Al McNary and others on the board

began to seriously explore blues in the

schools as the club’s focus. Fundraising

began in earnest and the newsletter re-

started as a bimonthly periodical in

2001. The April 2002 edition announced

that enough funds had been raised and

that Fruteland Jackson would be con-

ducting BITS on May 9th with programs at

Ellis Arts Academy and Carlson Elemen-

tary School. They also added West Mid-

dle School as a third program. They

were a huge success and Fruteland re-

turned in November for repeat pro-

grams at Carlson and Ellis.

Hawkeye Herman arrived in April 2003

for seven programs and after the first

two school years 12 programs had been

conducted for over 2,100 students in

Rockford and Loves Park. The programs

continued through fundraising and

grants from the Rockford Area Arts

Council and the Community Foundation

of Northern Illinois. Meetings continued

at Big Cities on a regular basis and the

club began to get into a groove again.

More and more music reviews were

added to the newsletter and Eric Noden

was added to the stable of BITS artists in

2003. BITS took the Spring Semester off

in 2004 but them began with a flourish

with Fruteland and Hawkeye in Septem-

ber 2004. Ann Rabson was also a new

BITS addition in April 2005. and by then

26 programs had been held for 6,200

Crossroads Blues Society Newsletter

A Short History of Crossroads 1994-2014

able to connect with Willie Dixon, who at the time was in California, and with Dixon’s daughter, Shirley, who was performing at Rush Street here in Rockford, over the air waves on the Sunday Night Blues. He did an early morning phone interview Buddy Guy which went almost 30 minutes. Rich notes, “There were several times when Buddy for-got he was on the radio which made for some interesting word choices.” Albert Collin’s last professional gig at On The Wa-terfront in 1993 was broadcast live with Rich as host. He had a wireless system and inter-viewed Albert in his trailer along with broad-casting the live performance. Rich also inter-viewed Mick Fleetwood at his drum kit on stage at Waterfront. He said, “It was some-thing very special. I will never forget it.” Rich has been in Rockford for 42 years and has broadcast on commercial radio for 39 of those years. He is one of the nicest guys on the radio anywhere. We could heap acco-lades on him page after page but his record shows his dedication to the blues as a DJ. He told us, “You have to love it and it has to be fun. Be ready to work lots of hours and always be available. Being in the right place at the right time really does help a lot. Make sure your audience can always hear your smile.” We have never seen Rich without a smile on his face and his broadcasts have put smiles on blues fans’ faces for 39 years. It is without any reservation that we submit Rich Gordon for consideration for a Keeping the Blues Alive Award for his outstanding Commercial Radio work!

Old Crossroads Newsletters Wanted We are looking to fill in a few holes in our official collections of CBS newslet-ters. Right now we are missing a few early editions (issues 1, 2 4 and several others from 1994 to 1999 and any from 2000). If anyone has any to donate to the club we would appreciate having a complete set archived! Thanks in ad-vance!

has a large fan base over the airwaves and on line. Rich does not look for accolades. He is laid back and quiet. His love of the blues goes back to his youth. To get information for this submission, we approached him for an article in our upcoming newsletter high-lighting 20 years of Crossroads Blues Society and our wanting to highlight some of our long term members in it. We did not want him to know we were also submitting him for this award. Born and raised in Chicago, in high school Rich was a big fan of Dick Biondi on Chi-cago’s famous radio station WLS. He went to a couple of promos Biondi was doing, like throwing silver dollars across the Chicago River with Mike Dikta, and going to the Blue Village in Wesmont, IL, and it further solidi-fied his desire to be a radio personality. When people would come over to his home and listen to the radio, his friends said he should be on the radio. He called Dave Bavito at WDEK and asked how he could get started on the radio. Dave told Rich that some folks go to school to learn the mechan-ics but that the key was to find a station that will hire you. He told Rich that there are al-ways stations looking for good part time peo-ple and that was a great way to get started. Rich able to set up an interview with WRWC-FM; he went in, read some news copy and got hired. Rich said, “I was very lucky to be in the right place at the right time.” In the fall of 1975, Gordon started at WRWC-FM in Rockton, running the board for Big Bill Korst’s Big Band Show. Once he got his

broadcast endorsed FCC license, he went to Y-95 in the summer of 1976 doing weekends. He’s been on eight different stations over 39 yeards: WRWC- FM, WYFE-FM, WDEK-FM, WYBR-FM, WXRX-FM, WYHY-FM, WRTB-FM and WKGL-FM. The impetus for Sunday Morning Blues started out as the Sunday Night Blues on WYBR-FM in 1987. It was a once a month specialty show that alternated with a new music show, a jazz show and heavy metal show. As the people who did the other shows left, the Sunday Night Blues went from once a month to twice a month to three times month to eventually every Sun-day night. And then it went from Sunday night to Sunday morning on WXRX-FM. Prior to the current show on the Eagle, Rich produced a weekly podcast. The podcast was very cool; it was all about production. They had a software program that could track the listeners. It was truly global. The show had regular listener in Norway, Sweden, Rus-sia, India and the Middle East. He would get emails about the songs on the shows from all over the globe. When asked about pod cast versus live shows Rich said, “It was really neat, but it is not the same as being on the air which is much more alive. There is a feel-ing of immediate response from the listener. You get to hear what they hear at the same time. It is a real time thing.” He was ecstatic when the Eagle picked up his program and to go back to live broadcasts, but also he ap-preciated having listeners all over the Earth on pod cast, too. We asked Rich to comment about the blues on the radio. Being that is a very small part of all programming, it has a very loyal following. What makes blues fans different than say jazz or other niche/non-mainstream music genre music fans? He replied, “Blues music is universal. It has a very strong support base of blues societies, festivals, record labels and fans. You can hear the blues in all forms of music. It is in the commercials on the televi-sion and in the soundtracks of movies. It is part of all of the music you hear. You could say that it is part of the soundtrack of your life. Blues performers and their fans have a special relationship. There are no stars, per se. Everyone is approachable.” On the viability of blues as a music form, Rich said, “Basically, there are only two types of music, good and bad. Over the years I have been very lucky to find the good blues and have been able to stay on that course. There is a lot of variety in blues and I try to mix it up. I will take chances once in a while by stretching the envelope of the blues with something new and edgy. An important part of the show focuses on the live local scene. Part of the scene is Chicago. It is a definite plus to be near Chicago, the home of the blues. Having two local blues festivals and a strong blues society helps greatly.” Rich has hosted some of the greats in the blues world on his live programs. He was

November-December 2014

Rich Gordon 40 Years on the Air

Issue 3, October 1994


Dan Phelps went last and had a powerful set of pre-war styled blues originals and covers that showcased his fine finger pick-ing and authentic vocals. He was the winner.

The sole Youth Showcase competitor was Macyn Taylor who showed the crowd and judges that the Solo/Duo competition will have aa great competitor when she comes of age. Macyn is a phenomenal guitar virtuoso and singer whose talents belie her age! There will be several benefits that the artists will be involved with. Crossroads will help these artists by conducting a benefit where they all will perform. On Sunday, December 7th the three acts will perform at the American Legion Post on Alpine Road in Rockford, across the street from the Church in the former Colonial Village. Doors open at 230 and the music and event starts at 3 PM. Donations will be accepted at the door; there will be silent auctions and raffles to help defray the cost for the artists to travel to Mem-phis. The band and solo act will be down there potentially from Tuesday, January 20th (registration in on Wednesday after-noon but given the drive time most bands and solo/duo acts arrive on Tuesday) to Sunday January 25th. The Youth Show-case is on Friday, January 23rd so there is a lesser stay for them. Crossroads is very excited to have Jimmy Nick and Don’t Tell Mama, Dan Phelps and Macyn Taylor representing us in Memphis at the IBCs. We are thankful for their talents and congratulate them and all the great acts who competed; we would have been proud to send any of them to represent us! On to Memphis!!!

Mary’s Place became the location for this years’ Crossroads Blues Challenge on consecutive Sunday afternoons. On Sun-day, October 5th the Band competition was held and on October 12th the Solo/Duo and Youth Showcase competitions were conducted. The Band competition was between three bands. The order of the competition was determined by drawing straws that day.

Jeremy Bustillos books and leads the Navy Band out in Great Lakes. He and his band were a very hot act featuring him on harp, sax and a flying V guitar. The band was very tight and together and pleased the crowd and judges. Jimmy

Nick and his band followed with another high energy set which had the house rock-

ing to their rocking and swinging blues. Recently Paroled were the clean up act and their rocking blues had the crowd excited. When the scores were tallied it was close but unanimous– Jimmy Nick and Don’t tell Mama would be represent-ing Crossroads in Memphis! The following week featured three solo/duo acts and one youth act. Birddog and Beck opened followed by Dan Peart and then Dan Phelps. Birddog and Beck fea-

tured Ken Olufs on vocals and harp and Warren Beck on keyboards and vocals. They mixed original blues and soulful cov-ers that had the judges ear. Dan Peart

followed with a very earthy and Delta in-spired set with him on vocals and guitar. He kept everyone captivated for his set!

Crossroads Blues Challenge Winners to Compete in Memphis at IBCs


The Blues Blast Music Awards were pre-sented at a fantastic event at the Fluid Events Center in Champaign, IL on Thurs-day, October 23rd. Bob Kieser, the pub-lisher of Blues Blast, presided over the event. Two dozen artists who were nomi-nated for awards performed at the event to the delight of the crowd in attendance. It was the best event that they have put on yet and it was a great evening of music and celebration! The awardees:

Contemporary Blues Album Buddy Guy - Rhythm & Blues

Traditional Blues Album James Cotton - Cotton Mouth Man

Soul Blues Album Bobby Rush with Blind Dog Smokin' - De-cisions (pictured below)

Rock Blues Album Tommy Castro And The Painkillers - The Devil You Know

Acoustic Blues Album Mark T Small - Smokin' Blues

New Artist Debut Album Shawn Holt And The Teardrops - Daddy Told Me

Blues DVD Recording Royal Southern Brotherhood - Songs From the Road

Song Of The Year "Meet Me In Chicago" by Tom Hambridge and Robert Randolph - Rhythm & Blues (Buddy Guy)

Blues Band The Tedeschi Trucks Band

Male Blues Artist Buddy Guy

Female Blues Artist Beth Hart

Sean Costello Rising Star Award Lisa Mann

Lifetime Achievement Awards Lonnie Brooks Bobby Rush

Blues Blast Music Awards


Heart ‘O’ Chicago Liz Mandeville Blue Kitty Music www.lizmandeville.com 11 tracks/49 minutes

Chicago’s red-headed blues diva is at it again, with 11 red hot new tracks that will blow you away like they did me! Liz Mandeville turns in one inspired performance after another on these new cuts while backed by a great band with horns, keyboards and an assortment of great guest stars. I thinks she’s got a hit here and once you hear it I think that you will undoubtedly agree.

Liz has a fantastic guitar whiz in Minoru Maru-yama, a former Billy Branch guitar player. He is impeccably smooth and spot on. Darryl Wright is solid on bass, a stalwart backline player of renown. Jeremiah Thomas is on the skins and turns in a superb effort. Joan Gand adds piano and B-3 on half a dozen cuts while Wade Baker (trumpet) is on 9 cuts and Eric Campbell (trombone) and Oz Landesberg (sax) are also on six tracks as her horn section.

Eddie Shaw makes a guest appearance on the first and fifth tracks. “Cloud of Love” and “Quit Me On A Voicemail” feature Eddie on solos; Oz and Eric are also featured on the former along with Joan on keys while Minoru is featured on the latter. “Cloud” is jazzy swing tune where Liz skats and flutters about effortlessly. “Quit Me” is soulful slow blues where she shows a strong yet subtle side where she voice moves up and down the registers with great style.

Billy Branch appears on track 4 (“So Called Best Friend”) and 6 (“Party At The End of Time”) with some mean harp. Liz and Billy spar with vocal and harp licks in the song about a friend who is not so devout in her friendship. Delightful lyrical stuff with sweet harp and guitar solos. The second track with Branch features Liz letting it out a bit as Branch also does on his solo. Minoru follows up with his own solo and then he and Branch share the solo poignantly before Liz returns. The song ends with a der-vish of a stratospheric harp blow.

Charlie Love helps out on vocals on "Don't Doubt My Love" and "Silver Lining (Shirley's Blues) and does a bang up job. Dizzy Bolinski blows some cool harp on the final cut "Life Is Like A) Wave." I am impressed top to bottom with the talent Liz brings both to her recordings and live shows- she always puts on a fantastic show and has become one of my favorite fe-male vocalists on the scene today!

Whether Liz is doing slow blues ballads like “These Blues” or (as Liz puts it) the “butt-rockin’, shake your shimmy get your wiggle on music” as in many of the other tracks, we have a hellluva CD here. I think it is destined for greater notice and recognition. I hope you go out and get a copy because you will enjoy as I have!

Reviewed by Steve Jones

Warning Shot Mississippi Heat Delmark Records www.mississippiheat.net 16 tracks/64 minutes Mississippi Heat returns with a new album and it’s an outstanding contribution to their catalogue. As ever, leader Pierre Lacoque is at the heart of things with nine composi-tions and his distinctive harp playing. Also on board are long-serving vocalist Inetta Visor and drummer Kenny Smith, both of whom contribute a song: Kenny is so in-demand for sessions and has several bands with which he plays, so it is not sur-prising that he could not be there for all the recordings, Andrew ‘Blaze’ Thomas substi-tuting on seven cuts. Giles Corey returns on guitar, aided by Carl Weathersby on two cuts and Michael Dotson who plays and sings on the three songs he wrote for the album. Newcomers Neal O’Hara on keys and Brian Quinn on bass are solid throughout, Ruben Alvarez adds latin per-cussion to three tracks and backing vocals come from Mae Koen, Diane Madison and Nanette Frank. The extra ingredient on this album is the presence of Sax Gordon Beadle on several cuts, the horn parts definitely adding to the overall excitement of the album.

For anyone who is unfamiliar with what MH is all about, just listen to the first three tracks, all written by Pierre. Opener “Sweet Poison” finds Inetta singing of “dealing with what is real, your love is like sweet poison and I don’t like the way it feels” over an Elmore James slide riff, Sax Gordon providing a second riff on his horn and Pierre adding some fine colour on harp. “Alley Cat Boogie” is a frantic rocker with Neal’s piano featured strongly along-side Pierre’s harp and a real old-fashioned ‘yakkety sax’ break from Gordon– a track that you simply cannot stay still to! MH has always enjoyed a dimension of Caribbean lilt in their music and “Come To Mama” provides that courtesy of Neal’s organ and Ruben’s percussion, Pierre and Gordon taking short solos to add further to this swaying party of a song. The first song from outside the band is Brook Benton’s “I Don’t Know” (previously recorded by Ruth Brown and Billy Eck-stine), a smooth blues ballad that lets us hear Inetta’s lovely voice close up with light accompaniment. The other cover is a

harmonica feature for Pierre in a re-working of Hank Williams’ “Your Cheating Heart” – well, Brother Ray did it so why not MH? The three Michael Dotson songs all feature his rumbling guitar and vocals: “Swingy Dingy Baby” is a rocker with some fine harp from Pierre, “Yeah Now Baby” has a strong Howling Wolf core riff and “Evaporated Blues” is a slow blues. Inetta’s song “A Part Of Something Spe-cial” is a full production with horns, backing vocals and a celebration of being part of a relationship “being able to give and receive love”, former MH Lead guitarist Carl Weathersby providing a short reminder of what an excellent player he is and Gordon again soloing to good effect. Kenny’s song “What Cha Say?” has Pierre’s harp making an opening statement before Kenny sings in classic slow blues style over some fine slide guitar from Giles.

The remaining songs are all Pierre’s and provide an impressively wide range of styles for the band. “Working Man” is an uptempo number to close the album in sprightly style, Inetta singing of her hard-working partner who “gets up every morn-ing to earn a living the best he can”. Title cut “Warning Shot” is a mid-paced tune with lots of harmony b/v’s in support of Inetta’s lead, Neal’s warm organ solo pro-viding a launch pad for Carl Weathersby’s stinging, fast-fingered guitar. “Birthday Song” effectively re-works the standard ‘Happy Birthday’ refrain into a Latin-edged concoction with Giles’ Santana-style solo sitting comfortably in the centre of the song. “Nowhere To Go” is a classic shuf-fle with Neal, Giles and Pierre taking solos behind another excellent vocal from Inetta and “Too Sad To Wipe My Tears” is a stripped-down country blues. Leaving per-haps the best to last “Recession Blues” finds Inetta hoping that her lover is still as strongly in love with her as before the re-cession bit hard on everyone. Another full production, this one again finds Giles in latin mood in his solo before Pierre adds another telling harp contribution. Mean-while Ruben’s Latin percussion adds to the stirring rhythms and Gordon’s background role on sax should not be ignored. Overall this is an extremely strong album and comes very highly recommended for both the range and quality of the material and musicianship.

Reviewed by John Mitchell

Music Reviews


tours with artists like Cissy Houston or sharing the stage with Ray Charles and Robert Cray. Those lessons are highlighted on “More Than Enough” as she takes her time, deliberately building the emotional intensity until her fervent cries leave no doubt about the depth of her love. “Better or Worse” is a more traditional blues tune boosted by the presence of James Harman on harp and Na-than James on guitar. Sue Palmer plays gospel-tinged piano on “No Re-grets” while Andersen’s nimble vocal rides the shuffling rhythm laid down by Bill Stuve on bass, Christopher Hoffee on percussion, and Marty Dodson on drums. Ben Moore uses his Hammond B-3 organ to inject a strong funk element into “Hey Now” while “Whole Lotta Nothin’” rolls along with a strong New Orleans R&B flavor. The horn section of Robbie Smith on trumpet, Gerrad Nolan on tenor sax, and Bob Mathes on bari-tone sax supply strong riffs that sur-round the singer as she delivers the raw truth on “Same Things Make You Laugh Will Make You Cry,” with Mi-chael McKinnon on bass. The disc veers back to church for “Reach Out,” with Heine Andersen and Nathan James each getting the chance to preach the gospel through their guitars. Andersen digs deep into the slow, late-night blues on “Ladies Shoe,” promising to do whatever it takes to shed the blues crawling around her door. “Night Stalker” is her powerful declaration of freedom from cheating men, promising to hunt them down by any means necessary. Andersen closes with Snook’s Eag-lin’s “I’ve Been Walkin’,” her rich voice creating a somber mood over sparse accompaniment. Once the band kicks in with a lively strut, An-dersen delivers one more memorable performance with an assist from Sonja Mack and Karen Trapane on backing vocals. Her uplifting spirit and beautifully crafted phrasing keep the focus on the song. To her credit, Andersen never overplays her hand, never resorting to overbearing vocal techniques – simply using her dy-namic voice to tell one compelling story after another. A fine listen from start to finish, make sure this one doesn’t slip by! Reviewed by Mark Thompson

Come Back Baby Linsey Alexander Delmark Records www. 13 tracks/65:01 It took more than fifty years for singer & guitarist Linsey Alexander to “make it”. Playing dates in clubs on Chicago’s south side be-fore making inroads in venues in the rest of the city, he honed his skills and songwriting ability without much fanfare. Even three self-released re-cordings failed to raise his profile beyond journeyman status. Then Del-mark Records entered the picture, rewarding Alexander’s decades of effort with a 2012 release, Been There Done That, which received wide-spread critical acclaim. With his latest release, Alexander quickly shows that he still has plenty of compelling material that mines various styles of Chicago’s rich musi-cal heritage. The title cut is a stoned soul groover as the singer’s striking voice sails over a melodic horn pat-tern. The opener, “Little Bit of Soap’” also benefits from the horns – Ryan Nyther on trumpet, Chris Neal on tenor sax, and Bill McFarland on trombone – while Alexander vows to wash away any traces of an unfaithful lover. “Booty Call” lacks a strong lyri-cal narrative but Greg McDaniel’s bouncing bass line ensures that this number will quickly fill any club’s dance floor. Alexander has more woman troubles on “Funky Feeling,” leading him to pry some biting licks out of his instrument. Veteran Roosevelt Purifoy handles keyboards throughout the disc, with his organ playing being the focal point on “Booze and Blues”. The leader’s guitar work on “Snowing in Chicago” is as cutting as the city’s winter weather. McDaniel and drum-mer Pooky Styx lay down a solid shuffle on “Things Done Changed,” while Alexander offers a terse re-sponse to the racism he has faced throughout his life. “Goin’ Out Walkin’” finds him hitting the road, promising not to rest until he has baby back. Purifoy’s nimble piano phrases push the singer along, lead-ing to his own six string ride. Three tracks feature the great Billy Branch on harmonica. On “Call My Wife,” his bright tone and hearty

blowing lighten the mood of Alexan-der’s vivid portrayal of a whiskey-soaked lost evening. The emotional turmoil continues on “Can’t Drink, Can’t, Can’t Eat,” another forlorn tale of love lost. Branch provides expert accompaniment to support Alexan-der’s vocal, then plays a twisting solo that utilizes his entire instrument. He switches to chromatic harp on “Too Old to Be a New Fool,” a slow blues highlight with a gritty vocal from Alex-ander. Equally strong are “I Got a Woman” and Willie Dixon’s “I Can’t Quit You Baby” – the former has Alexander’s guitar building the ten-sion to a fevered pitch while the latter puts the focus on his passionate singing. Linsey Alexander excels on this pro-ject as a singer, guitarist and song-writer. There is real depth in his per-formances that embraced the tradi-tions while adding some modern, up-town enhancements. If you have not heard any of Alexander’s previous efforts, you need to check this one out, especially if you are a fan of blues Chicago-style! Reviewed by Mark Thompson In the Moment Missy Andersen Main Squeeze Re-cords www.missy-andersen.com 11 tracks/50:20 There are plenty of female singers out there vying for the attention of blues lovers around the world. If you are going to stand out from the crowd, you better have an excep-tional voice, a batch of great tunes, a band with the instrumental skills to bring the songs to life, and the exper-tise to bring all of these elements together to get a recording that will capture the ear of listeners. Missy Andersen wastes no time in letting you know that she deserves to be heard. Her opening track, “Rent Party,” swings from the jump as An-dersen struts her stuff with the horn section riffing in the background. Her husband, Heine Andersen, adds to the revelry with a superbly executed guitar solo. Performing since she was a very young girl, Andersen has learned plenty over the years doing


Hoover tune "Reefer Man," creating a western-swing jump blues version, stirring in some New Orleans jazz. The band pulls listeners into the Delta swamp with the slow deliberate slide guitar style on the tune "Way Back Home." With a jazz intro, followed by heavy bass and driving guitar, "The Back Room" keeps you down home on the Dixie Highway. "Thorn In My Slid" offers an ultimatum in a relationship gone bad. His slide guitar makes this song, as he equals those guitar riffs of Duane Allman and Jimmy Page on this one. With "Viper," JP paints a syndical picture with his acoustic guitar, warning us of the emi-nent danger lurking in the shadows. The horn section adds a shade of New Or-leans jazz to the delivery of this tune. "The Road Has Got Me Down" is straight out the 40's honky-tonk era created by bands like Hank Williams and the Drifting Cow-boys. Background vocals, country style by Teresa James accompanying JP on a lap steel and Brandon Santini on harmonica, taking us back to those early days. Soars shifts gears again and creates an ex-tremely fluid flamingo guitar style much like the famous guitarist Paco de Lucia, with the instrumental "Lil' Mamacita." Back to his Howlin' Wolf vocals as JP Soars and The Red Hots close with a combina-tion of the Texas style swing of Asleep At The Wheel and the jump blues of Roomful Of Blues. With this big band sound, the superb guitar solos of JP, and Terry Hanck wailing on the sax like Red Pry-sock, "Missin' Your Kissin' is worth the price of the CD.

JP Soars explores a wide range of guitar styles and vocal changes to say the least with his latest release, Full Moon Night In Memphis. His immense exposure to such a diverse collection of music has made him one of the most versatile blues artists in the industry. He has honed his craft to perfection in a very short time. This CD is brimming with some of the tastiest music you could get on one album.

Review by Rick Davis

Crossroads Nominates Dan Phelps Going Home to the Blues Founda-tion as Best Self Produced CD

Crossroads Blues Society has submitted

Dan Phelps CD Going Home to the Blues

Foundation as our en-

try for the 2015 Best

Self-Produced CD

Competition. We wish

him the best– it is a

great CD!

The Tattooed Lady and the Alligator Man Marcia Ball Alligator Records www.alligator.com 12 Tracks

Marcia Ball is no ordi-nary lady; she really can sing and play the blues! Her resume boasts induction into the Gulf Coast Musuc Hall of Fame (2010), the Louisiana Music Hall of Fame (2012), six Living Blues Awards, nine Blues Music Awards (including 42 nomi-nations), and five Grammy nominations.

Born in Orange, Texas into a house of piano players, Ball was raised in Vinton, Louisiana. Influenced by her grand-mother’s Tin Pan Alley collection and her aunt’s more modern and popular music collection, Ball began piano lessons at the ripe old age of five. Greatly influenced by an Irma Thomas show, Ball began do-ing Thomas tunes with her first blues-based band which was called Gum. After several years playing in Austin, Texas and several bands later, Ball went solo in 1974.

Her groove-laden New Orleans boogie, deeply soulful ballads, and rollicking Gulf Coast blues makes her a one-of-a-kind favorite with music fans world wide. For her 2010 release of Roadside Attrac-tions, Ball really focused on her song writing ability creating one of her best and most personal albums, garnering a Grammy nomination along the way. She has continued that momentum with this current release. Songs like the Zydeco inspired “The Squeeze Is On” to the in-tensely heartfelt “Human Kindness” and several songs that make you want to party all night (such as the title track “The Tat-tooed Lady and the Alligator Man,” “Like There's No Tomorrow,” and “Get You a Woman”), to well thought out ballads (“Just Keep Holding On” and “The Last To Know” are superb and all are originals; 11 total originals on this CD, all written by Ball. The only cover is Hank Ballard's “He's The One.”

This release features Ball working with the likes of Delbert McClinton, Terrance Simien, and Grammy winning producer Tom Hambridge. Marcia and her band are currently touring from California to Florida and New York. Don't miss a chance to hear some of the best original Texas meets New Orleans flavored music deliv-ered by a true seasoned lady of the blues. Highly recommended for your listening pleasure.

Reviewed by Bill Graw

Full Moon In Mem-phis JP Soars Soars High Song Factory 14 Tracks It seems JP Soars is very comfortable with several projects in progress at the same time. He performs the gypsy jazz of Belgium born guitarist Django Reinhardt as the six piece JP Soars and Gypsy Blue Acoustic Revue or as a quartet with gui-tarists like Steve Laudicina. This acoustic style of guitar sometimes called 'hot' jazz guitar is a dramatic switch for Soars and his blues group JP Soars and The Red Hots. JP Soars and The Red Hots have continued their blues direction as well by just completing their third album Full Moon Night In Memphis. Along with the two pro-jects in progress with JP Soars and The Red Hots personnel, Soars uses his su-perb guitar skills to team up with lap steel guitar ace Damon Fowler and keyboard expert Victor Wainwright, to deliver the New Orleans jazz and funk, classic coun-try, gospel, soul, and blues associated with the new group Southern Hospitality. JP Soars draws from a diverse group of influences like T-bone Walker, Jesse May Hemphill, Wes Montgomery, Django Reinhardt, Muddy Waters, Johnny Guitar Watson, Guitar Slim, Louis Jordan, Tito Puente, Miles Davis, Hank Williams, Black Sabbath and Slayer. He has combined talents from all these groups to create his own unique Southern blues guitar style and has been compared vocally to the legendary Chester Burnett. JP Soars and The Red Hots will continue to capture blues and jazz fans around the world with their latest release Full Moon Night In Memphis, with 12 newly written tunes to accompany the two covers on the CD. JP opens with the title track "Full Moon Night in Memphis" working his magic on a string cigar box guitar by play-ing his unique slide guitar, accompanied on harmonica by Memphis blues star Brandon Santini, and driven with a strong, steady beat from the rhythm section. The band delivers some funk on the next tune "Back To Broke." They slow things down on "Makes No Sense" with JP playing a more traditional guitar style. A deep rock sound with some wah petal makes "Somthin' Ain't Right" the principal blues-rock number on the CD. Soars adds some jazz elements to his version of T-Bone Walker's "Mean Old World." The guitars of Soars and Laudicina take center stage on the shuffle "Savin' All My Lovin'." Soars arranges the Robinson, Razaf, Roberts,


many times over in the extended opener, David’s heavy guitar riff chugging along with a menacing tone. Most of the songs here are fairly lengthy and we get plenty of opportunity to hear David’s muscular guitar riffs which are a central part of the band’s sound alongside Ruth’s strong vocals. The following tracks are this re-viewer’s pick of the bunch here: Track 2 – “Make Love To Me”. Ruth makes an offer that sounds hard to refuse on this mid-paced rocker with lashings of guitar throughout. Lyrically it appears that Ruth has set aside her ‘good girl’ days and is overcome with desire for her new man: “before I set you free, make love to me”. Track 8 – “Big Helen”. A local ‘madame’ whose late-night provision of drinks and girls was ignored by the cops makes for an interesting story set to a brooding blues tune. Track 9 – “Work It”. The shortest cut on the album works very well, a song of de-termination sung with gusto by Ruth over a riff out of The Stones’ handbook. Track 10 – “Whiskey Chute”. A catchy rocker celebrates Friday night in the local hostelry over a Southern Rock riff. This is a solid set of upbeat rocking blues which probably reflects the band’s live shows pretty well. Reviewed by John Mitchell Bootleg Whiskey Grady Champion Malaco Records 11 Tracks Grady Champion ex-ploded onto the blues scene after winning the 26th Annual Inter-national Blues Challenge in Memphis, Tennessee in 2010. Since his career started, the Canton, Mississippi native has released 8 CDs dating back to 1998 with his debut album Goin' Back Home. He has traveled North America performing at prestigious blues events like Chicago Blues Festival and The Legendary Rhythm and Blues Cruise. Vocally, Grady has been compared to Bobby Blue Bland with harmonica skills approaching those of the late great Sonny Boy Williams. His latest release Bootleg Whiskey from Malaco founder and producer Tommy Couch, Jr. is a collaboration between Ma-laco songwriters Larry Grisham, Darrell

Calling All Blues! The Duke Robillard Band Stony Plain Records www.dukerobillard.com 10 songs/39 minutes Fans of the Duke and his old band Room-ful of Blues are always on the lookout for new swinging stuff by them and this new album by the Duke won’t disappoint them or anyone looking for a good dose of swinging blues from New Englands’ blues dynasty. The Duke is joined by Bruce Bears on the keys, Brad Halen on bass, and Mark Texiera on drums and percus-sion. It also features his protégé Sunny Crownover on vocals and the trio of Rich Lataille (sax), Mark Early (sax) and Doug Wolverton (trumpet) as the horn section. Eight originals are featured here out of the ten songs presented. He opens with “Down in Mexico;” that swinging groove we know and love from Duke just grabs you and makes you want to listen and shake your boogie. Nice horn and organ work here and the Duke offers a thoughtful guitar solo (as he does throughout the album). “I’m Gonna Quit My Baby” is something Duke worked out and recorded with Mark Texiera a while back. He played with the tuning, added piano and bass, and does a little slide. It’s very cool. Duke messes around with a lot of old string instruments to deliver “Svengali,” a song comparing someone close to him to the hypnotist/mystic char-acter from the 1930’s whose schtick was to control people. Lots of cool percussion also adds to the mystique and textured string flavors. “Blues Beyond the Call of Duty” features Sonny doing what she does best while Duke plays his Strat in a very Chicago styled manner. She can croon with the best of them and Duke just blows everything away with his soulful approach to this cut. What a superb cut and not what you usually expect from the Duke! The covers are all very thoughtfully se-lected and performed. Gary Nicholson and Ron Sexsmith wrote “Emphasis on Mem-phis” gives us a lesson in how rock and roll evolved in Memphis with Duke leading and a plethora of backing vocals and some really cool horns. He goes back to new stuff with “Confusion Blues,” Bruce Bears takes the vocal lead in this jazzy little number. His tenor tones are perfect and the jump blues are in full force here. Duke’s guitar is sweet and recorded live with great effect. The boys boogie hard with “Motor Trouble;” Robillard double

tracks the vocals with a delay for a very effective sound. The guitar is sublime yet forceful and the piano strident in this mid tempo boogie. “Nasty Guitar” basically revolves just around that. He and Sonny sing as a duet here on this rocking song where Duke lays his Strat over his Airline Twin. He, as a 65 year old, is proud that his blues can still rock. “Temptation” comes from his 1990’s al-bum of the same name. Miles Davis meets Pink Floyd meets funk. It’s not the same song as it was 20 years ago, this delivery is quite the showcase of a band that is together. “She’s So Fine” closes the set, a Duke Coleman song from the 1960s originally performed by the Carter Brothers of Alabama. Duke growls this soulful blues while the backline furiously maintains the beat. Duke noted his voice is gone and after he performed this song he could barely talk for days. The baritone sax is used like a fog horn and the band lays down a sweet groove, leaving nothing behind and closing the album in fine man-ner. Complaints? Maybe two. As Duke notes in the liner notes (and interviews): his voice is going. He still manages to growl and grit out some cool stuff. The other one is that the album is a little short, under 40 minutes. But those are minor in compari-son to the pluses. The songs are really well constructed and thoughtfully ar-ranged. The playing is impeccable. Ten fine songs with a superb band performed by the master of New England blues- Mr. Duke Robillard! Reviewed by Steve Jones Born On The River Hurricane Ruth Self-Released www.hurricaneruth.com 11 tracks/58 minutes From Beardstown, Illinois, Hurricane Ruth offers us a generously filled album of origi-nal blues rock material. The band con-sists of Hurricane Ruth LaMaster on vo-cals, David Lumsden on guitar, Gary Davis on bass and Jim Engel on drums. Ruth wrote all the lyrics and all four mem-bers of the band are credited with the mu-sic. The CD also comes with a very nicely produced booklet with the lyrics and some vintage photos to accompany the songs, some of which appear to have been pro-vided by family members. Some of the songs appear to be autobiographical and we certainly know where Ruth is from as she sings the title “Born On The River”


Set Me Free

Steve Freund – Gloria Hardiman Delmark Records www.delmark.com 14 tracks This 1983 Razor Re-cords album featuring Steve Freund on guitar, Gloria Hardiman on vocals and Ken Saydak on keys is their debut recording and has never been released on CD. It also features a host of Chicago legends in support: Bob Stroger is on bass, Eddie Turner is on drums, Sam Burkhardt is on tenor sax, Sunnyland Slim is on piano (three cuts), Fred Grady is on drims (same three cuts), and Harlan Terson is on bass for seven tracks among others.

Tracks 1 to 10 are the original Razor Re-cords album. “Homework” and “Kiddio” were never released (tracks 11 and 12) and 13 and 14 are from a Ken Saydak 45 RPM record (“Shoppin’ and Snackin’” and “Swanee River Boogie”). The unreleased tracks have Ron Sorin doing stratospheric harp work with huge guitar and keys by Freund and Saydak. Gloria was in fine voice for the Otis Rush and Brook Bentonb tunes. The Saydak 45 cut have Ken on vocals on the first side with some great piano and sax work. The vocals offer some humor as Saydak is known for. Bob Levis appears on guitar here, too– nicely done! The final cut takes the old folk song on solo piano for an intro and then erupts into a huge solo instrumental boogie. Say-dak is a master of the keys as he demon-strates here.

The ten cuts from the original record are a fine assortment of cover tunes that feature the vocal prowess of Hartman and the im-peccable guitar of Freund. She belts out “You Got Me (Where You Want Me)” to start the CD off and she is just amazing. Freund comes in for the massive guitar solo and shows us his stuff as Saydak tin-kles the keys behind him. I was sold on this album before the song completed. Jimmy Rogers “That’s All Right” follows with Sunnyland on piano. Gloria’s youthful and effortless vocal power is amazing as is Freunds solo once again. A little instrumen-tal jump blues with “Jammin’ With Sam” is next and Slim, Freund and Burkhardt swap on the solos with great effect. “Let Me Down Easy” is some sublimely emotive slow blues which leads into “Dr. Feelgood” where Hardiman’s pipes are more than up to the task.

Eddie Jones “Well I Done Got Over It” is a fine rendition with Hardman and company in great form. “New Orleans Hop Scop Blues” allows Saydak and Freund to play without reserve. “Eddie Jones’ “The

Luster, Ernie Johnson, Jerry Strickland, and the late George Jackson, teaming up with Grady Champion on his new collection of blues, soul, gospel, R&B. The album opens with the shuffle boogie "Beg, Bor-row, Steal," a hot blues tune with Grady pulling out all the stops on harmonica along with the B.B King style guitar style of Taylor Scott. The title track "Bootleg Whiskey" is a classic R&B tune that brings back those vocals of the legendary Bobby "Blue" Bland, Johnnie Taylor, and ZZ Hill. This song is reminiscent of the horn section and vocals heard on Bobby "Blue" Bland's "My Baby Is The Only One." This tight horn section, arranged by Harrison Callaway, has that powerful punch of the Memphis Horns on the slow blues tune "Don't Waste My Time." Grady combines his harsh, raspy vocals and harmonica on tunes "Home Alone" and "Ten Dollars" with the horn section complementing his leads. "Ten Dollars" is as soulful as the classic Bobby "Blue" Bland song "Down Home Blues." Grady paints a colorful portrait of the "South Side" where "everything's goin' down on the South side" USA. He gener-ates all the street soul heard in Bobby "Blue" Bland's "Ain't No Love In The Heart Of The City." "Who Dat" engages the sweet, seductive background vocals of JJ Thames, guitar leads of Taylor Scott, and saxophone of Micah Brown, to create a slow haunting tune. By contrast "Here We Go Ya'll" shifts into the hard driving sound created by the rhythm section. The power-ful horn section brings that soulful sound once again on "I Tripped and Fell In Love" with blended vocals from Grady, combined with background vocals from Vick and Sonya Allen. "Mr. Right" offers good advice throughout the tune in this light South of the border tune. The new soulful collection Bootleg Whiskey concludes with the bal-lad "White Boy With The Blues" with a gos-pel chorus backing Grady as he sings the sad tale. Bootleg Whiskey and Grady Champion capture the roots music of the South and all the rich music it offered over time. This is truly some of Grady's finest work to date. Reviewed by Rick Davis Strom McCallum

Strom McCallum Carolus Records 9 Tracks Other than a musician and activist from Charleston, South Caro-lina, little is know about Strom McCallum in the blues world. According to Strom, his music could best be described as "blues

with a heavy jazz tinge or jazz with a heavy blues tinge." My interpretation of his music would be smooth jazz with an underlying 60s rock and blues sound. Strom McCallum has been compared to blues legends T-Bone Walker and Lowell Fulson, with some influence from the blues guitar styles of Wayne Bennett and Dickey Betts. His debut album opens with two originals, the first titled "The Internet Lumberjack." This tune is a tasty jazz instrumental which he wrote in 2010. As the song progresses, it changes leads from a Grant Green jazz guitar style to a fiery rock style embellished with a wah petal. The second original in-strumental tune "Ashkenazi Blues" is a bit more dramatic, making a perfect sound-track theme for a movie blockbuster. The next tune is a beautiful acoustic cover of "When Did You Leave Heaven," the stan-dard tune with lyrics by Walter Bullock and melody by Richard A. Whiting, performed previously by artists like Little Jimmy Scott, Eric Clapton, Big Bill Bronzy, and Nancy Wilson, with Strom's vocals and guitar style closer to Clapton's version. The next song, covered by McCallum was "As The Years Go Passing By," a tune written by Deadric Malone and done by numerous blues and rock legends. His rendition leans more towards a jazz version like Fenton Robin-son's and David Bromberg's, rather than the stronger blues versions of Gary Moore's and Jeff Healey's. The next cover song, "Stormy Monday," is reminiscent of the original, done by Texas legend T-Bone Walker. "Nix 526" is an original blues in-strumental in support of Nix526, a grass-roots effort to halt the expansion of 526 through Charleston’s sea island communi-ties. The original instrumental "Somewhere In The Middle of Forever" is woven into an original poem written by McCallum and reminds me of the guitar style of Richie Havens in the 60s. The original instrumen-tal "The Belle Across The Pond" seems to be a continuation of "Somewhere In The Middle of Forever" in guitar style. The final number on Strom McCallum, "Thirty-Nine Miles from Mobile," is an early Charlie Daniels tune, which completes his debut album with some Southern rock stamped with his own signature. Strom McCallum breaks from both tradi-tional style blues as well as the ever popu-lar contemporary blues rock with stronger elements of jazz. This is just a sample of Strom's own brand of music and we can only imagine where his future direction will take him. Review by Rick Davis


contains 10 originals and 2 covers. 3 songs were added to the original re-cordings. She brings blue-eyed soul musi-cal influence to this CD. She also has per-formed with Big Brother and The Holding Company belting out the Janis Joplin tunes. On the opening cut, “Better Than This” is a slow bluesy ballad, which showcases her vocals and had fine guitar work by Rick Hersch. It reminds me of some early Susan Tedeschi. “I Don't Want To Be Happy” is the 2nd song on the CD. It is another ballad, which showcases her vo-cals. The pace picks up with “I Need A Little Sunshine”. This is a nice song, with a bit of gospel/Ruthie Foster thrown in. Next we hear the title track, “I’m Changing”. It is an acoustic ballad with guitar, bass and fiddle. It gets a trace of Cajun, with a soul-ful delivery. “Eyes So Blue” is the 5th cut. It gets an island feel, and picks up the pace with a toe tapping rhythm. This cut will get your hips swayin’ a bit. Up next is “Shake It” is about shaking something from your mind, not shakin’ your hips. It is soulful, with a nice groove to it. Lisa next goes with “Tell Me” an a cappella gospel inspired song that really shows off her voice. This is a real treat, in the vein of “Ghetto Child” with Shemekia Copeland. One of the covers is next, Robert WIlken’s “I Wish I Was In Heaven Sittin' Down”. Corky Hughes plays some nice old time bottleneck resonator on this cut. Overall a very bluesy song that is very good. “Rain In The Summertime” is a beautiful ballad, with Mills singing and playing acoustic guitar. It is a pretty song with a folk-rock feel to it. The 10th song is “Take My Troubles”. It has a easy going feel to it with an island bass line. It reminds me a bit of early Rickie Lee Jones. I like the Americana feel of “The Truth”. We get banjo, military rat tat tat drumming, strong vocals, and a fair bit of emotions. T. K. Lively on drums and Pat Murphy on banjo do a fine job, as does Lisa Mills on vocals. The CD closes with the second cover on the CD, the classic “Little Wing”. Lisa and the band really worked this one over to a style that fits the rest of the CD. Her acous-tic guitar intertwines with Corky Hughes on slide guitar. It’s Hendrix, but not Hendrix-esque. Lisa will be out there touring and promoting this disc. When she passes thru your area, go see her. It’s much more Americana & folk than a great blues CD, but it is good quality. It’s not going to rock your house. The voice is worth a listen! Reviewed by Mark Nelson

Things I Used to Do” allow Freund to stretch out his guitar and vocal leads big time. Sunnyland Slim also superbly backs him on keys. Eddie Vinson’s “Kidney Stew Blues” closes the original album with Say-dak and Freund trading solos on this great instrumental piece. A great classic rerelease for Delmark to follow the Queen Sylvia and John Embry Troubles with. Both are superb and offer the CD collector something previously not available. This is a great album that de-buted Steve, Gloria and Ken back in 1983 and is a geat addition to any blues fan’s music collection! Reviewed by Steve Jones Eclectic

Eric Johnson & Mike Stern Concord Music Group www.ericjohnson.com www.mikestern.org 12 tracks/72:25 What do you get when you combined two widely praised guitarists, acclaimed by their fans and peers for their stellar string-bending? The answer is a recording that lives up to its title, Eclectic, featuring the Texas legend Eric Johnson along with Mike Stern, whose jazz credentials include ten-ure with Miles Davis and David Sanborn. The duo wastes no time starting the fire-works on the opening tune, “Roll With It”. Guest Malford Milligan contributes a soulful lead vocal to complement Johnson’s wah-wah flavored licks that are soon pre-empted by Stern’s aggressive retort, lead-ing to a rapid-fire exchange of passages that threaten to climb to the stratosphere. The energy rolls on through “Remember,” an instrumental full of astonishing improvi-sations from both players. “Benny Man’s Blues” gets a swinging groove from Chris Maresh on bass and Anton Fig on drums. Johnson and Stern ably demonstrate their understanding of the blues while adding some exciting, fresh variations that leave listeners wanting more. The band eases into “Tidal”, Johnson’s tribute to Wes Montgomery. The guitarists manage to build heat without betraying the instrumental’s laidback flow. “You Never Know” has a blues influence that meshes with rock & jazz elements to form a formi-dable platform for more astonishing fret-board magic that remains tasteful and re-strained throughout. The gloves come off on “Dry Ice,” a song Johnson cut forty years ago with the Electromagnetics. Firing off licks with quicksilver intensity, the gui-tarists challenge your ears and mind to keep pace with their amazing forays.

“Sometimes” is a gentle ballad that offers a momentary respite that still dazzles due to the delicate interaction between the two guitarists. Adding a three piece horn section com-prised of Mike Mordecai on trombone, An-drew Johnson on trumpet, and John Mills on saxophones kicks “Hullabaloo” in an-other gear that the leaders navigate with ease despite the surging tempo. Stern and guest Christopher Cross provide wordless vocals on a Stern jazz-fusion composition “Wishing Well”. Stern’s wife, Leni, supplies the vocal interlude that leads off a Maresh original, “Big Foot”. The bass player lays down a rumbling pattern that creates a deep, menacing landscape while Johnson and Stern use their effects pedals to create swirls of sonic textures. Leni returns to usher in “”Wherever You Go (With Intro)” with vocal and playing the n’goni, a stringed, lute-like instrument of West Afri-can heritage. Her husband follows with some beautiful, lyrical playing that makes his original one of the disc’s highlights. Johnson and Stern both acknowledge the influence of Jimi Hendrix on their playing, so it is only fitting that they close the disc with a jam on the classic “Red House”. Stern takes the first verse, his vocal debut. Johnson sings the second verse with a lighter tone, with guest Guy Forsyth adding some accents on the harmonica. Each guitarist gets a solo; both wrench biting licks from their instruments. Thankfully, both keep things on a slow-boil, ignoring the temptation to allow their playing to ven-ture over the top, as so many other guitar-ists have done on the song. This project probably won’t satisfy tradi-tional blues fans. While there is blues con-tent, it is only one of the elements Johnson and Sterns utilize. For more adventurous listeners – and certainly anyone who has a deep appreciation for spellbinding guitar playing – these guitarists leave you want-ing more even after more than 70 minutes of playing time. Definitely worth a listen! Reviewed by Mark Thompson I’m Changing

Lisa Mills Mills Bluz Records http://lisamills.com/ 12 Tracks Lisa Mills comes to us from Mississippi, but is residing in Mobile, AL. In 2010, she released Tempered in Fire, and received much acclaim. I’m Changing was originally recorded and re-leased in 2005. Lisa returned to the studio and reconstructed those tracks and brought them back as this CD. The CD


many. It has been covered by many blues artists. Rory keeps the haunting feel to this dark blues song. The most covered/known Skip James song is “I’m So Glad”. Cream and Eric Clapton did a famous version. Van Halen and Iggy Pop did it too. Rory Block’s ver-sion is much toned down than those cov-ers, but sees the spirit of the song. She carries her vocals well on this one. It is a solid tune on the CD. The CD closes with “Hard Luck Child”. It is another early Skip James tune. Rory’s vocals are a bit more out in front on this one. Overall Rory block continues her “Mentor Series” in fine form. It is a well done CD. It could have included a few more songs…10 is a bit short. “Crow Jane and “My Gal” would have been nice adds. Enjoy this one, and check out Skip James originals too. Today! Is a great place to start. If you like rocking or electric Chi-cago blues this is not your cup of tea. It is a great look and tribute to history. I’m glad Rory keeps the older blues alive with this series. I wonder who might be next?? Reviewed by Mark Nelson Live My Life Sena Ehrhardt Blind Pig Records www.senaehrhardt.com www.blindpig-records.com 11 tracks/46 minutes Live My Life follows 2011’s Leave the Light On and 2013’s All In. From debut to three hit albums in just about three years is amazing. She and her guitar player Cole Allen have written seven of the eleven tracks for her third album and they’ve done a fine job. Her keyboard player offered up another and add in thoughtfully selected covers and we have a smoking hot album! Sena’s band features Allen on guitar and vocals, St. Paul Peterson ad Rick Rousell on bass, Michael Band on drums (except for two tracks with Paul Peterson), and Bruce McCabe on keys for 8 tracks. Smokin’ Joe Kubek makes a guest ap-pearance on one cut and Jimi “Primetime” Smith plays rhythm guitar on another track. Things start off with “Stakes Have Gone Up” which was written by McCabe. Sena growls her way through this jumping hot tune as the band provides a super back-drop for a great opening cut. Rocking

Good Music Jeff Dale & The South Woodlawners Pro Show Bidness http://jeffdaleblues.com 12 Tracks Jeff Dale is picking up his blues pace. Jeff grew up on the south side of Chicago. In his earlier days he played with Honey-boy Edwards, Pee Wee Crayton and Lowell Fulson. He released 2 LPs with the Blue Wave Band in California before getting away from the blues in 1988. Good Music is his 3rd release in 5 years. This comes after a hiatus for about 20 years. All songs on this CD are originals. The CD rolls out with a fast paced rockin’ blues number called “Town Line Road”. Bluesman Jeff Stone adds some nice har-monica to go with Jeff Dale’s guitar work. In the second slot is the song “Naked Woman In My Bed”. Glen Doll adds har-monica to this bouncy R&B number. It’s sure to be a crowd pleaser. “Good Music” is a fine blues shuffle. It is a well paced blues number. Martin Luther King in-spired “Letter From The Birmingham Jail”. It is a touching song and a tribute to Mr. King. A cello is integral to the next song “Final Destination”. Dane Little provides the cello on this deep, dark ballad, and it works well. Jeff Stone returns on harp for the blues rocker “She Loves Me”. It is about sexting. Certainly that is a new blues topic. “Wagon Wheel” is a slow rolling blues number with fine guitar work by Jeff Dale and Charlie Love. “Cold Wind” is a haunting blue slow rolling bal-lad. The band plays well together on this one. While listening, pay close attention to the lyrics on this one. Reminding us there is a great deal of gray between “Black and White” is the topic of the next song. Glen Doll provides so stinging harp work on this mid tempo song. There is a rich blues sound on “The Devil I Know”. The band finds a great groove and slides through it all through the song. This is a fine original song. After the cello in “Final Destination”, we get an oboe in the song “Murder”. It has a “Fever” feel to it, with a great sing along lyric package. The closing number is “My Brain Took The Whole Night”. Fine sax work by Jim Jedeiken adds to this R&B flavored song about a bad night! I bet this is a pleaser in his live show.

Overall a fine CD, as it contains solid band support and fine lyrics. I’d love to see him live. On his website, all the gigs are in southern California. Check him out as you can. Everyone listen and enjoy this CD. Reviewed by Mark Nelson Hard Luck Child - A Tribute to Skip James Rory Block Stony Plain Records http://www.roryblock.com/ 10 Tracks Rory Block keeps them coming. She has released well over 30 recordings in her long career. This new one is the 5th in her “Mentors Series” saluting those artists that have influenced her music. The prior salutes were to Son House, Mississippi Fred McDowell, Rev. Gary Davis and Mis-sissippi Fred Hurt. She wears her influ-ences on her sleeve, and they are fine ones. For just shy of 40 years, she has been a key acoustic blues player. She brings the older blues to new audiences. Rory wrote 1 one song, and the rest are from Skip James for this CD. She has also released a biography called “When A Woman Gets The Blues”. The CD opens with her own composition that is a tribute to Skip James. It is called “Nehemiah James”. The song has some fine playing and tells the tale of Skip James and his life. The first James origi-nal is “Special Rider Blues”. It was on the great Today! lp from the mid 60’s. Rory has a bit faster pace than the original, and it shines with her guitar work. Up next is “Cypress Grove Blues” which dates back to the early 30’s. This rendition is very smooth, with some fine guitar picking. The pace picks up a bit with “If You Have-n't Any Hay, Get On Down the Road”. Lyrically it resembles “Gallows Pole” by Led Zeppelin. “Little Cow and Calf Is Gonna Die Blues” is the 5th song on the CD. Block’s finger-picking is great on this one, though the vocals are a bit low. The music continues with “Devil Got My Woman”. It is a deep blues song about love weighing on your mind. The gospel side of Skip shows through on “Jesus Is A Mighty Good Leader”. The song has a great call and response feel to it. It would be a fine go to church song. The next song “Hard Times Killing Floor Blues” should be familiar to


Private Angel

Generation Blues Ex-perience R Music, Inc. 8 songs/41 minutes

The Generation Blues Experience is 12 year old Ray Goren on lead and rhythm guitar and vocals with 78 year old Jamie Powell on guitar and vocals and 68 year old Sammy Lee on harp and vocals. Lester Lands is on bass, rhythm guitar and vocals, Albert Trepagnier on drums, and Tadg Galleran on keys round out this group and Bobby Hurricane Spencer is musical direc-tor for this effort. The three primaries met in Bells, a blues juke joint in South Central LA, in July 2012 and immediately hit it off. They formed this band and after opening for BB King in Monterrey they wrote and put together this album. .It is now 2014, the band is two years older and they have put together a really good CD here!

“Little Mama” starts things off and features 70 year old Sammy in vocals ib this nice West Coast blues tune. The guitar leads sting and Lee is a great front man. The title track has 14 year old Goren on lead vocal and he does s super job. He also takes the guitar lead and does a very inter-esting job there, too. Blistering, edgy stuff. Did I say 14 years old? Amazing! “Crazy” is a song Ray wrote at Jaime’s request when he was hospitalized. Goren was instructed to write a “song worthy of a blues Grammy” for Powell, so he wrote a song about a woman, who amazed Jaime while being more than a bit crazy. Goren must have listened; this is a cool slow blues cut delivered by the 80 year old Pow-ell. “Rainin’” is a soul song that Goren sings. They brought in a horn section for this one and it’s a modern take on the sounds of the late 60’s. The horns are tight and well arranged and the guitar solo is beautifully done. “Katrina” recalls the dev-astation of New Orleans as Sammy visited his brother there. He growls out the lead vocals and tells a poignant story. “Sugar Mama” is a big slow blues with Sammy doing the duty on vocals annd some mean harp. “Put Love On Your Guest List” goves Lester Lands a chances to shine as he sweetly sings this soulful R&B cut. He’s smooth and controlled in his approach– nice stuff! They close with the famed “Ain’t No Sunshine” with the young Mr. Goren doing it to this cover. He’s got the chops to make it his own and also does a stunning guitar solo!

Really good stuff here mixing some master blues men and their young musical pro-tégé. I thoroughly enjoyed this CD and think you will, too!


blues with a driving beat with Allen and McCabe leading the cause make for a cool and interesting hook. “Things You Should-n’t Need to Know” follows where Allen gets to offer up a very wicked guitar solo and Kubek appears with his even more wicked slide but it is Sena’s vocal prowess that really sells this song long before the solo. She nails it. As she states “Nobody tells you” what the title says you become a be-liever fast. “Slow Down” offers up Sean doing her sultry best. Allen does another great solo and they rock on together for another nice cut. “Help Me Through the Day” slows things down significantly as Ehrhardt’s delivers this Leon Russell ballad with thoughtfully restraint; Cole also show the same approach on his solo; another winner! Allen’s “Life My Life” is a mid-tempo swinging blues rocker that works and then Sena’s rocker “Chilled to the Bone” follows that also works quite well. “Too Late to Ask” is another Allen tune where Erhardt and Allen share the vocals on this softer side of rock duet. He holds his own vocally with Sena and both deliver a superb performance. The funk comes out for “Everybody is You” as Sena does a little more growling and Allen offers up a sting-ing solo. Albert Collin’s “If Trouble Was Money” has McCabe tinkling the piano keys as Allen cautiously intros with his guitar. Sena then comes in and sings the blues for us sweetly. “Did You Ever Love Me at All” has Erhardt asking the question and Allen answering it in another well done blues rocker. They conclude with “Come Closer,” a slow, country rocking blues bal-lad that closes with big finish. The album is a good one. More rock than blues, Sena and the band she has assem-bled takes a more mainstream approach and they’ve assembled an album that could gain a lot of cross-over notice for her. Her vocals are strong and she is confident in her approach. I enjoyed listening to this one! Reviewed by Steve Jones Gotta Keep Rollin’

Rob Stone Vizztone Label Group www.robstone.com www.vizztone.com 12 tracks/48 minutes I really enjoyed Rob Stone’s previous re-cords so when I got this new Vizztone re-lease I wanted to see where he was going with his music. He remains solidly ce-mented in his in your face style of deep Chicago Blues despite spending most of

his time out west. A big and driving harp sound, fine vocals and an outstanding band and guest artists make for a truly fun CD.

Chris James and Patrick Rynn join him again on guitar and bass and Willie Hayes is the drummer on all but three cuts. Avid Maxwell add his piano on seven tracks and Henry Gray is on another. Eddie Shaw stops with his sax in for a couple of tracks and John Primer brings his guitar for two more. A half dozen other artists also play or sing with Rob and it all sound good!

Stone starts with a cool cover of Johnny Jones’ “Wait Baby” and follows it with an-other in Wonderful Time.” Greasy harp and dirty guitar open the set and get you ready for some fun. He blows some mean stuff to set the stage here! The jumpy sec-ond track has some straight harp and a nice dance beat. The originals follow. James, Rynn and Stone share credit for these three and the other three songs they penned. “Lucky 13” has some cool harp and piano along with great work by James. “Anything Can Happen” is an up tempo boogie that Stone delivers well and Eddie Shaw makes his first powerful appearance. Maxwell also does a fine job on the ivories. “She Belongs to Me” is some great slow blues from Jazz Gillum with Stone and James doing much of the work trading off vocals and guitar well. Shaw appears again on “Move Baby Move” has some mean guitar by James and then later Shaw comes in for his solo and does not disap-point. This is a Billy Emerson song and it’s a goodie.

“Strollin’ With Sasquatch” is probably the first Bigfoot blues I’ve heard. Stone come in with a strong performance on this instru-mental. Ariyo appears for this cut on piano and does a great job as does James in support, but this is all Stone here. Henry Gray appears on “Wired and Tired” and shows he’s still got it. This is again Stone’s song to shine, though. Willie McTell’s “Cold Winter Day” is delivered quite thoughtfully as Stone, James and the boys just lay into these slow blues. The last cover is “It’s Easy When You Know How” is a smooth cut with Stone delivering another fine vocal performance. “Blues Keep Rollin’ On” and “Not No Mo” let Stone show his chops on some traditional and some jump blues. His harp and vocals are awesome again as he closes the set.

Stone’s harp is really well done and his vocals are smooth and even. I remain impressed with him and by adding James and Rynn and these other great musicians make this a no-brainer. Go buy this and enjoy it!



voice riding the driving arrangement that calls to mind the best of the Hi Records rhythm section. Latina is the one musical constant on a disc that features six different bass guitar-ists, four keyboard players and drummers plus a total of eight different horn players. Despite the rotating cast, the musical qual-ity remains consistently high throughout the project. Jeanette Markey understands how to breathe life into the story line of each song and has an expressive voice that is up to the task. There is plenty to enjoy on this strut down the soul side of the Blues Avenue, making it well-worth a listen! Reviewed by Mark Thompson

Silver Moon in Darien WI Opens 10/25 for a Reunion and to Cele-brate Ben Davis’ 18th Birthday

Blues All Day Long: The Jimmy Rogers Story (Music in American Life)

Wayne Everett Goins University of Illinois Press Music in American Life Series 432 pages The quintessential side man from Muddy Waters band who toured with the likes of Clapton and the Stones has finally gotten his well-deserved recognition with this out-standing biography researched and penned by Wayne Everett Goins. Goins is a professor of music and director of jazz at Kansas State University. He previously produced books on Pat Metheny and Char-lie Christian, here he gets to delve into the world of his own roots. His dad, William Earl Goins was pals with Little Walter and could play harp in the style of all the Chi-cago greats. Rogers was not a familiar name to the young Goins growing up as yesteryear’s records did not elaborate as to who’s who on the liner notes. Living only seven blocks from Rogers, he was well versed in his music on Chess Records without even knowing it was Jimmy Rogers playing along with Muddy Waters and mak-ing him sound even better.

Jimmy Rogers life often had him in a posi-tion of being second fiddle and not wanting to take away from anyone else. He worked to make the music sound better. Goins tells the story he has put together from Jimmy’s early years to his death in 1998 and final record releases a year later. We see a man who was flexible, jovial, patient, intense and driven to making soulfully great music.

We learn of his early life being raised by a train-riding grandmother, his early career with ups and downs and starts and stops, and his final presence in the studio with Muddy’s band with Chess Records that really got him noticed. He began to record on his own and helped many an artist achieve success as Muddy had done with both he and Little Walter. The strife with Leonard Chess on musical content is quite the interesting read as are all the glorious details that Goins has dug up for us.

We learn about Jimmy’s career as it evolved, his travels and playing across the US and around globe. Kim Wilson adds an introduction from his experience with Rogers from the early days at Antones and beyond. The story of this simple, smiling and passionate man will capture your at-tention and make you feel as if you were part of the story. I highly recommend this book for your information, pleasure and enjoyment!


Hey Hey

Markey Blue Soul O Sound Re-cords www.markeyblue.com 12 tracks/44:00 Jeanette Markey has had an exciting life with a career that in-cludes stints as a Vegas showgirl, then acting in TV & movies before venturing into stand-up comedy. But the allure of singing was too strong, so Markey found her way to Nashville. Signed to a country label, she soon found that her strong voice was a better fit for blues and soul. Her talents quickly found her backing stars from Delbert McClinton to Bobby “Blue” Bland plus a stint with the Andy T – Nick Nixon Band. A chance meeting at a gig introduced her to guitarist Rick Latina. In short order, the duo discovered they shared similar musical tastes that made it easy for them to col-laborate on writing exciting new material tailored for the new band they envisioned putting together. The band’s debut recording is an unquali-fied success, ranging from glimpses at the dark end of the street to joyous expres-sions of love and life. Throughout, Markey’s striking voice powers through the horn-driven opener, “When Love Comes Along (Hey Hey),” while adopting a tougher tone on the funky “Flames”. Latina’s mus-cular guitar licks kick off “Voodoo Do” be-fore the horns surround Markey’s sultry vocal describing the powers of a love doc-tor. Markey has plenty to say about the chang-ing nature of relationships. On “Something’s Wrong” she is none too happy to discover that her man has a wan-dering eye. The mood gets darker on “Baby I’m Cryin’” as she attempts to cope after being left alone with her tears. She honestly admits to being unable to let go on the richly textured “I Can’t Let You Go”. The booming bass line on “Play Me” pow-ers the finger-popping arrangement for “Play Me,” featuring guest Jack Pearson on guitar. Highlights include the gorgeous ballad “With You” and the high-powered “Ain’t No Angel,” complete with a blistering solo from Latina and plenty of potent accents from the horn section. “By My Side” has a strong hook cushioned by lush organ chords. The singer laments another no-good man on “Another Lover” before belt-ing out a gritty resolution to do what it takes to find the partner of her dreams. Markey is at her best on “Feeling Blue,” her soulful

Glenn Davis

Ben Davis & Gerry Hundt


sic “Don’t Set Me Free”. The tune is good and well played, though the vocals are a bit flat. We get back to blues with the Arnold original “What's On the Menu Mama”. This is good Chicago blues. We stay with the blues with a B.B. King origi-nal “Worried Dream”. Billy gets into the vocal, and Duke provides the fine guitar work. The rocking “Nadine” from Chuck Berry is up next. Fine horn work is pro-vided by the Roomful of Blues horns. It’s done a bit slower than Chuck’s original. Billy Boy mixes some jazz and blues on the swinging “Work Song”. This one comes from Oscar Brown Junior/Nat Ad-derley. The band is crisp and swings on this tune. Billy Boy gets into a bit of hill country blues with “Dance For Me Blues”. This song has a great beat, and some solid harp work. Showcasing another style, Billy Boy goes rockabilly. “Ain't That Just Like a Woman” has been covered by B B King, Elvis, & Jerry Lee Lewis. Billy Boy gives a heartfelt harp solo, that really grabs the song. Duke gives a nice solo also. The CD closes out with the oldie “Keep On Rubbing”. The tune has double entendre, and some nice harp work. Billy Boy Arnold shows lots of influences and love of different blues styles. He cov-ered the map on this CD. His voice is not bad for his late 70’s, but not what it used to be. He can still blow his harp though. This CD is not new ground, but it is good to be reminded of the fertile soil of the past. Give it a listen if you want a fun CD to listen to, showcasing the spectrum of blues. Reviewed by Mark Nelson

Brent Johnson Performs for our 131st BITS Program

Brent Johnson and the Call Up conducted

Blues in the Schools on Friday, October

17th for 2 schools we have not previ-

ously visited– Jefferson HS and Froberg

Elementary School, both in the Rockford

Public School System. We have now

performed programs in 34 different RPS

205 schools along with 32 other different

public schools, 4 private schools and

one private education and health care

center. Also, we now have conducted

131 programs for 40,075 students in 13

school districts.

All of us in Crossroads are proud of our

accomplishments in keeping the blues

alive with our fantastic BITS program!

Open Mic At The Knick The Knickerbocker All-Stars JP Cadillac Records www.jpcadillac-records.com 13 tracks/46 minutes Here is an interesting ‘concept’ album! Two Westerley, Rhode Island, natives, Bob Christina and John Paul Gauthier, decided to recreate the jam sessions that were once held at the Knickerbocker Café, ultimately leading to the establish-ment of possibly Westerley’s finest export, Roomful Of Blues. The core band here is Ricky King Russell on guitar, Bobby Chris-tina on drums and Bob Worthington on bass, with the addition of a horn section which includes Rich Lataille of Roomful on sax, Dennis Cook on bari sax, Bobby ‘Breeze’ Holfelden on trombone and Doc Chanonhouse on trumpet. Piano is played either by David Maxwell or Al Cop-ley and Nick Adams plays guitar on one cut. The material is drawn from the great era of big band R n’ B with songs associ-ated with BB King, Freddie King, Lowell Fulson and Bobby Bland amongst others. So, how to get the authentic vocals to go with this stellar band? Just ask seems to be the answer, as the following all appear: Sugar Ray Norcia, Curtis Salgado (both one-time vocalists with Roomful), Malford Milligan, Johnny Nicholas, Brian Templeton, JP Sheerar, Willy Laws and Mike O’Connell. Finally another Roomful connection was established by having original drummer (and Bob’s brother) Fran Christina play on three tracks. Every track here is great so it is hard to pick out just a few favourites but the al-bum starts with a bang with the great Sugar Ray Norcia singing “You Upset Me Baby” brilliantly, the horns absolutely on fire with exciting solos from Ricky on gui-tar and Rich on alto. Johnny Nicholas sings superbly on “Jelly Jelly”, a song written by Earl Hines and Billy Eckstine and Malford Milligan (former vocalist with Texan band Storyville) delivers a fine Bobby Bland style vocal on “Turn On Your Lovelight”. Another song associated with Bobby, “Ain’t That Lovin’ You” brings Cur-tis Salgado to the microphone in very re-laxed mood for a jazzy rendition of the song. Two songs strongly associated with Freddie King appear late on the CD with Brian Templeton leading from the front on “Tore Down” and Mike O’Connell deliver-ing an equally strong performance on Don Nix’s “Going Down”. Appropriately both tracks feature some determined soloing

from Ricky on guitar, well supported by the horn section and David Maxwell’s pi-ano (David played with Freddie in the 70’s). Elsewhere Willy Laws sings well on a solid version of “Mother-In-Law Blues” (Gene Barge) and Roy Milton’s “It’s Later Than You Think” romps along with Sugar Ray’s second vocal contribution, twinkling piano and honking sax. Classic material, great horn arrange-ments, fine singing – what is there not to like? Despite there being no original ma-terial this CD it is well worth investigating if horn driven, big band blues is your inter-est and comes highly recommended by this reviewer. Reviewed by John Mitchell The Blues Soul of Billy Boy Arnold Billy Boy Arnold Stony Plain Records http://www.stonyplain-records.com 14 Tracks All serious blues fans know Billy Boy Ar-nold. He entered the Blues Hall Of Fame in 2013. His work with Bo Diddley and solo is part of history. He is a writer and a performer. He is known most for his harp work, but he can play a pretty good guitar and sing too. These are showcased in the new CD. Born in 1935, he is still creating viable music today. He has explored many types of blues in his career. This disc is produced by the great Duke Robil-lard. The disc opens with a cover of Mack Rice ‘s 1969 ATCO hit “Coal Man”. Billy Boy gives a strong vocal on this one. Billy Boy showcases her strong vocals on the Chi-cago soul tune. “I’d Rather Drink Muddy Water” if often covered since it was con-ceived in the late 40’s. Billy Boy lays his licks to this one with a fine solo at the end. A 1963 Ted Taylor penned tune is next. “You Give Me Nothing to Go On” was a 1963 Okeh 45. There is good harp work again on this track. The CD goes to Mem-phis next and to cover the Ann Peebles performed tune “99 lbs”. It has a bit of Tony Joe White in it. “A Mother’s Prayer” from Joe Tex, is OK. It has some politics in it, but not quite the bite of other cuts here. Billy Boy tackles “St James Infirmary”, which has been covered to death. It’s a bit different, but nothing really special. Things pick up with the Ray Charles clas-


is plenty of good music to enjoy here and affords the opportunity to enjoy the work of a real craftsman songwriter. Reviewed by John Mitchell Restless Mind Murali Coryell Shake it Sugar Records www.muralicoryell.com 12 Tracks/ 49:20 Contemporary blues-man Murali Coryell's latest release, "Restless Mind", features eleven original tunes and one cover. The tight knit trio of Murali on guitar and vo-cals, Chris Alcaraz on bass, and Ernie Durawa on drums is joined on two of the tracks by Jimmy Shortell on trumpet and Joe Morales on saxophone. The disc opens with "Waiting and Wasting Away", which is more of a pop tune with a jazzy feel reminiscent of Huey Lewis and the News, than a blues tune. Next up, "Kiss Me First", is a nice easy going tune with a R&B feel that showcases Murali's guitar work. The title cut, "Restless Mind", is a strong ballad with a first rate vocal performance from Coryell that is complimented by his skillful fret work, one of the better tracks on the disc. Next is an upbeat pop tune, "I'm So Happy" that is the musical equiva-lent of a "Smiley Face", a feel good song with a fast and furious guitar solo. "I Can't Give You Up" is a soulful blues tune that is spiced up by some tight horn arrangements by Morales and Shortell. Following is, "Tag Along", a nice shuffle with an excellent solo from saxman Joe Morales that is a definite highlight. The final cut, a cover of Marvin Gaye's "Lets Get It On", is pretty much true to the original by Gaye with an outstanding vocal performance from Mr. Coryell, highlighted by his unique voice. Although "Restless Mind" is light on blues content, it is an enjoyable listen. The band is very tight, the sidemen are great , the tunes are well done and Coryell has done a fine job of producing. If you're into light blues-pop, give it a try. Reviewed by Dennis Barker

Iko-Iko – Bullets In The Bonfire Vol.1 The Songs Of Graham Wood Drout Little Silver Records www.iko-iko.com 15 tracks/74 minutes Graham Wood Drout is probably best known for the songs he has contributed to Albert Castiglia’s albums – “Big Toe”, “Ghosts Of Mississippi” and “Celebration” for example. However, in Florida Graham and his band Iko-Iko have been filling the clubs for thirty years with what they de-scribe as ‘Urban Swamp Music’. This generously filled retrospective includes material from across the band’s four al-bums (dating back as far as 1988) as well as one cut each from Albert’s first album and Graham and Albert’s acoustic “Bittersweet Sessions”. The style is var-ied and includes elements of New Orleans second line rhythms, Americana, rock and R n’ B. A large cast of musicians appear across this selection with Graham ever-present either as vocalist, bass or guitar player. Larry Williams is on guitar on most tracks with Mike Bauer and Nick Kane playing on a couple of songs each; Stewart Jean plays drums on most tracks with Glenn Caruba on percussion on three tracks and Danny Swetland, Cam Robb and Joseph Anthony Smith helping out on drums on a few tracks; Mike Mennel is on bass with Mark Harris on one track and Graham himself on three cuts; Bob Hemp-hill adds harp to two tracks and Doug Leibinger plays keys on four selections. Ron Dziubla makes a significant contribu-tion to the Iko-Iko sound playing both sax on six tracks, organ on three and guitar on one. Albert Castiglia appears on the two tracks culled from his and Graham’s out-put. Apart from one traditional tune Gra-ham wrote everything here with some assistance from band members. The collection opens with three strong songs, each enhanced with Ron’s sax playing. The band give us some New Orleans sounds in “Party Car”, debate what the American Dream is all about in “(I Never Had An) American Dream” be-fore the original version of “Celebration” which allows us to compare it with the two versions that Albert has recorded. Ron’s fine sax coda certainly distinguishes this version though both Albert’s recordings are also excellent – it is simply an out-standing song. “Miller’s Woods” is a swampy number with some creepy lyrics about a strange place where “my spirits dwell like a silver dollar

down a wishing well – they know I’ve been there before”. “Late Hours” and “Snowstorm In The Jungle” include Bob Hemphill’s harp, the former a slow paced instrumental feature for Bob that fits its title well, the latter a funky rocker in which the harp is more about adding colour. “Pet De Kat” has some more NO style party music with Ron’s sax a central feature. Three songs with interesting titles then follow: the wonderful title “Jalapeño Be Thy Name” takes us to the border territo-ries with its Mexican rhythms and Ron again featuring on sax and very Mexican trumpet, Graham’s lyrics giving praise to the preferred hot spice of that area; “Too High To Drive” rocks along nicely while “Walk With The Zombie” is very strange with a distant spoken radio voice eventu-ally giving way to a slow tune dominated by Ron’s sax, Graham adding to the weird feel of the song by almost speaking the lyrics. The attractive Americana rhythm of “Riding The Rims” has a catchy feel with piano heavily featured and would be a song that would be a good fit for someone like Tom Petty. The two collaborations with Albert Cas-tiglia find Albert on his first recording “Burn”, tackling Graham’s “The Day The Old Man Died” a song about the death of Albert’s former employer, Junior Wells. One immediately recognises Albert’s dis-tinctive voice as he sings of how he re-acted to Junior’s passing and Albert also sings “Ghosts Of Mississippi” in an acous-tic version taken from Graham and Al-bert’s “Bittersweet Sessions”. This song is another superb example of Graham’s craft as a songsmith, evoking the way that this music crossed from Africa with the slaves to take root in the Delta: “Meet me at the bottom, where the Southern cross the Dog, where the ghosts of Mississippi meet the gods of Africa”. The song has been recorded in full electric band mode by Albert and was also an integral part of fellow Floridian Joey Gilmore’s success at the IBC’s a few years ago. The only real criticism of this collection is the inclusion of two live tracks, both of which suffer in comparison with the studio tracks: “Don’t Mess With The Voodoo” has a ‘muddy’ sound and “Motherless Chil-dren” clocks in at over ten minutes of gui-tar noodling that sounds like a slow night with The Grateful Dead. The collection might have benefited from dropping these two cuts. Graham Wood Drout is not really a blues-man but with such a variety of styles there

rhythm section is Jim Johnston on drums and Jae Cho on bass. One thing immedi-ately evident is the care and attention given to the packaging here with a good quality gatefold (featuring three girls with tattoos who are credited in the sleeve notes!) and a booklet with full lyrics. The title track has some amusing obser-vations from Kirby: “Is that a daisy or an orchid? I don’t know flowers all that well…Is that a map of South East Asia. I bet you’d be helpful on a trip.” Opening cut “The Devil’s In The Details” follows a fairly routine funk-rock pattern but then unveils an exciting, faster-paced middle section with the guitar really cutting loose, driven by the increasing pace of the drums. Mor-gan gives us some swampy slide work on “Stop And Go!”, a solo which again emerges a little unexpectedly from the main tune. The full-on rock assault of $1.11 has some clever lyrics (“I sold my soul for a dollar, I sold my dreams for a dime, I sold my heart for a penny in a pawn shop on the corner, now I’ve got $1.11.”). The two guitarists play well to-gether on “Kiss You Tonight” which has a loose Black Crowes/Stones feel about it and the muscular riff and brooding bass that propel “Cryin’ All The Way”, a sad tale of being abandoned by his girl who also took with her most things of value in the house! When the band drops the pace they tend to edge into country rock territory. “Simply Not Enough” has a relaxed feel with ring-ing, melodic guitars and Kirby singing in a more restrained, romantic style. “A Better Reason” also takes a country rock ap-proach though here Kirby seems to be struggling a little to reach all the notes. The album closes with some acoustic picking on “Till The River Starts To Over-flow”, probably the closest we get to a blues on the album. With good guitar playing and interesting lyrics there is certainly something worth investigating here but blues purists can let this one pass by. Reviewed by John Mitchell

Ragged & Dirty Devon Allman Ruf Records - 2014 www.devonallman-band.com www.rufrecords.de 12 tracks/49 minutes Devon Allman is clearly a guy who hates taking it easy. If he is not touring with Royal Southern Brotherhood he is playing or recording solo material. For this album Devon broke away from his habit of re-cording ‘down south’ and headed to Chi-cago to record with another hyperactive musician, Tom Hambridge, who produced and played drums. Devon used Felton Crews on bass, Marty Sammon on keys and Giles Corey on rhythm guitar; Bobby Schneck Jr plays guitar on one track and adds backing vocals on two tracks, as does Wendy Moten. The material is a mixture of five Devon originals, three well-selected covers and material written for the sessions by Tom Hambridge and his regular writing partner Richard Fleming (three songs, plus one written by Tom and Lee Roy Parnell). Strangely the CD opens with three of Tom’s songs but they all fit Devon’s style really well. “Half The Truth” has some searing lead guitar from Devon over an insistent rhythm riff from Giles as well as displaying Devon’s distinctive voice from the start. Devon has always avoided di-rect comparisons with his father Gregg but on “Can’t Lose Them All” the band creates a very Allman Brothers feel, especially in the twin guitar work and Marty’s B3 under-pinning. Devon may not play slide but he has clearly inherited some of Uncle Duane’s abilities as a sinuous solo here demonstrates. The third Hambridge tune is “Leavin’” on which Giles plays acoustic guitar, Devon electric rhythm and Bobby Schneck takes the solo honours. The combined effect of the guitars takes us back to “Brothers And Sisters” era ABB on a tune with an excellent hook in the cho-rus. The Spinners’ “I’ll Be Around” is given a sprightly makeover with more fine rhythm work from Giles, allowing Devon to embellish with small guitar accents while combining his vocals with those of Wendy Moten to good effect. A striking solo tops off the song which is a highlight of the album. Marty Sammon takes a break on Devon’s “Traveling” which is a muscular workout with plenty of wah-wah rhythm, a song that clearly reflects Devon’s globe-trotting with RSB as he observes “funny how cit-ies at night look like galaxies from 30 000

feet”. Undoubtedly the centrepiece of the album is the lengthy “Midnight Lake Michi-gan”, an instrumental in which Devon’s guitar ranges from eerie sounds at the beginning to full-on aural assault, primitive but effective, especially when supported by improvised percussion effects from Tom – the effect at times recalls Santana in the “Caravanserai” period. One sus-pects that this one was a late night studio jam which just took off, as only Devon, Marty and the rhythm section are present. A cover of Otis Taylor’s “Ten Million Slaves” hardly lightens the mood but is very well done, Devon’s gruff vocal par-ticularly suited to the song’s bleak portrait of slave trading. Tom’s superb percussion on this track deserves a special mention. Two more of Devon’s originals follow, “Blackjack Heartattack” tells of gambling addiction, Devon using a slightly distorted vocal over a funky rhythm while “Back To You” is more personal, an overtly romantic song with some fiery playing over a gentle tune on which Wendy Moten’s b/v are a great addition. The last of Tom’s tunes is “Times Have Changed”, a foot-tapper with some rocking piano and guitar. Luther Allison’s “Ragged & Dirty” gives the album its title and is covered here in a short ver-sion with Devon singing strongly as well as playing some aggressive wah-wah. The album closes on a gentle note with Devon’s resonator set against percussion from Tom in a duo performance. Devon sings convincingly of needing to get away from the city, escape to the country and enjoy the quiet life – an unlikely possibility with his current schedule! Although recorded in Chicago there is little straight blues here. What there is in abundance is further proof of Devon Allman’s abilities as singer, guitarist, writer and interpreter of songs. An excellent album worth seeking out. Reviewed by John Mitchell Girl With A New Tat-too Kirby Sewell Band Smelly Cat Records www.kirbysewell-band.com 10 tracks/39 minutes This is the third release from this Cana-dian band. Singer Kirby’s lead vocals handle the bluesy rock material pretty well and the twin guitars of main writer and producer Neil Gunhold and Morgan Turk produce some excellent moments. The


http://www.devonallmanband.com

http://www.devonallmanband.com

http://www.rufrecords.de

Top Blues Releases October 2014

Sunday Morning Blues WKGL-FM 96.7 The Eagle

Rockford, IL

Mississippi Heat / Warning Shot / Del-mark Marcia Ball / The Tattooed Lady and the Alligator Man / Alligator Joe Bonamassa / Different Shades of Blue / J&R Adventures Rory Block / Hard Luck Child - A Tribute to Skip James / Stony Plain Billy Boy Arnold / The Blues Soul of Billy Boy Arnold / Stony Plain Otis Clay & Johnny Rawls / Soul Brother / Catfood The Duke Robillard Band / Calling All Blues! / Stony Plain Billy Branch and the Sons of the Blues / Blues Shock / Blind Pig Brent Johnson / Set the World on Fire / Justin Time JW-Jones / Belmont Boulevard / Blind Pig Jim Liban with The Joel Paterson Trio / I Say What I Mean / Ventrella Sean Costello / In the Magic Shop / Vizztone Devon Allman / Ragged & Dirty / Ruf Daddy Mack Blues Band / Blues Cen-tral / Inside Sounds Howlin' Wolf / Howlin' Wolf - The Defini-tive Collection / Geffen Chess UM This list submitted to Living Blues Maga-zine for inclusion in the October 2014 National Radio Chart. This list is com-piled from actual radio airplay statistics. WKGL-FM broadcasts 2 hours of the blues per week.

Rich Gordon Sunday Morning Blues WKGL-FM 96.7 The Eagle 3901 Brendenwood Road Rockford, IL 61107


We continue to grow with new members

and renewals continuing to sign on!

Thank you for supporting live music and

tp keeping the blues alive to all our new

and returning members!

New members:

Anonymous

Ken Blakely

Jerry Bueche

Steve Hough

Dan Jacobson

Tom Ratcliffe

Chris Raymond

Renewing Members:

Ken Blakley

Bill Futymoski

Jon Grall

Ave Hanson

Bob Haendler

Tom Holian

Big Jim and Joanne Johnson

Terry Keller

Brian Kobischka

Al McNary

Anne Pritz-Hall

New members get a CD upon joining;

family members get two CDS. If you did

not get any please let us know the next

time we see you! Membership has been

$15 and $25 for over 15 years. Mail

newsletter members have a $5 sur-

charge to help with printing and postage

costs; it’s expensive to produce and dis-

tribute newsletters. We produce six

newsletters a year with 25-30 reviews

and all sorts of other great information

related to the Society and our events.

Membership News


Hope and Anchor Eng-lish Pub Monthly Sec-ond Saturday Blues

The Hope and Anchor Saturday Blues

Schedule is set through April 2015.

From 8 PM to Midnight, $5 cover after 8

PM or free prior to that for dinner guests.

Featuring fine English pub fare, the

Hope and Anchor is a great spot for din-

ner, craft beers and liquors, and great

live music! Located at 5040 N 2nd Street,

Loves Park IL, USA, phone 815.633.2552

for info!

11/8/14 The Jimmy's

12/13/14 Bobby Messano and Dave

Fields with Jimy Sohns; Crossroads 10th

Annual Christmas Party

1/10/15 Aaron Williams and the Hoodoo

2/14/15 Reverend Raven and the Chain

Smoking Altar Boys with Westside Andy

Linderman

3/14/15 St. Patrick’s Day Celebration

4/11/15 Tail Dragger with the Rockin’

Johnny Band

Lyran Society to Host Monthly First Friday Blues

The Lyran Society has decided to add

blues to their Fish Fry and Steak Dinners

with performances on the first Friday of

each month at their club. Located half a

block east of 7th Street at 1115 4th Ave,

Rockford, IL 61104, you can call (815)

964-0511 for info. There is no cover

charge, it’s a free show. Open to the

public, all ages are welcome!

11/7/14 New Savages

12/5/14 Dan Phelps and Macyn Taylor

1/2/15 The Blueshawks

2/6/15 Birddog and Beck

Steve Jones celebrates 10 years as Editor of the CBS Newsletter!

www.bluesblastmagazine.com

Crossroads Blues Society Officers and Board Members Contact Info

President: Steve Jones [email protected]

Vice-President: Bill Graw [email protected] Secretary:

Bonnie Fox [email protected] Treasurer: Terry Keller [email protected]

Board of Directors: Denny Barker [email protected]

Rick Davis [email protected] Bob Haendler [email protected] Ken Pearson [email protected]

Rick Hein [email protected]

Lots of anniversaries have passed and are

being celebrated! Crossroads BLues Soci-

ety turned 20 years old and this newsletter

celebrates two decades of Crossroads!

Rich Gordon begins his 40th year on the air

and was nominated for a Keepin’ The Blues

Alive Award!!! Lastly, Steve Jones has

been the Editor-in-Chief of this newsletter

for over 10 years.

Crossroads is helping to facilitate a lot of

great recurring blues programs for Rock-

ford area blues fans!

Second Saturday Blues at the Hope

and Anchor

11/8/14 The Jimmy's

12/13/14 Bobby Messano and

Dave Fields with Jimy Sohns;

Crossroads 10th Annual Christ-

mas Party

1/10/15 Aaron Williams and the

Hoodoo

First Friday Blues at the Lyran Society

11/7/14 New Savages

12/5/14 Dan Phelps and Macyn

Taylor

1/2/15 The Blueshawks

Pregame Shows for

Friday Ice Hogs

Home Games

11/14/14 Justin

"Boots" Gates

11/21/14 Ron

Holm

11/28/14 Dan

Phelps

12/26/14 Re-

cently Paroled

01/09/15 New

Savages

01/16/15

Collins Grayless

Band

See inside for expanded

coverage!

Blues in the Schools is in

the works for late Novem-

ber. Dan Phelps will be

working with Spring

Creek Elementary School

and others later in the

month. We have other

stuff also in planning so

stay tuned for more on

BITS!

Blues News and Upcoming Events

Crossroads Blues Society P.O. Box 840 Byron, IL 61010

News Blog with our Latest Info: http://crossroadsbluessociety. blogspot.com/

Music Reviews: http://crossroadsreviews.blogspot.com/

Crossroads Blues Festival at Lyran Park: http://crossroadsbluesfestival.blogspot.com/

Email us at: [email protected]

Also on the web at: www.crossroadsbluessociety.com/

Keeping the Blues Alive Since 1994 2014 Blues Foundation Keeping the Blues Alive Affiliate Award Recipient

2014 Chicago Blues Hall of Fame Inductee

Blues on Local Radio

WNIJ - 89.5 FM

Friday evenings from 9 PM to midnight with Harold Brown

Saturday afternoons from 1 to 4 PM with Patrick Sheehan

Saturday evenings from 9 PM to midnight with David James

The Eagle - 96.7 FM

Sunday Morning Blues 6 AM to 8 AM with Rich Gordon

Membership Application

www.crossroadsbluesociety.com

Yes! I’d love to be a part of the Crossroads Blues Society!

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via regular mail via regular mail

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Crossroads Blues Society Bring this to

P.O. Box 840 our next meeting

Byron, IL 61010 and get a free CD!

nov-dec 2014 newsletter

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