Cover photo © 2023 Peter M. Hurley

 In This Issue 

Peter Hurley has our feature interview with Demetria Taylor. We have ten Blues reviews for you this week including books from Robert Mugge and Jim Gaines, new blues Christmas albums from Big Harp George and Lisa Biales plus new music from Mike Bourne Band Featuring Johnny Burgin, Reverend Freakchild, EG Kight, Teresa James & The Rhythm Tramps, Nacho Salmeron and The Bluesland Horn Band. Scroll down and check it out!

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Being the baby daughter of Eddie Taylor Sr. was no small thing. Little “Bird” as Demetria Taylor was called by her grandmother and “Meechie” by her sibs, is a human dynamo.

“I had so many mentors above me; my mom and dad, my elder brothers and sisters, my uncles and aunties, musicians in the community — it’s no wonder I’ve absorbed all this spirit and talent from them. And I want to thank them all and let them know I love them all.”

It takes giant heart like Demetria’s to be able to take that much in and give it right back. No small thing.

The Eddie Taylor Family is a mainstay on the Chicago Blues scene. Eddie Sr.’s (1923-1985) legacy as one of the most influential post-war Blues guitarists for his work with Jimmy Reed is recognized by a current generation as seminal. Since Eddie’s passing, musician sons, Larry, the late Eddie Jr., and Tim along with daughters Brenda, Edna and Demetria have made it their life’s work to contribute to the legend and keep their father’s memory alive.

“That’s what we do,” urges Demetria, making certain to include non-musician brother Milton and sister Vilicia to the roster.

“And my mom Vera too. She was a singer-songwriter with a huge impact on my dad’s and on our family’s music. She’d often write the music to my dad’s songs. She inspired me to sing and, upon her passing in 1999, I dedicated myself to making it happen for me in her and my dad’s memory.”

“I was a drummer at first. Big brothers Tim and Larry encouraged me at a young age and before you knew it, I was playing with our family band all over Chicago. Of course, I’d also be singing around the house like my mom, so it was only natural that I pursued vocalizing as a craft.”

The training took hold and vocal chops developed. And when it comes to stage presence, this diminutive singer with the giant voice and personality commands the boards with the best. When asked to articulate her growth as one of the most dynamic Blues and Soul performers on the big stage, Ms. Taylor confesses that she was a bit demure at first.

“WeIl, I always wanted to be a singer and a dancer. I was always watchin’ my mom, and practicin’ and rehearsin’ with my dad… but when I compared myself with my idols like Koko Taylor (no relation) and all the other greats that inspired me, I was really, really shy. Over time, Big Time Sarah told me ‘You can’t be scared, you have to sing!” And Koko told me, ‘You have to open your mouth and sing, you know; you can’t let these cats scare you.’ ”

“Yeah, Koko and Sarah and Deitra Farr were the ones who really pushed me. So, I’d go in my basement and work on it, my singing, my choreography and dancing, making my own costumes—I’d look at Tina Turner, Koko and Etta James, all these women infused me with style and passion that I bring to the stage my own way. Valerie Wellington, Shemekia Copeland, I love all these Chicago women. So nowadays, though I might at times seem a little over-aggressive, I call it good aggressive. I work the crowd. Like they say, ‘if you’re not bringing the party to me, I’m bringin’ the party to you!’  she laughs. “From there it just goes up.”

On her current bandmates, Taylor enthused “It took me a while but I’ve forged a great band that suits my style and provides the dynamite that it requires. I have a really tight band now. We’re all going down to Helena to the King Biscuit Festival (Oct. 6) for a two-set extravaganza. My guitarist Carlos Showers has been with me since day one. He’s played with Willie Kent and Big Time Sarah; he’s my rock. I have veteran Jessie Lockridge on keyboards, he’s professional all the way. I got a youngster Jamo Will on drums, and bassist from the jazz scene Vinny Kabat. It’s the same band I use for dj Tom Marker’s Bluesday Tuesday @ Fitzgerald’s; he really loves our guys.”

Ms. Taylor, 2022 winner of the prestigious “KoKo Taylor Queen of the Blues” award from the Jus’ Blues Foundation, is long on praise for her fellow musicians and performers. When asked who, beside her bandmates, she likes to sit in with, her enthusiasm continues.

“I also love to play with the Mike Wheeler Band, all those guys. I call Mike Wheeler “The Pastor of the Blues” because he is so humble and helpful. He always has time to mentor. He helped me with a few vocal tips when we cut ‘Doin’ What I’m Supposed To Do’ for Delmark, my follow-up to ‘Bad Girl’ from years prior. John Primer, I’ll play with him anytime. He’s a link back to my dad, a little younger but he was there with Muddy Waters when Dad was out there too. Jimmy Burns is my uncle, I’m his great-niece. He’s been so supportive over the years. I also love to play with Carlos Johnson Band, Pookie Styx and the band and Valerie Wellington, a wonderful musical partner. I’m honored and blessed to spread the love of the Blues with all these people.”

Clearly, Demetria Taylor is as pleased to pay tribute to others as she is to showcase her own career. She continues with lavish praise of her mentors and heroes.

“All these people I mention, I hold them dear. For John Primer who I’d been following since I was a little girl, he sat me down and gave me career and life advice for which I will always be grateful. He’s a true gentleman. Carlos Johnson took me to Japan and a couple of festivals to give me a boost. ”

“Mike Wheeler, we help each other out, that’s love, that’s real love right there. You could see it on the Pritzker Pavilion stage when I headlined with Mike and the band (Larry Williams, Cleo Cole and Ronnie Hicks, Demetria reminds us) at the ’23 Chicago Blues Fest. We tore it up.”

“I also thank Delmark Records for first recording me and for my most recent CD. ”

“Deitra Farr, what can I say about Deitra? I must say, I love her like a big sister. Please put this in the article, because Deitra was the one who really pushed me to start singin’ when my mom died. She said, ‘We need more women. I want you to do it, do it for me.’ So, anything I go through with Deitra to this day— she cries with me on the phone when I tell her stuff. When Deitra sang and did her part for the Women In Blues and received her award at the Chicago Blues Fest in June, I cried so hard. I stood on the side of the stage cryin’ and she said ‘Now you got me cryin’!”

Choking up a little now, Demetria takes a breath then continues: “That was a great night, all the women did an awesome job. I love ‘em all, it was a magical evening.”

In addition to complimenting fellow musicians and counting her blessings for their guidance and camaraderie, Demetria’s frankness also reveals a feeling of regret over one aspect of the business.

“I love the Chicago Blues and I love Chicago. But I see some things that aren’t right. I thank the clubs Blue Chicago, I thank Fitzgerald’s, Buddy Guy’s Legend’s and Untitled. I’m grateful for them. But it’s hard to keep a wonderful band together without more local work. I’m known and respected in many parts of the country and world, but I can’t quite figure out why the other clubs are not more open for me. I should be playing more of them. ”

“My dad and my older brother Eddie helped put some of these places on the map. I love them but I hate to say that, in my mind, they don’t do the Taylor Family right. I’m not bitter, I have big plans for 2024; I’m doing a two-day festival in Mumbai, India in March! But I just have to speak my mind about this certain aspect of the local scene.”

On the older scene, Ms. Taylor, reminisces with joy about her upbringing as a Blues man’s daughter.

“I’m blessed to have been fortunate enough to go to these original clubs back in the day. We used to go to all these West Side clubs. On my Facebook, I recently put a video up of Dad at the Delta Fish Market at Jackson and Kedzie where Dad often played.

https://www.youtube.com/watch?v=lm15AWurijI&list=PLAHQhuAN4oxKP3P8Z9G_AQ3jjWoFZ4dXA

I’d go there with him to eat fish and see Johnnie Littlejohn, Willie Kent, Honey Boy Edwards, Tail Dragger, Rockin’ Johnny, James Cotton and Mary Lane; I’d watch them all do what they do. That’s another thing that made me want to do it– you know, even back then my mom would tell me, ‘It’s in you too, just bring it out.’ And I’m not through bringin’ it out.”

“I’m not gonna lie, music is my life,” Demetria waxes. “It’s my food, it’s my joy, it’s everything to me. It’s stress free when I get on stage; if there’s something on my mind– you can feel the emotion in my music. You know when I sing my dad’s song ‘Wreck on 83 Highway’, you can feel it. I take my time with that number.”  On how her childhood influences continue to resonate, she adds, “You go and look at the video of this year’s Chicago Blues Fest, we really put our hearts and souls into that, just like my mom and daddy and all their musician friends used to do.” https://www.youtube.com/watch?v=LW_qrCQS8WE

When asked what it feels like when the moment hits during performance, Demetria offers a beautiful soliloquy:

“Once I get on stage and I’m walkin’ back and forth, and I get to dancin’—I’m in a zone. I can’t see my friends waving, I can’t see photographers, I can’t see anything, I’m just lookin’ out at the crowd. I tell my friends all the time, it’s not personal when I don’t recognize anyone, it’s just that I’ll be in the zone. I’ll be in my feelings. I’m with that deep Blues feelin’ when the spirit hits my body and I get a chill and when that chill comes, you better get out the way, out of Demetria Taylor’s way!” she laughs. “When I feel that–I’m takin’ no prisoners and I’m gonna take flight. Yeah, I love what I do!”

“2023 was a big year for me and my family. We did two major tributes to my dad to celebrate his 100-yr. birthday. One at Antone’s Nightclub included my brother Milton and sister Vilicia in Austin and the other showcased of our family talents under Rosa’s tent at the Chicago Blues Fest. But 2024 is a big year coming up too. In addition to my medical work, (I am certified as a caretaker for the sick, which I love to do, it’s a give-back for me) I’m revving up for more projects and taking more flight! I’m on a mission to spread the music. I carry on my dad and mom’s legacy every day and I am blessed to be a performer in the blues community that they were part of too. I really do love what I do.”

Loving what she does shows with every move and is evident in every note Demetria Taylor sings. Her love for her extended community and her enthusiasm and faith in the future informs her music and life outlook in big ways for this littlest sister of a big Blues family.

Journalist Peter Hurley is a noted Chicago Blues writer and photographer. Mr. Hurley’s passion for Blues music and its accompanying photography was first inspired by the 1960s albums Chicago Blues Today Vol. 1, Jr. Wells’ It’s My Life, Baby and the Chess Records Little Walter compilation Hate To See You Go.

Robert Mugge – Notes From The Road: A Filmmaker’s Journey Through American Music

The Sager Group LLC

www.robertmugge.com

364 Pages Paperback Edition

In a career that started in 1976, Robert Mugge has managed to create three dozen independent films. Most people think that filmmakers stand there, barking orders, and making sure everyone is doing their job. As you delve into Mugge’s chronology of his work, you quickly learn that view is far from reality, that making independent films goes well beyond being a labor of love.

With 25 films focused on various genres of American roots music, Mugge has spent his life in the pursuit of realistic documentation of music and the associated artists that are often well beyond the mainstream. His first music film, George Crumb: Voice Of The Whale, was a study of the Pulitzer Prize-winning composer centered on his composition for amplified flute, cello and piano. Fresh out of film school, the project helped the filmmaker learn skills that would serve him well in the future.

Across 11 chapters in his new book, the author delves into the various aspects of a film project, starting with obtaining sufficient financing. Mugge was often scrambling to finalize the finances while already beginning to shoot film footage, due to the timing of scheduling for various participants. While his films cost modest amounts compared to feature Hollywood films, that makes each dollar all the more important. But that is only the start of his responsibilities.

To give each project a structure, Mugge had to write out a rough story line that leaves room for the artists involved to express themselves in ways not yet imagined. He has to line up a crew and the necessary equipment, always keeping in mind the budget. Of course, there are also considerations for food, lodging, and travel for all parties involved. Then there are the unforeseen disruptions to the plan that invariably occur – weather issues, reluctant artists, equipment failures, and nervous investors.

Mugge covers it all with the grace of a wise sage who has been there, done that. In spite of his often tenuous circumstances, he has created a collection of glorious films like Deep Blues, a 1991 release that gave viewers a close-up look at the Mississippi juke joint culture. Funded by Dave Stewart of the Eurythmics fame, the film had a troubled beginning that threatened to derail the film. But once Mugge smoothed things over, the project can came to life, turning into a critically acclaimed movie that featured artists like R.L. Burnside, Junior Kimbrough, and Jessie Mae Hemphill, jump-starting their recognition around the world.

That film caught the attention of Bruce Iglauer of Alligator Records, who wanted Mugge’s help in celebrating the record label’s 20^th Anniversary in 1992. There was a planned national tour that featured Koko Taylor, Lonnie Brooks, Lil’ Ed & the Blues Imperials, Katie Webster, and Elvin Bishop. Shooting concert footage at the Chestnut Cabaret in Philadelphia before heading to Chicago to interview a number of the musicians and getting a tour of the Alligator operation from Iglauer, the filmmaker crafted Pride & Joy: The Story Of Alligator Records.

It was the first time his guiding principles, “ …to portray, preserve, and promote traditional forms of American music…” had been applied to an independent music label. The success of that film quickly lead to another project, celebrating the 25^th Anniversary of Rounder Records, entitled True Believers: The Musical Family of Rounder Records. Mugge traveled throughout the South, filming Rounder artists like Irma Thomas in New Orleans, Steve Riley & the Mamou Playboys at Festival Accadiens in Lafayette, LA, and Marcia Ball in Austin, TX.

While juggling the details of that endeavor, Mugge was attempting to get two other films made. One was funded by BMG Video, centered on the International Bluegrass Music Association’s annual World of Bluegrass events in Owensboro, KY, featuring the legendary Peter Rowan. That film, Gather At The River: A Bluegrass Celebration, was suppose to feature Allison Krauss, at the time the brightest light in the world of Bluegrass, and the best selling artist on Rounder Records. Due to some sound issues on her film performance, Mugge was unable to include her in either film. Such can be your fate when filming on a tight budget and even tighter schedule.

The other film Mugge completed in that busy year was the classic Kingdom Of Zydeco, a film that celebrated the music of the Creole culture of Louisiana. It was centered on a concert that featured a good natured battle for the title of the “King of Zydeco” between Boozoo Chavis, one of the original pioneers of the music, and Beau Jocque, a younger accordionist with a modern sound that added traces of rock and hip hop to the the music’s blues roots. Viewers also get introduced to other key artists and famous venues like El Sid O’s Zydeco & Blues Club. Once again, Mugge is able to capture the essence of a musical form in transition, giving viewers a fine sampling of what makes zydeco so special. And to be able to compose three magnificent films in a one year period may be enough to qualify Mugge for musical sainthood.

In other chapters Mugge relates his experiences about the making of films on jazz legends Sonny Rollins and Sun Ra, another that celebrates the ministry of Rev. Al Green, the hit-making soul singer supreme who went back to the church at the height of his career. The director also fashioned two films, All Jams On Deck and Deep Sea Blues, that highlighted different aspects of the popular Legendary Rhythm & Blues Cruises. Finished twelve years after Deep Blues, Mugge returned to the Mississippi Delta to chronicle the slow fade of the Last Of The Mississippi Jukes, centered on the famous Subway Lounge in Jackson, MI, and the new Ground Zero Blues Club in Clarksdale. One of the owners was the film star Morgan Freeman, and his part in the production went a long way towards obtaining the necessary funding for the endeavor.

Music fans owe Robert Mugge a debt of gratitude for his lifetime of work as an independent film maker. Readers of this outstanding book will come away with many levels of respect for his accomplishments, particularly as you come to understand the myriad of challenges that need to be dealt with and overcome, not by the staff of a movie studio, but by one man with a vision and, the will to turn those visions into films that make you care about the music and the artists who make it. This one comes highly recommended!

Blues Blast Magazine Senior writer Mark Thompson lives in Florida, where he is enjoying the sun and retirement. He is the past President of the Board of Directors for the Suncoast Blues Society and a former member of the Board of Directors for the Blues Foundation. Music has been a huge part of his life for the past fifty years – just ask his wife!

Jim Gaines as told to Lee Zimmerman – Thirty Years Behind The Glass

Texas A&M University Press

www.tamupress.com

216 Pages Hardcover Edition

What do Santana, Huey Lewis & the News, Stevie Ray Vaughan & Double Trouble, Luther Allison, Albert Collins, George Thorogood & the Destroyers, Tower of Power, John Lee Hooker, Journey, the Neville Brothers, and Royal Southern Brotherhood all have in common? They all had recording projects spearheaded by Jim Gaines, one of the finest recording engineers and producers in the music business. In a little more than 200 pages, Gaines shares a raft of stories from various stages of his illustrious career, giving readers an inside look at the recording business.

Born to a sharecropper family in Arkansas, the family had little money. Gaines learned to pick cotton at a young age. When his family moved to Memphis, he was quite happy to leave the cotton fields in the rear view mirror. With his girlfriend pregnant, he took an entry level position with a Memphis firm that created radio jingles. Gaines soon found plenty of appeal in the work, especially when it came to recording the singers and mixing the tapes. As time went on, his skills grew to the point he was running the Memphis studio in addition overseeing a second facility in Dallas, Texas.

As luck would have it, Gaines often worked with two musicians who frequently provided instrumental backing for the jingles, Booker T. Jones and Steve Cropper, who had not yet hit stardom as Booker T. & the MGs. Cropper and Gaines quickly hit it off, leading to an offer to begin working at Stax Records. Working several nights a week, Gaines experienced first hand the rapid growth at the label as stars like Otis Redding began to change the musical landscape. But when Al Bell was brought in to run the label, Gaines was not comfortable with the new direction, so he went to work for Cropper at his TMI production company.

As word of his talents spread, opportunity came knocking again. Wally Heider had two well-known studios in Los Angeles and San Francisco. He made repeated offers to Gaines, finally convincing him to move to the Bay area studio. For Gaines, it was a decision that launched his career. As the recording scene in Memphis began to fade, Gaines was working with hit-making acts at one of the top recording studios in the country.

Early on, he got to work with Tower of Power, the great funk band with a killer horn section. He also engineered Van Morrison’s Saint Dominic’s Preview album. One of his “behind the scenes” stories involved the Grateful Dead booking the studio, but only their road crew showed up with their ladies and two tanks of nitrous oxide. Gaines would repeatedly spin a Dead album all night as the group got stoned. Another night, as he was leaving work, Graham Nash stopped him. Nash was working on a project in another studio room. He asked Gaines if he could help with a few things. Gaines agreed and upon entering the studio, discovered their engineer was passed out on the control console.

Author Zimmerman, a distinguished writer for numerous music publications,  keeps the story moving, as Gaines moves around the country, working at the best studios while achieving chart success and multiple Grammy Award nods. At one point, he moves to Oregon, fed up with the recording industry, and ends up owning a windshield repair franchise.

Soon Huey Lewis enticed Gaines into returning to San Francisco to engineer tracks for what became his top-selling Picture This album. No sooner had Gaines finished that project when his services were requested by guitarists Ronnie Montrose and Carlos Santana. From that point on, his life became an endless stream of long nights in the studio with a mixture of artists that spanned the scale of notoriety.

To his credit, Gaines share some of the darker moments of his career as well. One marriage fell victim to those long nights in the studio. His relationship with Lewis blew up when Lewis requested his presence for a session, but Gaines was already in the middle of a project, so he declined the offer. It caused a rift that took years to get over. Out of kindness, Gaines leaves names out of some recollections that recount moments of artists exhibiting less than stellar behavior.

By the end of the book, one can only marvel at the impact Jim Gaines has had on popular music. His easy-going manner certainly comes through on the pages, providing telling insight into why his services have been in such high demand, not to mentioned the many awards his projects have received. Anyone with more than a passing interest in modern music should read this fine autobiography!

Blues Blast Magazine Senior writer Mark Thompson lives in Florida, where he is enjoying the sun and retirement. He is the past President of the Board of Directors for the Suncoast Blues Society and a former member of the Board of Directors for the Blues Foundation. Music has been a huge part of his life for the past fifty years – just ask his wife!

Big Harp George – Big Harp George Does Christmas

Blue Mountain Records

www.bigharpgeorge.com

11 tracks

Eleven new holiday tracks for Christmas and the New Year are featured here on chromatic harmonica ace Big Harp George’s new Christmas CD. There are a plethora of people who supported the project as noted throughout. Keys are handled by Chris Burns. Derrick D’Mar Martin does most of the drums and percussion. Joe Kyle Jr. also handles most of the bass work. Michael Peloquin (tenor) and Doug Rowan (baritone) are the sax portion of the horn section and on trombone is Mike Rinta. Last and certainly not least is Kid Andersen on guitar for all tracks. A special shout out also to the Sons of the Soul Revivers whose backing vocals on four cuts is excellent, too.

“Bad Santa” begins the album, a jump blues about not wanting bad Santa being in his home for fear of the good of his wife, daughter and dog. Nice harp work and a fun set of lyrics make this cool. Guitar , organ and all the players help set the tone. “Carioca Christmas” offers up a nice Latin vibe and George’s ringing and rousing chromatic sounds. Horns, flute (Ben Torres) and organ make this even better. Santa’s reindeer go on strike for the next cut. There is trouble at the North Pole in “Reindeer On Strike.” The elves are apparently scabs and the reindeer aren’t getting what they deserve, so it’s time for some labor action. Another fun cut with a great sound!

“War On Christmas!” follows, a jump blues about Fox News calling out all the red bloods to take action. AR-15 in hand, the bubbas hit the street on Christmas Eve and take out that red clad commie on the neighbor’s roof. A great tongue in cheek take on the fake announcements of the war on Christmas and the tables turn as the bubbas take thoughtless action. “Snow Shuffle” is a slick and cool instrumental of West Coast Blues and George’s amazing chromatic sound. Aaron Lington adds his baritone sax on this cut.

“Coquito Girl” is another Latin influenced tune with a Caribbean sound. Rum and coconuts for Christmas and some excellent sax and harp!  “Where I’ll Be for Christmas?” follows, a swinging track George had laid down with Little Charlie Baty in 2018. Cool guitar for sure as George delivers a slick performance. This cut laid he foundation for this Christmas album to evolve from. Alexander Peterson is on drums here and Kid Abdersen plays bass.

‘Fireside Waltz” is next up, with piano, harp and guitar leading this three step instrumental tune that makes the listener want to get up and dance to the music. It’s Strauss meets Southern California. “Thee Three Rings” features harp and tells the story of the three kings. Not Melchior, Caspar, and Balthazar, but Freddie, Albert and B.B. And what better than the three blues kings to celebrate Christmas with? George does a cool job and the guitar sounds of each of the three kings are featured in this number. Ed Morrison blows some nice trumpet on this track, too.

“That Grinch In Me” pays homage to the Seuss character as George sings in a contrarian manner dissing the symbols of celebrating Christmas. It’s another fun cut. The sax and guitar lead the way with Big Harp George giving us his take on the scene. The album concludes with “It’s New Years Eve” including it’s own countdown. Harp and piano lead the charge into the New Year and Bay Area soul great Tia Carroll takes the vocal lead for this one and June core is on drums.

This is a cool set of new Christmas tunes that will aid in raising the holiday spirit and make your Christmas and New Years bright. Recorder at the famed Greaseland Studios, Big Harp George gives us a fun set of original /’;cuts and fine performance to enjoy – well done!

Blues Blast Magazine Senior writer Steve Jones is president of the Crossroads Blues Society and is a long standing blues lover. He is a retired Navy commander who served his entire career in nuclear submarines. In addition to working in his civilian career since 1996, he writes for and publishes the bi-monthly newsletter for Crossroads, chairs their music festival and works with their Blues In The Schools program. He resides in Byron, IL.

Lisa Biales – At Christmas

Big Song Music – 2023

https://lisabiales.com

10 tracks; 33 minutes

Although there are a few great Christmas records in the blues (BB King and Roomful Of Blues are two favorites in our house!) it is always good to find a new addition to the selection, particularly when most of the material is original. Ohio’s Lisa Biales worked with producer Tony Braunagel in Los Angeles where they recorded at Johnny Lee Schell’s Ultratone Studio. Jeff Paris adds keys (plus harmonica and glockenspiel on one track) and either Chuck Berghofer or David J Carpenter are on bass to form the core band with Braunagel’s drums and Schell’s guitar. Richie ‘La Bamba’ Rosenberg scored the horn charts which are superbly delivered on three tracks by Mark Pender on trumpet, Jerry Vivino on sax and clarinet and Garrett Smith on trombone; sax is added to two further tracks by Vivino and Joe Sublett and strings appear on one cut courtesy of Doug Hamilton (violin) and Michael G Ronstadt (cello). The writing credits are three written just by Lisa, three written by Lisa and Tony Braunagel and two by Lisa, Tony and Jeff Paris; Johnny Lee Schell offers one song and there is one cover.

The title track opens with Braunagel’s marching drums and adds a New Orleans feel as Lisa sings warmly and seductively about the delights of the season and there are solo opportunities for sax, trombone and guitar. The sole cover is a Louis Prima song, “Shake Hands With Santa Claus” which swings like crazy in La Bamba’s brilliant horn arrangement, as does Schell’s “That’s What I Like About Christmas” with some fine guitar and Sublett’s sax solo topping off the tune. The pace drops for “When The Snowflakes Fall”, beautifully sung with poignant lyrics: “one snowy evening in the late December a bill collector hummed his haughty tune. Too bad she had to leave this place so soon”. The jaunty “The Boy I Met For Christmas” has an old fashioned feel with Jeff Paris’ chromatic harp sounding particularly Christmassy while Lisa celebrates a favorite pet in “Lulu Magoo”, reassuring Santa that she won’t bite; the clarinet and trumpet add a jazzy, retro feel to this one.

The lyrics of “Mary’s Little Baby Boy” contain many of the traditional Christmas elements but the music rocks out with Schell’s huge chords and slide, making it the heaviest track on the album. Back to a more traditional style musically, Lisa confesses that “I Like You Mister Claus”, though she is not entirely the innocent that she pretends: “Hey Santa, you’re getting kinda frisky, if we carry on things could get risky. Don’t you have more presents to deliver? Come back any time, I’ll make you shiver”. Lisa appears to have been worried about making this “Christmas Record”, asking “How do I get in the mood to sing a holiday song in September?”, the strings and piano accompaniment making this one of the traditional-sounding tracks. The band sets a Southern groove with Schell’s greasy slide as Lisa details what she defines as “Christmas Cheer”, including references to many traditional Christmas images, closing the album in festive mood.

If you are looking for an addition to your Christmas music collection this might just be what you are seeking.

Blues Blast Magazine Senior writer John Mitchell is a blues enthusiast based in the UK who enjoys a wide variety of blues and roots music, especially anything in the ‘soul/blues’ category. Favorites include contemporary artists such as Curtis Salgado, Tad Robinson, Albert Castiglia and Doug Deming and classic artists including Bobby Bland, Howling Wolf and the three ‘Kings’. He gets over to the States as often as he can to see live blues.

Mike Bourne Band Featuring Johnny Burgin – Cruisin’ Kansas City

Blue Heart Records

www.nola-blue.com/bhrnews

13 tracks

Mike Bourne makes Kansas City his home. He did prior stints in Chicago and Atlanta but now makes the Missouri area his abode to play his version of the KC blues. Kansas City is a hotbed for blues, rock, R&B and more and has been for over seven decades. Mike pays tribute on the album to some mentors of his, including Abb Locke, the great Chicago sax player, and Lee McBee who was an early proponent of Bourne and his work. He honed his craft at Lindsay Shannon’s club BBs Lawnside which Mike credits to his success.

Bourne plays guitar and handles lead vocals. Members of his band Kansas City Boogie and some great special guests joing him to produce this Baker’s Dozen of musical treats. Johnny Burgin joins in on guitar Dave Creighton and Johnny Iguana add their keyboards to the project, Big D Erickson plays harp on a cut, Mickey Munoz is on drums on a track, John Paul drum adds harp to a trio of songs, and Greg Hopkins plays trumpet on one cut. The band mates are Patrick Recob on bass, Adam Hagerman on drums, and Sam Treinen on sax. Also appearing are Rob Lorenz on drums and Mike Grinns on bass both for a the same track.

Bourne kicks off with a swinging instrumental showing his guitar prowess.  It’s called “Cruisin’ Kansas City” and it’s the title track to this fine album. Some cool organ is also featured here, adding to the fun. “Lose Your Rings, Keep Your Fingers” is a great little shuffle with some super tenor sax, guitar and a nice groove in this fun track about retaining all ten fingers after a breakup. Next is “Humpty Dumpty,” a play on the nursery rhyme as has been done by Buddy Guy and others for other rhymes in the past. It’s a cool little boogie with stinging sax and guitar. The organ accompaniment remains a solid part of the mix, too.

Some well greased harp is featured in “Golden Rule,” a nice, slow  shuffle. “Help Somebody” takes us to church as sax and guitar play prominent roles.  The organ outro really highlights the Gospel feeling. “Hollow Man” follows, a straight up Chicago Blues that hearkens to Muddy Waters’ “I Be’s Troubled.” This two beat gem on guitar and harp is a slick throwback.

“Two Young To Be Old” has a nice Chicago feel to it. The organ solos first and then the guitar chimes in later.  It’s another winner. Next up is “Loose With The Truth” is a swinging mid tempo piece with some beautiful trumpet work. A later guitar solo solidifies the number as the song tells us about some guy with a gold crapper who lies all the time. “Missouri Boy” is a country fried, honkytonk cut that rocks and rollicks sweetly and features some rockabilly styled guitar licks.

“Running Song” is a cut about having to run in life’s rat race. Organ and guitar once again are called on to be featured. An R&B ballad “The One” is a beautiful and sentimental piece featuring the tenor sax. This one is just a belly–rubbing dance tune that could easily be from the 1950s.  Some tasteful guitar solo also adds nicely to the performance as Bourne croons to us.

“Dangerous Game” hearkens to the Stones and a just cool and greasy guitar cut with Bourne singing with emotion. The harp and guitar howl and it’ too, reminded me very muich of a Stones-styled cut. He finishes his work with “Kansas City Grease,” which features Big D and Rob Lorenz who passed away. It’s a fine tribute to old band mates and just a great song overall. Piano, harp and guitar just ooze grease here in this superb instrumental track.

Bournes be plying his craft for decades and the experience and talent shows. These new cuts proudly add to the storied history of Kansas City and it’s music. Well done – I enjoyed this one and I think blues all fans will, too!

Blues Blast Magazine Senior writer Steve Jones is president of the Crossroads Blues Society and is a long standing blues lover. He is a retired Navy commander who served his entire career in nuclear submarines. In addition to working in his civilian career since 1996, he writes for and publishes the bi-monthly newsletter for Crossroads, chairs their music festival and works with their Blues In The Schools program. He resides in Byron, IL.

Reverend Freakchild – Songs of Beauty for Ashes of Realization

Treated and Released Records

www.treatedandreleasedrecords.com

9 songs – 38 minutes

A unique artist with multiple divinity degrees, Reverend Freakchild states that he’s a Buddhist but that “music is my religion” and he usually performs solo, but he delivers a full-band effort on his latest CD, and you’ll want to worship deeply at the altar of this set, which revisits and reinvigorates nine originals culled from his previous releases, because the good reverend truly practices what he preaches.

The son of parents who were lovers of both classical music and the blues, he grew up in Hawaii, earned philosophy and divinity degrees from Northeastern University in Boston and Naropa University in Colorado. His diverse professional career has included work in alt rock and jam bands, gospel performances at Carnegie Hall and a steady, three-year gig at Tobacco Road, the longtime hippie hangout in New York City’s Hell’s Kitchen.

Reverend Freakchild delivers vocals on all of the tracks here. A multi-instrumentalist, he also handles National Resonator and acoustic guitar, ukulele, harmonica and organ synthesizer. Eight full-band arrangements and one solo composition, he joins forces with a truly eclectic, all-star cast.

Hugh Pool of Mudbone contributes electric and lap steel guitars along with Mark Karan (Bob Wier/RatDog), Chris Bergson, Andrea Whitt and Drew Glackin. Steve Sirockin and Melvin Seals provide organ, G. Love and the Reverend Shawn Amos harmonica, Jeremy Barber viola, Tim Kiah, Jon “Bones Richie” Robinson and Robin Sylvester bass and Brennen Schedler, Chris Parker (Bob Dylan/Joe Cocker), Patrick Carmichael and Jason Hann (String Cheese Incident/Isaac Hayes) percussion. They’re augmented by Hazel Miller, John Ragusa and Sheryl Renee on backing vocals, and several of the musicians lend their vocal talents, too.

Full of rich grooves and deep imagery throughout, the set kicks off with  “All I Got Is Now,” a number infused with a funky beat and a strong reminder that yesterday will always be history, tomorrow a mystery and stresses the necessity of living in the current moment. It gives way to “Dial It in (Beauty for Ashes Remix),” a spacy, reverb-driven reverie in which the Reverend’s driving the highway at night with the radio on and thinking about getting lost until he’s found again. Its lyrics string together a dazzling mix of thoughts about compassion and more.

“All Across America,” another road tale, screeches its wheels as it leaves the starting gate. Driven by a percussive triplets high in the mix, it features swelling organ from Sirockin and the Reverend on harp before giving way to “Hippy Bluesman Blues,” which is delivered atop a steady shuffle and Karan’s lead guitar as the singer pledges allegiance to the revolution and the desire to find a solution even though he isn’t aware of the underlying problem. The only solo effort, “Amsterdam Blues,” finds Freakchild riffing psychedelic Delta licks on acoustic guitar as he delivers haunting lyrics about having to rely on himself.

“Tears of Fire,” an medium-fast blues-rocker, gives Bergson space to shine, before Renee doubles the vocals on “Skyflower (Watermoon),” a steady-driving love song that describes the lady as a flower in the sky that keeps forever climbing higher. “Don’t Miss Nothing ‘Til It’s Gone,” a duet that features Amos, follows before a rollicking version of “Keep on Truckin’,” a number penned by pre-War superstar Blind Boy Fuller, the Reverend’s chief inspiration, and also delivers a trip of the hat to the Grateful Dead, who fused folk, blues, country, rock and soul into an artform all their own.

If you were a hippie – or ever wanted to be, you’ll find a lot to love about this one. It’s trippy in a good way and good for your soul, too!

Blues Blast Magazine Senior writer Marty Gunther has lived a blessed life. Now based out of Mason, Ohio, his first experience with live music came at the feet of the first generation of blues legends at the Newport Folk Festivals in the 1960s. A former member of the Chicago blues community, he’s a professional journalist and blues harmonica player who co-founded the Nucklebusters, one of the hardest working bands in South Florida.

EG Kight – Sticks and Strings

Blue South Records

http://www.egkight.com

10 tracks – 42 minutes

Eugenia Gail “EG” Kight was born in Dublin, Georgia. She first began singing gospel in her church and then playing country music, including sharing the stage with country legends George Jones and Conway Twitty. She quickly moved her music into the blues and roots category with a strong following in Chicago after being introduced to the vocals of Koko Taylor which led to her listening to other female blues singers. She started incorporating blues songs into her country music shows and found a strong reaction to those additions, which led to her re-inventing herself as a blues artist.

This is her tenth album release. She has previously been nominated fourteen times for Blues Music Awards including Album of the year, Song of the Year, and Female Artist. This album features one self-penned original, six originals co-written with her writing partner, Tom Horner, and two more originals cowritten respectively by Nanette Alexander and the team of Doug Jones and Johnny Neel. One cover, Gregg Allman’s “Come and Go Blues” is also included. The songs are all acoustic with EG on guitar and vocals with Ken Wynn also on guitar and dobro and Gary Porter adding drums, percussion and harmonica. Bass guitarist Sean Williams also joins on six songs.

The album opens with EG’s self-penned “Talk to Me” which has a harp lead with EG pleading “you put up a wall… talk to me or leave me behind”. EG delivers in in a sweet laidback voice. She then moves into a soulful “If You have No Reservations” as she asks if “you might make a reservation…I might be someone you need”. “Come and Go Blues” is next but EG’s laidback version is uniquely her own, while maintaining the context that Gregg presented.

She moves from come and go to “Already Gone” featuring some nice slide guitar work and harp with EG stating that “when I needed affection you were already gone…so go ahead and pack your bags”. In “All Things Considered” she is resigned that she is in a failed relationship and “reliving old memories with each glass of wine… all things considered I am doing fine”. EG’s mama, Miriam Kight provides backing vocals on “God, Goats, and Guitar”. EG says “I have been through some tough times” but those three things have gotten her through those times.

The music heats up a bit with the slide guitar and harp again driving the song as EG sings “the news is out, I heard it through the grapevine…”My Baby’s Hidin’ Something”…he pays me no attention he has someone else on his mind”. A smooth guitar leads the next song as she notes there are “Two Sides to Every Story”. “You can lie, lie until you are blue in the face, but sooner or later the truth will come out.”

She concludes that “Changes Coming Down” and “I Won’t Ever Give Up”. In the latter, she proclaims that ” I am not a superwoman.” “Everyone has bad luck one time another, but love keeps me going through”. With those two songs together, she delivers a positive message about her own mental toughness to weather through those hard times and perhaps providing all of us some consideration of how to look forward.

EG’s smooth sounds can remind of Bonnie Raitt. Her acoustic guitar work with her band delivers comfortable, easy listening. She certainly has the blues and knows how to express them both lyrically and with expressive vocals.

Writer John Sacksteder is a retired civil engineer in Louisville, Kentucky who has a lifelong love of music, particularly the blues. He is currently the Editor of the Kentuckiana Blues Society’s monthly newsletter.

Teresa James & The Rhythm Tramps – Rose-Colored Glasses Vol. 2

Blue Heart Records – 2023

www.teresajames.com

12 tracks; 49 minutes

After the first volume in 2021 fans were eager for a second volume but had to wait two years as Teresa released an album of Beatles covers in between. The second volume is an all-original set with Teresa, husband Terry Wilson and friend Gregg Sutton writing all the material between them, with one contribution form Vince Melamed. As those familiar with Teresa’s albums will know, there is a winning combination of styles, ballads, R&B and blues. The material was recorded across several studios, mainly in L.A., produced by Teresa and Terry and mastered in the UK by John Porter. The musicians involved include Terry on vocals, keys, bass and guitar, Billy Watts on guitar, Kevin McKendree, Vince Melamed and Bennett Salvay on keys, Tony Braunagel, Jay Bellerose, Brannen Temple, Richard Millsap and Herman Matthews on drums; Matthew Quave adds strings and Matt Lomeo harp to one track each. Horns are by Darrell Leonard on all brass and Paulie Cerra on woodwinds and saxes. Teresa herself handles the lead vocals and plays piano.

Teresa sings “I’d Do It For You” in sultry manner, offering to look after all aspects of her lover’s needs, a mid-paced blues with brassy blasts from the horns. The next two tunes are in the R&B area: Kevin McKendree’s piano is a feature of the funky “Better Angels” as Teresa declares that “ain’t gonna find no better angels around here, I’ve been searching all my life”; the stop-start “Lean On Love” has a great groove and some stinging guitar from Terry. “The Idea Of You” is a classic ballad with a string arrangement and co-writer Vince Melamed’s piano, the horns sitting this one out; the quieter tune allows us to appreciate Teresa’s vocal style up close, a hint of grit in her delivery adding a soulful touch to this torch ballad.

Teresa handles the piano on “That’s What I’m Talking About”, given a gentle swing by the horn arrangement over which Billy Watts delivers a nicely poised solo and Paulie a high octane sax solo. Teresa warns that “I Don’t Need Another Reason To Fall In Love” as the horns provide a soulful feel, rather in Motown style, while “Flip Flop” adds a hint of Caribbean lilt with fun wordplay around the theme of being head over heels in love. There is no doubt that once the love bug bites “The Heart Wants What The Heart Wants”, as Teresa puts it on another strong ballad. It is certainly true that “Ain’t Nothing For Certain”, another sophisticated tune with Matt Lomeo’s harp adding a blues element. Faced with a lack of realistic choices, Teresa determines “Just Don’t Think About It”; perhaps she needs a “Brand New Flame”, though she “does not want a one-night stand”, despite describing herself as “a hot one”! The album closes with “Second Chances”, an upbeat tune propelled by a funky bass line and a strong chorus.

It would have been good to have had one or two out and out rockers, but this is still another fine album by the ever-reliable Teresa James and her Rhythm Tramps.

Blues Blast Magazine Senior writer John Mitchell is a blues enthusiast based in the UK who enjoys a wide variety of blues and roots music, especially anything in the ‘soul/blues’ category. Favorites include contemporary artists such as Curtis Salgado, Tad Robinson, Albert Castiglia and Doug Deming and classic artists including Bobby Bland, Howling Wolf and the three ‘Kings’. He gets over to the States as often as he can to see live blues.

Nacho Salmeron – Blues Therapy

Self released

www.facebook.com/nacho.salmeron.3

10 songs

Good Blues Rock comes from all corners of the world. It’s what’s so remarkable and universal about the Blues and its many sub genres. Case in point Nacho Salmeron. Hailing from Jerez de la Frontera in southern Spain, a town known for Flamenco music, Nacho gives us in his 3rd solo release Blues Therapy a take on the Blues that is as much influenced by Steely Dan as it is Stevie Ray Vaughan.

Nacho Salmeron is a talented guitarist with liquid chops and a pension for writing clever slightly out of the box Blues riffs. Tunes like the instrumentals “Alf’s Line” (featuring Jesus Lavilla on organ) and “The African” have a 90’s Fusion Jazz vibe. Resplendent with synchronized full band turn around runs and flashy stabs of rhythm guitar playing all kinds of substitution chords. “Down for Good” achieves a push pull between strong riffing Blues and Aja informed smoothness.

Blues Therapy also Rocks, at times hard. “Lockdown Blues” seems to distill all Nacho’s COVID angst into a chugging ZZ Top meets Black Crows melt down. While the swaying lope of instrumental “Hey” crunchly marches. The chug of opener “Easy If You Try” and the uptown swing of instrumental “Blues For Jimmy” offer really well executed hard hitting traditional Blues.

Coming from the home of Flamenco it’s not surprising that Nacho has a tune called “Flamenco Dreams.” This instrumental dream is not much Flamenco but more Fusion Rock. With a slow burn, “Flamenco Dream” billows out with ever expanding sheets of guitar riffing. This highlight performance really shows Salmeron’s six string prowess.

Salmeron has a tight 4 piece band on Blues Therapy and the music is rewarded by the consistency. Alfonso Fernandez on bass, Ismael Colon on drums and Oscar Enrique Plazaola on keyboards support Nacho’s leadership well. It is because the band is so tight and flexible that the, at times, whiplash switches in styles work keeping Nacho’s singular guitar tone at the center. Nacho Salmeron was clearly using this record to wrestle with his feelings about the pandemic. It’s to his credit that his public Blues Therapy is an enjoyable and ultimately positive ride.

Writer Bucky O’Hare is a slide guitarist, songwriter and singer. Based out of South Eastern Massachusetts, Bucky plays Slide Guitar Soul Jazz and Funk Blues inspired by the music of the 60’s and 70’s all around New England.

The Bluesland Horn Band – SIX

Self Released

www.bluesland.ca

10 tracks

Hailing from Western Canada, The Bluesland Horn Band blends old school R&B, blues, gospel, country, funk. Soul, rock and music from the crescent City into a sound all their own. With all original tunes penned by producer Terry Medd, this is their aptly named sixth musical release.

The album and their website didn’t list any of the band members, but inside their Facebook info is, “Blues and soul/jazz fans may remember the origins of this band which played throughout Western Canada from 1998 to 2004. The band has been reformed by producer, guitarist Terry Medd. The players are; Pat Belliveau and John Reid – Tenor Sax, Dr Z – Trumpet, Paul Evans – Baritone Sax, Guy Plecash – Keyboards and Lead Vocals, Kenny Chalmers – Drums, Bryan Czar – Bass Guitar, and Marty Cochrane – Lead Vocals.” They do not mention the female vocalist on the next to last track.

The album begins with a downhome feeling cut entitled “My Old Truck.” Horns, acoustic guitar, mandolin and piano combine into a huge mélange of musical goodness. Growling vocals add to the ambience. “Creole Queen” kicks off with some funky guitar and organ and gets into a real New Orleans styled groove. The lead and backing vocals are cool and the accompaniment is superb. Organ and trumpet solos are well done, too.

“Shuffle In The Attic” is a driving, guitar rock cut instrumental that blends rockabilly and horns into a great cut. Big guitar and organ solos are offered up to savor. “Rock My Roll” is next, a swinging, rocking number with greasy vocals and a more sweet guitar solos along with some pretty sax soloing, too.

“Keep The Devil Behind” takes us to another interaction at the crossroads where avoiding losing one’s soul is an ongoing effort in this dark and cool blues cut. ”Shuffle in the Alley” is another slick instrumental, moving the shuffle down from the attic and out into he alley. Nice piano work is featured here along with ringing and stinging guitar.

“Holy Water” takes the listener a bit to church with some slick organ and an somewhat ethereal feel to this blues cut. A very tho0ughtful guitar solo is offered up in this one. Next up is “Not Ready,” a song about staying young at heart and living every day enjoying music. Organ and guitar swap solos and the piano and horns do a fine job in support.

“Solitaire” has an unidentified lead vocalist in ths duo, features  sweet instrumentation and just a nice overall sound.   “So Long, Goodbye” is  a cut about a guy giving up his former not so nice ways. Greasy and delightful harp work and a little accompanying guitar is featured on this cut, a great ending to a great album.

These guys have put together an outstanding set of original tunes. They are  played by a set of truly talented musicians. If you are looking for music that blends genres and styles into a beautiful mélange of highly listenable stuff, then look no further!

Blues Blast Magazine Senior writer Steve Jones is president of the Crossroads Blues Society and is a long standing blues lover. He is a retired Navy commander who served his entire career in nuclear submarines. In addition to working in his civilian career since 1996, he writes for and publishes the bi-monthly newsletter for Crossroads, chairs their music festival and works with their Blues In The Schools program. He resides in Byron, IL.