Cover photo © 2023 Marilyn Stringer

 In This Issue 

Anita Schlank has our feature interview with Jimi “Primetime” Smith. We have ten Blues reviews for you this week including another Blues Christmas album from Blue Heart Records plus new music from Bobby Rush, Duke Robillard & His All-Star Band, Johnny Rawls, Guy Bélanger, Robert “Top” Thomas, Candice Ivory, Scott Weiss Band, Jhett Black, and Dom Martin. Scroll down and check it out!

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Jimi “Primetime” Smith has a long and impressive history with the blues, having released numerous acclaimed albums and having played with blues royalty such as Otis Rush, Albert King, Albert Collins, and Etta James.  However, his unobtrusive and humble nature often leads to blues fans feeling uncertain if they have ever seen him previously.  Adding to their uncertainty is the fact that before he changed the spelling of his name and added the nickname, he would often be confused with organist Jimmy Smith.   However, Jimi’s most recent work is getting so much attention that he seems destined to soon become a household name.  Blues Blast Magazine had the opportunity to catch up with Jimi recently following the Blues Blast Awards show in Peoria, Illinois.

Jimi was born in Chicago into a musical family.  His mother, Johnnie Mae Dunson (AKA “The Big Boss Lady”), was a pioneer in the industry as one of the first female drummers and songwriters.  She played with legends like Albert King, JB Hutto, and Jimmy Reed, and was also Reed’s manager.  This led to Jimi having some impressive mentors, and he recorded his first song (on a 45-rpm record) at the age of eight.  His first professional show, which was with Jimmy Reed at the Ann Arbor Blues Festival, was at the age of fourteen, where he played in a slot between Charles Mingus and Ray Charles.  By the age of seventeen he was playing in the blues clubs in Chicago alongside Big Walter Horton, Sunnyland Slim, Jimmie Johnson, Eddie Taylor and Fenton Robertson.

“Jimmy Reed was the most influential.  He was the first to start teaching me how to play guitar.  However, Hubert Sumlin was a long-time friend of my mom’s.  They knew each other even before I was born.  Hubert showed me how to play and get different tones with my fingers rather than a pick.  He never used guitar picks.  He also showed me how to play in different keys without using a capo and how to be myself.  He taught me how to take the influence of others but develop my own style.”

At the age of twenty, Jimi moved to Minnesota where he played in a duo with Lazy Bill Lucas.  He then met Linwood Slim when Slim’s bass player disappeared, leaving his equipment in the studio, and Jimi informed Slim that he could also play bass.  Jimi then played bass with Linwood Slim for a brief time, and later played guitar with him.  Eventually the band broke up and Jimi formed his own band, but he also backed up many famous artists.

“Etta James was one of my favorites, and it’s true what they said about her.  She had an incredible ear.  I remember her turning to me and saying, ‘baby—your G string is a little sharp’.  I just said ‘yes Ma’am.   I was about 28 or 29.  Albert King had problems with other people, but not me.  He was a great gentleman.  I remember his hands were really huge.  He would shake my hand and it felt like putting it in a baseball glove.  I got to meet many other artists.  I met June Carter and Johnny Cash’s son.  I got to see my friend, Eddie Clearwater.  While on the cruise I got to hang out with Carey Bell, Bobby Rush, Ruth Brown, and Gatemouth Brown.  It was the most interesting time.  It was 4 am and we were sitting around telling stories about the Chitlin Circuit.  I could have sat there all-night listening to them.”

During the late 1980s, Jimi toured Germany with Luther Allison’s former drummer Donald “Hye Pockets’ Robertson, and then joined Big Walter Smith and the Groove Merchants.  Big Walter Smith became a father figure to him, and since Big Walter often referred to him as his son, and because they both had the name last name, people often thought Big Walter was Jimi’s actual father.  After Big Walter’s death, Jimi took over the band.  Also, during that time, Jimi made an album with Hyepockets on Ruf Records called Not 4 Sale.  It was while he was living in Minnesota that he adopted the nickname “Primetime”.

“I was playing in the house band at Blues Alley in Minneapolis and always dressed in suits.  One night I came in and my suit really struck the bartender.  He said, ‘Man—you look prime time!’  I decided to keep it and change the spelling of my first name because when people saw the name Jimmy Smith, they thought they were going to see the famous organist.”

As the leader of Jimi “Primetime” Smith and the Primetime Players he recorded Give Me Wings, which was a live album from a show at Blues Alley.  Also, while in Minnesota, Jimi frequently participated in the Blues in the Schools programs, introducing youth to the genre and educating them about its history.  And, in 2014, he was inducted into the Minnesota Blues Hall of Fame.  Jimi then went through several more musical partnerships.

“After my band petered out, I formed a band with Paul Mayosich and Hyepockets called the Rhythm Doctors, and we recorded an album titled Malpractice.  After that band broke up, members of the Rhythm Doctors joined with members of a band called Downright Tight  to form Famous Dave’s Allstars and wound up being the house band for Famous Dave’s venue three nights a week.  Then I started playing again under my name, opened for Coco Montoya, released an album called Back on Track, and later was hired to play with Bernard Allison.  I went on his European tour and stayed with him for about a year.  But he likes to have his band members close by geographically and I had decided I wanted to move to Arizona.”

After moving to Arizona, Jimi connected with an old friend, Bob Corritore.  They have a new album on VizzTone records titled World in a Jug.  It is receiving rave reviews, and Rock & Blues Muse note that they “nail the real Chicago vibe effortlessly…listening to every song on this release is a major priority”.

“I hadn’t seen Bob since the 1970s, and I went to his club for his birthday bash and sat in with him, and we’ve been playing together ever since. He asked if I wanted to put an album together and we put the list of songs together and when we listened to it it sure sounded nice.  He had the concept for the cover, and he has a graphic artist.  I like the cover, the layout and the music we played on it.  We also went into the studio with Anthony Geraci and Wes Starr to lay down some tracks.  That’s how he gets the ‘in the vaults’ stuff.  He does that until he figures out the right time to put things together.  When you have that caliber of musicians, that’s the best thing to do.  I’ve loved playing with Bob since day one.  He was born and raised in Chicago.  In fact, he was still there in 1979 when I left.  It’s just that we lived in that era and played with so many of the great musicians, so when we get together there’s that thing we have from Chicago.  It is in us—it’s just there.  When we get on stage there is something magical.”

Corritore echoed the belief that their life experience in Chicago adds to their chemistry together.

“We can talk about stuff that very few people could reference that was part of that scene.  The more we play, the more he is digging deeper and deeper into the well of the old school.  We’re constantly  unraveling new songs and finding new ways we can do something together.  He is a good man and a great player.  His style is just right there.  He has his own tone and the way he phrases.  And there is just this constant ‘cool’ factor that adds value to each of the tracks.  I’m don’t know how I’ve been blessed that some of the great Chicago blues guys come to Arizona, but we’re into a heavy Chicago blue band and people respond to it, and it’s been a joy to work with him.”

Jimi is open to using a variety of equipment when he plays.

“Everybody tries to buy the most expensive stuff or vintage just because it’s vintage.  If I go to a music store and pick up a guitar and I play it and it’s nice and feels good, I don’t care if it costs five dollars or a thousand dollars.  Right now, I’m mostly playing my Les Paul Epiphone and a vintage Strat.  I also have a Tele that I did up—I was channeling my mom with all those rhinestones, but mostly just use that Epiphone and my 1972 Stratocaster.  I also have a Le Doten custom Strat with the F-holes in it.  For amps I was playing out of Fender Deluxes.  I have two of those, but with my injuries and my back, I can’t haul that gear anymore.  I recently found an amp I’m happy with—it’s a micro pro-2 with one 12-inch speaker.  It only weighs 15-20 pounds.”

While he had numerous excellent mentors for his music, Jimi indicated that, like many other passionate musicians, he never learned much about the business side of the music industry, and still manages and books himself.

“I’ve been looking around.  I’ve talked to people about management and publicity.  I still do everything myself right now.  Really, all I want to do is play music and make people happy.  My happiest time is when I’m on stage.  I love the reaction of people when I’m playing and being with the people I love.  I got to play with all the greats.  I got the play at the Checkerboard Lounge, at Theresa’s, both of Buddy’s clubs and Kingston Mines. But I’m just a simple man doing the best I can. Playing is my life’s blood. If people enjoy me, well God bless them, and I love you all.”

You can follow Jimi “Primetime” Smith at https://www.facebook.com/JimiPrimeTime and purchase his latest album at www.vizztone.com.

Writer Anita Schlank lives in Virginia, and is on the Board of Directors for the River City Blues Society. She has been a fan of the blues since the 1980s. She and Tab Benoit co-authored the book “Blues Therapy,” with all proceeds from sales going to the HART Fund.

Bobby Rush – All My Love For You

Deep Rush Records/Thirty Tigers – 2023

www.bobbyrushbluesman.com

10 tracks; 41 minutes

All My Love For You, Bobby Rush’s latest album, features all original songs that, according to Rush, were written while he was “down with COVID” and reflected on where life is going to take him next. These new songs provide insights into a man who loves telling a good story and has fun doing so, while emphasizing the groove—that Bobby Rush funky groove—audiences have adored for more than sixty years.

Over the past ten years, this funk blues icon, now 89 years old, garnered numerous music industry nominations and awards—2 Grammys, a Blues Blast Magazine Lifetime Achievement award and 14 Blues Music Awards—along with countless accolades and other well-deserved publicity, and, in 2021, published an autobiography (I Ain’t Studdin’ You: My American Blues Story).

In an August interview on NPR’s All Things Considered, Bobby Rush was asked about his recent “fame,” his Grammys, and recording more music. Rush responded, “I have fun with everything I do. I have fun every day. Every day I get up is fun because when I think about what it could have been, I’m so thankful for what it is.”

He followed that up with, “Yeah, doing what I want to do and what I wanted to do all the time, was strip my music down to the bare storytelling.”

And much like his friend and current contemporary, Buddy Guy, Rush continues having fun and telling stories the way he knows best.

Bobby Rush (born Emmett Ellis Jr) is joined on this album by Dexter Allen (guitar and bass) and Joey Robinson (drums and keyboards). In addition to the guitar, Rush handles all vocals and, of course, the harmonica. Allen engineered the album, and he and Robinson were responsible for all mixing. This three-man ensemble’s superb musical skills are on display throughout this tightly produced record.

Themes of fun, funk, and love are found throughout the album. “Running In And Out” has that toe-tapping, funk-filled groove that is signature Bobby Rush. “TV Mama” is fun and fresh with Robinson’s grinding keyboard baseline, while Rush sings about loving his woman with the big wide screen. With its slow, steady beat, “You’re Gonna Need A Man Like Me” takes you back to those Delta blues standards from long ago, including a haunting melody, and ends with a terrific harmonica outro.

“I’m The One” touches each one of these themes with its robust story-telling, a driving backbeat, and sensational musicianship from this small studio ensemble. The song might be best described as a Bobby Rush anthem and may soon become a fan favorite wherever Rush performs live.

All My Love For You begins with “I’m Free,” an autobiographical insight into Rush’s boyhood and early years. Solid harp playing and that signature funk provide a strong start to the album. “One Monkey Can Stop A Show” features a standard blues draw with a heavy keyboard rhythm and a brass-inspired beat. Rush’s storytelling prowess is on display for “I’ll Do Anything For You” with its bluesy beat and call-and-response guitar riffs. The album ends with “I Got A Proposition For You,” a barrelhouse-inspired piano and keyboard number, which also highlights this small tight ensembles’ musicianship.

With All My Love For You, Rush proves that he is definitely The One—a gifted and talented artist who continues to bridge the past with the present. A true gift for today’s blues fans, Rush has earned the right to be called an elder statesman of the genre that is the backbone of modern American music.

Writer Ken Billett is a freelance writer based in Memphis. He is a Blues Foundation member and former docent/tour guide at the Blues Hall of Fame. Originally from Tampa, Florida, Ken writes about travel, music, and the Mississippi Delta.

Duke Robillard & His All-Star Band – Six Strings Of Steel

MC Records – 2023

www.dukerobillard.com

12 tracks; 45 minutes

Duke Robillard here looks back at music that influenced his development as a guitar player, across blues, R&B, jazz and soul. Duke never makes a bad record and this one is another goodie, recorded with his regular band who certainly deserve the ‘All-Star’ tag. Alongside Duke the rhythm section is Marty Ballou on bass and Mark Teixeira on drums, Bruce Bears is on keys, Doug James on sax and Chris Cote takes most of the vocals.

Although Barney Kessel is best known as a jazz guitarist, “Git With It!” is a rocking R&B instrumental with Duke’s twangy guitar set against Doug James’ tough sax work, a great opener, immediately followed by Smiley Lewis’ “Shame, Shame, Shame”, classic New Orleans R&B that fairly rockets along with vocalist Chris Cote delivering the familiar song brilliantly. Duke takes the vocal on “Lima Beans”, an obscure Chess recording written by Eddie Ware, expertly driven by the rhythm section. Chris returns to the mike for Chuck Willis’ “Love Struck”, the tune benefiting from Bruce Bears’ skill on the Hammond, a lovely sax chorus from Doug James and an aching guitar solo from Duke.

One of just two originals here, “In Perfect Harmony” is a soulful tribute to Duke’s wife Laurene, the other being an instrumental tribute to Telecaster maestros James Burton and Steve Cropper entitled “Groovin’ In The Swamp”. Duke spent a period of time playing guitar with Dylan, so “Watching The River Flow” is a natural fit, here arranged for Doug James’ bubbling baritone and guest Katie Shore’s fiddle. The baritone also features alongside Duke’s jazzy tones on the swinging instrumental “Billy In The Lion’s Den” (from the repertoire of jazz sax player Leo Parker) and the band adds Ska rhythms to Dave Bartholomew and Fats Domino’s “I’m Gonna Be A Wheel Someday”. Chris Cote’s vocal on the rocking version of Ike Turner’s “Take Your Fine Frame Home” is another highlight of the album before Duke takes his second vocal turn and plays some beautifully relaxed guitar lines on Lowell Fulson’s “Lovin’ You”. Duke closes the album with Link Wray’s classic R&B instrumental “Rumble’’, apparently the first tune he learned to play.

This is another fine album from Duke who remains one of the great guitarists on the current scene.

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.

Johnny Rawls – Walking Heart Attack

Catfood Records – 2023

www.johnnyrawlsblues.com

10 tracks; 35 minutes

Often described (not least by me!) as the last great soul man, Johnny Rawls returns with a fine album of soulful blues, reunited with The Rays, the studio band at Catfood, with whom he has recorded several albums. Six of the ten tracks were penned by Johnny and/or studio boss and bassist Bob Trenchard, one by fellow Catfood artist Derrick Procell, plus three covers from very diverse sources. Johnny handles all lead vocals (and plays guitar on two cuts) and is ably supported by Johnny McGhee on guitar, Dan Ferguson on keys, Bob Trenchard on bass, Richy Puga on drums, Mike Middleton on trumpet, Frank Otero on trombone, Nick Flood on saxes and Andy Roman who plays the sax solos; Jon Olazabal adds some percussion and Janelle Thompson and Shakara Weston are on backing vocals.

The title track is typical Johnny Rawls, lyrics about a woman that draws men “like a moth to a flame”; funky rhythm guitar, great sax work and the backing vocalists helping out, a great start to the album. Johnny and Otis Clay released a superb duet album (Soul Brothers) shortly before Otis’ untimely passing and Johnny reprises Otis’ best-known song, “Trying To Live My Life Without You”. One of the great Memphis soul tunes, Johnny does the song justice with a horn-heavy arrangement. “Free” is more of a ballad with delicate guitar work as Johnny thanks God for not having to “dig a ditch” and is happy with his lot in life. A funky groove underpins “Tell Me The Truth”, a classic cheating song that might have suited Albert King in his Stax period but is a Rawls/Trenchard creation. Johnny was the band leader for many years for OV Wright and continues to honor OV’s memory with a great cover of “Born All Over” which OV released in 1971. Written by Johnny Copeland, this superb soul song has been recorded by many artists over the years (Curtis Salgado comes to mind) and Johnny’s version is definitely their equal.

The horns are excellent throughout but the arrangement on Derrick Procell’s “Heal Me” is particularly impressive. You can really hear the additional percussion here and this is also the case on the next track, Johnny being ready to risk everything for the girl in question, convinced that “One More Sin won’t send me to Hell”. Quite the opposite case in “Lies” where, this time, he has been let down; a ballad with a warm arrangement that belies the despairing lyrics. Over the years Johnny has adapted some songs from the Rock world (the Stones’ “Beast Of Burden”, for example) and here tackles Springsteen’s “Hungry Heart”. The baritone sax underpins the tune which retains the insistent piano but speeds the arrangement up a notch and adds smooth backing vocals, taking the song for a trip down South from the Jersey shore. Johnny closes the album with a warm tribute to his native state in “Mississippi Dreams”, the backing vocals again a strong feature.

You always know what you are going to get with a Johnny Rawls album and this is another in a long series of outstanding discs over recent years: soulful vocals, fine band and good songs – what more could a soul-blues fan want?

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.

Guy Bélanger – Voyages & Other Stories

Disques Bros. 22301

www.guybelangermusic.com

11 songs – 50 minutes

A star in Canada since the mid-‘70s, Quebec City-based Guy Bélanger didn’t debut on record as a front man until 2008, but he’s proven to be one of the most stylish harmonica players on the planet. Always emotive and sweet while performing pyrotechnic-free, his chops have never been better than on this disc, the seventh in his catalog.

Guy’s a multiple harp player of the year in the prestigious Maple Blues Awards, and he’s best known to American audiences through his tours with West Coast multi-instrumentalist Bob Welsh, acoustic guitar master Doug MacLeod, Celine Dion and others. His 2017 CD, Traces & Scars, was selected by ADISQ, the non-profit that supports Quebec’s independent artists, as its instrumental album of the year.

Eight of the 11 tracks on this one are originals that are true blue with elements of funk and folk, and all of his work is full of rich, cinematic arrangements – several of which are instrumentals — that deliver far more azure treatments than the usual one-four-five format.

In addition to demonstrating his fluid work on the reeds throughout, Bélanger also delivers vocals on three of the tracks, and Sylvie Desgroseillers and Nanette Workman make guest appearances on the mic for two others. They’re backed by Rob MacDonald on guitar and dobro, Michel Dufour on percussion and Marc-André Druoin and Alec McElcheran on bass along with Bruce Cameron on keys and Claude Fradette on guitar, weissenborn and kalimba for a few cuts each.

The instrument “Bayou’s Ride,” a stylish reverie with Gulf Coast overtones, percolates to the open, providing space for MacDonald to shine as he trades riffs with Bélanger throughout. Most of the remaining numbers — beginning with Nina Simone’s “Do I Move You,” which follows – glide effortlessly forward at an unrushed pace. A strong Chicago-style feel propels that one as Desgroseillers delivers the lyrics in a manner that would have mind while Guy’s steady, unvarnished harp runs play counterpoint to the words.

“Kilimandjaro,” which pays tribute to the mountain while misspelling its name, soars slowly as it also honors one of Bélanger’s close friends who’s exhibited courage in the face of unspoken adversity. It yields to a brief, heavy drumbeat, which opens an uptempo, instrumental version of Jimmy Hall’s “Duck Soup” and gives listeners an opportunity to hear Guy at his bluesy best. McElcheran joins the roster for the first of four tunes for “How Do You Do It,” providing rhythm and vocals for his own composition. It expresses wonderment at a friend’s ability to overcome obstacles as easily as the person does.

The mood changes dramatically for “Nieve,” an slow-paced, lush number that slowly picks up tempo mid-tune before settling down once more. It flows into the ballad “No One Else,” which features Bélanger’s pleasant mid-range voice for the first of three consecutive tunes, and “I Can’t Make You Love Me” before he delivers a relaxed version of Slim Harpo’s “King Bee.” The lush instrumental, “The Sun Will Rise,” provides a little light during a time of trouble before Workman joins forced to deliver “Au Bout du Chemin,” a number that appeared in the movie Vivre à 100 Miles à L’Heure by Guy’s movie director brother, Louis.

If your tastes run to the classier side of blues, this is it. Enjoy!

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.

Robert “Top” Thomas – A Thin Dime

Independent Release

www.facebook.com/RobertTopThomas

14 tracks – 43 minutes

New Smyrna Beach, Florida native Robert “Top” Thomas has a long history of playing the blues having toured and recorded with Nobel “Thin Man” Watts, Lazy Lester, Bill Wharton, and Mark “Muddyharp” Hodgson among others. More recently he has performed with Victor Wainwright. He gained recognition as a member of Smokehouse, who released four albums in the 90’s that defined a new genre of Florida Swamp Blues. Those albums were released on King Snake Records and led to him being a member of The King Snake All-Star Revue.

Thomas says his influences include Lazy Lester, Lightnin’ Slim, Muddy Waters and Jimmy Reed. His focus with this album is to offer a tribute to the artists from the Louisiana swamps and the Delta.  Robert’s vocals are slightly gruff but certainly in keeping with the country blues he is presenting accompanied only by his guitar.

Blind Lemon Jefferson’s “One Thin Dime” is the opener and deals with the hard times that existed in Jefferson’s time. Son House’s “Death Letter Blues” is next up with Robert’s slide guitar powering the song. The traditional song “The Ballad Of John Henry” tells the tale of the legendary folk hero who worked on the railroad lines and took on a machine that was replacing workers. Robert’s version is certainly rousing. “Jack of Diamonds” is another traditional song that was popularized by Blind Lemon Jefferson and has multiple versions recorded in the 1930’s. The song is about a railroad worker who lost money playing a Conquian, a popular card game in the early era of the US.  The traditional songs continue with “Ella Speed”, which received its recognition when recorded by Lead Belly and later by Lance Lipscomb.  This is a true tale of the murder of New Orleans prostitute Ella Speed by Louis “Bull” Martin, a local bartender who shot Ella dead after a heavy night of drinking. Martin was sentenced to 20 years in prison.

Jimmy Oden’s “Going Down Slow” was first recorded in 1941 by Jimmy with Roosevelt Sykes on piano. Many versions have subsequently been released by performers such as Willie Dixon and Muddy Waters. The latter included it on his “The London Howlin’ Wolf Sessions” album, which Included Eric Clapton on guitar and Ringo Starr on drums. Bobby “Blues” Bland also recorded a version of the song in 1974 that reached the Top 100 on Billboard’s music charts and topping out at #17 on their R&B chart.

Mance Lipcomb’s “I Want to Do Something for You” is a story of a man trying to give a woman something, but she declines a home, a diamond ring, a Chevrolet, but ultimately accepts a Ford sedan. “Shine on Harvest Moon” is certainly a well-known song having received pop performances by Kate Smith and Rosemary Clooney and even Leon Redbone. He returns to performing another traditional song, “Baby Please Don’t Go” which was popularized by Big Joe Williams in 1935. As originally recorded, it is a story of a man facing imprisonment who begs his woman to not leave him and return to New Orleans. The song regained recognition in the 1960’s and 70’s when recorded by several of the British artists such as “Them” with Van Morrison and The Animals, and later by Aerosmith.

“I Ain’t Got Nobody” was copyrighted in 1915 by Roger Graham and Spencer Williams under the title “I Ain’t Got Nobody and Nobody Cares for Me”. Previous versions were copyrighted in 1911 by Clarence Brandon and Billy Smythe, and in 1914 by ragtime pianist Charles Warfield, both of whom used the shorter title for the song. In 1916, a publisher obtained the rights to the song and continued to list the Graham/Williams version as the official version that became a pop standard.

The Reverend Gary Davis’ “I Am the True Vine” is a gospel tune based on the Bible verse John 15:1 which states “I am the true vine, and My Father is the vinedresser”.  Roosevelt Sykes’s “Night Time Is the Right Time” is another one of those songs that has had many versions over the years. It was first recorded by Sykes in 1937. In 1957, Nappy Brown recorded a new version of the song with additional lyrics. Ray Charles then recorded the more upbeat version which reached the Top 100 on the Billboard charts and #5 on the R&B charts.

In 1927, Blind Willie Johnson recorded the autobiographical “Motherless Children”, which tells the story of children without a mother “wandering ’round from door-to-door”. Johnson’s mother died when he young and was blinded by his stepmother when she threw a caustic substance in his face. Versions of the song have been recorded by Eric Clapton and Rosanne Cash. Robert ends the album in a very upbeat fashion with Reverend Gary Davis’ “Oh Glory, How Happy I Am”.

Robert maintains the raw nature of the songs and delivers pure country blues. He hits all the right notes with the finger-picking style of acoustic guitar and slide guitar that is his accompaniment.

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.

Various Artists – Jingle All The Way

Blue Heart Records

www.blueheartrecords.com

15 tracks

Blue Heart Records and NOLA Blues Artists one again get to the studio to deliver another superb annual Christmas and holiday album featuring a great variety of original and cover tunes that will help make the holiday season bright. They’ve done these for several years and they are always atop the list of the best new Christmas albums every year. This new one adds to their record of delivering some great Xmas tunes!

The Texas Horns featuring Michael Cross do a great version of “Silver Bells” to start thing off. Great horn work makes this special. Benny Turner offers up an original entitled “I Want Some Christmas Cheer” which is a super blues cut from this great artist. Phil Specter’s “Santa Baby” gets a great cover by Lil Red & The Rooster. It starts off slow and sexy as it’s been done before but then the tempo picks up, slows down and speeds up a couple more time for fun.

Theresa James & the Rhythm Tramps out their spin on “I Saw Mommy Kissing Santa Claus.” It’s a fun rendition where James sings with passion and the band plays it up nicely.  Rick Vito offers an original rocking tune for the holidays called “I Was A Bad Boy This Year.” Rockabilly swing is the order of the day and it’s a fun ride. “Slim Down Santa” is another original by Jim Koeppel. It’s a jazzy, swinging cut.

Clarence Spady does Chuck Berry’s “Christmas” in a funky, soulful style that’s cool and well done. Bobby Gentillo then gives us James Brown’s classic for the holidays “Santa Claus Go Straight to the Ghetto.” Breathy vocals and cool bariton sax make this one sweet. A harmonica instrumental “Amazing Grace II” comes to us from Tomislav Goluban in a greased harp style.

Mark Cameron offers an original “Rick’s Place (Holiday Mix)” with some deep, dark spoken vocals, slick harp and nice guitar; cool stuff. “Merry Christmas Baby” by Laura Tate is delivered in a great, breathy fashion with some great honky tonk piano, killer sax and super guitar licks. A Vaneese Thomas original entitled “Peace and Goodwill” is a slow, powerful and soulful blues that will delight the listener. Outstanding vocals, excellent guitar and backing work by the band make this memorable.

“I’ll Be Home For Christmas” is next, done up by Peter Veteska with just he and some beautiful piano. He builds to a great finish in this Xmas standard. “River” is a great Joni Mitchell cut that Tiffany Pollock and Eric Johanson make their own. Ethereal vocals and subdued and restrained piano make this one special, too. The set concludes with the Texas Horns returning, this time with Theresa James. They perform Mark Kaznoff’s “Even Santa Gets The Blues” in a sultry and exceptional manner. The cupped trumpet and horns along with cool vocals make this one another winner.

Distributed by Betsy Brown and Blind Racoon, it is always a joy to receive the annual installment of NOLA Blues and Blue Heart Record Artists making Christmas bright. I loved this album and if you want a superb, bluesy Christmas album then look no further. Blue Heart Records has loaded up their sleigh with fifteen great tunes for Christmas including a half dozen original cuts that will certainly add to the memorable Xmas songs we will hear from year to year. Go get a copy of this now!

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.

Candice Ivory – When The Levee Breaks – The Music of Memphis Minnie

Little Village Foundation 

http://www.candiceivory.com

12 Tracks – 46 minutes

Lizzie “Memphis Minnie” Douglas was born on June 3, 1897, in either Tunica County, Mississippi or New Orleans, the latter location being her unsubstantiated claim. At age 10, she learned to play the banjo and by age 11, she had learned the guitar and started performing at parties. By age 13, she had run away from home to live on Beale Street in Memphis. From 1916 to 1920, she toured the South as part of the Ringling Brothers Circus after being found busking the Memphis streets. In 1929, Minnie began performing with her second husband, Kansas Joe McCoy. They were again discovered while busking by a Columbia Records talent scout. The duo recorded together until their divorce in 1935. By that time Minnie had become well established in Chicago. She toured throughout the south, imbuing many of her songs with double entendres. By 1941, she started playing electric guitar and helped influence the electric urban blues coming out of Chicago. She continued recording and playing concerts into the 1950’s, but times and tastes for younger musicians slowed down her demand. But she never laid down her guitar until she could no longer perform on it following a series of strokes. She died on August 6, 1973, in Memphis. Memphis Minnie was inducted into the Blues Foundation’s Hall of Fame in Memphis in 1980 and in 2007 was honored with a marker on the Mississippi Blues Trail in Walls, Mississippi where she was buried.  Buried in an unmarked grave, Bonnie Raitt paid for a headstone on her grave unveiled in a ceremony in 1996.

In recognition of the 50th anniversary of the passing of Memphis Minnie, Candice Ivory has stepped forward to celebrate her music. Candice was born in Memphis, but currently resides in St. Louis. She is currently a professor at Washington University in St. Louis where she teaches voice. Candice has previously released three jazz albums. Her music has been heavily influenced by jazz and blues guitarist Charlie Hunter. A young, impressionable Candice Ivory had been present at the 1996 headstone ceremony and made a strong impression on her as she sought strong women role models in a male-dominated field. But it was Charlie Hunter’s encouragement that led her to record this current album.

Charlie Hunter produced and played guitar and bass behind Candice Ivory’s vocals on the album. The remaining band members are DeShawn Hickman on pedal steel, George Sluppick on drums, and Brevan Hampden and Atiba Rorie on percussion. The songs are all originals from Memphis Minnie, but Candice brings a modern vibe to them. Minnie recorded over 200 songs in her career, surpassing any other female blues artist in her era. Candice says she sought songs that provided some optimism focusing on a few well-known songs but also diving deep into the catalog for some deep cuts. Candice is referenced as the Queen of Avant Soul, a reference to Clarence Avant, who was known as the Godfather of Black Music.

The album opens with one of Minnie’s biggest hits, “Me and My Chauffer” which was recorded by Jefferson Airplane on their debut album with original singer Signe Anderson performing the song. Candice introduces a unique percussive beat to the song that gives it an Afro sound. Hickman provides a nice slide interlude into the song. The title song “When the Levee Breaks” may be best known from the reworking of the song for the blues rock of Led Zeppelin. Candice’s version is again very primal with the driving percussion the rhythmic focus.

“You Can’t Rule Me” starts with the percussion in the lead, but quickly branches out into the full band with Hickman’s slide underscoring the song and leading into the guitar from Hunter.  “When You Love Me” features the acoustic guitar of Hunter backing Candice’s vocals, which is certainly reminiscent of Minnie’s own approach to songs when she performed as a duo.  “Blues Everywhere” continues the acoustic approach and is certainly a throwback to the intended era. Candice’s vocals bring the needed emotional approach to her finding blues in everything around her but concludes if “I find my good man, I won’t have blues anymore”.

Candice finds a wailing voice with a gospel overtone on “Crazy Crying Blues”, on which she expresses her pain as she “…is going crazy, just can’t help myself” with Hickman’s slide and the percussion punching bullets into her expressive cries. “World of Trouble” finds her “out in the cold, cold weather…with no place to go.” and cries “Lord, have mercy on me”. Hickman’s slide and Sluppick’s drums provide the rhythm for this one. “Pile Driving Blues” is one of Minnie’s not-too deeply hidden double entendres. Hunter’s electric guitar provides the lead.

“Hole In the Wall” is a soulful blues with an easy rhythmic beat. “Hard Down Lie” is the most straight-forward blues number on the album. Candice’s vocals ring out with the slide offering an almost Hawaiian style to the backing. “Hoodoo Lady” starts with a duo approach with Hunter’s guitar and Candice’s vocals, but slowly builds to bring in the rest of the band. The album concludes with “New Bumble Bee”, a re-imagining of another one of Minnie’s double entendre songs as “he has all the stinger I need…and when he makes his honey, oh how he makes me scream.” Here the song is given a sort of reggae beat.

Candice certainly has the proper voice and reverence for Minnie’s music. As noted, the songs vary from a straight traditional approach to a style unique to Candice. But I feel certain that every song would meet the approval of Minnie.

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.

Scott Weiss Band – Raise Your Hand

Independent Release

www.scottweisband.com

11 Tracks – 49 minutes

Scott Weis grew up in New Jersey and moved to New York where he became a touring guitarist for many blues and rock artists before deciding to go out on his own. He released his first solo album in 2006 with band members Robert Kopec on bass and Roger Voss on drums and performed as The Scott Weiss Band. In 2011, he shifted to an alternate sound focused on a New Orleans funk and soul. That band is currently referenced as Scott Weiss and Soul Krewe, but initially was also just called the Scott Weis Band.  That band features Andy Pace on drums and Todd Lanka on bass. The initial line-up released two albums and the revised line -up released three albums prior to 2020. In 2020, Kopec and Voss rejoined Scott in the Scott Weis Band and released “Simmer Me Down” in that year, while the Soul Krewe also continued to perform. The result from those combinations then saw a Soul Krewe release, “Sugar Shack” in early 2023 and now for Scott’s eighth album, the Scott Weis Band has released “Raise Your Hands“.

In 2011, Scott suffered a broken neck in an accident that left him uncertain of ever being able to perform again. The release of an album “Almost There” occurred prior to that accident and received considerable attention. That gave him the drive to be able to get back to performing. In 2012, he received a call from Dickie Betts to open some upcoming shows for him.

“Raise Your Hands” contains eleven songs written by Scott and two covers. The opening song “Motherless Child” features Scott’s slide guitar work with guests Cindy Mizelle on vocals and John Ginty’s keyboards. Mizelle and Ginty continue on the second track “Shine Down” as Scott sings “after all is said and done, I have to believe my love will shine down on you”. Percussionist Bashiri Johnson, who has recorded with Sting, Aretha Franklin, Steve Winwood and many others, joins Scott for “Judgment Day”, a song that would comfortably fit on a ZZ Top album.  Ginty and Johnson again joins on “Raise Your Hands” with Scott shredding the strings on a swampy blues rock number. He says, “Set a course to the bayou, water up to my thighs”.

The first cover is The Beatles “With A Little Help from My Friends” which famously was also a successful recording for Joe Cocker. Here Scott’s gravelly voice more closely approximates the Cocker version of the song with Sarah Smith sharing the vocals and Ginty’s organ sailing under the vocals. On “Mindless”, Scott attacks the vocals in a near speaking tone as he says he is “walking two steps short of insanity” and the band turns up the distortion in reflection of the lyrics. On the funky “Bitch Please”, he declares that he is “under her spell”.

Cindy Mizelle returns to sing alongside of Scott on “Lost Myself”, another blues rocker as he says he is “riding on a shooting star” and “lost myself in loving you, need to find my way back home”. He then begs her to “Stay” “…with me tonight”. The second cover is “Have You Ever Loved a Woman” which was originally written by Billy Myle and first recorded by Freddie King in 1960 and later became a regular part of Eric Clapton’s repertoire here is given a rock version and Scott breaks out his harmonica while again burning up the strings. Scott breaks out the dobro and Robert bringing out the double bass as he takes the music back to a classic blues on “Bring Me Home”.

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.

Jhett Black – Babel

Rumblestump Records

www.jhettblackblues.com

11 tracks

Rootsy, gutsy blues offered up with a deep baritone voice and modernized Delta Blues sound, Jhett Black offers a unique take on music. Heavy, dark and brooding music with ten new tracks and a Freddie King cover are featured on this album.

Black hails from the Southwestern US and his music is described as Southern Gothic. Blending the sounds of the Delta, Hill Country, underground roots rock and Gospel. Black delivers powerful performances.

The lineup is sparse. The band is Black on all instruments except drums and Dusty Skins is on drums. Black leads the band with deep, dark vocals. Bass and harp are added on one track by Robbie Coleman and Joe Waters and one another is Dena on bass, keys and percussion.

There are songs with some Biblical themes like “Eve,’ the title cut, “Wayward Son” and “Devil Ain’t An Only Child.” they are dark and even hypnotic at times. Then there are driving, hot cuts like “Sonic Tonic,” “Roll Out,” “Mamma Told Me Not To,” and “12 Bar Blues Again.” Lastly, slower and dark tracks like “Eulogy: and “Gold” change the pace. The common thread is deep, resonant vocals, driving, forceful guitar and throbbing beats. Sometimes it feels like devil is speaking to us and other times it’s other times it’s just heavy, emotional stuff. Unique stuff.

Freddy King’s “Going Down: gets a work over with a Blacks resounding voice and howling tones. The guitar rings, but in a deep and dark manner, concluding a dark album filled with mostly guitar and drums. For the most part there is no bass, just the tribal and rhythmic sound of percussion and guitar and howling vocals.

It’s certainly a different album.  If you want something new and way out of the norm, then perhaps this needs checking out. It takes traditional sounds and styles and transforms them into a dark and deep world of it’s own. It truly is blues, but coming from the depths of a troubled part of the soul.

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.

Dom Martin – Buried in the Hail

Forty Below Records

http://www.dommartin.in

11 tracks – 40 minutes

Belfast, Ireland blues guitarist Dom Martin has immediately taken the UK blues scene by storm in his short period of published works. This is his fourth album since his initial release in 2019. That first effort led to him being named the Best Solo/Acoustic act at the 2019 European Blues Awards. In 2022, he was the UK representative at the International Blues Challenge in Memphis, where he was the runner-up in the finals.   His 2022 album, A Savage Life, led to five nominations at the 2022 – 2023 UK Blues Awards and his selection as the Blues Instrumentalist of the Year and the Acoustic Blues Act of the Year. He was the opening act for Eric Gales during his 2022 UK tour.

Dom’s guitar work has been compared to fellow Irish guitarist Rory Gallagher and his vocals are compared to John Martyn and Van Morrison. While recognized for his work with the acoustic guitar, he is equally adept with the electric guitar. His power trio is rounded out by Ben Graham on bass and double bass and Jonny McIlroy on drums. Ten originals also prove him to be a top-notch lyricist.

The album opens with a short, quiet instrumental “Hello in There”, which just introduces the listener to his guitar work and has a calming effect as you listen to children happily laughing and playing in the background. His slide guitar and warm vocals with the pulse of McIlroy’s drums leads into “Daylight I Will Find” as he states that “It Ain’t about the money, brother I ain’t made a dime.” “Government” is another soft acoustic guitar run where he expresses his concerns for the current state of world politics without making a protest. He just notes “It’s time to call it a day / I’ll own up to it / It makes me sick to my stomach”.

“Belfast Blues” is a look back at Dom’s past life. The music rocks out as he opens with the statement “In and out of places I never should have been / shot, stabbed and burned out / I got those Belfast blues again.” Willie Nelson’s “Crazy” is the sole cover on the album. Dom said he wanted to perform the song as it was always one of his favorites. There is nothing remotely country about his version as remakes the song into an all-new creation with a vocal that brings Tom Waits to mind while maintaining the lyrical content that starts slow and spins off into an electric guitar run.  He follows that with a powerful electric guitar riff that moves into “Unhinged” as he dices backstabbers “saying hello, it’s all for show” and “Playing stupid games”. “You know you’re falling hard, falling slow”.

“The Fall” moves back into a stunning acoustic sound interspersed with short silent breaks. The song deals with the way people treat each other as he begs “…take my hand before we lose it all / We’re ready for the fall.” “Howlin’ ” is Dom’s tribute to Howlin’ Wolf, written in Wolf’s style as he praises “Ain’t no one can ever be this man”. “He be howlin’ all night long.”

The title song, “Buried in the Hail” is an emotional look into Dom’s mind. Voices mix with his guitar offering an effect of turmoil as his guitar builds in intensity. “Lefty 2 Guns” is a hitman searching the streets for you. “you won’t see him coming / You won’t see his face” “If he’s got your number, you’re a dead man walking”. Dom’s guitar offers a menacing run. The album finishes as it started with a short acoustic instrumental “Laid to Rest” that plays as a denouement to his previous gangster tale.

Look closely at the album cover. This provides a strong depiction for the last three songs of the album. Then listen again to the album for there are many nuances hidden amongst the sound and the lyrics that are exposed on repeat listens. This is an album that deserves your rapt attention and not just played as background music.

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.