Andrew Duncanson (featuring Michael Peloquin) – California Trap

Run It Back Records – 2025

www.andrewduncanson.com

13 tracks; 52 minutes

When Champaign, Illinois native sons Andrew Duncanson and Michael Peloquin reunited on the 2019 Blues Cruise they realised that their musical styles might work well together. Andrew is the vocalist/guitarist for The Kilborn Alley Blues Band and The Dig 3, both based in Illinois, while Michael moved to the Bay Area where he was a first call sax player in both jazz and blues for forty years (he has recently returned to the Midwest). On that 2019 cruise Andrew was singing with Mike Welch following the tragic death of Mike Ledbetter and Michael was knocked out by his soulful voice, suggesting that they should make a record together at Kid Andersen’s Greaseland studio. Fast forward to 2022 and the first session, Andrew arriving with a bunch of new songs, Kid and the Greaseland All Stars ready to make those songs into something special. With horn arrangements by Michael, eight songs were recorded in two days, Andrew returning a month later to complete the album. There are eight new originals from Andrew, plus two Kilborn Alley tunes re-worked, one written by Michael and two covers. The band consists of a rhythm section of Derrick ‘D’Mar’ Martin on drums and Jerry Jemmott on bass, Jim Pugh and Baxter Robertson on the keys and Kid Andersen on guitar throughout as well as filling in wherever needed across a huge range of instruments. Andrew sings on all tracks and plays guitar on five: the horn section is Michael on sax and harmonica, Mike Rinta on trombone, Mike Rose or Ed Morrison on trumpet and Doug Rowan on baritone sax; background vocals on five tracks are by Tia Carroll, Lara Price and Lisa Leuschner-Andersen, plus The Sons Of The Soul Revivers on one further cut; Paul Revelli replaces D’Mar on drums on one track. The album was co-produced by Michael and Kid.

Andrew’s eight new songs kick off with “Relearning To Climb” which places his soulful vocals front and center, beautifully framed by the backing vocals and warm horns while “Naw Naw Naw” is outstanding (despite the odd title), a catchy tune with a singalong chorus and Michael’s tenor strongly featured. “Hold Me Back” has Michael’s harp over tenor/baritone saxes, another soulful tune which harks back to the glory days of acts like Sam & Dave, before the title track, “California Trap” slows things down for a blues in which Andrew suspects that, after all, California may just not be for him, despite the sunshine and outward appearance: “Can’t find a job, can’t find a place to stay, but I got California sun on my face all day”. Kid plays some tough guitar, the horns setting a low backing of trombone and bari sax, Baxter Robertson playing some great blues piano too. “Outer Space” has some appropriately spacey sounds from a variety of strange instruments played by Kid and Michael and “Feelin’ Better Now” is perhaps the bluesiest cut (with something of a debt to Big Bill Broonzy), a stripped-back number with harp, piano and Andrew’s guitar. The full horn section reappears on the dramatic “Next Life”, full of lyrical flourishes like “blood and tears on the guitar frets”, Andrew really emoting about what purpose his life holds, and what the next one may bring.“More Lows Than Highs” and its chorus of “sure as shit, and houseflies, there’s more lows, more lows than highs” is lyrically pessimistic but a super rocking tune with the saxes to the fore and Andrew taking a short, sharp guitar solo.

The title track of the Kilborns’ 2010 album Better Off Now was always a soulful tune but with the addition of the full horn section it becomes almost anthemic, making a great end to this album. “Town Saint” was originally on The Tolono Tapes in 2017; here it has the swagger of a funky New Orleans tune with the horns, including a fine trombone solo. Michael wrote “What Kind Of Man”, a ballad about redemption, the central character getting himself out of the hole he is in, finally becoming the man that his woman deserves.

There are two covers. Woody Guthrie’s “This Land Is Your Land” will be familiar to everyone, but this is a very different take on it with a funky backbeat and female backing vocals, but it works, mainly because of Andrew’s great vocals. Mighty Mike Schermer’s 2015 song “It’s A Pleasure” has Kid playing everything except drums and harp and The Sons Of The Soul Revivers adding their gospel harmonies to a warm song with a lovely chorus: “No matter where this road may end it’s a pleasure to call you my friend”.

Overall this is a very impressive album that deserves to do well. Watch out for it in those end of the year awards lists, not least the Blues Blast Music Awards!

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.

Murray Kinsley & Wicked Grin – Eye of The Storm

Phoenix Records

www.wickedgrin.ca

6 Tracks – 30 minutes

Murray Kinsley and Wicked Grin are a band based in Ottawa, Canada. The band leader, Murray, provides the lead vocals and guitar and on tracks 1 & 3, he plays the cigar box guitar. Laura Greenberg plays bass and vocals. Dave Tettmar plays drums & percussion and also adds vocals and on track 6, he plays keyboards. Steve Marriner adds harmonica on four tracks. Jesse O’Brien plays keyboards on tracks 3 and 5, and Zeek Gross plays horns on track 4. In 2019, the band represented Ottawa at the IBC in Memphis where they were a semi-finalist. Their 2019 album, “Murder Creek” was also a semi-finalist for Best Self-Produced cd at tat year’s IBC. In 2014, Wicked Grin was named Best New Group at the Maple Blues Awards.  Laura has twice been named Bassist of the Year at the Maple Blues Awards.

Eye of the Storm is Wicked Grin’s fifth album. The album opens with a cover of Ray Wylie Hubbard’s 2006 song, “Snake Farm”. The band wisely changes the sound and jumps deeply into the swamps for the song. The song tells the tale of Ramona, who worked at the Snake Farm, which he describes as “It Just sounds nasty…Well, it pretty much is…It’s a reptile house”. Ramona is the woman he loves as he tells “Ramona’s got a keen sense of humor, she got a tattoo down her arm, it’s of a python eatin’ a little mouse wearin’ a sailor hat that says snake farm”. Murray immediately lights up the song as he comes ripping out on the slide cigar box guitar.

On the blues rock song “Dance with Me”, he asks her to “take my hand and dance with me”. Steve’s harmonica is a standout on the cut. Murray pulls out his cigar box guitar again on “Dressed in Black”, which gets a boogie going as it discusses the disparity that exists between men and women.

The horns take the lead with Murray advising that you must “Hold On” as he addresses the erosion of women’s rights. “Friday Blues” is a Chicago -styled love song as he asks her “take my hand, you know I love you”. The album concludes with “Blues for Sorrow” an acoustic showcase addressing the innocent victims of war and strife. Murray asks “How can I know your pain? We all have a road to walk. I see your hatred, see no end, I sing the echo of the years, no one wants to bend.”

Murray’s voice is somewhat reminiscent of John Fogerty with a slight growl permeating the songs.  They obviously have no trouble addressing the political atmosphere that exists today. The music is solid blues rock.  The band makes a strong accompiment.

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.

John Heussenstamm Blues Band – Live – Orphan Boy

Self Release

www.johnheussenstamm.com

9 songs time – 57:13

California native John Heussenstamm’s blues band were nicely recorded live at Our Place in California. John has a long list of music credentials, including being the lead guitarist in The Surf Punks and as a member of Denice Williams’ band. He is a top-notch guitarist, although a bit dry and dead pan in the vocal department. He has gathered three excellent band members in Jon Garner on harmonica, Dave Kaplan on bass and Bobby Breton on drums. John wrote four of the songs with the rest being cover songs. John’s production is crystal clear for a live recording.

The stars of the show are John’s unquestionable guitar skills, Jon Garner’s harmonica chops and the rock-solid rhythm section. They maintain a loose blues groove on “Retail Blues” with a unique guitar tone, first rate drumming and up front bass. It is kind of an unusual subject, but it is timely. The title song “Orphan Boy” is taken at a slow pace, giving the guys a chance to stretch out given it coming in at seven minutes and change. Harmonica moans over the guitar chording. After a bit of the vocal John launches into a virtual guitar class as his technique is on display.

“Hurried Laundry Blues” is an upbeat shuffle, although it is kind of an awkward subject. None-the-less the music saves the day as usual. “Funky Gene’s Tune” by written by Gene Dinwiddie is an instrumental featuring the uncanny interaction of guitar, bass, harmonica and drums. Country picking guitar meets-jazz-meets-blues in a seamless manner. Dave Kaplan lays down some funky bass lines that tie in perfectly with the drumming. Eddie Boyd’s classic “Five Long Years” is taken in a slower direction without the tension in the vocal and stretched out, allowing for creative soloing via guitar and harmonica.

The first thing I noticed on “My First Blues” was the snap of the snare drum. The song kind of moseys along, abetted by country-ish guitar fills. Freddie King’s “Sittin’ On The Boat Dock” wouldn’t have been my first choice for a Freddie King cover, although the instrumental portion is satisfying. What is a blues concert without including a Jimi Hendrix cover? It is interesting to have harmonica brought into it, considering it is usually a vehicle for guitar. It fits as it is a blues. That being said, John’s guitar skills are well represented. The guys boogie out with a variation of Canned Heat’s “On The Road Again”, this time called “On The Road Too Much”. John jumps right in with a brief biting guitar solo. It is not lost on me that his voice bares a resemblance to Alan Wilson, but not sour sounding. It includes a spoken section near the song’s completion.

Although the vocals lack blues energy, the music is the saving grace. The band is a well-oiled blues machine. After repeated listening, the vocals are a minor quibble. Enjoy some well executed live blues.

Reviewer Greg “Bluesdog” Szalony hails from the New Jersey Delta.

Dan T. and the Crew – Legacy

Plan-iT Records 2024

www.dantreanorband.com

57 minutes

Largely underground blues musician Dan Treanor, a guitar and harp player for over 60 years, produces honky tonk, country, and funky blues on Legacy (2024), with the help of almost 50 musicians he has shared with the stage with over his career, including his band, The Crew.

While some of the songs fall short or don’t quite hit right, solid vocals permeate the LP, and Dan T and the Crew deliver several excellent funky blues tracks, powered by saucy and solid percussion. If you come for anything, come for the allstar bonanza of blues harp solos.

On “My Blues”, several layers of funky music intermingle, including whaling electric guitar and solid drums, complimented by smoky vocals singing “I’ve got nobody I can call my own. I got no place that I can call a home. I’ve got the blues.” The dark gritty vocals, reminiscent of Lou Reed and Bob Dylan manage to be rugged yet smooth. Dan T plays a delightful harmonica solo, Andras Csapo plays reverberating, soulful organ, and Rod Buncker plays biting fugel horn.

“Brand New Day” opens with rhythmic harmonica. The laid back, hopeful blues tune features Michelle Castillo, singing “Let the good times roll. Chase the blues away”, soft and tenderly, with a touch of soul and splashes of piano, dancing up and down the scale.

Fiery drums and harmonica intermingle on “Hey Babe”, forging a saucy, rhthymic tapestry of sound. Kyle Borthick’s performance on drums demands attention, forming the backbone of the song, aided by Dan T’s flurry of guitar. Dan, with lament, sings “You treat me woman, like a worn out shoe. I don’t even know what you want me to do… You got me running everywhere. Hey baby, what’s on your mind this time?” The song projects an irresistible beat – hip shaking, swinging music.

Perhaps the most unique and strongest musical contribution to the album is “Harpoonin’ The Blues”, a dynamic display of harp prowess from 12 different harmonica players. This gem is for fans of blues harmonica, demonstrating an assortment of harmonica solos traversing the capabilities of the instrument and its unique flavors. The influences of Little Walter, Sonny Boy Williamsonn, and James Cotton are clearly heard in various interpretations

Ripping harmonica blows open “Black Night”. A balance emerges from the smoky female/male vocals of Merrian Johnson and Rex Peoples, and the song barrels through with high momentum, like the unstoppable tears of a lover abandoned. The organ sounds amazing in this powerhouse of soul as the harp meanders softly, but with soul. Johnson cries out “Black night is falling… All I can do is break down and cry”, while Peoples sings “I’m stepping into the dark… I’m such a fool for losing you.”

Employing the same country roots feel of some of the weaker tracks on the album, “Rollin’ Again”, features Dan T and Frankie DeJoy with raspy voices, full of character, singing in a conversational tone about how they would “dive right in” if the “river was whiskey and we were diving ducks.” The track strays from the blues and lacks the funk and charm of some of the blusier tunes.

“Natural Clown”, as the name may suggest, is jovial good-spirited blues., with a catchy hook. Slow, meandering orchestration backs up Nic Clark’s vocals, as he sings, somewhat surreal, “Oh mama, can it be?.. I can feel it going down. I’m just your natural clown.” Dexter Payne’s clarinet takes up a lot of space, giving a loose, eccentric atmosphere.

“My Life” fails to pack a punch and Dan T forgoes singing, for a monotone voice. The track is slightly redeemed by Lionel Young’s performance on violin, which also aids “Careless Love Redux”, a tasteful melody of strings, harp, and guitar, but led by the violin.

While some tracks lack some gumption or soul, Legacy by Dan T. and The Crew on the whole provides funky, harmonica-driven blues – the artistic accumulation of over 60 years as a blues professional.

Writer Jack Austin, also known by his radio DJ name, Electric Chicken (y Pollo Electrico en Espanol), is a vinyl collector, music journalist, and musician originally from Pittsburgh.

There is an abundance of musicians in New Orleans.  Some say there must be something in the water, because if you have grown up there, it’s a given that you are musical in some way. And it’s not unusual for many of those musicians to have great singing voices. However, it is relatively rare for a voice to stand out as being soulful enough to place it in the league with living legends like Irma Thomas and Cyril Neville.  Sierra Green is arguably one of those voices.

Sierra grew up singing in the Nazarene Missionary Baptist Church as young as eight years old.  While some of her other family members also sang in the church choir, none were professional musicians, and Sierra was never given any formal singing lessons.  Her natural talent caught the attention of the choir director, but even with that encouragement, she wasn’t initially positive she would make music her profession.

“Mr. Clyde was our choir director.  He must have seen something in me, because he started to give me solos in the church.  The best thing I learned from him was not to be afraid and to push myself.  While I loved singing in church, I wasn’t sure I would try to make it my career.  I went to college for psychology, and I wanted to become a child psychologist.  I initially studied for two years at Dillard University, but then Katrina hit, and I ended up having to relocate to Oklahoma City.  Then I attended Oklahoma University for a year but had to drop out and work.  I just couldn’t afford to keep attending school.  It was one of the saddest things I had to do, but I had to survive.  I worked as a manager for convenience stores, Walgreen’s and Target, but then realized that I wanted to sing more.  Many people from New Orleans had relocated to Oklahoma City, so people were starting to invest in bars and venues where there could be live music.  It made me realize that I wanted to go home.  My big break happened when I returned to New Orleans and was busking outside of the House of Blues, just singing acapella. This guy passed and asked me if I had a band, and I lied and said I did, so he offered me a gig.  I just started asking musicians if they could come support me for this gig, and those same musicians ended up being my first band for a year and a half.”

Her persistent busking, seven days a week, led to her earning the title ‘Queen of Frenchman Street’, which was an honor bestowed on her by fellow musician Jake Gold.  Her first band was called The Sierra Leone Experience but soon changed to the name Sierra Green and the Soul Machine.  Her current band is called Sierra Green and the Giants.

Sierra’s very first vocal influence had been Whitney Houston, but Etta James, Billie Holiday, Chaka Khan, Al Green, Aretha Franklin, Sharon Jones, and Irma Thomas were also significant influences, as she loves that “old school sound”.  Approximately nine years ago, Sierra had the opportunity to work with Irma Thomas.

“There were these auditions for the play about her life, called Simply Irma.  I wanted to try out for the role of Ruth Brown and for the audition I had prepared one of Irma’s songs to sing for the director, not knowing that Irma, herself, would be there.  So, I had to sing her song in front of her.  Luckily, she liked the way I sang it, and they gave me the role of Ruth Brown.  Irma has become like an aunt to me.  I was always able to sing, but I was shy and didn’t know how to work a room.  She taught me how to hold the microphone and work the room.  She gave me stage presence.”

In a relatively short period of time, Sierra was offered opportunities others wait decades to achieve, including playing Jazz Fest several times and touring with Devon Allman and Duane Betts as part of the Allman Family Revival.

“This year will be my fourth time playing JazzFest.  It’s special because it is a part of my culture, in my neighborhood and I get to have my family and friends all see me on that stage.  It’s a big deal for them to get to see me there.  And the Allman Family Revival has spoiled me, taking me all around the world.  We’re going to Europe next, and I’m excited because I’ve never been to Europe.”

However, Sierra’s musical journey hasn’t always been easy, and like other women in the industry, she has faced her share of sexist attitudes from venue owners, bookers and promoters.

“When I first started, nobody knew who I was, and they wouldn’t listen to me. And I had to walk away from some situations that just didn’t feel right.  I told Mike Perez he would have to act as my manager at first.  He would push my name.  They would hire him, but then I would be the star of the show.  Thank God I haven’t had to deal with that lately. I’m getting more seasoned in life, and I know business from not business.  To all the females in the industry, stand on business.  You don’t have to adhere to a man or anybody if you’ve got skills. If it doesn’t feel right, it ain’t right, so just walk away.”

Like many other musicians, Sierra struggles to balance her touring career and family life, as she has an eight-year-old son.

“He’s eight years old going on thirty-two!  He’s one of my main inspirations and motivations.  The success is great, but it’s very much bittersweet.  I’m pretty much a single mother and it’s hard to tour when I’m leaving a big part of my life behind.  It’s hard to leave your heart at home.”

Sierra’s first album, Sierra Green & the Soul Machine, was self-released and copies are now difficult to find.  However, it received the honor of being one of only 30 albums to be featured in the New Orleans’ Public Library’s special curated music platform, Crescent City Sounds, which is focused on local musicians.  Her latest album, Sierra Green & the Giants:  Here We Are, was produced by JD Simo and David Torkanowsky, and was released on Big Radio Records. It contains an intriguing version of the Allman Brothers Band’s song, Dreams.

“I’m a singer, not a writer, but every song on my first album was taken out of my diary, so they are very personal songs.  Mike Perez just took what I had written and was able to turn that into songs.  One of my favorite songs from that album is Take a Chance.  It was basically my plea that I’m a great entertainer—I need you to hear me and take a chance on my music.  For the latest album, my management (a joint effort by Rueben Williams, Adam Shipley and Jude Chauvin) just told me they were sending me off to Nashville to record.  JD Simo is a good friend of theirs and they have worked with him for a long time.  He is great fun to work with and loves my vocals, so it was easy letting him produce me.  He allows my creative space to open up, when I want to do something different.  For example, my management thought I should do an Allman Brothers song, so I sang Dreams, but I did it the way I would do it.  I made it my own and they loved it, so I feel good about that!”

For future projects, Sierra plans to try her hand at songwriting.  While she has had numerous fantastic opportunities, she noted that there are still dreams she would love to accomplish.

“I wish I had the opportunity to work with Whitney Houston before she died, but if there is one living person that I wish I could open for, it would be Leon Bridges.  He’s a great artist with an old Al Green-type voice and sound.  I just like his voice and what he sings about.  He sings about love and cherishing a woman, and I like his tone.

And, while she is now getting to travel all over the world, Sierra holds a very special fondness for the music and people of New Orleans.

“I’d like to do a special shout out to all of the musicians that I have ever worked with.  I feel like I’m moving in my life and in my spirit and only moving up from here, but I want to let them know I won’t forget those good times and they can always call on me.  The music of New Orleans is special.  We celebrate everything with music, even death.  It doesn’t take too much to have a celebration.  We celebrate everything about life and death, whether it’s good or bad, we’ll turn it into a poem.  Whether it’s a happy event, or you divorced your husband, it’s party time and it’s a good escape.”

Want to learn more about this passionate and dynamic singer with the “old school” influence?  You can find out where to catch Sierra Green’s shows and purchase her latest album at www.sierragreenandthegiants.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.