Frank Bey – Peace

NOLA Blue Records

www.nolabluerecords.com

11 tracks

Frank Bey left his home in Georgia at 17 for Philadelphia where he performed and was with the Otis Redding Revue and then the Moorish Vanguard; he left the music business for 17 years and he returned in 1996 to Philly and released his first and second albums. He moved to California in the midst of health and music business issues and hooked up with Anthony Paule and they went on to release a trio of albums from 2013 to 2015. In 2018 he moved to NOLA Blue records and released a super pair of albums with them in 2018 and 2020. His afflictions caught up with him and he passed in June 2020.

This is his eight solo album and ninth album overall if you count the one he was on with the Moorish Vanguard. Bey was a superb soul singer who can move from the sublime to explosive power in just a few measures. His vocal prowess was amazing. These tracks are a collection of sorts, coming from four music sessions.

The first song is an Anthony Paul creation. Bey, of course, is on lead vocals there and throughout the album. Paule on guitar, Tony Lufrano on organ and keys, Nancy Wright on tenor sax, Tom Poole on trumpet, Mike Rinta of trombone, Endre Tarczy in bass and Paul Revelli on drums with Loraelee Christensen on backing vocals are a force to be reckoned with.

Two cuts were done at Greaseland with Rome Yamlov and Andersen on guitars, Jim Pugh on electric grand piano, Lorenso Farrell on Wurlitzer, Jerry Jemmott on bass and Derrick “D’Mar” Martin on drums. Vicki Randle, Lisa Leuschner Andersen and Christensen are backing vocalists. Vicki Randale is on percussion  and Aki Kumar and June Core are clapping on the first cut. On the latter track, Wright is on sax,  with Jack Sanford, John Hableib is on trumpet and on trombone is Ric Feliciano.

Six cuts feature Bey with Jeff Monjack on guitar, Kevin Friesen on bass, Thomas Jefferson or Kevin Sullivan on drums and many others on horns and keys. The other two have Brian Wolfe on drums along with Monjack, Friesen and the host of others.

Bey gets off to a rousing start with the Anthony Paule Soul Orchestra behind him. The horns blare and Paule’s guitar blazes in support. Bey sings with passion and feeling as gets the ball rolling with grit and emotion. Great hook! Produced by Paule and mixed by Kid Andersen, it’s a great song. “One Thing Every Day” follows, an upbeat cut about making one thing every day to make the world a better place. This and John Lennon’s “Imagine” cover were produced and mixed at Andersen’s Greaseland. It flows and bounces with great backing vocals and Bey leading the fray. Jim Pugh on keys and Andersen on guitar flesh this out nicely. “Imagine” closes the album in a soulful and emotive rendition with Pugh and Lorenzo Farrell on keys and Andersen on guitar. Bey sins with power and vibrant feeling. The horns are plentiful and do an amazing job.  The sax and guitar play back and forth and Bey intersperses his vocals sweetly with them.

Six tracks are mixed by Tom Spiker and produced by Kevin Frieson and Jeff Monjack.“Midnight and Day” has Monjack playing some slick guitar licks and a great organ groove is provided by Doug Travis. “City Boy” is a stripped down acoustic cut with Monjack on acoustic guitar. Bey sings this ballad with equal feeling to the other cuts. Sark “On The Harp” Damirijan closes the cut out with some solid and soulful harp and Bey howls out the last few lines to complete this somber and cool cut.  “Blues Come Knockin’” is a bigger cut with more harp, but this time it’s in your face as is Monjacks’s guitar and Jay Davidson’s keys.

“Bad for My Soul” is a duo acoustic track that sounds like it came right out of the Delta with Bey and Monjack delivering a super cut. “”Blues In The Pocket” is the nest of their tracks, and this a funky soul piece with nice organ and a couple of saxes along with electric guitar and a bass groove making it special. Bey howls and delivers the goods, too! Sam Cooke’s “Change Is Gonna Come” concludes this sextet of cuts and Bey is very much up to the task. He delivers a special performance with power and soul, being restrained when he needs to and letting it all hang out when appropriate. Some great guitar and organ help sell this one.

This is a killer collection of songs. They range from laid back to in your face. They range from traditional and acoustic to heavy funk and soul. They range from great to even greater.  There are no clinkers here. Fantastic original tunes and exceptionally tasteful and amazing covers. There is nothing not to like here. Bey is likely to get nominated for his eighth Blues Music Award and another BBMA with this album. It is truly a winner and showcases the talents of this amazing musician who is physically lost to us but will remain in our hearts and souls with his music!

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.

 Blues Blast Music Awards Submissions 

Submissions from artists and labels for the 18th Annual Blues Blast Music Awards are open until May 31st, 2025.

Albums released between June 1. 2024 and May 31, 2025 are eligible this year.

Submit your music now. Click this link: www.bluesblastmagazine.com/blues-blast-awards-submission-information

Daddy Mack Blues Band – Doctor’s Orders

Inside Sounds

www.insidesounds.com

13 songs; 43 minutes

Doctor’s Orders is Daddy Mack Orr’s eighth CD, released at the young age of 79. Having not made much music as a combined result of the Covid-19 pandemic, running his own auto repair business and simply getting older, Orr’s receipt of a Lifetime Achievement Award from the Memphis Blues Society in 2023 prompted him to assemble a group of various musicians who had performed or played with Daddy Mack over the previous two decades and to record Doctor’s Orders.

Orr takes lead vocals and lead guitar duties, ably supported by Matt Isbell and James Bonner on guitar; Brad Webb and Harold Bonner on bass (Webb also turns his hand at various times to some excellent slide guitar, dobro and acoustic guitar); Billy Gibson and Elmo Lee Thomas on harmonica; John Gage and Paul Brown on piano and organ; Andrew McNeil, Kevin Houston, Fast Eddie Lester and Charles Gage on drums; and Charles Ponder on backing vocals. EJ Dyce and Carl Wolfe add trumpet and saxophone respectively, while Candice Ivory shares the lead vocal slot on the sassy “Finish What You Started (Don’t Stop Now)”.

Produced by Eddie Dattel, Wally Ford and Matt Isbell, the album was recorded at Inside Sounds in Memphis, TN in November-December 2023, with recording and mixing by Kevin Houston and mastering by Jeffrey Reed at Taproot Audio Design in Oxford, MS.

The Daddy Mack Blues Band has been an institution in Memphis since the 1970s and, on the evidence of Doctor’s Orders, it’s easy to see why. This is down-home and funky old-school blues, with a rawness and simple depth of emotion that is often missing from or diluted in modern blues-orientated music.

The album kicks off with the near-instrumental “Let Me Pull A Few Strings”, which acts as a showcase for Webb on slide guitar, Gibson on harp and Orr on guitar.  This leads nicely into the funky, 80s-esque “Boss’s Wife”, before the slide-driven title track on which Orr humorously attributes his health to his love of blues music and how the blues can heal us all. The Memphis soul of “Givin’ Up On Givin’ In” features some great backing vocals from Charles Ponder while the acoustic “Mississippi Woman” has a gloriously warm back-porch vibe, recalling the way “Oreo Cookie Blues” stood out on Lonnie Mack’s otherwise fully electric 1985 release, Strike Like Lightning.

The Daddy Mack Blues Band’s primary wheelhouse, however, is the mid-paced shuffles of the likes of “All Over Me” and “Backup Plan”, which the band play with genuine authority.  The slightly slower “Country Boy” underscores how one could easily imagine a long evening lost in enjoying this band play a lengthy set, with the focus on Orr’s Albert King-inspired guitar playing.

The album ends with the rollicking, proto-rock’n’roll of “I’ll Be On My Way”, which is a fine way to close a highly enjoyable, highly impressive release. Definitely recommended.

Reviewer Rhys “Lightnin'” Williams plays guitar in a blues band based in Cambridge, England. He also has a day gig as a lawyer.

D. Scott Riggs – Somewhere Not Here

Pure Panhandle Music

www.dscottriggsmusic.com

15 Tracks – 57 minutes

D. Scott Riggs is a resident of Pensacola, Florida. He has played throughout the peninsula in various bands and as a solo artist. On this album, he is playing as a solo artist. He plays resonator guitars, acoustic guitar, 12-string guitar and banjo and provides all vocals. The album contains all original songs he wrote to deal with the unexpected loss of Cheryl, his wife. He decided the best way to deal with his grief was to write songs to express his loss, the loneliness, regrets and grief.

He declares to God on the opening track that it is “Hard, So Hard Sometimes” ‘to understand your plan sometimes” as he is backed solely by his resonator guitar. He then cries “Lord, I long to be “Somewhere Not Here”. He continues his pleas with “Lord, Did You Hear Me Moan”, a brief instrumental. On “Troubled, Troubled”, he states that “Lord, I am lost, I can’t seem to find my way. She is gone Lord, help me live another day”.

He finds “Just Enough to Face the Day” in another brief instrumental which then shifts into his proclamation that “No One Knows the Pain in My Heart” and “your words won’t set me free”. He says, “These Walls Don’t Own Me” but they hold me back just the same”. “The memories still linger inside our home”. He then laments the “Things I Never Said”.

“In My Darkest Hour”, he prays “to get me through the day”. “Will you help me understand, please take my hand, lead me through this pain”. “The Breaking of the Day” is another instrumental leading into “I Will Rise Now You’re Gone” offering a slightly more upbeat sound as he starts to look forward even as ” I will always hold you dear”. “Pray For Another Day” is another short musical interlude.

“In The Crescent City with You” is a remembrance of a good time and a wish that he could spend another day like that with her. “Repose of The Soul” is another short instrumental leading into the closing song “Goodnight My Angel, Good Night” as he sings, “It is hard to let you go”.

Riggs voice is a deep bass growl, that does serve the music well reflecting the pain and grief he is expressing. The music is old school pure gospel associated blues. While I can appreciate the intent of the album and can express the hope that it did serve to release some of the loss he feels, it is not an album that I would likely to turn back to myself. His loneliness and grief are transmitted in the music and could serve others that might be in similar times of despair, but those feelings reflect back to other times and losses that many of us probably have had and are not ready to return to.

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.

Steve Howell & the Mighty Men – Yeah Man

Out of the Past Music OOTP 0020

www.stevehowell.ws

12 songs – 47 minutes

A master finger picking guitarist who fell in love with country blues at age when he first heard Mississippi John Hurt in 1965, Texas native Steve Howell has built his career on breathing new life into the classic music from the past. And he and his Mighty Men continue on their mission with this easy, breezy set.

And there’s a surprise around every corner with his choice of songs, which ranges from gospel and blues standards from the ’20s to rock, doo-wop, Windy City and jazz, too. Steve’s love for jazz, in fact, imprints it into his light-and-steady single-note runs. And his warm, albeit weathered tenor is slightly behind the beat, adding steady swing to the mix, too.

Howell’s veteran lineup include three musicians who were mentored by legendary producer/musician Jim Dickinson and have been playing with Steve for years when not working in other projects. Electric guitarist Chris Michaels and drummer Dave Hoffpauir both got their starts in Shreveport, La., where Chris played bass behind Cab Calloway, Martha & the Vandellas and other touring acts.

Now based out of Little Rock, Ark., as is bassist Jason Weinheimer, Dave worked and recorded with a host of top talent. And Jason, who holds down spots in multiple other bands, operates Fellowship Hall Sound in Little Rock, where this disc was engineered, mixed and mastered. All three provide backing vocals.

Howell gives Blind Lemon Jefferson’s “Long Lonesome Blues” a warm-and-fuzzy update to open. And it slides easily into the soulful cover tune, “Yeah Man,” which was penned by tunesmith Eddie Hinton, best known for his work as lead guitarist in the Memphis Shoals Rhythm Section. Steve turns it into an acoustic burner as it encourages a friend to live life to the fullest and to go after whatever goals he has.

J.B. Hutto’s driving stop-time boogie, “20% Alcohol,” takes on new appeal through Howell’s funky attack and a rock-steady beat. Then he seamlessly turns back the clock to the ’50s for a laid-back, soulfully instrumental version of The Clovers’ monster hit, “One Mint Julep.” The loping, country-flavored “Little Ol’ Wine Drinker Me” — which was a hit for actor Robert Mitchum in 1967 – follows before giving way to a Texas two-step version of “I’m Glad for Your Sake.” It’s an interesting version, considering the tune first appeared in 1937 and was a chart-topper for the Sir Douglas Quartet in 1968.

Howell stays in the ’60s and puts a down-home spin on “Just Like Romeo and Juliet,” a doo-wop crowd pleaser for The Reflections, before delivering an instrumental take on sax player Cannonball Adderley’s “Mercy Mercy Mercy,” which flows steadily from note to note.

Bo Diddley would be surprised with what Steve does with his “Dearest Darling” while keeping his seminal, but slowed rock-steady beat. The tempo turns to two-four time for a sprightly reading of Clyde McPhatter’s “Lover Please” before a reading of the familiar gospel number, “Wade in the Water.” The album closes with a bright, instrumental take on Bob Dylan’s early hit, “Chimes of Freedom.”

Give it a listen and you’ll be saying Yeah Man. It’s familiar, pleasing and mellow, 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.

Though Nellie Travis’s road to success has been rough, her childhood was filled with the kind of familial love that provided her the foundation to withstand disappointments with a character-building drive. It has held her in good stead, and she has carried her brand of tough love throughout her formative years up to the present. Her trajectory from the little all-black town of Mound Bayou, MS known as the “Jewel of the Delta” to Los Angeles to Chicago has been well-documented in the Oct. 4, 2012 and Aug. 1, 2017 issues of Blues Blast Magazine and is now chronicled in her memoir, “The Life Of A Blues Diva Told By A Southern Girl.”

Catching up with her five years after her move to Atlanta, one might say after enjoying her recent appearance in the Windy City, that Blues woman Nellie “Tiger” Travis has mellowed. Somewhat. Read further.

We caught Ms. Travis’s performance at the University of Chicago’s Logan Center for the Arts “Southern Soul” concert on a cold and blustery February night and her hot-buttered Blues went a long way to easing the outside chill. Dressed all in white – sequined pants and a diaphanous blouse – with its crisp summer vibe, Ms. Travis gave a warm and welcoming performance.

Nellie was back. Back in town, back after the Covid era, back on our song list. And better than ever. Though suffering from a severe bout of laryngitis on her arrival only the night before (“I didn’t think I’d be able to sing tonight”), her voice at showtime was full and strong. And her stage command powerful, yet surprisingly casual. Halfway through her set she kicked off her heels and went barefoot because she felt like it, even on that wintery night. She finished her set with a rousing finale, shoeless and unfettered.

Nellie – one of the premier Blues and R&B singers in the land – looked great, sounded great and it felt great to hear her again after her absence from Chicago. We couldn’t wait to reconnect to find out more from her. How has she been, how has the move affected her, what were the reasons for moving, when can we see her perform again? And when can we expect a new CD?

We found Nellie in a reflective mood as she shared her history. Chicago had been a place of much growth after the tragic death of her mother during a performance event for Koko Taylor. Taylor virtually adopted Ms. Travis and became her mentor. Later, influential Chicago WVON radio DJ Pervis Spann crowned Nellie “Queen of Chicago Blues” after Koko Taylor’s death in 2009, which had deep meaning since it had first belonged to Ms. Taylor.

“Oh, I was blessed to inherit that mantle, and I took it to heart. Koko had meant everything to me.”

After these of ups and downs in the Windy City, Travis felt the winds of change beneath her wings and decided on relocating.

“Though Chicago was good to me, I moved to Atlanta in 2019, just before Covid hit. I have certain ambitions that I’m still working on, though some have changed.”

“You know, Tyler Perry’s here in Atlanta with his film production company and all. And I can’t say that my move here didn’t have anything to do with that fact. It started one day before we were leaving Paris and I’m looking at my Facebook page and everybody’s saying, ‘Oh, Nellie, Tyler Perry’s talking about you.’ And I’m going like, ‘Yeah, right. Tyler Perry.’ And they’re saying, ‘No, really.’ So I said, ‘He’s probably talking about the rapper Nelly,” she laughed.

“So I Skyped my daughter-in-law and asked her what was going on. Sure enough, she found an interview clip from the Steve Harvey radio show. Kym Whitely was interviewing Tyler as his character Medea and asked him, ‘What is it you’re doing right now, my dear?’ And Medea says, ‘I’m working now with this artist called Nellie “Tiger” Travis and she has a song called Mr. Sexy Man.’”

“Then he started singing some of the lyrics – Hey, Mr. Sexy Man, what ‘cho name is? and said that he loves that song. And, oh my God, it just blew my head up. Now I use that clip as an introduction every time I sing that song!”

While she admits she hasn’t met the movie mogul, she says she’s seen him in town.

“I have some friends who work over at his studio, so I could go visit him. But I’m happy for this sound clip. He gave me a shout-out; he did that for me,” she says appreciatively.

Travis’s relocation has also not come without longing for connections.

“I do wish my sons would have come to Atlanta with me because they could have been a big help. But, you know, they got their lives. My oldest son and my baby son are in Chicago. My middle son is in California now and he has the oldest kids. I have two granddaughters that are in college. My baby son is eventually going to come. He knows a lot of the computer and media stuff to help me out. I just don’t trust people to care of what I need in this regard anymore. They don’t know enough about what I need but they’re charging me like they do. In the end, I don’t get satisfaction unless someone is keyed into my specific goals. This business is a roller coaster ride.”

Roller coaster ride notwithstanding, Travis is an exceptional songwriter, which fuels much of her performing brilliance. The main source for her ballads and rhythm tracks is her own life.

“My music means the world to my fans and to me. They love my lyrics. Both men and women tell me how my music has impacted their lives. That is because I know what people like, and I know what gets the crowd rocking.”

“I mostly write when I’m by myself. At times I’ll catch something when I’m totally blank. But when I catch on to it, I go with it. I take my recorder with me all the time because a lot of times when I go out, I’ll hear something. I could be sitting in the car singing and something will pop up. But then, if I don’t have that recorder in just a few seconds, I forget it.”

“I’ll even dream music and when I wake up, I’ll have to latch onto it quickly or it floats away. So, you can see that music comes to me unexpectedly – anytime, any place.”

A prolific writer, she is in the process of recording at least three songs with a look towards a number of albums in the near future. Her two newest prospective singles include “I Wanna Be Free” a gorgeously melodic track that reminds us of Marvin Gayes’ breakout “What’s Goin’ On”. Hip and catchy, it is brilliantly sung with heartfelt soul woven through an infectious beat that won’t quit. In addition, “Just Watch My 1 Two Step,” has a trail-riding beat that has sure-fire hit all over it.

“All they gotta do is ‘Watch My 1 Two Step,’ Nellie says with assurance.

“I’m still editing them,” she admits. ‘’I’m going back next week, and I might just do another one while I’m there. I’m recording these first few in Virginia with a couple of friends of mine.’’

Beyond writing and recording, Ms. Travis has also been performing in recent months.

“I went on the Blues Cruise in January, and got a chance to play with my favorite Brooks Brothers! Yeah, Ronnie and Wayne Baker Brooks; and I got to meet Kenny Wayne Sheppard. It was just awesome. I hung out with them and when Ronnie had a show in Atlanta, I went to support him. I haven’t left the Blues, I still got them all the way; they will always be in my soul.”

Travis also supports women singers that she sees coming up.

“I’ll also go and check out the female vocalists here. You know, all the younger girls coming out love me because they look at Nellie Travis and see how I dress and they’re like ‘You’re just always wearing good stuff; where are you shopping?’ I just say, ‘All over!’ It’s nothing that I brag about, I just get dressed up because that’s me, I like to look good. So, they have a great deal of respect for me, which makes me feel great.” And it goes further than that. “Now a lot of them want to do collaborations with me and I might do that.”

“I’ve been trying to find a way to get it set up so that I could do that for the young women to keep them from having to go to through the business struggles I’ve gone through over the years. That would be a fantastic achievement. I wouldn’t have to worry about people doing whatever or saying whatever because I’d be doing my own thing and bringing my artists in.”

When pressed if she appears around Atlanta to share a stage as she did in Chicago back in the day, Nellie say no.

“No, not really. They’ll twist my arm a little to make me sing, but I try not to do that. I’m preserving my professional status.”

An exception to that rule inspires an anecdote that leads the diva to a larger point.

“Then again, there was the case when I went to see Derek “The Changed Man” Smith and he was singing and just killing it. I mean it was just so sacred; it was just beautiful. So, I’m in the audience, and he asked the band if they knew the Etta James classic “I’d Rather Go Blind.”

“Well, he asked me to come up and sing it and, of course, I couldn’t say no. And everybody just lost their minds; I mean crying – people were crying! It’s funny because it’s the same thing that happened to me at the Chicago Blues Festival, when I sang the National Anthem in June 2017. And when I sang “I’d Rather Go Blind” that time, I looked down in the pit and a photographer was crying too. And there was rain coming down and it was like tears from heaven. That’s the good thing about singing; knowing how you feel about certain things. Music always makes me feel good.”

Not only does Nellie “Tiger” Travis feel good in music, she feels empowered to record five albums in different genres in the coming years: Country, Southern Soul, Blues, Trail Riding and Gospel.

“My thing is mostly blues and R&B,” she sums up on her website. “But I always did different genres of music never had a classification in mind. People love every genre of music I do and pick what I am to them.”

As for more upcoming appearances, Nellie will be celebrating a special day with a 65th Birthday Extravaganza Concert at the Camelot Banquet in Hickory Hills, IL on May 31st (678-557-1846 for tix). And there will be more to come in the Chicago area around this time once contracts are signed.

Last, but not least, Ms. Travis, was happy to remind us that her long-awaited memoir was published in March of 2024. Titled “The Life Of A Blues Diva Told By A Southern Girl,” it is an inspiring tale of her long journey from a little town in the Deep South to becoming both Queen of Chicago Blues and a Queen of Southern Soul.

“It’s on Amazon,” the authoress says gladly “and I’d love for people to know where I’ve come from. I am proud of my roots and my birthplace. I visit my hometown of Mound Bayou every year now. They named a street after me in a ceremony on July of 2023 which makes me feel so honored.”

Her musical road has been a long one and not without its stumbling blocks.

“As for right now, I guess you could say I’ve mellowed about not allowing certain stresses into my life that cause pain,” Ms. Travis asserts. “Satisfaction comes with accomplishment and, yes, I am happiest on stage, and I have plenty of projects and music to make. But I am not immune to the hurt and anger caused by certain aspects of this business. Unfairness and abuse still take place for musical artists, even those of high stature. Especially women, which cuts so deep.”

“But I won’t submit to it; I am still a Tiger when it comes to that. I adopted my nickname for a reason, you know. So, while some edges have softened a little, my protective side has not. I still have to fight through this constant struggle. I still got my Tiger.”

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.

Guy Verlinde & Tom Eylenbosch – Promised Land Blues

Bandr Music BANDRCD01

www.guyverlinde.com

11 songs – 40 minutes

Guy Verlinde and Tom Eylenbosch captured top duo in last year’s Belgian Blues Awards with a sound buried deep in tradition. But they hold nothing back on this sweet, swinging album, speaking their minds through socially critical originals that work perfectly with tunes culled from the American songbook.

With 17 previous albums to his credit, Guy’s in his late 40s and had been a major figure in Europe for decades because of his unique ability to connect with audiences through live performance. Headlining major clubs and festivals, the guitarist/percussionist has shared billing with B.B. King, Tony Joe White, Santana, Canned Heat and dozens of others.

Tom is only in his mid-20s but has been teaching piano professionally since his mid-teens and delivers intricate melodies and vocals to the mix. Nicknamed “Brittle Bones” because of health issues in childhood, he found solace in the music of Otis Spann, Jerry Lee Lewis and Dr. John. He doubles on banjo and washboard, too.

They’re joined by guest appearances by harp players Olivier Vander Bauwede and Steven Troch and upright bassist René Stock with Tammy J. and the John Olus Gospel Choir providing backing vocals.

A straight-forward blues with timeless appeal, the original opener, “Heaven Inside My Head,” finds Verlinde shedding all his doubts, fears and more and finding peace of mind at last. Eylenbosch’s runs on the 88s reflect his joy. Things go immediately go south from the downbeat with the slow-blues “Tears Over Gaza.” Guy emulates Spann at his emotion-packed best as Tom describes “watching genocide on TV…they’re killin’ innocent children and letting the murderers go free.”

Troch joins the action for a traditional reading of Blind Boy Fuller’s “A Worried Man Blues” and shines on the positive, uptempo original, “I’ve Got You,” which celebrates the fact that that’s all Verlinde has to know. Mississippi Fred McDowell’s “You Gotta Move” – about the inevitability of death – darkens the mood despite it’s sweet, finger-picked delivery as does “Reckonin’ Blues,” which foretells of a storm coming – whether barometric or political — and the need to take action in order to survive. Bauwede shines mid-tune.

Things get quiet and somber as Eylenbosch’s extended keyboard solo opens “Gotta Let You Go,” which mourns the end of a relationship and the necessity to move on, and dovetails with the uptempo country blues, “Hard to Admit,” in which Guy confesses to his lady that he’s not correct all the time. Eylenbosch’s two-fisted barrelhouse delivery helps ease the pain of making the admission.

The original, stop-time “Do That Boogie” finds Tom driving the action, and it would have fit perfectly in a playlist in the ’50s, but brings the happiness in this disc to an end. “Pursuit of Happiness” deals with “life being a bitch, I confess,” before Eylenbosch’s gentle runs on the keys support “World Goin’ Wrong,” a stark warning about our troubled times.

Sure, there’s darkness here, but there’s plenty of fine, fine musicianship, too. A winner on all counts!

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.

Victor Puertas and Luca Giordano – Night Time Boogie

Blue Crawfish Records

www.lucagiordanoband.com

11 tracks

Luca Giordano, Victor Puertas and the Netto Rockfeller Trio offer up a superb set of originals and tasteful covers for us to enjoy with this album from 2024. Recorded in Brazil, this is one heck of a great album!

Luca hails from Italy, Victor and the trio are from Brazil and they join forces to deliver four songs penned by Giordano, one by Puertas and a half dozen truly delightful covers.  Luca moved to Chicago at 25 and worked with great Chicago Blues artists including Sharon Lewis, Willie “Big Eye” Smith, James Wheeler & the Rosa’s Lounge All-Stars  and many more. He returned to Italy and tours the globe with his music. Puertas has become one of the big names in the music scene, playing blues other forms of African American music in a number of bands and ensembles. He has shared the stage with many notables, including Gary Primich, Little G Weevil, Steve James, Nathan James, Mark Hummel and many more.

Luca and Victor share the lead vocals. Giordano is on lead guitar and Puertas is on harp and piano. The trio are Netto Rockfeller on guitar, Guilherme Ambrózio on bass and Danilo Handem on drums. Mayra Aveliz backs vocals on the Sam Cooke tune.

“West Armitage Shuffle” features a beautiful interplay between harp and guitar as Puertas and Giordano strut their stuff. “Night Time Boogie” is a grooving, smoking hot tune. The harp is slick, the backbeat is cool, the guitar is super and the boys sing up a storm. The harp is the biggest standout here but the guitar gets time to shine, too. Puertas fronts the band for the Sonny Boy II cut “I Don’t Know.” He sings with authority and Giordano lays out some mean licks on his guitar before Puertas gets his harp into action. Another fine track! Luca leads Big Maceo’s “Kidman Blues,” a swinging and jumping blues. Puertas plays piano and Giordano give us some mean licks to appreciate here. More good stuff!

Giordano leads us through “Offline” as he trades vocals with harp licks from Puertas. Puertas blows with a bluesy greasiness that is just outstanding. Next is the eternally cool cut “You Send Me” that is crooned out sweetly by Puertas. The guitar solo is well done, Puertas supports the cut on piano with another solo and the trio backing them all do just fine! Eddie “Cleanhead” Vinson’s “Kidney Stew” follows, another swinging cut with great guitar, vocals and harp.

“Inside Stuff” follows, a slow and delightful blues sung by Luca and delivered with a gritty and authentic Chicago blues feel. He bemoans eating Chinese food; Victor blows some truly grimy and dirty harp that is just astoundingly good AND LATER Giordano’s guitar rings sweetly. The original Sonny Boy’s “She Was A Dreamer” is next. Puertas handles vocals and the quintet jumps and jives nicely with this one. More excellent harp and guitar for our listening pleasure and the piano accompaniment is fine, too. Big harp soloing is a joy to listen to once again. “I Had A Dream” returns us to the world of “Cleanhead” Vinson. A somber, slow blues that wafts along prettily with guitar and piano accompanying Puertas’ vocals. Giordano is up first on soloing and it’s a super and emotive set of licks as Puertas fills in on his piano before making it an instrumental duet. ”We Came Here To Party” concludes the album. The tune is hot and jumping with piano striding, harp blaring and guitar ringing Puertas sings and the boys do a great job in support. Puertas and Gioradano let it all hang out and they rock and have a great time with this one.

I loved this album. Giordano spends a lot of time touring and playing in Brazil and he, Puertas and the trio are tight as hell in playing together down there. They deliver some fine tunes. These guys may not play here in the U.S. much but you can enjoy their CD or stream the music on the major streaming platforms. These are some great songs played by some really amazing musicians. I highly recommend this album!

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.