Lil’ Ed and The Blues Imperials – Slideways

Alligator Records – 2026

www.liledblues.com

13 tracks; 49 minutes

Lil’ Ed sets the tone right away on his first album in ten years. On the lead track, “Bad All By Myself”, he’s come home late with whiskey on his breath and it’s the final straw for his baby. She’s headed out of town on the Greyhound bus. Forevermore the mystery of the blues is: why do we laugh and dance to others’ misfortune? Escapism, a word to the wise, commiseration, the groove is just that good? We can see the banana peel, but Lil’ Ed, that loveable, raffish ne’er-do-well in the fez doesn’t see it coming.

The Blues Imperials have been around for almost 40 years, but their music is refreshing. They harken back to an era that some of us fell in love with the blues, real barroom Chicago blues. The addition of young buck Ben Levin on piano on four tracks like “The Flirt In The Car Wash Skirt” and “13^th Street and Trouble” adds to that timelessness and authenticity. Levin also contributes organ ably to four other tracks. Whether he’s tearing it up on “Car Wash Skirt” or letting it weep on the Willie “Longtime” Smith tune “Homeless Blues”, Lil’ Ed Williams’ trademark slide guitar is still the affecting, identifiable centerpiece of the band. He’s got his mojo workin’ on the up-tempo, silver lining tune “Make A Pocket For Your Grief”. 12 of the 13 songs are originals, written or co-written by Williams.

“Wayward Women” is a warning to stay away from those curvy sirens looking lure you in and break up your marriage. “Crazy Love Affair” and others have a vintage Hound Dog Taylor feel. You know a record is important to the label when Alligator President (Bruce Iglauer) produces it himself, along with the artist. Slideways is a late-career highlight, it compares very favorably to the other nine albums in Lil’ Ed’s Alligator discography. Slideways was recorded, mixed, and mastered in Chicago. It sounds like the band just plugged-in and turned it loose, no studio tricks here. It’s a fun, organic record. Many of the songs are enjoyable, but it’s probably “Bad All By Myself” that will hang around in the general blues repertoire.

Lil’ Ed and the Blues Imperials were elected to the Blues Hall of Fame in 2024 and continuity has been key, with James “Pookie” Young (Ed’s half-brother), guitarist Mike Garrett, and drummer Kelly Littleton have been in the band for over 30 years and are all present and accounted for on this one. In a challenging environment for professional musicians, they’ve kept the train chugging joyfully down the track. They continue to tour, with a nationwide trek this spring starting in mid-March and rolling through late June. Are these guys just your favorite band from the bar down the block or are they superheroes from another blues dimension? Yes and yes.

Writer Dave Popkin is a Music News Reporter for WBGO FM in Newark/New York. He is a regional judge for The Blues Foundation’s International Blues Challenge and is a singer in the NJ-based band, Porch Rockers.

Jonathon ‘Boogie’ Long – Courage In The Chaos

Myrical Records – 2026

www.boogielong.com

11 tracks; 46 minutes

Louisiana’s Jonathon Long was a child prodigy who jammed with Kenny Neal at 10, toured with Henry Turner and Luther Kent from 14 and released his debut album in 2012. After a second independent album Jonathon released two albums on Samantha Fish’s label, Wild Heart Records. After a gap of five years he now returns with this album, produced by former LeRoux member Jim Odom on his Myrical Records imprint. Jonathon handles all the vocals and guitar and wrote nine of the tunes here. There are three bands; Jonathon’s regular band of Corban Barnes on organ, Bo Burkes on bass and Brian Brignac (plus second guitarist Brice Pastorchik) were recorded live at New Orleans Jazzfest; two studio bands also support Jonathon; Nelson Blanchard on organ, David Ellis on bass and Terence Higgins on drums; John Gros on organ, Allan Maxwell on bass and Doug Belote on drums. Several of those names will be familiar to followers of New Orleans music.

Jonathon’s music ranges from the boogie tunes that his nickname suggests through to Southern Rock and plenty of riffs that come from both rock and blues sources. As is now the trend, the album was previewed via three single releases: “A Fool Can See” harks back to 70’s rock with a core riff over which Jonathon layers two separate solos; ‘Baby I’m Through’ features Jonathon’s vocals and more vibrant guitar on a rather more melodic tune; “Hell Or High Water” is a boogie tune which races along, Jonathon determined to make it back to his girl “When I get there, baby, I’m gonna wrap you in my arms… ready to engage in things I might regret”.

On “Insanity” the central riff provides a great backdrop for this tale of struggling to stay in control of one’s emotions as Jonathon delivers some exciting guitar as well as delicate acoustic picking on the outro, his vocals really expressing the angst of the lyrics. In similar vein Jonathon declares that “The World Is A Prison”, yet “when I’m gone I’m gonna miss it”, all delivered with striking guitar work. The hard-driving “Tomorrow” is another strong boogie tune whilst two slow ballads break up the album: “Drinking Through” has heartfelt lyrics about broken relationships and a slow blues-rock tune with dramatic guitar finds the singer reading a goodbye note written in “Lipstick”.

The two covers are both excellent. Michael Burks’ “Empty Promises” was recently covered by Christone ‘Kingfish’ Ingram, but Jonathon’s take on the tune is well worth hearing, his vocals particularly good here on the familiar tune, and the guitar right on point. The other cover is the Marshall Tucker Band’s “Can’t You See”, a tune firmly in the Southern Rock style, well played by the band, the organ offering fine support to the guitar and vocals. A little crowd noise betrays that “Catfish Blues” is from the Jazzfest set. The title may be familiar but this is a JL original with its roots firmly in the blues as Jonathon has fun with lots of hot guitar and some scat singing too, all leading to a rousing finale, both to the live set and to this album.

Clearly this is not a straight blues album, but if you enjoy strong vocals and guitar, touches of Southern Rock and plenty of toe-tapping riffs, you will certainly enjoy this one.

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’.

Johnny Max Band – Johnny Max & His So-Called Friends

Self Released

www.johnnymaxband.com

12 tracks/41 minutes

Johnny Max is John McAneney and this is his eighth release and the first since 2019. He began his musical journey in the 1990s. The album features this Toronto based artist and many of his friends, at least the so-called ones, who supported him on this effort.

Johnny Max is on lead and backing vocals, Jim Casson is on drums, percussion, organ bass, loops, and backing vocals, and Bill Evans plays piano, organ, and Wurlitzer. Mitch Lewis is on guitar, acoustic guitar, and guitar solo on two tracks. Dylan Wickens adds his guitar and guitar solo to four cuts. Wayne DeAdder has three tracks wth his guitar and solo work and one on backing vocals. Neil Chapman is on one cut for guitar and guitar solo. On bass is Steve Goldberger; Russ Boswell is on electric bass for one track and another on bass and another on upright bass. Brass instrument players are N. Jay Burr on tuba and Dave Dunlop on trumpet. Also on backing vocals are Suzie Vinnick, Quisha Wint, and Sabine Casson (who also adds hand claps). Nan McAneney does commentary on the second cut.

Max tells his woman, “You Can Do Better Than Him,” a honkytonk piece with his stylistic vocals. A little slide guitar, added guitar and piano make this one fun. “How the Other Half Lives”  is a driving, rocking cut with Max howling out the lead vocals. It jumps an swings nicely. A heavy guitar solo is featured here along with some big organ and some call and response.

“I’ve Said All The Sorrys I’m Gonna Say” is a country blues of sorts with a guitar solo that sounds like it was right out of Nashville. “Might As Well Be On Mars” is a slow rocking ballad with Max bemoaning his relationship. Another heavy guitar tune, Max wails out the vocals and the piano and organ are up front in support.

“I’ve Never Met A Bridge” is a front porch sort of acoustic tune with tuba and percussion to spice things up. The band visits the lounge on “These Are The Things That Make Me Think Of You.” The cupped horn, brushes on the snare and piano give the cut a jazzy feeling.

The gears shift for “Memphis Woman & Fried Chicken,” a Dan Penn number. Max gives it his spin with stinging electric guitar and organ. He adds some distorted vocals for effect, too. Then it’s “Kiss From Joanne,” a fun cut with tuba, slide and electric guitar and piano. It’s got a fun rhumba groove going for it, too.

The barrelhouse piano rocks to open “What’s Good For The Goose,” a rousing tune with a lot of pretty piano and guitar. Max takes us to church with “When You Love Somebody,” and original cut with some nicely done harmonies.  The organ and driving groove move this along smartly.

Another cover is “Be Good To Yourself,” a Journey anthem rock cut that Max and company turn into a country blues kind of tune. It’s a interesting remake of the 1980’s rocker. Organ and guitar along with backing vocalists help him transition it to Johnny’s style. Max goes solo on his acosutic guitar on “Plastic Jesus,” the humorious 1957 tune recorded in 1962 by writers Ed Rush and George Cromarty as The Goldcoast Singers on World Pacific Records. It was was a religious spoof that I remember vividly and became iconic on the shock jock show of Imus In The Morning.

It’s an interesting ride. Johny Max offers up 9 originals and 3 covers that he puts his stamp on. He and his friends are having a ball doing their thing on this eclectic and interesting 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.

The Fabulous Trutones – Comin’ Back Live

Self- Released

www.fabuloustrutones.com

10 Tracks – 43 Minutes

The Fabulous Trutones formed from a trio of veteran performers from disparate backgrounds.

Tim Wagoner is the lead vocalist and guitarist for the group. He began playing piano at age 8, picked up the guitar at age 10, and majored in music at the University of Northern Iowa. He moved to Dallas, Texas where he was engaged in the Texas blues scene for 10 years. He then moved to Nashville where for the next 20 years he was a songwriter, studio musician and a live performer including an 8-year stint traveling with the New Orleans based group, Big Al and The Heavyweights.

Paul Ferguson on bass and vocals began playing professionally in his teens in the Midwest for most of his life. He then spent years in Dallas performing in several area R&B and blues bands including Sugar Daddy, Homestretch, Surprise, Major Healey, Wagg and Stackhouse.

James Dreier, the percussionist, began his professional career at age 16 when he joined the Waterloo, Iowa based group, The Fabulous Pawns, which included bass player Paul Ferguson. A 50+ year musical journey took him to a 9-year stint in Boston at the Berklee School of Music, followed by 21-years as a jazz professor at the University of Iowa.  James played in numerous bands over the years ranging from jazz, blues, rock, funk, Latin and more. Now retired, he joined back up with Paul, and the trio came into being. The Iowa connection now complete.

The album consists of ten original songs, the latter three recorded during a live performance at The Octopus on College Hill, Cedar Falls, Iowa in March 2025.  Tim sings “I am searching for the light of day out on this “Fool’s Highway”. “Bitter wind at your back, up ahead pitch black.”  They rock out as Paul declares, I was “Born Ready” to fall in love with you” and “was ready to try something new”. “Give Me the Blues” slows things down starting with a solid bass run as Paul notes “where I come from, we got this sound, deep blues creepin’ all around. We got the blues, gonna be rockin’ come hell or high water.”

“Here To Stay” is another slow blues with a nice guitar lead as Paul states “I have blues in the morning. I woke up you were gone”. “Without you baby, I got the blues all day long”. On “Bound by Love”, he tells her “Go ahead and ask me if I’m yours and yours alone. If this is the one true love I’ve ever known. I answer yes, yes, yes, I look you in the eye cause right now baby, there ain’t no way I can lie.” “Real Love” moves back into rock mode as he explains “I got this natural good woman, real as she can be, she gives me everything I can ever want and everything I ever need”.  “Two of us together make one”. Paul states ” I am late for work, about out of gas, this morning folks it ain’t going to last. About to ask myself what’s next.  Lights come on, there red and blue, can only mean more bad news. Hard times come and go” but “I Got This”.

The live songs begin with “The Darkness Calls”, with Paul indicating “I wake up every morning I want to do what’s right. Heed the good Lord’s warning and try to walk in the light.  I know deep inside of me, darkness in my soul and it’s longing to be free.” all of which culminates in a tale of murder. “Rollin'” jumps back into rock mode as he declares ” I am about as lucky as a man can get. Livin” in love and ain’t lost yet.” Like a smokin’ tire on a hairpin curve, nothing to lose but a lot of nerve”. They close with the “Cheatin’ Blues” as he states, ” I love that woman, always make things right.” “Gave her everything I had and tried to satisfy. She took it all with her when she said goodbye”.

The band is tight with some solid blues rock riffs, slowing things down occasionally before bursting out again. Definitely a high energy performance live and solid in the studio as well. Themes of love lost and love enduring are fundamental, but the album takes a sinister turn with “The Darkness Calls” just to shake thing up a bit.

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.

The Crimestoppers – On The Case

Music Maker Foundation

www.musicmaker.org

9 tracks/29 minutes

On The Case is the debut album for The Crimestoppers, a band that long-time backing vocalist Anthony “Amp” Daniels  put together with members of the Vines family that he is member of. He first got them together to help him backing other artists, but their sound was unique and so cool that they realized they needed to go out on their own, and we can be thankful for that!

He had many talented family members to call on, but he singled out his daughter KeAmber and his niece Christy Moody to join him. They did well quickly as backing vocalists for Music Maker Foundation recordings, but it was evident they were destined to form their own band, leaving their Gospel roots pretty much in the dust as they branch out into their brand of classic and contemporary soul music. The songs here were written and co-produced by Jimbo Mathus, who is a Music Maker alum we learned to know and love from his success with the Squirrel Nut Zippers. Mathis also adds drums and keys along with guitar. John Kveen is on bass, Scott “Pace Goolsby is on guitar and Kirk Russell is on guitar and drums.

“Body Shop” opens the album. This is a funky and slick cut showcasing their vocal prowess. Amp leads the charge forthrightly, backed sublimely by his daughter and niece. “Shackled & Chained” follows, with Moody leading the effort as she testifies about being stuck in a bad relationship. KeAmber then gets her turn to shine with “Soul Provider,” a somber and mellow Gospel cut that overflows with emotion.

Amp leads “Sneaky On The Weekend,” a soulful piece that flows sweetly for the listener’s pleasure. Then we have “I Ain’t Feelin’ It” with Christy fronting the group. She growls out the vocals and gives us another impassioned and sexy cut to savor. The classic soulful sounds of “God Knows I Tried” is next as Amp and company lay it all out there in a deep and emotional track.

“Possession” opens with some funked up keys and then KeAmber on vocals with the guitar laying out a great groove grab you and won’t let go. It’s funky and cool! “Dirty Hustlin’” gets down with Amp giving us another passionate and lustful performance. The guitar rings and the bass and organ offer some funked up and ample support. KeAmber finishes the set for us with “I Got A Love,” a deep and soulful piece that makes you sway and flow with the music. Great stuff!

I loved this album from the start. This is a fantastic set of tunes that deserve you undivided attention. These are wonderful original tracks that are steeped in the tradition of great soul music.  They leave you wanting more and more and we can nly hope that Amp and his family bring some more great music to the table for us to enjoy! This one belongs in your music collection– get a copy today!

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.

It’s not always easy for non-musicians to tell a good drummer from a great one.  Great drummers do more than just maintain the steady rhythm that provides the foundation for the other band members.  In his 2015 article, Evan MacHattie pointed out that great drummers “know when to fill spaces creatively and when to let things breathe, demonstrating maturity and understanding of the song’s needs”.  But they tend to do all of that in a subtle way, without overpowering others.  So, when a drummer is truly great, he or she may go unnoticed.  Occasionally, however, a drummer is so great that even those with no real knowledge of drumming know that they are hearing something special.  Terence Higgins is one of those drummers.  It’s no wonder that he is Tab Benoit’s first choice for a drummer and has been sought after to play with such greats as the Warren Haynes Band, Gov’t Mule, The Dirty Dozen Brass Band, John Scofield, Ani Difranco and many others, and has been listed on the billing for special events such as the Take Me to the River documentary, The Last Waltz 40 tour, and Elvis Presley’s All- Star Tribute on NBC.  Blues Blast Magazine had the opportunity to catch up with Terence recently via a video call.

Terence was born in New Orleans and raised by his grandmother after the tragic loss of his biological mother in a domestic violence incident.  Sadly, his great-grandfather (who gave him his first drum) was also killed in that incident trying to protect his mother.  But Terence seems to try to focus on the positive aspects of his life.

“I haven’t really talked much about my mother’s passing in interviews but it’s something that’s been with me for most of my life.  Fortunately, my brother and I were in a safe place when the incident occurred, and I thank God for my grandmother, Mrs. Frances Colar.  She was a beacon of light and a pillar of strength to get our family through that dark time.  I am forever grateful that she took my brother and I in as her own.  She did a really great job at raising us after already raising her own kids, my uncles and aunt. She was ‘mom’ from then on. My great-grandfather was from Belize.  I don’t know if he played the drums or just had an affinity for the instrument, but he gave me my first introduction to the instrument via a set of bongos as a birthday gift when I was four years old, and I’ve been playing ever since.”

Terence received some formal music lessons through his school but noted that the most valuable lessons came from musicians in the community.

“I used to set up boxes, pots and pans and construct makeshift drum sets in the backyard even before I received my first real drum set, I would use whatever I could to build a drum set. We had one family friend who lived right across the street and his doors were never locked.  When he would leave on his motorcycle, my little brother and I would sneak into his house and play his drums while he was away.  We would take turns keeping a watch out for him to return so we wouldn’t get busted.  Later he would tell us, ‘I know y’all were in my house’.  But he didn’t seem to mind. After all of that it came time for me to get my own drums.  My grandmother was friends with several musicians in the community, so she asked her good friend, New Orleans drumming legend Mr. Freddie Kohlman, about a drum set that he had previously offered, and that led to my first drum set.  I would set those drums up in the backyard and play all day long.  We lived in Algiers, on the Westbank of New Orleans, just underneath the GNO bridge.   So, the natural reverb would project the sound for miles, and it was loud.  My grandmother would close all of her doors and windows to the house and turn on the AC and TV so she wouldn’t have to listen to me bang on the drums all day.  But she never complained or told me to stop that noise. Later I had some formal lessons when I joined the school band, and that’s where I learned to read music.  But drumming came naturally to me–something deep within me.  Even today I feel like my natural ability in tandem with my experiences enhances my formal skill set.  New Orleans is known for its great drumming legacy and back then, drummers in the community would stop by as I was practicing in the back yard and show me things. Once they realized I had something special, they would take me under their wing as big brothers and mentors. They would ask my grandmother if they could take me to see other famous drummers perform or take me to the local drum shop to look around.  It was a cool nurturing brotherhood that I found in the older drummers that became great friends.  My grandmother was a very special lady.  She would do everything she could to get us what we needed. I remember an opportunity to join The US Collegiate Wind Band for high school students who would tour Europe every summer.  But it costs a pretty penny to send your kid to travel in Europe for the summer.  She worked her fingers to the bone to get the funds to get me into that program.”

Terence also made the McDonald’s All-American Band, which was so competitive that only two students from each state were accepted.

“The year that I auditioned for the McDonald’s All-American High School Band, there were five thousand applicants from the State of Louisiana alone, and they only choose two students from each state per year, so the competition was fierce. The other guy that was accepted from Louisiana that year was Marlon Jordan, who was Wynton Marsalis’ protégé at that time. The band was under the direction of Dr. William P. Foster of Florida’s A&M University, where I was offered a scholarship to attend.  However, I didn’t accept the offer and enrolled into Southern University in Baton Rouge instead.  I studied for a few years before getting into gigging and touring.  Yesterday I went to the funeral of the first guy who hired me, jazz violinist Michael Ward.  I met him at the University where my name was getting around, and I came highly recommended to him.  We played in all the hot spots and little clubs in the neighborhoods In New Orleans at that time, way before Frenchman street was a thing.  From that gig I really cut my teeth on playing with different professional local and touring musicians who would stop in and jam.  That was the best experience I had. That experience set me on a lifelong path”

Terence’s first band was an alternative rock band called Func Haus. 

“The band Func Haus was a local alternative rock power trio that played around the Baton Rouge area.  It was around in the early ‘90s and put out a few CD’s and eventually played New Orleans and a few regional van tours. That was the first original singer/song writing band experience that really set me up for everything that I do today. I draw from that experience all the time. That’s where Tab (Benoit) first saw me.  Tab said he always wanted me in his band after seeing me around Baton Rouge with Func Haus.”

“While I was still cutting my teeth and building a reputation as a young drummer from New Orleans, I got word that George Porter Jr. of the Meters was in the market for a drummer with his band The Runnin’ Pardners, and my name came up.  So, I invited George to a Func Haus show at Tipitina’s to check me out. I guess from that show he was able to hear great potential in my playing.  He asked me to come over for a little audition, so I went.  He had heard all he needed to hear within the confines of that show, but we weren’t playing any shuffles that night, so he said, ‘let’s play a shuffle’.  Little did he know that I had already been playing blues on Bourbon Street at the A Bar with Mark Adams a few nights a week, so a shuffle was an easy request for me at that time.  We played a few different shuffle feels, and then he said, ‘man you got the gig!’.  He gave me some cassette tapes and said the tour starts next week.  So, I had a week to learn the songs, with no rehearsals.  As I was trying to learn the Runnin’ Pardners repertoire, my Walkman slowly started eating the cassette tapes.  I kid you not–there were some songs on the tapes that I never got to hear.  But we got through the first set of shows on the tour. I had to just trust and follow my instincts at that point, and it went great.  By the third or fourth gig, the team said, ‘thumbs up on him’.  We had such a cool rapport. After that tour, George had me playing with Earl King Snooks Eaglin and just dove in the deep end of the New Orleans song book.  We wound up doing a big West Coast tour, but that ended up being my last tour with George because I got a call from the Dirty Dozen Brass Band.  They were looking for a drummer because they were making the transition from the traditional marching band style brass band into a more of a full stage band with drum set, guitar and keyboards.  I was invited to audition and ended up landing the gig.  I hated having to go to George and say I was taking the Dirty Dozen gig, but the Dirty Dozen Brass Band opened so many more doors for me.  They were doing more national and international tours and festivals all over the world, so I was getting great exposure.  And it was on a slightly higher profile for me at that point.  I was totally sold on their itinerary.  We were on tours with the likes of Widespread Panic, The Black Crows, Dave Matthews Band, Midas Mouse, and all the jazz greats. I could really be me and develop all my musical sensibilities in one group as well as put a stamp on my take of New Orleans style drumming.  When you are playing with a brass brand there are so many personalities that you can get lost and wonder if anyone even sees the drummer.  But I think I stood out.  Certain musicians would come up to me and say they loved what I was doing with the band.  My vision was to do something different, and I think I made a little footprint in that world, I hear a lot of younger drummers on the scene today playing a lot of the ideas I was putting down back then and giving me props.  I was always playing with different artists and developing and cultivating other musical relationships outside of DDBB. So, I played with as many artists from New Orleans as I could, during that time I would be out with Jon Cleary, Bonerama, The Wild Magnolias, Treme Brass Band, and even got to play with Johnny Adams and Fats Domino. Basically, I was first call for nearly every gig out of New Orleans at that time. Then I started getting national attention with calls from artists like Karl Denson, Charlie Hunter, and John Scofield.  It was great learning their repertoire and stepping outside of the New Orleans thing for a minute.  “I even got a call to work with Billionaire philanthropist co-founder of Microsoft Paul Allen privately that led to other business ventures in music with my drum sample library catalog.”

“One time, while I was still working with the DDBB. I was scheduled to play The Warren Haynes Christmas jam and sit in with his band for a set to support the new Man in Motion record. I eventually landed the tour with The Warren Haynes Band for the Man in Motion tour in 2011 -2012. That was a great experience for me working with Warren. It instantly took me back to my Func Haus days. I think he picked up on my vast musical sensibilities and my ability to interpret songs.  We had great chemistry and a great tour.  After the WHB tour I was basically between gigs after recommending so many younger drummers to sub for me at all of the local gigs that I was doing prior to the WHB tour. But I felt like I had ascended to a different level, so I amicably parted ways with The Dirty Dozen Brass Band after 17 years.”

“Then one day, out of the blue, I received a phone call from Ani Difranco’s manager expressing interest in me perhaps joining her trio.  This had come about due to the recommendation from my good friend, Ivan Neville, who was also one of the guys who put my name in the hat for the Warren Haynes Band. I had heard Ani’s music from a friend who was a big fan, and I was thinking to myself I would love to work with her, kind of like speaking it into existence.  And it happened. I got the gig after jamming with her at her home in New Orleans.  We hit it off immediately, and I understood where she was coming from musically.  We toured for about a year, but then she was having a kid, and so was I.  So, she decided to take a year off in 2013.  And then I finally got the call from my old friend, Tab Benoit.  It was so many years after we met in the late 80’s or early 90’s in Baton Rouge, playing blues jams at Tabby’s Blues Box and gigs around LSU.  It finally happened, and now a lot of blues fans identify me as Tab’s drummer. I had one stipulation for working with Tab, and that was that I still got to work with Ani, and he agreed.  Tab is very picky, but he has so much trust in what I bring—in my ability to be the glue.  When I’m there, Tab don’t care—he’ll can just pull stuff off because he’s so confident that we will rebound. And I love the chemistry we have as a trio.  I don’t know how we do it, but it is a special connection.  Also, the hang is good.  We play golf and go bowling and cook gumbo on the tour bus. The fellowship and brotherhood are real. There was this stretch where Tab was playing drums with the opening act and he would use my drum kit. His foot went through my kick drum head a few times, and he broke a few of my cymbals. It got to the point where I kindly requested that he bring his own drums. He was fine with that.  He’s a great drummer, and I think I have influenced and inspired his drumming in many ways.”

Terence has played with Ani DiFranco and Tab Benoit simultaneously over the last 12 years, but he had many opportunities to collaborate with others during breaks in their touring schedules.  He discussed how he met the legendary Don Was.

“So, Warren and I had kept in touch after his Man in Motion tour, and this company, Blackbird Presents, was producing a series of special tribute shows.  One was going to be a Last Waltz 40^th anniversary celebration in New Orleans during jazz fest.  They had some other drummers in mind, but Warren was involved and he thought I was the right fit for the show.  We wound up doing a weekend at Jazz Fest, and it was a hit, which led to a tour and getting Robbie Robertson involved.  I credit Warren, and his wife Stef, for strategically placing me with Don Was.  And the rest is history.  When you win the trust of a major cat like Don Was, you feel like you have arrived. I enjoyed working on that level of production and playing with artists of all genres, in any style.  After a few other shows with Don I felt I had really won his trust.  He then gave me a bigger assignment, which was working on the Elvis Presley special on NBC.  I had never really done any big Hollywood TV production before, and this was another type of experience.  I remember walking into Studio A in Capital Records and I was super nervous.  But Don has a way of making you feel so comfortable that you forget you’re even working.  It’s amazing what he can do.  And he gives you lots of leeway and lets you do your thing.  He’ll ask your opinion and input too.  It’s cool to be under that tutelage.  From that I went on to do a Willie Nelson thing. Now that takes a lot of trust, because I’m not even a country dude.  But at this point I’ve played with every country artist from outlaw country to pop, all through Don Was.  It’s like suddenly you look up and you feel like you have arrived after all the years of hard work.  Vince Gill came up to me at one of our shows and said he loved my playing.  People have told me that I’m a chameleon on the drums and that I sound and play different in every context.  I can play authentically with all of the nuances and make it believable, because it’s the real deal.  I think most importantly it’s the feel of the music and making the artist feel confident and secure.  I believe being from New Orleans allows me that ability to play in that way, any style and in any context.”

Although he can play any genre with authenticity, Terence always manages to inject a part of New Orleans into everything he plays.

“There’s always a piece of me rooted in NOLA.  It was the birthplace of rock and jazz and blues.  I think it’s more present when I’m with a NOLA musician but even when I’m not, there is something innate that makes me feel that spirit.  It’s a spirit more than the notes.”

Terence was recently asked to join Gov’t Mule to fill in for Matt Abts as he recovers from health issues from years of drumming.

“Matt Abts is a great friend and a big influence on my playing, and I’ve been a Gov’t Mule fan since the mid 90’s. He’s 72 years old so he needs time to rest and heal, because that’s a lot of drumming.  Even for me, at 55, I feel certain aches and pains in my body.  There is wear and tear from what we do.  I had just got back from Europe with the new Warren Haynes band when Warren called and asked me if I was available to play a few Gov’t Mule shows at the last minute to fill in for Matt. This was huge for me. I got thrown in the deep end on this one. I knew some of their music, but their catalog is thick, and it isn’t easy music.  I think that was the most challenging thing in my career.  There was no rehearsal and barely any sound check.  But we played the gig and it went great.  For Gov’t Mule to change the drummer—it changes everything.  I had to be as authentic initially as I could.  Every night there were a few different songs I had to learn and internalize and perform like I was in the band for years, which is a helluva task. But I had earned Warren’s trust. I think I got good grades.”

Terence was asked to hypothesize about what it is about his playing that stands out to musicians and places him in such high demand.

“I think I have bandleader qualities, and I have awareness of musicianship and musicality.  I don’t just play the drums—I play the song.  I read the energy, the ups and downs.  I have my bad days, but they aren’t too often.  I love challenges and I love the unknown.  Every night I try deliver a better performance.  I put out 200 percent, out of respect for the people I play with, and for myself.   I am always checking out new artists—how they are thinking about drums.  I want to be current and purposeful.  I need to know what’s going on.”

While he is very confident about his natural talent and the skills he developed, he does remember his worst show, which was when he was with the Dirty Dozen Brass Band.

“Unfortunately, I had a bit of a big ego back then, but I was soon humbled by this experience. We had started working with the Dayton Contemporary Dance Company.  They had this dance choreographed to a music suite written by the Dirty Dozen.  We got to play the live performance in New York, and we get to this one transition that is supposed to be a slow part, and I brain farted and went into the fast movement.  I’m looking at them and calling them names before I realized it was me that screwed up.  They were all laughing.  But the dancers didn’t miss a beat—they just sped up to match it.  It was the most humbling moment in my career.  I was so hurt and embarrassed.  From that moment on I vowed to be way better and never to do that again.”

Terence also writes songs, and he co-wrote the song, “Bayou Man” which was included on Tab’s latest album I Hear Thunder.

“Tab was collaborating with George Porter and Anders Osborne for the I Hear Thunder recording, and he asked if I had any songs.  I said, “A matter of fact I do.’  I had already been working on something that had Tab in mind, but I didn’t have all the lyrics completed.   Anders, Tab and I finished it.  I was happy to collaborate on my idea with Tab and Anders.  Those are two great artists.  I wrote it in Tab’s vein and in his timbre, but he would have to deliver the song every night, so he had to add his thing to it.  I’m thankful he believed in the song enough to add it to the album.  I loved making it a collaboration.  Tab offered some of the big lines, like ‘The moss gets mighty muddy when it rains’”.

Terence didn’t hesitate when recalling the most treasured moment in his career.

“I was invited to play at the Willie Nelson induction into the Rock and Roll Hall of Fame, and when I arrived, Don (Was) had informed me that we were going to do another segment with Elton John for the Robbie Robertson’s tribute.  So, we’re all on stage blocking camera shots and lighting and Elton John is on the stage sitting at the piano.  I was making some swampy NOLA beat noise on the drum kit and Elton started to play to it. Then Don joins in and the whole band joins in.  I don’t know if it was filmed, but it was the coolest moment.  I thought we didn’t even have to do the show after that, as far as I was concerned.  This moment solidified my life.  Elton John was jamming to one of my beats and loved it.  We ended up playing “the Weight”, and it was super dope to be on film with Elton for Robbie Robertson.  But that jam beforehand was the highlight for me.”

Terence has a few new ideas for the coming year, including a possible solo release.

“I put together this southern Louisiana all-star blues and rock band called Gator Blaq.  We played the Crawfish Festival and now I’m getting calls for Gator Blaq from that one gig.  And I might do my own little solo project.  Maybe another Swampgrease record.  I wrote a bunch of material.  I don’t know if I’ll sing on it, though.  On all my demos I sing, and I’ll sing some background vocals. But I don’t know if I’m confident enough to put my voice on the record.”

Terence has many fans who will be eager to hear his solo release and his new band, Gator Blaq, as well as continuing to see him play with some of our favorite bands.  Want to see for yourself what differentiates a good drummer from a great drummer?  Check out where Terence Higgins is playing next.  You can learn more about him at www.terencehigginsmusic.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,” and she and Mike Zito co-authored “Blues Therapy: Volume Two”. Profits from both books go to the HART Fund (which pays for medical expenses blues musicians cannot afford to pay) and can be found at http://www.bluestherapybook.com.

Altered Five Blues Band – Hammer & Chisel

Blind Pig Records – 2026

www.alteredfive.com

11 tracks; 45 minutes

Milwaukee’s Altered Five Blues Band have been together for over twenty years and this is their eighth album release and their fourth for the revitalized Blind Pig label. The membership of the band has been very constant over the years, led by guitarist Jeff Schroedl and vocalist Jeff Taylor, joined by long-term members, drummer Alan Arber, bassist Mark Solvesen and new keyboard player Steve Huebler; the album is dedicated to their late keyboard player Raymond Tevich. All the songs are original, Schroedl having a hand in all of them, Taylor involved in six, Solvesen, Huebler and Arber four. Jason Ricci adds harp to three tracks and horns appear on one. The album was recorded and produced at Tom Hambridge’s Nashville studio.

Altered Five’s stock in trade is to mix blues, soul and rock, Jeff’s vocals up to all the challenges offered by the music. The opening track features Max Abrams’ sax and Julio Diaz’s trumpet over a persistent snare beat that drives the tune, an exciting start to the album as Jeff celebrates his current situation: “someone please, knock on wood, ‘cos I Got It Good”. Jason Ricci’s dramatic harp work features prominently on the slow blues grinder “Dare Me To Do It” before he takes more of a support role on “Who Can You Trust” as Jeff asks us to be careful where we place our trust: “Some people ain’t all they say, who can you trust? Tell me something I can believe. Stick with people who treat you right, leave all the rest out of sight”. This is an uptempo tune with good lyrics and excellent piano, an early highlight. Jason’s final contribution is on “Can’t Shake It”, a fast-paced number in which Jeff recalls childhood incidents which still haunt him.

The remaining tracks are just the five band members. The title cut rings out with a solid guitar riff and warm organ as Jeff explains that he will not be told what to do: “with a Hammer & Chisel I’m breaking all the rules”. “Lotta Love Left In Me” sounds like a lost Muddy Waters track, a slow blues with Jeff’s solid vocals and relaxed piano and blues guitar and “Headline Blues” is in similarly bluesy territory. The band does soulful tunes well and “Hell Or High Water” is a great example here, Schroedl’s guitar opening the tune before Jeff’s aching vocal and the keening organ provide the soul element, one of the best tunes here: “Like the sky holds the stars and Earth got the moon, come Hell Or High Water I got you”. The mildly funky “My Love Ain’t A Lie” also falls into the soul area, recalling Johnny Rawls in some of the vocal phrasing and the way that the chorus comes in, another winner. The album closes with the funky “Crazy One” and a gentle tune that encourages us to look inside and find “The Will Of Man”, Schroedl’s guitar ringing out in fine style.

Good variety and musicianship, topped by a solid and versatile vocalist, Altered Five offer another solid album here.

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’.

Guy Renardeau – Four Shades of Blue

Independent

www.guyrenardeau.com

9 tracks – 31 minutes

Dutch musician Guy Renardeau is a multi-award-winning composer for film, television including commercials, and games.  He obtained his master’s degree in composition, orchestral arrangement, sound design, piano and guitar from the Hochschule fur Musik in Kohn Germany, the Conservatory in Amsterdam, and film research at the University of Chichester England. He is currently based in Los Angeles. In addition to his work in the film industry, he works across the musical genres blending his interests in all styles of music including an album of ambient piano music, Snow White (described as Hip Hop meets orchestra), rock, and now blues. He has toured alongside many notable performers including Omar Dykes and Snowy White. He performs all the instruments on this album.

He is joined on this album by three female singers, Glenda Benevides, Class Vee, and Malaysian vocalist Lyia Meta. Each performs on songs on which they wrote the lyrics.

The opening track, “Last Tuesday”, a smooth, jazzy bluesy number delivered by a Lyia in a deep, smokey vocal with Guy’s easy guitar sliding along with a mild drum beat. She tells, “I wore my best dress last Tuesday, but you said you were leaving”. “They say all hurt will pass someday. Now that you left me, been gone so long, now I wear my black dress all day long.” She continues with another soft, soulful cry as she cites “You came like a whisper to a broken sky that was silver” “I changed your life through the longest night, but the stars fell with you out of sight. Still ” I Breathe Your Name” in the winds whence you came.” Class Vee takes the lead on “Make My Day”, a slightly more upbeat R&B number in which she advises ” I feel safe with you”. “You treat me like a queen.”

Guy’s guitar is featured on the aptly named instrumental, “Sexy Groove”. Glenda takes the vocal lead as she tells him “You Don’t Know Me” “still you cast your blame. Why are laboring me? Don’t know my name. Ignorance is king, oh damage is done.” Lyia returns on “You Make Me Feel” with lyrics by Guy. She advises, ” I don’t know how you’re feeling. I don’t know when you’re leaving. If the sun never comes out, if tonight doesn’t work out, we’ll still have the afternoon.”

“Four Shades of Blue” is another easy listening Instrumental with Guy’s guitar shining in the spotlight and his piano lingering in the background. That is followed by “The Touch of the Blues”, another instrumental with Guy taking a much jazzier approach on his guitar with a full array of instruments behind it perhaps showing his cinematic side. The album concludes with Glenda featured on “Wicked”. She explains, ” I got up this morning, couldn’t even get out my door. Something coming around, something I ain’t seen before. It’s rained five days and the sky is dark and black”. “My hands won’t stop shaking as a shadow crawls across my door.” ” I can’t take it much more”.

The album is a comforting light jazz and blues mixed with the powerful, rich voices of all three singers. Guy’s guitar keeps a slow groove burning in every song, sometimes raising in slight intensity but always presenting a quiet, calming effect. The drums are openly present in several songs, but for the most part, the instrumentation other than the guitar is subdued. It all feels like a nice glass of wine or a warm evening drink is appropriate while listening to the 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.

Teresa James & The Rhythm Tramps – Bad At Being Good

MoMoJo Records

www.teresajames.com

12 songs time – 48:52

Texan chanteuse Teresa James leads her Rhythm Tramps through blues inflected Rhythm & Blues on their fourteenth album. She handles piano chores on seven of the twelve songs, as well as her commanding and soulful voice. Eleven of the songs were composed by Terry Wilson or him and Teresa. A stellar cast of players was rounded up for musical support.

The intro to “Love’s A Full Time Job” bears a resemblance to Ray Charles’ “Mess Around”. Right off the bat this recording shows off the energy of this crew. “Love’s a full-time job and you got me working overtime”. The horn section is there at every turn. “Is Anything Alright” is a satisfying slice of soulful R&B. A sturdy guitar-horn riff propel “I Got This Thing”.

The horn section sits down for “All About The Benjamins”, a gritty guitar tale of greed. Dean Parks lends his lead guitar skills to “Trouble In Paradise”. B3 organ and Wurlitzer beef up the sound. A bit of gospel inflected background vocals takes “Angel on My Shoulder” to church. Teresa’s pipes are well suited to the soul ballad “Treat Her Like You Want Her To Treat You”.

Co-producer John Porter plays slide guitar along with Jon Cleary on piano on the title track “Bad at Being Good”. Kevin McKendree’s B3 is just under the surface. The backing guitar recalls what The Beatles did at times. It is the first time I heard the word “malfeasance” worked into a rhythm & blues tune. The band brings some Memphis soul to “Say What You Will”. Terry Wilson rips off a short but sweet guitar solo.

Teresa works out on boogie woogie piano on the horn drenched “We Came To Rock”. A nice tom-tom beat is laid down on “Anytime is Alright”. David P. Jackson’s accordion is low in the mix. Terry Wilson’s guitar buzzes around much like a pesky but wanted bug. Gary Nicholson’s “Close Down The Blues Bar” is a good send-off with piano, guitar and horns ending things in style.

Teresa & The Rhythm Tramps sure know how to party and do it up right! The production by John Porter (Buddy Guy, Taj Mahal, Keb Mo) and Terry Wilson has everything in place. A splendid time is guaranteed for all!

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

Shakedown Tim – Way Up!

Rhythm Bomb Records

www.shakedowntim.be

11 tracks/36 minutes

Shakedown Tim and his band hail from Belgium and they are just a rocking good blues band!  They have now recorded three albums, but it has been since 2018 that they released one. They also recently appeared on the release of the James Harmon album The Blues Moose Session on New Shot Records, also from 2018.

The band is Shakedown Tim on vocals and guitar, Ilias Scotch on the piano, Hammond B3 and Philicorda organ, and on backing vocals, Kurt Lens on upright bass and backing vocals and Koen Van Peteghem on drums, percussion, and backing vocals. Also featured on the album are Steven Troch on backing vocals, jaw harp, and harmonicas, Naomi Sijmons on vocals, Little Walter on a couple of tracks on vocals and barking, Bart Stoneon sax, Bird Stevens on one tracks for percussion, and, last but not least, James Harman moaning and groaning and adding voodoo percussion on the next to last track.

“Feed My Body to the Fishes” opens the CD and it’s a winner. Romping and rollicking piano, ringing guitar, and vibrant vocals are featured here, paying homage to the sounds of Mississippi. Troch and Scotch help out on “Messin’ With the Blues,” a pretty little blues number that they nailed in one take. Next is “Tiny Legs, Big Soul” which celebrates Tiny Legs Tim. Acoustic guitar, harp and jaw harp take the listener to the Delta in this slick and bouncy cut. Slow blues is the order of the day with “My Love IS Real,” a solemn piece where Tim testifies to his devout ardor The piano and guitar supplement the emotions of the vocals nicely.

Eddie Boyd’s “Driftin’” follows, with Shakedown Tim and the band giving us some great jump blues. The upright bass and piano are featured here along with Tim’s efforts and I have to say it’s a winner. “Way Down” features a resonator and harp as the band twists and jives their way through a cool number with a wicked vibe. “You’re the Boss” is the first of two duets with Naomi Sijmons. She gives us a sexy performance as she and Tim spar vocally as to their appeal to each other. Amos Milburn’s “Real Crazy” is a delightful shuffle recorded with a live performance feeling. The guitar is vibrant, the piano is exquisite, and Tim and the boys deliver another fine cut to savor.

The barking cut is “ Frolic Time,” a swinging tune with barrelhouse piano, nice guitar picking and old time sounding vocals. “A Sinner’s Gospel” is the track featuring James Harmon. It is dirty, unique and totally cool.  Slide guitar and a gutsy sound are a super slooooooow blues to enjoy. The final cut, “Close the Door,”  is aptly named and it’s an instrumental with some nice B3 and powerful guitar licks. It jumps and jives with some sweet sax added to the mix.

These guys are the real deal. Tim and his band are truly outstanding bluesmen who have an authentic and super sound. I enjoyed the album a lot and I think it is something most blues fans would really enjoy! Tim is fantastic and I have to say that Scotch is a madman on the keys. Go try this one out: you won’t be disappointed!

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.

JB & the Hüggeli – Live at Smukfest 2024

JB Records JB029CD

www.thehuggeli.com

11 songs – 52 minutes

Established as a trio in 2015 to perform Saturday afternoon sets at Eydes Kælder, a club in Horsens, Denmark, JB & the Hüggeli have been thrilling audiences across Europe in multiple expanded formats since their breakthrough appearance at the Gothenburg Blues Festival three years later. And the ensemble were swinging from the hip in this set, which was captured live at Smukfest in the tourist town of Skanderborg two years ago.

The group is composed of seasoned musicians who’ve worked with top European artists for decades. They’re led by guitarist/vocalist Jesper Bjarnesen, who’s teamed with bassist Jais K. Eriksen and drummer Oscar “Big O” Eriksen since their formation. Their first release, Thank You Blues, got worldwide airplay in 2020 thanks to its deep-in-the-beat combination of Texas- and Chicago-based material. Shortly before its release, Hanse Jensen came aboard on tenor sax.

The Hüggeli also joined forces with Austin-based guitar legend Alan Haynes in 2023 for the single, “Not From Texas,” and released a second studio album, The Blues Supadupa, featuring a full horn section, last year. And – as on this performance – the quartet are often joined by keyboard player Josef Baumgartner and their longtime producer, guitarist Henrik Striver.

It’s a powerful set that the group never had any intention of releasing. But in after-thought and after giving it another listen, it proved to be so much fun that they decided it deserved to be heard by more than folks than were present on the August day that they played.

The action kicks off with a propulsive cover of T-Bone Walker’s “T-Bone Shuffle,” and Bjarnesen vocals stand out as his bandmates sway steadily in support. Baumgartner’s extended solo shines mid-tune. The first of six originals penned by Jesper, “Showtime Blues” keeps the heat on high as it announces the band’s intent to play the blues and never stop. Their behind-the-beat delivery drives the message home. The tempo picks up slightly and the guitars and horn come to the fore for the original, “When I’m in Love.” It’s a celebration of having a companion at your side.

Then the band uses their talents to rework four familiar, but well-conceived oldies, beginning with Freddie King’s instrumental, “San Ho Zay.” It gives way to a medium-fast take on B.B. King’s “Never Make Your Move too Soon,” which features another impressive keyboard workout, before the group dive in to the songbook of  Lonnie Mack for a slow, molasses-sweet version of “Stop.” A pendulum-perfect take on Duke Robillard’s “Too Hot to Handle” follows, features Big O on the mic and leads into a run of four originals that bring the action to a close.

The action slows for “A Few Things” and opens with a line borrowed from B.B. – “I live the life I love and love the life I live” before issuing a prayer that, when the singer’s time to pass arrives, he hopes that “the folks up there” knew he tried to do good. But he still requests that he get everything he wants, and that includes pretty girls, good food and all the whiskey that he desires.

The mood brightens with “Blues House Party,” which celebrates good barbeque, good friends and more while giving everyone space to shine before “Ain’t It Good” adopts an initial Delta feel to honor the desire to do right despite living in a world of trouble. The action finishes with the rapid-fire, guitar-fueled “Get My Baby Back,” which bemoans committing crimes of passion while on the road but promises willingness to do anything to make up for the indiscretions.

Sure, the sound quality might not be up to par with what the Hüggeli normally produce, but it’s still pretty good. This is one mighty fine set that genuinely deserved the light of day. Give it a spin. I’m sure you’ll agree.

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.