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September
2008
Carlos
Del Junco Steady Movin’
NorthernBlues/Outside
The eagerly anticipated successor to Blues Mongrel is here and it is worth the wait. It is primarily acoustic and perhaps even more of a demonstration of his prowess on the humble harmonica. The opener, “Diddle It”, seems like a caricature of blues band instrumentals and sounds like it could have been on Blues Mongrel. But Kevin Breit’s “Dull Blade” quickly brings in the new. It sounds like the band overdosed on Duane Eddy records, it’s an exciting, off-the-wall tribute to 60’s pop instrumental hits. The band is much the same this time out with Breit on guitars & banjo, Jorn Jūūl Anderson back on drums & percussion and Marc Rogers taking over on bass. Denis Keldie is on keyboards. A jazz piece, “Jersey Bounce”, gets a relatively straightforward reading, for this band. Another tribute is next: two bands that share a sound (and a guitarist) get together to honour James Brown. “Mashed Potatoes Canada” features John Dickie from John & The Sisters (Euclid) with the band. Sonny Boy Williamson (Rice Miller) recorded quite a few solo harmonica pieces while in Europe in the early 60’s. Without a band to hem him in with and without the constraints of a 3-minute single, he could extemporize freely. “Movin’ Down The River Rhine” is one of the best of these and supplies the album’s title. It serves much the same purpose for Carlos, there’s just you & him and he doesn’t waste it. “Paradise” is a David Wall song with a lovely melody and the second of Carlos’ few vocals. The stunning solo performance of “Amazing Grace” gets a note: ‘owed to Howard Levy’, his mentor. “The Simple Life” is an evocative Matt Brubeck composition and it begins with Breit and Brubeck on his cello before Carlos and the band join in – a quiet, acoustic masterpiece. DeFord Bailey was an early member of The Grand Ole Opry. He was also African-American, something that was easier to hide on radio, I guess. He was a pioneer of blues and pre-blues harmonica and Carlos’ “Bailey’s Bounce” is a magnificent tribute and performance. “Bye For Now” is one of Kevin’s, a duo acoustic performance. “Doodle It” is again acoustic, with Breit on banjo. As before, there are harp positions and keys listed for every song but never does technical prowess get in the way of enjoyment of the music, this band does far too many live shows for that. Catch them at the Southside Shuffle on September 7th.
Diana
Braithwaite & Chris Whiteley
Night Bird Blues Electro-Fi/Outside
On September 18, Diana Braithwaite & Chris Whiteley officially launch the next chapter in their tribute to the music of the 30’s & 40’s at the Glenn Gould Studio. It may be your only chance to hear Night Bird Blues live for a while because they leave right afterwards for a lengthy tour of Europe, Russia and the U.K. As before, all the songs are originals and there are also more duets. Morning Sun usually had vocals by one or the other. The arrangements are generally is more spare as well, with Drew Jurecka’s violin a new and wonderfully effective addition to the usual complement that Whiteley brings. The rhythm section of John Sheard, piano, Victor Bateman, bass and Bucky Berger, drums, round out the band. “Look Around Now” is just Diana on a tale of a partner’s actions destroying a relationship that may be the album’s strongest composition. It’s convincingly, but not bitterly, sung and very final. Not all the songs are so somber, though. “Confectionary Blues” is a delightful number with the ‘bluebird sound’ nailed. “Judge And Jury Blues” is more of a classic blues with the duo confessing that, yes, they are in love but it’s all Cupid’s fault. Continuing the theme: “One thing I Cannot Do” is quit you. The title song is more of a ‘30’s jazz toe tapper, with the duo alternating some lines about good times together from the common tradition to wonderful effect, Chris on trumpet and Drew on alto sax sounding most appropriate. “Greedy Blues” is a solid country blues with Diana’s vocal and Chris’ guitar taking us to a front porch in Mississippi. “Sweet Dreams Baby” puts the band to work on a John Lee Hooker-like talking blues. With superb piano from Sheard and Chris on electric guitar, Chris talks about a note, which Diana reads. Marvelous stuff. The last song, “The Heart of Summertime”, begins with a nod to “St. James Infirmary” but becomes a tender ballad with some of Diana’s best singing. Drew Jurecka takes the solo and supplies a string section accompaniment before Chris takes over on muted trumpet. This is a worthy successor to Morning Sun, a tuneful, relaxed treat.
Lily
Frost Lily Swings
Aporia Marquis/EMI
“Lily Frost sings songs of Billie Holiday” is the subtitle of this CD but the notes dedicate it to the late Ray Condo, the rockabilly legend. Apparently Condo loved to listen to Billie Holiday so Ms. Frost, who used to sing with Condo, asked his band if they wanted to participate in a tribute album of Holiday songs. This puts the CD at the forefront of the current trend in popular music to mix and match freely from any musical style. It comes closest to swing, at least in those songs that feature the Swinging Dukes. At some point later, a clarinet was added to some of the songs and “Solitude” was recorded, with a string section. The lack of will is to be regretted. Frost is a more than capable singer but was probably wise to restrict herself, for the most part, to lesser-known Holiday material. For me, the most successful performances here are “Now Baby Or Never” and “Keeps On Raining” with “Willow Weep For Me” coming close. A second version of “Solitude” is added as an extra track, this time with no strings and a far more appropriate tenor sax solo, played superbly. The web site is www.lilyfrost.com.
Michael
Jerome Browne This
Beautiful Mess Borealis/Koch
I quite missed hearing any songs by Michael Jerome Browne and his writing partner, B.A. Marcus, on last year’s live album, making this CD, with eleven new ones, a veritable feast. They are all very good, from songs tackling relationships and memories (“Low Tide”) to songs tackling issues in the news. “Summer Shoes On (Song For Neil Stonechild)” is a harrowing country blues about the dangers facing some First Nations members. “The War Will End” is another in this category. “When She Goes Out In This World” is an insightful song about the importance of the father-daughter relationship. “This Beautiful Mess” is all that’s left for him after she’s gone. A sequence of four cover songs in the centre of the program includes a rocking version of Z.Z. Hill’s “You Were Wrong” followed by a countrified version of Ann Peebles’ “One Way Street”. “May As Well Start Crying Now” is new one that would fit very comfortably on a Ray Bonneville album. Browne plays the guitars & fiddle, with Rachel Melas on bass, John McColgan on drums and Kenneth Pearson is on keys. Burke Carroll plays pedal steel & lap steel. They’re the basic band and they rock, especially McColgan on drums. Michael Jerome Browne has shown in the past how well he can perform in any roots style, putting them all together simply requires good songs. He has them here. “This Beautiful Mess” will be officially launched in Toronto Thursday, September 18th (9:00 pm) at The Gladstone Hotel.
Bradley/McGillivray
Blues Band Livin’ This Way
Sense & Soul
Sheldon Bradley and Ruth McGillivray (BMcG) are veteran performers, on guitars and voice respectively, and I think with this, their second CD, they’re going to make an impact. They write excellent original songs and deliver them with drive and passion. BMcG are based in Vancouver and with the help of their new rhythm section, Paul Freeman on bass and Hoto Parker on drums with Darryl Havers & producer Bill Buckingham helping out on keys, have put together one fine album. McGillivray credits Susan Tedeschi and Janis Joplin as formative influences and she certainly has the vocal power she needs to carry these songs. Bradley credits Robben Ford & Warren Haynes and has certainly learned to harness his guitar playing to the needs of the song. “Do It For Love” opens the CD in fine style, a much-needed tonic for those overwhelmed by the realities of the music business. An unusual choice was to do a blues version on “Tennessee Waltz”. I’m not entirely sure the arrangement works but it does stand out - it is most definitely the vocal highlight. “Not The Body” adds some funk to the mix. “Changes” is perhaps more rock-oriented but may be the best song here. McGillivray sings most convincingly of the changes in her life that “scare the hell out of me”. “Just Like A Woman” and “The Hardest Thing” slow the pace down a bit with ‘Hardest’ showing their jazz side. “Blues Is My Affliction (Groove is my addiction)” is a new candidate for a blues anthem and my guess is you’ll be hearing this one more frequently. A bonus track is McGillivray’s arrangement of “Piece of my Heart”, which was included by fans’ request. Their web site is www.bradmcg.com and it has samples for you to check out.
Lil’
Ed & The Blues Imperials
Full Tilt Alligator/Fusion
With “Hold That Train”, the band roars ‘full tilt’ into their seventh album. The song is a vintage slab of houserockin’, perhaps one the best examples in their career but there are more here: “Don’t Call Me” is almost as good, a rant about too many phone calls and emails over that smoking slide guitar. Clearly the burden of carrying on the “Genuine Houserockin’ Music” is not a burden at all, Hound Dog Taylor and (Uncle) J.B. Hutto can rest easily. Johnny Iguana is back helping out on keys, to great effect plus a tenor and baritone sax now join in the fun. The fun level is further increased by the front & centre recording, generating maximum excitement. The fact that these four guys have been together for twenty years shines through in every song. A rare cover is “First I Look at the Purse” which takes on the J. Geils Band’s live version and wins hands down. Those flat out slide boogies and shuffles are what Lil’ Ed is known for but his expertise at dramatic slow blues you overlook at your peril. “Life Got In The Way” is excellent. James “Pookie” Young, Lil’ Ed’s half-brother and bass player contributes another that Ed delivers faultlessly. A raucous version of Hound Dog’s set closer, “Take Five”, closes things out appropriately. Full Tilt will be in stores very soon.
- John Valenteyn, jvalenteyn8724@rogers.com
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