CD Review: Jimmy Hall Review – Ready Now

CD Review: Jimmy Hall Review – Ready Now

CD Review: Jimmy Hall Review – Ready Now

Jimmy Hall

Review – Ready Now

Former Wet Willie front man and harmonica player Jimmy Hall has forged a successful but under the radar career since stepping out on his own. That’s about to change. Ready Now just smokes! Jimmy has never been better or on target, and this Joe Bonamassa and Josh Smith produced Keeping The Blues Alive recording delivers, big time.

With numerous guest appearances including a quartet of guitar slingers, the recording starts off with an appearance by Josh Smith on “Girl’s Got Sugar.” This song sets the tone for the recording as Jimmy successfully transfers his non-stop stage show energy into this recording.

For me, the most entertaining song on the collection follows. “Jumpin’ For Joy “ may be the signature song on the recording and does not disappoint. The video released in support of this recording (filmed in Nashville as Jimmy walks down a street) is energetic with whimsical moments.

But Jimmy can get down and gritty as demonstrated on “Risin’ Up.’ Beginning with a nice keyboard lead in with a bluesy harmonica Jimmy shows off his soulful voice and delivers a most entertaining song. “Putting one foot in front of the other” Jimmy and co-writer Bonamassa (who lends sweet guitar licks to this recording) built a memorable song. One that quickly became a favorite.

Allman Brothers fans take note – “Dream Release” is a song co-written by Jimmy and his son Ryan Hall is a tribute to Gregg Allman and the friendship Gregg and Jimmy shared.

Former Allman Brothers and present Gov’t Mule guitarist Warren Haynes joins the party on the title track. “Ready Now” is a rock ballad that builds energy throughout, and this could become a mainstay in Jimmy’s shows. This song touches the soul and Warren’s slide playing is spot on, ending with his slide running down the fretboard to produce a sound and tone that is reminiscent of the ending to “Layla.”

Bonamassa and his bandmate, the legendary keyboardist Reese Wynans  collaborate on “Holding on For Dear Love.”  This soulful number shows how masterfully Jimmy can blend his voice into a band.

“Two Jimmy’s (Carpenter and Hall)

“A Long Goodbye” begins with Jimmy’s mournful harp followed by some of the best singing on this recording. Great lyrics set the mood on this ballad. Joe’s guitar brings an edge into the song, and the backend of the song takes on a different feel as Joe unleashes a blast furnace of hot licks.

The bluesy toe-tapper “Will You Still Be Here” is enjoyable and is followed by guitar virtuoso Jared James Nichols guesting on “Without Your Love.” Using a 12-string guitar, this song has a rock feel and left me wanting more from the duo of Jimmy and Jared.

At 48 minutes, this 11-song recording is a masterpiece. Non-stop fun from the downbeat and the depth and breadth of this recording is amazing. Accolades and awards should be forthcoming for Ready Now! It surely will have me “Keep on Smilin’”.

  • Scott Morris, Treasurer, Suncoast Blues Society

Photo by Author. Big Blues Bender, Las Vegas 2021

Links

Jumpin’ For Joy Video

Jimmy Hall Ready Now

IBC Challenge Update

IBC Challenge Update

IBC Challenge Update

IBC Challenge Update

Your Suncoast Blues Society Board of Directors recently met to discuss the Blues Foundation’s 2023 International Blues Challenge (IBC). The conclusion of the 2022 event resulted in our representative band, Memphis Lightning, taking home the award for Best Produced CD! Congratulations to the band for their award, and for their success in the competition. You can read about the award on our website.

While their decision to move the 2022 challenge from January to May was necessary, it did not give your Board enough time to properly plan for and host a 2023 challenge. The work to host a challenge is extensive and takes close to six months to pull together. Therefore, your Society will NOT be hosting a challenge for the 2023 IBC.

However, we strongly encourage any member band or solo/duo to reach out to other Florida blues societies for participation in their challenge. In fact, last year our contestant band Randy Stephens and the Groove Makers was encouraged by your Board to apply to Southwest Florida Blues Society’s challenge, and they won!

We are aware of three challenges of interest:

The Villages Blues Society (TVBS) is hosting their challenge on November 14 at City Fire Restaurant Lake Sumter Landing 1018 Canal Street The Villages. A maximum of six bands will compete, and there will be no solo-duo competition. Entry is on first come basis, so if you are interested in competing at TVBS challenge, promptly contact Marcia Adams at thevillagesblues@gmail.com.

Southwest Florida Blues Society (SWFBS) is hosting their challenge on October 16th at Cape Cabaret in Cape Coral. Information, including a registration form is available on the SWFBS website.

Orange Blossom Blues Society (OBBS) is hosting their challenge on Sunday, November 20th at the Alley in Sanford. Deadline to register for the event is Oct 30th. The registration fee of $50 must be received by that date as well, and at least one member of the band (or solo/duo) has to be a member of OBBS in order to compete.  Interested musicians can email obbs4u@gmail.com for any questions they may have.

Thank you for your understanding and your continued support – 

Terri O’Brien

 

Alex Lopez Band CD Release Party August 12, Sarasota FL

Alex Lopez Band CD Release Party August 12, Sarasota FL

Alex Lopez Band CD Release Party August 12, Sarasota FL

Alex Lopez Band CD Release Party
August 12, Sarasota FL

Tampa-based musician Alex Lopez brought his powerful band, The Xpress, to the Browne’s Lab Theatre at Florida Studio Theatre (FST) for a party to celebrate the release of Nasty Crime. And what a party it was as Alex and the band treated the large turnout to a non-stop energetic set of music that left the crowd standing in applause.

Taking the stage in the intimate, and quite lovely, room at FST, Alex and the band played primarily from the new release. “No Way” set the tone and got the band engaged early, as Alex wove crafty lyrics and licks around the up-tempo beat of this song. Flowing seamlessly from song to song “Just Wait” turned up the heat and highlighted the understated licks that he delivers.
Alex paused to introduce the concept behind his music writing philosophy and that properly set the scene for the title track, “Nasty Crime.” The Xpress (Kana Leimbach on drums, Steve Roberts on bass, Kenny Hoye on keys) kept up a driving beat, with Kenny tossing in some nice keyboard runs to counterpoint Alex and his guitar.

The slower bluesy “When The Sun Goes Down” followed. This song contains poignant lyrics that Alex crafted after reflection on life’s twists and turns. “Holy Woman” has a funky blues feel and is Alex’s tribute to the positive impact women make in the world. Scalding guitar licks accompanied this song.
Kana Leimbach drumming kicked off the next song, the current recording’s rocking first cut “World On Fire.” Alex showed his slide guitar skills, weaving slide rhythm with lead licks.
Concluding the formal sequence of Nasty Crimes songs, Alex played the recording’s final song, “That’s Alright.” Kenny on keys, and Alex, traded off during the lovely melody. Alex’s measured guitar response and solo gave this performance immense charm and kept me quite entertained, enough to call this my favorite moment of the evening.

Transitioning away from the current release, Alex performed the title to 2017’s Slowdown. Playing from 2021’s Rising Up, the band performed the title track, and “Paradise”. Yours Truly, Me (2019) contributed the bluest song of this evening, “Take Me Back Home”. A lovely song with an equally compelling slide guitar. Most enjoyable. On this evening, the same recording contributed “Tush,” a funky version of the ZZ Top classic.
Returning to Slowdown, the blues punctuated “Stolen,” and was followed by “Dangerous.” That wrapped the formal performance, and after a break of few seconds the encore kicked of with “Light It Up,” and the show concluded with “Even Up The Score.” One hour, forty-five minutes of non-stop fun!
– Scott Morris, Treasurer, Suncoast Blues Society
(Photos by author)

No More Worlds to Conquer Robin Trower

No More Worlds to Conquer Robin Trower

No More Worlds to Conquer Robin Trower

No More Worlds to Conquer

Robin Trower 

As he draws nearer to the age of eighty, guitarist Robin Trower just gains more momentum with consistent studio releases. Remaining sidelined from live performances in the last couple of years due to the pandemic, Robin just uses the downtime to go into the Provogue studio to record the endless number of compositions he keeps writing.

The man responsible for the classic rock 1974 opus Bridge Of Sighs has a special place in the hearts of those of us as teen-agers who had blacklight posters wearing headphones letting songs like “Day Of The Eagle” and “Bridge Of Sighs” transport us to that special place that was an adolescent comfort zone.

Other reviewers have coined the phrase “psychedelic blues” in describing Trower’s music. It’s an old cliche but it best describes Trower’s approach to his Hendrix infused pedal/reverb guitar lines that deeply resonate with soul he imbibes

Letting vocalist Richard Watts sing the tunes that fulfill his vision, the Strat tones shimmer and ride the groove immediately from the onset. The medium paced “Ball Of Fire” opens the party and can become a live staple in Trower’s live sets. The title track can do the same thing with Robin coaxing his reverb drenched notes awash in an elixir he can create.

It’s a long way from the seventies in which he reigned strongly in the concert arenas. Since then, Trower has become comfortable in his role as elder statesman of the blues. Never one for speedy deliveries or a thousand note attacks doesn’t hinder him from transmitting emotion that is strong in his single note attacks. It’s the stuff guitar geeks can soak up when they purchase their Fender guitars and Marshall amps. Add a pedal board to the mix and you have the tools of trade.

While his tunes don’t headbang with the fire and fury of his classic rock yesteryear, Robin lays down his psychedelic blues smoke in the hazy “Birdsong.” The tempo picks up with Robin’s lyrical lines in “Losing You” that segues into the same paced “Waiting For The Rain To Fall.”

These tunes follow the same blueprint. Slow approaches undercut by Robin’s ethereal spacy notes that serve the purpose of creating atmosphere. Not disrupting it.

“Cloud Across The Sun” can be a great addition to Trower’s live sets as it gallops with rocking urgency that recalls a younger Robin in his heyday. Then it’s back to the slow crawl of “Fire To Ashes” with Robin’s ghostly guitar riding the bedrock of rhythm fleshed out by soulful keyboards.

“Razors Edge” with its lyrics pointing fingers at the politicians taking the world in a downward trajectory is the package of blues rock histrionics that could have found a home on Trower’s earlier work. Blues awash in psychedelia that only Robin can play.

The Hendrix influence is strong within the love song “I Will Always Be Your Shelter” that can lull couples into a warm embrace with Trower’s airy guitar painting broad strokes across the canvass.

If one wants to think of Robin as blues of the twenty first century, then it’s an honorable designation to live with.

  • Gary Weeks

 

Brother Johnny – An All-Star Tribute to Johnny Winter

Brother Johnny – An All-Star Tribute to Johnny Winter

Brother Johnny – An All-Star Tribute to Johnny Winter

Brother Johnny
An All-Star Tribute to Johnny Winter

Oh, have I been waiting for this one! And it was well-worth the wait.

When writing this review, I found it hard to separate the music of John Dawson Winter III from my life. Understandably so because Johnny Winter shaped much of my musical interests. It’s no stretch to say I would not be writing this review or even a member of Suncoast Blues Society without the influences of Johnny. So, when I saw the press release for the musicians coming together with Edgar Winter to record a tribute to his brother, I could not wait!

Right from the downbeat of this 17-song recording, Joe Bonamassa explodes with a wonderful rendition of Mean Town Blues. Playing in front of Edgar’s vocals Joe is faithful to Johnny’s original. A song these ears first heard on what I consider to be the best live recording in blues rock history, “Johnny Winter And Live.” On “Still Alive and Well” Kenny Wayne Shepherd plays virtually note for note the song Johnny issued on the 1973 album of the same name, shortly after recovering from his well-documented heroin addiction.

Keb’ Mo’ and Edgar paired well on Lone Star Blues and provide a moment to reflect on what a great slide guitar player Johnny was. A point reinforced when Billy Gibbons and today’s premier slide player Derek Trucks turn the heat up on, I’m Yours, I’m Hers. The original was Johnny at his raucous psychedelic best. Hearing this version my mind recalled blowing out speakers in my bedroom on this song.

I am so happy that Stranger made the recording. This has forever been my favorite slow and poignant song from Johnny. In high school I submitted these lyrics as an example of poetry. The teacher was not amused, as my grade attested to. Proving forever to me that poetry is however one defines it. As one who stays away from recordings featuring Michael McDonald, I must complement his vocals on this version. The pairing of Michael with Joe Walsh and Ringo Star is genius.

Both Johnny B. Goode and Highway 61 Revisited are my least favorite songs on this recording. Phil X performed the former in the style of The Rolling Stones, and the latter with “KWS” truer to Dylan’s original. Understandable as recreating the blistering incendiary version of “Highway” that Johnny recorded on “Captured Live” is beyond the capabilities of mere mortals.

Steve Lukather pitches in for a version of Rock ‘n’ Roll Hoochie Koo that brings the mind back to the days when Johnny and Rick Derringer were, in my opinion, the best blues rock guitar duo in existence. Great backing vocals accompany Edgar’s vocals on this one. Doyle Bramall II  performs When You Got A Good Friend in honor of Johnny’s 1969 self-titled recording. Traditional blues, and it’s something that Johnny returned to later in his career. More on this topic shortly.

The familiar licks to Guess I’ll Go Away explode off the guitar of Doug Rappaport and include marvelous vocals by the Foo Fighter’s late Taylor Hawkins. This version sounded as fresh as when first released on Johnny Winter And (studio version).

Edgar takes center stage singing a version of Drown In My Own Tears done in the style of the Charles’s – Ray and Ezra. Another example of the deep blues that Johnny is normally not associated with, but a song that he faithfully recorded on his self-titled album.

Joe Bonamassa returns with a true rendition of Self-Destructive Blues, a song Johnny artfully recorded on ”Scorchin’ Blues.” This song may have my all-time favorite Johnny guitar lick, and I suspect that Johnny is smiling over this version. Well done, Joe, especially recreating the lick that Johnny included in many of his song. “When I get through boogyin,’ they’ll be no more blues around.” Indeed.

Earlier I mentioned that Johnny paid homage to the blues masters. Winning three Grammy Awards for production work with Muddy Waters cemented his legacy with traditional blues. It was through Johnny that I received introductions to both Muddy and James Cotton. Back to the recording, Got My Mojo Working features Bobby Rush, and is evocative of “Muddy ‘Mississippi’ Waters – Live.” I closed my eyes and felt Muddy and James on this one.

Thank you, Quarto Valley Records, and Edgar Winter, for bringing this recording to life. I won’t be drowning in my own tears, but this recording brought a tear to my eyes, a happy one. Most excellent. Heartily recommended for fans of Johnny. And if you are unfamiliar with Johnny’s work this is a great jump-of point to embark on a marvelous journey of some of the best blues-rock licks every recorded.

  • Scott Morris

 

 

 

Larry McCray Blues Without You (KTBA.com)

Larry McCray Blues Without You (KTBA.com)

Larry McCray Blues Without You (KTBA.com)

(Suncoast Blues Society member Gary Weeks contributed the following review for your enjoyment. If you would like to review a new recording, please contact bluesnews@suncoastblues.org.)

Blues Without You 

The word “comeback” is an old cliche used many times to describe an artist re-entering a profession that sometimes isn’t kind if the individual doesn’t deliver the goods as promised.

 

That is not the case for blues troubadour Larry McCray. With production duties handled by guitar wizards Joe Bonamassa and Josh Smith, McCray’s latest offering Blues Without You is full of strong gospel inflected vocals and greasy hot guitar licks that McCray dishes out like a spicy gumbo.

 

With a Bo Diddley like rhythm, opening track “Arkansas” sets the boogie wheels in motion with McCray reeling off rocking Albert King leads. Keeping the party atmosphere going, “Without Love It Doesn’t Matter” augmented by barroom keyboards and a slithery drum groove is a soul meltdown that doesn’t let up in the hallelujah gospel redemption of “The Good Die Young.”

 

In “Down to The Bottom” only McCray can take us to church and feel the presence of the almighty. Choir harmonies set this number aglow and guest player Warren Haynes adds searing slide guitar fleshing this song out into deeper southern soul territory.

 

McCray continues to mine that soul territory in “Breaking News” that pushes Memphis Stax sounds like an old reliable train making its destination to the next stop. There is no overplaying or hot dog tendencies on display as Larry lets the guitar work be in service to the song.

 

Larry continues his Albert King chops in “Roadhouse Blues” which is not the same tune from The Doors’ infamous Morrison Hotel. The chances are the listener will care less as they hear McCray dip into his mojo bag of leads which he has dozens of. McCray just pours it on letting the guitar hero title cast its shadow.

 

McCray isn’t ready to leave the roadhouse. The fire and fury unleash itself in the keyboard boogie “Drinkin Liquor and Chasin Women.” The fretboard keeps burning only now Larry bolsters it even more with Chicago slide guitar queen Joanna Connor adding guitar histrionics that are over much too soon.

 

The title track “Blues Without You” brings the guitar barnyard burning down a bit with strings and horns being the bedrock for Larry’s guitar breaks.

 

Of course, if Joe Bonamassa is producing you, there you no way you can’t have him guest on a track. In the sleight laidback ambiance of “Mr. Easy,” McCray graciously lets Joe take the spotlight with that trademark Paul Kossoff sound that characterizes his DNA.

 

Closing acoustic number “I Play The Blues” exits this smorgasbord of soul, blues, and rock on a quiet note. It’s not to be confused with an epitaph. Just another tunnel McCray is opening to the light that sets him free.

  • Gary Weeks

Suncoast Blues Society member