There is always that familiar expectation when new Blues albums arrive on the desk. It’s because I’m such a big fan. For me, it can be any kind of Blues, just so long as it rings authentic to my ear.
This past week, I’ve had three Blues albums playing in the car and all of them have been enjoyable. The first to catch my attention was ‘Soul Monster’, the new album by Rod Piazza and The Mighty Flyers Blues Quartet. Rod Piazza has been playing the Blues since the ‘60s but I didn’t discover him until two years ago, when his last album, ‘ThrillVille’ was released. The thing I loved about that disc was a medley of Little Walter’s “Hate To See You Go” and Slim Harpo’s “Shake Your Hips”. (Check it out here.)
http://www.themightyflyers.com/
Rod Piazza hails from California, and plays the harmonica better than I ever will. You can tell just by listening that he loves his job. And that job, most likely, is an endless succession of dates at small clubs and outdoor festivals.
When Rod Piazza was studying his Blues records back in the ‘60s, I’m guessing the names of Little Walter and Slim Harpo rated highly in his collection, with songs by both, once again figuring on this new album. Also featured, are songs by Jimmy Reed, Jimmy Liggins and Big Bill Broonzy but the real surprise comes in a version of a Little Willie John hit from 1958 called, “Talk To Me”. Compared to the rest of the album, it sounds positively urbane, with Piazza’s harmonica giving way to horns and a vocal from the sweeter, Doo-Wop end of the R&B spectrum. For the most part, ‘Soul Monster’ is an album that succeeds in bringing a live experience into the studio and makes for good company whilst driving. Three tracks from the album can be heard here:
http://www.myspace.com/rodpiazzaandthemightyflyers
The next disc to catch my ear was from another Californian Blues harmonica veteran, who has spent thirty years playing undercover in somebody else’s band. Looking like a more hep version of R. Crumb, he cuts quite an impression on the album’s cover, in crimson Cab Calloway suit, Ray Bans, and authentic Blues moustacheâ. The album is called, ‘Twisted’ and the man in crimson is Rick Estrin.
I’ll admit it, I’d never heard of Rick Estrin before, at least, not by name, but I was familiar with his band. As the harp player with Little Charlie & The Nightcats for thirty years, Estrin has seen plenty. When bandleader, Charlie Baty finally retired from touring, Estrin took a sideways step into leading the band he was already in. Without doubt, Estrin’s harmonica certainly shines but it never threatens overshadow the rest of the band. After playing together for so long, how could they screw it up?
Rick Estrin and The Nightcats are old school, not so hard-edged as many of their Alligator label contemporaries, and with a style that is steeped as much in vintage R&B as it is Blues. And they swing, too. Nightcats’ guitarist, Kid Andersen provides the contrast to balance Estrin’s harmonica solos, slipping effortlessly from R&B, to vintage Rock ‘n’ Roll instrumentals, to Blues. There’s also room for humour in the songs, with titles like, “Back From The Dead” and “I’m Takin’ Out My In-Laws” becoming immediate favourites. Over all, “Twisted” is a more polished studio production than Rod Piazza’s album and Estrin’s style, more restrained and expressive, more Sonny Boy Williamson than Little Walter. For a sample of Estrin’s playing, check the link below. You’ll find three tracks available although, surprisingly, none are from the new album.
http://www.myspace.com/rickestrin
And for Blues fans that rate guitar virtuosity over skilled harmonica solos, check the latest album from Ronnie Earl & The Broadcasters called, ‘Living In The Light’. A couple things about this album are obvious from the get-go.
One thing is, that Ronnie Earl is obviously a man of some deep faith. This comes through on the Gospel-tinged opening track, “Love, Love Love”, and the album’s not-so-obvious Dylan cover. That song, “What Can I Do For You”, originally featured on ‘Saved’, the second album of Dylan’s ‘born again’ period. For his own rendition, Ronnie Earl enlisted a ten-voice choir from the members of his local Baptist church. Also, with the help of his church minister, Rev. Debbie Blanchard, he composed the song, “Child Of A Survivor”, about the holocaust and it’s impact on his own Jewish heritage.
I hasten to add, however, that none of this information would necessarily inspire me to listen to ‘Living In The Light’ if I were not already aware of Ronnie Earl’s talent. All personal baggage aside, though, including the vague hints of his overcoming, some twenty years, ago, an addiction to an unspecified substance, the overriding factor is that he squeezes out so much feeling. Not one to fall back on big power chords, Ronnie Earl’s style displays the sweet and graceful expression you might associate with someone like BB King. It is the quality of musicianship throughout that makes ‘Living In The Light’ such an enjoyable Blues album and if you are new to Ronnie Earl’s music, it’s as impressive an introduction as you could hope for.
Less impressive, is the lack of sample audio from the album available for online streaming but for an impression of that feeling Ronnie Earl manages to elicit from the strings, try this slow-burner.
