Cool Cat
Blues Fidelity Recordings

Okay, anybody familiar with the blues is already aware of harmonica ace Paul Oscher’s past as member of the Muddy Waters band. But it has been over thirty years since Muddy left this world and Oscher’s tenure with the band had come to a close more than a decade before. He certainly has done anything but sit on his hands since then. Tough he may not release new recordings very often, when he does it is something to celebrate. They’re always traditional blues masterpieces displaying his knack for not only the harmonica, but showcasing his adeptness on guitar, piano and songwriting, too.

Cool Cat is his first album since 2010’s Bet On The Blues. It also features a good number of friends that he has made since moving to Austin, including Mike Schermer, Mike Keller, Sarah Brown and Lavelle White, Johnny Ace and Russell Lee. Most of the numbers were recorded in Austin, with the closer done in the Bay Area at Greaseland Studios with the likes of Kid Andersen and June Core at hand.

The album is a nice display of all the talents that Oscher possesses, not just as a musician, but as a first-rate story-teller as he narrates the title piece about a homeless man and his cat on a leash wearing a beret known as “Cool Cat.”. The song is done is two stylings, the first as jazzy instrumental and then again in an R&B manner. He shows his flair for all musical approaches. There’s a New Orleans second line piano opening the disc on “Money Makin’ Woman. He also offers poetry with “Mississippi Poem” about the atmosphere and landscape that birthed the blues. He also pays tribute with a cover of Muddy’s “Rollin’ And Tumblin’.”

Two numbers that stand out are “Ain’t That A Man (Dedicated To Mr. Cotton)” where he tells the story of James Cotton and how he came up from the fields to become the blues giant he was; and the other is “Dirty Dealin’ Mama” a humorous piece with Miss Lavelle White playing the part of a not so faithful partner who seems to be spending time with just about everybody behind his back.

Cool Cat is jam packed full of fun and blues. One of the year’s very best. There’s not a number here that you don’t want to listen, it’s an every moment must hear. This is one of those albums that cannot be recommended enough. Cool Cat is cool stuff!

Total Time: 52:29

Money Makin’ Woman / Blues And Trouble / Hide Out Baby / Work That Stuff / Rollin’ And Tumblin’ / Cool Cat Prologue / Cool Cat / Mississippi Poem / Ain’t That A Man / Dirty Dealin’ Mama / On The Edge / Poor Man Blues / Cool Cat (Long Version)

Voodoo In The Shadows
Blue Empress Records

Hailed as Australia’s most successful blues musician Fiona Boyes returns with a new self-produced recording following in the footsteps of her award-winning disc “Professin’ The Blues.” The new release, “Voodoo In The Shadows,” continues on pace with her penchant for the music of the American South, with a special focus on the sounds of Louisiana and Mississippi that have influenced her playing greatly over the course of her career.

Along with her Australian band members Tim Neal on bass, sax and keys, and drummer Mark Grunden, she is joined by Louisiana’s own Johnny Sansone providing both harmonica and accordion to make the sound of the region even more authentic. Fiona herself works her magic on a variety of guitars, including an electric baritone resonator and a couple of cigar boxes.

There is a dark and boding atmosphere with the start-off number “Call Their Name,” as she asks the question what is the soul of a woman, what is the soul of a man, but she feels the spirits move every time she plays. The mood is a bit livelier with “Party At Red’s” as she tells about good times at the Clarksdale club where some say that you sell your soul just walking through the door. Johnny Sansone really shines on his harp work matching Fiona’s popping guitar licks. She covers her friend Gary Vincent’s number “New Orleans” that offers a frivolous feeling that perfectly fits the character of the city itself. “Don’t Leave Your Feet At Home” delivers a zydeco pace with Sansone throwing down on accordion and it’s a true “fais do do” for sure. She has a message for us all in “With A Little Respect” letting us know that we all have our own ways and to appreciate them all. Fiona closes the album with a feel-good piece called “Ember” where she tells us that even though she may be gone from us at times she leaves a little ember burning within us all always.

“Voodoo In The Shadows” is a terrific recording, start to finish. Fiona Boyes hits on all cylinders here and has without doubt put together a prime songbook that showcases her love of the music of Mississippi and Louisiana. But it is all her own here and breathes excellence throughout. Exceptional and very much recommended.

Total Time: 45:24

Call Their Name / Party At Red’s / What You Put On Me / Dark And Dangerous Love / Little Things / New Orleans / Don’t Leave Your Feet At Home / I Ain’t Fooling / With A Little Respect / Tell Your Story Walking / Ember

Trouble
Boogie Boss Records

Hank Shreve is part of the Oregon generation of bluesmen that includes Ben Rice and Ty Curtis. Aside from their ages, they all have another thing in common. They are all out of this world talented and so scary good that they seem to get better every time that you see them. Having watched Hank Shreve for at least a decade and a half, his skills have been obvious. First as a harmonica player progressing into a sensational vocalist, drummer, keyboardist, lap steel player . . . I am under the impression that he can probably master anything he puts his hands and mind to.

“Trouble” is the Hank Shreve Band’s latest disc and it’s one of those if you don’t have it already, jump into your car and head down to the nearest music store and pick it up! Aside from Hank playing just about every instrument you can think of and providing strong vocals and songwriting, he is joined by stellar musicians in his trio of Ken Luker on guitar and father Bill Shreve on bass.  Drummers JT Albright  and Tim Seifert fill in on drums on tracks not handled by Hank himself. Backing vocals courtesy of Laurie Shreve, Bill and Ken, both of whom also offer one lead number each that they each respectively composed, too. Got to say, the harmonies of this bunch are downright amazing as well.

I like the song mixture throughout the album. It moves from rockers, to funky, to a jazzy flare and even gospel, but it’s all blues in every aspect. Covers of Jimmy Rogers “Who You Thinkin’ Of” has a jumping pace with Hank blowing serious harp. In “Cry, Cry, Cry” he emulates his hero the late Paul deLay not only in voice, but those greasy harmonica parts that he can capture like no one other than deLay himself. The band really hits harmonically on their take of the Blind Boys of Alabama’s version of the traditional “Run On.” It’s fun and filled with church in mood and presentation. Where else can you follow a gospel track with a song like “Big Leg Woman” with its descriptive lyrics other than in the blues. Great number sure to bring a smile to your face. The closing instrumental “Take My Hand” is so mellow and moving that it’s like a deep breath following a rainstorm. Fresh and pure. The guitar and harmonica blend exquisitely.

Do I have to repeat myself? If you don’t have a copy of Trouble, get moving! Exceptional, brilliant and a sure-fire hit. The Hank Shreve Band has captured a collection of tunes that match and surpass a lot of great albums from this year. Go get it! Now!

Total Time: 41:46

Trouble / Light Me Up / Who You Thinkin ‘Or / Pain Called Love / Cry Cry Cry / Writer’s Block Blues / Run On (For A Long Time) / Big Leg Woman / Fly Like A Tiger / Take My Hand

Live
Double Y Records

As one of Eugene’s favorite vocalists, Joanne Broh is known for her rousing live performances. One such night taking place at Mac’s in February 2018 was captured and is now available as her latest recording, Live. Backed by a stellar band featuring twin guitars by masters Jerry Zybach and Garry Meziere, bass man Bill Foss and Ed Pierce on drums, she was also joined by guest Walter Herleman on harmonica for a few tracks.

The album is filled with Broh’s live show nuggets, including two numbers from her previous acclaimed disc, Wicked Cool, that was named Album of the Year by the Rainy Day Blues Society. The band also runs through several cover tunes that Broh completely makes her own coming from songwriters like Bobby Bland, Willie Dixon, Kansas City Joe McCoy and others. The musical interplay from the band is right on target, which is only expected when dealing with recognized veterans of the local blues community. This is especially true with the guitar conversations between Zybach and Meziere, most notably on “Let’s Work It Out.”

Joanne Broh’s range of genre stylings between blues and jazz is represented nicely with soulful approaches and her trademark ball of fire stage energy. Live is truly a nice representation of her stage prowess that can only be mostly appreciated seeing in person, but this is a close second if you are not anywhere near where she is performing. And when you have two of Oregon’s finest guitarists behind her, it just doesn’t get much better.

Total Time: 43:38

Stand Back / Wicked Cool / Kitchen Man / Blues Got A Hold Of My Head / Why Don’t You Do Right / Let’s Work It Out / Ain’t Doin’ Too Bad / Fall In Love / Wig Chalet / Black Cat Bone / I Don’t Care Who Knows

Two new releases have recently found their way into my CD player, and each represents different strains of the terrific diversity — in both form and themes — jingling around and through blues and Americana-orientated music today. – by Randy Murphy

America’s Child
(Alligator)

The first up is Shemekia Copeland’s superb new album America’s Child. Copeland is the daughter of blues icon Johnny Copeland, but her pedigree is largely irrelevant here — Copeland’s talent is all her own, and what’s refreshing is her willingness to explore interesting hues and flavors in her music rather than merely rest upon her blues-drenched roots.

This recording is chock full of memorial tunes brought to life through Copeland’s unique, powerfully convicting voice. The album radiates sincerity, whether Copeland’s giving into the possibility of a dalliance despite knowing of the hazards of heartache in “Promised Myself” or holding up a mirror to our nation’s diversity in “Americans” — a sneaky and tricky rhythm monster of a song. I have little patience for insincerity in music, doubly so when the musician wades into political issues, but Copeland’s integrity, both within the music and the power of her convictions, is refreshing and penetratingly honest.

Copeland reaches her zenith on “In the Blood of the Blues,” a compelling appreciation of the power of the blues to salve the suffering of slaves and console the victims of Jim Crow. It’s potent, heady stuff enlivened by Will Kimbrough’s searing guitar and Copeland’s incendiary vocals — they’re the perfect instruments to evoke the song’s passionate sentiments. This song is so well conceived that it rivals Billie Holiday’s recording of “Strange Fruit” for sheer emotional intensity.

Get this album yesterday.

Total Time — 49:15

Ain’t Got Time for Hate / Americans / Would You Take My Blood? / Great Rain / Smoked Ham And Peaches / The Wrong Idea / Promised Myself / In The Blood Of The Blues / Such A Pretty Flame / One I Love / I’m Not Like Everybody Else / Go To Sleepy Little Baby