Chris Cain
Little Village Foundation

There is little doubt that Chris Cain is one of the most dynamic and inventive guitarists of the past twenty plus years. Why he isn’t mentioned in the first breath of anybody speaking of blues players is a question beyond comprehension. The guy has more licks rolling around in his head at any given time than many others can come up within their entire lives, and they’re not just ordinary runs on the frets. They’re sensible, creative, and showcase his guitar mastery on his latest self-titled album from Little Village Foundation. Yet they sound as if they are creations of the earlier masters, and there is no mistake that Cain is a modern master in his own right.
This is another stellar recording at the hands of Kid Andersen and the great support of talent found at Greaseland Studio in San Jose. Guests include area greats like Andersen himself, Larry Taylor, Nancy Griffith, Jim Pugh, Tony Braunegel, and Aki Kumar. Behind it all is that superb guitar work from Chris Cain. And if you’re just under the impression that Cain is only a guitar player, he throws in some piano playing on three tracks and saxophone on yet another. His voice is distinguishable right away, often with comparisons to BB King, who is a hero of Cain’s.
With this album, it’s all original Chris Cain compositions save for the covers of Albert King’s “You’re Gonna Need Me” and Cleanhead Vinson’s classic “Kidney Stew” which has been a staple of his shows for many years. All the tracks are impeccable, simply stunning in their presentation and should be listened to repeatedly. Stand-out tracks prevail, but give a close listen to numbers like “Tired Of The Way You Do” or “Evil Minded Woman.”
Start to finish, like on just about everything he puts out, Chris Cain is on top of his game and belongs next to the most respected blues musicians today.

Total Time: 39:35
Tired Of The Way You Do / Meanest Woman In Town / My Baby Wants To Leave Me / Tell Tale Signs / Trying To Forget It / Back On Top / Evil Minded Woman / Kidney Stew / Sitting Here Wondering / You’re Gonna Need Me

It’s The Drummer’s Fault!
Self produced

The Norman Jackson Band were third place winners at the 2016 International Blues Challenge. Hailing from Springfield, Illinois, they are an exciting and energetic group that carries a pedigree deeply rooted in traditional blues and also proclaim themselves as “the baddest soul band in the land!” Having originally lived in Chicago, band leader Norman Jackson was influenced by some of the best blues musicians of his time, while also earning soul credentials working with bands like The Chilites and George Clinton’s Parliament Funkadelic.  And it all shines brightly on the band’s latest release, It’s The Drummer’s Fault!

Saxophonist Rick Shortt has been mentored by Jackson since he was twelve years old, and living in Chicago. This man is a ball of fire on-stage who leaps about, jumps down onto his knees and will even occasionally play his sax behind his back. Yes, behind his back. I kid you not, I have witnessed him do it myself.  On the new album you can clearly hear his prowess, especially on the instrumental “All Alone” where Shortt stands tall.

Bassist Danny Williams and Jackson’s nephew Ron Brown better known simply as “The Boogie Man” on drums make up the rhythm section. This quartet works so well together that they’re like a well-oiled machine. Just like that couple who  finish each other’s sentences without missing a beat. They’re joined at the hip musically. This is vibrant blues perfectly melded with a soulful flair.

From the funkiness of the opening number “Norman’s Blues” to the down and gritty finishing track “Snake In My House,” It’s The Drummer’s Fault!” is a disc that is filled with traditional Chicago-styled blues — only coming from a little further down-state. It should go a long way at doing exactly what the band intends for it to do. And what that’s for you to get your happy on!

Total Time: 51:06

Norman’s Blues / Givin’ Up / Man of My House / Healthy Woman / All Alone / Grandmama Says / Water Faucet / When You Came into My Life / Old Time Way / Greene County Blues / Snake in My House

Neoprene Fedora
West Tone Records

After nearly three decades performing in Chicago as one of the city’s best bluesmen, Rockin’ Johnny Burgin made the move to the West Coast, where as he explains in song that “there is more blues goin’ on in Northern California” than back home in the city known for the blues. It’s hard to argue when you look at the cast of characters he’s brought with him into Greaseland Studio. It’s like a virtual phone book for the blues in the region: Kid Andersen, Bob Welsh, Johnny Cat Soubrand, June Core, Nancy Wright, Alabama Mike, Aki Kumar and on and on. (Gee, is anybody not recording at Greaseland these days? Kid Andersen has the magic touch on practically everything nowadays. And that is a good thing!)

But rest assured, Burgin leads the direction behind this incredible disc — Neoprene Fedora. And as you might expect looking at the cover art depicting a surfer wearing a fedora, there is a lot of variation in the musical approaches, all featuring stunning guitar playing from Burgin. Yes, he includes some surf in the opening instrumental. There is also a taste of zydeco, funkiness, and the pure Chicago styled sound that you’d naturally expect out of somebody who helped craft the city’s modern sound for so long.,

Sixteen tracks overall, with eleven penned by Burgin. The five other songs include one by Aki Kumar (“Self Made Man”), a very bluesy slow rendition of the Elvis Presley hit “(Let Me Be You) Teddy Bear,” Papa John Creach’s band Zulu’s number“Give Me An Hour In Your Garden,” one-time Howlin’ Wolf bassist Andrew McMahon’s “Guitar King” and Big Joe Williams “My Baby’s Gone.”  There are deeply personal songs of a broken marriage and a new focus on life that led him to the West Coast, which is put into his perspective on the closing piece “Goodbye Chicago.” He is grateful for all of his time spent in the city, especially for the upbringing he had playing with heroes like Pinetop Perkins, Hubert Sumlin, Eddie Shaw, Sam Lay, and numerous others that he names. But he states that “on the North Side you’ll always be a white boy,” so he is heading out West to the coast.

The guitar playing is pure Johnny Burgin, always spectacular. He may not be in Chicago any longer, but he’s certainly found a new home in California. Neoprene Fedora is off the charts good and with well over an hour’s worth of tunes it is a great disc to spin hours on end. Check it out!

Total Time: 1:17:41

Neoprene Fedora / Guitar King / Won’t Get Married Again / Give Me An Hour In Your Garden / Kinda Wild Woman / Please Tell Me / Out Time Is Short / (Let Me Be Your) Teddy Bear / Smoke And Mirrors / I Did The Best I Could / Self Made Man / My Baby’s Gone / You Gotta Work Fast / I Ain’t Gonna Be A Working Man No More / My Life’s Enough For Me / Goodbye Chicago

Groovin’ In Greaseland
Alligator Records

Anybody who has listened to Rick Estrin over the past few decades already knows that this man is perhaps the most witty songwriter in the blues. He has a gifted craft for spinning words that are humorous and stinging, full of wit. Oh, and he’s a pretty mean harmonica player, too! All of that is once again evident in the latest release from Rick Estrin & The Nightcats titled “Groovin’ In Greaseland. The Nightcats are definitely one of the most talented blues bands going when you consider guitar master Kid Andersen, longtime keyboardist Lorenzo Farrell and drummer Alex Petersen pulling out no stops in their performances alongside Estrin’s harp and vocals. The bass licks are handled by various players including Joe Kyle Jr on half a dozen tracks, Jerry Jemmott and Kid Andersen covering three apiece and Robby Yamilov on one.

It is very fortunate for the band to have Andersen as a key member as he is also the owner, producer, mixer, engineer, multi-instrumentalist, dish-washer, and all-around do-it-all guy at one of the finest recording studios going, Greaseland Studios in San Jose. Plenty of musicians in Northern California always seem to be on hand when needed at the studio and we see people like Nancy Wright, Kyle Jester, Aki Kumar and Terry Hanck all among those dropping by to lend a hand with this recording.

The album opens with a commentary letting everybody know that “The Blues Ain’t Going Nowhere.” Estrin churns this number out on a chromatic as he informs us all that there’s no reason about the genre dying as the blues is gonna live without even trying.

There are many typical Estrin lines that just fall natural in his mind.  I was “Looking For A Woman” when I met you, so he’s no stranger to seeking somebody new, he just needs to put himself back into circulation. He states that he has seen more action than a Saturday night, but he isn’t bragging because “I Ain’t All That” but I’m alright. In “Big Money” he calls out those who feel that they have it all because they have the money to live a high life. They have a lot of class but he says it’s all low. In “Living Hand To Mouth” we have all been in this situation where we keep working hard for a living but we just can’t seem to get ahead. “Dissed Again” is another tale of not getting anywhere, maybe a little more personal for him this time as seen from a working musician’s view.

Groovin’  In Greaseland is everything that you have come to expect from Rick Estrin & The Nightcats. Memorable storytelling that rates amongst the best of Estrin’s career.  Over the top musicianship from the entire band.; there are three instrumentals on this album and plenty more solo breaks that are more than convincing of that fact. Destined to become a favorite and one of the most popular albums of the year, expect to be hearing a lot of this broadcast on blues radio for months to come.

Total Time:  54:38

The Blues Ain’t Going Nowhere / Looking For A Woman / Dissed Again / Tender Hearted / Mwah! / I Ain’t All That / Another Lonesome Day  / Hands Of Time / Cool Slaw / Big Money / Hot In Here / Living Hand To Mouth / So Long (for Jay P.)

You Can’t Do That! Acoustic Beatles Blues
Swingsuit Records

The music of the first British Invasion had a very distinct background based on influence from American blues and popular artists of the time. This is true with most of the bands that broke out, and The Beatles were no exception. And since theirs is perhaps one of the most loved and best-known collections of songs it’s easy to imagine when a group of musicians casually get together, just sitting facing each other while swapping a guitar back and forth and playing favorite songs that come to mind, The Beatles are likely to come up. Of course when you have two musicians get together like Mick Kolassa and Mark Telesca who are self-proclaimed Beatles fanatics, it’s just destined to occur. And being the true bluesmen that they are, they’re going to spin that flavor into the mix, too. This is exactly what happened with this pair and the more Beatles songs that they brought up, played in this bluesy manner obviously made them smile. And like an epiphany, the idea jumped into their minds to take this music into the studio.

Along with good friends Jeff Jensen, Eric Hughes, James Cunningham, Mark Franklin and Tommy Boroughs they dropped in at Cotton Row Studios in Memphis with a collection of songs from John Lennon and Paul McCartney and pieced together a work that is truly magical. The Beatles molded to the blues is not far-fetched when you think about it, and one listen to the eleven tracks offered is quite convincing that this pattern does work. Unlike a lot of tributes to The Beatles, they did not focus on the hits and the tracks are each given just the right mix to offer fresh takes while still being true to the originals.

Being true to that first sit-down trading the guitar back and forth, they recorded the album completely acoustic. It adds to the authenticity of the blues feeling and the guitar work on songs like “Can’t Buy Me Love,” “Fixing A Hole,” “You Can’t Do That” or “Why Don’t We Do It In The Road” for example all strike home with a Delta-like emphasis. The blues can take a variety of directions, too, and that is not lost with the interpretations of some of these songs. Mark Franklin delivers a very distinct Bourbon Street Dixieland feeling  on “I’ll Cry Instead” and later with a muted flugelhorn enhances “She’s A Woman” from the original quick-paced jumper to a slow blues. That slow down direction also works to perfection on the latter half of “Mean Mr. Mustard/Polythene Pam” with Telesca taking the brisk original to an emotional and haunting description of the titular character. Tommy Boroughs fiddle helps close out the album in a bluegrass delivery on “She Came In Through The Batroom Window.”

Some ideas are just natural fits. Taking on The Beatles in the blues direction that Mick Kolassa and Mark Telesca have done is exceptional. It works. There have been many variations of recreating The Beatles in tributes throughout the years, but this is one of the best. Just like Mick and Mark surely did when they first sat together tossing out favorite songs of The Beatles, this one will make you smile, too. Over and over again.

Total Time:  37:04

I’ll Cry Instead / Can’t Buy Me Love / I Feel Fine / Fixing A Hole / You Can’t Do That / Got To Get You Into My Life / Lady Madonna / Why Don’t We Do It In The Road / She’s A Woman / Mean Mr. Mustard – Polythene Pam / She Came In Through The Bathroom Window