WFHB Music - Bloomington Community Radio

Brent, Eden – “Ain’t Got No Troubles” (Yellow Dog Records) B

Brent can belt out vocals and works that piano with a heavy New Orleans touch. A sound that mixes Bessie smith with a touch of Dr. John and Marcia Ball thrown in. A blues mama in the making—let’s us know New Orleans piano-ladies aren’t extinct…but this is not a style that moves me as much as others. Vocals work best on ballads.

Cain, Chris – “So Many Miles” (Blue Rockit) B

Cain got his start in California clubs and built a following that catapulted him into prominence during the 90s. Crisp playing, gruff vocals and his blues sensibilities seem to mellow with age/the road. After jumping to Blind Pig for a few discs, Cain is back on his home label—Blue Rockit. This CD is a result of guitar great Robben Ford suggesting they do a disc together with Ford’s band…a very happy combination. Ford supports with silky rhythm guitar parts and, as usual, the Ford band is solid. Cain gets to cruise on his guitar over the top…with a lead gtr assist by Larry Carlton (#9). Overall, the result is a smooth rock-blues effort. The feel is good, and Cain refrains from too much over-the-top note stacking, yay. Guitar player’s delight. Double lead on Carlton’s effort (#9-instrumental) very cool.

Cru, Tas – “Jus’ Desserts” (Crustee Tees Records) B

This is the fourth CD from this blues tongue-in-cheek blues artist whose specialty lies in interesting original lyrics. Backed by versatile players, Cru’s “talk-like” vocals tell a story and his “verbal flair” puts “furniture” in every song. Even shakily sung ballads like “Time and Time” are well written. Other songs have a smile tucked in (#6, #7) and you don’t care who sings it. Eclectic collection.

Delta Flyers – Sixteen Bars (Soulbilly Records) C

Blues rock from Texas with mandolin assist by Rich DelGrosso. Playing blues chords, but sounds like rock and vocals leave me uninspired. Not recommended.

Jordan, Lauren – “Dreams” (Bloo Production) B

All songs written, arranged and produced by Jordan. Soulful vocal sound that set me back at first—as they have the depth and feel of some of Aretha’s stuff. Arrangements have an urban LA feel…outta the hood, with an all-originals menu that gives the CD an original twist. Can’t really say what type of music I’d call this – vocals are definitely soul-laden. Not sure the songs make it work up to her potential, though it’s definitely her own thing. You decide—heh.

King, Claudette – “We’re Onto Something” (Blues Express Records) B+

San Franciscan songstress Claudette King has been making the nightclub scene in that city for a couple of decades. She knows her way around and when label owner Dan Bacon heard her, he decided to produce her first CD. This is it. Though he backs her with a big band (not necessarily my first choice of arrangement), he puts Etta James’ sons (drums and bass) and guitarist behind her for a killer backline, and adds songwriters to give her fertile tools with which to showcase her blues-drenched voice. She’s got that rare combination of soulful phrasing and supple vocals. There’s a promising something goin’ on here…can’t wait to see what comes next. She shines when emoting on the slow ones (#3), sings ‘em gritty or soft and sits comfortably in the blues mama chair. Yeah, and it might not hurt much that she’s B.B.’s youngest daughter.

Lynwood Slim & The Igor Prado Band – “Brazilian Kicks” (Delta Groove) A

Lynwood Slim always figured he’d make a living one way or another – as a pool shark or harmonica player. Luckily he stuck with the latter given that he’s VERY good at it. He’s also a great singer, and has worked with a number of great musicians as front man and singer. He replaced Kim Wilson in a Milwaukee band when Kim left to form the Thunderbirds in Texas. Slim specializes in swing blues, but is completely adept at traditional blues of all sorts. It’s great that he works with a lot of people (now mostly with the Southern California blues “posse” at Delta Groove Records. This record is a great surprise as he’s working with a Brazilian band (who knew?) who just kicks booty on blues and swing. Wow. They’re deep. Great record.

Miller, Biscuit – “Blues With A Smile” (BlueBass Entertainment) B+

Probably best known as the bass player for Lonnie Brooks (for 10 years), Miller has also attained quite a rep as an entertainer and showman – which is a rare thing given that he is the lead vocalist AND bass player. The last two things are tough to come by, but add entertainer/front man to it and it’s impossible to find. Miller kicks off this laid back blue disc with a harmonica assist by Billy Branch and a laid-back groove. Miller’s big on bringing joy to the crowd. It’s immediate clear he’s serious about this. After 25 years backing Chicago artists, he’s clearly in it for the fun. Check all the Chicago references in #2 (rockin’ piano tune). His current band: “The Mix” all live right there with him in the groove. Would love to see these guys live. Ain’t scared of de funk neither (#3). And whoa that gospel rave-up (#12).

Primer, John – “Call Me John Primer” (Wolf) A

A lifer of blues guitar, Primer came up playing with a wire-nails-and-bottle guitar on his grandma’s porch in Mississippi....moved into gospel, and in 1963 hit Chicago and became a sideman for an amazing roster of blues musicians. In ’79 he went on the road with Willie Dixon and then landed the guitar chair for Muddy Waters, that he held until Mud’s death in ’83. He moved on to work with Magic Slim and the Teardrops, seasoning himself even further if possible, and then formed his own blues label. He continues to record as a session player and this disc is a compilation of some of his greater hits with a number of the aforementioned groups. Since much of it is recorded in concert, the cuts tend to be long, but hey…It smokes. Yeow. If he hasn’t killed himself on the road yet, we may have a few more years on this guy. He’s got a variety of styles…love hearing that ol’ Muddy slide. I vote yes.

Ray, Don – “Lonesome Rider” (Margdon Records) C

Straight-ahead biker blues. Not bad vocal that knows how to push the notes when needed. Songs are mostly rock or rock-ballads. Not bad, but not really write-home material.

Slim Fatz – “Everybody Loves Slim” (Aladdin Records) C-

Resonator playin, gravel/mumble vocaled Slim plays acoustic guitar and sings with minimal production. Sounds like a slightly inebriatedLeon Redbone. Everybody loves Slim Fatz…but not me. Not recommended.

Thien, Kirsten – “Delicious” (Screen Door Records) B

The publicity pushing this young singer from Maine has been ferocious. On this, her third CD, she starts right out with a big band/horns backup. She’s got good pipes of the “clean” variety…and makes the phrasing and power notes seem effortless. Hubert Sumlin kicks off the first solo in classic single-note style, backed by a wall of sound horn backup. All but three tunes are originals, mid-tempo and fit into a pop-R&B genre, reminiscent of Nicolette Larson. Larson always had trouble courting popular success with pop-sounding vocals, which was a shame. I guess it’s because a pop sound is a hard-sell in the blues--power notes or no. This lady definitely has the vocal chops, but “in my opinion, blues generally need something gritty to cut it. You can hear what she’s up against in # 3 when the band lays out a music bed begging for sex-and-grit-vocals and she compromises with a breathy, pause-laden delivery. Band stays in the pocket and gives her stuff good backing, but I’m not sure that’s enough to make this work as blues.