CD Review: Addicted To The Blues

Addicted To The Blues

Phil Gates

(Setag Music, 2010)

by Steve "Fly" Klein

A funny thing happened when I was preparing to write this review; I was looking over the credits on the CD booklet and noticed a lack musicians on this disc. Without fanfare, Mr. Gates recorded an album of 12 original songs with only single musicians (or in the case of "The Wisdom", two female background vocalists) contributing on only five of the selections. In other words, a real solo album.

I remember back in the day when the term "one-man band" evoked images of a gaudily dressed man with a bass drum strapped to his back, cymbals between his knees, an accordion under one foot, bagpipes under an arm, and a clarinet and saxophone strapped around his neck so he could play them simultaneously while strumming a banjo. Les Paul pioneered overdub recording on acetate disks in the 1930s and released his first commercial success in 1948. But it wasn't until Paul McCartney, Todd Rundgren, and Emitt Rhodes had success in the early 1970s with multitracking themselves on tape that the one-man band reached its height of notoriety.

Mr. Gates sings all of the lead vocals, plays all the guitars, plays bass, keyboards, and edited the drums (I might call it drum programming). While this could mean something was laking, it wasn't. In short, if you didn't read the credits you might not realize it was performed by basically just one guy.

To give you a little background, Phil Gates was born in Chicago, served in the Air Force, played as guitarist in the USAF "Tops in Blue" World Tour that performed at Superbowl XIX, was a sound engineer at a Texas jazz club, and moved to Los Angeles in 1989 to work in the aerospace industry. While in LA he had the opportunity to produce and do session work. In 2006 he created the film score for "My Normal Life".

This is the fifth CD by Phil Gates. Addicted To The Blues is an album of blues and funk with touches of smooth jazz and a little Nashville twang. Phil is a wonderful, soulful guitar player who understands his way around the fretboard as well as a multitude of other instruments. The songs here show real craftsmanship.

"Get Around Me" (with Eddie Baytos on accordion and additional percussion) is a smooth New Orleans type funk song. Nice blues riffs with fun chord changes. Very good arrangement and production perhaps due to the contributions of Matt Forger as engineer on this number (known for his work with Michael Jackson and Quincy Jones). Gates can play a smooth slide guitar as in "Sexy Little Cool" (with Mark Justin on keys) or a grinding, screaming slide like in "Used Me Up". "Evening Train" (with Byron Gaither on keys) shows Phil's guitar prowess with some Nashville pickin', while "The Wisdom" (with Elizabeth Hangan and Gedina Jean background vocals) finishes up the CD with a nice change up as he features a New Orleans second-line syncopation in a song about learning from the wisdom of his departed family and friends. One of the CD's single worthy songs accompanied by a nice, understated guitar solo from Gates.

He grooves ya', he moves ya'; Phil Gates is a big time artist who deserves a listen for his outstanding work on this album.

Phil Gates website.

Check out the songs.

CD Review: Jason King Band

Blues Skies and Black Shoes

Jason King Band

(Hip-Rox Music, 2009)

by Steve "Fly" Klein

Northern Nevada is Reno and Sparks, casinos and open spaces. It's not the home of the blues. But amid all of this Western grandeur is Jason King Roxas and his fellow musicians, the Jason King Band.

Born in the Philippines in 1973 of Japanese and Castilian ancestry, Jason King Roxas (vocals and guitar) immigrated to Los Angeles in 1980 and began playing guitar in the church choir during high school. His band consists of Wilbert Banks (bass), Michael Patrick Moore (drums), and Tommy Stiles (guitar, lap slide, and pedal steel) with guest appearances by Pat Dotson (drums), Jason Stanton (keyboards), Freddie Mills (harmonica), and Rick Metz (saxes).

The first thing I noticed was the well-crafted sound of Blues Skies and Black Shoes. Great performances that were really well recorded, not something you will always find in this era of the everyman's home studio. Hands off to Todd Rold at Watersign Studios in Reno for his recording, engineering, and mixing, as well as Jason King Roxas and Todd for their work as producers.

A highlight of the CD for me was "Cryin' Shame". It is a nice, slow blues that Jason Stanton drops some tasty piano behind. Mr. Roxas noodles through some classic riffs and sizzles with his solos.

I found "Broken" and "6 Years Gone" to be excellent acoustic blues numbers with yearning guitar work that will break your heart. While "Driftin'" and "SoulShaker" try to rip the doors off with vocals and guitar playing that Stevie Ray would be proud to hear. Jason is in total control of his voice and his other instrument, his Strat.

This CD is very good with some moments of greatness. All eleven tracks are original compositions and seem to show a good range in style and ability. Jason's guitar playing is both masterful and emotional, and the band lays down a solid groove and contributes textures and key solos that push this CD beyond the typical first album for a band.

Jason King Band website.

Check out the songs.

CD Review: The Bluesmasters featuring Mickey Thomas

The Bluesmasters featuring Mickey Thomas

The Bluesmasters featuring Mickey Thomas

(Direct Music Distribution)

By Steve "Fly" Klein

The eleven song CD, The Bluesmasters featuring Mickey Thomas was released today. Tim Tucker (guitarist and producer) has truly assembled a wealth of top players. Tucker and pianist Sean Benjamin (who guests on two tracks of this CD) started The Bluesmasters in 2007 utilizing their past bandmates and contacts throughout the blues world.

First let's review the band:

Tim Tucker's guitar playing shows he's mastered every blues lick, every nuance, and sizzling solo in the great American Blues catalog.

Anysley Dunbar (drums) may be best known for playing in Journey and Jefferson Starship, but few realize he was in John Mayall's Bluesbreakers with Peter Green and John McVie and was part of the first Jeff Beck Group (frustrated that the band was not playing a strict enough blues set for his taste, he left after their seminal record Truth).

Danny Miranda (bass) has been playing in Blue Oster Cult since 1995 and joined Queen + Paul Rodgers for their album and the 2005 and 2006 tours.

Ric Ulsky (Hammond B3 organ) is a big time keyboardist in bands such as The City Zu and Smokin' Guns and has put in his time touring with such as The Turtles, Spanky & Our Gang, Chuck Berry, and The Coasters to name a few.

Doug Lynn (harmonica) is a famous harp player in both the Omaha and Seattle areas and knew Sean Benjamin back in his days with the Benjamin's band in the late 70s.

And finally, Mickey Thomas (vocals) has made his name as lead singer for Jefferson Starship, but more than a few should remember his turn as the vocalist for the Elvin Bishop Group and their hit "Fooled Around And Fell In Love". Just in case you've forgotten, they've included the hit on this CD.

The CD sets the bar high with the first cut "Cherry Red". Guest musician Sean Benjamin pounds out the blues on the piano while Thomas pushes his vocal chords into a soulful shout. Doug Lynn's harp excellent work rounds out the song.

"Rock Me Baby" sends the proceedings into passing gear with nice Chicago-style harp work by Lynn. While Thomas does a great job of selling the song, I hear echos of the Jeff Beck-era Rod Steward in his voice. While "Fooled Around And Fell In Love" is a bluesed up version that showcases Thomas' nice vocal reinterpretation of the classic and some solid drumming by Dunbar. And be sure to listen for Ric Ulsky's excellent organ work on the Etta James gospel-tinged classic, "I'd Rather Go Blind". Adding guitar to "Get Your Business Straight" and "Can't Get No Grindin'" (plus sharing lead vocals) is the Mississippi-born Magic Slim. These songs loosen up the band a bit and Magic Slim cuts through with his tough guitar tone.

I'd say that Willie Dixon's "Third Degree" and Elmore James' "Over Yonder Wall" are my favorites on the CD. Dunbar and Miranda lay down a nice groove to set the table on "Third Degree", while Tucker's smoky guitar work and Ulsky's B3 set the song on fire. "Over Yoner Wall" features a great performance by the whole band led down the path by Thomas' vocal and Tucker's blistering guitar.

I enjoyed this CD. The musicianship is excellent and the song choice is right on target. On the other side of the coin, the performance is a little too polished; some of the songs seem to be missing a certain edge. I would love to see these guys live, because I believe that is where the magic will be heard.

Check out the songs.

CD Review: All In Time

Claudette Miller

All In Time

(C Miller Music, 2007)

By Steve "Fly" Klein, Chicago Blues News

Claudette Miller's CD All In Time recently came across my desk. While this CD was recorded a few years ago, I thought I would jot down my thoughts anyway.

Claudette Miller has the energy for classic Chicago blues and the range to handle other songs in her repertoire like jazz and R&B. Her band on this CD consists of Bob Murphy on keys, who also engineered and produced, Albert Johnson on guitar, Tenry Johns on bass, and Terry Mason on the drums. Also appearing is drummer Jammin Jr.

The first thing that hits you is Claudette's powerful voice. On her "Pillow Full of Tears", Claudette stands up for herself to her man. Her voice and Murphy's keyboard work really sell the song.

"Big Fat Daddy" is a sassy tune that Ms. Miller handles well. The band does some background singing that adds to the fun.

The CD makes a turn with a jazz rendition of Bill Withers' "Ain't No Sunshine". An interesting arrangement that, while Claudette sings well, I feel guitarist Albert Johnson struggles pulling off his part.

Bob Murphy's synth-horns are featured on the gospel tinged blues "I Know Your Kind". Claudette shows her roots the way she handles the vocals. Sweet.

The soulful "Highway Man" tells of a woman and a handsome, but wandering, highway man. Again, the fine keyboard work of Bob Murphy adds much to this number.

"You're Leaving Me" is an R&B inspired song that gives Ms. Miller a chance to stretch out her vocals a bit. The rhythm section really lays down a tight and funky groove on this one.

The B.B. King classic "Rock Me Baby" is slowed down a bit and it churns and grinds with a smoky vocal by Claudette. Listen for the great clavinet work by Murphy.

The CD ends with another Miller original where she really shines, "Can't Find My Man". A classic blues number that intersects a traditional rhythm section with techno synthesizers. While I thought the musical bed was not entirely successful, Claudette's vocal stands out over any distraction.

Claudette Miller continues to sing in clubs around Chicago and her ability to sing and write is a powerful combination. She has the pipes to belt out a song like "Pillow Full of Tears" and the talent to lay down crushed velvet with material like "Highway Man" and "You're Leaving Me". However, I think her abilities could be showcased better if she were backed by a traditional blues band with a full horn section.

I look forward to hearing more from Claudette Miller.

CD Review, Since I Saw You Last

Steve Howell -
Since I Saw You Last
(Out of the Past Music, 2010)
By Steve "Fly" Klein, Chicago Blues News

We all have our musical influences and most here latched on to the blues at an early age. I grew up in Chicago in the 1950s and 60s and although the best blues in our city's history was being produced less than 20 miles from where I lived, I didn't hear it until I was 17 or 18 years old. I approached understanding blues music from a slightly different angle.

When I was young there was a program on WGN television early Sunday mornings called "The Jubilee Hour". It was on just before the Flash Gordon serials (sponsored by Community Discount Stores) at 6 AM, if memory serves.

After rising too early one Sunday morning to watch "Flash", I instead discovered a man playing an organ and a group of singers performing like I had never heard before. Wow. Over the following weeks I'd try to get up early to catch parts of the program. Different African-American preachers would do sermons and a choir would rise up and sing. A service for shut-ins I suppose. The cast changed from week to week – an organ playing preacher one time, a small band the next. How I loved that gospel sound: the soloist, the call and response choir, those full chords and the unique bass line.

If you've never attended a service in an African-American church, let me try and describe what I saw back then. Think of the scene in the "Blues Brothers" movie where Jake and Elwood go to see Rev. James Brown preach. Take away the choreography, two thirds of the choir, relocate them into an local television studio with blank walls, and turn the visual into black and white. Keep the robes and the energy. Now you've got it.

Sometimes the most interesting bands would only consist of a man with a guitar that was plugged into a small amplifier (usually a Silvertone combo) and a drummer with just a snare and high hat. [I later found out that famous bluesmen from around the city would come to play for their pastors; sometimes just after a gig or a party was over; perhaps still inebriated.]

I've read that Steve Howell (vocals, acoustic guitar, electric guitar, bottleneck guitar) heard Mississippi John Hurt for the first time in 1965 and that it set his course for playing rural acoustic blues. His knowledge of American roots songs does seem to acknowledge that and he has the taste to put together a nice sampling on this CD.

Since I Saw You Last is a fine collection of country acoustic blues, jazz, and roots rock and roll. His supporting cast of musicians are an outstanding group: Arnie Cottrell (vocals, acoustic guitar, bottleneck guitar, mandolin), Dave Hoffpauir (vocals, drums), Chris Michaels (electric guitar, bass), Joe Osborn (bass, 12-string guitar), Brian Basco (keyboards), and Darren Osborn (drums, percussion).

A song like "Crawlin' King Snake" is an good example of how Howell can combine an acoustic guitar with a small combo of bass and drums. This gives a different feel to the John Lee Hooker classic, not the electrified sound that most have come to expect. "Wild About My Lovin'" is a nice ensemble piece for guitars and bass with good interplay between players.

Finally, "Ready For The River" showcases Howell's superb mastery of his guitar. This Gus Kahn number comes to life with Steve's skilled fingerpicking, belying its Tin Pan Alley origins. It's a bluesy rendition that sounds at home with other numbers on this CD such as "Downtown Blues" and "Charlie James".

The only misstep I found on this great CD is the inclusion of the synth strings during a jazzy rendition of "Since I Fell For You". There seems to be a strange concession to the romantic appeal of the song, but a nice acoustic guitar solo or a Ray Brown-like bass solo would have seemed more in keeping with the overall tone of the CD.

No one will mistake Howell's voice for a crooner, however his slightly horse singing gives each performance the sound of a bluesman that's travelled the long road, inhaled dust and whisky, and is awfully glad to sit down and play a few numbers for you.

Chicago Blues: CD Review, Superhero

Candye Kane - Superhero (Delta Groove Music, 2009)

By Steve "Fly" Klein, Chicago Blues News

Kane is a powerful singer who belts out a song with the best of them. And you can hear her influences: Ruth Brown, Big Mama Thornton, Etta James, and Bessie Smith. This 2008 nominee for Best Contemporary Blues Female by the Blues Foundation, writes most of her material on this CD (some with the help of Laura Chavez).

The 15 songs presented here run through a gamut of blues styles: hard-driving urban blues, roots rock, early R&B and a jazzy barroom blues ("Don't Cry For Me New Jersey") that reminds me of Kurt Weill channeled through Norah Jones.

For you true blues fans, check out the up-tempo "Hey! Toughen Up!" and Willie Dixon's classic, "You Need Love." A real stand out is the killer guitar work of co-producer Laura Chavez. She really puts her Strat through its paces with a playing style that has a Texas blues flavor.

Kane sings the last song a cappella (a self-healing mantra called "I'm Going To Be Just Fine"). It recalls her life threatening situation in February 2008 when she was diagnosed with pancreatic cancer. Thinking she was a goner, she didn't believe she would ever record or do another live show again. Although her chances were slim, Kane went through treatment and incredibly was told she was cancer free a year later. Now she is back singing better than ever.

I really liked this CD. Candye Kane (her real name -- God love those parents from the 60s) is the real deal. She is a brassy, kickin' singer who lives up to the title "The Toughest Girl Alive."