[ACHiPo]

Eric Bibb Sisters and Brothers

This new-to-me SACD is very sweet.  Liking it a lot on its second time in my system.




All Music Review by Hal Horowitz:

As its title implies, this is a spiritually based collaboration from three distinct -- even disparate -- yet surprisingly harmonious voices. Mostly, but not entirely acoustic, the trio of rootsy singers trade lead vocals on smooth jazz/blues ("Bessie's Dream"), folk-blues ("Good Stuff"), Delta blues ("Rolling Log"), gospel (an a cappella version of Sister Rosetta Tharpe's "Rock Daniel"), and combinations of those genres. On paper it sounds scattershot, but in actuality this is a thoughtfully paced combination of styles, united by three affecting voices. Eric Bibb's smoother Keb' Mo' approach meshes surprisingly well with Rory Block's more penetrating Delta croon and Maria Muldaur's sassy, sexy, throaty growl. Covers of Jimmy Reed's "Little Rain" and Bob Dylan's "Gotta Serve Somebody" with Bibb taking lead, and Bill Withers' "Lean on Me" (Muldaur and Block) show the disc's wide stylistic range. A musical seminar in how diverse types of music interbreed and influence each other, all three singers are in the moment with nobody commanding the spotlight for long. The barrelhouse honky tonk piano blues of Block's "Travelin' Woman Blues" incorporates both Muldaur's and Block's singing in the album's most convincing duet. Only a few songs such as the closing title track feature all three voices, and the album might have benefited from more instances where they all contribute. But the vocalist's exuberance soars from the grooves and creates a lively yet relaxed vibe that's contagious and often thrilling. The result is a cohesive, soulful, and powerful disc that will hopefully inspire listeners to find more material from each of its headliners.

Samples

[pumpkinman]

Peter Green Splinter Group ~ Destiny Road

[ACHiPo]

Peter Green Splinter Group ~ Destiny Road

Really like Peter Green from his early Fleetwood Mac days.  When was this recorded?

[ACHiPo]

Vivino Brothers Blues Band
I like this more than I thought I would.  It's basically the band from Conan's show, so if you ever listen to a tune that you like and you wish they'd keep playing, this would be the album for you.  It's got some tasty tunes and playing, and is a good recording.  Recommended.



Review from AllMusic by Alex Henderson
Those who watched 1990s late-night television should be familiar with the work of the Vivino Brothers, who were music directors for NBC's Late Night With Conan O'Brian. On that program, the job of singer/guitarist/pianist Jimmy Vivino and his sibling, singer/saxophonist Jerry Vivino, is to make O'Brian happy; however, on Blues Band, they sing and play for their own satisfaction. This decent, competent CD, which was recorded in April 2000, is fairly diverse. The Vivino Brothers are, as the album's title says, primarily a blues band, and cuts like "Feedback Out on Highway 101" and Lowell Fulson's "Sinner's Prayer" are gritty examples of urban electric blues. But the siblings detour into other areas, including soul on "Slippin' and Slidin'" and instrumental soul-jazz on Jerry's "Fat Burns," along with interpretations of Curtis Mayfield's "Pusher Man" and Sly & the Family Stone's "Family Affair." The Vivino Brothers don't just give us note-for-note covers of those 1970s R&B classics; instead, they take a hint from improvisers like Charles Earland and Grant Green and really interpret the songs. Brian Charette is the group's organist, and his work is right out of the Jimmy Smith/Jack McDuff/Earland school of organ playing. Blues Band isn't for blues purists, but it's enjoyable if you are the sort of eclectic listener who holds urban blues, R&B, and soul-jazz in equally high regard.

AllMusic Link with Samples

[ACHiPo]

Son Seals Lettin' Go



AllMusic Review by by Hal Horowitz
After spending his entire recording career with Alligator, Frank "Son" Seals' debut release on the Telarc Blues label is also the Chicago bluesman's first album of new material in almost six years. Although he lost part of his leg to diabetes in 1999, as somberly evidenced on the cover photo, little else has changed. Seals' gritty, booming vocals sound as authoritative as ever, and, if anything, the half decade between studio albums has added an even tougher quality to his traditionally gutsy singing. Working with the legendary Al Kooper on Hammond B-3 and top-notch musicians from Conan O'Brien's late night band gives Seals a firm, razor sharp backing on which to lay down his tough Chicago blues. The four-piece horn section and Kooper work wonderfully together. Along with Seals' beefy vocal attack and his fat, stinging guitar tone, he turns in a solid, uncompromising set of primarily original tunes. The 70-minute album would be stronger if some of the weaker tracks like "Osceola Rock," little more than a bland rewrite of "Jailhouse Rock," were omitted. But the album-closing jam with Phish's Trey Anastasio on a remake of Seals' "Funky Bitch" is energized and electric, and with excursions into gospel, light funk, gritty country, Southern R&B, and even a sensitive ballad, the guitarist expands his palette while staying within the blues framework. All of which makes Lettin' Go a sturdy, hard-hitting, and above all welcome comeback album from one of the acknowledged greats of Chicago blues guitar.

AllMusic Review and Samples

[pumpkinman]

Buddy Guy ~ Damn Right I've Got The Blues

[pumpkinman]

Buddy Guy ~ I Was Walking Through The Woods

[pumpkinman]

More Buddy Guy
Heavy Love & Slippin' In

[Airborn]

Taj Mahal, Happy Just to Be Like I Am (1971)

[Captainhemo]

Really like Peter Green from his early Fleetwood Mac days.  When was this recorded?

Destiny Road  was '03   and very good  IMO



Peter Green Splinter Group   -   Soho: Live At Ronnie Scott's    '02
Samples

[rockadanny]

Nick Gravenites - My Labors





This CD release brings together the original version of Nick Gravenites' "My Labors" with additional tracks taken from the LP "Live at Bill Graham's Fillmore West." Both of the albums featured recordings of Gravenites with a first-rate band consisting of Mike Bloomfield on lead guitar, Mark Naftalin on piano, Bob Jones on drums, John Kahn on bass, Ira Kamin on organ, and additional horn and percussion players.

Edit: Track 10, "Blues on a West Side" incorrectly shown as 6:40, but in fact is over 15 minutes long! 

[jimdgoulding]

Son Seals Lettin' Go



AllMusic Review by by Hal Horowitz
After spending his entire recording career with Alligator, Frank "Son" Seals' debut release on the Telarc Blues label is also the Chicago bluesman's first album of new material in almost six years. Although he lost part of his leg to diabetes in 1999, as somberly evidenced on the cover photo, little else has changed. Seals' gritty, booming vocals sound as authoritative as ever, and, if anything, the half decade between studio albums has added an even tougher quality to his traditionally gutsy singing. Working with the legendary Al Kooper on Hammond B-3 and top-notch musicians from Conan O'Brien's late night band gives Seals a firm, razor sharp backing on which to lay down his tough Chicago blues. The four-piece horn section and Kooper work wonderfully together. Along with Seals' beefy vocal attack and his fat, stinging guitar tone, he turns in a solid, uncompromising set of primarily original tunes. The 70-minute album would be stronger if some of the weaker tracks like "Osceola Rock," little more than a bland rewrite of "Jailhouse Rock," were omitted. But the album-closing jam with Phish's Trey Anastasio on a remake of Seals' "Funky Bitch" is energized and electric, and with excursions into gospel, light funk, gritty country, Southern R&B, and even a sensitive ballad, the guitarist expands his palette while staying within the blues framework. All of which makes Lettin' Go a sturdy, hard-hitting, and above all welcome comeback album from one of the acknowledged greats of Chicago blues guitar.

AllMusic Review and Samples

Saw him with a horn section which made for an eight piece band at a club called "Tramps" in downtown New York awhile back.  Dunno if the sound man was his or the club's but the sound was fabulous. 

[ACHiPo]

Jim,
Very cool how many live gigs you are able to take in!  A bit jealous, I am.

Evan

[jimdgoulding]

Evan, well, we're talkin a lot of years and a lotta miles.  Treated myself to a trip to San Francisco a year ago and couldn't find a lick of jazz.  But, heard some fabulous R&B in a North Beach bar that has been there since the 60's.  Great that it survives as so many haven't.   I can tell you that the picture above of Bill Graham's Fillmore West is not how I remember it in the least .     

[rockadanny]

The Ansley Dunbar Retaliation



From the late 60's, one the three greatest British Blues bands, along with Fleetwood Mac and John Mayall's Bluesbreakers.
Victor Brox (guitar, keyboards, vocals); Alex Dmochowski (bass); Ansley Dunbar (drums); Jon Morshead (guitar, vocals)

[rockadanny]

And their second album is good as well

[Captainhemo]

Angela Strhli   -   Soul Shake   '87
Samples

[jimdgoulding]

Angela Strhli   -   Soul Shake   '87
Samples

Oh, man, I love this girl!  She moved from Austin to San Francisco and I dunno what happened to her after that.  Check out her "Blonde and Blue".

[rockadanny]

Sonny Boy Williamson - One Way Out

[rockadanny]

Big Sugar - Five Hundred Pounds



Heavy drivin' electric blues here.