Portland Street Blues (1998) Wai Man Yip, Sandra Kwan Yue Ng, Kristy Yang, Alex Fong

Blues bassist Willie Kent has strong, supple bottom lines that have supported all the best groups, but he's led his own band as well. This is his fourth Delmark date, and Kent heartily asserts himself as a singer, with a tone like Johnny Adams with a rougher edge. His equally excellent band features lead guitarists Bill Flynn and Jake Dawson alternating tracks, with rhythm guitarist Willie Davis, pianist Kenny Barker, and drummer James Carter. Baritone saxophonist/arranger Willie Henderson from the old Tyrone Davis band leads a three-piece horn section on three tracks. This 13-song program - ten written by Kent - comprises mostly classic 12-bar, IV-V-I blues changes. A hard-swinging "3-6-9," with Dawson's swift guitar and Baker's boogie piano, supports a bitch session for Kent…

An album from Luther Allison's long-standing bandleader of the last several years. Released a few months after Allison's death, the album can be taken as a tribute album by Solberg of sorts to his old boss. Utilizing a strong, distorted tone throughout, Solberg keeps Luther's high-energy approach alive on a batch of shuffles ("Bubba's Boogie," "Must Be a Reason"), slow blues ("L.A. Blues," "Ballad of a Thin Man"), and uptempo rockers ("Wally World U.S.A.," "Rhumba Juice"). Midtempo shuffles abound in tracks like "A Closer Walk with Thee," "Robb's Souffle" and the closing "Happy Snails." The music on this record is heartfelt and inspired, a moving tribute. Fans of Allison's final work will say his memory is well served here.

Drawing on over 30 years of experience playing the country-blues, complete with tutorials from some of the undisputed masters, it comes as no surprise that Stefan Grossman can so consistently conjure up the authentic spirit of the music with each successive release. His original compositions show Grossman to be the most confident of guitarists in his genre, effortlessly borrowing from the stylings of Mississippi John Hurt, Reverend Gary Davis, and Blind Willie McTell among various others. While his playing isn't overly flashy, it need not be. The precision and craftsmanship injected into the fluid, rolling original "Yazoo Strut," the harder blues groove of "Spider Web Blues," and a powerful rendition of Reverend Gary Davis' "Candy Man" are country blues at its very best.

This CD is very much in a West Coast Blues vein akin to what people like Rod Piazza or Paul Lamb release, but with a much fresher rendition. For a start, Nico's voice is melodious and can be very emotional when needed, but he doesn't use that in excess. What's more, Nico's harp playing is not 'systematic' but used only when it brings something to the whole sound.
The choice of material isn't very varied and it's certainly strongly anchored in the blues tradition. The interpretation though is enjoyable and the band seems to be having fun, something which isn't always obvious when listening to many albums today. Nico sings two tracks in French and the rest is in English…

A promising guitarist whose personal troubles have perhaps kept him from realizing his full potential, Lurrie Bell rebounded from an early-'90s nadir with the intense and sometimes bizarre Mercurial Son, almost like a Chicago blues version of Skip Spence's Oar. The following 700 Blues was considerably more polished, but 1998's Kiss of Sweet Blues finds a workable middle ground between the two extremes. The songs, mostly by producer/rhythm guitarist Dave Specter and bassist Harlan Terson with Bell contributing only a pair of riff-based instrumentals, aren't as challenging as those on Mercurial Son, but they're entirely credible; "Blues and Black Coffee" and "Hiding in the Spotlight" have the hard-earned intensity to put themselves over even if they lack the earlier album's knife-edge immediacy and sometimes peculiar phrasing…

Etta James followed her two deeply jazzy mid-'90s albums of torch songs with Love's Been Rough on Me, a flirtation with Nashville writers. On Life, Love & the Blues, she returns to her blues and soul repertoire, enlivening even the hoariest of tunes ("Spoonful," a gender-flopped "Hoochie Coochie Gal") with her growl. The tinges of funk underpinning "Born Under a Bad Sign" are given full room to stretch on a cover of Sly Stone's "If You Want Me to Stay," and James nearly swipes "The Love You Save May Be Your Own," one of Joe Tex's great preaching ballads, from the master.

The King’s Singers join forces with percussion Evelyn Glennie on this disc, with commissions from composers based in Johannesburg and the Western Cape alongside Steve Martland’s Street Songs, diverse settings of English children’s rhymes. The recording of the disc was accompanied by a major international tour to celebrate the 30th anniversary of the ensemble.