This is another outstanding release from this underrated soul singer.  Willie Walker cut some great deep soul records for the Checker and Hi Label in the 1960's and made a string of wonderful contemporary soul records with the Butanes over the past decade or so. This set of raw, emotion filled soul comes from the Greaseland studios in California and features a strong line up of covers and some great new songs written by Walker and producer Rick Estrin.  This limited edition CD was released through Jim Pugh's Little Village Foundation which illuminates lesser known talent with strong contemporary releases. – C.L.

Not Goin' Away is the third release from the critically acclaimed Bey/Paule Band. Their most recent release Soul For Your Blues wound up on the Downbeat Magazine critics poll as well as the Living Blues Magazine Best of 2013 list. This resulted in two European tours and many prestigious festival appearances throughout North America in 2014. Ten of the twelve tracks are original and they are bound to tickle the fancy of any fan of traditional soul, blues, and R&B music. Although the music from this eight piece power house is reminiscent of Otis Redding, Bobby Bland and B. B. King, they have managed to put their own stamp on bluesy soul sounds. – C.L.

Ron Thompson has been playing blues for over four decades.  His first 45 release on the Fingerpoppin label was recorded in Santa Cruz where he played countless small clubs and appeared regularly on the radio.  This new release is his best yet with a real low down groove ala Vee Jay era John Lee Hooker or lap steel bluesman Hop Wilson, both of whom are covered here. The trio includes long time Robert Cray alumni Jim Pugh whose B3 keyboard work adds real depth and dynamics to this set. Released through Pugh's Little Village Foundation, Son of Boogie Woogie puts a quality artist back in the spotlight with a strong and well played set of traditional blues. – C.L.

Father’s Day, like all Ronnie Earl albums, features stellar musicianship with tasteful and often inspired guitar playing. Like most Earl CDs you get songs that clock in at over six, seven, eight and even nine minutes. The entire thirteen track CD runs a whopping 78 minutes.  You can also expect to hear a few instrumentals. Father’s Day, which has an official release date of July 17^th,  however has but one instrumental, a wonderful take on the Bobby Timmons classic Moanin’. There are two singers present here and that’s where things go south. Michael Ledbetter’s vocals are barley passable but the over the top vocal histrionics of Diane Blue do not work for me on any level. However, for Ronnie Earl fans it has never been about the singing, so most will enjoy Earl and his great band taking on material from Otis Rush, Magic Sam, B.B. King and others to go along with some Ronnie Earl originals. For me, Father’s Day begs the question, Where is Sugar Ray Norcia and Darrell Nulisch when you need them? – D.M.

This new release is billed as “Kaz Presents...” That being Mark “Kaz” Kazanoff who plays
tenor sax, harmonica and even sings on four of the album’s thirteen tracks. He is joined by trumpeter Al Gomez and John Mills who plays baritone as well as tenor on the album. The core band consists of Barry “Frosty” Smith on drums and Derek O’Brien on guitar. They are joined by a stellar list of sideman. Special guests and long time Kaz accomplices include Marcia Ball, W.C. Clarke, Nick Connolly, Anson Funderburgh and Johnny Nicholas. It is a terrific album which lives in that wonderful neighborhood where blues, jazz, soul and rhythm & blues get all mixed up. You can read more about this recording by checking out my conversation with Kaz in this month’s ezine. – D.M.

From low down Joe Hill Louis style boogies to delicate Elizabeth Cotton style finger picking, this set of one man band performances captures the versatility and skill of Gerry Hundt. Former sideman with Nick Moss and the Fliptops and Easy Bill and The Big Beat, Hundt is a multi-instrumentalist who has mastered the solo style quite well.  His take on the classics shows an intuitive understanding of the thrust of the song while bringing his own style to the fore. His originals reflect a thorough understanding of the genre without relying on cliché ridden verses. This is a well played and different release from a truly creative soul.  – C.L.

This self-released six track EP, which can be found at www.jamiewoodmusic.com, is like a ten year class reunion of sorts. The West Coast blues chanteuse is reunited with guitarist Nathan James who was a member of her old band The Rhythm Rockets. They made a series of four terrific albums which were released in the early 2000s. Her music is a marriage of blues, post war swing and jazz. Speaking of marriage, it is her husband and musical partner Martin Gagnon who plays piano throughout Scattin’ the Boogie. The Gagnon’s wrote five of the songs on the EP save the opening track, Faye Adams’ That’s What Makes My Baby Fat. Besides James, who produced the album, which was recorded at his Sacred Cat Studios in Oceanside, California, the duo are also joined by a band that is made up of Southern California first call blues musicians including Bill Stuve on standup bass, Troy Jennings on sax as well as drummer Marty Dodson.  After a nearly ten year absence, it is great to hear from Jamie Wood as she dips her toes into the recording waters again. It is also great to be introduced to the piano playing of Martin Gagnon. I hope both Wood and Gagnon make a big splash soon with a full CD’s worth of material. – D.M.

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