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Scott Ellison: Elevator Man
by C. Michael Bailey
Tulsa, Oklahoma-native Scott Ellison looks like an accountant (not unlike fellow blues musician George Taylor), sings a bit like a dustbowl Howlin' Wolf and plays guitar like Old Scratch from the corner of Highways 49 and 61. Dusty Oklahoma is the home of many fine musicians not the least of whom include Leon Russell, J.J. Cale, ...
Isaiah B. Brunt: Just the Way That It Goes
by C. Michael Bailey
Less amorphous than most present-day jazz has become, contemporary blues has remained, more or less integrated and within recognizable genre. Not that classifications provide anything more than an inferior roadmap to the new listener, they do come in handy. Australian Guitarist, composer, and producer Isaiah B. Brunt has managed to stake out a corner of the ...
John Roney: Preludes
by C. Michael Bailey
Intelligent programming in a jazz release provides its own reward in seasoning the recital contained therein with a thoughtful foundation. Canadian pianist John Roney entitles his recording Preludes and proceeds to populate the disc with exactly that, “Preludes," those brief, often standalone keyboard compositions from the Romantic era. Preludes most often feature a limited number of ...
Mercedes Nicole: People Are Talking
by C. Michael Bailey
The difference between Mercedes Nicole's Beautiful Alignment (Self Produced, 2013) and People Are Talking is artistic growth and confidence. Beautiful Alignment was fueled by a youthful ambition and precocious talent. Nicole's evolution from that point manifests squarely in the refining fire of performance and practice, both which enhance her existing gift. People Are Talking reveals mature, ...
B.B. King: Live in Cook County Jail and More…
by C. Michael Bailey
In his ALLMUSIC artist's biography of B.B. King, Bill Dahl states, “Universally hailed as the king of the blues, the legendary B.B. King was without a doubt the single most important electric guitarist of the last half of the 20th century." That is hyperbole of the order of Stephen Thomas Erlewine's introduction in the same publication ...
Danielle Reich: While We Were Dancing
by C. Michael Bailey
The Austin Texas satellite of the Houston Jazz Mafia, vocalist Danielle Reich, follows her debut recording This Year's Kisses (Self Produced, 2011) with a stripped-down recital right out of the heart of the Great American Songbook. Reich pares down her piano-led standard hard bop quintet to a guitar-driven (capably played by Mitch Watkins) trio. “Less is ...
Angelo Santelli: Angelo Santelli
by C. Michael Bailey
Floridian Angelo Santelli's debut eponymous recording is a richly mixed bag. An accomplished slide guitarist with associations within the Allman Brothers Band family, Santelli might be taken for granted as a jam-band blues knock off. This is before a first listen something else altogether. On nine disparate original compositions, Santelli reveals a much broader and deeper ...
Chicago at the Walmart Arkansas Music Pavilion
by C. Michael Bailey
Chicago Walmart Arkansas Music Pavilion Rogers, Arkansas May 3, 2015 I saw the Eagles with Yes in 1975 at Barton Coliseum and then saw them both 25 years later at our river amphitheater. I saw Chicago 35 years ago at Barton Coliseum and then recently. While I am not an ...
Johnny Winter And Live
by C. Michael Bailey
Johnny Winter And Johnny Winter And Live Columbia 1971 There is no other live rock and roll disc that is both so wrong and so perfect at the same time. Johnny Winter led a power trio in the early 1970s supplemented by guitarist Rick Derringer (who later ...
Commander Cody and the Lost Planet Airmen: We Got a Live one Here!
by C. Michael Bailey
Pimply, hormonal, lower-middle class teenaged boys growing up in the 1960s and '70s were easy marks for fun, subversive, and slightly dangerous music. However, the music being consumed was mostly a generation or two beyond its origin. For Example, “Spoonful" on Cream's 1966 debut recording Fresh Cream (Atco) was an ear-opening introduction to extended performance that ...
