New Blues Review 6-17-25
By Jack Roy
D.K. Harrell – Talkin’ Heavy (Alligator)
Bio – “D.K. Harrell was born D’Kieran Harrell in Ruston, Louisiana in 1998. He first heard B.B. King at age two and responded by singing along. He sang in his church choir as a boy while continuing to be drawn to the blues. Films like The Blues Brothers, Cadillac Records and Raymade him eager to sing and play. He received his first guitar at 12, and by 16 was writing his own songs. Initially inspired by B.B. King, the youthful Harrell spent hours studying every video of King he could find, learning not just King’s licks but ultimately his tone, his finesse, his stage craft, and his band leadership skills. Harrell’s first paying gig was as an invited guest to the B.B. King Symposium in Indianola, Mississippi—where he played The Thrill Is Gone on King’s iconic guitar, Lucille—backed by members of King’s touring band. In 2022 Harrell won the B.B. King Of The Blues Award for Preserving Traditional Blues Heritage from the Jus’ Blues Music Foundation. In addition to B.B. King, Harrell fell under the spell of blues masters including Albert King, Freddie King, Elmore James, Muddy Waters and others, and made their styles part of his musical vocabulary. His debut album, The Right Man, was released on the Little Village label in 2023 to rave reviews and wildly excited fans. Rock & Blues Muse said, “D.K. Harrell raises every roof in town…he’s a phenomenon coming across like a lifetime blues master…an outstanding singer and guitarist with a big-league presence. Amazing…he’s an absolute beast.” His massive, immediate success led him to win the prestigious Blues Music Award for Best Emerging Artist from The Blues Foundation. Harrell has toured the U.S. and Europe multiple times, astonishing audiences everywhere he plays. People all over the world can’t get enough of D.K. Harrell’s high-energy and always unpredictable live shows. In 2024 alone he performed across the U.S. and Canada, and toured all over the European continent, with shows in Germany, Switzerland, The Netherlands, France, Belgium, Spain and Norway. Blues Blastcalled him, “The fastest-rising talent in the blues today…his stinging, single-note runs hit like a hurricane. His rich tenor swings like a pendulum. A new star is born.””
Review – One of my favorite contemporary Bluesmen in the business, a young gun carrying the torch of the older Blues Guys. Reminds me of a mix of Otis Rush and BB King. Voice is so authentic and real and his guitar playing is incredible, not huge flashy, just plays the right notes on every solo! Album was produced by the famous Kid Anderson at Greaseland Studio with an all star band including D.K. Harrell Lead Vocals and Lead Guitar, Andrew Moss Bass, Kid Andersen Rhythm Guitar and Jim Pugh Organ and Piano. All the songs are gold, but standouts for me were “Liquor Store and Legs”, “Vibe With Me” and “What Real Men Do”. I think my favorite is “Grown Now″, listen here. I will give this a 10+ on Blues Content and a 10+ on Music Content.
Lonnie Johnson – Blues & Ballads (Craft)
Bio – “Every time a guitarist in blues, jazz, or rock plays a solo today, he carries on the legacy of one of the first virtuosos of the instrument, Lonnie Johnson. The predominant style of modern blues guitar playing, derived from the single-string technique of B.B. King, is a continuation of a concept that Lonnie Johnson first put on wax the year B.B. was born (1925). In an era when guitar was not widely considered a serious instrument, Johnson was the man who brought it respect. Alonzo “Lonnie” Johnson was born into a musical family in Louisiana — probably New Orleans, although some documents cite Port Allen, near Baton Rouge. Various birthdates from 1889 to 1909 have been listed, with Feb. 18, 1899 often considered an accurate date, but Dean Alger, who is working on a Johnson biography, believes 1894 to be correct. In 1918, an influenza epidemic claimed the lives of the entire Johnson family except for brothers Lonnie and James (multi-instrumentalist James “Steady Roll” Johnson). Both brothers left the city to begin anew elsewhere. They ended up in St. Louis, a hotbed of blues and jazz activity. Lonnie rose to the top of the blues world on the strength of his prolific output for OKeh Records and his appearances on the TOBA (Theater Owners Booking Association, also known to the performers as “Tough On Black Asses”) circuit. His OKeh work also included accompaniments with Victoria Spivey, Clara Smith, Texas Alexander, Louis Armstrong, and Duke Ellington, along with some outstanding instrumental duets with white guitarist Eddie Lang. By that time Lonnie had elevated the guitar to a role of prominence in the blues and jazz. Johnson was acknowledged as a major influence by the fathers of electric blues guitar (T-Bone Walker) and electric jazz guitar (Charlie Christian). Robert Johnson idolized Lonnie so much that not only did he re-record some of Lonnie’s musical themes, he even told people that he was Lonnie’s brother. Tampa Red, Big Bill Broonzy, Brownie McGhee, B.B. King, Freddie King and Albert King all greatly admired Lonnie’s guitar. In Texas and Oklahoma, Lightnin’ Hopkins, Lil’ Son Jackson and Lowell Fulson took cues from Lonnie’s work; rock ‘n’ roller Buddy Holly apparently also was a Johnson devotee. The list goes on . . . some sources include Django Reinhardt, Teddy Bunn and Eddie Durham among the jazzmen inspired by him. No other guitar player of the seminal era of blues and jazz had such an impact either upon blues guitarists or jazz guitarists. A gifted singer and songwriter as well, Johnson could craft the kind of sexual double entendre material that appealed to the black record-buying audience, and also composed and sang some of the deepest, most introspective and sensitive blues songs ever recorded — songs that never became hits but which set uncompromising artistic standards. Johnson would have some major hits such as <i>Jelly Roll Baker</i> (for Bluebird in 1942) and <i>Tomorrow Night</i>, a ballad he did for King Records in 1947, and among other musicians he was always a seminal hero, but despite his successes and his reputation, he often found it impossible to make a living playing music. Lonnie’s career, like his music, was bittersweet: bold and triumphant at times, utterly sad at others. Public tastes in blues shifted from Lonnie’s own aesthetic, especially during the postwar rhythm & blues years and the folk-blues revival period. His graceful, eloquent, melancholy blues, sung and picked with clarity and ingenuity, were undeniably works of art. But to audiences who wanted to rock or to boogie, Johnson’s blues offered none of the upbeat relief that could be found in the repertoires of other blues singers. Lonnie Johnson could swing on the guitar, but swing music became passe and Johnson unfortunately never capitalized on his early stature in the jazz world (exemplified by his recordings as guest soloist with Duke Ellington and Louis Armstrong) — he did little to further explore such jazz connections in later years. Johnson also loved ballads, which some of his blues and folk audiences disdained. In the ’60s, folk-blues audiences sought out rough-voiced Delta bluesmen with aggressive guitar rhythms or smooth fingerpicking guitarists who sang with pleasant buoyancy. But Lonnie Johnson wasn’t Son House or Mississippi John Hurt or even Brownie McGhee; what Lonnie played and sang just didn’t fit with what the new audiences looked for in the blues. It wasn’t so much a matter of talent as it was taste. He spent his last few years in Toronto, performing as long as he was able. Lonnie Johnson died there on June 16, 1970, leaving a legacy that the world may never fully appreciate. But as Brownie McGhee put it: “His musical works may and should be the first book of the blues Bible.””
Review – What’s not to like about this!! Lonnie Johnson, incredible guitarist (legend) and singer, the real deal teaming up with Elmer Snowden. First recorded in 1960 (I was 1 years old!!) and now remastered, this CD is a fun, Blues/Jazz album that shows the talents of each man but also show the fun they had with the chatter back and forth during the recordings. Wendell Marshall joined the duo on Bass. The whole album is perfect, wouldn’t change a thing. Filled with Ballads and slow guitar improvisation, really captures a different time. All of the tunes are standouts for their own rights but I think my favorite is “Haunted House″, listen here. I will give this a 10+ on Blues Content and a 10++ on Music Content.
Lisa Mann’s Northwestern All-Stars – The Great Women In Blues (Jay Ray Records)
Bio – “Two-time Blues Music Award winning artist Lisa Mann hails from blues-soaked Portland, Oregon. Originally from West Virginia, Mann’s vocals effortlessly straddle the line between the honey sweet warmth of the south, and the force-of-nature sound Mann has cultivated by mastering everything from hard rock to rhythm and blues. Her clever blues and Americana balladry is complimented by her considerable prowess on bass guitar. Her bass grooves deliver the solidness of a Muscle Shoals Swamper or a Funk Brother. Her influences run the gamut, from low down blues sisters Etta James and Koko Taylor, to singer-songwriters like Bonnie Raitt and R&B belters like Little Milton. She writes the majority of her recorded material, and her songs paint pictures of a gritty (and sometimes humorous) personal experience in life, love and the not-always-pretty music business. While Lisa leads her own powerhouse band, she has also performed with many Northwest greats, such as the late Paul Delay, Lloyd Jones, Kevin Selfe, Ben Rice, Karen Lovely, and Sonny “Smokin’” Hess, as well as national greats Sugaray Rayford, Johnny Rawls, Annika Chambers, and more. She often lends her bass grooves and musical direction to Sonny Hess’ NW Women’s Rhythm and Blues Revue, a very popular showcase at festivals such as the Waterfront Blues Fest, and at Musicians for the Cure’s annual cancer charity Christmas show. Lisa also participates as a Musician Mentor for the neuro-diverse, differently-abled performers of United By Music North America. Lisa’s vocals appear on Canadian blues master Bill Johnson’s Juno Award nominated CD, Still Blue, as well as on the soundtrack to the movie Woodstock or Bust (2019). She also lent her voice and bass to acclaimed symphonic rock project Cry for Eden., and has released a traditional metal album The Poisoner under the pseudonym White Crone. Currently she is the lead vocalist for Portland’s own traditional metal band Splintered Throne.”
Review – This is an outstanding live album, Terrie Odabi has such an incredible voice and Lisa has really put together a backing band for this voice. Band consists of Lisa Mann on Bass and Vocals, Jimi Bott on Drums, Louis Pain on Organ, Ben Rice on Guitar and Jason Thomas on Guitar, really great band. This album covers the great women of the Blues including Etta James, Dinah Washington, Mavis Stapeles, Rosetta Tharpe and others. Stand outs for me were “That’s All”, “Ball And chain” and “I’d Rather Go Blind”, but I think my favorite is “Let The Juke Joint Jump″, listen here. I will give this a 10+ on Blues Content and a 10+ on Music Content.
Mercedes Nicole – Too High A Price To Pay (Self Produced)
Bio – “Soft –spoken Mercedes Nicole has an intimate and electric stage presence that reaches beyond the limits of time and space. Whether it’s the Blues or Jazz, music is in her blood! She has that kind of voice that demands attention, not because of volume, but because it touches the heart and interrupts one’s thoughts. Her voice wraps itself like a comforter around the human experience, encouraging uplift, seeking not only triumph but healing. Mercedes is that exquisite mix of a mezzo soprano and contralto that permeates and interrupts one’s thoughts, often with uncanny control…she lingers. She first débuted her talent for singing Blues at the Westport Blues Festival, where she got warm nod, and a bear hug from B.B. King’s daughter, Claudette King that afternoon. Mercedes has been in local Blues scenes all over Western Washington. Mercedes performance bio includes Demetrio’s Jazz Alley, The Triple Door, Seattle Art Museum, Shoreline, Earshot and Vashon Arts Festival, Seattle Center house, the Confluence Music Festival, and tons of music reviews. Her 2020 CD “Constellation” earned her the cover of in August Blues Letter of the WA Blues Society and number 12 on the Roots Chart. Why haven’t you heard of her before you ask? It’s because Mercedes’s been focused on singing Jazz for the last ten years, trying to win the approval of her church going critics, but it’s come to the point that the love of blues was bubbling over in her veins, and she just couldn’t hold back any longer. Since 2022, Mercedes’s music has been aired all over the world: France, Brazil, Hawaii, United Kingdom, South Africa, Netherlands, Spain, Germany, Canada, Switzerland, and of course nationally, including Hawaii, East and West Coasts. Mercedes’ fans are all around the world. Her vision is to take her music to those who are seeking comfort, joy, love and healing of the heart. ”
Review – The music and Band is pretty great here on this newest CD from Mercedes, not a huge fan of her voice. It is very soft, more of a Jazz voice than a Blues voice. Band consists of Jake Sele on Keys, Scotty Harris on Bass, Andrew Cloutier on Drums, Rod Cook on Guitar, Stacy Jones on Harmonica, and Alexey Nikolaev on Sax. Mercedes wrote most of the songs on this album but does some interesting covers which were my favorites of the CD including “Feels Like Rain”, “I’ll Play the Blues For You”, “Smokestack Lightening” and “The Sky is Crying”. The only one I could find online was “Too High Price To Pay″, more of a Jazz tune, listen here. I will give this an 8 on Blues Content and an 8 on Music Content.
Brad “Guitar” Wilson – The Californian (Call Bee Music)
Bio – “Guitar-slinger Brad “Guitar” Wilson just might be the toughest musician to come out of Carmel, Calif., since two-fisted blues piano fan Clint Eastwood was elected mayor of that seaside city in 1986. Wilson has been earning that “Guitar” nickname by punching out a fistful of tough, hard-rocking blues for years. Singer/songwriter Wilson has toured frequently with Chicago, and has opened for the likes of Buddy Guy, Cheap Trick, .38 Special, Marshall Tucker Band and Tommy Castro. Not content with the concert stage, Wilson has taken his songwriting talents to the big screen, scoring the song “Teaser” for John Carpernter’s film, “Vampires.” He’s also worked that magic for the music to the movie “Ghosts of Mars,” and TV shows “The Young & the Restless” and “Passions.””
Review – I wasn’t expecting too much from this one with the cover being a very Beach Boy looking man on the cover, shirt unbuttoned to his waist, blond hair, sunglass wearing, gold chain, it just didn’t add up to Blues to me, but Brad (not even a good Blues name) is actually a pretty good guitarist and singer. Band consists of Tot Poznantek and Tony Braungel on Drums, Chris Rhyn, Luca Catlfamo and Frankie Virens on Keys, Hal Cragin, Brian Beal and Fabrizo Erba on Bass and Marie K on Harmonica. He tends to fall into early Rock & Roll as far as genre, but definitely can play the blues. Some of the standouts for me were “It Hurts Me Too”, “Heartbreaker” and a unusual cover of “Dead Flowers. I think my favorite is “Grianing The Blues″, a Willie Dixon Tune and probably the most Bluesy song on the CD, listen here. I will give this a 9 on Blues Content and a 9 on Music Content.
