Cincinnati is loaded with Blues talent. Always has been. Yet it is still a rare and noteworthy occasion when a Cincinnati Blues artist releases an album with primarily original music. Brad Hatfield has long been considered one of the area’s premier harmonica slingers. With his new release, Uphill From Anywhere, he also establishes himself as one of Cincy's most distinctive Blues voices — both as a singer and as a songwriter.
Richly produced by Jon Justice, who also shares many of the writing/arranging credits, and featuring Hatfield’s father, keyboardist Bernie Hatfield, Uphill From Anywhere is an album that will please lovers of standard Blues fare, as well as those who like their Blues flavored with a little gospel and groove.
The album begins with “Witness to My Misery,” a straightforward gut-thumping march, and then moves into “Fit to be the Fool,” a shuffle that will certainly please the Blues purists. All signs point to pretty standard Blues fare at this point, albeit it with heartfelt lyrics and sultry amplified harp tone.
But with the Justice-penned “One More Night,” we’re immediately snapped back to attention with percussive stabs, Hammond organ overtones and honeyed slide guitar reminiscent of the best Warren Haynes-era work from the Allman Brothers. Soulful and inventive chord progressions and equally soulful singing elevate this song a notch or two above the first two tracks.
Indeed, the brightest spots on Uphill From Anywhere are the departures from the 1-4-5 12-bar formula that are the bread and butter for so many Blues bands. “Livin’ Out the Lie” has a great Robert-Cray minor-key R&B vibe and “End of Time” has an uplifting Gospel feel, reminding us to not fret too much since “they’ve been talkin’ bout the end since the beginning of time.” The song makes you want to take the nearest woman by the hand, pull her close and dance like there’s gonna be a whole bunch of tomorrows.
Brad Hatfield has paid more dues than many of us have and for a decade he’s been widely respected as one of Cincinnati’s greatest Blues harmonica players. But the revelation of this album is how Uphill From Anywhere firmly establishes Hatfield as one of our city’s most poignant Blues vocalists. In fact, the second to last track, “Too Good to Give Away,” features guest harp work from New Jersey’s Dennis Gruenling. Harmonica players are a notoriously competitive and territorial lot, but Hatfield yields the instrumental spotlight and lets his voice tell the story with his husky, agile and often moving growl.
Appropriately, the album’s final cut is an a capella version of “John the Revelator.” Brad Hatfield’s voice takes you to church, or the field, or to the mountaintop, and you believe every word he’s saying.
Sample the release below:
You can catch the Brad Hatfield Band in June at Saturday, June 9 at the Colerain Park Amphitheatre from 5-8 p.m., and Friday, June 22 at Geez'l Petes in Covington starting at 8:30 p.m. Visit www.bhatfieldbluesband.com for more on the album and future shows.
When people are confronted with my ridiculously voluminous music collection, they are most often struck with its distinct lack of commonality. Growing up within 70 miles of Detroit in the ’60s will do that; anything you can imagine between and beyond Motown and The Stooges will generally light my sparkler.
In reference to music specifically and to life in general, I have often remarked, “Specialization is for insects,” but if Mark Utley would like to borrow the phrase when he’s talking about his band, Cincinnati's Magnolia Mountain, he’s more than welcome.
From the band’s beginnings six years ago, Utley has endeavored to reconcile his Rock past with his fresh love of all things Americana by investing his Magnolia Mountain output with a reverence for the Bluegrass, Folk, Country and Rock forms while investing them with fresh angles, lines and perspectives. Like a sculptor who has immense respect for the permanence of the stone but also implicitly trusts his chisel and creative vision, Utley shapes the raw material of Americana’s various stylistic permutations into songs that are comfortably familiar yet blazingly original. That ethic was a hallmark of Magnolia Mountain’s last double album, 2010’s Redbird Green, and it comes into even sharper focus on the band’s third and latest release, the aptly titled Town and Country.
Part of Magnolia Mountain’s variance from album to album is at least partially due to the shifts in personnel that have affected the band from the start. At the same time, Magnolia Mountain has always been something of a rotating collective with guests becoming permanent members and members becoming guests. Town and Country follows that template, as Jordan Neff and Amber Nash (who left to devote full attention to their side project, Shiny and the Spoon) and David Rhodes Brown (who has defected from his numerous band affiliations to concentrate on solo/side work) appear sporadically on the album’s 18 tracks. And once again, guests abound on Town and Country, including piano master Ricky Nye, Tillers banjo ninja Mike Oberst and Americana chanteuse Lydia Loveless, among others.
Utley’s grounding in and love of vinyl forces him to think of his dozen and a half songs in the context of four separate sides (which he also did on Redbird Green; both albums are available in double vinyl format), and the first side is indicative of the broad range of Town and Country. “Black Mollie” kicks things off like a traditional Folk ode, “One Waking Moment” is a classic Appalachian Bluegrass break-up jaunt and “Baby Let’s Pretend” is a bopping Country thumper that wouldn’t sound out of place in a Rodney Crowell or T Bone Burnett set.
But just when you think you’ve got Magnolia Mountain pinned down, Utley and company (Jeff Vanover, Melissa English, Renee Frye, Bob Lese, Kathy Woods, Bob Donisi and Todd Drake) blister the paint with the wicked Blues menace of “Set on Fire,” with sweet “sugar, sugar” backing vocals, searing slide guitar and thundering rhythm section. That quartet is a mere hint at the broad spectrum of styles and approaches that Magnolia Mountain achieves on Town and Country, from the funky twang soul Blues of “Rainmaker” to the supercharged Roots Rock swing of “Shotgun Divorce” (Utley’s duet with Loveless) to the atmospheric swamp boogie of “The Devil We Know,” as well as superb covers of Will Johnson’s “Just to Know What You’ve Been Dreaming” and Wussy’s “Don’t Leave Just Now.”
As usual, the brilliance of Utley’s songwriting is that he and Magnolia Mountain craft each track as a separate jewel that fits perfectly into the gorgeous crown that is Town and Country.
One could argue that New Orleans is one of the most fun places on the planet. You cannot beat the food, laidback attitudes and genuine hospitality. Combine all of that with some of the most talented musicians in the world and you have the New Orleans Jazz & Heritage Festival.
The New Orleans Jazz Fest kicked off in full swing last Friday, April 26, with thousands flocking to the New Orleans Fairgrounds to hear their favorite musical acts, see one-of-a-kind pieces from local artists and taste the flavors of New Orleans.
Local musical acts kicked off each morning on the 11 different stages around the fairgrounds, leading up to the first weekend's main acts, which included include John Mayer, Billy Joel and Dave Matthews Band, which closed out each night on the Acura Stage.
One of the most enjoyable parts of Jazz Fest for me each year is seeing “the bands before the main stage bands.” I always walk away with new music to listen to from legends and discover exciting new stage acts. This year I fell in love in the Blues tents with guitar legends like Sonny Landreth, Guitar Slim Jr., Lil Buck Senegal, Deacon John and Little Freddie King.
Dr. John, who is always a Jazz Fest highlight performed on Friday and had an Ohio native backing him. Dr. John recently restructured his band before Jazz Fest and kept only one former member, trombonist Sarah Morrow who grew up near Pickerington, Ohio, just outside of Ohio.
The New Orleans Fairgrounds filled to the brim Saturday with attendees showing up early to get the best seats to hear Bill Joel belt out his hits. Joel closed out his set by playing with New Orleans' own Preservation Hall Jazz Band.
Sunday morning brought cloudy skies that soon turned into torrential downpours. But that didn't stop Jazz Fest goers from staking out spots for Dave Mathews Band. The skies cleared enough to dry off before the second wave of rain, soaking DMB as they played through the rain for thousands of diehard Jazz Fest fans. The dancing in the mud surely created lifelong memories for some attendees.
If seeing the Dave Matthews Band play an epic set in the rain was not good enough, you could make your way over the Blues tent and see the King play the Blues like it is the end of the world. BB King electrified as he took the stage in the Blues Tent to close out the first weekend of the festival. The legendary Allen Toussaint joined King on stage and, as BB began his set, belted out an a cappella Blues tribute to the King himself. King ended the set with a toast to the audience: "If I can't be with you next week, think about me some time."
Widespread Panic closed out my last day at NOLA Jazz Fest with a rainy two and a half hour set for their loyal legion of fans, all of whom seemed perfectly happy to dance in the mud at the Acura Stage.
Yesterday kicked off the second weekend of the famous festival and will feature performances by New Orleans native Mia Borders and Patti Smith.
I will miss New Orleans' music and food dearly when I go and will start the countdown to Essence Festival in July, when I return to the Big Easy for more music and fun times.
Bogart’s was filled with love Saturday night. It ran up the wood paneled walls and across the ceiling before raining back down onto the crowd, again. It was a mutual adoration, too. Seeing City and Colour live is far better than listening to them in the privacy of your own home. They put on an awesome show. Cincinnati was just as thankful to stand witness to their energy, as the band was to play to a sold-out house of loving fans. Two events during the night made the band’s love for their fans shine through the speakers most.
Loudon Wainwright III could very easily have slid into the where-are-they-now realm of celebrity obscurity if he had allowed himself to be swallowed up by the one-hit wonderment of “Dead Skunk” in 1972. Although most people at the time only knew him for that ubiquitous single, Wainwright was confident that he had plenty of other weapons in his songwriting arsenal and set about to define the 40-year Folk/Pop career that has brought him certain measures of acclaim, wealth and notoriety as a songwriter, performer, actor and dysfunctional family man, each role woven inextricably into the fabric of the others (remember when he was Captain Spalding, the singing surgeon on M*A*S*H?). Clearly, the two paths that have intersected most often in Wainwright’s life are music and family; his itinerant singer/songwriter’s existence has been both a positive and a negative in his numerous attempts at familial stability and his parents, wives and children have been an endless source of grist for his songwriting mill.
Chief among Wainwright’s influences has been his often larger-than-life father, whose death at 63 left a gaping hole in his 17-year-old son’s life and psyche. A great deal of Wainwright’s unresolved love and anger issues concerning his father have been worked out in his songs over the past few decades, but his latest uniformly excellent album finds him looking back at his long timeline after reaching the milestone birthday of 65, a momentous and bittersweet benchmark that inspired the album’s title; Older Than My Old Man Now.
Like much of his recent work, Wainwright explores the familiar subjects of family, aging, death and lust on Old Man, which he does with typical candor, humor and reflection. Wainwright opens with the jazzy “The Here & the Now,” an annotated but honest account of his 65 years (“I took a wife, we had some kids/I screwed that up and went on the skids”), a history that he continues tracing on the contemplative and mournful “In C.” In the eloquent spoken word intro to the title track, Wainwright calls his father his “principal ghost” and then launches into a Delta-flavored vamp that addresses the psychic conundrum of having more calendars under his belt than his dad (“Sixty four is awful old, you know what can happen next/Hey, I’m older than my old man ever was, and I’m trying to keep it in context”).
Wainwright’s broad range is best typified by the ridiculously funny “I Remember Sex,” a parlor piano duet with Barry Humphries’ female alter ego Dame Edna Everidge, and the sublimely heartbreaking realizations of “The Days That We Die,” where Wainwright expounds, in prose and rhyme, on the reality of getting closer to life’s finish line without having fully reconciled with his children for his real and imagined sins. Listening to Wainwright and son Rufus trade soul-searching verses about life and change and forgiveness will bring a tear to the most cynical eye.
Over the course of the past few albums, Wainwright has honed his songwriting style to a fine point and narrowed his focus to very personal issues which he has translated into impossibly universal songs. Older Than My Old Man Now finds him in peak form in that regard, and reinforces the idea that he’s probably got plenty more to say on every subject as his finite journey heads inexorably toward the infinite horizon.
“I’m getting too old for this shit.”
The phrase was a mantra as I entered the Pitchfork Music Festival 2011, the three-day-long music festival sponsored by the taste-making music website which blasted into Chicago’s Union Park from July 15-17. The thought of crowds thousands deep filled with folks almost 20 years my junior, sweltering heat forecast for the weekend and three stages filled with many bands that I had never heard before transformed this generally laid-back, open-minded reporter into a crotchety curmudgeon.
When Joan Osborne vaulted into the public consciousness with Relish, her 1995 major label debut, she had already established a loyal fan base that was well aware of her estimable Jazz and Soul skills. With Soul Show in 1991 and the Blue Million Miles EP in 1993, Osborne displayed her smoldering vocal chops and her unerring ability to write to her own strengths as well as inhabit another writer’s song (her take on Captain Beefheart’s “Her Eyes Are a Blue Million Miles” was a marvel). Largely a collaboration with producer Rick Chertoff, Hooters frontmen Eric Bazilian and Rob Hyman and Beefheart guitarist Gary Lucas, Relish rightly pushed Osborne into Rock/Pop territory and the well-deserved spotlight, but it was only marginally indicative of her loves and influences.
For the past decade and a half, Osborne has made no secret of her musical passions as she’s fleshed out her catalog with a string of soulful original albums, covers albums (2002’s How Sweet It Is) and blends of the two (2007’s excellent Breakfast in Bed).
With her latest, Bring It On Home, Osborne heads directly into the Blues/R&B camp with predictably great results, from the opening swing of Ray Charles’ version of “I Don’t Need No Doctor” and a blistering spin through “Roll Like a Big Wheel” from obscure Blues shaker Olive Brown to a down and dirty take on James Moore’s iconic “Shake Your Hips” (nailed by the Stones on Exile on Main Street) and a shivering R&B tailfeather shake of Clarence Carter’s “I’m Qualified.”
As usual, Osborne’s gift in covering other songwriters’ works lies in her innate talent in melding the spirit and intent of the original song with her own singular approach to come up with a version that is both tribute and appropriate reinvention, and Bring It On Home finds Osborne at the peak of her abilities.
The Comet was packed Tuesday night in anticipation of seeing Nashville band The Black Belles and the Belles didn’t disappoint.
These women sure have created an identity for themselves. At any point, you could spot them somewhere in The Comet; they were hard to miss with their long black hair, black clothes, black hats, pale skin and dark makeup. And the shtick of it all doesn’t seem forced for The Black Belles. Members of Jack White’s label, Third Man Records, the Black Belles opened their set with “Leave You With A Letter,” the opener from their debut self-titled album.
Although the band is normally a four-piece, they are touring as a three-piece, leaving the organist back home in Nashville. Between bassist Ruby Rogers' deadpan dead-on bass riffs and Shelby Lynne’s solid drumming, there’s room for lead singer/lead guitarist Olivia Jean to do as she pleases. Her voice comes off as somewhat of a growl, so perfect for their dark and witchy lyrics. And there was something about the drummer similar to Meg White, with her black hair flowing as she beat the crap out of her set.
The Black Belles seem to be somewhat of a cross between The Cramps and Wanda Jackson, with the occasional Jack White riff thrown in the mix. Olivia Jean announced that they would play “their only Country song” as they launched into “Honky Tonk Horror,” which was not really anything close to a Country song and probably the heaviest Rock song they played. Other numbers included “In a Cage,” “Howl At The Moon,” “What Can I Do?,” “Lies,” “Wishing Well,” and “The Wrong Door.”
The only problem with their set was that The Comet didn’t move the tables out of the way so it was an extremely awkward crowd to stand in and actually be able to see the band. This resulted in people standing on chairs to get a better glimpse of the dark beauties.
When I asked the band what they’d be doing after the show, they smiled and said they would be using a Ouija Board at the Masonic Temple at which they were staying. If you missed out on seeing the Black Belles, they’ll be back in Cincinnati as one of the headliners for Midpoint Music Festival this September!