Time to catch up on some reviews. This CD Roundup is a “European Special” devoted to recent releases by Italy’s Dany Franchi, Belgium’s Shakedown Tim & The Rhythm Revue and a pair of Finnish acts: Dr. Helander & Third Ward and Jarkka Rissanen Tonal Box. American blues vets Charlie Musselwhite, Anson Funderburgh, James Harman and Gene Taylor make important contributions to these albums. Cheers to transatlantic friendships!
Is a Finnish blues “supergroup” even possible? If so, Dr. Helander & Third Ward fits the bill. Members Ilkka Helander, Esa Kuloniemi und Leevi Leppänen comprise a trio of blues vets who have appeared on dozens of albums and played thousands of concerts over the past several decades. Helander’s the front man here, handling guitar and the bulk of the vocals, with Kuloniemi (bass/guitar/vocals) and Leppänen (drums) making strong contributions to an album that boasts added star power in the form of harmonica legend Charlie Musselwhite. They all come together on a raucous electric affair built on deep grooves, twin guitar fireworks and a big, booming, floor-rattling bass. Opening cut “Hawaiian Boogie” is an Elmore James number that sees them playing in a raw, chunky style reminiscent of Hound Dog Taylor & The Houserockers. Musselwhite spices up the similarly hard-driving “Third Ward Boogie,” then gives way to the skills of his Finnish harp counterpart Little Willie Mehto on “Money Makin’ Machine.” Helander does a solid job vocally on Lightnin’ Hopkins “Death Bells,” which also features some fine playing by Musselwhite, though it might have been nice to also hear Charlie singing on this one. The back half of the album is highlighted by the swampy CCR-style “It’s Not For Me But For My Friend” and the John Lee Hooker-esque “Woman’s Trust.” The greasy shuffle “Don’t Be Messin’ With My Bread” closes out Meat Grindin’ Business – a lean, tasty, thoroughly satisfying album with very little fat. – VA
SONG PICK: “Third Ward Boogie”
–UNDER THE RADAR RECOMMENDATION –
To get an idea of where Finnish roots veteran Jarkka Rissanen is going on the bold and distinctive Trimmed And Burning, start with the dedication. With gratitude to Son House and Blind Willie Johnson. With a cosmopolitan approach not unlike that of Ry Cooder, multi-instrumentalist Rissanen, drummer/percussionist Jussi Kettunen and tuba player/bassist Jorma Välimäki mine the deep well of American blues and folk music traditions. That includes songs associated with House (“Grinnin’ In Your Face”), Johnson (“Keep Your Lamp Trimmed And Burning”) or both (“John The Revelator”). Pair that with “Why Don’t You Live So God Can Use You?” (famously recorded by Muddy Waters) and the Sister Rosetta Tharpe gem “Up Above My Head” and it’s plain to see there’s something spiritual going on here. Props must go to the Finnish trio for freely adapting these traditionals to suit their own eclectic style. That can include the heavy, almost psychedelic thump we hear on the album opener “Keep Your Hand On The Plow,” the pleasingly laid-back New Orleans-style interpretation of “Up Above My Head” or the octavized guitars that echo the two voices – one male, one female – heard on the original recording of “Keep Your Lamp Trimmed And Burning.” Meanwhile, their version of “Why Don’t You Live So God Can Use You?” chugs along with the clackety-clack of a freight train cutting through Louisiana farmland. Refreshingly unconventional. – VA
SONG PICK: “Lord I Just Can’t Keep From Crying”
If his busy tour schedule is any indication, Italy’s Dany Franchi looks to be carving out a nice little niche for himself on the international scene. On Problem Child – recorded last year in Austin under the guidance of veteran guitar slinger Anson Funderburgh and Don Ritter of Category 5 Amps – the young singer/guitarist shows off the full range of his potential. An A-list studio band including bassist Nate Rowe, drummer Wes Starr, keyboard player Jim Pugh and the always reliable Texas Horns provides ideal backing for Franchi’s concise, tasty fretwork and sweet, soulful singing voice. The Genoa native sounds equally at home on straight-up Texas shuffles and in Memphis-flavored R&B, does some Claptonesque riffing on “Wanna Know” and hits the Freddy King lick-fest “Sen-Sa-Shun” out of the park. What sets him apart from many contemporary players – besides his ability to sing! – is the restraint in his playing. Franchi never lays it on too thick and thus sounds right at home amidst this gathering of seasoned pros. – VA
SONG PICK: “Back To The River”
This 2018 release on Germany’s Rhythm Bomb Records is another fine example of transatlantic cross-pollination. It pairs Tim Ielegems – a skilled old-school guitarist and bandleader from Belgium who names Pee Wee Crayton and Junior Watson as key influences – with Alabama-born harp veteran “Icepick” James Harman. Ielegems invited Harman to produce the record after a stint in his band. Once Harman had signed on to the project, they called in piano stalwart Gene Taylor (Blasters, Fabulous Thunderbirds) to play on six of the album’s even dozen cuts. So what you’ve got here is a pair of seasoned American pros joining forces with a much younger group of Belgian players. The result is a high-spirited mix of mostly up-tempo Westcoast-flavored blues and rock’n’roll. The instrumental “Icepick’s Shakedown Th’owdown,” featuring solos by Harman, Ielegems and baritone sax player Bart Stone, embodies the album’s freewheeling energy. The band excels on the swaying rhythm of “Junior’s Mambo” while “Rollin’ On” is highlighted by Ielegems’ tight, angular guitar figures, some glorious sax from Stone and the heavy hitting of drummer Dennis de Gier. The moody, late-night blues of “No More Fightin'” and a faithful interpretation of Crayton’s signature tune “Blues After Hours” round out a strong disc showing that Shakedown Tim and his buddies can hang with the best of them. – VA
SONG PICK: “Junior’s Mambo”
