One of the most striking elements of Between a Rock and the Blues-Walker's 20th album-is its enormous presence. The music literally feels alive, surely the result of Walker's dynamic guitar and vocal talents as well as having Duke Robillard calling the shots as producer (who also guests on "Tell Me Why"). Throughout, Walker's nimble yet stinging lines offer a reflection of the moment, emanating from deep within the soul of a man who takes life as it comes. The album also features a guest appearance from guitarist Kevin Eubanks on two tracks (which he also produced). Simply put, this delicious stew of blues, rock, gospel, R&B, and soul makes you want to get up and boogie. Really, what more could you ask?

Rating: BUY IT!

Styles: Classic Depression Jug Band Era made humorously contemporary, fresh and light

I confess, I write reviews because I learn. Reviewing music forces me to research music; and once you peel back the blue layers to the early 1900’s through about the 1950’s, you realize there’s this little sweet spot called the 30’s. Well Maria Muldaur doesn’t have to do research. She grew up in NY City’s Greenwich Village at a time of the intersecting root music cacophonies of blues, jazz, country, western, bluegrass, folk, jug band, gospel and plain ole old-timey music! No, she didn’t grow up in the 30’s; she grew up during a revival of all the great music genres.

Ah, back to the 30’s--where root music flowered like a garden—blues, jazz, big band, swing, ragtime, and (yes) jug band music. So someone is literally playing a jug, you might ask? Yes, it’s true—that, plus a mix of other various and numerous traditional and home-made instruments. And here in Maria Muldaur’s latest release, you’ll find a most skillful delivery by the most skillful of players reminding us blues lovers of our roots music ethnomusicology. Oh, and I should mention Maria’s CD has been nominated for a 2010 Blues Music Award in the category of Acoustic Album of the Year.

Look at this amazing line up: we have the one and only “America’s First Lady of Roots Music” vocalist and producer, Maria Muldaur; John Sebastian is on baritone guitar, 6-string banjo, guitar and harmonica; David Grisman is on mandolin, mandola and “retro banjo”; Taj Mahal is on banjo and guitar; (the late) Fritz Hammond is on jug Track 6; Kit Stovepipe is on National guitar, jug, and washboard; Alex Anagnostopoulos is on banjo and provides harmony vocals Track 4; Jim Rothermel is on clarinet, slide whistle and provides musical direction; Danny Caron is on guitar; Ruth Davies and Tim Eschelman are on bass; Suzy Thompson is on fiddle; Bowen Brown is on drums and percussion; Pete Devine provides percussion; Bob Schwartz is on trumpet, Kevin Porter is on trombone and Dan Hicks provides vocal fun with Maria on Track 7. Yes, you got it: that’s 17 players. Can someone say HOUSE PARTY! Gosh, I only hope I didn’t miss anyone. I can see why she aptly used ‘garden of joy’ in the title.

CD review: Jeff Healey's guitar legacy shines through in Songs From The Road

Jeff Healey wore many musical hats during his brief life - band leader, singer, radio DJ, nightclub owner, trumpeter and clarinetist.

But the blind musician will be remembered best for playing searing guitar on his lap, looking like a pedal steel guitar man gone mad. 

Songs from the Road (Stony Plain Records) captures Healey's gift for energizing rock and blues tunes with powerful, sometimes blistering guitar work.

It's a talent that occasionally sneaks up on the listener.

Songs like his cover of the Beatles' Come Together and his own hit Angel Eyes start off sounding a little staid. Then the songs build, with the payoff of strong guitar solos.

Also deceptive are Healey's vocals, which occasionally sound a little tame. However, his voice booms out nicely on blues classics like (view Muddy Waters version) Hoochie Coochie Man  and  (view Rolling Stones/Robert Cray version) Stop Breaking Down.

There's also great harmonica work from Dave Murphy and fine guitar interplay with Dan Noordemeer and Healey on the latter song.

The two extra musicians also chip in vocals, with Murphy being particularly strong on Come Together. Adding to Healey's original trio format definitely helps throughout the CD. Guest guitarist Randy Bachman gives some extra jolt to Hoochie Coochie Man.

Other highlights are a powerful version of the Allman Brothers' Whipping Post and some great 'wah-wah' guitar on their take of Cream's White Room.

Drummer Al Webster and bassist Alec Fraser, who deserves credit for producing a fine array of songs. They were from concerts in Norway, London, England and Toronto.

Material somewhat resembles Healey's early career successes, which incuded millions in sales, two Grammy nominations and performing with stars like B.B. King and George Harrison.

The ex-Beatle sang backing vocals and played acoustic guitar when Healey covered his hit While My Guitar Gently Weeps.

Healey even appeared in the Patrick Swayze movie Roadhouse. Four of his band's tunes made the soundtrack, including a cover of the Doors' Roadhouse Blues. He later had a Toronto night spot named Jeff Healey's Roadhouse.

He eventually changed direction, recording three albums with Jeff Healey's Jazz Wizards. Instead of guitar, Healey played trumpet and clarinet.

Healey owned between 25,000 and 35,000 78-rpm jazz records, using them for his program on JAZZ-FM.91.

Unfortunately, the cancer that blinded him (retinoblastoma) took Healey's life in March, 2008. He was 41.

Fans might find a little consolation in two albums released posthumously. Besides Songs from the Road, Mess of Blues was released last year.

It's been a long time since Duke Robillard could be pigeonholed as the guitarist for either Roomful of Blues or the Fabulous Thunderbirds. As a musician, bandleader, and producer, he's a chameleon -- maybe second only to the shape-shifting Bob Dylan, with whom he's also worked. Robillard's latest incarnation is as the Svengali figure behind Introducing Sunny and Her Joy Boys --
having found the singer, Sunny Crownover, picked the songs she sings, and rounded up the players for her debut album which he produced.

The back story is that Robillard has an affection for classic American music that dates from the time when female vocalists, often with a flower tucked behind their ear, sang with big bands before audiences of swaying fans. But since the days of Billy Holiday, Helen Humes, Ella Fitzgerald, and Helen Forest are long past, it took a chance meeting with little-known Austin-ite Sunny Crownover to make it possible for Robillard to put together an album that harks back to the classic songcraft of his beloved Thirties and Fourties. That Crownover is up to the task is obvious on this 58-minute, 14-track (with a bonus video) disc. The set opens with an old tune called "Strictly from Dixie" that Robillard heard, and came to like, on a Fitzgerald recording. It's a fast-paced song with difficult phrasing, but Crownover's vocal skims easily along over the guitars of Robillard and Paul Kolesnikow, as well as Billy Novick's clarinet.

From there, Sunny and Her Joy Boys move with the ease of choreographed dancers through a line of great tunes. Highs include "You're Driving Me Crazy," the Hadda Brooks hit "That's My Desire," the Duke Ellington gems "I'm Satisfied," "I Got It Bad (and That Ain't Good)," and "I Don't Mind," and the classic Holiday ballad "Travelin' All Alone," as well as "Stop You're Breakin' My Heart" and "Today I Sing the Blues." Robillard even puts down the guitar to play congas on "You're My Thrill." The entire album is a thrill for listeners who know that the past is part of the present.