Blues The best music site on the web there is where you can read about and listen to blues, jazz, classical music and much more. This is your ultimate music resource. Tons of albums can be found within. Wed, 01 Feb 2023 07:55:14 +0000 Joomla! 1.5 - Open Source Content Management en-gb Big Apple Blues - Brooklyn Blues (2010) Big Apple Blues - Brooklyn Blues (2010)

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1 You'll Come Back Someday 04:48
2 Killing' Time 03:31
3 Like It or Not 04:46
4 Let's Ride Baby 05:04
5 I Make My Home in Florida 06:48
6 Don't Throw Our Love Away 06:45
7 Help Me Just This Time 06:30
8 You Move Too Slow 08:56 (Larry Ingram, Spider Ingram)
9 Boogie Shack 07:50

Joe Bencomo - Drums
Sonny Charles - Harmonica (Amplified), Vocals
Eddie St. Clair - Bass Guitar
Spider Ingram - Guitar, Slide Guitar, Vocals
Little Johnny Walter - Guitar (Rhythm), Vocals (Background) 


Big Apple Blues came by this vintage sound honestly. They put down tracks for Brooklyn Blues in an old hometown studio, Excello Recording, playing live before analog equipment on throwback instruments. Then they picked out a series of cuts by giants of the genre.

Included on this Stone Tone release are covers of songs by Chess Records legends like Howlin’ Wolf and Willie Dixon, as well as tracks by a pair of former Muddy Waters harmonica-playing sidemen in Little Walter and Junior Wells. Big Apple Blues also tosses in a couple of Big Easy classics by Dave Bartholomew, including the Fats Domino staple “Whole Lotta Lovin,’” and songs by Big Joe Turner and Paul Butterfield, as well.

That gives this warm vibrancy to Brooklyn Blues, which smartly mimics the densely spacious sound of those original masters. You quickly sense that this group’s high fidelity goes beyond the studio technology; Big Apple Blues displays a lasting faith in the music’s tradition.

Guitarist Zach Zunis opens the record with a dirty, barstool-rattling guitar groove on “Too Many Drivers,” while Anthony Kane (pictured at left) puts on a shimmying show with his harmonica. Kane’s gravelly growl is perfect for Butterfield’s well-crafted lyric on betrayal. A saddle-buck cool surrounds their rollicking interpretation of Turner’s largely ad-libbed 1953 Top 25 hit “Honey Hush,” which swings along like a lost Sun Records side. Christine Santelli and Matt Mousseau join in the raucous sing-along at the end.

Big Apple Blues doesn’t often move off script but, when they do, it’s a wonder: For instance, they brilliantly rework “Whole Lotta Lovin,” originally an up-tempo 1958 pop parfait by Fats Domino, into a loping shout. They go even deeper into the brown-bottle blues on “I Hear You Knockin,’” initially sent to No. 2 on the R&B charts in 1955 by Gale Storm.

On the original “Brooklyn Swamp,” written by Zunis, Big Apple Blues jukes expectations with a New Orleans vibe. Zunis explores a mercurial, echoing sound while drummer Barry “The Baron of the Blues” Harrison (Shemekia Copeland) underscores everything with a second-line beat.

More typical, however, is “Who’s On Third (Duvel),” this album’s only other original. The track, locomotive but instantly familiar, finds author Kane trading licks with guest pianist Brian Mitchell (Bob Dylan, Al Green, B.B. King, Levon Helm, Allen Toussaint), who also appears on “Whole Lotta Lovin.’” Kane’s aching vocal on Howlin’ Wolf’s seminal 1951 Chess classic “How Many More Years” opens the door for a sizzling, explorative solo turn by Zunis.

Kane then retakes center stage during a trio of showcase opportunities that arrive back to back to back on Brooklyn Blues. First, there’s Wells’ “It’s My Life Baby” and then Little Walter’s “Hate to See You Go,” both from the late 1960s, followed by Walter’s determined 1959 Top 25 R&B hit “Everything is Gonna Be Alright.” Kane completely inhabits Little Walter’s style, this crisp, cocksure sound that shaped the modern vocabulary for harmonica. Then Kane neatly approximates Junior Well’s randy growl on “It’s My Life Baby.”

Big Apple Blues closes with the Diddley wallop of Dixon’s ironically named 1954 side “Mellow Down Easy,” eventually made famous by Little Walter, as well. ---Nick DeRiso,

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]]> (bluesever) Big Apple Blues Sat, 26 Jan 2019 15:42:47 +0000
Big Apple Blues - Energy (2014) Big Apple Blues - Energy (2014)

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1. Wake-Up and Do Something 		4:06 
2. I-278 Grind 		6:11 	
3. Morning Jive 		4:52 	
4. Remembering Eni 		7:31 	
5. Lost in Thoughts 	5:57 	
6. Day Dreaming 	7:16 	
7. Happy Hour 		4:54 	
8. Unwind 	5:00 	
9. Energy 	3:07

Zach Zanis – guitar
Anthony Kane – harmonica, vocals
Barry Harrison – drums
Admir ‘Dr. Blues’ Hadzic – bass
High Pool – guitar, vocals


The album “ENERGY” tells the tale of a day in the life of innately frenetic, hyperurban megalopolis of New York. The cannonade at daybreak: “Wake up and do something” kicks off the day with an iPhone alarm giving way to a galvanic beat as one showers or gets ready for work. The track could just as well serve as a punchier replacement for the all-important elixir that first coffee of the day— as it was written as an antidote to the morning slumberous torpor. “I 278 Grind” follows and further fans the vibe with the crank of an Oldsmobile’s engine, sounding off the start of a drive to the city on a heavy traffic-laden highway. The sinuous harmonica (Anthony Kane) and guitar (Zach Zunis) hover above the snarled stretches of asphalt, all thickly padded with the caress of a B3 organ (Jim Alfredson). As the Oldsmobile pulls into a parking space, the slams of the door and resolute footsteps reaffirm a steely determination about to be poured into the work day. Thereafter, “Morning jive” cranks the gear to another level while the work is being done. Its joie de vivre is starkly contrasted, its exuberance undercut by the somber notes that follow as the work crowd breaks up midday for the funeral of a friend. “Remembering Eni” keeps everyone’s thoughts together, evoking memories of a prematurely departed Enisa, while the pealing of church bells and the howling wind underscore the prevailing grief. Back at work, the fleeting afternoon mood slowly picks up the pace with “Lost in thoughts” and “Day dreaming”. As the feeling of vulnerability slowly gives way to human resilience, the crowd from work tops the day off with a happy hour at a local bar. Back at home, “Unwind” abates the everyday concoction of hyper-urban tempo and the emotional residue from the day, culminating in a night cap. The title track, “Energy” is a secret remedy in the medicine cabinet, a sort of quadruple espresso infused with an energy drink. The album is an eclectic confluence of genres (blues, R&B, soul, funk, rock, jazz…) we classified as “Blues Fusion,” being unable to differentiate among the known genres. However, whichever way one classifies this compilation of original work that makes up ENERGY, a single listen will leave no one doubting that this piece of music comes from a foundation of subterranean blues whose pulse vibrates from deep beneath. If in doubt, the listener is advised to pick up or download Big Apple Blues’ previous traditional blues releases (“Live at O’Flaherty’s”or “Brooklyn Blues”—both on StoneToneRecords label) and all will be reassured! The story behind ENERGY is an interesting one. Since the founding of Big Apple Blues in late 2000s, its various members played in a number of music projects and touring bands. When in town, however, the BAB musicians regularly recorded and played city-wide. Over one brutally cold weekend in December of 2012, the band gathered to crank out some new ideas at Smash Studios on 36th Street between 8th and 9th Avenue in NYC. As per routine, the band kicked off the day in Studio A with a Chicago blues shuffle. The combination of raunchy blues guitar of Zach Zunis, Anthony Kane wailing on the blues harmonica, and Barry Harrison laying down a shuffle to die for, instantly brought about a synergy in the room. Indeed, the band is made up of true blues aficionados who know how to lay down a barstool-rattling shuffle that could make the dead come alive. As we smiled after the warm up, we began pulling out a series of grooves and scratch recordings conceived on Dr. Blues’ transatlantic flights between NYC and Brussels to see his Flemish woman in Leuven. As all musicians contributed creative bits and pieces to “ENERGY”, we played several hours without interruption, barely taking notice of the ever-busy recording engineer Tazz who kept darting in and out of the control room to check the mic placements and signal levels. As we took our first break in the control room, we casually listened to what was recorded over Dunkin’ Donuts coffee and a few Cliff Bars. The rough mix of freshly laid down, live tracks purred back at us from a pair of 215 Tannoy monitors suspended on chains from the ceiling in the Control Room. Right then and there we knew we were about to give life to something extraordinary. Next, we flew in an amazing B3 organ player, Jim Throdore Alfredson III, from Lansing, Michigan, and another superb session drummer, Tom Papadatos, to help with the next few live sessions. The magical and powerful concoction, “ENERGY” further benefitted from overdubs of congas and shakers (Bruce Tyler, Tom Papadatos), Chris Emenizer’s horn arrangements, and the mixing and special effects wizardry of Matt Becker. ENERGY was conceived and recorded as an all-live album, with an amalgam of vibes, feels, rhythms and instrumental melodies, pieced into music totally capable of playfully gilding the daily grind. ---Dr Blues,

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]]> (bluesever) Big Apple Blues Mon, 28 Jul 2014 08:42:52 +0000