H-Town Jukes

H-Town Jukes
Long Time Comin'
80 Proof Records
CR-001

I been giving the H-Town Juke's Long Time Comin' a spin around the block recently trying to get my arms around it enough to blog about it here. The Jukes were mentioned in my last post, about enjoying their set as the opening blues band for the harp extravaganza. They put down some kind of solid, toneful blues that Saturday and they do so, also, on this debut recording.

The disc opens up with what I think is the strength of the band, their instrumental talent. Even though the tune plays off a generic blues shuffle, Steve Gilbert (guitar) and Larry Bernal (harmonica) provide ample proof right off the bat that they know how the blues goes down. Bernal establishes a less is more approach while coaxing the fat from his reeds and he basically stays within that structure throughout the eleven song program. He has no intention of playing 'lick monkey' with his diatonic. Same can be said for Gilbert, as his first solo demonstrates--he gets in, says what's needed and gets out and keeps it tasty.

Bernal wears his chief blues harp influence on his sleeve, and some of his lick choices, tonality and song selection point directly towards his mentor, Houston blues harp maestro, Sonny Boy Terry. Only those of us that know Terry's work well would be able to pick up on where Bernal leans into his instructor's tonal territory as he demonstrates that he's learn his lessons well. He even covers some of the same ground of his former instructor by doing up Juke Boy Bonner's Time To Say Goodbye, Johnny 'Clyde' Copeland's Texas Party and Silas Hogan's deep and dirty Rats and Roaches. The Jukes establish the greasy vibe needed for these tunes with Bernal and Gilbert swapping some fine solos. The only song reall that suffers by comparison would be Rats and Roaches, because anyone who picks up this disc likely will have heard Sonny Boy Terry's definitive version of this gutbucket blues. Bernal and Gilbert do get some of their bestest, bluesiest, bent up tones and licks going on through it though. They do the same with Bonner's Time To Say Goodbye. Bernal has a pleasant singing voice, devoid of affectation, which works well with this slow stuff, but could he needs to employ a little more dynamics with the uptempo stuff like the aformentioned Texas Party.

These guys seem to really be in their element on the original tunes sprinkled among the covers. I like the rockabilly vibe that upright bass dude Kirk Schaefer and drummer Carl Owens get driving on the Gilbert penned Ain't Nobody Holdin'. The uptempo stuff certainly works best with Gilbert's vocal stylings, and his guitar slinging just sounds fun. Bernal bounces some good rhythm notes and fills around what Gilbert puts down. He creates some nice solo runs, but it seems that the amp distortion may be biting the end of some the notes off on this tune. But hey, I like distorted harp stuff.

Another Gilbert tune, My My My, kicks off and shows off Bernal's acoustic tone and licks,which are nice. Gilbert rips it up Hollywood Fats style and that H-Town rhythm section really gets the groove on. They do the same on Good Time Charlie--Gilbert's playing is lights out, channeling a bit of Chuck Berry. Bernal gets a little more rapid fire lickedy as they get he cylinders firing.

I love the lyrics that Gilbert strung together for Big Big Mouth. One of those tales that you'd associate with someone like Rick Estrin. "You got a big, big mouth/and all your brains is down south" says a mouthful, ya think? Bernal stretches into something closer to his own original ideas with his playing on this 'un. Now, that's what'll move the H-Town Jukes to the next level--put some distance between them and those who pointed the way by doing their own thing and making the covers their own.

Long Time Comin' represents a mighty respectable first release from the H-Town Jukes, but it doesn't quite equal the live show that I witnessed a couple of weekends ago. These guys have a tough blues band that cooks on stage and sometimes it hard to replicate all parts of that in the studio, but that's the way it is most of the time. Sometimes vice versa, but I always prefer the up close and personal live stuff. That said, this cd certainly does Houston blues proud.

Blue Harp Nirvana

Houston harp ace, Sonny Boy Terry, ramrodded one heck of a blues harp day at Dan Electro's Guitar Bar this past Saturday (7/31/10. Outstanding harmonica performances by the HTown Jukes, Dave Nevling, Rob Roy Parnell and Sonny Boy Terry saturated the packed club with all the fat toned blues harp notes that one could possibly ask to hear. Two hours plus of Adam Gussow's clinic on blues harp technique and methods provided the cherry on top of all the sweet stuff. Fantastic afternoon that spilled into the wee hours of the morning, that I'll tell in the pictures that follow (I'm slapping this up as quick as I can, I'll edit later. Forgive me if I blow a name or two or three):



The HTown Jukes (pictured above) opened the festivities with a tight set of tasty blues. They mixed in tunes from the usual suspects along with a few originals. The local band is fronted by Larry Bernal (harp/vocals) and Steve Gilbert (guitar/vocals). Kirk Schafer (standup bass)and Carl Owens (drums) nailed down the bottom end of the rhythm and thumped solid. Larry got some kind of great tones cranking from his Meteor Mini amplifier. www.htownjukes.com





Those who signed up for Adam Gussow's blues harp clinic got their money's worth. The man from Mississippi demonstrated his one man band hill country stomp tune employing his custom made kick drum, explained how important it is to keep a rhythm going while blowing, how to work bends correctly, etc..etc...He invited a brave group of newbies (pictured above)to join him on stage with the challenge that they'd blow a better note when the stepped down. It did work for most of 'em.www.modernbluesharmonica.com






After a meal break, patrons (above, top) enjoyed a screening of Pocket Full of Soul, the best harmonica documentary EVER produced. Producers, Todd Slobin and director, Marc Lempert were on hand for discussion and had plenty of DVDs for the masses. http://pocketfullofsoulmovie.com

Then Dave Nevling and his Blues Kats (above) got things smoking hot again with his their set of blues done up in with Dave's original blues harp stylings on his original tunes. He blew his Gulf Coast brew through an Astatic mic with a Shure element and the big daddy Meteor amp. The Blues Kats, Tom Bryan (guitar), Joe Campise (drums) and Jeff Parmenter (bass) had the crowd pumped at the end of their 45minutes. www.davenevling.com



The Houston Blues Society's Boyd Bluestein is pictured above with other volunteer members manning the 'swag' table filled with plenty of t-shirts, cds, posters, etc...from the days events.







The Rob Roy Parnell (above) hit the stage and completely upset the house with his rollicking roadhouse rolling and tumbling blues. The crowd wouldn't let him slow down to catch his breath and he kept up with their demands by mixing his original stuff along with jumping thangs like George 'Harmonica' Smith's "Oop Doopin' Doopin'". He did slow down enough to work in a swampy ballad or two, which really highlighted his superb singing. Sonny Boy Terry's band were pulling house band duties and did an amazing job of pushing and pulling Rob Roy's material. Jonn Richardson put on a blues guitar clinic. Lenny Fatigati(bass)and J.D. Detulio are the best rhythm section this side of the Sabine. www.robroyparnell.com



Okay, now Adam Gussow had the task of following two full-steam-ahead blues band with his one man show. By golly gee, he sure as hell pulled it off and had the crowd in his hand in a matter of a song or two. Anyone who can go from raising a ruckus, stomping out an R.L. Burnside, one chord Mississippi Hill Country romp, to a smooth B.B. King and then top it off rockin' with Cream's Sunshine of My Love and their version of Crossroads...well, they're darned sure alright in my book. He cooked it on down with just his harp, Premier/Kay/Harp Gear amp and a custom made kick drum. He proved how well it can be done with the smaller amp combinations.













Then Mr. Houston Blues, Sonny Boy Terry, stepped on stage with the finest blues band in the state. Sonny Boy Terry oozes Texas Gulf Coast Blues out the pore of his skin. This is the blues where Louisiana swamp, Zydeco, Texas swagger and uptown R&B meet up at Holcomb and Dowling and blend into a wonderful blues gumbo unique to the region. He and his bandmates jacked up the ante and blew it on home and left the blues harp fanatics drenched in the vibe that reverberated Dan Electro's. Adam joined in on an fantasbulbulous version of the Stones' Miss You with a twin harp attack harmonizing the coda. Adam nailed Sugar Blues' licks with perfection. The band played outside themselves--especially when Jonn Richardson's ten fingers tortured his guitar strings. Fine finale--yep, it was.



But wait...it wasn't over yet. Steve 'The Professor' Schneider (above) cranked up 'Fess' Fest Jam as the chief jam-meister by picking up where Sonny Boy's band left off. He and Bob Spence lit into GTF and shook the rafter with the song. Steve's the best harmonica player without a band, who should have a band, in Houston. Wonderful tone. I'd never heard Bob Spence before, but now that I have, I'd say that he's pretty much in the same league. Them boys could blow. Steve allowed me to tag along with him as we ran through the late, great Gary Primich's Dry County. Another good harper named Shane (sorry forgot the last name)swapped licks with us. Sharing the stage with Jonn Richardson, JD Detullio, Steve Gilbert and Steve's girlfriend, Bella Adella, popping the bass strings was truly a treat. Nothing like blowing on a blues song with the pros. THEN...it was over. For me anyway. I still had an hour and a half drive, so I lit out for the country. But man, what a fine, fine day for the blues.