I guess that it’s easy for folks to hear about a new record in the Post War Chicago tradition by a this
generation performer and conjure up already musty images of an earnest traditionalist slavishly redoing
what was with painstaking accuracy, but little else in the way of current day relevance. Well, I’m here to
tell ya, when the artist in question is Nick Moss and the recording is Live At Chan’s, it just ain’t so.
Moss reinvigorates the music with a sense of raw, heartfelt conviction that emphasizes the vitality and
shear audacity that were hallmarks of the incredible sounds that came outta Chi-Town back in the day. The
best part is that Moss has the chops and pedigree to pull it off as effortlessly as breathing. He grew up
surrounded by the by the real deal hometown Bluesmen and drank in those sounds as readily as the Heileman’s
Old Style brew he was weaned on. Nick cut his teeth in outfits like the Legendary Blues Band, which was
originally comprised of members of the great Muddy Waters band of the 70’s before under going myriad
personal changes while still maintaining that undeniable feel. He went on to back fiery guitarist
Jimmy”Fast Fingers”Dawkins before earning his masters degree in Chicago Blues from none other than Muddy’s
partner in creating the beloved sound in question, Jimmy Rogers.
On Live At Chan’s, recorded at the Woonsocket, RI club before a receptive and enthusiastic audience, Moss
makes considerable use of those early lessons and combines them with the experience of having recorded
four albums as a leader to produce a record that stays with the listener like a sweet memory that remains
vivid no matter when it actually occurred. He’s ably abetted by a Flip Tops backing unit that’s not only
more than capable of following the big man’s lead, but also of driving him forward with equal parts taste and
abandon. Piano Willie Oshawny is another Legendary Blues Band alumnus and he has that Otis Spann thing
down in spades. There’s a vibrance in his playing that transcends a style that can sound ‘samey’ in
lesser hands, elevating it to the highest levels of expectation and reward for the listener. You just
gotta smile when that man cuts loose caressing, tickling and pounding the ivories. He also adds his primal, gutbucket vocals to the raucous “Wine-O-Baby Boogie.”
Multi-instrumentalist Gerry Hundt may very well be the
glue that holds this wonderful ensemble together. His
primary function is playing bass, but that just
scratches the surface with this talented cat. He
contributes spot on harp throughout, which adds even
deeper textures to the sound, especially on Moss’
composition, “One Eyed Jack.” Hundt also pitches in
with some first rate slashing guitar lines on the
instrumental closer, “Move Over Morris.” Although
there’s no listing of him playing Mandolin on this
set, he has that little used, but wonderful addition
to the Chicago Blues arsenal in his weapons stockpile
(keep an eye peeled for his upcoming Mandolin-led
release on Blue Bella). All three men are able to
seamlessly swap out instruments to provide whatever is
needed to send a given song into the stratosphere.
Drummer Victor Spann is also on hand to help drive the
machine with that time-tested yet vital touch all good
Chicago Blues thrives on. Special guest “Monster” Mike Welch, on whose Cryin’ Hey album Moss traded
guitar licks with, returns the favor here and the two work off each other effortlessly on a few tunes, the most memorable of which is “Your Red Wagon.”
The Flip Tops are as good a band as is out there
getting it done right now, capable of overwhelming
many a well intentioned front man, but not their ring
leader. Nick Moss is a formidable force of nature
with a snarling guitar in his hands and an expressive
voice that commands attention and respect. His
muscular fret work holds an obvious appeal to
listeners who come to this music from the rock side of
the spectrum. He’s much more than a string strangler,
however, with his sting comes a willingness to swing
and inhabit the elastic grooves created behind him.
All this and he can write too, contributing six
originals to the proceedings. For my money, “Just
Like That,” which first appeared on his Sadie Mae
disc, is an instant classic that drags the
houserockin’ sound kicking and screaming into the 21st
century. All in all, Nick Moss is as real a deal as
those whose music informed him and Live At Chan’s may
well be his shining moment as a bandleader.
Blue Bella Records
P.O. Box 6019 Elgin Ill, 60121
www.bluebellarecords.com
www.nickmoss.com
If you would like your CD reviewed, please send TWO (2) copies of your CD to:
We build websites