Let's face it this has to be some kind of album to displace Joe Bonamassa (of whom more below). Combining the diverse but highly complementary talents of the “young guns” of the blues, “Triple Fret” is almost a rework of the triple guitar concept that underpinned the Alligator records “Showdown” recording of Robert Cray / Johnny Copland and Albert Collins.

The concept is similar, and this album gloriously emulates those mid 80's efforts, giving Larry McCary and Bernard Allison, especially the context for their respective talents. Both came into the blues scene with a blaze of publicity some years back, Larry on the back of being a new blues star on Point Blank records, while Bernard suddenly found himself in the spotlight following the untimely death of his dad Luther. Carl is less known over here but on the evidence of this album, he is a heavy weight singer and a guitarist with a heavy duty tone.

Lucky Peterson, a star in France, but again lesser known in the UK also weighs in with some fine playing, most obviously on the jazzy feel of the instrumental “Where's Lucky”.

The magnificent funky opener “Bottle of Whisky” is everything you would love to hear from the talented quartet, being underpinned by a brilliant rhythm section featuring former Joe Louis Walker bass man John B. Gayden and Larry's brother Steve McCray on drums.

The following “Bluesman” includes some beautifully structured horn arrangements that act as a perfect foil for Larry's emotive vocals. The funk feel and delightful horns are topped by more searing guitar on “Get Drunk & Pop The Trunk”.

Everyone of the four talented bluesmen deliver big time, but I wish to make a special mention for Larry whose blues ballad “I'm Praying For You” shows he has matured into a magnificent singer to match his tough chops. I can't think of anyone who has improved so much over the years as Larry, and he is the lynchpin of a magnificent effort. Bernard ups the funk quotient on “Good To Me”, and Carl not to be outdone adds some perfect angst filled vocals on “Ain't Nothing But The Truth”.

A special mention for Bruce Feiner who all but wrote the whole album, co produced it and added the horn parts on a set that fulfils all the players potential to the limit. Go out and buy this album!

Here are some audio clips from Triple Fret:	Broadband (CD quality)	Dial-Up (AM radio)
Bottle Of Whisky
Get Drunk & Pop The Trunk
I'm Praying For You

Since last month's playlist Joe Bonamassa finally made it over to the UK for a short run of dates on the back of an exhaustive European tour. And what a player he is. What you get on the albums is only part of the picture as Joe delightfully veers off into jammed out sections on live numbers, adding musical vignettes and additional riffs, and he seems to welcome being pushed to his limits by a killer rhythm section. The future of Rock Blues is in safe and exciting hands.

Continuing Provogue's Joe Bonamassa release programme in Europe , “So, Its Like That” is another excellent effort from the guitarist they are all talking about. This album was actually recorded in 2002, before the hugely impressive “Had To Cry Today”. It's a measure of Joe's impressive musical maturity that he recorded a straight forward, riff driven, co- penned effort barely a year after making his mark with the Brit invasion inspired “New Day Yesterday”.

From the opening melodic rock of “My Mistake” through the Peter Green style “Oh Well” riff intro of the impressive “Lie Number 1”, to the rock solid harmonies of “No Slack” Joe measures each song to perfection. Sure there's an inevitability about the climactic solo, but each guitar phrase is fresh, and to the point, and in short Joe has in a relatively short recording career already delivered more than many in their entire career.

Above all, his vocals are more mellifluous than ever before. I prefer the shuffle feel of the tough rocking title track than the more commercial efforts, but as on the acoustic led, and mandolin infused “Never Say Goodbye”, Joe shows that he's not about to ditch his exciting chops for schmaltz..

Joe teams up with the redoubtable Will Jennings to deliver one of the album's finest tracks “Mountain Time”. The number soars on the back of a booming chorus, building confidently towards a trademark Joe solo.

It doesn't all work of course, on “Pain and Sorrow” Joe brings a Hendrix/SRV feel to his guitar phrasing to rescue a relatively non descript jagged almost Gov't Mule style tune. But just as you think he's rescuing the number the guitar parts build up dramatically in a startling jammed out closing section and you forget what has gone before, and the whole caboodle is turned round in a frenzy of axe attack. Then again on “Takin' The Hit” the riffs are relentless and hard hitting and simply mesmerising.

While the likes of Walter Trout have maintained their niche in the Rock Blues genre, through a mix of quality song writing and great playing, others such as Gov't Mule and Kenny Wayne Sheppard and Chris Duarte still have a way to go, but for me Joe is the number one contender in resurrecting the Rock Blues genre and crossing it over into a long forgotten mass popularity.

3) Joe Bonamassa "Blues Deluxe" Provogue Records
JBonamassa.com

Blues Deluxe promises to be the kind of album that Joe had to make to lay to rest any doubters in the old blues school who had him down as a Rock guitar player dabbling in the genre. His self penned shuffle opener sets the standard for some truly smoking playing, shot through with low down blues feel. Even on a slow blues title track, surprisingly penned by Rod Steward, Joe attacks the number in a key slightly above his natural abilities abut his passion gets him through, not too mention his tasteful guitar playing.

There's a lovely acoustic co write with Will Jennings” called “Woke Up Dreaming” which perfectly captures the authors intentions of a traditional blues feel in a contemporary setting, while the following “I Don't Live Anywhere”, again shows Joe's ability to turn the old blues genre into his own ends There's some startlingly mature singing on this album particularly when he doesn't force his voice, and relies more on the subtle phrasing on say “Long Distance Blues”.

Joe also delivers an Albert Collins number on the sparkling “Left Overs” ably supported by his rhythm section of slick bass man Eric Czar and drummer Kenny Kramer who adds cymbal splashes with abandon, all neatly topped by Benny Harrison's B3.

With perhaps only the rather pedestrian cover of the interpretation of Robert Johnson's “Walking Blues” (Jon Parris harp not withstanding), failing to really impress, Joe has done it again with another superb album from the blues rock contender of the year.

4) Ian Parker "... whilst the wind" Ruf Records
IanParkerMusic.com

Over the last two years Ian Parker has established himself as a serious artist of note, combining nakedly honest songs with some inspired playing and a white boy soul singing that teases out every nuance and last drop of feel from each song.

Since startling his label by delivering the deep and meaningful “Inside” album instead of the usual rock blues format, Ian has ploughed his own musical furrow. And it comes as no surprise that this album sounds so “live” that you really do feel as if you are there at the gig. Significantly the set was recorded in Germany, at Hannover's Blues Garage.

Opening with Ben Harper's acappella “The Power of the Gospel”, Parker draws you in with a subtle combination of voice, guitar and superb accompanying band. On “The Love I Have” the angst ridden lyrics give way to several superb guitar breaks, and the process is repeated on one of his very best efforts, the moody, and very bluesy “It Hurts A Man”. This song comes close to the younger Peter Green and is full of languid guitar lines, and some soulful vocal phrasing, over a cool organ accompaniment. The number builds up the dynamics before a superb tension breaking guitar break. If this album proves nothing else it is that Ian Parker is anything but a one dimension guitar hero. “Whilst The Wind” is all about songs, and about real emotions, a subject that too many bluesy practitioners clothe in cliché to hide their inability to deal with real feelings.

Ian takes you on an emotional rollercoaster and his band play some beautiful, awe inspiring stuff along the way. The gentle funky undertow and catchy hook of “She Cries” stays with you long after the gig has finished, while the understated “The Truth Within” is redolent of John Fogerty.

By the time of his long term stage favourite Crosby's “Almost Cut My Hair”, which is cleverly segued into Peter Green's “Green Manalishi”, Ian has the crowd in the palm of his hand, not through histrionics, and not through a million notes a minute, but simply through the ability to communicate real feelings through his songs. Simple really, but this album is a salutary reminder to many who have forgotten the art of musical expression.

Here are some audio clips from ... whilst the wind :	Broadband (CD quality)	Dial-Up (AM radio)
The Love I Have
It Hurts A Man
She Cries

And coming immediately after Ian Parker in this month's list is Jony James another emotive singer with a rare feel for the blues, and an ever rarer ability to touch your soul.

This is no ordinary blues album. For a start Jony James has the kind of voice that oozes a life of struggle and reflection. His long linear Albert King style guitar lines are not the stuff of a dazzling guitar player with a million licks in his locker, but rather an adjunct to some of the most soulful and low down bluesy material it's been my pleasure to hear for a very long time.

The whole album is a curious affair with enough raggedy moments and unconventional musical progressions to keep you guessing as to his next move. But such is the naked honesty and emotional turmoil of the material that really Jony could have cut this album completely on his own.

The opening “Hit The Street” asks the question ‘are you a lonely lonelysoul'? , and drips pure emotion. On the following slide led groove, “I Don't Know Love”, Jony suddenly goes off into a different key and seemingly oblique musical tangent but it's a slow burner that after repeated deliveries makes sense like the missing piece of a jigsaw.

And while the rest of the blues world is straining at the leash to present itself as a meaningful contemporary package, Jony is proving himself to be the real deal with an album that quite simply oozes soulful blues.

“Time Flies” is a flighty shuffle on which Jony's croaky voice is a neatly counter pointed by the cleanest solos imaginable, while Rod lays down a superb walking bass line, as Kent nails down the groove. JB Hutto would surely have smiled at his pupil's raw attack.

The final cut “In This World” is almost a coda of the opening “Hit The Street”, in terms of its delicate soulful vocal delivery and emotional honesty. To these ears Jony James is a real blues find, imbued with every facet you could ever ask for ranging from an all too rare ability to convey his feelings in both his lyrics and his playing. Credit to Kim Simmons for engineering

Jimmy Thackery is the consummate road musician - a musician's musician - with a wealth of experience, who has established himself as a club and festival staple across the US.

Having served a fifteen year apprenticeship with the Nighthawks, Jimmy stepped out in 1987 with a view to developing his own songs and style. In the event it took him until 1992 via three albums with The Assassins and a decade long association fronting his band The Drivers, before the 2003 instrumental “Guitar” album served notice of Jimmy the solo artist.

“Healin Ground” is a well worked slice of guitar led, cutting edge blues-rock genre that owes as much to the influence of the late Roy Buchanan as the pithy vocal delivery and occasional guitar twang style of say Lonnie Mack.

The album marks a significant collaboration with Nashville based song writer / producer / musician Gary Nicholson (whose many credits include the Grammy award winning Contemporary Blues album “Nothing Personal” for Delbert McClinton) and is a tightly focused affair, delivering 11 songs that nicely act as a foil for Thackery's subtle playing. As Jimmy himself explains, “the cadence of a lyric tends to suggest the way to go on the guitar”. All 11 tracks are full of subtle light and shade, and offer nuances of Rock, Blues Country and even 60's retro guitar.

The opening “Let the Guitar Do The Work” is reminiscent of kindred spirit Mike Henderson's “Lay Your Guitar Down”, while the following “Fender Bender” is an apt title for a delicious journey back into the days of The Ventures meets The Shadows” with a cutting edge.

In between the crisp guitar attack, and the ghosts of Buchanan and Albert Collins, Jimmy delivers wry humour and irony as on “Upside of Lonely”, some real feel as on the title track and a dash of Countrybilly on the second instrumental “Kickin' Chicken”. There's even room for a revamp of the Henry Mancini's “A Shot In The Dark” (from “The Pink Panther”), on which Jimmy adds some lovely cool jazzy licks. The closing romp through Muddy Water's “Can't Lose What You Never Had”, is a timely return to Jimmy's blues roots. A players player, Jimmy Thackery steps out on his own in style.

On which (UFO/Scorpions) Metal axe hero Michael Schenker teams up with current Robin Trower vocalist Davey Pattison, and rhythm section for hire, Aynsley Dunbar and Tim Bogert, and adds a blues rock feel to his cannon, as he tears through 10 Rock classics and adds a curious final effort

From Bad Company's “Rock Steady” through a surprising attempt at “While My Guitar Gently Weeps” – on which Schenker delivers everything and the kitchen sink, over a rather plodding rhythm section – and on through to Trower's “Too Rolling Stoned”, this is an enjoyable and at times surprising retrained trip through every baby boomer's favourites, including “Badge”, “Dear Mr Fantasy” and even “Layla”.

And what does this romp through rock's back pages tell us? The band's superb musicianship and vocal performance by Pattison do the catalogue proud of course, and you get the feeling that though not a lose jam in the accepted sense of the word, there's a real sense of enjoyment to the session.

The funky version of “Too Rollin Stoned” is very visceral outing, and while the take of “I'm Losing You” is a shade too heavy for these ears, I suppose you would expect nothing less from MK.

Michael is in his element on the Steve Marriott's take of the Ashford & Simpson original “I Don't Need No Doctor”, and equally impressed on Traffic's “Dear Mr. Fantasy”.

In sum, the album is billed as a jam, but you can bet there was plenty of professional pride at the session and no little fun, as the S-P Summit blaze away as a musical equivalent of kids in a sweet shop. And for once it's a case of putting your critical scalpels aside and going along with a thoroughly enjoyable, albeit nostalgic set.

Ostensibly there are 14 tracks on this album. But from the opening ambient violin lines, the whole album feels like an ethereal, sonic journey that eschews beginnings, middles and ends, and settles instead for the kind of moody feel that derives its origins from a subtle mix of dervish inspired world music, and electronics. What you get is soundscapes that tease out disguised rhythms, and passing melodic lines. By the time of track four, “Pean” we hear the voice of Sonya Kristina, but not perhaps as you would remember it all those years ago with Curved Air, or indeed in her last couple of acid folk efforts;

For Mask is the beautiful timbre of her voice mixed subtly into the soundscapes of ambient producer Marvin Ayres.

And while I have a working knowledge of electronic music from Stockhausen to Brian Eno and beyond, the ambient elements here are closer to the claustrophobic efforts of say John Foxx than say Tangerine Dream, in a sweeping stylistic mix of the musically imposing, and at times structurally vacuous.

But everything is in balance. “Fall So Hard” for example is a lovely piece on which Sonya shows her voice has lost none of its sensual feel. The songs acts as a conduit linking what went before with the following “Healing Senses”, essentially a further synth piece. Sonya delivers a quite beautiful vocal on “Free”, as spiralling violins and delicate percussion accompany her vocal lines, before the album resorts to type, and retreats into electronic doodles.

In contemporary parlance, Mask is an Ambient/Trancy project that offers sensual aural landscapes, occasional glimpses of real beauty, but all too often settles for drifting musical landscapes that don't always reveal anymore than you have already heard. That said, this is an intriguing, and bold project that successfully fuses the ideas of two very talented musicians from different backgrounds. Repeated listening brings unexpected rewards.

No surprise that given the current craze for jamming in the US with bands like Gov't Mule, and Joe Bonamassa there are a crop of bands who are coming up in the slip stream, basing their existence on sheer hard work, a love for playing and an understanding of their musical predecessors

North Florida based southern rockers, Tishamingo are such a band, but they also resurrecting the spirit of Southern Rock and adding their own original material. And while there is a splendid reading of Skynyrd's “Poison Whisky”, there's plenty of their own material to whet the appetite of all Southern rock fans;

Produced by David Barbe of Drive By Truckers fame, there's a lovely sense of balancing musical traditions with a more contemporary feel. As if to illustrate the point, while the slide led “Hillbilly Wine” sounds like an outtake from the Outlaws, on “ Rome ” the band show they are capable of generating their own original grooves within the southern rock context.

I'd venture this outfit could be a very exciting combo to catch on tour, and like Skynyrd all those years before there's plenty here to catch the ear, with searing slide guitar and stinging riffs aplenty, on numbers like the twin guitar workout on “Smoked Mullet”. The boys even demonstrate their country influenced chops on “Willing To Die”, and add a grungy guitar feel on “Legend of George Nelson”, a song features Jess Franklin's lap steel, and is derivative of Lowell George

Tishamingo reach back into the annals of retro southern Rocking Blues, and come nicely with a contemporary variant all of their own. Watch this space.

This album was released somewhere between the demise of Johnny's 70's Glam rock outfit Bearded Lady and his early 80's Australian hit single “Screaming Jets” from the “Walking Into Mirrors” album (also to be found on Angel Air).

Nowadays Johnny fronts the hugely popular retro outfit The Mods, but at the end of the 70's he was busy recording for Ringo Starr's label, and as his liner notes suggest having a lot of fun at Tittenhurst, Lennon's former abode.

The original 10 track album is supplemented by 8 bonus tracks, four of which find the core band of Warman, drummer Jeff Rich (later of Status Quo fame), and bass player Paul Martinez (Led Zeppelin / Chicken Shack) jamming on four tracks in the Apple studio.

As with his later solo efforts, Johnny seems wrapped up in a Sci Fi / Bowie fixation with an annoying Anthony Newley style, cockney vocal delivery.

That aside there are lots of little enjoyable musical ideas, and an avalanche of influences but nothing of real substance until the more straight ahead “Street Angels”, on which Johnny adds a pithy vocal as Chris Mercer delivers a telling sax solo. The album builds up to the closing Warman opus “War of The Worlds” a grand piece that shifts through Beatle style bv's and electrical storms to its climactic conclusion.

Of the bonus tracks, “Mind Games” ( er didn't Lennon use that title too?) sounds very 70's, and the live take of “ Silver Towers ” starts with an echo of “Get Back”. The highlight is “Head On Collision” on which the band stretches out in funky rock mode, with Johnny adding a powerful solo.

Overall this is an interesting but flawed effort that essentially sowed the seeds for the more focused later career “Walking Into Mirrors”