American Showplace Music artist: Rachelle Coba - Blink - New Release Review

I just had the opportunity to review the most recent release, Blink, from Rachelle Coba and it's an soulful understated rocker. Opening with High and Dry, a rocker with a driving beat, Coba on guitar and vocal is teamed with Paul Kuzik on bass, Andrei Koricanics on drums and featuring John Ginty on piano. Dance These Blues Away has a cool funky back beat that really gives Coba a chance to showcase her bluesy vocals and soulful guitar riffs. Very nice. Good Ole Heartbreak is a soul ballad with a great melody. Another strong track, this could easily be the top radio track on the release. A solid rocker with a light country flavor (think Stones or Mellencamp) title track, Blink, had a strong (rock) dance groove and just the right guitar tone to push it over the edge. Solid! Another track that deserves a particular note is Shuffle Ya with an almost spoken vocal line but with a heavy footed bottom and guitar punctuation over the warm organ ride of Ginty. Very nice. Wrapping the release is another strong blues ballad, Blame It On The Blues giving Coba one last chance to showcase her soulful vocals with rich organ piano work by Ginty. Excellent closer. 

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Phone Booth - Jules Carter Trio

Live Music Band: The Jules Carter Trio, Format: 3 piece, Genre: Blues Rock, Location: Knebworth, Herts, Current Gigs: 19 (playing in Hertford, Ilford, Clavering, Redhill, Streatley, Stevenage, Hemel Hempstead, Welwyn, Huntingdon, South Oxhey)  
















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You Got to Move - Rev. Charlie Jackson

Rev. Charlie Jackson (1932-2006) was a distinctly powerful guitar evangelist who devoted his life to singing and preaching the gospel, particularly throughout Louisiana and Mississippi. His 45s for the Booker and Jackson labels, with songs such as "God's Got It" and "Wrapped Up Tangled Up in Jesus," are frequently cited as a pinnacle of raw, impassioned, bluesy gospel music.

Beginning sometime around the early 1970s, he often documented the church services at which he participated with a portable cassette recorder. Over the years, he accumulated an extensive archive of recordings that were mostly made by himself, Frances Jackson, or Laura Davis Jackson, with a local professional occasionally hired to record a noteworthy service. These tapes would primarily serve as mementos, as well as tools through which he could evaluate his performances. Selections might have been included on the cassettes that Rev. Jackson sometimes sold, but it seems these were most often keepsakes for casual posterity.

As one might expect from such informal recordings, idiosyncrasies abound. The recorder gets jostled, members of the congregation boisterously testify, and the microphone sometimes becomes overloaded. A few of the older cassettes needed to be repaired before they would even play.

Sonic quirks notwithstanding, these tapes contain a wealth of outstanding performances. They also provide a valuable opportunity to take a broad survey of Rev. Jackson’s music over roughly a 30-year period and obtain a much more detailed and vivid picture of the vibrant gospel community in which he traveled, something that was only hinted at by his commercial recordings. Listening to these performances, one can hear why Rev. Jackson was so in-demand: no matter the situation or the size of the congregation, he sounds fully engaged, with a sense of sacred duty.
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