In the wrong hands, the blues are a quick trip to Cliché City, a place where there’s no lyrical or musical problem that can’t be solved in the exact same way as thousands of musicians before him or her have done. In the right hands, it helps them tap into something elemental, as is the case with Johnny Sansone’s new album, The Lord is Waiting and the Devil is Too. In recent years, it seemed like his creativity found its best outlet through idea-oriented, narrative roots rock, but this album is about intensity. Producer Anders Osborne creates space for Sansone’s voice and harmonica by foregoing a bass guitar, instead letting his own distorted guitar or Stanton Moore’s tub-like drums nod to that part of the sonic spectrum. The results are lean, hard and haunted, defined by Sansone’s barking, preaching vocals and his overdriven harmonica, which rips and shreds whenever it takes center stage. On the instrumental “Corn Whiskey,” his harp has the electric, aggressive attack of a guitar in the midst of a feedback frenzy.

This year the duo celebrates 5 years performing together in the Czech, Slovakia and Europe stages.
Maybe for this particularity, they have received an offer from Stormy Monday Records. An Interesting point of this album is that there are not any classic 12 bar blues, which is known from other bands. A Slovak guitar player Lubos Bena and Czech singer and harp player Matej Ptaszek went deeper under waters of the old Mississippi river. Their inspiration was found in cotton fields in the state of Mississippi, in the native gospel and country-gospel singers from Alabama or in authentic bluegrass artist from the Appalachian mountains.

Inside albums are use nearly omit all harp skills and except of resophonic guitar sound is in album sound of acoustic guitar and uses special instrument make from the oil can. In some songs are use of drums.

Even though there hasn’t been much of a member shake-up since the band’s inception in 1988, Bela Fleck & the Flecktones are getting ready to release a brand new record featuring their classic lineup. The departure of pianist/harmonica player (and founding member) Howard Levy in 1992 left the band as a trio for years before bringing in saxophonist Jeff Coffin in 1998. After the passing of Dave Matthews Band saxophonist LeRoi Moore in 2008, Coffin took a hiatus from the band to help out the DMB camp, igniting the spark that brought Levy back to the fold in 2009. Now, with the original lineup in place, the jazz fusion quartet’s upcoming album, Rocket Science, will be the first studio effort in 20 years that sees the incarnation of Fleck, Levy, and brothers Victor and Roy “Future Man” Wooten holding it down with their eclectic signature sound.

Grady Champion announced himself as one of the most promising talents in the blues with two excellent albums for Shanachie Records in 1999 and 2001. They showed he was a skillful harmonica player and songwriter with a particularly good voice with a Wilson Pickett-ish rasp that was perfect for the blues. 2 Days Short of a Week produced a legitimate classic in “Policeman’s Blues.” He didn’t exactly disappear after that. He was still gigging around south Florida, but he wasn’t visible on the national scene.

Last year Champion re-emerged with a victory at the International Blues Challenge and issued a live recording of a 2007 show at Jackson, Mississippi’s 930 Blues Cafe on his own label. It featured his earlier songs and some standards. Now he’s back with Dreamin’ featuring ten originals. Backed by Zac Harmon’s band, Champion’s still in fine form and his songwriting is sharp as ever. The disc immediately shows he’s picking up where he left off, reprising the rocking “My Rooster is King” from his first Shanachie record Payin’ For My Sins.

Here is an intriguing album featuring harmonica virtuoso Cham-Ber Huang in duets with Danish accordionist Mogens Ellegaard. Huang, who emigrated from Shanghai in 1950, is quite a sensitive player and manages to make harmonica arrangements of classical pieces sound completely natural -- no easy trick. Ellegaard was likewise an excellent musician, and in later years went on to record a great deal of experimental music, by the likes of Per Norgaard and Arne Nordheim. I've given you Huang and Ellegaard's fine performance of Bela Bartok's Roumanian Folk Dances, composed in 1915.