LIZ MANDEVILLE

Heart ‘O’ Chicago

Blue Kitty Music

11 tracks/49:12

by Mark Thompson

A fixture on the Chicago blues scene for more than thirty years, Liz Mandeville has brightened many a stage with her husky voice and energetic performances. After four releases for Earwig Records, she released Clarksdale on her Blue Kitty Music label in 2012. Her latest project on that label is a heartfelt tribute to the musical influences from Chicago that have inspired her from the start of her career.

One strength of the disc is the beautifully crafted program of eleven original songs. Mandeville is an award-winning songwriter, not content to recycle the basic 12-bar format. On “These Blues,” her voice rides the lightly swinging beat from drummer Jeremiah Thomas. Gradually the rest of the band joins in as Mandeville relates the comforting presence that blues music has in her life. She takes things uptown on “Silver Linings (Shirley’s Blues)” pushed along by Darryl Wright’s sturdy bass line; bright accents from the horn section comprised of Wade Baker on trumpet, Eric Campbell on trombone, and Oz Landessberg on sax punch it up.  The song chronicles the singer’s attempt to quit smoking. Guitarist Minoru Maruyama underscores her struggles with one of his notable six-string interludes. Mandeville belts out her frustration as she impatiently waits for her man to return on “Tic Tok,” a driving number with Joan Gand giving her Hammond B-3 organ a real workout.

Several guest artists make significant contributions, starting with the legendary Eddie Shaw. His brawny sax finishes off the opener, “Cloud of Love,” the final horn embellishment around Mandeville’s red-hot vocal. He shares the solo spotlight with Maruyama on another high point, a modern version of the break up song, “Quit Me on Voice Mail”. Singer Charlie Love joins Mandeville for a magnificent soulful duet on “Don’t Doubt My Love” and sticks around to lend a helping hand on “Smart Women Foolish Choices,” a strutting shuffle with another exuberant vocal from the leader.

Another highlight is “So Called Best Friend” with Billy Branch playing sinuous harp lines to accent Mandeville’s blunt tale of cheating in the next room.  He also makes an appearance on the good-time romper “Party at the End of Time”, making his harp dance on his solo slot. It is definitely appropriate that Mandeville gets a chance to show off her guitar skills on the autobiographical “Why Would a Woman Sing the Blues”.  Her distorted, soaring solo is powerful statement demanding the respect she deserves. The grinding pace of the closing track, “(Life is Like a) Wave,” gives Mandeville plenty of space for another taut solo while guest Dizzy Bolinski blows some mean harp in response.

An impressive effort from start to finish, this one deserves the label “All killer – no filler”! Mandeville’s songs connect on a very human level, especially when delivered by her commanding, soulful voice in combination with the magnificent efforts by the entire supporting crew. This one comes highly recommended!

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