TORONZO CANNON

John The Conquer Root

Delmark Records

By Liz Mandeville

Chicago’s Toronzo Cannon says he gets a lot of inspiration for blues songs sitting behind the wheel of the CTA bus he drives by day. On his sophomore release for Delmark, the bus drivin’ blues man brings the deep tradition smack into the 21^st century with a fine set of deftly played, beautifully sung, impassioned blues that is reminiscent of the finest things ever done by Robert Cray, or any other famous contemporary blues icon.

Toronzo comes out hard and heavy on John the Conquer Root. He is everything you’d want in a blues man: a good looking, smart, well-dressed gentleman with a screaming guitar, serious vocal chops and cleverly crafted songs that spin a web of voodoo which will seduce you. And indeed that is the idea here. Using the blues convention that ties this music to the Devil, spell casting, deals made at the crossroads at midnight; the title track is right out of Marie Laveau’s spell book. The song's protagonist unapologetically casts a voodoo spell on his intended accompanied by guitar that would make the Voodoo Chile sit up and take notice. The haunting is made more complete by swaths of Roosevelt Purifoy’s organ and layers Omar Coleman’s harp.

Next we’re swinging into a heavy shuffle that explores and reinterprets a classic blues theme Lowell Fulson first recorded as “Reconsider Baby”. In this song, “I’ve Been Doing Fine” Toronzo says “Reconsider baby, please change your mind? Since you’ve been gone, I’ve been doing fine! Three weeks past, now you want to come home? I think you better stay gone!”

The tempo and beat move up with “Cold World” taking us into R&B territory featuring Kenny Anderson’s tight horn arrangements. Toronzo’s phrasing and delivery packaged with sweet female vocals harmonizing behind him remind me of vintage Johnny Taylor or Tyrone Davis, two of my favorites. I love the flourishes BJ Jones puts on the drum track here, although it’s safe to say that BJ is great throughout this disc.

“I shouldn’t have to say this, but I’m a Blues man through and through. It’s in my walk and in my talk…” is the opening line to a song that defiantly blasts from your speakers. In “Gentle Reminder” Toronzo is talking to all the people declaring the blues either dead or demanding it stay as an unchanging historical piece. It’s hard to pick a favorite line from this song but I’m fond of “My friends all ask me why I play the way I do. I say the blues gotta move on this ain’t 1952!” Amen!! I heard similar words from the late Muddy Waters alum, Willie “Big Eyes” Smith, who said “You can’t play the music like it was back then, I can’t even do that and I played it then! This is now; everything’s different, it’s got to change.” I guess great minds think alike.

“If Your’e Woman Enough to Leave Me” is a tidy answer to Karen Wolf’s classic “If You’re Man Enough To Leave Me” but with the added effect of funky bass and effects driven guitar. 

Using a modernized, funked-up version of Howlin’ Wolf’s “Smoke Stack Lightnin’“ which is quoted in the beautiful Omar Coleman harp track, Toronzo comments on the lack of “Shame” in our society from corrupt preachers to patronage scandals to cheating mates -- shame on you! Roosevelt Purifoy contributes a refreshingly unaffected piano solo, tying this track firmly to the Chicago blues tradition.

Slow blues with plenty of space, a tinkling piano and understated guitar characterize “You Made Me This Way.” The theme in this, as in most of these songs, is a terrible woman who has “miss-behaved” and is either almost gone or needs to pack and leave! Makes you wonder why he’s bothering to throw a spell on her; surely there’s a more willing woman out there. Once again Roosevelt plugs a picture perfect organ solo into this surprise ending song; I won’t give it away…listen for yourself.

“Been Better To You” gives a hearty helping of funk complete with snapping tight horns and such clever lyrics like “I bought you things I can’t pronounce, don’t know what it is but it’s $65 an ounce.”  Juicy stuff, but even more satisfying here is Toronzo’s stinging guitar solos as well as his call and response guitar work.

In a salute to golden-voiced Big Ray, one of Chicago’s finest drummers and also the doorman at Chicago’s long-lived North Side club B.L.U.E.S. on Halsted, the “Big Ray Bop” is a swinging number with a honky-tonk piano and very strong harp part. Even though Omar Coleman only appears on three tracks of this disc, his contributions are all unique showing a terrific range and perfect tone for each occasion.

Delmark label-mate, guitarist Mike Wheeler, sings one of the two lead vocal parts on “Let It Shine Always” accompanied by strumming, acoustic guitar. The socially responsible message of the song is picked up in verse two by Toronzo’s former boss, bandleader and guitarist Joanna Connor, who then shows her considerable slide guitar prowess on the final track “Sweet Sweet Sweet.”

This galloping boogie romp, about a big legged woman, is driven by Joanna’s powerful singing slide, so effective it wouldn’t matter what lyrics were being sung, you’d have to move to this groove or suffer soul consequences.

In the reprise to the title track, “Root to the Fruit…She’s Mine,” Toronzo shows off his magnificent guitar chops with the musical message that his spell has finally worked and he’s succeeded in taming the bad woman who has plagued him for the previous tracks!

Move over blues guitar gods, there is a new star entering the pantheon and his name is Toronzo Cannon. This stuff should be played on AAA radio along with Robert Cray, Eric Clapton, Joe Bonamassa and the other new guy, Gary Clark, Jr.  Yes, Toronzo Cannon has everything and he just keeps getting better. If you program a blues festival and you don’t book Mr. Cannon to play it, you’re cheating yourself and everyone else who loves this music and questions its future -- the future is here. Buy this CD!!

###