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Hill. The versatile Paule plays acoustic and resonator guitars on a few tunes, but it is his searing leads and chunky chords that distinguish him as one of the best guitarists on the current scene. Major kudos to the band: the vibrant wall-of-sound horn section of saxophonist Nancy Wright, trumpeter Tom Poole, and trombonist Mike Rinta, the robust rhythm section of drummer Paul Reveli and bassist Paul Olguin, T he Cash Box Kings are back with more arrangements steeped in the classic blues traditions, offering lyrics that explore contemporary issues.

We also played at Rosa’s. The first gig with Junior at Rosa’s was something. I had the flu that night and at the end, Dave Myers and Bob Stroger showed up. I had to stay on-stage for another hour backing the jam. “Junior was really tough in the beginning. When I did those three fill-in gigs, they sent me a tape of the material. That’s how I learned his music. There were no rehearsals. It was trial by fire so it was unnerving playing those tough clubs. Chicago crowds are really tough. They’re not easily impressed.

Some classic recordings deliver blues performance unadorned but clear and sweet while others are crafted deliberately with reverberation or echo effects, coolsounding musical spices to complement the warm sound of tubes, tape, and vinyl. I asked Muddy how Chess Records recorded his classic early-‘50s songs. He told me: They used three microphones. One was near the singer, one near the piano, and one near the upright bass. The other instruments, like guitar amps and harps and drums, were louder and leaked into the mics in a carefully balanced mix by mic placement with a pleasant, real room sound to them.

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Blues Music Magazine #9 by EDITOR-IN-CHIEF: Art Tipaldi

by Steven

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