Here's one of those sensational albums that proves that even the most hidebound, constrictive traditions can find fully meaningful and authentic expressions without copying the founding fathers in style and substance. Hawkeye Herman, veteran bluesman out of Ashland, Oregon, has turned a dozen jumpin' rhythm 'n' blooz classics into something new and sinister: they're quite. This is an unplugged album, sure, but Hawkeye's messin' wit' ya. He sings coolly, low, often at a whisper ... the kind of whisper Clint Eastwood uses when he has to explain something to the bad guys. The acoustic guitar is well played, not assaulted and the rest of the backing musicians keep things toned down, creating an atmosphere of subversion, collusion and bad fun. What flat out makes this record though, is the reduction of percussion to just washboard, with the odd thump on a countertop or splash of a tiny cymbal. Washboard Chaz is Herman's ace and he's a wonder. Forget the hillbilly racket normally associated with the washboard. Chaz makes it rattle like a snake, skip like a schoolgirl, tick like a clock, or vibrate like the motor on grandma's washing machine. Chaz finds the mood for every tune, even when Herman ranges out to the far edges of the blues. There's a withering "Sixteen Tons" that reopens a song that had been "closed" for 50 years. Herman's redo of "Moondance" casts it as a roadhouse pickup instead of a supper club come-on. He finds the thread between Santana's "Evil Ways" and the oldie "You're No Good" so taught, it's a wonder they haven't always been done as a medley. Herman's got two originals that are solidly in the tradition, the melancholy "I Used To Ride That Train" and the naughty "Give Me A Grandma Every Time." Great record!

This terrific album first appeared in 1988 to launch Hawkeye Herman as a full-time, professional blues player. Ensconced on the banks of the Mississippi in his youth, he would later begin soaking up the history and mojo from his mentors, the great showman Cool Papa Sadler and the legendary singer, writer, bandleader, pianist, Charles Brown. Ready to graduate, he waxed this mix of standards (Robert Johnson, Big Bill Broonzy, Charles Brown) and originals, establishing his coolly powerful acoustic sound that has grown into one of the idiom's benchmarks. The album gets off to a loud, swingy start on "Big Road Blues," propelled by some extra guitar from Herman's luthier, Ralph Novak. Sadler and Brown are along for tunes they wrote, the former characteristically hopping while the latter has a deep, smooth, sound. The rest is just Hawkeye alone and while we don't need to be reminded that he passed his test, it's sure nice to hear those "A" grades again.

All around blues man Michael "Hawkeye" Herman was born in jazzer Bix Biederbecke's Davenport, Iowa, hometown but relocated to the San Francisco Bay Area in 1968. There he began refining his blues guitar skills at the feet of then still-active local luminaries like Brownie McGhee, L.C. "Good Rockin'" Robinson and K.C. Douglas. Soon he was playing back-up guitar in bands led by still other local r&b legends (Charles Brown, Little Joe Blue and Jimmy McCracklin) as well as performing solo coffeehouse and small club gigs. Brown, with another By Area veteran, "Cool Papa" Sadler, guest on two tracks each on "Everyday Living."

Now based in Ashland, Oregon, Herman is as well known for his role as a music educator (he has been conducting "Blues In The Schools" workshops and programs since 1980) festival promoter, guitar teacher and composer for theater (in 2004 he took "El Paso Blue" all the way to New York's 42nd St/Theatre Row.) as for his considerable performing talents. Those are fully displayed on his recent, aptly titled "It's All Blues To Me" project, with 15 songs collected from three live performances - two of which emanate from Davenport. Standouts include unique, extended versions of both Percy Mayfield's "Baby Please" and Tony Joe White's signifying "Poke Salad Annie," a washboard enlivened revival of Fats Domino's "My Girl Josephine" and a pair of solid originals - in particular the harmonica emblazoned "I Used To Ride That Train." He also covers material by Slim Harpo, Hank Williams, Merle Travis ("Sixteen Tons"), Bobby Troup ("Route 66"), and Bob Dylan's haunting "Blind Willie McTell." Among others. Throughout, Herman's relaxed, expressly soulful vocals and vigorous guitar work impress.

On the reissued "Everyday Living," the accent is more solidly on blues as Herman plays lots of ballsy slide guitar. His own, joint-jumping "Rocket To Chicago" and fluidly sensual reprise of Chuck Berry's seminal instrumental "Deep Feeling" are especially tangy. Brown guests on pianon on his classic "Drifting Blues" and gifted guitarist and wailing singer Sadler takes a solo spot on his signature jumper "Old Folks." Herman also delivers a series of inspired redos of compositions by legend like Big Bill Broonzy and Robert Johnson. A sparks-flying reshaping of Tommy Johnson's "Big Road Blues" and a fetching vivification of Pee Wee Crayton's reflective instrumental "Blues After Hours" (with Brown on piano) are other exceptional inclusions.

If you're fond of John Hammond or Arlo Guthrie, you'll enjoy Hawkeye's blues vision as well.

I remember this Oregon based singer/ guitarist songwriter from his long-running advertisement for 'Everyday Living' in 'Living Blues'. Much was made of the presence on the album of Charles Brown and Michael's long-time associate Haskell 'Cool Papa' Sadler, both of whom have a vocal apiece and a further track each with their instrumental contribution (and both are now sadly departed). Essentially, this is a very enjoyable solo album by Hawkeye from 1988, with a couple of original tracks nestling neatly alongside material ranging from Johnsons Tommy, Robert and Blind Willie to Pee Wee Crayton and Chuck Berry - with those occasional guests making valuable contributions.

'It's All Blues To Me' is newly recorded, with material reflecting the currently popular (in some quarters) opinion that blues encompasses everything from Slim Harpo, Percy Mayfield and Fats Domino to the Bob Dylan composition 'Blind Willie McTell', Bob Wills, Hank Williams, Tony Joe White and, er, Van Morrison. How much you like this set probably depends on how strongly (or otherwise) you agree with that supposition, but Michael puts up a strong case in favour. This is a very cohesive collection of live material and is more of an acoustic based band set (with Washboard Chaz present again!), with Michael's stagecraft warm and effective. Some readers will most certainly enjoy the more than accomplished eclecticism.
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A good surprise this "It's All Blues To Me," Michael "Hawkeye" Herman's new album, whom we reviewed the "Blues Alive" CD in our previous issue. The concept : an eclectic repertoire played by a small blues combo with predominant acoustic (featuring Dan Treanor who co-recorded an album with Frankie Lee, on harmonica, Chaz Leary, heard with John Hammond, on washboard, and Steve Price on accordion). Michael couldn't go wrong with songs signed by Percy Mayfield, Tony Joe White, Fats Domino or borrowed from the folk scene. Still the generous (76 minutes !) choices are clever : this CD will allow non specialists to get more familiar with the sounds of country blues (Santana's fans may be surprised by Evil Ways) and blues lovers to uncover new horizons (see Dylan with Blind Willie McTell). Even better, Herman's singing has improved considerably through the years : it's obvious when listening to his 3 CDs in a row. Because Michael "Hawkeye" Herman takes this opportunity to reissue his first album from 1987-1988, "Everyday Living." Hawkeye then was more comfortable with ballads than with up tempo numbers, his voice needed improvement, and it would have been easy to find a more "virtuoso" guitarist. Nevertheless, this CD also is pretty enjoyable, thanks also to the friendly committed participation by Charles Brown and "under-recorded" Cool Papa Sadler, each one getting a duet. This artist, standing at the border line between blues and folk, is sincere and lovable. The live program he proposes is excellent: when do we get to see him in Cognac or Lucerne?