The band name might sound like a law firm, but Kevin Kelly (guitar and vocals), who was celebrating his birthday, Tony Ellis (bass and vocals), Jim Flynn (drums and vocals), and Bob Stasiak (keyboards) make up a dynamic blues band that entertained a crowd of music lovers on this fall night at the Red Bank Woman’s Club. Although they have played together on and off for forty years, it’s been more difficult since Tony moved to Reno, Nevada, several years ago. When he’s in town, they try to line up some dates, and thanks to Bob reaching out to me several months ago, we were able to have them here.
A quick story about the opening number, Albert Collins’ “Put the Shoe on the Other Foot.” When I moved back to the Jersey Shore at the turn of the century, I owned a Stride Rite shoe store in Keyport. Shortly after, I took over the summer concert series there, and whenever Chuck Lambert played, he would include that song as a nod to me, and it became a long-running tradition. Listening to this band’s version brought me back to those good times—thanks for the memories, guys.
Next up was a great take on Keb’ Mo’s “Dangerous Mood,” a slow blues number that benefited from a wonderful organ solo by Bob and some languid guitar from Kevin, perfectly capturing the mood. “Rack ‘Em Up,” a song made famous by a young Jonny Lang, featured fine vocal harmony and guitar work by Kevin, along with the solid play of the rhythm section—Tony and Jim.
“Last Will and Testament,” which dates back to the 1930s, was delivered in a style more akin to the J.J. Cale/Clapton interpretation, but with extra muscle. Kevin then took the mic for “You Don’t Have To Go,” a tune originally done by Jimmy Reed in 1955. They made it sound as fresh as the day it was recorded. B.B. King’s “The Thrill Is Gone” was totally reworked, transforming it into a shuffle with almost a reggae feel, accompanied by Bob’s B3 organ solo that really made it their own. Based on the crowd’s response, I could tell they truly appreciated the creativity behind the arrangement.
The upbeat version of The Fabulous Thunderbirds’ 1986 tune, “Two Time My Lovin’,” was a great change of pace, with the band firing on all cylinders. Next in the well-curated set was one of my favorite slide players, Sonny Landreth’s “Congo Square.” Again, the band made their own arrangement while sticking to the New Orleans sound—far from Sonny’s version but musically satisfying.
“Hound Dog,” a song most closely associated with Elvis, was done in a version more akin to Big Mama Thornton’s original, and it worked well in their hands. When Tony announced the closing tune, “Don’t Do It,” I expected to hear the version made famous by The Band, but instead, we were treated to a much more obscure 1956 tune by Guy Mitchell. I was impressed by their knowledge of the blues, and Bob’s piano solo punctuated Tony’s vocals perfectly.
Lee Dorsey’s “Get Out My Life Woman” was a great up-tempo way to kick off the second set. Like the first set, the choice of a slow blues, “Cold, Cold Feelin’” from Albert Collins’ Ice Pickin’ album, was highlighted by Bob’s organ solo and Kevin’s cool guitar work, earning a warm response from those in attendance. Another deep cut from B.B. King’s catalog, “Never Make Your Move Too Soon,” stayed true to the original, which didn’t need any deviation to sound terrific here.
The band then turned to a song everyone likely knows—Jimmy Reed’s “Big Boss Man.” It featured some fine harmonica from our own Gary Neuwirth, wrapped around Kevin’s vocals. Next was Robert Parker’s “Barefootin’,” another track from the same era with a driving beat that supported Tony’s vocals well.
Tony introduced the next song by joking that the band was in touch with their feminine side, tweaking the title of the Goffin/King classic that Aretha Franklin made famous: “You Make Me Feel Like a Natural Man.” While the comment was made to get a laugh, the rendition was a well-executed change of pace, showcasing the band’s range.
Another Elvis tune, “Reconsider Baby,” written by Lowell Fulson, came next, featuring a much stronger sound, particularly with Kevin’s vocal delivery. The band then got down and dirty with Willie Dixon’s “I Just Want To Make Love To You,” made popular by Etta James. Kevin’s use of the Wah Wah pedal really made the song cook, while Tony and Jim held down the rhythm.
Johnny Cash’s “Folsom Prison Blues” followed, starting with Kevin’s unique guitar lick that transformed the song into a shuffle—making it their own. What initially sounded like the opening riff to Creedence Clearwater Revival’s “Green River” turned out to be the evening’s closer, Aretha Franklin’s “Chain of Fools,” another classic tune where the band put their unique spin.
Those in attendance witnessed a band at the top of their game, displaying superb musicianship, a diverse selection of tunes, and thoughtful arrangements. The addition of keyboards elevated the performance to another level. It was an incredibly enjoyable night, filled with some of the best blues and beyond.