PRESS Go To REVIEWS
“Absolute Jaw dropper”
By: Jeff Hannusch
BIG JOE & THE DYNAFLOWS
“YOU CAN’T KEEP A BIG MAN DOWN”
Big Joe is a rarity in the blues world. He's a drummer who doubles as a vocalist. That's about as rare as a left-handed baseball catcher. His sound is akin to Roomful of Blues, but more stripped down (less horny, you can say). He relies on well-chosen vintage material, but he's also capable of writing first-class originals. The title track is one of those originals, as it shuffles along a la mid-1950s B.B. King. Ironically, he covers a couple mid-1950s B.B. King tracks--"Bad Case of Love" and the Jay McShann-penned "Confessin' the Blues." The track here that's an absolute jaw-dropper--especially if you're from these parts--is the swamp-pop weeper "Evangeline." You'll swear you've heard this song on an old Guitar Gable or Cookie and the Cupcakes 45, but you haven't. It's a Big Joe original. Another witty original is "Property Line," which "borrows" the arrangement from Israel "Popper Topper" Tolbert's "Big Leg Woman." So is the telling lament of the nine-to-five grind "Face the Facts." Definitely recommended to those with a taste for the blues.
EllerSoul Records BluesWax Rating: 8 out of 10
So Retro, So Cool
First off, what a cool name!
“J” stands for Big Joe Maher, “A” is for Anson Funderburgh, “K” is for Kevin McKendree,
and last, but not least, ‘S’ is for Steve Mackey. Please no
questions about the “C”!
I first saw this band in 2012 on Delbert McClinton‘s Sandy Beaches Cruise and there was a buzz that they were going into Kevin McKendree’s studio to record. I saw them again this past January on this year’s Delbert cruise and Kevin McKendree handed me their new CD. Yes! Three of the four players have close ties to Delbert, so unless (I’m not knowing) Big Joe Maher is the only unconnected musician to Mr. McClinton. McKendree and Mackey have been with Delbert for some time now, and Anson previously recorded with Delbert. Big Joe played on McKendree’s Hammers and Strings CD, so there’s that tie in. Long story short, lots of tie-ins.
Deal With It is comprised of twelve tracks, three are covers, and most of the balance of tunes were either written or co-written by Maher. The instrumental title track opens this album and it’s a promising start. McKendree broils on B3, Funderburgh is right on with his big fat tone as the band locks in on a track that could have been recorded in the Sixties. Good stuff! Maher’s “Have Ourselves a Time” is so hip! Maher’s in his typical good vocal form, Funderburgh’s guitar is sweet, Mackey’s locked in, and McKendree tickles the keys and it’s a fun, good time for all. Percy Mayfield’s “I Don’t Want To Be President” follows and fits the bill like a glove. Funderburgh’s sparse playing nails it, McKendree doubles on B3 and piano and he’s is right on too. “Vote for me!”
Maher’s rollicking “She Ain’t Worth a Dime” rolls. McKendree keys are spot on with Maher’s vocals carrying on. The smoky, late-night vibe on Maher’s “Love’s Like That” is an end-of-the-night vamp. Funderburgh fits in smartly with his solo, McKendree’s very supportive on piano as this gem mesmerizes. It’s blues time on Maher’s “Bobcat Woman,” which is about putting poison in the coffee and arsenic in the tea, not a very happy lyric, but this tune will make you smile as the band percolates throughout. Their cover of “Your Turn to Cry” is, as expected, a sordid tale that’s very bluesy and talks about that there’s someone else by my side.
Maher’s “Thunder and Lightning” feels like it could have been out of the Freddie King songbook. Funderburgh easily fits the King’s part as the entire band coagulates to the end. Appropriately, “Texas Twister” follows instrumentally. Funderburgh’s so cozy and delivers on all fronts; the band follows in perfection on this ultra-fun tune authored by every band member. “Ansonmypants,” co-authored by Maher and Yates McKendree (Kevin’s son) is another hoot. Anson is so dead on and just sails, daddy McKendree hits the B3 as his kid sparkles on the keys. “Bad News Baby” is another late-night blues cover. You know what’s coming but want it. Yes, you’re bad news baby, cheat on me and let my hair turn gray… bring it on. Anson delivers the dirty deeds on guitar to near perfection, as does Maher’s vocals, who’s righteously out of his mind and has had his fill, but he’s still loving that bad news baby.
This cool disc closes with the instrumental “Painkiller,” authored by all the band members that could have easily been covered by the original sixties version of the Meters, it’s so sultry and appropriately funky.
Who makes albums like this? Nobody, but when you blend the high musicianship assembled here and add their knowledge of the music they cherish, what else could you expect? High-quality tunes performed flawlessly. Very recommended listening, little else compares.
Bob Putignano is a senior contributing editor at BluesWax, a contributing writer at Blues Revue, and the heart and soul of Sounds of Blue.
BLUES IN BRITAIN
4 Jacks – Deal With It
The 4 Jacks in question in question on this hot set of jumping blues and R&B just happen to be four of the finest musicians on the blues scene today – namely Anson Funderburgh, Big Joe Maher, Kevin McKendree and Steve Mackey. With musicians like that you would expect quality – and that’s just what you get.
The set kicks off with the title track – a lasciviously swinging instrumental fuelled by hot Texas guitar, percolating B3 and a rhythm section that as Tampa Red would say is “tight like that”. ‘Have Ourselves A Time’ is self-explanatory as it swings irresistibly fuelled by the booming clarity of Maher’s vocals – whilst on ‘I Don’t Want To Be President’ Maher captures the smoky quality of Percy Mayfield’s vocal style which is echoed by Funderburgh’s beautifully understated guitar
‘Ansonmypants’ is a slab of vintage rock’n’roll fired by Yates McKendree’s powerhouse boogie piano, Maher’s animated vocals and Funderburgh’s fiery Texas guitar – whilst ‘Bad News Baby’ proves the 4 Jacks are equally at home on moody late night blues.
With Funderburgh on board a number like ‘Texas Twister’ was inevitable and this one is a killer with him sounding like a blue Duane Eddy underpinned by Maher’s trash-can drums.
As they say “all killer – no filler. (www.ellersoulrecords.com)
Severn Records - CD 0051
Available from Amazon.com.
A review written for the
Folk & Acoustic Music Exchange
Guitarist Rob McNelley tends to kick off most of the cuts but it ain't long before drummer Joe Big Bear Maher slides in with a singing voice highly reminiscent of the old R&B scene in its streetcorner prime. He's shared the stage with Otis Rush, Nappy Brown, Jimmy Witherspoon, and many others, and that Harlem-at-night / Manhattan-at-dawn frame of mind has worked its way down into his soul. McNelley plays with a Lightning Hopkins / Chuck Berry kind of approach while Kevin McKendree and Dennis Taylor lend a lounge atmosphere on organ and sax respectively.
Maher has a way with period composition as well, having written or co-written half the tunes on Big Man. Property Line is classic 60s Baby, Scratch My Back territory, this time with a backyard squabble rather than a romantic tryst front. Bill Campbell first keeps a spunky bass hopping in the background, then lays back into fat golden muted notes on cuts like Someday. From there, the entire band falls together as though fresh from happy hour, tipsily dyin' to get back into the studio and dim evening spotlight. The boys really get the git-down on the classic Confessin' the Blues, the sort of reading you'd hope to hear in any band flanking Booker T & the MGs. Still,it is my diagnosis that JM & the Dynaflows need to write more as an ensemble because Face the Facts is a tart, smart-ass, funky, slow jump number that makes finger-snappin' a must. Thus, the rolling barrel house of the closing cut, What the Hell were You Thinkin'? wraps everything up to boogie in the woogie, a ribald taunt of consternation at a puzzling break-up, the sort of thing the blues were invented for.
August 6th, 2012
Big Joe Maher
and Anson Funderburgh Gig Review:
BB King’s Blues Club
While in Nashville recording their first record together, blues legends Big Joe Maher and Anson Funderburgh made a Sunday appearance at B.B. King’s Blues Club in Nashville. In addition to Maher on drums and vocals and Funderburgh on guitar, the band consisted of keyboardist/B3 man Kevin McKendree (Delbert McClinton, John Oates, Brian Setzer) and bassist Michael Doster, who is best known for his seventeen-year association (1985-2002) with B.B. King himself.
It goes without saying that the band was phenomenal, debuting music for their upcoming record together, as well as playing some of Big Joe’s past material and blues standards. If the live performance is any indication, the upcoming album between Maher and Funderburgh is sure to excite even the most discriminating of blues listeners. Ranging from a Kenny Burrell inspired minor blues mambo (“Love’s Like That”), to swing/jump blues and funky instrumentals (“Deal With It”), Maher’s new material may be the best of his 30+ year career as one of the country’s best singing drummers. Equally captivating was the band’s rendition of a little-played Johnny “Guitar” Watson tune, “I Don’t Want to Be President,” which provided some election-year humor to the show.
While the band was impressive, the show got even better with the appearance of numerous special guests. McKendree’s son, Yates McKendree, celebrated his 11th birthday by wowing the crowd by with a rockin’ boogie-woogie piano solo while sitting in with the band. Other special guests included renowned country star Lee Roy Parnell on slide guitar, local bandleader/guitarist Ronnie Crutcher (formerly of Brian Setzer’s Nashvillains), famed guitarist Jack Pearson (Allman Brothers, Delbert McClinton, Buddy DeFranco) and top Nashville session guitarist Rob McNelley (Delbert McClinton, Hank Williams Jr., Dolly Parton, Lady Antebellum), who made sure that it was the best music in Nashville that night and left the crowd longing for the release of their upcoming record.
- Nik Rodewald
THE SOUNDS OFBLUE
By Bob Putignano
ANSON FUNDERBURGH, BIG JOE MAHER, KEVIN McKENDREE, & STEVE MACKEY
" Delbert McClinton's Sandy Beach Cruise "
A four night in a row consecutive treat on this year's edition of Delbert McClinton's Sandy Beach Cruise was watching and listening to Anson Funderburgh, Big Joe Maher, Kevin McKendree, and Steve Mackey smartly jam and perform. After recovering from his cancer treatment (he's now five years cancer free), Funderburgh has never sounded better. The supporting cast of McKendree (keys), Mackey (bass), part of Delbert's tour de force band, plus Maher who drummed and sang regally dazzled everyone in the room night after night. For me this was a nightly ritual that I eagerly looked forward to that followed some of other strong performances by great artists who appeared on the cruise. Marcia Ball, Jimmy Hall, Lee Roy Parnell, Joe Ely, the McCrary Sisters, Teresa James, Seth Walker, Gary Nicholson, Nick Connolly, Eric Lindell, Wayne Toups & Zydecajun, as well as Delbert and others were part of the seven days of hardy partying. McKendree said, "It's always my favorite gig on Delbert's cruise, playing with Big Joe. I don't get to play with him nearly as often as I would like, so I'm grateful Delbert has been booking him every year. Big Joe and The Dynaflows was the first professional band I was ever in, back before it was legal for me to work in clubs. I consider him to be my musical father." McKendree also told me that this band had so much fun on the cruise this year, so much so that there are plans to go into studio to record.
Maher's set list included some of his favorite songs including chestnuts like "Confessin' The Blues," "Evangeline," "What The Hell Were You Thinking," "Nothing But Trouble," "Lets Get High," Big Long Buick," "Someday," "Who Will The Next Fool Be," and "Let's Go Jumpin'." Most of these tunes were like a fresh walk down memory lane, but were executed in such a way that allowed each and every musician to imprint their own signature sounds on each instrument. These gentlemen not only had strong chops, they also knew how to listen to each other, allowing them to intuitively play off riffs, which not only raised the bar to near perfection, it also made for top-shelf jamming.
Bassist Steve Mackey told me, "This band is without a doubt the most swinging group of musicians I have ever played with. I have not learned about nuance and depth of groove like that since I was first learning my instrument. Joe Maher is a master; and his gigs during SBC cruise week are the highlight for me."
Finally Funderburgh summarized the four piece band performances by opining, "I think the world of Big Joe. He is a great drummer and a wonderful singer. I've known Joe for years, from back in the '80s, where I also used Kevin in a project I did with Sam Myers back in the '90s." Funderburgh went on to say, "I also loved the way Maher sang "I Hear You Knocking," that old New Orleans song by Lazy Lester. It's a shuffle with a low down sound that I'd never heard Big Joe sing like before."
Funderburgh is also getting busy again, as he is going on the road with Kim Wilson in Europe, not as a member of the Fabulous Thunderbirds, but as Anson Funderburgh & the Rockets featuring Kim Wilson. Maher is also on the comeback trail, as he recently recorded 2011 You Can't Keep a Big Man Down for Severn Records.
With Funderburgh and Maher back on the mend, plus their being coupled with the superlative backing of McKendree and Mackey, we should be looking forward to the tunes they'll be putting down at McKendree's recording studio in Tennessee. Last but not least, rumor has it that next year's Delbert McClinton Sandy Beach Cruise might be the final edition. If you have never attended this cruise, you should join the festivities, as you will not be disappointed.
Bob Putignano a senior contributing editor at BluesWax. He is also the heart of Sounds of Blues at www.SoundsofBlue.com. Bob maybe contacted at: firstname.lastname@example.org
Bob Putignano: www.SoundsofBlue.com
Delbert McClinton’s Sandy Beaches Cruise #18
January 8 -15, 2012
By Robert Putignano
This was my second Sandy Beaches Cruise and Delbert’s eighteenth edition. Last year’s lineup and performances were very solid; there were some artists changes for 2012, that made this year’s experience stronger than my previous sailing.
Most days there was music starting at noon that ran into the wee hours, so it was nearly impossible to cover each and every performance, but I saw a great deal of outstanding shows. Highlights included the McCrary Sisters, Teresa James, Marcia Ball, Joe Ely, Lee Roy Parnell, Seth Walker, Gary Nicholson, Wayne Toups, Big Joe Maher with Anson Funderburgh, Nick Connolly, Eric Lindell, and, of course, Delbert McClinton.
The weather was great so I spent most of my time hanging at the outside Pool Deck stage. On the first night one my last year’ favorites Wayne Toups & Zydecajun started the festivities and did not disappoint. Closing the first night was Delbert’s band and they roared (more about both of these performances later).
Day Two began with we cruisers in church (sort of) with the McCrary Sisters, who vocalized in beautiful fashion, and with solid energy. Gary Nicholson’s band performance (the only time I saw him as a bandleader) was breathtaking, one guest artist after another sat in. To my delight one of my favorite guitarists, Anson Funderburgh, sat in with Nicholson’s group and, man, it was so great to hear him play again. Colin Linden, Kevin McKendree, Steve Mackey, Tom Hambridge, and others laid down (at times) frenzied grooves. Other guests who graced Nicholson’s performance included Lee Roy Parnell, Seth Walker, and Delbert’s horn section making (for me) one of the best shows I witnessed on stage, but hey, this is only the second day of the cruise.
Later that evening I went to see Big Joe Maher at the indoor Ocean Bar. Maher not only had McKendree and Mackey in tow, but also had Anson Funderburgh on lead guitar. This mighty unit performed for four straight nights, and I made sure to check-in on them every night. (You can read more about my coverage of Maher’s band in an upcoming issue of Blues Revue.)
Day Three: Seth Walker continues to grow artistically and called onto his producer, Gary Nicholson, to join him on stage on the title track of his most recent 2009 disc Leap of Faith. Also sitting in with Walker were Raul Malo and Jimmy Hall, who chimed in with what could easily be called the anthem tune for the cruise, “More Days Like This (and More Nights Like That).” Walker’s songwriting is very catchy, easily accessible, and his lyrics stay with you, which is impressive. Look for Walker’s next recording, Time Can Change, in May, and you can listen to the new tunes at his site. By the way, the dynamic duo of McKendree and Mackey (who seemingly played with everyone) rounded out Walker’s band. Delbert’s performance this same day was also superlative. He was in outstanding form and his band impressed from beginning to end. Words cannot speak clearly enough about how creative McClinton still sounds, and how his band continues to rework and make his current and old favorites sound fresh.
Day Four: This was a shorter day of music as we arrived at St. Bart’s and took time to go ashore. Wayne Toups and his band were (as usual) powerful and went into orbit when Lee Roy Parnell joined in and performed two Allman Brothers classics, “Ramblin’ Man” and “Midnight Rider.” I always felt that the Toups band had that southern soul edge, which is unique for a zydeco band, so Parnell’s tune choices were more than spot on and perfect. Great call Mr. Parnell! Needless to say- the crowd adored this segment.
Day Five: This was another shorter day of music as we arrived at the delightful St. Kitts, which had its own West Indies groove. I did not catch a lot of music this day but made sure to (for the fourth night in a row) to check out Big Joe Maher with Funderburgh blowing the roof off the Oceans Bar. What a band, with Maher’s excellent vocals and drumming, with the tireless (always talented) McKendree on keys, and the likewise gifted Mackey on bass. I have to say that every time I see Eric Lindell and his band he continues to impress especially with their exuberance and youthful energy.
Day Six: Toups started the day with a bit of brandy at noon; he said he had started drinking at 10:45 a.m.! Nonetheless they impressed. I ran inside to catch the annual pianorama and got to see Nick Connolly (who also sang impressively) and Red Young, plus Kevin McKendree and his eight-year-old son Yates McKendree, who sparkled with a wicked right hand. Let’s just say that the apple has not fallen far from the tree, and that Yates (who garnered many photos) handled his role like a pro, didn’t flinch, and looked completely composed. Later that evening, I checked out Joe Ely, whose set also intrigued.
Last Day: I caught Teresa James‘ very soulful performance. For those who are not hip to James, you should be, she possesses great vocal pipes and plays solid piano; her band didn’t disappoint as well. My final observance was the always captivating Marcia Ball, who was in high gear on their evening outdoor recital. Her band (aided by Red Young on B3) seemed invigorated by the cooler weather that rolled in as we approached Florida, and high winds. Mingo Fishtrap’s horns also joined in making Ball’s performance tight, mighty, and strong.
I hope that I can return for next year’s nineteenth edition of Delbert’s Sandy Beaches Cruise, as this cruise has now become the highlight of the year for me. Details for 2013 are already formulated with band confirmations at the SBC site. By the way, it was great to finally meet Karen Leipziger of KL Productions, whose husband Dennis Taylor toured and recorded with Delbert until his intimely passing in 2010. Special thanks to Delbert’s wife, Wendy Goldstein, the entire Delbert staff, and to my good friend and now retired Don Wise, who has played powerful and soulful sax with Delbert for over twenty years. If you have never been on a Delbert cruise, think about it, and start saving your hard-earned bucks for 2013, you will not be disappointed with the outstanding music, great boat amenities, and the loyal fans, some of whom return year after year, after year. No one can argue why, as once you cruise with Delbert and his friends, you’ll be hooked too!
Bob Putignano is a contributing writer at Blues Revue and a contributing editor at BluesWax. He is also the heart and soul of Sounds of Blue.
Big Joe and the Dynaflows recently released their new album You Can’t Keep A Big Man Down, from Severn Records. Big Joe Maher, a 30 year veteran of both blues and jazz, is a mighty vocalist and a powerful drummer, both positions he takes up on this album. There’s a range of influences to play with, while the album thematically continues along a jump blues feeling that helps keep it centered.
The second track is an excellent cover of B.B. King’s “Bad Case of Love”, with a righteous multi-saxophone backing courtesy of Dennis Taylor. Joe’s drumming and vocals are perfect for the track, possibly one of the best renditions of the song since the King himself put his stamp on it. Rob McNelley’s guitar riffs echo B.B. while managing to hold his own sound, an accomplishment that isn’t easy to pull off. “Evangeline” is straight out of the classic New Orleans R&B playbook. “I’m To Blame” is a great take on the track, with heavy horns and a rockin’ piano groove reminiscent of B.B. King.
Overall, the album plays with a number of styles, all of which are handled easily by the crack band. Maher makes the vocal work sound effortless. While the liner notes make a mighty proclamation that he’s one of the finest drummers on the scene today, after hearing this album, we might be convinced. With a great blend of original and cover tracks, it’s a fun, upbeat album that surely has that jumping blues feeling. Since it’s recent release, it’s been getting quite a bit of mileage, with appearances on B.B. King’s Bluesville on Sirius XM, New Orleans’ Offbeat Magazine, and plenty of others.
Big Joe and the Dynaflows "You Can't Keep A Big Man
CD Review by John H. Vermilyea (Blues Underground Network)
The liner notes for "You Can't Keep A Big Man Down",
start off by saying "Big Joe Maher is among the finest drummers and vocalists
on the scene today". A bold statement indeed, but one that you will soon
find more then fitting once you have started listening to his great new
"You Can't Keep A Big Man Down" marks the 3rd release for Big Joe And The Dynaflows on the Severn Record Label. Previous Severn releases included "I'm Still Swingin" and "All Night Long". "I'm Still Swingin" received a WAMA (Washington Area Music Association) for "Best Blues Recording" in 1998.
Big Joe Maher's list of credits is said to be like a Who's Who, when it concerns Jazz & Blues, after all he has been plying his trade now for over 30 years. Joe started playing at an early age and with the help of Col. Joe Carley, whom was the Director of the high school Jazz band that he played in, he was quickly introduced to some of the greats that were invited to sit in with him, such as, Clark Terry, Urbie Green, Mudell Lowe, James Moody, and more. Not long after high school he set out on his own, forming a Jazz Trio and hitting the road, which soon saw him sharing the stage and backing up a whole new batch of great musicians including "Jimmy Witherspoon, Bullmoose Jackson, James "Thunderbird" Davis, Nappy Brown, Otis Rush, Earl King", plus many more. His present band, Big Joe And The Dynaflows, was formed in the late 80's, this after he had already been performing in and acting as the manager for a 9 piece Swing band called "The Uptown Rhythm Kings". Also previous to the creation of Big Joe And The Dynaflows, he was on board with the great Tom Principato Band as Drummer.
"You Can't Keep A Big Man Down" consists of 12 Tracks mainly done in the vain of Jump Style Blues, with the odd track bordering on a little Funk and Swing feel, with great flavors of New Orleans, Chicago, Texas, and Beyond Blues. Six of the Tracks are Covers and six are Originals, with Big Joe Maher solely writing four songs and co-writing two in whole or part, with R. Maher, P. Maher, Bill Campbell, and Rob McNelley. Band members for "You Can't Keep A Big Man Down" included Big Joe Maher (Drums/Vocals), Kevin McKendree (Piano/Organ), Bill Campbell (Bass), Rob McNelley (Guitar), Dennis Taylor (Saxophone) and was produced by Kevin McKendree and Big Joe Maher.
"You Can't Keep A Big Man Down" starts off with the first Original, which is the title track, "You Can't Keep a Big Man Down", a great Chicago Blues style tune that gets you acquainted with the great guitar playing of Rob McNelley and quickly shows you why he is part of Big Joe And The Dynaflows.
The second track, "Bad Case of Love", is the first cover on "You Can't Keep A Big Man Down", and starts off with a great intro courtesy of Dennis Taylor on Saxophone. This B.B. King song is simply done to perfection, especially with the great vocals and drumming of Big Joe Maher.
Other Covers on "You Can't Keep A Big Man Down", are Whatcha Gonna Do? (Billy Wright), Someday (Johnny Green), Confessin' the Blues (J. McShann/Walter Brown), I'm to Blame (J. McCracklin) and What the Hell Were You Thinkin'? (Mcclinton/McKendree/Hambridge). All the covers are done extremely well and fit into the general theme of "You Can't Keep A Big Man Down" in a logical and well done fashion.
I found all the Originals to be very well written and performed and they cover the gamut of styles from "Evangeline", a sound reminiscent of Elvis Presley, in the slower vain. to "Nothin' But Trouble", a great slow song which is highlighted by the amazingly youthful feel of Big Joe Maher's vocals as well as, all the other magic brought into it courtesy of all the other great band members.
"You Can't Keep A Big Man Down" closes off with a nice Jerry Lee Lewis sounding track called "What the Hell Were You Thinkin'?" and features the magical piano work of Kevin McKendree. Kevin McKendree also co-wrote that song.
"You Can't Keep A Big Man Down" is a great bluesy musical romp, put together via Big Joe Maher and his exceptional group of fellow Artists. This release not only shows us that Big Joe Maher is indeed "among the finest drummers and vocalists on the scene today", but it also shows us that together as with "The Dynaflows", he also is part of one of the better bands on the scene today.
"You Can't Keep A Big Man Down" was a great introduction to an Artist and Band I was not really aware of. Great Stuff... Highly Recommended.
Additional Info Including Link To Samples Here... http://www.bluesundergroundnetwork.com/Big_Joe_And_The_Dynaflows_CD.html
Posted by BUN007 at 11:26 AM
2011, Peterborough Folk Music Society.
All Night Long
"All Night Long, like Big Joe's previous four records, swings mightily and his love for vintage blues and R&B is evident in every track. It's good too see someone keeping the flame alive for classic R&B but don't mistake the music for a nostalgia act as the music remains fresh and alive." Jeff Harris, WITR www.baddogblues.com
CD titled "All Night Long" by Big Joe and the Dynaflows on the
Severn label is excellent swingin' Rhythm & Blues! Finger-snappin' and
toe-tappin' from start to finish, the band flat out swings!" Joe Maher's
vocals are deep into late 40's early 50's sound, and Lead Guitar player, Ivan
Applerouth cooks ala T.Bone /Robillard, through-out the CD. Sax Legend Joe
Stanley sets in on three tracks. It is a Solid upper-cut of Late Night,
Smokey Bar-Styled Rhythm & Blues. It's Swingin' Blues-----and it Shucks
and Jives ! It's what I like!
1998 Washington Area Music Award for "Best Blues Recording"
"I have been a big fan of BIG JOE's for years. I love I'M STILL SWINGIN'. It's his best effort to date." Anson Funderburgh
"Like any good gumbo, the individual parts make up a greater whole. As the chef of the mix, Big Joe makes this platter Swing." Bill Wax
"Saxophonist Joe Stanley once again trods the fertile musical fields that were the backbone of R&B in The Fabulous Fifties." Vintage Guitar Magazine
"Sit back and stretch out for an entertaining 60 minutes+ of straight ahead jazz ala Benny Goodman Quintet." Jazz Improv Magazine
"Big Joe Maher & Jeff Sarli played together in the Washington, D.C. jump-style rhythm and blues band Big Joe & The Dynaflows. For this CD they change speeds, singing and playing classic blues tunes in stripped down and laid back grooves." Cadence Magazine
Layin’ in the Alley (1994)
1994 Washington Area Music Award for "Best Blues Recording"
"Above all the Dynaflows play jump blues - blues meant for partying, dancing and having a good time. So roll back the rug and turn up the volume. Like their Buick namesake, Big Joe & the Dynaflows are road tested and ready to roll. You've got a smooth ride ahead as you cruise with these blues." Terence McArdle, DC Blues Society