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		AL MILLER Wild Cards Delmark
	Harpist/guitarist/singer/songwriter Al Miller performed in the mid-’60s with Chicago’s Johnny Young. He released a single on Chess Records in the late ’60s before moving to San Francisco to regularly perform with Michael Bloomfield. Upon returning to Chicago in ’71, Miller put his music on the back-burner. On occasion, he re-surfaces such as for these recording sessions held February, 1994. Miller didn’t perform on all songs but he led the session, chose the players and most of the songs, and co-produced the disc. Knowledgeable fans of contemporary Chicago blues may be more familiar with Miller’s friends than himself on his sole Delmark release. Seven of the 14 guests have become distinguished bandleaders. Tad Robinson, Steve Freund, and Ken Saydak were essential components of the city’s blues scene. Harlan Terson and Dave Specter are still highly in-demand in Chicago. The gaping hole left by Willie Kent’s death in 2006 will never be filled. When this CD was first released, Kent, Robinson, and Specter were already on Delmark’s active roster. Willie Dixon’s “I Don’t Play” sounds laid-back and easy. “Stuck In Chicago” contains a musical arrangement that is classy and professional. On it, Robinson’s blue-eyed soul crooning is complemented with snappy horns. “Can’t Stay Here No More” sounds like John Nemeth from today’s contemporary scene. Here, Miller switches from performing echo-y harp to guitar and proceeds to lay down a solo that comes from nowhere. Instead of interlocking with the rhythm, he plays over top of it without engaging it. Specter’s solo meshes more naturally. A few songs are stripped down to the basics. On “Seventy-Four,” Specter’s guitar is not as big and jazzy as usual. Here, a four-piece band focuses on the fundamentals. But don’t expect the musicians to hold back. Specter and Saydak both perform extended solos while Kent, the wise old master, instructs the young pups to “play it like you feel.” Freund succinctly plays single notes on guitar while Mark Fornek transitions from a blues drummer to a rock drummer on Peter Green’s “Long Grey Mare,” which is loosely based on Howlin’ Wolf’s “Killing Floor.” Freund must have listened to many ’50s records to replicate the nostalgic sound. The most authentic Chicago blues songs are the three old-school blues that feature Willie Kent, e.g., “Deal The Cards.” His infectious and repetitive rendition of John Lee Hooker’s “Jockey Blues” is a highlight. Here, Kent excels at locking into a gritty groove and rockin’ it long and easy. The swinging instrumental “Blues For John Littlejohn” is also brilliant. Here, Freund and Specter freely jam, and each receives their own channel in the mix. Their differing styles do not compete with but rather they complement each other. Two of the disc’s drawbacks are the use of too many covers and well-known riffs, and only two original songs appear among a total of 14. The varying musical styles are enjoyable but it distracts the performers from going in a single direction. Throughout, Miller struggles to achieve the same vocal calibration as his three fellow vocalists. There are playful engagements between harp and guitar and Saydak’s keyboard skills are animated. Overall, Wild Cards bears potential but it is not highly-memorable. Tim Holek A similar review of Tim’s was published in Blues Revue magazine All material (text and photos) copyright © by Tim Holek, all rights reserved. Copy, duplication or download prohibited without written permission. For permission to use any material, please send Tim an e-mail by filling out the form on his E-mail page.