Howell’s 13^th studio album, Yeah Man, is another smart collection of fine old and even older fine music that he adds to that repertoire. Joining him are his regular Mighty Men, Chris Michaels on electric guitar and vocals, Dave Hoffpauir on drums and vocals, and Jason Weinheimer on bass, keys, and vocals. They float effortlessly from blues into jazz, some old soul, a touch of doo-wop, spirituals, and a little blast of rock ‘n’ roll, ranging from the early 1900s to iconic mid-century melodies. Howell plays acoustic and electric guitars, and, of course, sings. Their music is vital, with an easy rolling feel enhanced by Howell’s world-weary vocals.

Howell dips back nearly a century for the opener, swinging easily with “Long Lonesome Blues,” recorded by Blind Lemon Jefferson in 1926. Next, Howell is achingly soulful on the title track, a 1978 gem from Eddie Hinton, a lead guitarist for the Muscle Shoals Rhythm Section. “20% Alcohol” is a whimsical whiskey-flavored blues from J.B. Hutto in 1968, with tough guitar work from the Mighty Men. “One Mint Julep,” a libidinous 1952 romp by the Clovers, gets a jazzy instrumental treatment, with a little vocal assist from the Mighty Men, introduced by a lilting organ from Weinheimer and filled with bright guitar riffs. “Little Ol’ Wine Drinker Me” is a blast of country pop from the ’60s about a man drinking away his romantic troubles, an unlikely hit by actor Robert Mitchum in 1967. “I’m Glad For Your Sake” is a dreamy ballad with a doo-wop dance beat, by Peter Tinturin and Jack Lawrence. First released in 1937 by Andy Kirk and His Clouds of Joy, Howell says his favorite version is the 1968 cover by Sir Douglas Quintet.

“Just Like Romeo And Juliet” is a bouncy ode to young love from Freddie Gorman and Bob Hamilton, and was a hit for the doo-wop group, The Reflections, in 1964. Organ and guitar interplay with an R&B twist highlight the instrumental version of “Mercy Mercy Mercy,” by Joe Zawinul and a hit for jazz saxman Julian “Cannonball” Adderley in 1967. Howell reaches into rocker Bo Diddley’s songbook for 1958’s “Dearest Darling,” with Bo’s signature beat percolating at its bottom. Howell’s dusky vocal enhances “Lover Please,” the rhythmic Clyde McPhatter hit from 1962 written by Billy Swan. Traveling deep into musical history, Howell offers an uplifting version of the traditional spiritual “Wade In The Water,” published in 1901 and based on a version by the Fisk Jubilee Singers. The closer is a sensuous instrumental take on Bob Dylan’s 1964 anthem “Chimes Of Freedom,” with an elegant guitar solo that does poetic justice to its title.

The bright musical memories living in the tracks of Yeah Man represent another gorgeous trip back to the future with some of America’s classical music from Steve Howell’s master class in music appreciation. And it deserves to be mightily appreciated – it’s a classical gas!

Jim White (a former music writer for the Pittsburgh Post-Gazette & now writes the Blues Roadhouse)

BIOGRAPHY

Steve Howell was thirteen when he first heard Mississippi John Hurt fingerpicking country blues. The year was 1965, and the experience became a revelation that opened the door to a new musical universe. As Steve’s journey progressed, Mississippi John Hurt begat Blind Willie McTell and Leadbelly. They in turn begat Robert Johnson, Son House, Rev. Gary Davis, Blind Willie Johnson, Blind Blake, and a host of other black acoustic guitar players and vocalists. His interest in rural, folk-blues styles and the history of the music led him to learn more about how this music came to town and melded with the horn-oriented bands prevalent in the cities, creating a strong affinity for him with traditional jazz and the music of New Orleans from the first half of the twentieth century. His musical Odyssey naturally included the pop, country, rock, and blues music of the last half of the century, but always in the background stood the music of Louis Armstrong, Miles Davis, Bill Evans, Lester Young, Jack Teagarden, Art Tatum, Count Basie, Duke Ellington, Chet Atkins, Johnny Smith, Wes Montgomery, Bucky Pizzarelli, Joe Pass, George Van Eps, Lenny Breau, and many other great jazz artists. A collection of Steve’s fingerstyle guitar arrangements has been published by Hal Leonard as “Fingerpicking Early Jazz Standards.” He has also published the recently released “Snoozer Quinn: Fingerstyle Jazz Guitar Pioneer.” In 2011, he received the Academy of Texas Music’s Historical Significance Award. Although interested in many other music styles, including rhythm and blues and rock ‘n’ roll, the heart of Steve’s playing and singing is rooted in the rural acoustic blues and traditional jazz genres born in the American South.

Chris Michaels cut his musical teeth in the late 80’s and early 90’s as a bass player in the Shreveport, LA area, including notable one nighters with Cab Calloway, Martha and the Vandellas, and Augie Myers and gigs with local heroes such as The Deadbeats, Iraz Baz, The Cut, David Egan, and Buddy Flett. Later exploits included extensive touring with Beanland, a notorious jam-band from Oxford, MS. The mid-90’s were spent doing recordings and live dates as a member of Boondogs in Little Rock, Arkansas. Other notable gigs that followed included recording dates and live shows with artists such as the late Jim Dickinson, Greg Spradlin, Isaac Alexander, Mulehead, Ho-Hum, Kami Lyle, Kevin Gordon, The Yellow Hope Project, and Buddy Flett. Although primarily focusing on electric bass, upright bass, and guitars, Chris released a solo record of Americana inspired songs titled “Morning & Night” in 2009. Throughout it all Chris has maintained a musical kinship and friendship with Steve Howell, both in the studio and on the stage.

Dave Hoffpauir started playing professionally in 1982. He played around Shreveport for 10 years or so in bands such as the Psychobillies, the Native Sons, the Deadbeats (his first collaboration w/ Steve Howell), Dorothy Prime and the Housecats, Betty Lewis, and the Executives, and in various house bands which backed artists like Jessie Thomas, Kenny Bill Stinson, and Buddy Flett. In 1989, he formed the SugarKings (his first serious collaboration w/ Chris Michaels, and he also played in the Infidels in 1990 (his first serious collaboration w/ Jason Weinheimer.) After moving to Little Rock, Arkansas, in 1992, he continued playing with the SugarKings as well as several Arkansas bands, including Ebo and the Tomcats (which backed Billy Lee Riley and Dale Hawkins on occasion), the Skeeterhawks, the Cockleburrs and Mulehead. He and Kevin Kerby briefly tabled Mulehead and joined Ho-Hum in 1993. After recording demos with various producers, including the legendary Jim Dickinson in 1994, they eventually signed a record deal with Universal Records in 1995. They had one major label release, Local, which came out in 1996. Hoffpauir joined the Boondogs in 1999 and again worked with Michaels, Weinheimer and Dickinson as they completed a project that was never released on Garageband.com Records.

Jason Weinheimer owns and operates Fellowship Hall Sound in Little Rock, AR. In addition to producing and engineering, he plays in the Boondogs, Love Ghost, The Libras and with songwriter Isaac Alexander. He also played with the late great Jim Dickinson, who served as his studio mentor and musical guide for many years. He has played on, produced, and engineered significant recordings by artists including Steve Howell & The Mighty Men, Jim Mize, Isaac Alexander, Boondogs, The Yellow Hope Project, Greg Spradlin & Band of Imperials, Buddy Flett, and Libras.