Buddy Guy's Legends Bluesletter, January 2013
Interview and pic by Aaron Porter. Download available below.
"Gerry Hundt has become a staple of acoustic excellence at Legends. His incredible guitar licks and unique style of mandolin play (among his numerous other instruments) have garnered him a strong reputation among his peers and fans. While he may not have decades of music under his belt, Gerry more than makes up for it in love for the music."
"Gerry Hundt has become a staple of acoustic excellence at Legends. His incredible guitar licks and unique style of mandolin play (among his numerous other instruments) have garnered him a strong reputation among his peers and fans. While he may not have decades of music under his belt, Gerry more than makes up for it in love for the music."
| legendsghjan2013lores.pdf |
Blues Revue Magazine, September 2012
Kilborn Alley, Four
"Wisely intending to grab our attention early, the CD kicks off with “ ‘Rents House Boogie,” featuring Gerry Hundt on a tasty harmonica solo... “Sitting on the Bank” demonstrates Kilborn Alley’s proficiency in their home-base Chicago blues style, and affords Hundt a virtuoso harmonica solo."
Kilborn Alley, Four
"Wisely intending to grab our attention early, the CD kicks off with “ ‘Rents House Boogie,” featuring Gerry Hundt on a tasty harmonica solo... “Sitting on the Bank” demonstrates Kilborn Alley’s proficiency in their home-base Chicago blues style, and affords Hundt a virtuoso harmonica solo."
bushdogblues.blogspot.com, March 2012
Ronnie Shellist, 'Til Then
"Gerry Hundt, who has accompanied Nick Moss and has his own release on Moss' Blue Bella records, proves he's one of the leading practitioners of blues mandolin on "Shoes" (which is a showcase for his pickin') and the SBWII number. He does the deep blues acoustic guitar thing on "Three Days", as does Shellist... An epiphany for me was the guitar slinging of Jeremy Vasquez, who lights up a solo on this first tune. Throughout the disc, he and Hundt swap off leads and rhythms that'll provide plenty of pleasure for blues guitar fans... The title tune, "'til Then", exemplifies Shellist's skills at turning a lyric or two...'til Then, my life is hanging by a thread, which is a driving tune held down pat by drummer, Bob Carter, and bassist, Todd Edmunds. Hundt lays down some effective Jimmie Vaughn style guitar swinging on this one.
Ronnie Shellist, 'Til Then
"Gerry Hundt, who has accompanied Nick Moss and has his own release on Moss' Blue Bella records, proves he's one of the leading practitioners of blues mandolin on "Shoes" (which is a showcase for his pickin') and the SBWII number. He does the deep blues acoustic guitar thing on "Three Days", as does Shellist... An epiphany for me was the guitar slinging of Jeremy Vasquez, who lights up a solo on this first tune. Throughout the disc, he and Hundt swap off leads and rhythms that'll provide plenty of pleasure for blues guitar fans... The title tune, "'til Then", exemplifies Shellist's skills at turning a lyric or two...'til Then, my life is hanging by a thread, which is a driving tune held down pat by drummer, Bob Carter, and bassist, Todd Edmunds. Hundt lays down some effective Jimmie Vaughn style guitar swinging on this one.
blindedbysound.com, November 2011
Kilborn Alley, Four
"I love the band’s sound and approach. I love Four because they put that to brilliant use over the course of 11 great songs. “’Rents House Boogie” is a chugging, badass tune built on a foundation of biting guitars and some great harp work from guest Gerry Hundt. He also provides some sweet accents to the soulful “Wandering,” which features one of Duncanson’s finest vocals on the disc and some great harmony."
Kilborn Alley, Four
"I love the band’s sound and approach. I love Four because they put that to brilliant use over the course of 11 great songs. “’Rents House Boogie” is a chugging, badass tune built on a foundation of biting guitars and some great harp work from guest Gerry Hundt. He also provides some sweet accents to the soulful “Wandering,” which features one of Duncanson’s finest vocals on the disc and some great harmony."
allboutjazz.com, July 2011
CD review by Mark Saleski
"Most people think of the mandolin as being a rootsy, countrified kind of instrument. Surely there is no denying the rich history of the bluegrass side of the mandolin.Yessir, Bill Monroe was the king, but that does not mean that the mandolin can't move ahead (or back, as we shall see). For example, check out the fabulous blues talents of Gerry Hundt. Chicago blues from the mandolin? Hell, yes!"
CD review by Mark Saleski
"Most people think of the mandolin as being a rootsy, countrified kind of instrument. Surely there is no denying the rich history of the bluegrass side of the mandolin.Yessir, Bill Monroe was the king, but that does not mean that the mandolin can't move ahead (or back, as we shall see). For example, check out the fabulous blues talents of Gerry Hundt. Chicago blues from the mandolin? Hell, yes!"
Blues Revue Magazine, May 2011
John-Alex Mason, Jook Joint Thunderclap
"Several tracks find Mason doing his one-man band rig, sometimes with floor-rattling percussion and Hundt’s banshee wailing harmonica (“My Old Lonesome Home”). For sheer intensity, “Write Me a Few of Your Lines,” one of the disc’s few non-originals, is hard to beat, especially with Hundt echoing Mason’s guitar riffs on the mandolin’s high strings."
John-Alex Mason, Jook Joint Thunderclap
"Several tracks find Mason doing his one-man band rig, sometimes with floor-rattling percussion and Hundt’s banshee wailing harmonica (“My Old Lonesome Home”). For sheer intensity, “Write Me a Few of Your Lines,” one of the disc’s few non-originals, is hard to beat, especially with Hundt echoing Mason’s guitar riffs on the mandolin’s high strings."
bluesinthenorthwest.com, April 2011
John-Alex Mason, Jook Joint Thunderclap
"The opening “My Old Lonesome Home” gets things off to a rousing start, a high energy stomper with John-Alex Mason on his ‘one man band’ rig and some great harmonica from Gerry Hundt... The much recorded and named “Rolled And Tumbled”, now in the public domain and originally credited to Willie Newbern, is a standout with great vocal, guitar and moans from Mason, and Gerry Hundt’s harmonica playing again of the highest calibre.
John-Alex Mason, Jook Joint Thunderclap
"The opening “My Old Lonesome Home” gets things off to a rousing start, a high energy stomper with John-Alex Mason on his ‘one man band’ rig and some great harmonica from Gerry Hundt... The much recorded and named “Rolled And Tumbled”, now in the public domain and originally credited to Willie Newbern, is a standout with great vocal, guitar and moans from Mason, and Gerry Hundt’s harmonica playing again of the highest calibre.
blues.about.com, 2011
John-Alex Mason, Jook Joint Thunderclap
"'My Old Lonesome Home' powers forward like a locomotive chugging down the tracks, powered by Mason's raw, nasty cigar-box guitar and guest Hundt's galvanizing harmonica."
John-Alex Mason, Jook Joint Thunderclap
"'My Old Lonesome Home' powers forward like a locomotive chugging down the tracks, powered by Mason's raw, nasty cigar-box guitar and guest Hundt's galvanizing harmonica."
Chicago Sun-Times, Feb. 2011
John-Alex Mason, Jook Joint Thunderclap
"...The disc has the steady, roiling beat of hill country blues, a sound
that’s enhanced by the presence of Cedric and Cody Burnside on selected
tracks. Chicagoan Gerry Hundt, who has worked with Mason before, is a
valuable presence on harmonica, mandolin and nine-string guitar. And
Mississippian Lightnin’ Malcolm, a powerful presence when teaming with
Cedric Burnside and Big Head Todd at last weekend’s Robert Johnson
tribute concert in Symphony Center, adds to the rompin’, stompin’ juke
joint flavor. But while the disc’s sound may be minimalist, a la North
Mississippi, the spirit of Delta blues greats such as Son House and
Robert Johnson is also abundantly evident."
Vintage Guitar, March 2008
Gerry Hundt, "Since Way Back"
For many, familiarlity with the mandolin role in the blues begins and ends wwith the names Yank Rachel, Johnny Young and The Mississippi Sheiks' Sam Chatmon. But the mandolin, like the fiddle and banjo, was common to blues groups before World War II and the kudzu-like popularity growth of the electric guitar.
Chicago bluesman Gerry Hundt is right line with tradition and Since Way Back is no Music Minus One type of novelty disc with mandolin pyrotechnics slapped over generic backing. The only novelty about is how far it stands above the pack. Hundt's goal was to make a genuine, high-quality Chicago blues record. Mission accomplished.
Like Jethro Burns of the bluegrass/comedy duo Homer and Jethro, who also stretched the stylistic parameters for the instrument, Hundt doesn't try to make it sound like what it isn't nor does he cheat the music. He plays the blues and does it on the mandolin. Without the the extended sustain and stringbending available to guitar players - even on the vintage Kay electric, one of the three he uses here, along with a Harmony and a Gibson acoustic - there is a percussive, piano-like aspect to Hundt's playing. Though the the guiding hands of Rachel, Young and even Muddy Waters are apparent, Hundt's phrasing, which grows naturally out of the nature of the instrument, is strikingly reminiscent of piano greats like Otis Spann or Johnnie Johnson.
Hundt's also a soulful, natural-sounding singer, who, mindful of the fact that the blues is first a vocal medium, avoids both the mimicking minstrelsy and the overextended solos that trip up less-gifted canaries. That, and a loosely-knit, hard-charging but perfectly modulated band featuring great work from labelmate Bill Lupkin on harp, make this an organic, fully realized disc that you don't have to be a "taterbug" aficionado to dig. --- Rick Allen
For many, familiarlity with the mandolin role in the blues begins and ends wwith the names Yank Rachel, Johnny Young and The Mississippi Sheiks' Sam Chatmon. But the mandolin, like the fiddle and banjo, was common to blues groups before World War II and the kudzu-like popularity growth of the electric guitar.
Chicago bluesman Gerry Hundt is right line with tradition and Since Way Back is no Music Minus One type of novelty disc with mandolin pyrotechnics slapped over generic backing. The only novelty about is how far it stands above the pack. Hundt's goal was to make a genuine, high-quality Chicago blues record. Mission accomplished.
Like Jethro Burns of the bluegrass/comedy duo Homer and Jethro, who also stretched the stylistic parameters for the instrument, Hundt doesn't try to make it sound like what it isn't nor does he cheat the music. He plays the blues and does it on the mandolin. Without the the extended sustain and stringbending available to guitar players - even on the vintage Kay electric, one of the three he uses here, along with a Harmony and a Gibson acoustic - there is a percussive, piano-like aspect to Hundt's playing. Though the the guiding hands of Rachel, Young and even Muddy Waters are apparent, Hundt's phrasing, which grows naturally out of the nature of the instrument, is strikingly reminiscent of piano greats like Otis Spann or Johnnie Johnson.
Hundt's also a soulful, natural-sounding singer, who, mindful of the fact that the blues is first a vocal medium, avoids both the mimicking minstrelsy and the overextended solos that trip up less-gifted canaries. That, and a loosely-knit, hard-charging but perfectly modulated band featuring great work from labelmate Bill Lupkin on harp, make this an organic, fully realized disc that you don't have to be a "taterbug" aficionado to dig. --- Rick Allen
Sing Out! The Folk Song Magazine, Spring, 2008
GERRY HUNDT, Since Way Back, Blue Bella 1009
Chicago-based bluesman Gerry Hundt tours regularly with Nick Moss and the Flip Tops, handling bass, second guitar and harmonica duties for the band, as well as the engineering chores for the local Rancho de Rhythm Studio where this solo debut, that finds Hundt accenting his mandolin dexterity, was recorded. Accompanied by bass-playing Moss and fellow Flip Tops Willie Oshawny on piano and drummer Bob Carter along with Blue Bella label-mates Bill Lupkin on harmonica and Josh Stimmel on electric guitar, Hundt brashly delivers eleven vintage 1950s South Side-sounding originals as well as skillful covers of Otis Spann's robust "Burning Fire" (a gripping duet with Oshawny) and Jimmy Rogers' mellow "You're The One."
It's Hundt, however, that steals the show with his lead acoustic and electric mandolin work. In the Windy City tradition of Johnny Young and, ofttimes, Yank Rachell, Hundt plays with an edgy tonality and expressive abandon that celebrates their pioneering musicianship. This is especially true on tracks like the title song, that handily conjures the mesmerizing, rough and ready atmosphere of the fabled Maxwell Street open-air flea market, as well as on the equally romping "Whiskey Makes Me Mean" and the hard-driving "Here In Chicago." The estimable ensemble sound created by Stimmel's stinging guitar, Lupkin's Little Walter-like harmonica riffs and Hundt's finger-picking on the latter is particularly riveting.
Four infectious instrumentals add to the fun. The down-home, uninhibited glow of retro-sounding nuggets like the swaggering "Lakewood Bump," a hip-swiveling, ringing "That Woman" and the too brief toe-tapper called "The Union Meeting" afford each musician the opportunity to stretch out a bit. The fourth is a bonus cut titled "End Of The Day Blues" with Hundt's passionate mandolin work complemented expertly by guest boogie pianist Barrelhouse Chuck. Recommended. -- Gary von Tersch
Chicago-based bluesman Gerry Hundt tours regularly with Nick Moss and the Flip Tops, handling bass, second guitar and harmonica duties for the band, as well as the engineering chores for the local Rancho de Rhythm Studio where this solo debut, that finds Hundt accenting his mandolin dexterity, was recorded. Accompanied by bass-playing Moss and fellow Flip Tops Willie Oshawny on piano and drummer Bob Carter along with Blue Bella label-mates Bill Lupkin on harmonica and Josh Stimmel on electric guitar, Hundt brashly delivers eleven vintage 1950s South Side-sounding originals as well as skillful covers of Otis Spann's robust "Burning Fire" (a gripping duet with Oshawny) and Jimmy Rogers' mellow "You're The One."
It's Hundt, however, that steals the show with his lead acoustic and electric mandolin work. In the Windy City tradition of Johnny Young and, ofttimes, Yank Rachell, Hundt plays with an edgy tonality and expressive abandon that celebrates their pioneering musicianship. This is especially true on tracks like the title song, that handily conjures the mesmerizing, rough and ready atmosphere of the fabled Maxwell Street open-air flea market, as well as on the equally romping "Whiskey Makes Me Mean" and the hard-driving "Here In Chicago." The estimable ensemble sound created by Stimmel's stinging guitar, Lupkin's Little Walter-like harmonica riffs and Hundt's finger-picking on the latter is particularly riveting.
Four infectious instrumentals add to the fun. The down-home, uninhibited glow of retro-sounding nuggets like the swaggering "Lakewood Bump," a hip-swiveling, ringing "That Woman" and the too brief toe-tapper called "The Union Meeting" afford each musician the opportunity to stretch out a bit. The fourth is a bonus cut titled "End Of The Day Blues" with Hundt's passionate mandolin work complemented expertly by guest boogie pianist Barrelhouse Chuck. Recommended. -- Gary von Tersch
Blues 'n' Rhythm (UK), March 2008
Gerry Hundt "Since Way Back"
Now, whilst Nick Moss is, in blues terms, fairly well known, that can't be said for Gerry Hundt, although he's been involved with Nick for three years in both producing his records and accompanying him. On the evidence of this CD however, he should have a whole new solo career ahead of him, he's played harp and guitar as accompaniment on several Blue Bella releases, but with this, his first starring release, he's concentrated on the mandolin, and what a debut release this is.
Described simply, shut your eyes and it's Johnny Young time, with an excellent early fifties small combo sound, reminiscent, nay, extremely reminiscent, of Young and Snooky Pryor, with Bill Lupkin's harmonica adding greatly to the listening pleasure. The title track opener sums the issue up, a beaty and tough number, Hundt's voice matches his emphatic mandolin work, which is simply colossal as the number climaxes. There are slower, more plaintive numbers, 'Bad Water' has a down-home, almost pre-war feel and 'Union Meetin'' has a jug band feel, despite there not being a jug – or harp present, but it's a nice instrumental, Oshawny's piano is very effective in helping the number roll along. As well as Jimmy Rogers' 'You're The One', 'Hard Road' seems like it should have been a Rogers number, so easily does
it follow in his style. The only other nonoriginal number is Otis Spann's laid back and reflective 'Burning Fire', Hundt composed the other twelve. There are a couple of rollicking instrumentals and Moss himself drives a few numbers on, such as in 'Ready To Go' and 'Chicago', possibly the only recognition to modern day sounds, and the album finishes with the well named 'End Of The Day Blues', a great closing instrumental. A superb album, one of the best debut albums we've heard in a long, long time.
On Bill Lupkin's "Hard Pill to Swallow:"
With Hundt featured on mandolin, the slow blues 'See That Little Girl' is straight out of the Johnny Young instruction manual.
- Byron Foulger & Phil Wight
Now, whilst Nick Moss is, in blues terms, fairly well known, that can't be said for Gerry Hundt, although he's been involved with Nick for three years in both producing his records and accompanying him. On the evidence of this CD however, he should have a whole new solo career ahead of him, he's played harp and guitar as accompaniment on several Blue Bella releases, but with this, his first starring release, he's concentrated on the mandolin, and what a debut release this is.
Described simply, shut your eyes and it's Johnny Young time, with an excellent early fifties small combo sound, reminiscent, nay, extremely reminiscent, of Young and Snooky Pryor, with Bill Lupkin's harmonica adding greatly to the listening pleasure. The title track opener sums the issue up, a beaty and tough number, Hundt's voice matches his emphatic mandolin work, which is simply colossal as the number climaxes. There are slower, more plaintive numbers, 'Bad Water' has a down-home, almost pre-war feel and 'Union Meetin'' has a jug band feel, despite there not being a jug – or harp present, but it's a nice instrumental, Oshawny's piano is very effective in helping the number roll along. As well as Jimmy Rogers' 'You're The One', 'Hard Road' seems like it should have been a Rogers number, so easily does
it follow in his style. The only other nonoriginal number is Otis Spann's laid back and reflective 'Burning Fire', Hundt composed the other twelve. There are a couple of rollicking instrumentals and Moss himself drives a few numbers on, such as in 'Ready To Go' and 'Chicago', possibly the only recognition to modern day sounds, and the album finishes with the well named 'End Of The Day Blues', a great closing instrumental. A superb album, one of the best debut albums we've heard in a long, long time.
On Bill Lupkin's "Hard Pill to Swallow:"
With Hundt featured on mandolin, the slow blues 'See That Little Girl' is straight out of the Johnny Young instruction manual.
- Byron Foulger & Phil Wight
Soul Bag (FR), March 08
5 stars out of 5 !
Gerry Hundt
Since Way Back
Blue Bella BBCD 1009
(51:00)
While the master Rich Del Grosso occasionaly practices a fluid and melodic neo Chicago blues, close to Jimmy Rogers and Johnny Young on Chess, young Gerry Hundt goes deep into the ghetto, thickens the mood and adopt a tougher, even brutal electric mandolin style, helped by members of Nick Moss’ band (Bill Lupkin on harp, Piano Willie on barrelhouse or Otis Spann like piano, Nick Moss himself either on acoustic guitar or bass). Thank to the intentionally raw retro playing of the drummer (bravo!) and to a bass way in the back à la Maxwell Street, you’re caught and alert from the first track : something’s happening here ! Testament recordings nostalgia and visions of snowy South Side projects on Vanguard LP’s covers… Even more, the "live in the studio" production accentuates this vision, that Chicago in the 50’s climax, modulating his approach while keeping his stylistic direction (rare nowadays!). Finally, Gerry Hundt naturally sings with commitment his own originals in the spirit of the masters. He got that right ! Certainly in a good position in the 2008 final palmares !
André Hobus
translated by renemalin, of Blindman’s Blues Forum
Blues Blast Magazine at IllinoisBlues.com, 02/20/08
Gerry Hundt - Since Way Back
www.bluebellarecords.com
Run Time: 50:53
Gerry "The Utility Man" Hundt first sprang on the scene back in his college days, recording a little known record with college buddy John-Alex Mason aptly titled Mason & Hundt and from there got snatched up by Nick Moss after Moss heard him play harmonica for Easy Bill in Chicago. Hundt's been a staple of Moss' Flip Tops ever since as a multi-instrumentalist, songwriter, and road-savvy new blood on the south side of Chicago.
Hundt's knowledge of the music and it's origins are played out well, as he serves up a wholesome slice of the gritty, harsh realities of the Windy City brought up Johnny Young/Yank Rancell style with his mandolin-induced musings of the Southside motifs of drinking, loving, hurting, and being a player in the home of the electric blues.
Hundt growls a la Paul Butterfield in a confident swagger that "It's put up or shut up if you wanna play here in Chicago" on track 12 of the disc and rightly puts his money where his mouth is through the bumps, stomps, and slow burners that have become the penchant of Nick Moss' Blue Bella label.
Hundt's BMA-nominated performance is aided by a crack band of the Blue Bella stable with Moss on bass, Willie Oshawny on keys, Bill Lupkin on harp, and Josh Stimmel of Kilborn Alley on guitar, and Bob Carter on drums. Calling this an all-star jam would be drastically underestimating Hundt's ability to lead us through the down-home slice of authenticity at its finest. The songs are tightly arranged but everyone is still given room to unleash their fire. Lupkin, at times, hearkens to James Cotton's recordings with Johnny Young, rolling us over with his thick tone and burning to shine. Stimmel, the youngest in the group, is not frightened by the world around him and flawlessly switches between rhythm and lead before you know what hits you, and along with the searing, sharp sword of Hundt's mandolin solos leaves you re-listening again to confirm what you had previously heard.
Hundt does well to steer clear from imitation of the masters before but doesn't forget them either. He gives us something new and different than the regular fare but serves it to us in something that sounds like déjà vu. You know you've heard it, you just can't figure out where but you don't care to go looking for it because Hundt's given it to you now. Well, if you can makes sense of that last sentence than you'll surely be able to convince yourself of going out and nabbing this record, and it will be a perfect compliment to any of the rest of the Blue Bella catalog.
Hundt's disc is available at all major record outlets. You can find out more about Gerry and Co. by visiting Blue Bella Records on the web or at www.myspace.com/gerryhundt
Ben Cox is a Blues Songwriter, Musician, DJ and Journalist.
From the All Music Guide:
Mandolin has a long, if obscure, history with the blues. Some may know blues mandolin from Jim Schwall's work with the Siegel-Schwall Band in the mid-'60s, or be familiar with long gone Chicago legends Yank Rachell and Johnny Young, but today blues mandolin retains its aura of mystery. Gerry Hundt, part of the Nick Moss/Blue Bella gang, hopes to change all that. Hundt is a versatile bluesman, adept on bass, guitar, and harmonica, as well as mandolin, but Since Way Back it's all about the mandolin. The set includes both full band outings and piano/mandolin duets in the style of the Johnny Young/Otis Spann classic "Keep Your Nose Out of My Business." The most remarkable thing about Hundt's playing here is how he avoids the obvious temptation to play in the style of the older generation to follow his own path. Hundt's style is as country as it is Chicago, with a laid-back feel on the mandolin that's complemented by his aggressive vocal attack. Backed by Flip Tops Nick Moss on bass and acoustic guitar, Willie O'Shawny on piano, and drummer Bob Carter as well as lead guitarist Josh Stimmel, and Barrelhouse Chuck on, what else, piano, Hundt provides a primer of his own style of mandolin blues. On "Since Way Back" he tunes the mandolin Rachell style, with the fourth string tuned down a step or two. Bill Lupkin's forceful harmonica complements the big, chiming sound of Hundt's mandolin. "That Woman!" is an instrumental that gives the ensemble time to stretch out and features impressive solo work by Stimmel, Lupkin, O'Shawny, who is particularly impressive, and Hundt, who moves between slurred notes, rippling arpeggios, and single-note runs. "Burning Fire," an Otis Spann tune, gets a soulful reworking as a duet with O'Shawny's smoky piano; Hundt delivers a smoldering vocal and more sterling work on mandolin. "You're the One" has a loose, Jimmy Rogers-style groove and a nonchalant vocal by Hundt. "Trying Hard" has a Howlin' Wolf feel and builds steam with Hundt and Lupkin delivering solos that slowly move from relaxed to incendiary. The instrumental duet with Barrelhouse Chuck on "End of the Bay Blues" demonstrates how two pros can create a remarkably full sound. Hundt's mandolin dances in and around Chuck's slow, left hand bass pulse, and his frenetic, rippling right hand, and closes the piece with the pair playing undulating harmonic runs in unison. The cover art is a riff on the classic Blue Note album art of the early '60s, and gives the package a hip, retro feel. J. Poet, All Music Guide
From Blues Revue Magazine, Feb./Mar. 2008:
Gerry Hundt, Since Way Back
The mandolin has been a staple of bluegrass and folk music for generations, but notable blues mandolinists are few and far between. Thirty-year-old multi-instrumentalist Gerry Hundt plays bass, rhythm guitar, and harmonica with Nick Moss & The Flip Tops and was inspired to learn blues mandolin by Johnny Young's 1968 album Chicago Blues. Hundt also claims Yank Rachell's Chicago Style as an influence.
On this 13-song of 11 originals (including four instrumentals) and two covers (Otis Spann's slow blues lament "Burning Fire" and Jimmy Rogers' rollicking paean "You're the One"), Hundt is joined by fellow Flip Tops Bob Carter on drums, Moss on guitar and bass, and Willie Oshawny on piano; and by Blue Bella labelmates Bill Lupkin on harp and Josh Stimmel (of the Kilborn Alley Blues Band) on guitar. Hundt swings and stomps through a traditional menu of Chicago blues with a joie de vivre that will turn the heads of blues fans unfamiliar with the mandolin.
Hundt's self-assured, matter-of-fact vocals maintain the focus squarely on his fluid and prickly mandolin style. Lupkin is given ample solo space, much like James Cotton was afforded on Young's album. Since Way Back is an entertaining and educational release sure delight fans of Young and Rachell. Let's hope it inspires fans of Chicago blues to seek out music by other mandolin masters. --- Thomas J. Cullen
From Blindman's Blues & Big Road Blues Forums:
Gerry Hundt Since Way Back Blue Bella (2007) BB 1009
13 tracks, 51 minutes. Highly recommended. It's no newsflash that a mandolin isn't exactly the first instrument blues aficionados rave about when discussing their favorite albums or CDs - guitar generally tops the list. On the surface one might think the small eight-string 'taterbug' has all but disappeared from blues. Its best-known players; Johnny Young, Yank Rachell and Carl Martin are gone, and other than a pair of recent entries from Billy Flynn and Rich Del Grosso, mandolin blues has pretty much been off the radar in recent years. That's where Gerry Hundt comes in. A mainstay of Nick Moss & The Flip Tops over that band's last three recording efforts, Hundt brings the eight-string box up front with Since Way Back, his maiden recording voyage as a leader. Although Young, Rachell and Martin are listed as influences, a major part of the success of this recording is the powerful level of originality from beginning to end. With eleven self-penned tracks and only two covers (Otis Spann's Burning Fire and Jimmy Rogers' You're The One), Hundt displays excellent songwriting and brilliant mandolin work throughout. Whether shuffling the Hard Road, slowly treading Bad Water or doing The Lakewood Bump, crunching electric mandolin rides over the top of the various grooves with Gerry showing formidable skills well beyond his few years with the instrument in hand. End Of The Day Blues and The Union Meetin' show a seemingly effortless acoustic approach, and as a vocalist, Hundt mines both the relaxed and intense sides of the blues. Rugged support comes from labelmates Nick Moss (bass), Josh Stimmel (guitar), Bill Lupkin (harmonica), Willie Oshawny (piano) and Bob Carter (drums) with old friend Barrelhouse Chuck getting in on the fun as well. The mandolin is thankfully back on the blues map with this recording where Gerry pays tribute to the masters while sounding completely like himself in the process. Catch him in action with Nick and the boys and you'll witness his superb guitar, harmonica and bass work as well... and if you want to see what he can do laying tile, contact Blue Bella Records for a guided tour of the restroom at the Rancho de Rhythm studio. There's no doubt Since Way Back is as good as it gets, folks!
© 2008 by Craig Ruskey
more to come...
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