New Music from Fiery NY Blues Singer Inducted in NY Blues Hall of Fame 2012

Finally, a woman with the blues power of both Big Mama Thornton and Bessie Smith, the smooth, classiness of jazz/blues singer Joe Williams, the dynamics of KoKo Taylor and the energy of Janis Joplin all wrapped up tight in a relevant “Billie Holiday” look. Billie Holiday? Yeah, she was the first to put a flower in her hair that became her trademark. But, Bette Stuy — let’s just say she lives up to that tradition and I would guess it’s her little way of winking at Billie.

Bette’s CD “This Is Neo-Blues,” is a short five song EP and one bonus cut. It gets off to an immediate fiery start with “Enigma,” and between her muscular vocals and the snaking Jonathan Kalb lead guitar it’s soul music 2016 at its gutsy finest.

Even the whistling works and it reminds me a little of Sly and the Family Stone back in the early 70’s.

The second excursion is a lesson in vocalizing. No lame, whiney female vocals here. It’s all confidence and power. The sexy slur and slide of Bette’s voice, her roll of syllables, the phrasing and intonation all on target, all polished with gratifying verve. But the true sting is in Bette’s ability to know exactly how to interpret a song — her songs, or anyone elses. “Teddy Bear,” continues with that Kalb blues guitar as it weaves through like a thin needle and thread, tightening the fabric – a good signature sound for Bette.

A nice, clean bluesy guitar lick opens “Black Dog Blues,” and Bette sings in an irrestitible register. Full throat, piss and vinegar, pure sincerity, guttural moments for accentuating. This is an old genre but, Bette’s managed to infuse it with renewed appeal. Quite appropriate for 2016. Her lyrics are crystal clear and vivid. She does not unleash her nuclear pipes where it is not required. She emotes, but she does not over emote. Big diference between this lady and the showboaters of modern day R&B (which is an inaccurate moniker. Mariah Carey is not R&B — Ray Charles, Brook Benton, Etta James and Sam Cooke are — lest we forget that R&B stands for “rhythm and blues.” Carey has a voice, but not much rhythm and absolutely no blues). 

Again, Kalb’s guitar is delicate and buoyed by the vastness of where he can take his solos. This has a marvelous B.B. King style lead guitar all over it and that’s to say a lot. Some might say it’s a saccharine take on the pure brown sugar of B.B.King — but, they’d be wrong. Kalb is competent and his tone is wonderful. He’s not just a side player — he frames Bette’s style sassy and sweet. Bette has mastered this provocative blues realm and if B.B. were alive today he would be proud of this effort and how it’s been applied by Ms. Stuy. This title has been used before by blues artists but, all the songs on this collection were written by Bette Stuy.

All else aside, Bette’s instincts for a good blues romp are on the mark. The sincerity in her voice — overwhelming. She continues with her Big Mama Thornton growls but she has so much traditional blues vinegar in her throat that she transcends comparisons. I can’t impress enough that her voice goes from satiny smooth (something Big Mama didn’t do very often) to black dog growl in seconds and Bette is not using that growl for effect – she knows what lyrics require that punctuation to project her message and she never over uses that vocal.

“We took our last walk today….”  What an ingenious way to shape a new blues song with a great hook. It doesn’t always have to be about corn liquor, crossroads, a bad man, a loose woman, gambling and hitting the road. This is a woman’s blues and there are times when the blues can come from a deeper well. The song’s beat is steady and there is never any deviation from meter. Bette keeps it simple and intense throughout. This is an impressive track. 

The band backing Bette are the Brooklynites: Jonathan Kalb (guitar, bass and harmonica); Dave “Bro Dave” Likhtger (guitar and bass); Dave Dawson (drums); John DiGiulio (drums); Rich Gaglia (keyboards and guitar); Ariel Avissar (guitar) and Bette Stuy (vocals and whistles). No credits were individually outlined on the CD so I am assuming the lead guitar is always Jonathan since he is listed first.  

“Stay Free,” opens with warm womanly tones and upbeat vocals spiced by a dash of cool brass. This has a lead guitar picking similar in style to Steve Cropper and the brass pokes are what makes this song the likely candidate for a single release. It’s hot and it’s infectious — what soul was back in the 60’s when it mattered, when it was important, when it transcended boundaries, cultures and heritages. It’s the wizardy again of The Four Tops, the Temptations, Wilson Pickett, Otis Redding and Aretha and they ruled. This would have been a welcome addition.

Big suggestion to Bette: if the budget can found — this artist is primed for a recording session with the legendary Rick Hall at his Muscle Shoals Alabama studios (he’s still working the boards at 84 and he’s the man who put Aretha, Wilson Pickett, Solomon Burke, Clarence Carter, Jimmy Cliff, Arthur Alexander, Etta James and countless others on the charts back in the early 60’s. With some help from his Swampers –– Bette could hit the stratsophere. The man and that studio are the Land of Oz for many artists. A documentary on Netflix would substantitate my claims along with all the gold records on that producer’s wall…I’m just thinking out loud…..)  

Bette paces her album very well and “Stop That Train,” has a flirting harmonica that floats over her vocals and surprisingly, an accordion sweetens the arrangement. This is a lovely ballad – wonderful lyrical story and Bette’s balanced vocal performance is nothing short of appealing. She is virtually whispering the song lyrics into your ear – and makes it intimate and private. This is soul dynamic – it’s what makes that genre still special today even though most young blacks (not all) ignore the genre in favor of rap, hip-hop and what is considered R&B today. But none of those approach the artistry that is on display here by Bette Stuy.

This is a very powerful, poignant song and if Bette doesn’t score big with this — one of the bigger artists should do her justice and cover it just to get her name out there. This song could be a show stopper. It builds gently, and the sadness in it is not a stranger to this kind of groove. Sly Stone did it sometimes, with songs like “Everybody Is a Star,” and Otis did it wonderfully with the ancient oldie “Try a Little Tenderness.” 

The bonus track is exactly that a bonus: Bette rocks this time out. The drums snap and the guitar weaves like a spider. What has Bette done here? She’s proven that she can shake, rattle and roll in 2016. She can bend with the best of them. This is a chugging tractor, no frills, no superficial romp into blues-rock. “Hungry Man Blues,” is the track and if Bette continues to produce tracks like these I know she will find her audience. What would be great is if she could hook up with some of the white classic veteran blues musicians like Canned Heat, the Climax Blues Band or sing a duet with Tracy Nelson or Karen Lawrence. This is genre defining material. Excellent. I could listen to this all day and ultra-purists of the blues would also appreciate this kind effort. For some reason when performed correctly, the blues simply never grows old. This was a nourishing, invigorating set.

The six song collection is unfortunately anemic – not enough songs. I needed six more…do you know what that means when you need something?

Bette has to produce a full album, send Rick Hall a CD, get on the horn (as they say in NYC — and call his studios) and if she continues to pace her songs and performance as she has done so eloquently on this EP – she just may produce yet, a female blues classic album. She has the pipes, she has the soul, the material, the determination and she has the talent. She needs a producer or advisor of legend now. It worked for so many legendary artists in the past — maybe it can happen again. I see the stars aligning….

All songs were written by Bette Stuy and this 26-minute collection was produced expertly by Daniel A. Lerner.

The CD cover art has a good picture of Bette – but the computer-like typefaces don’t work. The blues are rural, urban and most of all traditional American music derived from a people who have been singing it for decades. It deserves some respect, a more appropriate graphic mind-set. Example: a band called Everlast had an album called “Whitey Ford Sings the Blues.” That’s a great album cover. That’s what Bette needs. Something with that feel…instead of B&W maybe sepia or photographed at dusk. The album cover is almost as important as the music — it’s the first thing people see if they are NOT familiar with your music. Make it matter. 

Also, do not showboat Bette into a Las Vegas boob with high gloss aspirations. She has to represent what she does. Cassandra Wilson always has a captivating “look” and aura about her. That’s what’s needed. Image..image..image. (My PR roots are showing…I’ll reel it back a bit). 

Nina Simone never came across as a Barbra Streisand. Billie Holiday never thought of herself as Doris Day, Peggy Lee or Anita O’Day. All great artists in their own way. Janis Joplin was an original…. let Bette Stuy find herself so she can be an original in her presentation, as well as, her music. She has it…I know she does. 

Decades ago Taj Mahal “looked” the part of his music. On his albums “Giant Step,” “The Natch’l Blues,” and “Blue Light Boogie,” – he looked the part, he sold the image. Not so much today, in his old age he prefers to wear Hawaiian shirts and big white Panama hats – but then, Taj has earned his relaxation.

I came from a PR background – image was paramount — as important as the music itself. If you sing the blues and dress like a pop singer – blues purists won’t come. The record buying public doesn’t like being confused. Bette has a great blues look, one that could easily adapt if she slides into a higher jazz gear later on – she needs to capitalize on it. Especially since…I found her music exciting. 

Website:  http://www.bettestuy.com/

Facebook: https://www.facebook.com/bettestuy/

ReverbNation: https://www.reverbnation.com/bettestuy

SoundCloud “Stay Free” – https://soundcloud.com/bettestuymusic/4-bette-stuy-stay-free-16bit-bnc-millice-master-b-8-25-15

Disclaimer: The opinions expressed in this review / commentary are those of the author and do not necessarily reflect the official position of No Depression. All photography is owned by the respective photographers and is their copyrighted image; credited where photographer’s name was known & being used here solely as reference and will be removed on request. YouTube images are standard YouTube license.

John Apice / No Depression / June 2016