A live recording is an acid test. A babtism of fire. If a bands sounds right without the benefit of a protective, artificial, sound-proofed womb, then a standard is set for all to follow. It was no surprise to hear that the Christine Santelli Band succeeded at this task not only gracefully, but definitively. Some major record labels could learn from producers Matt Mousseau, Mike Lattrell, and Christine Santelli herself.

 "Turtle Blues" opens the set up. It is a solid shuffle with just a nod to composer Janis Joplin. Christine needn't worry about comparisons. Her stamp is on this one, and it's quite expressive. "Love Me Like A Man" fills out the original version with sensuality and simmering desire. "Since I Moved To Georgia" is a Santelli original, and it suits her driving, room-filled vocals nicely. A New Orleans, Appalachian influenced rootsy romp that, along with Matt Mousseau's imajinative and in-your-face (but not too loud) drumming, brings the mandolin (!) to an acceptable place in the blues idiom.

 Hiromasa Suzuki's relative minor foray on "I'd Rather Go Blind" blends in perfectly with Christine's chilling and raspy interpretation that gives the lyrics a desperate quality that this song was created for. "Shaky Ground" shows us that this drummer is in command of the rhythm section in no uncertain terms. Matt Mousseau's assertive phrasing, highlighted by his judicious use of the snare and kick drum demonstrates that less is more when done correctly.

 "Caledonia" swings with with Matt's guidance and Hiromasa's horn-like fills and leads. Mike Bernal's bass walks all over this one as Mike Lattrell's keyboards dance and punctuate Christine's animated take on this standard.

 One more kudo to the courage and integrity of these producers who chose to leave in the occasional swell of unwanted feedback, and one or two flubbed notes. The energetic performance and high quality recording, mix, and stereo imaging add to the dynamics that actually enhance the appreciation of this excellent recording. Isn't that the way it's supposed to be?

 by Ira Bolterman

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