Upon my first listen to Jamie Wood’s Ain’t No Doubt About It (Pacific Blues Recording Company), I thought I had stumbled across an album from a juke joint diva that was released maybe 60 or 70 years ago. What tipped me off that it wasn’t was that there was no crackling and popping as would be commonplace for a recording from that era. So I did what any other blues lover would do --- I sat back and listened in complete awe to this fascinating recording. Drawing mostly on material from that time period and four of her own original works, Ms. Wood has reached back in time and deep into the heart and soul of the blues and given us a recording that will withstand the test of time. One of the reasons this album is so good is the spectacular quintet and the genuine appreciation they have for the material. They are: former James Harman guitarist Nathan James, Johnny Rover, who was a protégé of the late William Clarke, blowin the chromatic harp, another William Clarke alumnus, Tyler Pedersen thumping the upright bass, Carl Sonny Leland massaging the 88s so very finely, and Johnny Morgan pounding the skins. The album's opening number, “Doin' The Boogie Woogie,” sets the mood for the rest of the 14 tracks with its jazzy beat and rolling Fats Waller-styled piano licks courtesy of Carl Sonny Leland at the forefront, alongside Jamie’s slightly nasal but so very pleasant voice evoking the sly lyrics. “Kissin In The Dark” is a subject I think most of us are familiar with, and is highlighted by solos from Johnny Rover and Nathan James. The first of four originals is the album's title number that may bring to mind speakeasies and flappers truckin’ to it’s snappy beat. Louis Jordan was one of Jamie’s influences; she is joined by James Harman for a jumping, jiving and rhyming updated version of “Look Out (Sister,Look Out).” Memphis Minnie’s “Why Don’t You Do Right” is a somewhat somber tale of a loser, sung with a silky smoothness that is complimented by a fabulous arrangement and a hauntingly beautiful harp accompaniment. Jack Dupree’s “Sharp Harp” is the first of two instrumentals you will encounter, with Rover and Leland laying down some razor sharp licks. The second instrumental, ”Countless Blues,” allows the whole band to stretch out and jam to a frenzied finish. A hilarious play on words is what’s in store for you on another Wood original, “Hock That Rock,” which is a tale of a lady’s taste for diamonds and pearls but who is stuck with a gambling hubby. A soaring covering of Roosevelt Sykes’ “Don’t Talk Me To Death (a.k.a. 47th Street Jive)” has Jamie airing out her pipes to their fullest and Carl Leland sounding like he grew another hand on the piano. Jamie sights Jimmy Rushing as a major influence on her work, so it’s no surprise that “Say You Don’t Mean It” is one of the hottest numbers on the album. Jamie kicks out the jams on her own “High Time Baby,” turning in a rousing vocal performance that would make the old roadhouse divas envious. To try to classify this spectacular recording as any one genre is damned near impossible, so let’s just call it a marriage of '30s blues, '40s jazz and post-WWII swing, stirred together with juke joint bebop. Produced and engineered by studio wizard Jerry Hall, the sound and feel that comes across on every track is so authentic that you sort of miss the crackles and pops that your brain keeps telling you should be there. Jamie Wood possesses a captivatingly sweet voice and style that as the years go by will be harder to find. If you can’t find this absolute treat of an album at your local music store and just gotta lay your hands on a copy, it can be ordered directly at http://www.pacificblues.com/. Ain’t No Doubt About It leaves no doubt in this reviewers mind that this is one of the best albums he has heard this year. Ms. Wood and company get a standing ovation for this beauty!