Month: May 2011

One of the busiest players around today, Duke takes a break from touring, producing, and recording jazz, jumpswing, and bop to crank out his most uncompromising blues set in 20 years.

Twelve original songs and a cover offer gritty guitar, gravelly vocals, and grinding rhythm. “Workin’ Hard for my Uncle” is Robillard’s ode to the taxman, and hits a little close to home. The disc closer, “Bradford Boogie,” reminds us that Robillard is a master at weaving inspired guitar solos that keep going, bar after bar, yet never repeat themselves.

Unlike recent Robillard releases, guitar is front-and-center here, with saxophone moved to the side. Still, Robillard is accompanied by a capable crew that includes musicians with whom he has played for years. Standout cuts include “Rhode Island Red Rooster,” an homage to the Chicago blues of Muddy Waters and his ilk, “The High Cost of Lovin’,” co-written with Doc Pomus, “Duke’s Evening Blues” for its spoken-word vocal track, and “Grey Sky Blues,” which captures slow blues that is familiar and fresh with a full horn section backing and those long guitar solos for which Duke is known.

For years, Robillard’s vocals have been down in the mix, but here, it’s out front and delivered with a staccato blast by someone who tells it like it is, lyrically. And with those (mostly Fender) guitars ringing through the set, it’s him doing what he does best.

This article originally appeared in VG‘s Nov. ’11 issue. All copyrights are by the author and Vintage Guitar magazine. Unauthorized replication or use is strictly prohibited.

Eliza Gilkyson, John Gorka, and Lucy Kaplansky have played on each other’s albums and shared concert stages, but the idea for a group album surfaced when they played together during Red House Records 25th Anniversary tour. The experience was so positive they decided to record an album.

Ask experienced solo artists why they’re solo artists instead of members of a band and you’ll get an earful on the issues and personal politics involved in musical partnerships. Red Horse isn’t an attempt at group-forming as much as it is an exercise in collaboration. The artists brought some of their most emblematic material and used the other members to fill out the arrangements. On Neil Young’s “I Am A Child” Gilkyson handles lead vocals and serves as “song boss.” On Gilkyson’s “Wild Horse,” Gorka leads, while on Gorka’s “Blue Chalk” Kaplansky takes the reins. In each case, the song leader is prominent and the other principals serve as accompanists. None of the songs get a full trio treatment where everyone must add equally to the song. Guitarslinger extraordinaire Duke Levine adds his wizardry on guitar, mandola, lap-steel, and baritone guitar.

The sparseness of the arrangements is refreshing. The ’70s proved that, with rare exceptions, the super-group concept of putting solo artists together and expecting magic rarely works. Red Horse isn’t an attempt to duplicate the idea. Instead, it’s a collaboration based on music rather than marketing. The results will please anyone who values intelligent music making.

This article originally appeared in VG‘s Nov. ’11 issue. All copyrights are by the author and Vintage Guitar magazine. Unauthorized replication or use is strictly prohibited.

It’s tough to pin a tag on the lapel of Big Head Todd and the Monsters. The band ably jumps from flat-out rock and roll to deep blues, even jazz, funk, and soulful R&B.

Rocksteady is the band’s eighth studio release. With tracks honed on the road, the groove is already cut deep on this disc.

Big Head Todd is Todd Park Mohr, bandleader and frontman of the trio that came out of Colorado in the mid ’80s. Mohr guides the power trio as a fine guitarslinger, ably backed by drummer Brian Nevin and Rob Squires on bass and vocals.

Straight out of the box, the title track rocks with a feral intensity. With a Jamaican vibe, the rhythm isn’t pure rock steady, nor is it ska or reggae. But it rides a rocking blend of JA cool and the band’s own vibe.

The cover tunes offer a unique take on classics; their version of the Rolling Stones’ “Beast of Burden” gives satisfaction. And they make their take of Tom Russell’s “Muhammad Ali” all their own. The deepest cut on the disc may well be the version of Howlin’ Wolf ’s blues warhorse, “Smokestack Lightning.” As with their hit cover of John Lee Hooker’s “Boom-Boom,” the song starts as a near duplicate recreation of the original, before they rock it their own way. Good stuff.

This article originally appeared in VG‘s Nov. ’11 issue. All copyrights are by the author and Vintage Guitar magazine. Unauthorized replication or use is strictly prohibited.

The John Henrys would be the last to deny the inf luence of Tom Petty’s music on their work – the clipped vocal phrasing of the opener, “Little One,” (a la Petty’s “The Waiting”) and the three-pronged guitar attack that propels it are undeniable giveaways. But for the most part, the Henrys stay on the right side of the line between inf luence and imitation while also making a case for crediting Petty as a founding father of the Americana genre.

The guitar-dependant, emotionally upbeat feel of the John Henrys’ music, where vocals and guitar are given equal weight in the mix, puts them in the Blue Rodeo side of the genre. While they don’t get into “gritty” or “dark,” White Linen is not all blue skies and driving with the top down. “Good Man” highlights Steve Tatones’ steel guitar, while “Dawson City” and the title cut which mix elements of Neil Young and the Band with New Morning-era Bob Dylan, give the album the weight and balance that make it work.

This article originally appeared in VG‘s Nov. ’10 issue. All copyrights are by the author and Vintage Guitar magazine. Unauthorized replication or use is strictly prohibited.

At 15, this Austinite placed second in a contest for young songwriters on “A Prairie Home Companion.” Now 21, her debut consists of 12 originals, as impressive as they are mature in terms of singing and writing.

The CD was produced by Emile Kelman, but most of the press focuses on T-Bone Burnett “shepherding” and “overseeing” the project, and several of Burnett’s mainstays comprise the backup band.

Marc Ribot reins in his avant side to pick some economical country on “All I Need,” the most uptempo song in the set. He delivers some gnarly, garagey bends in the otherwise subdued “Train Man,” which teeters dangerously close to Chris Isaak’s “Wicked Game” in its rhythmic feel, changes, and even Smith’s falsetto.

Chris Bruce provides the guitar hooks in “Are You Lonely,” while Ribot takes over (on banjo and guitar) for “Tin Man,” featuring Greg Leisz’ lazy lap steel slides.

It’s Ribot’s electric slide over Bruce’s swampy rhythm on “The Real Thing,” with Smith sounding like a darker, country-tinged Sarah McLachlan.

For the ballad “The World’s On Fire” and simmering title track Kelman borrowed Corby Schaub from Ryan Bingham’s band, and Ribot is back on “Midnight Plane” for some tasteful slide.

Smith may be the next Americana star. In fact, she may not have to wait for a second CD to prove it.

This article originally appeared in VG‘s Nov. ’10 issue. All copyrights are by the author and Vintage Guitar magazine. Unauthorized replication or use is strictly prohibited.

Peter Rowan has been the front man for bluegrass icons including Bill Monroe and Tony Rice. On Legacy, he’s still a front man, but shares the spotlight with Jody Stecher, who’s better known as an old-time player than a bluegrasser.

The results are both a trip back to an era when bluegrass was still just a twinkle in Bill Monroe’s eye and a fastforward to a new acoustic paradigm.

The principal players here are Rowan, Stecher, Keith Little (on banjo), and Paul Knight (bass), originally brought together by Knight for a one-shot gig that worked very well.

Legacy is very much a collaboration of equals. Although Rowan contributes eight original songs while Stecher only adds two, both share primary vocal duties. The results aren’t slick like Doyle Lawson and Quicksilver, or instrumentally pyrotechnic like the Punch Brothers. Instead, Legacy captures the rustic and organic side of bluegrass, with the focus on emotion rather than perfection.

This article originally appeared in VG‘s Jan. ’11 issue. All copyrights are by the author and Vintage Guitar magazine. Unauthorized replication or use is strictly prohibited.

Consistency has always been one of Kenny Burrell’s hallmarks – as in consistently great. Ironically, he’s almost taken for granted because of it.

He was Duke Ellington’s favorite guitarist, cut his first session with Dizzy Gillespie, worked with artists ranging from Coltrane to Jimmy Smith (his Blue Bash collaboration with the latter tops Wes Montgomery’s recordings with the organist), and influenced greats from George Benson to Stevie Ray Vaughan. But he’d no doubt elicit more hushed-toned awe if he’d struggled with substance abuse, with his output reflecting the highs and lows that accompany it, a la Grant Green, and be recognized for the virtuoso that he is if he’d released an album (or three or four) with that title.

That Burrell has never made a “comeback” – because, from his 1956 solo debut (at age 24), he’s cut one fine album after another – speaks volumes. Now pushing 80, he maintains that high standard on this addition to his catalog. Cut live in a quintet format, it opens with a groundbreaking Latin tune associated with the legend the venue is named for, “Tin Tin Deo.” Next up is the sprightly “Raincheck,” from Ellington’s repertoire, composed by his longtime arranger, Billy Strayhorn. Both amply demonstrate Burrell’s facility, spontaneity, and innate swing, as does a full-throttle take on Kenny Dorham’s “Blue Bossa.”

For “Listen To The Dawn,” Burrell’s own minor-key ballad, Tivon Pennicott handles the theme, switching from sax to flute. He and the rhythm section of bassist Peter Washington, Benny Green (one of the few pianists who can list Oscar Peterson in his resume), and Clayton Cameron (drummer of choice for everyone from Sammy Davis, Jr., to Cyndi Lauper) push their leader to ever-greater heights, as he does in return. The original title tune, however, showcases Kenny alone – with his constant companions: soul and lyricism.

This article originally appeared in VG‘s Jan. ’11 issue. All copyrights are by the author and Vintage Guitar magazine. Unauthorized replication or use is strictly prohibited.

John Mellencamp’s latest effort fits its title and is a perfect companion to the recent box set that showcases his songwriting. In fact, the songs here are some of the finest he’s ever written.

Couple that with an extraordinary way of recording and heartfelt performances from all concerned – especially Mellencamp – and he may have made his finest record.

With producer T-Bone Burnett, Mellencamp and company recorded in three venues – Sun Studios in Memphis, the First African Baptist Church in Savannah, Georgia, and the Sheraton Hunter Hotel in San Antonio (where Robert Johnson recorded). They used an Ampex recorder from the ’50s, huddled around one microphone. The result sounds timeless and haunted by the ghosts of American music that came before it. Yes, it sounds lo-fi, but it fits songs like “Save Some Time to Dream” and “Right Behind Me,” with their acoustic guitar, and violin from Miriam Sturm. Some of the sounds call to mind Tom Waits, which makes sense given that Waits sideman/guitarist Marc Ribot is one of the players here, along with Mellencamp-band stalwart Andy York. Both supply perfect twanging guitars, rockabilly solos that ring true, and subtle lines that highlight often-brilliant lyrics Mellencamp has fashioned. Despite the effort to make this recording as simple as possible, great pains were obviously taken to make the guitars sound just right.

No Better Than This is an amazing project that could have come across incredibly self-conscious. Instead it’s a testament to the power of simplicity and brilliant songwriting that, to this point, may be the best record made by one of rock’s best songwriters.

This article originally appeared in VG‘s Jan. ’11 issue. All copyrights are by the author and Vintage Guitar magazine. Unauthorized replication or use is strictly prohibited.