Author: Eric C. Shoaf

Jack Bruce may be best known as one third of Cream. A brilliant and prolific composer who dabbled in jazz, rock, folk, and world music, Bruce was more known for his busy approach to bass playing. Equally at home on piano, where he composed much of his recorded output over the years, and adept at bowed instruments, he’s also a passable guitar player.

This new six-CD box collects the best from 30 years of Bruce’s career – the early jazz, rock with Cream, his early solo work, and his prolific (though lower-profile) output that followed. Along the way, he has worked with many of the greatest names in rock and jazz. His compositions may not be the most accessible, but they’re never boring, with twists and turns, unexpected tempo changes, and his sense of melody is enhanced by fine vocal ability.

This article originally appeared in VG’s Mar. ’09 issue.  All copyrights are by the author and Vintage Guitar magazine.  Unauthorized replication or use is strictly prohibited.

When one third Cream and two thirds of Mountain joined to form West, Bruce & Laing in 1972, expectations were not exactly high. This, their first album, was a decent effort and enough to appease fans of both bands. But how does the music hold up now? Not badly at all!

True, time has been kinder to the softer, more musical Jack Bruce/Pete Brown compositions than it has to the hard rockers, but there’s one rockin’ 12-bar snippet that makes this CD essential listening; it comes at 2:35 during “Love is Worth the Blues” – 40 seconds of pentatonic plectrum bliss that defines Leslie West’s style and tone – Gibson through Marshall with violin-like vibrato and economy of notes that on a simple, emotive, concise 12th-fret solo.

Most of this album is full of gruff vocals, too-busy bass playing, overdubbed guitars, and a mix of tempos. Things did get more interesting for the band after its second record and a live album issued after the band imploded. But Why Dontcha is the album everyone expected – nothing more, nothing less.

This article originally appeared in VG‘s Sept. ’08 issue. All copyrights are by the author and Vintage Guitar magazine. Unauthorized replication or use is strictly prohibited.

Robben Ford has been a prolific artist since the early ’70s and is as much a teacher as a recording artist. His impeccable soloing techniques, phrasing, and tone have been the subject of several books and videos.

Mixing jazz influences into a rootsy blues stew, Ford brings his smooth and tasty rhythm playing to the forefront. He has slowed the touring schedule somewhat, but not the teaching, and in this new 90-minute DVD he explains and demonstrates dozens of blues rhythm concepts and techniques from 12-bar shuffle blues rhythms to mixing in jazz chords to blues comping, and takes you through several of his tunes showing his chord voicings, rhythms, and right-hand picking/finger techniques.

Ford answers questions about double-stops, guitars, recording, and road gear. Possibly one of the most down-to-earth and easygoing of the musicians in his field, Ford has an easy way that translates well in an instructional DVD environment.

More than anything, he shows that developing technique then finding the emotion to back it is key to any musical performance.

This article originally appeared in VG‘s Sept. ’08 issue. All copyrights are by the author and Vintage Guitar magazine. Unauthorized replication or use is strictly prohibited.

Texas-born Mike Morgan returns with his 13th album of original songs, layering blues with a funky rhythm that captures the essence of Muscle Shoals and Beale Street all at once, and does a credible job. Morgan has a strong voice and develops rich melodies that stay true to blues structures and context, but also bring a slightly different sound and feel. Some of that may be the equipment, like his Epiphone Riviera with minihumbucking pickups and a penetrating tone used to good effect on “All Night Long” and “Sweet Angel.” A Strat can be heard on the title tune and “You’re The One,” though the best cut on the album may be the instrumental “Funky Thang,” which includes guest vocalists Randy McAllister and Lee McBee.

Morgan and company have been active for 20 years and deserve a wider following. The guy looks cool with that eye patch, and packs a mean sting with the Epiphone.

This article originally appeared in VG‘s Dec. ’09 issue. All copyrights are by the author and Vintage Guitar magazine. Unauthorized replication or use is strictly prohibited.

What happens when a classical guitar player goes jazz? If it’s Jeff Barone, the answer is he brings a classical sensibility to the jazz and creates one of the most listenable and accessible CDs of this decade.

There’s no real secret here. Barone surrounds himself with a cream-of-the-crop list of studio vets who have played with the likes of Maynard Ferguson, Blood, Sweat & Tears, Herb Ellis, and Herbie Hancock. Then, he writes fine original compositions and mixes tasteful covers. Most of all, though, he brings a startling, effortless guitar style.

While much jazz is a little busy, the tracks here offer instrumentation that is complex, yet easy on the ears – melodic rather than fast notes, grooving and tasteful. Some of the best tunes are Barone’s originals that show a maturity that belies his age and experience. Of course, an education at the Manhattan School of Music (and the city’s clubs and bars!) doesn’t hurt. This is a guitarist on the rise.

This article originally appeared in VG‘s Sept. ’08 issue. All copyrights are by the author and Vintage Guitar magazine. Unauthorized replication or use is strictly prohibited.

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On their first major label release, the band formerly known as Disneyland After Dark (changed after a threatened lawsuit by the Disney Co.) was poised for a breakthrough in the U.S. with backing from Warner Brothers, and video in heavy rotation on MTV, and a melodic approach to metal that featured big guitars and no keyboards. Alas, it didn’t happen.

Perceived as a “hair band,” their debut was blunted by the rapid change of musical tastes and embrace of grunge. That’s too bad because this record, originally released in 1989, is as compelling as any from the era. Every song is well-crafted with melodic hooks, catchy choruses, and surprises like a groovy lead played on a Gretsch in several songs. Though No Fuel, backed by the Warner machine, was not a bad seller, the followup stiffed and D.A.D retreated to Europe where they gained and maintained a big following.

This reissue has been remastered, but the original was so well-recorded it’s difficult to hear any sonic changes. Still, it serves as a reminder of how much great music falls through the cracks when there aren’t enough ears to hear.

Duke continues his impressive output with a nod to his swing roots. Among guitarists, Robillard is known as a do-all, as he can be at home in almost any musical style, not only mimicking lines and copping phrases from the best of the genre, but adding deft touches to the finished product.

His knowledge of musical history is deep, and here he touches on music from such disparate sources as Irving Berlin and Ray Charles while delivering a stew of swing-era tunes that snap and pop and still have room for solo improvisation.

This disc is listenable for two big reasons; the supporting cast has been playing with Robillard for years and is made up of capable, fine performers in their own right. Many lead their own bands. Second, everyone is having fun, and it’s palpable in the recording. The horns are pushed up front and they zing, while the keyboards are floating and soaring.

Duke gives the other musicians their space, allowing them ample solo time and keeping his own lead lines brisk and tight. He’s playing a Gibson Tal Farlow on most of the tracks, and an old Gibson L-7 with floating pickup on the others. The sound is smooth and mellow, which can be said for many of the cuts, though there are also a couple with Duke’s patented jump-swing approach. While most of these are covers, Duke’s originals stand with the best of what’s here, which is part of what makes his music so unique. – Eric C. Shoaf

This article originally appeared in VG‘s Aug. ’08 issue. All copyrights are by the author and Vintage Guitar magazine. Unauthorized replication or use is strictly prohibited.

The Beasts of Bourbon have always been a vehicle for vocalist Tex Perkins, but have also been as much a side project as a major recording and touring force. Well-regarded and influential in their home Australia, they have never had much reason to venture forth. But the new work may break them big in spite of themselves; it’s 35 minutes of classic rock that blends familiar riffs, grooves, and feel, overlays hooks and gritty vocals, and gets it done in about three minutes before moving on.

Every song on this disc is so to-the-point you have to ask what decade you’re in. If you melded ’60s AM rock to ’70s FM AOR or mixed the Faces with Ted Nugent and Motorhead (seriously!) you’d get the idea. Two of the strongest cuts have a Stonsey vibe, but are purely original. “I Don’t Care About Nothin’ Anymore” and “I Told You So” are mature rock, alive with vigor, and fresh even if familiar. That could be the Fender and Gibson guitars through Marshall amps relaying that classic sound. But more likely, it’s the creative energy of musicians who understand that the simplest approach can often create the best music.

Rory Block has been involved with the music of Robert Johnson most of her life. At a young age, she apprenticed directly with Son House, Skip James, Reverend Gary Davis and other seminal blues greats.

She knows the blues, and has won a number of WC Handy awards for her efforts over the years. On these two DVDs, she focuses on the stylings of Robert Johnson and demystifies the licks, runs, strums, bass lines, turnarounds, and other important elements of his music.

Working in open D and G tunings, Part 1 provides a series of information keys – specific guitar techniques that are common to all Johnson compositions: the slide sound, the percussive picking and strumming skills needed to achieve the feel of his songs. Block discusses blues singing styles, and how to establish the energy, drive, and motivation that will make for a funkier, more interesting player.

In Part 2 she takes several specific songs and analyzes them in depth, note by note, lick by lick. Each of the three represents a different stylistic aspect of Johnson’s playing, and each is broken down into specific components beginning with the intro, the chord positions, slide moves, picking, strumming and other skills needed to play the songs as they were meant to be played.

Block’s passion for the music, along with her remarkable talent, makes her the perfect teacher and means that players with medium skills will be able to master these techniques.