This go around of Quickies includes some records promoted by my illustrious Blogcritics colleagues Josh Hathaway, Mark Saleski, and Michael J. West. Since they were causing a major (well, in Saleski's case, minor) ruckus over these recent releases, I of course had to go find out what the big danged deal was about them. Much to my surprise (not really), it turned out that these guys know what the hell they're talking about. Blues fans should find something in it for them this go around, as two of these recommendations include records right down their alley.
But first, I want to wax lyrical on something I found all on my own:
Ben Allison & Man Size Safe Little Things Run The World
Whenever I listen to a Ben Allison album I usually forget he's a bass player, because the group interplay and his compositions are the things that stand out on his records. I even sometimes think I'm listening to a Dave Douglas recording.
That's not just because Ron Horton's trumpet roughly resembles the same tonality and pitch as Douglas', but more because of how Allison crafts his compositions: with much care taken to harmonic development, incorporating as many non-jazz element as jazz elements. And with a keen ear for finding nuance in even the more popular forms of music, as evidenced by his slowly syncopated version of John Lennon's "Jealous Guy."
Little Things Run The World is a strong record from start to finish. It's high time Allison gets more recognition.
Ronnie Earl & The Broadcasters Hope Radio
This is one I saw Saleski pimping to Josh over on Josh's Confessions Of A Fanboy site. I already knew about Ronnie Earl but he's one of those guys who I should be listening to a whole lot more than I do. After all, he's a blues guitar slinger with some jazzy inclinations and is way more than merely good. The Santana-like organ-anchored grooves are good for the soul, while Earl's guitar playing a derivative of Otis Rush and Buddy Guy pleases the heart. And there's no lyrics disturbing the flow; it's 100% instrumental.
Hope Radio is a standout in Earl's discography because it's the best culled from two live performances. Even though it sags a bit in the middle, the electricity overall from the stage is undeniable and the backing band does a great job of just laying back and letting Earl rip when it's shredding time. "Blues For The West Side" in particular sizzles. But Earl won't go Satriani on anybody; that's not what the blues is about. However, if you're going to do all your talking on the guitar, you better speak fluently. Ronnie Earl still can, and remains one of the best guitar speakers in the blues world.
Article comments
1 - Mark Saleski
i swear, Ronnie Earl is a freaking gem. it's a crime that he's not a household name, even among blues fans.
2 - Josh Hathaway
Well done, Pico. Hundt is a Swiss Army Knife of blues. He plays bass, mandolin, and harp (Hundt actually plays a lot of the harp you hear on the record) and does so with stunning mastery and style. Barrelhouse Chuck and Piano Willie Oshawny are both great piano players (the latter doing the lion's share of the work and is a regular member of the touring Flip Tops lineup) and bring that early sound you speak of. What a great record.
What's amazing to me about Earl is something Saleski told me when he was first introducing me to Earl's work. Earl has such a great ear he can play in the vein of Hubert Sumlin and get the nuances right ("Wolf Dance") and then he can turn around and get in the groove of the legendary Otis Rush ("Blues for Otis Rush"). When he's done paying homage to the greats he can play in a style completely his own. It's an amazing ability and I've got to add some more Earl to my collection.
3 - Pico
Thanks for both the tips and comments, y'all. Now I wonder how long it will take for Mr. West to realize he was being shouted out, too ;&)