In an effort to cover as much worthy music as possible, I am going to limit my reviews to around 150 words. There’s just so much good stuff out there worth mentioning! As always buying your music from one of our many fine independent record stores is the way to go.
Benmont Tench
You Should Be So Lucky
Blue Note
Tench is the ultimate utility player, the go to guy who helps steady Tom Petty and company but can step to the plate as needed. You Should Be So Lucky – his first official solo release – beautifully displays the attributes that define the essence of a support musician. His versatility, exceptional playing, and exquisite sense of timing propel the dozen songs into uncharted and unexpected terrain.
Be it the mournful pop of “Today I Took Your Picture Down” or the New Orleans funk of “Wobbles” Tench consistently plays to his strengths; as a vocalist Tench is no better than serviceable but he stays within his range and smartly allows his band to hold sway. Recorded live in the studio by legendary produce Glyn Johns, Luckyhas an intentionally shaky feel, the sort of rag tag disc that makes its mark and moves on. The result is an understated surprise that makes me wish he’d step more often into the spotlight. ****
Blue Mother Tupelo
Only Sunshine
Juke Tonk Records
The Nashville based duo of Ricky and Micol Davis have spent two decades under the radar, making their harmonious brand of Southern rock with skillful care. From the opening “Country Fun” through the Cajun call of “Mississippi Mud” Only Sunshineremains addictively engaging, the sort of breezy delight that seems equally well suited for an afternoon of porch sitting or a long mountainside drive. With energy to spare it’ll work its way into your subconscious and have you humming along in no time.
Engineered and recorded by Ricky Davis the sound is clear and precise, showcasing the pair’s simpatico vocal styling and expressive voices. Unlike their previous efforts – which balanced between cover songs and original material – Only Sunshine is entirely written by the two, adding a certain gravitas and sensibility to an already fine recording. ***1/2
Peter Frampton
Hummingbird in a Box: Songs for a Ballet
Say what you will about Frampton, but for all his wealth and fame he’s never been one to avoid a challenge. Written as an accompaniment for the Cincinnati Ballet, with whom he’s collaborated on several occasions, HIABconsists of seven elaborate compositions that are as far removed from Frampton Comes Alive as one could imagine. It’s also among the most adventurous music he’s ever made, a rare example of an artist thinking outside their own box and making it work.
Largely instrumental, the emphasis is on Frampton’s supple and highly inventive guitar skills and melodic knack. “The Promenade’s Retreat” is as lovely a tune as he’s ever written while “Shadow of My Mind” – easily the most Frampton like song herein – hearkens back to his celebrated tenure with The Herd while the jazz focused “Norman Wisdom” sounds like an extended Humble Pie workout.
It’s not a disc for everyone and will likely leave longtime followers scratching their heads. But I find it a refreshing change of scenery from an artist determined to not rest on past glories. ****
Dual Drive
The Memphis Project
Icehouse Records
The brainchild of guitarist Garry Goin and saxophonist/flutist Pat Register (aka Dual Drive) this disc is a healthy dose of blues and funk with a decidedly good-natured swing. Both are deeply rooted in the Memphis scene, meaning you can expect lots of Booker T. and the MGs style groove. Ten cover tunes, most leaning towards the familiar and largely instrumental, are all played with respect and reverence. At times a bit too much, as Goin and Register tend to mirror the original arrangements, but when they do step out, particularly on Charlie Rich’s “Who Will the Next Fool Be?” (with a smoking vocal performance by Wendy Moten) the results are stupendous.
Highlights include faithful renditions of “Green Onions” (pretty hard to mess that one up!) and a surprisingly taut “Never Can Say Goodbye.” For those of us who love the particular bit of soul that emanated from Memphis, this disc is a deferential remembrance of an era largely past. ***1/2
Mark “Mule Man” Massey
One Step Ahead of the Blues
Icehouse Records
Mark “Mule Man “Massey is a Mississippi hill country bluesman with enough life experiences for ten. A stretch at Parchman prison not only set him straight, but introduced him to the restorative nature of music. After an apprenticeship with David Kimbrough – son of blues legend Junior – he set out to make his mark. With a band comprised of extraordinary music vets (averaging 40 years on the road) Massey is the youngest white blues musician on the circuit.
One Step Ahead reflects this “hard times build determination” mantra. It’s as pure of essence blues romp as I’ve heard all year, abounding in swagger, swing, and scorch. Featured guest Willie Clayton infuses “In the Hole” with grit and desperation while the exuberant “Double Trouble” (not the Otis Rush song) shows off the band’s transcendent yet fiery expertise. This is Blues done right, with passion and authenticity, and one heck of a fine listen. ****
Shaman Juan
Soothsayer
Mysterious Force Records
As the first Caucasian signed to Motown records, Shaman Juan holds a unique niche in cultural history. It speaks to both the diversity of his music and his flair for writing songs well beyond his empirical norm.
Juan – who has worked in film and radio, collaborated with Guns N’ Roses, and spent time as a member of the SNL band – has seen and done it all. This wealth of experience is reflected in Soothsayer, a funk laden observation of life, love, and the universal longing for understanding.
Anchored by longtime James Brown drummer Clyde Stubblefield, it’s an infectious dance along that, much like the best work of Marvin Gaye and Curtis Mayfield, looks unflinchingly at the social injustices of our day. There’s a lot more below the surface of Soothsayer than you might think; both worthy of our deliberation and a call to action. ***1/2
Wendy Jones Quartet
Perfect Dream
ARC Music
A collaboration with Asheville based pianist Michael Jefry Stevens, and ably accompanied by bassist Zack Page and drummer Rick Dilling, this is 50s period lounge jazz at its finest, smoothly laden undertones that go down like fine scotch. And while this delight would have been a perfect coupling to season one of Mad Men it’s no simple exercise in nostalgia, but rather a terrific extension of a style that deserves preservation.
The bulk of the material is written by Stevens – playful and romantic ruminations that perfectly suit the band – and aptly demonstrate his skills as an arranger. Album highlights include the sensual “Highway Blues” and the delightfully coy “Losing Streak,” but as one who adores this era every track here hits the mark.
Perfect Dream is an example of just how much the jazz scene in Asheville has grown, and how blessed we are with local talent. *****
