October 2003-CD Reviews

Eric Bibb: Natural Light - Earthbeat
Eric Bibb has always been an eclectic recording artist. To label him as simply a blues singer would be too limiting, as he flirts with many different styles ranging along the whole musical spectrum. While Natural Light is chock-full of the acoustic country-inspired blues that Bibb has become well known for, he also incorporates elements of funk, jazz, and even a bit of folk. The disc opens with some Delbert-esque Austin funk, complete with a fat horn section on “Too Much Stuff”. Old school blues-jazz manifests on two occasions with a smooth and elegant sound “Home Lovin’ Man” and “Gratefully Blue”, which hearken back to the days of Billie Holiday and Ella Fitzgerald. Employing a Tom Waits approach to songwriting, “Circles” tells the poignant story of a man who has lost his way. Eric reworks the Rita Coolidge hit “Higher and Higher” incorporating shades of gospel and zydeco. Natural Light is a well rounded recording on which Eric Bibb demonstrates his ability to unite different styles of music and come out with a sound that is completely fresh and original. - Tony Engelhart (See Eric Bibb’s tour dates in the calendar)

MORE on Eric Bibb...
Already considered a star overseas, Eric Bibb has slowly been gaining momentum as a viable force in the US contemporary blues scene with his unique approach to the genre. Born in 1951 to New York folk singer Leon Bibb, Eric was indoctrinated to appreciate all types of music by both his father and his uncle, world-renowned jazz pianist, John Lewis of the Modern Jazz Quartet. Legends such as Pete Seeger and Bob Dylan were frequent guests in the Bibb household who also encouraged the youngster to experiment. So it should come as no surprise that Eric Bibb’s music incorporates many layers, including folk, country, gospel and soul for a rich and textured sound not often found in blues.

Bibb launched his career in Europe, playing at blues and folk festivals in London, Cambridge, and Dublin. In 1997 Eric released his debut, Good Stuff. While the record was a critical success, it would take his next release, Shakin A Tailfeather with Taj Mahal and Linda Tillery to capture a wider fan base. Every recording the relative newcomer has released thus far has been praised by critics and fans alike. Even though two of his follow-up albums (Sprit & The Blues and Home To Me) were nominated for the prestigious W. C. Handy awards, it was his 2001 breakout CD Painting Signs that was most recognized and solidified Eric Bibb as a true blues man and garnered the best reviews of his career. It seemed Bibb had finally made it in the states as the song “Kokomo” was nominated for a W.C. Handy Award for song of the year. Shortly after the release of Painting Signs, Eric Bibb was invited to open for Robert Cray as Cray toured in support of his release, Shoulda Been Home. The combination of Cray’s slick and polished sound and Bibb’s rootsy and antiquated style gave audiences a delightful treat of two extremes in one night.

To date, Eric Bibb has released nine records. However, some are not available in the states. Never fear, the majority of his imports can be found on his website including A Family Affair, where Eric teams up with his father and mentor, Leon Bibb for the 1st time since the guest appearance on the obscure live recording, Roadworks.

Bibb’s latest cd, Natural Light, is perhaps his most uncompromising project to date where he blends genres seemingly effortlessly from Robert Johnson-esque acoustic blues to Austin fat horn blues.
Eric Bibb, while now considered a world-wide blues star, has nonetheless remained grounded, grateful, and humble. The modest Bibb is permanently settled in Sweden, where he works as a music and voice teacher when not performing or recording.
The legendary Taj Mahal was once quoted as saying, “Eric is one of the new, young singers that has appeared on the scene that, much to my delight, has a great voice, is an excellent performer, and has a great knowledge about the roots of the music.” And I couldn’t agree more. - Tony Engelhart

Mark Riley: Confessions of a Madman - PTM
As a Texas friend said after hearing Confessions of a Madman: “There ain’t no flies on that one, Bubba.” Sho nuf...From the opening cut’s slide & bass in-your-face sound, you know it’s gonna be a good one.

In the NW, Mark Riley is known as an amicable fellow, and all business when he’s on the bandstand. His “I Think I Love This Girl” has a light subject matter, but the guitar’s varied voice is more playful and quickly tells the ear: this guy is moving fast. “Steel Blues” is an acoustic instrumental w/slide. “Sunday Mourn” is a slow dance with Rick Ulsky’s B-3, and the rhythm section is rich and deep, so Riley’s vocals can caress the emotion in the poetry. The two covers that Riley includes on the album sound very much like grass roots compositions; I tip my hat to Riley for the originality of these covers: Robert Johnston’s “Preachin’ Blues” and Sonny Landreth’s “Congo Square.”

Formerly a 6+ year “Blue Note” with Little Bill, Riley learned you can’t manhandle your muse. Knowing that studio recordings sound different from the real thing—i.e. live shows—the studio artists & production team collaborated well. Paul Green, Chris Layton, Lisa Ramaglia, Rick Ulskey & Steve Sarkosky also have touched the project decisively. Even if I had not seen & heard Mark Riley live and unadulterated I’d still tell you this disc is “a sweet thing”, played loud or soft. Though Riley is a very fine guitarist, make sure to note the additions of the other musicians as well—those shakin noises, the harp, and an ever-present bass.

Rich and deep is the madman’s confession; which may be a modest look deep inside Mr. Riley. After listening I’m glad he let the music out. Among other guitar slingers Riley is quiet, his guitars (how many he uses is anybody’s guess) on Confessions of a Madman speak clearly and with a distinctive sound giving this disc even more of a dense texture than at first listening. Hope you’ll enjoy it as much as I did. - Clancy Dunigan

Jimmy Thackery & Tab Benoit: Whiskey Store - Telarc
Jimmy Thackery and Tab Benoit are both well-respected guitarists/singers/songwriters in their own right. Team them up and you get a high octane shot of blues which is sure to send a jolt of electricity through your body. Add Charles Musselwhite on harmonica, Double Trouble as the rhythm section, and Reese Wynans on keyboards, and you get a virtual supergroup.
Although Jimmy and Tab are each killers on guitar, Whiskey Store is not a disc full of endless jams. Moreover, the choice of material is interesting to say the least. The duo reworks an obscure Bob Dylan tune, “Leopard-Skin-Pill-Box Hat” into a gritty mid-tempo shuffle with Thackery on vocals. Tab Benoit takes charge of Neil Young’s “Unknown Legend” creating a new classic which features Mr. Musselwhite blowing a tasty harp. One of the Rolling Stones’ attempts at blues, the now classic “The Last Time” is modified on this disc to have a more contemporary blues aura. Of course, there are plenty of polished originals here as well. Reese gets some B3 chops in on the Thackery homage to Freddy King “Freddy’s Combo”, and Tab revamps the title song from his debut Nice and Warm and adds a little extra mustard this time around.

Whiskey Store is a true testament to the blues with two modern masters who left their egos at the door. Live and loud, yet polished with great production by jazz producer Robert Woods (who worked on Benoit’s last 2 projects) this is one record that demands your attention. - Tony Engelhart (See calendar for October NW tour dates)

Derek Trucks: Soul Serenade - Columbia
There are guitar players and then there is Derek Trucks. Trucks is a guitar player who is making a musical statement rather than selling out to conform to any one genre—much like Jeff Beck did with Wired. He continues with his unique hybrid of jazz and world music with a pinch of blues on Soul Serenade. While the tracks for this latest record were recorded two years prior to Joyful Noise, Soul Serenade feels like a progression from the last disc. Trucks is clearly developing as an artist as he delves deeper into straight-ahead jazz then ever before. Derek, unlike so many guitarists, does not rely on volume or speed but rather plays in a style that is reminiscent of Coltrane, Parker, and Davis, making each note count. Another influence of Derek’s is obviously the Allman Brothers as the listener can pick out licks and musical phrasing from such classics as “In Memory Of Elizabeth Reed” in some of Trucks’ jazz, blues, and rock fusions. Friend and mentor Greg Allman lends his soulful voice to a version of “Drown In My Own Tears”, the only blues track on the cd. The remaining six cuts are experimental jazz; Derek adds an Eastern inspiration to many of these well crafted songs. Derek Trucks is not an artist who makes compromises in order to reach commercial success, and while he might be hard to categorize, he is a breath of fresh air whose talent and versatility will be appreciated for years to come.
- Tony Engelhart

Various Artists: American Folk Blues Festival 1962-1966 Vol’s. 1 & 2 - DVD - Hip-O
Miraculously unearthed and licensed by Reelinintheyears and released through Experience Hendrix, the 3-hours featuring 36 performances by 24 artists are the real thing filmed at the peak of many of their careers. Filmed in a Baden-Baden Germany studio with sets designed to reflect the realities of the urban blues, the sound and B&W footage is amazing. Imagine seeing Muddy Waters, Howlin' Wolf, Sonny Boy Williamson, Lightnin' Hopkins, T-Bone Walker, John Lee Hooker, Big Mama Thornton, Lonnie Johnson, Big Walter, otis Rush, Otis Spann, blues brother Matt "Guitar" Murphy (as exciting as he is today) and others (with 1969 bonus footage of legends Magic Sam and Earl Hooker) in your living room.
Watch closely Sonny Boy's virtuoso "Bye Bye Bird," "Mojo" with Sonny Boy and Muddy, a five-harp jam with Big Mama, John Lee, Big Walter, J. B. Lenoir and Dr. Ross, and the magic of Lightnin' Hopkins doing "Mojo Hand" and laying out enough hot guitar licks in one song to fuel a rocker's whole career.

Hip-O has released a highlights CD but these two DVDs must be seen to believe. These are the performances that American audiences have never seen since they were filmed but which inspired the Rolling Stones, John Mayall, Ten Years After, Yardbirds, Animals, Van Morrison, Ten Years After and so many of the British blues-rockers.

This was no small event. These artists played the finest concert halls of Europe, stayed in the best hotels, and ate in the best restaurants finding a deep respect they never lived to see in America. Their performances show it. Some didn't want to leave. Sonny Boy Williamson stayed on for over a year after the 1963 festival appearing in clubs and on numerous TV shows and recording with the Yardbirds, Animals, Jimmy Page, jazzman Chris Barber and even Rahsaan Roland Kirk.

As talent scout Willie Dixon said, "The blues are the roots; the rest are the fruits." These are the roots and the British Invasion were only the first blossoming of the fruits. Miss these DVDs at your own risk. - Bill Donoghue AKA ‘fessor Mojo, host, www.sonnyboy.com