Dug Pinnick – Tribute to Jimi: Often Imitated by Never Duplicated

Posted on July 3, 2018 by aaamc

Title: Tribute to Jimi: Often Imitated but Never Duplicated

Artist: Dug Pinnick

Formats: CD, LP, Cassette, Digital

Release date: May 18, 2018

Dug Pinnick’s Tribute to Jimi: Often Imitated but Never Duplicated is a fitting homage to the guitar great, in part because Pinnick is an ideal musician for pulling off a project such as this. Having spent decades as the bassist and singer for King’s X, which just might be the most underrated power trio in rock and roll history, he is the perfect candidate to record tunes by the Jimi Hendrix Experience, which is arguably rock and roll’s preeminent trio. Also, upon hearing Pinnick’s vocals on these tracks, the listener is hard-pressed to think of a more fitting vocalist to sing these songs. The bulk of the guitar duties are handled by Tracey “Spacey T” Singleton from the groundbreaking metal group Sound Barrier, one of the first African American heavy metal bands. While this tribute to Jimi is not a note-for-note replication of Hendrix material, it is also not a reinvention. The eight tracks bear tremendous amounts of similarity to the originals. However, there is a general freshness to this recording that results from the presence of stylistically indoctrinated musicians who are willing to occasionally color just outside the lines.

The sonic similarity to the originals is not surprising since this recording was made with that intention. Pinnick stated that they had wanted “to recreate the analog recording process as closely to the original recordings as possible.” With this in mind, they used as many of the same types of equipment used by Hendrix and company as was feasible. The result is a modern recording that maintains a vintage feel. While the playing on the album has had the influence of fifty more years of musical evolution, the actual guitar tones maintain the characteristics of the late ‘60s. “If 6 Was 9” serves as a perfect example of this. Although there are variations in note choice from the original, the guitar sounds as if it was recorded using the exact same rig that Hendrix used back in 1967.

Song selection for a tribute album can always be tricky. When dealing with the catalog of an artist such as Jimi Hendrix, who had so many great songs, the difficulty in selecting eight tracks is compounded. Nevertheless, Pinnick did a great job in narrowing down the scope of the project by sticking with songs from the three studio albums released during Hendrix’s lifetime—Are You Experienced (1967), Axis: Bold as Love (1967), and Electric Ladyland (1968). Tracks include psychedelic standards such as “Are You Experienced” and “Purple Haze,” songs in the pop vein such as “Fire” and “Crosstown Traffic,” and iconic Hendrix tracks such as “Voodoo Child (Slight Return).” Of course, “All Along the Watchtower” is also present. It is perhaps ironic—or even fitting—that a cover of a cover would be present on this album. Nevertheless, any Hendrix project would be incomplete without “All Along the Watchtower,” which along with Aretha Franklin’s version of Otis Redding’s “Respect,” stands out as one of the greatest cover songs of all time.

“Are You Experienced” is the first track, and the impeccable backwards guitar sets the bar high for the remainder of the album regarding attention to detail in capturing the spirit of the originals. This attention to detail is evident throughout the album, and “Crosstown Traffic” continues this sentiment by including the kazoo part from the original. Other standout tracks include “Purple Haze,” driven by Pinnick’s signature 12-string bass sound. Also, though covered many times, Pinnick’s version of “All Along the Watchtower” serves as one of the more authentic covers of the Hendrix classic. Worth mentioning too is “Voodoo Child (Slight Return),” which closes the album in a blistering fashion.

As a testament to his phenomenal output with King’s X, Pinnick will always attract that band’s loyal fans. Ideally, others will also find this recording and discover what diehard King’s X fans have known for years—that Dug Pinnick is one of the great rock and roll talents. Tribute to Jimi is one of the best tributes to Hendrix ever released, and it is obvious that the musicians had fun making this album. The final product is a recording that builds upon the experimental spirit of Hendrix while still maintaining a stylistic affinity to the original recordings. As should generally be the case with performances of Hendrix songs, the guitar playing on this album is scorching, and Pinnick’s powerful voice adds a new dimension to these classics. It is truly hard to envision this album disappointing any rock and roll fan.

Reviewed by Joel Roberts

Hendrix in the Spirit of Jazz

Posted on January 4, 2018 by aaamc

Title: Hendrix in the Spirit of Jazz

Artist: Various

Label: ACT

Formats: CD

Release date: December 8, 2017

Hendrix in the Spirit of Jazz is a collection of Jimi Hendrix songs performed by various artists from Germany’s ACT label. Hendrix, who would have turned 75 in November shortly before this album was released, remains one of the most influential musicians of all time. His influence on electric guitarists is universally recognized, and the rare guitarist who is unaware of Hendrix has undoubtedly studied the playing of others who were influenced by him. Appropriately, this album features an obligatory guitar presence; however, it also demonstrates that Hendrix’s influence spans beyond his chosen instrument.

The opening track is a solo piano performance of “Angel” by Norwegian pianist Bugge Wesseltoft, which demonstrates Hendrix’s talent as a composer. Although music history focuses on Hendrix’s influence upon the electric guitar, his songs are able to transcend genre and instrumentation. This track, along with the album as a whole, proves that Hendrix tunes are perfect vehicles for jazz improvisation and experimentation.

Highlighting the strength of Hendrix’s songs—and their ability to remain stylistically ambiguous—are two versions of “Little Wing.” A jazz trio, featuring what is arguably the best playing on the recording by Finnish pianist Iiro Rantala, performs the first version. Rantala plays over the original chord changes during his solo, but he weaves intricate jazz lines over them to create a harmonic palette that should interest any jazz fan. The other version of “Little Wing” is closer to the original in terms of instrumentation. French guitarist Nguyên Lê delivers a remarkable performance in which he channels Hendrix’s technique, while simultaneously sounding a bit like fusion guitar icon Allan Holdsworth.

Lê is featured again on “1983… (A Merman I Should Turn To Be),” along with American musician Terri Lyne Carrington on drums and vocals. As the first female artist to win a Grammy for Best Jazz Instrumental Album, Carrington’s presence on this compilation is fitting in that she parallels the innovative, groundbreaking spirit of Hendrix. This cover of “1983,” which is one of the most sonically experimental tunes ever recorded by Hendrix, is one of the standout tracks on this album. The musicians capture the essence of the original, yet they do it uniquely in a jazz fusion setting.

Though all of the tracks have something different to offer, there are aspects of a few songs that warrant mention. First, no other tracks are as captivating as the versions of “Voodoo Chile” and “Are You Experienced.” The former’s rendition by a jazz big band is refreshing, and the horn arrangements serve as another example of the versatility of Hendrix’s music. Similarly, “Are You Experienced” stands out for its cinematic arrangement performed by a symphony orchestra. Additionally, Marc Ribot’s reverb-laden guitar on “Drifting” is simply mesmerizing, and this song is accentuated by the presence of South Korean jazz vocalist Youn Sun Nah, who sings beautifully.

Despite the album’s title, Hendrix in the Spirit of Jazz is neither a straight-ahead jazz record nor does it contain typical cover versions of Hendrix songs. However, the potential listener should be assured that these tunes bridge the gap between the two styles well. Nguyên Lê provides quality guitar playing on four of the album’s tracks. He has enough stylistic similarity to Hendrix that he should appeal to those not yet indoctrinated into jazz. On the other hand, the presence of some monster jazz players should appeal to jazz aficionados. In particular, there are some phenomenal drummers on this album—Danny Gottlieb (Pat Metheny Group, Mahavishnu Orchestra), Peter Erskine (Weather Report, Yellowjackets), and the aforementioned Terri Lyne Carrington, who has played with everyone from Dizzy Gillespie to Herbie Hancock.

Hendrix in the Spirit of Jazz has certainly been produced in the spirit of Jimi Hendrix, who is quoted in the liner notes: “When I die, I want people to play my music, go wild and freak out and do anything they want to do.” His wishes have indeed come to fruition with this compilation of his music.

Reviewed by Joel Roberts

Walter Trout – We’re All In This Together

Posted on October 2, 2017 by aaamc

Title: We’re All In This Together

Artist: Walter Trout

Label: Mascot Label Group

Formats: CD, Vinyl, MP3

Release date: September 1, 2017

Walter Trout’s We’re All In This Together marks the newest addition in what has already been a prolific career as a recording artist. One could view this recording as a celebration of sorts since Trout underwent a liver transplant in 2014. While this isn’t his first release since the transplant, it certainly has a much more upbeat feel overall when compared to his 2015 release, Battle Scars, which dealt with his battle with liver disease.

Helping Trout celebrate on this recording are a number of notable guest artists. With each track featuring a collaboration with a different artist, this album stands out for its stylistic variety. The various formidable guitarists should interest any guitar aficionado, although not every guest artist is a guitarist. Charlie Musselwhite’s harmonica on “The Other Side of the Pillow” stands out as one of the best performances on the album. However, make no mistake about it: this is a guitar album!

Trout’s history playing with major names in the blues world such as John Lee Hooker, Canned Heat, and John Mayall—just to name a few—must have contributed to his ability to lure so many great guest artists to this project. His ability to blend well with each of the guests and play complementary to their style was undoubtedly a factor. With 14 different guests, there is likely an artist to suit almost any taste. Trout is joined by his former bandleader John Mayall on “Blues for Jimmy T.” Other standouts include performances by Kenny Wayne Shepherd, Sonny Landreth, Robben Ford, Eric Gales, Joe Louis Walker, and Joe Bonamassa.

Bonamassa might be the most recognizable name in today’s guitar world, and his performance on the title track is a knockout. Nevertheless, it is the playing of Eric Gales, who recently released his Middle of the Road on the same label, that reminds the listener why Joe Bonamassa himself has described Gales as “one of the best, if not the best guitarists in the world.” “Somebody Goin’ Down,” which features Gales and begins with an intro reminiscent of Jimi Hendrix, ultimately manifests itself as a medium-tempo rock track that becomes a vehicle for some brilliant improvising by both Trout and Gales, who end up trading guitar licks during the outro solo.

Another standout track is “Crash and Burn,” an upbeat blues with a Chicago feel featuring Joe Louis Walker on vocals and guitar. Like many tracks, this one also features guitar playing suitable for in-depth study, but Walker’s vocals are also worth mentioning. His voice would not be out of place on a Stax recording from its heyday, and at times it is akin to Albert King, who recorded at Stax in the late 1960s.

We’re All In This Together is a welcome addition to any blues fan’s collection. It is an even more welcome addition to the collection of someone who loves guitar playing. Walter Trout is at the top of his game on this record, and his selection of guests perhaps inspired him to new heights. Whether the catalyst for this performance was newfound inspiration from great players or a new lease on life, the final product is a solid recording that will hopefully introduce Walter Trout to a new generation of listeners.

Reviewed by Joel Roberts

Richmond Blues

Posted on July 18, 2008 by aaamc

Title: Richmond Blues

Artists: Cephas and Wiggins

Label: Smithsonian Folkways

Catalog No.: 40179

Release date: July 29, 2008
–
The guitar and harmonica pairing of John Cephas (guitar) and Phil Wiggins (harmonica) is a sound familiar to fans of the great Brownie McGhee and Sonny Terry, but these days the blues stylings of the Piedmont region (the Appalachian foothills that run from Richmond to Atlanta) get less attention than the electrified virtuosity of Chicago blues players, or the so-called “authentic” allure of Delta Blues players. This could be because Piedmont Blues doesn’t always sound like “the blues.” Sometimes it sounds like country, other times like ragtime, and sometimes like folk balladry, and that’s precisely what makes Richmond Blues so much fun to listen to.

The diversity of sound is not a novelty, nor is it extreme, and a thorough listening will ground the sound of the record in the blues for sure: the blue notes on the guitar, the wailing bends on the harmonica, and AAB blues structure of many of the songs, and the overall down and out theme reminds the listener that this music was born from hard times, but played to ease them. Built around Cephas’s finger picked acoustic guitar and singing, accentuated by a second “voice” of Wiggins’s harp, Richmond Blues rolls along from the opening title track, through blues classic “Going Down the Road Feeling Bad” to the romp “Step It Up and Go,” all the while keeping your foot tapping. In addition to the up-tempo stomps, they slow it down for the plaintive, “Prison Bound Blues,” and a take on the classic “Careless Love” that may break your heart.

Cephas and Wiggins, who have been playing music since they were children, and playing together since the late 1970s, have been a mainstay in the Virginia/D.C. area for years, and have had great exposure at the Smithsonian Folklife Festival in Washington. This latest release, their 14th together but the first for Smithsonian Folkways, captures the live spirit that makes you wish you had run across these master musicians busking on the street corners. As described by their long time producer Joe Wilson as “urban acoustic blues,” their music is at once tradition, and thoroughly modern.

Richmond Blues is released through Smithsonian Folkways as part of their new African American Legacy Series, an effort in anticipation of the Smithsonian National Museum of African American History and Culture, and shows great promise for future releases of master musicians that exemplify styles and traditions not always recognized by less sophisticated and informed labels. Liner notes are provided by scholar and writer Barry Lee Pearson, whose book Virginia Piedmont Blues chronicled Phil Cephas in great detail. The notes provide information about the performers, their history of learning and playing music, as well as a brief but well written history of the Piedmont Blues tradition. In addition, each track is given a short biography as to who played it before, how it was played, and how it fits into Cephas and Wiggins’ repertoire. As a nice bonus for musicians listening, it also indicated what key each song is played in.

Richmond Blues is a rare treat, and one that transcends the dedicated blues fan-base and could appeal to a great variety of roots music fans, without in any way compromising the music. It’s unfortunate that regional styles like this, played by working musicians are often relegated to the small labels that need some detective work to find. Smithsonian Folkways has once again offered music the broader public might not otherwise hear (like they did with Brownie McGhee and Sonny Terry, as well as countless others) and should be commended for it.

Posted by Thomas Grant Richardson

Manchester Free Trade Hall 1964

Posted on May 9, 2008 by aaamc

Title: Manchester Free Trade Hall 1964

Artist: Reverend Gary Davis

Label: Document

Catalog No.: DOCD 32-20-14

Date: 2007

In Reverend Gary Davis we had one of the best examples of a musician who carefully navigated the terrain between sacred and secular musics, causing intersections not often heard. In the newly released Manchester Free Trade Hall 1964 from Document Records, we hear Davis performing as part of the “Gospel and Blues Caravan” touring throughout Europe, on a night that captures an excellent showman in top form.

Though the image of a blind guitar player adheres more to blues mythology than gospel, Davis performs four gospel songs on his trademark Gibson Jumbo-200 with natural ease, as if they were intended for the acoustic guitar. One of his trademark songs, “If I Had My Way,” finds Davis shouting his praise while his tremendous finger picking runs up and down the fretboard, oscillating between stellar bass runs and high register licks responding to his vocal lines. “The Sun is Going Down” brings Davis’s long time friend Sonny Terry along on harmonica, and the two sound majestic together, every bit as tight as Terry’s work with Brownie McGhee. Equally impressive is Davis’s “Coon Hunt,” a harmonica instrumental based on Terry’s “Fox Chase,” which gives further evidence of Davis’s wide and varied musical ability.

To cap things off, Davis ends with Scott Joplin’s “Maple Leaf Rag,” showcasing his ragtime finger picking chops. Davis complicates the standard repertoire of a bluesman, moving not only between sacred and secular songs, but also with a double dose of ragtime in “Maple Leaf Rag,” and the impressive instrumental “Cincinnati Flow Rag.” According to the liner notes penned by Bob Grooms, Davis also excelled at the piano and banjo, and based on the virtuosic display heard here, one longs to hear what he might have had to offer on those instruments.

The few drawbacks of the album have nothing to do with Davis, but with the remastering of the tracks, which are inexplicably inconsistent. Some sound intimate and clear while others sound like bootlegs made from the audience. The loud applause in between takes is disruptive in its length and volume. This is surprising from Document, which generally excels at remastering historical material. The liner notes are adequate but mostly a song-by-song explication as to where each fits within Davis’s larger performing repertoire, as well as some general history as to Davis’s activities in Europe in the 1960s. The photos are minimal and offer only two shots of Davis backstage, so one never gets a visual sense of Manchester Free Trade Hall. Nonetheless, none of this undermines the astounding performance given that May night in 1964, where it became quite obvious that American blues and gospel had become transnational musics.

Posted by Thomas Grant Richardson