Blues Blast Magazine Album Review: Sidney Green Street Band - SGSB

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This CD review was originally published in the February 12, 2015 edition of Blues Blast Magazine. Be sure to check out the rest of the magazine at www.bluesblastmagazine.com

The Sidney Green Street Band – SGSB | Album Review

Self Release

www.reverbnation.com/thesidneygreenstreetband

11 tracks / 51:08

The Sidney Green Street band is promoted as a New Jersey bar band, but don’t let that description fool you into thinking they are amateurs – these guys are the real deal. But you do not have to travel to the Garden State to appreciate their brand of blues-rock, as they have recently issued their sophomore CD, SGSB.

Though they have only put out two albums, this quartet has more than enough experience to get the job done no matter where they are playing. Lance Doss (guitar and vocals) toured the world for over six years with John Cale, and guitarist Justin Jordan has over 20 years of professional experience, touring and appearing with artists as diverse as Sean Fleming, Shirley Allston Reeves and Gary US Bonds. Bassist Paul Page toured with John Cale too, and appeared with some really cool acts including Dion, Popa Chubby, Gary US Bonds, Bo Diddley, Del Shannon and Ben E. King. And rounding out the group is drummer Steve Holley whose resume includes work with Paul McCartney, Joe Cocker, and Chuck Berry to name a few.

The Sidney Green Street Band has a few things going for it that most North Jersey bar bands do not, and the first thing is original material: Lance wrote all eleven guitar-heavy tracks for this album. Another plus is a high level of musical ability, and the last piece is their take on Southern blues-rock. Apparently, Doss picked up a good dose of this from his home state of Alabama, but their vibe is still original with just a touch of Skynyrd here and there.

The band took a chance by opening the set with a slow song, “Bye, Bye, Bye,” but this burning rocker paid off for them. Jordan and Doss’ smoking hot guitars are run in stereo and Lance knocks the vocals out with his diverse style, which can be described as a rough on one side and smooth on the other -- kind of like a sheet of A-C plywood! This leads into the almost-pop “Sadie,” a play on the original Sadie Hawkins story as introduced in the Li’l Abner comic strip back in 1937 (in case you were wondering).

This change of genres is not unusual for the Sidney Green Street Band. “Some Things Ain’t Never Gonna Change” is a soft rock tune, but with hard hitting rhythm guitar work over the awesome backline of Page and Holley. It has a few unique guitar breaks, including a standalone dry solo and a heavily processed Wah pedal solo. Also, the modern boogie of “Number” is a jaw-dropping bit of guitar fun.

There are also a few standout tracks on the album that should be pointed out. The first is “Divine,” which has a catchy hook and an acoustic rock foundation. It shows mature songwriting, though it is uncertain if comparing your lady to a “good Southern Whiskey” will get you in her good graces. Doss’ voice is in fine form here with a surplus of emotion, and his harmonies with the other members are spot on. The other winner track is the country rocker, “Payin’ the Price” which is carried by its clever lyrics, an infectious rhythm guitar line, and some truly tasteful solo work.

SGSB ends with a really cool tune, “Consumer,” which has a lot going on. The rhythm section builds a sweet Boz Scaggs riff on the bottom, there is a smoking twin guitar attack on top, and a fun vocal history cuts through the middle. This track would be a good set-closer, and that is exactly what the band does with it on this disc.

The Sidney Green Street Band’s new album is a solid collection of original blues-rock with a Southern flavor. If you are a fan of heavy guitar blues with a killer beat this will be your cup of tea. And if you ever find yourself on US 46 between the Del Water Gap and NYC, make sure you stop in at the Great Neck Inn – they might just be on stage!

Mahalo!

Tweed Funk – Come Together | Album Review

Tweed Funk – Come Together

Self Release

www.tweedfunk.com

10 tracks / 39:08

Tweed Funk brings a Memphis sound to their unique blend of soul and blues, which is partly due to their frontman, Joseph “Smokey” Holman, who worked with Curtis Mayfield in the early 1970s. This Wisconsin based six-piece group formed in 2010 and a few months ago they released their fourth album, and you will find that Come Together is a sweet piece of art. These guys are doing everything they can to succeed: they have earned five Wisconsin Area Music Industry (WAMI) awards, they play all the right festivals, and they are getting great media coverage. It is all well deserved!

For this project, Holman sings the lead vocals, and he is joined by Eric Madunic on bass, J.D. Optekar on guitar, Dave Schoepke on the drums, Andrew Spadafora on sax, and Roomful of Blues’ Doug Woolverton on the trumpet. Chrissy Dzioba and Sara Moilanen contribute backing vocals on half of the tracks. All ten of the tracks on this disc are originals, and it was cut at Makin’ Sausage Music by Steve Hamilton.

Tweed Funk kicks off Come Together with “Light Up the Night,” and this is some extremely tight funk blues. From the intro the listener knows what the band is all about as the horns are popping over Madunic’s killer bass line that is perfectly in time with Schoepke’s drums. There is a lot going on here: Holman’s smooth tenor lyrics use Alice in Wonderland metaphors to spread the message of overcoming your troubles, Spadafora and Woolverton trade splendid riffs, and Dzioba and Moilanen’s backing vocals add just the right amount of soul. This is righteous stuff!

After this, the band shows that they are versatile as they run through different sounds, though the funk and the horns are never too far away. Here are a few examples:

-“Muse” has a light-hearted beat with Latin flavor, and Optekar does a stand-up job of setting the mood with his syncopated guitar chords. This is probably the best example of Smokey’s vocal style as this love song is right in his wheelhouse, both in range and style. This is the shortest song of the set, and I wish it were just a little longer!

-“Who is This” is a stone-cold funkfest, and this instrumental would be a great calling card for any of the musicians involved. Schoepke works the skins hard, and there are standout solos from Woolverton, and Spadafora.

-“Bullet” is an emotional and slow-tempo ballad with muted trumpet and reverb-soaked guitar. The message is somber, as it deals with a friend who chose to leave us too soon.

Coming in at 40 minutes long, this set goes by pretty quickly and before you know it things wrap up with “Soul Rockin’.” This is one last chance for the band to cut loose, and they build a brick house on top of Madunic and Schoepke’s foundation. Smokey’s voice is pleading as he expresses the need for some soul rockin’ from his lady. And, for one last time, the horns are off the hook and tightly hooked up -- this was a wise choice to close with.

Each new album that Tweed Funk has released has better than its predecessor, which is a tough task as their debut was pretty darned good. Come Together has solid songwriting and musicianship, and as a bonus it has a super positive vibe. This is a collection of wonderfully funky and soulful horn-driven blues, and it is a “must buy” in my book!

One last thing - on a more personal note, please keep Smokey in your thoughts as he was diagnosed with multiple myeloma after this disc debuted. The band is taking a break as he gets treatment, and will hopefully pick up again in October. Thank you for your support of him and the rest of Tweed Funk.

Chicago Blues Guide Album Review: Mississippi Heat - Warning Shot

This review was originally published in Chicago Blues Guide on November 5, 2014. Be sure to check out their website at: www.chicagobluesguide.com

Mississippi Heat - Warning Shot

Delmark Records

By Rex Bartholomew

Since 1991, Mississippi Heat has been churning out a unique brand of blues from their home base of Chicago. The band has gone through a few line-up changes over the years, but it is still led by Pierre Lacocque, a masterful harmonica player and first-rate songwriter. They have a big and fun sound, and are not afraid to record original material or bring their show to the stage. They have a heavy gigging schedule and a legion of dedicated fans that come out to see their wonderful high-energy shows.

Mississippi Heat recently released Warning Shot, their 11th album and fifth release from Chicago’s storied Delmark Records. It is a hearty serving of Chicago blues (with a few other flavors added), coming in at over an hour and containing 16 tracks. 14 of these tracks are originals that were written by the band members, with Lacocque getting credit on ten of them. There is a killer line-up of musicians for this disc, with Inetta Visor on vocals, Neal O’Hara on keys, Brian Quinn on bass, Sax Gordon on the saxophone, Kenny Smith and Andrew Thomas on drums, and Michael Dotson and Giles Corey on guitar. A true Windy City legend, Ruben Alvarez, also lends a hand with his tasty percussion work.

All of the songs on Warning Shot are very good, and the band placed one of the best up front! “Sweet Poison” has a frisky bounce right from the intro, with Pierre waging a harmonica battle against the guitar and holding his own. Then, when Inetta starts singing, this track is propelled to the next level with her throaty pipes tearing into her old man for his philandering ways and ruing that his love is still so sweet. There are high production levels to be found here, with crystal clear recording and a spot-on mix that will be found throughout the rest of the album. It is amazing that this disc only took two days to record!

“Alley Cat Boogie” is another peach of a song, a rocking boogie with hammering piano from O’Hara and Sax Gordon trading solos with Pierre. The backing vocals of Mae Koen, Diane Madison and Nanette Frank are a nice touch and make this track complete. You may also know them from their work on guitarist Giles Corey’s Stoned Soul album, which was released by Delmark earlier this year. This track is backed up with the Calypso stylings of “Come to Mama,” which includes some fun percussion work from Alvarez and is also notable change from the pell-mell boogie that came before -- Mississippi Heat never gets stuck in a rut on Warning Shot.

Guitarist Michael Dotson takes the vocals on the three tunes that he penned, and his voice is hearty and could possibly even be described as tortured. “Yeah Now Baby” has driving tempo that is held in check by the masterful backline of Quinn on bass and Thomas on drums, and “Swingy Dingy Baby” brings a little vintage swing fun into the mix. But the standout is “Evaporated Blues,” a funky Delta-tinged blues-rock song that only a guitar player could have written. Kenny Smith also wrote one of the tracks, “What Cha Say,” and we get to hear his lead vocals on this slow grinder as well as his fine work behind the drum kit. This quartet of songs fits in well with the rest of the material on this CD and provides even more variety to what is already a diverse collection of music.

The two covers are quite unexpected. The first is a fairly faithful revision of Ruth Brown’s “I Don’t Know” from 1959. This Brook Benton and Bobby Stevenson jazz song stands the test of time well, with Inetta taking the role of chanteuse and Lacocque’s harp and Corey’s lead guitar edging the tone a little towards the bluesier side of things. The other is completely out of left field: an instrumental take on Hank Williams’ “Your Cheating Heart.” Pierre plays the lead on his harmonica and Gordon blows a gloriously raunchy solo on his sax. This may be the best version of this song out there, besides Hank’s (of course)!

Finishing up the set is “Working Man,” with the entire band back on stage and Visor featured on the soulful lead vocals. This brand of fast-paced Chicago blues is a fine way to bring things to a close, as it is a fun reminder that this is where it all started for this top-shelf band.

Warning Shot is a well written and masterfully played album of new blues tunes that integrates all manner of influences to keep the listener entertained from beginning to end. Mississippi Heat delivered the goods with this record, and their live show is also a treat to see. They are gearing up for the Lucerne Blues Festival in Switzerland right now, but they will soon be heading back for plenty of shows around Chicago, and then on to other points in the US and Canada. Check out their website at www.mississippiheat.net

Chicago Blues Guide Album Review: Jarekus Singleton - Refuse to Lose

This review was originally published in Chicago Blues Guide on June 22, 2014. Be sure to check out their website at: www.chicagobluesguide.com

Jarekus Singleton - Refuse to Lose

Alligator Records

By Rex Bartholomew

As he hails from Mississippi, it would be natural to assume that Jarekus Singleton would be another in the long line of Delta bluesmen, but the scope of his music goes far beyond the borders of the Magnolia State. His original songs are blues-based, but he calls upon many genres to achieve a unique mood, including rock, jazz, funk, hip-hop, and maybe even a little country. This contemporary blues sound caught the ear of Alligator Records’ Bruce Iglauer, who helped Jarekus produce his debut album for the label, Refuse to Lose.

Though Singleton is barely 30 years old, music has been a life-long passion for him, and he started playing bass at the age of nine in his grandfather’s church. After switching to guitar and discovering his voice he fell under the spell of the blues at the age of 15. He showed impressive athletic prowess during college, but he always stuck with his music. This was fortunate for him (and us) as his basketball career was cut short in 2009 by injury, just as he had caught the eye of the NBA.

That same year, Jarekus formed his own band that self-released an album in 2011, and some of its tracks received regular airplay on satellite radio. He won the first of many blues awards in 2012, and it was only a matter of time until he signed with a label that could get his music heard across the country and around the world. His decision to work with Alligator worked out well -- Refuse to Lose is 53 minutes of exceptional art that is broken up into 12 self-penned tracks, and it is getting him the attention he deserves. Singleton takes the guitar and vocal parts for this project, and he is joined by a more than capable crew that includes James Salone on organ, Ben Sterling on bass and John “Junior” Blackmon behind the drum kit.

This set kicks off with “I Refuse to Lose” and the first impression is that this project has a very live sound. The guitar, bass, drums and organ on this blues rocker have a natural tone and blend, so that it is almost like being at a perfectly mixed blues gig. Credit for this vibrant mood goes to Pete Matthews of Nashville’s PM Music, who puts together a consistently tight product. Jarekus’ voice ranges from a spoken-word style all the way to a throaty roar, and if you listen to the words you will get to learn a bit of his life story.

Not knowing all of Singleton’s history, it is easy to assume that many of the songs are autobiographical as the lyrics are written in a very personal manner. Both “Hero” and “High Minded” sound like the voice of experience, taking to task folks that are haughty and egotistical, or possibly just too big for their britches. Also, “Crime Scene” and “Suspicion” are full of worldly wisdom that can only come from having a few relationships go sour. These subjects have been staples of the blues since day one, but Jarekus’ use of modern language and pop culture references brings his songs into the present day and makes them accessible to a new generation of listeners. He is a masterful storyteller!

In the same self-revealing vein, “Keep Pushin’” describes his motivation as well as specifics about his athletic history and the path to his new life in the blues spotlight. This hard-driving rock song uses a killer walking bass line, hammering drums and superb organ work to give it a rock feel that contrasts well with his rap-like lyrical delivery. It makes for a catchy package that results in one of the standout tracks on Refuse to Lose.

The other prize-winning tune is “Blame Game” which has a traditional 12-bars blues construction, but uses a sparse arrangement that is refreshingly different than what other artists are bringing to the table. Singleton changed things up for this song and brought in a different band to back him on this song: Ben Sterling popping out a very organic-sounding bass, Brandon Santini honking out a tasty harmonica lead and Robert “Nighthawk” Tooms playing a subdued piano accompaniment. This ends being a bare-bones shell that is decorated with Jarekus’ simple syncopated guitar chords and an all-too short solo. He really is quite a singer and guitar player, and the closer, “Come Wit Me,” arrives all too soon to end things on an upbeat note.

With its unique modern blues sound, wicked arrangements and heartfelt songwriting, Refuse to Lose is a winner in every way. Jarekus Singleton has made his own niche with his progressive sound and style, and he surely will play an important role in the future of the blues!

Blues Blast Magazine Album Review: Doug Otto and Hurricane Harold – Blues at Barkin’ Jack’s

Good day!

This CD review was originally published in the February 19, 2015 edition of Blues Blast Magazine. Be sure to check out the rest of the magazine at www.bluesblastmagazine.com

Doug Otto and Hurricane Harold - Blues at Barkin’ Jack’s

Self Release

10 tracks / 36:53

A lot of new blues music has to be described in terms of the other genres that have influenced its sound, for example, blues-rock, country-blues, and the old standard: rhythm and blues. There is no struggle to figure this out with Doug Otto and Hurricane Harold’s new CD, Blues at Barkin’ Jacks. This release is mostly blues at its most basic level – guitar, voice, and harmonica, and all of it is played with a remarkable brilliance. No drums, bass or keyboard were needed to achieve their goals, and the effect is really cool.

Both of these gentlemen hail from the Twin Cities, and those long cold winters in the great white north have apparently given them the opportunity to hone their chops! Doug Otto provides the guitar and vocals for this project, but he also finds plenty of work with his own bands, the Getaways and North Country Bandits, as well as sitting in with the No Accounts. Hurricane Harold Tremblay is a master harmonica man (a mentor of Curtis Blake), and co-founder of Cool Disposition. He also hosts a weekly blues show on KFAI radio in Minneapolis and leads the All-Star Revue, which features some truly fine artists from Minnesota – he is a genuine renaissance man.

Blues at Barkin’ Jacks has ten tracks that are mostly covers of wonderful vintage blues tunes, along with three originals that were written by Otto. It was recorded live in the studio with no overdubs and no more than two takes for any song. Jeremy Johnson did a wonderful job of engineering and mixing the guys’ time in the studio, and the final product has a clean sound that makes it sound like these guys are playing in your living room.

After starting off the set with a slow-driving rendition of Howlin’ Wolf’s “Asked for Water,” the duo plays the first of the three originals, “Broken Thoughts.” Otto’s writing on these songs has more of a roots and country-blues theme, and all of them are well suited to his pleasant tenor vocal range (which makes him sound a bit like Eric Clapton). His songwriting is mature, with good imagery and phrasing, which can also be found on “Heart to Heart” and “My Time is Moving Slow.” The latter gives Tremblay a chance to sing harmonies, which is a cool effect as his voice lends a unique droning effect. This is the standout track in the album, without a doubt.

The rest of the songs are straight-up Maxwell Street blues material, as can be heard from Muddy Waters’ “Long Distance Call,” which uses subtle electric guitar chording with a heavy bass beat while Harold shows off his fine feel for the harp. Otto’s guitar tone is outstanding on Skip James’ haunting classic “Hard Time Killing Floor,” and he also delivers a surprisingly good falsetto vocal performance, which is a hard thing to accomplish for most singers.

The classics continue with Lonnie Johnson’s “She’s Making Whoopie (in Hell Tonight)” which would be a hard song to write today, but in 1930 there were no political correctness police to contend with. There are also a couple of well-done Robert Johnson tunes, “Hell Hound on My Trail” and “Kind Hearted Woman,” that are delivered in a wonderfully laconic style.

Despite the good craftsmanship these gentlemen showed on the cover tunes, the originals are exceptionally special, and are the highlight of this disc. A full-length album of Otto-penned originals would surely be a good listen, and hopefully this pair will have the chance to continue their work and head back to the studio to give us a bit more of this wonderful stuff.

There is a lot to like about Blues at Barkin’ Jack’s, and Doug Otto and Hurricane Harold really delivered the goods. Their bare bones live sound is clear, and the selection of tunes that they assembled works well together. There is no mistaking this album for anything but the blues, and you should certainly give it a listen!

Mahalo!

Reverend Freakchild – Illogical Optimism | Album Review

Reverend Freakchild – Illogical Optimism

Treated and Released Records

www.www-reverendfreakchild.org

www.treatedandreleasedrecords.com

3 Discs / 35 tracks / 2:29:00

Reverend Freakchild is not your everyday average bluesman. Sure, he can play the blues in all of its forms, but his albums are way out there in the blues realm: they confuse old people, make little kids cry, and cause fellow musicians to grin from ear-to-ear. His latest project is no exception, and it is a worthy follow-up to last year’s amazing Hillbilly Zen-Punk Blues. This time around he has put together Illogical Optimism, which is two discs of his own material plus a third disc from another reverend, Ramblin’ Jennings. Personnel for this project included the Reverend on vocals and guitar, Chris Parker on the skins, Hugh Pool on lap steel, and backing vocals from The Mulebone Singers.

Disc 1: Odds, Ends and Other Amazingness is 67 minutes of a little bit of everything – it is not just a clever title. You will hear that the Reverend has mad guitar skills and a versatile voice, and that Chris Parker is one hell of a drummer. These songs are a collection of popular and obscure covers, and none of them are performed as they were by the original artists. “Who Do You Love” maintains its Bo Diddley beat, but gets a spooky spoken-word vibe. “All Along the Watchtower” goes reggae, but keeps a Hendrix-like solo. And John Lennon’s “Imagine” has Lou Reed written all over it, so there are surely dead hippies everywhere spinning in their graves. This might seem terrible on paper, but everything works out beautifully and in the end and it all sounds wonderful. Trust me.

Disc 2: Everything is Now is something completely different. In a little under an hour, the gang gives a dozen completely different takes on the same song: the catchy “All I Got is Now” from the Hillbilly Zen-Punk Blues album. How different? He does versions of the song in French and German, as well as interpreting it in genres such as punk, funk, reggae, and even “hillbilly.” The hillbilly version (“Alla Gotta Na’”) is breathtakingly stripped down, with lovely banjo and harp accompaniment. Likewise, the acoustic demo version is really cool with a roots vibe and barely intelligible lyrics thanks to a really up-front guitar sound.

Disc 3: Kairos is from Florida’s Ramblin’ Jennings, and this EP (24 minutes) is stripped down and full of awesome. Jennings gets the work done with just his voice, an acoustic guitar, and a harmonica. There are seven original tunes of Gulf Coast blues that use plenty of slide guitar, and Jennings’ voice is perfect for them -- full and timeworn, and dripping with character. There is also one traditional tune, and this vocals-only version of “John the Revelator” is powerful and full of terrifying biblical imagery.

Well, I cannot recommend Illogical Optimism enough. Reverend Freakchild pushes the boundaries of blues and approaches old songs in new ways that really makes the listener think. And his buddy Ramblin’ Jennings brings blues down to its basics to provide a touch point for the other two discs. Give it a listen for yourself, and check out his website for upcoming tour dates as he his getting around quite a bit this summer.

Blues Blast Magazine Album Review: Mike Stern and Eric Johnson – Eclectic

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This CD review was originally published in the January 15, 2015 edition of Blues Blast Magazine. Be sure to check out the rest of the magazine at www.bluesblastmagazine.com

Mike Stern and Eric Johnson – Eclectic

Concord Music Group

www.mikestern.org

www.ericjohnson.com

www.concordmusicgroup.com

12 tracks / 72:22

Two powerhouse guitarists, Mike Stern and Eric Johnson, first got together when Mike asked Eric to play a few tracks on a recording project, which led to a performance together at the Blue Note in New York City. They had such a good chemistry on this show that they could not just go their separate ways, so they recently completed a neat cooperative effort, Eclectic.

Mike Stern is a top shelf jazz guitarist and Berklee graduate who has released 16 of his own albums, six of which were nominated for Grammy Awards. His big break was in 1976 with Blood, Sweat & Tears, and since then his career in the various genres has been nothing short of impressive. He has performed and recorded with an amazing cadre of artists, including Miles Davis, Jaco Pastorius, David Sanborn, the Brecker brothers, and Bela Fleck. The list goes on and on, bit you get the point.

Eric Johnson provides the rock half of the equation, and his curriculum vitae is no less solid, with a Grammy Award and five nominations of his own. Eric took up the guitar at the age of eleven (as Beatlemania took hold of the US) and in just a few years he jammed with Johnny Winter who later remarked, “When I heard Eric, he was only 16, and I remember wishing that I could have played like that at that age.” After a four-year stint with Austin, Texas’ seminal fusion band, the Electromagnets, he went on to cut ten of his own albums. Along the way he garnered the respect of big name guitarists such as B.B. King, Billy Gibbons, and Steve Morse, and had the opportunity to tour with his fellow guitar gods Steve Vai and Joe Satriani.

Eclectic was recorded in just 3 days at Johnson’s Austin, Texas studio, with few overdubs and a decidedly live feel. It clocks in at well over an hour and serves up eleven original tracks and one kicking cover. Stern and Johnson handle the guitars (obviously) and they are joined by the rock solid backline of Anton Fig on drums (late night with David Letterman’s World’s Most Dangerous Band) and Chris Maresh, Johnson’s regular bassist. A few key guests contributed as well, and their disparate backgrounds ensure that Eclectic is not just a clever name.

Austin’s pre-eminent soul man, Malford Milligan, helps kick things off with his growly vocals on “Roll with It.” His chops are a good match for the intricate guitar work on this funk rock piece, and the backline delivers a rock steady beat without being too flashy. After this things get jazzy with “Remember,” a six-minute fusion instrumental piece that might not be terribly radio-friendly, but it is super-listenable and features a killer bass groove from Maresh, who has no trouble keeping up with Johnson and Stern.

The instrumental “Benny Man’s Blues” is a tribute to Benny Goodman, and though it has the word “blues” in the title it defies categorization. There is a blues backbone, but it is layered with distorted bluesgrass picking, jazz rhythm guitar / bass, and knockout rockabilly drumming. Things calm down a bit for “Wishing Well” which is peaceful despite its fast tempo. This is surely helped along by the sweet vocal stylings of Grammy winner Christopher Cross, Johnson’s longtime friend and fellow Texan.

Maresh’s “Bigfoot” benefits from a world music intro that features Mike’s wife, Leni Stern, on vocals and n’goni. After 90 seconds of her lovely melodies, things go all experimental electric jazz, and it is hard to believe that the band was able to put songs this complex together in just a few days and still have them sound good.

Eric is not known for being a jazz guitarist, but one of his big inspirations is Wes Montgomery, and “Tidal” is a tribute to him. He also does not forget his own musical past, as he placed an Electromagnets song, “Dry Ice,” into the mix. This high-energy fusion instrumental exercise sounds huge, and Fig’s driving snare and kick drum propel this thing into overdrive for almost seven minutes. In keeping with the eclectic theme the horn section of saxophonist John Mills, trombonist Mike Mordecai and trumpeter Andrew Johnson join in on “Hullabaloo,” the most poppy and accessible track on the disc.

The album finishes up with a fresh take on Jimi Hendrix’s “Red House” with Stern and Johnson switching off on the vocals, and it turns out that they can both sing well too. Jimi inspired these guys, and their talent makes sure it is a fitting tribute. For good measure Guy Forsythe kicks in some tasteful harmonica work, which add a new element to this blues-rock classic.

Mike Stern and Eric Johnson’s Eclectic is a spontaneous collection of very good songs that were recorded by two of the best axe men in the business. If you love guitar music with no boundaries, this is the album for you. Hopefully their collaboration will continue after this project and we will get to hear more from this dynamic duo!

Mahalo!