Tom Holland & The Shuffle Kings
No Fluff, Just The Stuff
E Natchel Records, 2013
From the beginning of his 15+-year career, Tom Holland was among the most sought-after sidemen in Chicago, first joining John Primer’s band, then Eddy “The Chief” Clearwater’s. His experiences backing everyone from Robert Lockwood Jr. and Jody Williams to Son Seals and Jimmy Johnson rounded out an enviable apprenticeship program. Holland led his own band practically from the start, and while more than a decade has elapsed since the first Tom Holland & The Shuffle Kings CD was released, the southpaw guitarist has hardly been taking it easy. He played extensively behind Carey Bell and Hubert Sumlin, and has toured with James Cotton for almost 10 years now. Five years ago, he recorded an album of guitar-piano duets with Marty Sammon, and he has appeared on records by artists including Cotton, Mud Morganfield, and Alabama Mike.
Now he is back with a new long player of his own. Convening at Felix Reyes’s friendly House of Tone, a studio noted for producing warmly authentic sounds, the Shuffle Kings–Holland, Mike Scharf (bass), Tino Cortes (drums), and Big D (harmonica)–really delivered on these 10 original songs. The rhythm section has a solid feeling for the blues, and, in true Chicago fashion, the harp takes a central place in the mix, but Big D never overplays. Holland sings unaffectedly, and his guitar work is in the camp of understated perfection still practiced by contemporary players like Lurrie Bell and (more directly) Primer, whose slide and single-string styles Holland has absorbed thoroughly.
The opening track, “Waiting On The Other Shoe To Drop,” incorporates some unusual changes that lend it the flavor of the Darrell Nulisch-era Broadcasters, when Ronnie Earl led the toughest blues band on the planet. But in general, the material offers a survey of real deal Chicago blues. Some titles are direct from the vintage stylebook: “Shuffle King Boogie,” a brisk jump number in the tradition of Jimmy Rogers’s “Rock This House,” features guests Sammon and Primer. In the Muddy Waters-style slow blues, “Hurry Up & Wait,” Holland again echoes Rogers (with touches of Lockwood) and evokes Muddy’s slide, filtered through Primer; Big D lays down deep swoops and squalls. Perhaps evidence of the Cotton connection, the record’s title track is a raw, harmonica-heavy boogie along the lines of “Evans Shuffle” or “Juke,” with hints of Elmore James’s “Bobby’s Rock” in Holland’s low-register riffing.
Other songs edge stylistically closer to the present day. “Look Here Baby” is a rumba blues with more than average bounce to the ounce, due largely to Cortes’s enthusiastic drumming. Sammon turns in another terrific solo, and Holland constructs a remarkable rhythm figure of hip lines, cool chords, and perfect single-note bass parts. (His solo is dynamite, too.) The loose-jointed shuffle “More Things Change” comes straight out of the John Primer mold and, in fact, spotlights the master himself, executing many of his signature guitar moves. “Hey Pardner!” is an up-tempo instrumental, based on “Shake For Me,” that shows Holland learned more than a few tricks while backing up Hubert Sumlin. As he plays off of Big D, Holland steers his soloing in the latter half of the song into something more original.
“Long Road To Tomorrow”–churning, minor funk with a more contemporary Chicago feel–wouldn’t sound out of place on any record by Vance Kelly, Primer, or Willie Kent. In “Easiest Thing I’ll Ever Do,” a mid-tempo soul original, Holland plays an easygoing, melodic vocal line against a galloping rhythm. D’s harmonica capably fills the spaces that horns or keyboards might ordinarily take up. Exploring the opposite side of that lyric, Holland gives us “Hardest Part Of Loving You,” a devastating, slow minor blues. Marty Sammon’s piano is brilliantly Spann-like, and D lays it down heavy. Holland sings with real urgency, and, on guitar, alternates tremolo-picked passages with deliberate slow phrases of frightening intensity. With Otis Rush out of commission, it seems that far too few people play (or know how to play) this kind of thing right. Thank goodness Holland paid attention when he was hanging out with the late, great Magic Slim.
In tipping his ever-present cowboy hat to his influences, Tom Holland has cut an excellent album. No Fluff, Just The Stuff makes a strong case that Chicago blues (and I don’t mean the modern rock-and-funk hybrid that too often passes) remain vital and valid.
I bought this CD from the artist.