Blue Angel Recordings, 2013
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It is hard to believe that almost 20 years have gone by since the release of Raise The Dead. Kenny Parker’s first album featured performances by some of the finest musicians in Detroit and beyond–players like The Butler Twins, Bill Heid, and Darrell Nulisch–unified by his fiery yet tasteful guitar work, and stands up today as an solid sampling of straight-ahead blues. While the contemporary scene in Detroit (and elsewhere) is vastly different, Parker continues to keep high standards and good company. His new project Yes Indeed!, which features the vocals and harp of Garfield Angove, with Chris Codish and Tim Brockett on keys, Renell Gonzalves on drums, and Bob Connor and Mike Marshall (a returning collaborator) on bass, delivers a range of exciting music.
Parker’s varied originals make up the bulk of the record. Wailing harmonica and a humorous, spoken narrative about a high maintenance woman, delivered through a harp mike by The Reverend Lowdown, are essential components of “Wig Hat,” a lowdown stomp akin to an early Howlin’ Wolf number, with a guitar break as spiky as barbed wire. “I’m Gonna Make You Mine,” a shuffle with 1950s Memphis written all over it, features vivid lyrics and a raw, enthusiastic performance. A Texas feeling, reminiscent of Frankie Lee Sims by way of Mike Morgan & The Crawl, informs a pair of shuffles in the middle of the set: The tough swagger of “Shake That Thing” would have suited Parker’s old employers The Butler Twins well, while on “Spellbound” (co-written with Woodstock Sally Scribner), Parker breaks out his slide. Most slide guitarists playing blues (not rock) draw heavily on Muddy Waters or Elmore James; Parker’s curling, languid lines are original, with a hint of Smokin’ Joe Kubek’s style.
“Look Before You Leap,” a Parker-Angove collaboration, has a melody akin to Kim Wilson’s “Don’t Bite The Hand That Feeds You.” The song bears the merest suggestion of a rocking J.B. Lenoir shuffle and jumps as hard as Little Walter, but rather than aping Lockwood/Tucker or Louis Myers, Parker’s slashing attack is all Guitar Slim. It’s an unexpected and effective juxtaposition. Gonzalves’s invention and swing behind “Leap” are likewise impressive. “Tight Black Sweater” is about as modern as this set gets. Its hard-hitting “Tramp” groove features a slick Leslie sound on the guitar, a fine organ solo, and a spoken vocal right out of the textbooks written by Lowell Fulson and Otis & Carla. Angove’s harp accents lend a down home, “Scratch My Back” edge.
The playlist includes four covers. On Greg Piccolo’s title track, which opens the disc, the band lays down a clipped, upbeat shuffle, warmed by a sunny vocal and the horn section of Larry Lamb (sax) and Andy Wickstrom (trumpet). Paced by Parker’s uncluttered, melodic solo, “Yes Indeed” swings like a Ronnie Earl-era Roomful Of Blues tune should. Angove provides impressive, swooping harp lines and big tone on a muted, somber reading of Little Walter’s “Can’t Hold Out.” Parker turns in a fierce and faithful version of Gatemouth Brown’s classic “Okie Dokie Stomp” and salutes Ike Turner with a cover of the exotic “Cuban Getaway” that is sweet and snarling; the piano break nods, appropriately, to Professor Longhair’s rolling, complex, Carribean-inflected style. A serene take on the familiar show tune “You’ll Never Walk Alone” closes the disc on a quiet note, with a piano picking out the chords note by note the only backing for Parker’s gently soaring slide guitar.
If I were pressed to recommend a single track, it would be “Valentine’s Day,” a spare, funereally paced minor blues that shows how powerful restraint can be in the right hands. Parker’s playing is quiet and purposeful, and absolutely without the ulterior motive of turning it up to 10 and stepping on the gas halfway through the song. His outstanding performance is built on clean lines, rolling trills, ‘60s-era Buddy Guy double-stops, Otis Rush-leaning bends, and, above all, dynamics. Bravo! The devastating lyrics match the tone of the music, Angove’s subdued vocal delivery packs a heavy wallop, and for a sublime 5:49, everything hangs on beautiful and ominous piano accompaniment worthy of Otis Spann. Such combinations make Yes Indeed! a classy and memorable collection of pure blues.
The artist kindly provided the CD for this review.