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Ever since I heard 19 year old Derek and
his band open for "Government Mule" a year ago, I have
been awaiting the opportunity to review new music from this young
guitar phenom. The opportunity has arrived with Derek's signing
with the House of Blues label, and the release of his second
album (first on HOB). HOB is rapidly acquiring some of the best
talent in the field, both old and new.
The band is basically an instrumental quartet
featuring Derek Trucks (nephew of Butch Trucks, former drummer
and original member of the "Allman Brothers Band")
on slide guitar, Bill McKay on keyboards and sometime vocals,
Todd Smallie on bass, and Yonrico Smith on the drums. This album
also has Warren Haynes of "Government Mule," "Matt
Tudor," and Larry McCray, who just released his first album
for HOB also (see review), contributing vocals. Jimmie Herring,
formerly of "Aquarium Rescue Unit," joins Derek for
some guitar duets.
Opening the album with a slide riff and
Matt Tudor's vocals on "Preachin' Blues," the album
just gets better and better. While I enjoy the strong solo guitar
riffs, Derek is wise enough not to draw them out into an endless
string of notes, but makes his case and moves on. Mixing his
music with that of masters before him, Derek next gives us some
"Young Funk," as Jimmie Herring joins him on a cut
that shows a deft touch without the screaming guitar effect.
Derek and Wayne have been doing the Sonny
Williamson classic "Good Morning Little Schoolgirl"
on stage during their concert tour together, so it is no surprise
that Derek picked this tune to put on the album, showing the
softer side of slide. "Forty-Four" is a slow burn of
the "Howlin' Wolf" tune, while "Laid Back"
is just that, Derek drawing out the slide like a string version
of a southern drawl with moments of vituperation.
The sound gets jazzed up a bit on "Look-Ka
PyPy," with Bill McKay delivering a snappy organ solo, while
Yonrico Smith's drums duel and duet with Derek. Matt Tudor returns
on "Alright," which has one of the best set of riffs
on the album. "Death Letter" opens with another solo
from Derek, before Wayne's vocals ride over the emphatic slide
work.
"Spillway" opens with a subtle
Latin-tinged sound before Derek suddenly slides up into the stratosphere
like a NASA shuttle, then settling into orbit with a sound reminiscent
of early "Traffic" or "Cream." Larry McCray
adds a blue note with "Ain't That Loving You," and
he and Derek play a little follow the leader. The album closes
with "Deltaraga," kind of a Ravi Shankar goes to New
Orleans sound, as Derek shows he can create mystical sounds with
his guitar.
Derek has all the talent of a Johnny Lang,
without the vehemence, as he skillfully makes music "Out
Of The Madness." |
