Doug Deming and the Jewel Tones Complicated Mess

Doug Deming and the Jewel Tones
Complicated Mess
EllerSoul Records

A new recording by Doug Deming and the Jewel Tones is quite welcome for fans of traditional Chicago blues as well as Texas and West Coast swing with a dose of honky tonk country mixed in. Deming is a very good, honest singer and a deft, fleet guitarist who primary inspirations include Charlie Christian, T--Bone Walker and Robert Lockwood Junior. He has quite a nice group of musicians backing him on ten originals and three covers. Andy Gohman handles the bass, while Marty Dodson handles the drums except for one track where Sam Farmer occupies the drum chair. Little Charlie Baty adds guitar to three tracks, while Harmonica players Kim Wilson and Madison Slim each play on two tracks. Sax Gordon and Tino Barker play (where heard) tenor and baritone saxophones respectively, while Bob Welsh is on piano and Chris Codish handles the organ. Except for one track, this was recorded by Big Jon Atkinson at his Big Tone Records studio, and this recording has a marvelous sound.

It sounds like Deming incorporates, into his playing, a Buddy Guy riff from Junior Wells' "Snatch it Back and Hold It" on the title track where he sings about trying to do his best, but he and his woman are though. There is robust Kim Wilson chromatic harp present on the moody "Sweet Poison," about this seductive lady with a forceful vocal. Little Charlie Baty joins Deming on an imaginative country-tinged rendition of "You Rascal You," with some jazzy, swinging guitar from both along with a straightforward vocal. Codish's organ helps lend a Memphis soul cast to the soulful "Hold On" Madison Slim adds harp behind the lazy Jimmy Reed shuffle groove on "Need My Baby," with Slim evokes Reed in his playing here. There is a country tinge to a rocking rendition of Lazy Lester's "Blues Stop Knockin'," with Welsh playing rollicking piano and Wilson adding some complimentary harmonica.

It sounds like Deming is channeling sixties Buddy Guy with his strong playing on a fine slow blues "Deep Blue Sea," with Welsh again outstanding behind a strong vocal. "Someday Pretty Baby," with the two saxophones present (Gordon plays a husky tenor sax solo) suggests Chicago artists like Ricky Allen and Harold Burrage. "Captain's Quarters" is a very appetizing instrumental with Baty and Deming each showcasing their fleet, swinging fretwork. "Just A Moment Of Your Time," is a swamp pop original with a booting baritone sax solo from Barker followed by Deming evoking Guitar Slim and Earl King with his gritty guitar here.

"I'm Walkin'" is a credible, high stepping cover with a booting Gordon solo. It is followed by the delightful "Cookin' at the Kitchen," a variation on Amos Milburn's "Chicken Shack Boogie," with new spoken lyrics about some of the folks at this session with Madison Slim's harp adding sax-like lines. An ebullient instrumental, Rat Killin'," allows Deming, the horns and rhythm section to all solo. It provides a close to this splendid recording.

I received my review copy from a publicist. This review appeared in the November-December 2018 Jazz & Blues Report (Issue 381), although I have made minor changes. Here Doug Deming performs "Blues Stop Knocking."