Tom Gilberts Old School

Tom Gilberts
Old School
Polymerase Records

Apparently, this is the second album on Polymerase Records by singer-songwriter-guitarist Tom Gilberts. Gilberts, joined by Dave Captein on bass and Brian Foxworth on drums, wrote the twelve tunes on this recording. Produced by Terry Robb, the music is rooted in the blues, with some roots and rock elements to it.

The opening notes of "'Lady' Luck" suggest a blues-rock power trio. However, Gilberts quickly establishes himself as a player who can lay down acidic phrases and runs but displays a thoughtful and deliberate attack with solos that are well constructed. He may not be a great singer, but his vocals have appeal with a low-key delivery where he sings about lady luck being no lady and no friend of his when he is playing blackjack and other games. Whatever his vocal limitations, his sincerity is conveyed throughout.

There is a mix of vocal tracks and instrumentals, including "Zoot Suit Shuffle." that sounds like a perky break song. "Sun Vibe," another instrumental, displays his use of tone and his phrasing set against an understated backing. The instrumental, "Brown's Camp," also demonstrates his taste and lack of deceptive flash. His slide guitar is featured on several tracks, including the title track, where he sings about being kinda old school as he grills with charcoal, not propane. Set at a medium walking tempo, "You Missed Me" has a thoughtful vocal and nice shuffle groove laid down by Captein and Foxworth. "Nightime" is an evocative number about being a time to hold hands under the stars while gently talking to one other.

"The Fuzz," displays his restraint in phrasing. Gilberts employs fuzz-tone and other electric effects on an atypical instrumental in closing this album. While this CD may not be compelling, it most definitely charms with the skill and tastefulness of Tom Gilberts' performances.

I received my review copy from a publicist.
 

Terry Robb Confessin' My Dues

Terry Robb
Confessin' My Dues
Nia Sounds

"Confessin' My Dues" is the new album by Terry Robb, hailed as one of the finest fingerstyle blues guitarists. Robb draws on his deep knowledge of Delta blues, ragtime and swing in 13 original songs ranging from blistering instrumental blues and stunning fingerpicking to soulful singing backed by renowned jazz musicians Gary Hobbs and Dave Captein on drums and upright bass throughout the album. Adam Scramstad makes a guest appearance on electric rhythm guitar. The press release for this recording states, "Drawing from the well of country blues to Coltrane, ragtime to Hendrix, Americana to American Primitivism, "Confessin' My Dues" represents a lifetime of musical experiences and influences for Robb. Robb himself is quoted about being excited about recording with Hobbs and Captein, feeling they "they would bring a fresh and unique approach to what I was after."

Robb is a spectacular fingerstyle guitarist as is evident on the opening "Butch Holler Stomp," a performance with several musical strains centered on a Blind Blake-like main strain. Blake's spirit is also detected on the initially wistful, "Death of Blind Arthur," which has a segment with breakneck playing. Both of these tracks display not merely technical proficiency but his relaxed fluid attack. He also handles a classic blues shuffle groove with ease and aplomb on "Still on 101." He has a definite presence as a vocalist, if not as engaging as he is a guitarist.

Vocals serve to add variety thought such as on "How a Free Man Feels," with some dazzling breaks, or "Darkest Road I'm Told," a performance that instrumentally evokes John Lee Hooker, but his vocal about the 61st Highway is not as compelling as his playing. The fascinating "Now Vestapol" is a free-floating instrumental in the vein of American Primitivist guitarists with strains from "Mystery Train" and Robert Wilkins "That's No Way To Get Along" hinted at. "High Desert Everywhere" sounds rooted in Bukka White's slide guitar style while Robb's own picking goes beyond Whites driving bottleneck playing.

As noted, Robb makes much about the presence of Hobbs and Captein, but they seemed superfluous on several of the tracks they play on. Despite this, and his vocal limitations, Terry Robb is a superb guitarist whose facility and invention make for gripping listening.

I received my review copy from a publicist. Here is Terry Robb from earlier in 2019 performing