Matt LuceyFor some time now, I’ve been living in anticipation. Each song released from this album was played on repeat, keeping me in music for the last months. The BB King Blues Summit, organised by Joe Bonamassa is one of the most highly anticipated releases in the world of the Blues in years. Following the release, I scoured the country to find a copy. Finally, last week, I found the Vinyl in a shop in Dublin (it was the sole reason for the trip). Having listened to the entire release several times, I can confirm that it lived up to every album. With myriad musicians involved in the project, it is no surprise that the result was such an inarguable masterpiece.
Intro to both
Though I’ve offered brief introductions to both BB King and Joe Bonamassa in the past, I’ll shine a brief light on them once more. BB King was aptly named having influenced the world of blues, perhaps more than any other. Gaining fame in the late 40s and playing until the day he dropped, BB had a legendary career in the industry. When he came on the scene, the music industry was in a very different place.
Mere years prior, Robert Johnson had been involved in the height of the Delta Blues(though unappreciated in his time). The music that BB was making, then, was a different beast altogether. The advent of the electric guitar, the onset of icons like T-Bone Walker and the post WW2 world full of people that were ready to listen all lined up for BB. Through his career, he was an icon and a teacher to so many students, one of whom would go on to honour him with this very album.
Joe Bonamassa was a music nerd from day one. A typical prodigy, Bonamassa showed immense promise from a young age. There was just one problem, most would have said he missed the boat. Being born in 1977, just at the tail end of what would come to be considered the golden age of blues. That didn’t stop young Joe of course. Bonamassa would grow up to be one of the most influential rock and blues musicians of his time. No small amount of credit for this goes to Mr. BB King of course. By the age of 12, BB King brought Bonamassa touring, where he performed as the opening act for many shows. This was, of course, an enormous endorsement from the King, as well as a massive boost to Bonamassa’s confidence.
The concept behind the album
Essentially, this album is a celebration of BB King’s life, influence and vast repertoire. It is a celebration of what would have been his 100th birthday. Last year, when this was approaching, Bonamassa found himself waiting for someone to reach out. He expected some event or release to commemorate his friend. When none came, he took the initiative himself. First contacting King’s family, who were delighted to hear his idea, BB began his plans. Having the respect and ear of the industry, Bonamassa began to reach out to his peers, gathering them together to make what promised to be an enormous tribute. Of course, given the King’s icon status, he had no problem in motivating the troops.
Other artists involved
Some of those involved were, themselves, peers of BB in his day. One of these that really stands out is Buddy Guy. These two were, of course, both active through many of the same years, being a part of the same scene. Buddy Guy was involved in the BBs blues summit in the early 1990s. The two had a great respect for one another. Seeing Guy have the chance to play a tribute like this is truly heart-warming.
Others that were involved had direct connections to BB as a mentor. Of course, Joe himself falls into this category, but others like Derek Trucks fall into this same category. Trucks and his wife, Sarah Tedeschi, both played with BB in the past. One particularly special moment in 2012, Derek Trucks received the best compliment anyone could receive. After a particularly incredible solo, BB King told him “That’s about as good as I ever heard”. A massive endorsement.
Of course there are more involved in the project that never met and had the pleasure of playing with the King, but whose music is informed by BBs years of contributions. One of my favourite new blues artists exemplifies this. Christone Kingfish Ingram is a young hero in the genre. Playing with so much skill and passion that he makes you want to pick up and play too. Even though they never met, you can hear BBs influence throughout Kingfish’s playing.
The production, mixing, label
KTBA records are the label under which this album was released. That’s the handy thing about founding your own label, you get to decide what they release. Joe Bonamassa owning this Label meant 100% creative freedom in this release. There would be no compromises, no production holdups or second guessing from higher ups. The mixing for the album was completed by Bonamassa and Josh Smith. This also allowed Bonamassa’s true vision to be realised. All in all, the production had as few obstacles as an undertaking like this could possibly have. As for influence, it need hardly be said that BB King’s style is all over this album.
Paying the cost to be the Boss – Kingfish
The intro to the album couldn’t have been stronger, opening with “Paying to be the Boss“. Kingfish is one of the best and brightest in the blues scene today. The rhythm in this feels amazing, with a dragging drum beat giving it a relaxed feel which is offset by the swaggering energetic playing. Kingfish brings so much to this song, with booming vocals and a powerful, cutting guitar tone. The background piano adds layers of vibrance and a bouncy quality to the song.
The backing for this track is incredible also. A big band sound with brass and a full percussion section make this feel robust and full, while allowing Kingfish to still shine. The solo is tidy, with clean licks and a great guitar tone. Kingfish takes his queues from the king when it comes to the licks while showing his own style with a punchy tone. It’s Kingfish’s playing with BBs soul. The character of this song is a mission statement for the album.
Sweet Little Angel – Buddy Guy
This song is possibly the closest to BB’s style on the album. It carries the classic BB swagger, prominent in the tight phrasing. Clearly, Buddy was inspired in his playing, though it goes beyond that. In 1964, Buddy released this cover for the first time. This cover of the original by BB was a tribute of sorts, even back then. Buddy played this song throughout his career, making it his own, while always crediting BB with the original. Its really touching that he chose this to be his tribute in this album.
Again in this track, we have the beautiful big band sound behind Buddy and Joe. That being said, they know exactly how to sit behind, allowing Buddy to take centre stage. Buddy is well capable of playing on his own, just him and a guitar. Because of that, you can see how versatile he can be on his own, behind the built up sound. BB would have loved this cover, as he did much of Buddy’s work. The solo here is quintessential BB, from timing to phrasing, the sound just felt familiar. A highlight was in Buddy’s little comments, teasing his Solo with “Look out, here I come”, and finishing with “I think you better leave that alone, ain’t nothin wrong with that“.
To know you is to love you – Derek Trucks and Susan Tedeschi
I couldn’t review this album without mentioning Derek and Susan’s contribution, “To Know you is to Love You“. Again here, we have a beautiful backing with a talented band. The piano is especially lovely here, warm and soulful throughout. Susan and Derek sharing the vocal lead as well as the guitar work is perfect. The two are clearly practiced at complimenting each other, on the stage and off. A married couple that formed a band together, these two were friends with BB himself. Having played with him on more than one occasion, we know they had his seal of musical approval.
The guitar work, naturally, is a standout here. With a bright tone, the two musicians play off each other, having both a vocal and guitar mirroring going on. Finally the 2 solos punch through, again, without overdoing anything. They break down to vocals and drums before building back up to a fantastic, powerful ending.
Conclusions
If we take nothing else away from this album, it’s that the blues is alive and well. The family was brought together by the memory of one of the greats but it allows them to showcase their own styles. While obviously a tribute, the album as a whole stands well alone on its own merit. If you haven’t listened yet, you simply must. Anyone can find a track here to sink their teeth into. You may think it’s too early to call but I’m saying it. Best album of the year.
