This review is based on the CD. The interpretations heard here are a result of a band whose chemistry lets them stretch out and shake up the original compositions.
His vocals are strong and soulful. You can hear how fully into this live performance he is, fueled by the band, the audience, the energy of the night. Bernard busts out on this album opener and it made me want to see him live even more. B King was looking on. Bernard makes his guitar sing, makes it talk with staccato picking. You can hear hoots from the audience in praise of his talent. And this, my friends, is how Songs From The Road goes. Bernard and his band are at their absolute best. It features another beautiful sax solo by James, and a couple of ripping guitar solos by Bernard.
The band is fully in the pocket. Songs From The Road is fresh and modern with tremendous musicianship by Bernard Allison and the band. It shows exactly why certain performances are meant to be captured live and in the moment. He is the worthy heir of his father and it is a safe bet that Luther Allison would be proud to hear his son on this new live album which takes up the title of one of his own, "Songs From The Road", a recorded effort last fall at the Musiktheater Piano in Dortmund and released in late January on the historic label Ruf Records.
It is therefore a blazing blues that the artist delivers to us, a music where we will appreciate the transposition in live of his most recent titles like "Night Train", "Cruisin For A Bluesin", "Same Ole Feeling "Or" Backdoor Man ", but where we will also love the totally unbridled and often unpublished versions of his own classics which evolve every day according to the moment, the spirit of the times and the atmosphere that characterizes it.
True communion between Bernard Allison and an audience with which an incredible bond and a very strong exchange were born, "Songs From The Road" is as often a major step in the career of the prodigal son and it is with the greatest pleasure that we will enjoy the audio and video in the living room but also in the dark rooms during a tour that promises to be huge!
When you are housed at "Ruf Records" this naturally entails obligations. Bernard continued to play with Koko Taylor but also tasted of the success with his own band 'Bernard Allison and Back Talk'. In he went on a European tour with the help of his father, a consequence of mostly being in Europe.
At Ruf he released 'Funkifino' in and the funk would always be present. In the meantime he released a few albums under the 'Ruf Label' and in he released 'Live in Europe'. After that he would release four albums for 'Jazz House' with the last one being 'In The Mix' in The entire album was recorded live at the Musiktheater Piano club in Dortmund in October of last year.
Valve is how could it be otherwise Slide Master! When playing the plectrum, like Hendrix, he achieved very different timbres. He also showed the ability to swing or even hold the strings with one hand using bending, sliding or finger vibrato.
The audience raged. On his "Songs from the Road" tour, the American blues guitarist, singer and songwriter Bernard Allison made a guest appearance at the packed Cotton Club on Thursday evening. From to , Bernard Allison, the youngest of nine children of the blues legend Luther Allison, was in the worsted every January and delighted his fans. But this almost two and a half hour concert without a break was his best.
Bernard has finally followed in his famous father's footsteps. The band started it slowly. Bernard Allison skillfully used various, successive techniques. The guitar mimicked his voice. And this had a biting sharpness that dropped every mask and exposed the soul. With an innate sense of nuances, he used the repertoire of his vocal skills. The rough voice slid up effortlessly and struck every note with unwavering accuracy.
If he struck the strings and kept taking his left hand off the bridge so that a sequence of open and fretted notes came out, or if he pinched the strings and plucked rapid arpeggios: for him the sound of the guitar was a second voice. Again and again he used his game device for fast or imitative sound patterns and reminded of the way his big daddy played.
But he seemed to have another role model: B. Jazz, rock, blues and funk seem to flow effortlessly into one another. What was immediately recognizable as the influence of the blues hero was the long, singing tones that clusters abruptly followed. Here Bernard penetrated deep into the African undergrowth and summoned all Voodoo spirits. Cascades of tones that dripped down like drops of water at frantic speed. Powerplay attacks and technical cabinet pieces for the gallery.
His six strings whimpered for mercy, sometimes sounded like dry knotty wood, but sometimes pulled themselves back completely and chirped quietly like crickets, driving the excitement to the summit and then roaring like the sound of a twelve-cylinder. Bass player George Moye was completely stoic and told emotional, expressive stories. He combined thumb play and LeFaro agility with an octave technique and added the still dazzling harmonic technique and virtuoso chord play.
A hot pot blew Jose James on the saxophone, while Mario Dawson on the drums and rhythm guitarist Dylan Salfer drove the groove crazy. Allison's guitar shone out of the musical witch dance like a shining fanal. So the mood increased from title to title. Was there an increase? A tribute to Bernard's father Luther. Here he unleashed all the guitar tricks once again. And with the jul, splinter and superimposed sounds, almost a tear would have come to mind.
The concerts of his father Luther Allison in the s were so legendary. Claire, France! Excellent band including a young drummer, Mario Dawson, literally amazing For Bernard Allison, at 54, the flame shines in a burning way and he has more than ever his legendary digital speed. In full possession of his means, he puts his outstanding technique at the service of a deep, modern blues, anchored in the authenticity of an electric tradition,-of funk and reminicences Jimi Hendrix, crossed in a - in tribute to the genius of Seattle -, but also and especially his father Luther, source of enlightenment forever.
Breathtaking solos, irresistible moments of transport, a constantly moving repertoire between fast or slow tempo, some recent tracks or others borrowed from his already long record career started in Thank you Bernard Allison for these fabulous moments! Bernard Allison, aside from being the son of blues legend Luther Allison, is a high;y-accomplished and critically-acclaimed bluesman in his own right. There are party anthems, funked-up struts, love songs, and a touching tribute to Pops over these twelve cuts. Bernard, along with fellow Ruf artists Vanja Sky and Mike Zito, are bent on bringing great blues to the world as the Blues Caravan tour kicks off.
Bernard Allison carries on the family tradition of bringing great blues to fans all over the globe. It is never too late to do well and it will be the case the next day with the concert of Bernard Allison that I had never bothered to go see before. The son of the great Luther will show me that I was wrong. His filiation is omnipresent, he talks about his father, he plays the repertoire, starting his concert with a Rocket 88 cover with a nice guitar solo, to which he gives an organ sound via an effects pedal, then playing Bad love and a slow blues of "Daddy", but he does it with resilience, and lets talk about his personality.
It is noteworthy of blue notes and mastery on the guitar, only making the powder speak on the cover of Voodoo chile, and leaving an important place to the saxophone.
George Moye on bass and Mario Dawson on drums will be impressive in efficiency, accuracy and swing throughout the evening. Bernard Allison is as bad as his daddy. Luther laid it down hot and nasty with his Les Pauls and Strats, using his teeth as much as his hands to get his message across.
Like his dad, Bernard is an Freddie King disciple. King's fiery licks flicker throughout Allison's riff catalog, scuttling along the fretboard as he reaches flameout territory. His latest release takes him back to Ruf records, the label that helped revitalize daddy Luther's US career in the '90s after he had been living in Paris for nearly a decade.
But Bernard needs no comeback. He's been coming on harder and stronger since his formative years right out of high school, playing with Koko Taylor then touring and recording with his dad before going out on his own. He wrote most of the material on Let It Go. King's wiggly string-bending prowess that has some Johnny Winter snuck in there as well to grease things up a touch. Allison finishes up with a couple of daddy's, mellowing out Luther's B. It's good, solid work passed on from father to son, honored and honed to a brilliant shine.
Bernard Allison is the son of the legendary bluesman, Luther Allison. I want to get that fact out of the way early, because lineage is always a factor when an artist has a famous parent. The challenge of the blues, for all artists, is connecting to its rich history while also sounding contemporary. Allison navigates that challenge perfectly, creating an album that is timeless. Allison subtly moves between styles without the album ever sounding random.
Everything fits together perfectly. But the two songs fit perfectly into the rest of the album. Not only does he know the licks and the structures but he also knows how to assemble them together. Buy the album: Amazon Amazon UK. Let It Go, the new album by guitar slinger and blues funk master, Bernard Allison, released February 2nd, cracks the start of with a blues-bang. The incredibly talented guitarist, vocalist, songwriter, Bernard Allison son of the late, blues heavyweight, Luther Allison put together a funky blues album that rocks.
The perfect album-opener with a mighty fine guitar solo and smooth, soulful vocals by Allison. This tune must be experienced at high volumes to capture the excellent musicianship by Bernard Allison vocals, lead guitar, slide, B3, John T.
Talk about making a guitar sing.