SUPERSONIC BLUES MACHINE

VOODOO NATION

(Provogue Records) 8/10

An album consisting of a great band plus an array of revered guests has a lot of appeal as this new studio release by Supersonic Blues Machine shows. With the trio of Fabrizio Grossi (bass), Kenny Aronoff (drums) and UK singer and bluesrock guitarist Kris Barras (check out his video licks feature on page 34) as the foundation, the guests are very impressive from Kirk Fletcher, to Sonny Landreth, and Eric Gales to Josh Smith. Depending on your viewpoint of what blues is, this leans more towards the modern zone with lovely blazing guitars and big drums to drive the songs. With 12 tracks, the first three songs set the scene as the trio takes centre stage. You And Me sees King Solomon Hicks in fine form with lyrical phasing. Ball Lucy has Sonny Landreth presenting a masterclass of slide playing with singing and agile licks. Kirk Fletcher’s tasteful Pentatonics on I Will Let Go enhance the shuffle-vibed slow burner. Really great stuff! (JS)

After the progressive rock of his band Cul-deSac, Glenn Jones began a solo career much more in line with the Takoma school of instrumental acoustic guitar picking, basing his music around unique tunings and the use of partial capos. His eighth album proper sees him utilise a Lowden F32C fan-fret for most of these 10 beautifully picked mininarratives, which again establish him as flag-bearer of the genre. Each Crystal Pane Of Glass, is probably the album’s most complex piece, bringing to mind career highlights such as Like A Sick Eagle Looking At The Sky from his My Garden State album, but other hits include Forsythia, with its hints of contemplative melancholy, and the quietly optimistic John Jackson of Fairfax, Virginia. The banjo appears twice, including on a gorgeous duet with violinist Ruthie Dornfield, but this is really a celebration that’s all about modestly dynamic acoustic guitar music. [GK]