Robben+ford

On his second album for the Concord Jazz label, guitarist Robben Ford stays pretty much to the formula of Blue Moon from 2001. He concentrates on playing, singing, and covering great songs (and even writes a few) with interesting arrangements, inspired solos, and crisp, clean production that lets the song shine through the players. Much has been made of Ford's eclecticism and that is reflected in his choice of material here, though he never strays from the blues or R&B into jazz or fusion. Ford's selection of session players reflects his divergent interests as well: Edgar Winter appears on saxophone, while John Mayall and Ivan Neville guest along with horn bosses Bob Malach and Dan Fornero and Ford's road band. Opening the set with the title track, written by soul man Jackie Edwards, Ford lays out his formula immediately: a tight horn chart for tenor and baritone saxes, as well as trumpet; a crystal clear, expressive vocal delivery; and Ford's signature stinging guitar in the solo break lifts proceedings off on the up tip.

This album is a literal encyclopedia, and apprenticeship for the blues guitarist! There is no date listed as to when this was recorded, but Robben shows who he is this night and one can only guess what an illustrious carrer he has awaiting him. He shows the importance of the minor 6th scale, and his Mike Bloomfield influence shows strongly. Jimmy Witherspoon a man who needs no introduction, and is missed sadly today by many, displays his usual, dazzling charm, and stage presence.

Over the years many people have asked, "Will the real Robben Ford please stand up?" Those are the people who wonder if the singer/guitarist is really a blues-rock vocalist or a jazz fusion instrumentalist at heart. But truth be told, Ford is many different things. He is genuinely eclectic, which is why one never really knows from one album to the next what direction he will take. Blue Moon, Ford's first album for Concord Jazz, is primarily a vocal date. Ford gets in his share of inspired guitar solos, and he provides one instrumental: the gutsy "Indianola." But most of the time he sings. And as a vocalist, he favors an exciting blend of blues, rock, and soul on tracks like "Something for the Pain," "Don't Deny Your Love," and "The Way You Treated Me (You're Gonna Be Sorry)." Meanwhile, "It Don't Make Sense (You Can't Make Peace)" and the moody "Make Me Your Only One" are among the CD's more jazz-tinged vocal offerings. Ford does not embrace a standard 12-bar blues format on all of the material, but then, he never claimed to be a blues purist.

In 2019, following their joint tour of Japan, guitarist Robben Ford and saxophonist/keyboardist Bill Evans recruited jazz bassist James Genus and Steely Dan drummer Keith Carlock to cut The Sun Room in a Nashville studio. The group is back with Rolling Stones' bassist Darryl Jones in the bass chair. Recorded in the same studio, this set's focus relies heavily on a more rockist jazz-funk and blues. Common Ground was co-produced by the saxophonist and Clifford Carter, and its nine tracks clock in at just under an hour. The session gets unruly early on with "Ever Ready Sunday," a mean, funky, jazz-rocker. Kicked off with a power chord vamp by Ford, Jones rumbles behind Carlock's snare and hi-hat breaks. Evans solos on soprano and Ford follows with a meandering meld of jazzy arpeggios and blues licks.

When an artist records one type of music exclusively for years, it's always amusing to hear the artist's manager, record company or publicist claim that he/she "defies categorization." The fact is that when an artist spends his or her entire career recording a specific style of music, categorization comes easy – and it's silly and dishonest to claim otherwise. But if any artist really does defy categorization, it's Robben Ford. The eclectic singer/guitarist is a compelling bluesman, but he's equally convincing as a jazz improviser and a pop/rock singer. On Supernatural, Ford's primary role is that of an easygoing pop/soft rock singer – although a pop/soft rock singer who often incorporates soul, blues or jazz.

Robben Ford's "The Blues Collection", is a sampling of blues recordings featuring the remarkable guitarist stretching from 1971-72, through 1982-84 and finally 1991-92. Included are four instrumental tracks - "Excuse My Blues", "Blue Stu", "The Cotton Creeper", and "Pretty Woman", the last of which was recorded live at the Notodden Blues Festival. Harp fans will be thrilled to hear brother Mark Ford blowing on six ot the cuts, and Charles Musselwhite on three others. Four of the tracks are previously unreleased ("Excuse My Blues", "The Cotton Creeper", "Take Out Some Insurance" and "Help The Poor") and the Jimmy Witherspoon track "Going Down Slow" was also recorded live at the Notodden Blues Festival. Robben Ford is without a doubt one of the most creative and honest men to play, write and arrange in the blues idiom. He feels it as well as understands it. He is Robben Ford, and there is none better.

When an album boasts Robben Ford on lead vocals and guitar and Jimmy Haslip on electric bass, one tends to assume that there will be some type of jazz influence. Haslip, after all, was a founding member of the Yellowjackets back in 1981 and was still with the group 29 years later in early 2010, while the eclectic Ford has a long history of excelling as both a blues-rocker and a jazzman. It turns out that jazz is, in fact, an influence on parts of Renegade Creation, which unites Haslip and Ford with Michael Landau (lead vocals, guitar) and Gary Novak (drums). Jazz isn't a huge influence on this 2010 release, but it is an influence.

On his 1988 solo effort Talk to Your Daughter, singer/guitarist Robben Ford proves himself a master of sophisticated blues-rock guitar playing. The material is quite strong, and all the musicians perform at the highest level, but it's Ford's stellar soloing that makes this release. Fans of flailing '80s rock virtuosos would do well to check out Ford's exceptional work on Talk to Your Daughter. The musician's colorful yet controlled improvising and harmonic mastery is a rare and beautiful sonic treat. The title track is dripping with soulful, well-placed guitar lines that play like a master lesson of up-tempo blues phrasing that guitarists would do well to study. Other standouts include "Born Under a Bad Sign" and "Ain't Got Nothin' But the Blues." The fine arrangements and especially Vinnie Colaiuta's sharp drumming are all tightly wound with crisp, clear production that tops off "Talk to Your Daughter," making it a shining success. Listeners fond of Ford's work with the Yellowjackets and numerous side gigs, as well as guitarists and all musicians, should enjoy this very professional, succinctly executed offering. First rate!

The first thing that comes to mind when listening to Tiger Walk is the pair of instrumental albums recorded by Jeff Beck in the mid-'70s, Blow by Blow and Wired. Like those two recordings, this outing showcases a fiery, inventive electric guitarist in a rock and jazz-rock setting. Robben Ford, known in recent years for his blues work with his band, the Blue Line, eschews vocals here, teaming up with keyboard funk master Bernie Worrell for some chunky, funky, wah-wah-laden grooves. This music, led by Ford's blazing guitar lines, is more appropriately categorized as instrumental rock than jazz, but the rhythms recall James Brown and Worrell's alma mater, the P-Funk gang, as often as they do those of a hard rock band. Tenor saxophonist Bob Malach turns in a couple of solid solos, and the rhythm section of drummer Steve Jordan and bassist Charlie Drayton cooks throughout.

Rudy Rotta is an Italian blues guitarist who lives near Verona. Rotta achieved success in Italy before touring in other European countries. His reputation spread to the United States where he gained great popularity. His music combines a modern style with blues roots and a rocky funk soul character. Some consider him one of the best blues musicians in the world. His current double CD "Me, My Music And My Life" shows his impressive work in celebration of his 40 years in show business. In addition to his best works he also recorded some Italian songs as a bonus.