Arlen Roth & Jerry Jemmott – Super Soul Session!
Blue Heart Records BHR 049
13 songs – 56 minutes
Two of the most beloved and in-demand session players of their generation, guitarist Arlen Roth and bassist Jerry Jemmott have been churning out hits for other artists for decades and honor several of the greats with this disc, which reinvent and breathe new life into several of the tunes they helped weave into the fabric of the American songbook.
Known as the “Master of the Telecaster” and the son of cartoonist Al Ross, whose creations were featured in The New Yorker and other major publications, Arlen grew up in New York City and jump started his career in 1970 when he played eight hours at the first annual Woodstock reunion. A noted author and teacher, he’s recorded and toured with everyone from Pete Seeger and Art Garfunkel to Paul Butterfield and the Bee Gees to James Taylor and many, many more. Recognized by Vintage Guitar magazine as one of the 100 most influential fret masters and top 50 acoustic players of all-time, he’s the founder and CEO of the International Guitar Hall of Fame and Museum.
A two-time Grammy winner who also grew up in the Big Apple, Jerry’s as “The Groovemaster, his storied career began when King Curtis recruited him for his legendary R&B group, the Kingpins before appearing on Nina Simone’s The Blues LP. As a session player at Atlantic Records and more, his bass lines run deep in recordings by everyone from Aretha Franklin and Wilson Pickett to Roberta Flack and B.B. and Albert King as well as a long list of jazz superstars. Today, his work graces many of the chart-topping blues CDs emanating out of Kid Andersen’s Greaseland Studios in California.
Produced by Roth and Alex Salzman – who contributes keyboards throughout — and captured at Raw Recording in Patterson, N.Y., and ASP in neighboring Brewster with a core lineup that includes Bruce Katz on organ and piano, Tom Gage on rhythm guitar and Chris Parker on percussion.
They’re augmented by The Uptown Horns: Crispin Cioe (alto and baritone saxes), Arno Hecht (tenor sax), Bob Funk (trombone) and Larry Etkin and Tony Gorruso (trumpets). Guest artists include African soul giant Mukamuri and Joe Louis Walker on vocals and six-string with Lexie Roth and Ronee Martin contributing their voices, too. And each of the 13 tracks come with dedications to more than two dozen folks who made the songs possible.
The heat’s on from the open of Jerry Lawson and the Persuasions’ “I’m Just a Mortal Man” with Mukamuri on mic. It simmers slowly and builds to a boil with gospel overtones as the singer confesses his humanity after his lady’s left him for another man. Roth’s slide runs brighten the mood toward the close. It flows effortlessly into a deep-in-the-pocket redo of Aretha’s “(Sweet Sweet Baby) Since You’ve Been Gone” and a skintight rereading of Marvin Gaye’s “Dancing in the Street,” both of which are delivered as instrumentals with lush horn backing.
Walker’s distinctive pipes and Roth’s deliberate single-note attack put a different spine on B.B.’s “The Thrill Is Gone” before Mukamuri shows his talent once more with a stellar reading of Jackie Wilson’s “(Your Love Keeps Lifting Me) Higher and Higher” then yields the stage for an instrumental version of the Don Covay-penned Aretha staple, “Chain of Fools.” Sam Cooke’s “Shake” takes on a different, but familiar feel with JLW handling vocals before the band shifts gears for a smooth-as-silk version of Doby Gray’s “Drift Away” with Mukamuri in the spotlight.
Roth shows he’s more than a guitar god, he’s a singer, too, with “Down Home Girl,” which follows. Penned by Jerry Lieber and Artie Butler and a hit for both Ray Charles and the Rolling Stones, the take finds a middle ground between the two versions. It slides into a instrumental version of The Band’s “The Weight” before Mukamuri shows his versatility with Danny O’Keefe’s “Good Time Charlie’s Got the Blues.”
Curtis’ “Memphis Soul Stew” – a tune Jemmott co-wrote – follows with Jerry handling the extensive spoken fills that introduce the musicians one by one as they slowly join the action with a helping hand from Martin. Spanning almost nine minutes, the soars to a spectacular, three-minute instrumental finale. The action closes patriotically with a groovy version of “America the Beautiful.” It’s dedicated to both Ray Charles and to the memory of every veteran who’s ever served the Red, White and Blue.
Sure, this one’s wall-to-wall covers…but wow! It’ll leave you craving more. Strongly recommended.
