Jason Ricci & The Bad Kind – Behind the Veil
12 Tracks, 67 minutes
Jason Ricci has won numerous awards for his harmonica playing and he is believed by many to be possibly the finest harmonica player on the planet. There are many opportunities on his new album to understand why so many people hold that opinion. Behind the Veil is his debut release on Mike Zito’s label, Gulf Coast Records, and features seven original tracks and five covers. Ricci provides vocals for several of the tracks, as well as playing both diatonic and chord harmonica. He is joined by his wife, Kaitlin Dibble (vocals), Brent Johnson (guitar and backup vocals), Jack Joshua (double bass, electric bass vocals and backup vocals) and John Perkins (drums and backup vocals). The album also features a few special guests including the remarkable Joe Krown (piano and Hammond B3 organ), Lauren Mitchell’s skillful backup vocals, and Joanna Connor’s impressive guitar contribution.
With three very distinctive lead singers who each write original songs, and unique interpretations of some famous covers, this album offers an intriguing variety of rhythms and moods. It begins with “Casco Bay”, a song in which the influence of both classical music and Gypsy Jazz can be heard, followed by a somewhat retro sound for a cover of Rudy Toombs’ classic song written for Ruth Brown, “5-10-15.” This track is beautifully sung by Dibble, with a magnificent harmonica solo at the end.
“Baked Potato” is an instrumental number co-written by Ricci and Stachurski Shawn Dustin which features Brent Johnson’s superb guitar tones. And, if one song needs to be selected to demonstrate to a new listener why fans are in awe of Ricci’s ability to make sounds that seem physically impossible to make on the harmonica, either this track or the other instrumental on the album, (Booker T & the MGs’ “Hip Hug Her”) would be perfect examples.
Jack Joshua’s original leads to a drastic change in mood with his amusing accusation of his lover in which he notes, “You acted like I was a Cirque du Soleil clown!” That song is followed by “Wrong Kind of Easy,” which offers a cool, jazzy, swinging ambience. Dibble’s fine vocal ability is especially evident during the scat singing on this number, and Ricci’s vocals join hers toward the end as both turn acapella for the fade out.
Ricci’s gravelly, soulful voice is strongly emotive and perfect for the haunting version of “St. James Infirmary,” and gives it an almost Tom Waits-type vibe. Once again, Johnson’s exceptional guitar tone adds significantly to the track. And, this unique interpretation of the famous song ends with an astonishing harmonica solo that is clearly Bach-inspired, merging into a tiny sample from Beethoven’s “Fur Elise”.
The duet between Ricci and Dibble, “Why Don’t we Sleep on It?” is a light-hearted exchange in which Ricci wonders if he would be better off single again. Dibble responds to each line, refreshing his memory regarding how that turned out for him in the past: “I’d have me a new hit record” “You’d have a felony on that Record!” “I’d have a million in the bank.” “You’d be selling bathtub crank!” “I’d be chasing all kinds of tail.” “You’d be hiding yours in jail.” I’d be on the beach in Venice.” “You’d be serving a six-year sentence.” Ricci has been very open with fans regarding his past struggles with drug addiction and arrests and about the positive influence offered by his wife, so the honesty of these lyrics makes it quite meaningful as well as amusing.
A Bobby Rush cover, (“Ain’t She Fine”), a rock-leaning Dibble original, (“No Way”) and another Joshua original (“Shipwreck”) are also included on the album. And Ricci’s cover of Dax Riggs’ “Terrors of Nightlife” will have listeners mesmerized, as this soul-stirring rendition is even better than the original.
Those who still purchase physical CDs will be treated to some beautiful artwork on the cover of this album, and also to very touching liner notes in which Ricci expresses his gratitude for his second chance at a good life. Overall, Behind the Veil is a fascinating album that is causing a lot of excitement in the blues community, with good reason. It is definitely one of the top ten albums to have been released this year.
