Raphael Wressnig & Igor Prado – More Groove, More Good Times Live
Pepper Cake Records
8 Tracks 43 minutes
Many Blues Blast readers may be unfamiliar with Raphael Wressnig. That is a true shame, as the Austrian is a monster on the Hammond B-3 organ. Twice nominated by Downbeat Magazine as “Best Organ Player of the Year,” Wressnig has more than 15 albums under his name, full of his exciting keyboard excursions that cross musical boundaries with equal aplomb.
His latest release finds him working with the Prado brothers, two Brazilian musicians who also are deserving of wider recognition. Igor is one of the finest blues guitar players around, with a fiery left-handed style that injects plenty of passion into the music. His brother Yuri is a rock-solid drummer, adept at handling the variety of rhythms that Wressnig employs. They have recorded two other albums together, so they are well-versed in making the most of the trio format, with Wressnig’s left hand taking care of the bass lines.
Just as they did on their previous studio album, Groove & Good Times, the trio starts off with a cover of “Kissing My Love,” taking the Bill Withers song into the land of funk, just like you might hear from some of the best bands from New Orleans. Of the disc’s eight tracks, five more tunes are reprised from the studio album. The New Orleans connection returns on a smoldering rendition of a Meters tune, “No More Okey Dokie,” with Wressnig’s swirling organ washes creating a palpable sense of excitement. Their version of Reese Wynans “Crossfire” gives Igor plenty of room for his blistering guitar licks that expound on Stevie Ray Vaughan’s legacy.
Equally fine is a jaunty rendition of ‘Drive It Home,” with more splendid guitar from Igor, who also contributes a hearty vocal that pays tribute to guitarist Snooks Eaglin, the song’s composer and another New Orleans legend. Listeners may recall Bobby Blue Bland’s memorable version of “Ain’t No Love (In The Heart Of The City)”. For their version, the trio wisely foregoes the vocal, content to establish a solid groove as the foundation for more top-flight improvisations. The final cover finds the trio digging into the Isley Brothers “I Know Who You Been Socking It To,” giving Wressnig plenty of space to demonstrate the extent of his considerable organ chops.
“Born To Roam” was co-written by the organist, who contributes a talking vocal highlighting his worldly travels before turning it over to Igor, who makes his strings sing. Wressnig adds his own soul-wrenching solo to finish things off in grand style. The closing track, “Faceslap Swing No. 5” is indeed a swinging affair thanks to Yuri’s fine stick work, his brother’s frenzied guitar workout, and Wressnig pulling riff after riff from the organ, constructing a soulful strut that radiates with the the joy of the moment. The response from the appreciative audience leaves no doubt that the trio’s bold musical statements hit home, making this release well-worth a listen.
