The Maple Blues Band – Let’s Go | Album Review

The Maple Blues BandLet’s Go

Cordova Bay Records

www.maplebluesband.com

LP version

Side A – 5 tracks 18:34

Side B – 5 tracks 16:34

Formed 25 years ago, The Maple Blues Band was started to provide the music for the annual Maple Blues Awards showcase, a national program which honors Canadian blues artists, as sponsored by the Toronto Blues Society. After the 1998 event, there were some people who felt the music at the show could, and should, be better.

One of those people was Gary Kendall, a veteran bass player with decades of experience. The band he put together has featured some of the finest blues players in the country, including members of the long-running groups like the Downchild Blues Band and Fathead. Mixing in some horn players with impressive jazz credentials, The Maple Blues Band members have been honored with numerous Maple Blues Awards as well as Juno Awards, which celebrates Canadian musical artists in all genres.

After several decades, the band has it’s first release. With an all-instrumental program of original material, the album radiates with the energy that this ten member aggregation can conjure up. In addition to Kendall, other members include Teddy Leonard on guitar, Lance Anderson on keyboards, Al Lerman on harmonica, Jim Casson on drums & percussion plus Rashane Wright on percussion for two tracks. The horn section features Pat Carey on tenor saxophone, Alison Young on baritone & tenor sax, Howard Moore on trumpet, and Meirion Kelly on trombone.

“At The Corner” is a great opening track, an upbeat tune with a tight arrangement and some stirring piano from Anderson, doubling on the Hammond B-3 organ. The band easily captures the spirit of the Crescent City on “Hey Nola,” with an easy-flowing rhythm underneath solid blowing from the horn section. Anderson, Carey, and Leonard all shine in their solo segments. Kendall lays down on thundering bass line to drive “Savona Shuffle,” Lerman gets the chance to show off his harmonica skills, and Kelly blows a brawny trombone solo.

The blues come knocking on “Baker’s Groove,” a rousing number with more fine blowing from Lerman, who resists the urge to fill every bit of space with notes. Anderson’s rollicking piano playing gets encouragement from the riffing horns, then Leonard tears into a blistering guitar solo that takes the proceedings to a new level. “Sumlin Around” is a tribute to Howlin’ Wolf’s guitar player, Hubert Sumlin. Leonard gets extended solo space, wisely playing in his own style with plenty of taut notes.

Flipping the album over, the mood shifts dramatically on the first track, “If I Should Lose You Again”. Written by Leonard, the country-tinged ballad has a sensitive piano break from Anderson, who adds to the laid-back feel playing accordion in the background. Leonard’s slide guitar finishes things off in fine fashion. Thanks to the outstanding horn chart, “Stop Talkin’” is brimming with spirit, brought home by some hearty harp blowing by Leonard.

“Mating Cry” veers into a swinging jazz groove, with Anderson leading the way on Hammond organ, then Young gets her opportunity to shine, and she makes the most of it with a dynamic tenor sax solo.

The longest track, “Zannzibar,” would make a great opening number for the band’s live shows. It features solo contributions from a variety of members, illuminating the all of the band’s instrumental strengths. Ending on a lighter note, “Let’s Go” is a breezy tune punctuate by a driving best from Casson.

A well-recorded project cut on heavy-duty vinyl, the album is a delight to listen to, every instrument heard in all its glory. Listeners can feel the weight of the horn section and easily imagine Leonard or Lerman as they tear it up on their instruments. Kendall likes to refer to it as “big band blues”. Call it what you want, when music is played this well, there is plenty to enjoy. Don’t let the lack of a vocalist deter you from checking out this beautifully crafted musical statement.

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