Will James – Sundancer | Album Review

Will James – Sundancer

Self-release

www.willjamesmusic.com

10 songs – 44 minutes

Will James is a guitarist, singer and songwriter hailing from the south of England and Sundancer is his debut solo album.

Recorded at Steakhouse Studios in Los Angeles and produced by John Wooler, Sundancer is an intriguing collection of 10 self-composed blues-rock songs with a heavy late 60s/early 70s influence. There are very few songs on the album that fall easily with the broad genre of blues, but the blues is clearly at the heart of everything James does, combined with varying degrees of jazz, soul, funk, R’n’B and rock. The tracks stretch out (but never overstay their welcome) and there is a sense of relaxed music making about the entire project – a facet that is often missing from modern recordings.  No doubt they are a treat to hear (and play) live.

The closing track on the album, “Sundance”, hints at a slightly different potential future direction for James, being based around a heavy, repetitive single note riff, distorted guitars, feedback and a half-spoken vocal, all of which recall a certain Jimi Hendrix.

James is fine, soulful singer, sounding alternatively (and appropriately) weary then furious on the funky “Grindstone”, then despairing on “Prisoner”

His guitar playing is subtle and clever, often weaving between and adding emphasis to the vocal line, as on “6up”, which features a nice double-time ending.  “Pack It Up” has an irresistible funk groove and neat guitar riff and a reverb-laden solo that sounds like a jazz master playing blues over a funk song.

“Q Blues” highlights James’ electric slide guitar playing, while the galloping “Where’s My Baby?” features a scorching sax solo from McConkey.

James is backed by a crack band, comprising Jon Gilutin on organ and keyboards, the always-top-notch Randy Jacobs on rhythm guitar, Nathan Brown (Coco Montoya Band) on bass and Sergio Gonzalez on drums. Dan McConkey on sax and Tim Quicke on trumpet make guest appearances.  Together they provide superb support to James’ musical vision. Gilutin’s organ washes in “Home” give the song a distinctly early 70s feel, matched by James’ laconic vocal and airy guitar playing.

At times, there is a sense that the musicians are making the songs up on the spot,  particularly on the dreamy, Van Morrison-esque “Still Blue” or the opening rocker, “Shadowman”, but this is not intended as a criticism, more an acknowledgement of Sundancer’s influences.

With pristine engineering and mixing by Sam Madill, Sundancer is an aural delight. This is an album with a lot going on under the surface and is all the more enjoyable as a result.

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