James Blood Ulmer has been on a something of a roll since the late '90s, after reuniting with longtime cohort
Charlie Burnham and delving into the blues. The two
Vernon Reid-produced blues albums were among the best of his career, with
Ulmer adding his harmolodic shadings to classics from the blues canon. The 52nd Street Blues Project is a stripped-down offshoot of those albums, but they operate as a band instead of simply supporting
Ulmer. Along with
Ulmer and
Burnham are
Blood's rhythm section -- Aubrey Dayle (drums) and Mark Peterson (bass) -- and vocalist
Queen Esther, all veterans of
Blood's blues albums. But here everyone but Dayle contributes to the songwriting instead of working covers, simultaneously updating the tradition and reaching back to prewar blues archetypes. "My Favorite Thing" is just
Ulmer solo -- voice and guitar (as is "Where Do All the Girls Come From?") -- and evokes the primal blues of early
John Lee Hooker sides.
Queen Esther is up next, accompanied only by Mark Peterson on "You Lied," an infectious, swinging number whose themes are the essence of the blues but addressed with the fresh perspective of a blues poet rather than the same tired blues clichés.
Queen Esther's got a strong, soulful voice and impeccable phrasing, which is supported perfectly by Peterson's swinging bassline. Then it's time for "Recess," a droning blues march with fantastic violin from
Charlie Burnham that stands alongside great
Ulmer instrumentals like "Love Dance" from
Odyssey.
Burnham is amazing here, an expressive modal workout with slippery harmonics and a snaky down-home feel.
Ulmer takes vocals with the full band for "My Prayer," then hands them back to
Queen Esther for "Queen Esther's Blues."
Burnham gets the spotlight again for "Watermark," another slinky instrumental with just violin and bass, then takes a rare vocal turn on "Papa Don't Know," where he switches to mandolin and sings with a sweet voice. And check out his other solos, like on "I'm Goin'" or the funny quote in "Sunnyland" -- the man just shines. Even Peterson gets a solo shot on "A Miniature of the Bass." But as great as it is,
Ulmer fans have heard much of this music before; the real revelation on this album is
Queen Esther, whose uplifting songs and great singing are definite highlights on a consistently strong album. Just see if you can get "Sunnyland" or "I'm Goin'" out of your head at the end of the disc.
Blues & Grass is a great album from a great band that knows all shades of the blues. The key is in the liner notes, where
Blood says, "I like the idea of the blues as a sound more than I like the idea of the blues as a form." Some songs might not sound like conventional blues, but that's part of the beauty of this album. Remember, this is not a
James Blood Ulmer record, it's a band effort by the 52nd Street Blues Project, but it ranks right up there with any of
Ulmer's albums or projects despite his diminished role. Let's hope that this one-off live recording turns into something more; this is a keeper. ~ Sean Westergaard