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Roberts’ original “Opryland Swing” not bound by the genre – rocking and That song also features gives his sweeping chords a chance to jazzing out occasionally on his solo the first solo by the swap choruses with Vaughan’s jazzy albums, providing the guitar anchor venerable Spooner single-note styling over a bouncy on Doyle Bramhall’s outside-the-box Is Oldham on organ. tempo. It News, and on the road for four years Oldham works beauti- The inclusion of vocals makes sense, in what Bob Dylan described as “the fully with the band, considering that Roberts backed one of best band I’ve ever been in.” including bassist John country’s best for 33 years. McNurlin’s At 68, Freeman’s perhaps Austin’s Dymond and drummer bluesy “Blow Whistle Blow” is a fitting elder statesman on guitar, although Gary Craig, providing showcase for both singer and steeler; for a period he ventured outside the the only guest ap- Riders in the Sky’s Green croons “Be- “velvet trap,” as Austinites sometimes pearance on what is yond The Reef” as few others could; refer to their own town, to relocate in essentially a showcase and Scruggs (son of Gail Davies and California. There he played on albums for Linden’s talents. grandson of Earl Scruggs) offers a by Jennifer Warnes, Kathy Valentine, Fans of the Band spirited reading of Hank Williams’ Dan Hicks, and Percy Sledge, in ad- might be surprised “Long Gone Daddy.” This CD is simply dition to a residency in Taj Mahal’s to find their song the best on every level. – DF Phantom Blues Band. “Remedy” here. Linden Freeman appeared on Modern Times was the co-writer of from ’06, but, not surprisingly, the CD’s the song with guitarist 16 instrumental interpretations cut Jim Weider, and its across decades of Dylan songs, many delivered as a rompin’, no doubt in his live repertoire during stompin’ boogie with a the guitarist’s tenure; in fact, “Spirit On guitar solo that is both Gwyn Ashton The Water” is the only tune from Mod- melodic and raunchy Radiogram ern Times. Freeman doubles on piano, at the same time. Fabtone Records organ, and harmonica when called for, There are 12 cuts Ashton opens this album playing a and fellow Dylan alum Elana James’ on the record, rang- few bars of slide with a resonator guitar fiddle helps lend a droning quality to ing from the vintage on “Little Girl” to evoke Johnny Winter “The Times They Are A-Changin’,” Southern soul of evoking Muddy Waters evoking Son given a march-tinged rhythm by drum- Working “John Lennon In New House. Those first few bars sound like mer Barry “Frosty” Smith. Orleans” to the country they could just as well have been the The notion of taking one of Dylan’s blues of “Smoke ’Em musical product of the harsh realities more scathing protest songs, “Masters Man All.” Linden covers a lot of life in Australia as the American Of War,” and removing the words may of ground on this last deep South. seem backwards, but somehow Free- tune with some amaz- The tune shifts gears into blues man’s wah-pedaled reading retains Blues ing fingerpicking on rock, linked by a slice of overdriven that ominous drama. Likewise, his the verses leading to harp played by Ashton. Though he’s acoustic/harmonica/Dobro arrange- Colin Linden might recurring throughout. the complex solo with presented as a bluesman, “Little Girl” ment of “Blowin’ In The Wind” would not be a household The slide solo is soulful its steady bass line. and much of the rest of Ashton’s tunes sound great regardless of what the name, but his signature and virtually defines Still Live is one of here are electric blues rockers closer missing lyrics were. seems to pop up on this style of music. He those records that in sound and style to Free or, at their Anyone mistakenly expecting notey records with surpris- comes back for a sec- features glorious guitar best, Graham Parker & the Rumour. solos smothering brief statements of ing regularity. He’s a ond solo that provides tones throughout. Most of the guitar playing is hard Dylan favorites should be pleasantly member of the Linden’s amp is and electric, and as a singer, Ashton surprised at the economical Freeman’s Canadian super- on the verge of sometimes sounds just a bit like Mark melodicism – as well as Dylan’s, for group Blackie breaking up but Lindsay – which is high praise, just in that matter. – DF & the Rodeo rides the wave case neither realizes it. Kings, and of sound in a “Fortunate Kind” sounds inspired by has appeared way that seems “Little Wing,” but also owes something on records by impossible. His to Blue Rodeo and Bob Dylan’s “The Robert Plant, slide playing is Man In Me.” It’s another reminder of Emmylou Harris, nothing if not how well American-born music, such Bruce Cockburn, masterful. He as blues and its half brother, country, fit Bob Arthurs & Steve Cassandra knows where to the Australian musical temperament. Lamattina Wilson, and take that sound Ashton rocks a version of “I Just Want Jazz for Svetlana many others. and create the To Make Love To You” that’s as much Self-distributed With his latest, perfect effect. Mountain as it is Muddy, and contains Duet records featuring guitar and he delves into One last some of his best guitar work. “Dog Eat horn have a long and varied history. multiple genres Colin Linden word about Dog” may be the record’s most appeal- Bucky Pizzarelli recorded a couple of of roots music, Still Live the vocals: ing number and best captures Ashton’s brilliant records with saxophonist Zoot displaying his Yellow Dog Records Linden has an musical spirit. He plays like Keith Sims. Joe Pass also cut one with Sims. guitar, vocal, everyman voice Richards on a really good night. And There are lots of good duet discs down and songwriting skills. a clever chromatic that is full of soul and that’s saying something. – Rick Allen through time, and this one between It’s a live recording, two-note lick moving grit without seeming two veteran players should be added done at Nashville’s into a bluesy ending affected. He gets what to the list. Douglas Corner Café, on the song’s fade. the music’s about and The setlist is made up of standards, and the intimacy is While Linden wrote writes songs that fit except for two Arthurs originals. ideal for what Linden most of the tunes, he the style and his own Several of the cuts contain Arthurs’ and band delivers. does a great cover of voice. His studio ef- vocals along with his beautiful trumpet There is no doubting the blues chestnut forts are always good Denny Freeman playing. Linden’s chops. The “Who’s Been Talking” records, but this live Diggin’ On Dylan They all feature Lamattina on guitar. opener, “Big Mouth,” that features several collection really lets V8 Records Perhaps unknown to many listeners, dispels any questions solos that drive home the listener appreciate Usually thought of as a blues player he’s been a teacher and performer about his playing. the hypnotizing snake- just how talented he (supported by associations with both in the New York area for more than It’s an earthy, funky charmer melody that is and how deserving Vaughan brothers, Angela Strehli, 30 years and is as complete a player country blues with won’t leave your brain he is of more recogni- and the countless blues greats who’ve as you’ll hear. His swinging, voice- a fingerpicked line long after listening. tion. – John Heidt graced the Antone’s stage in Austin, leading rhythm guitar propels most

Texas), Freeman has shown that he’s cuts, including interesting takes on old Messer. Alan Photo:

102 Vintage Guitar April 2013 VintageGuitar.com