•
Rating: Paraphrasing, it would be fitting to borrow, in part, the title of a famous collection of Blues classics reinterpreted by Eric Clapton; and thus it would turn out "from the cradle.... to the Blues." Indeed, just to emphasize the young age of the young man in question. This guy has some accolades and, in my opinion, no dishonor. The numbers speak for him: he is 18 years old, has 4 albums to his credit, toured with John Mayall, toured with Gregg Allman, and has a highly recognizable and personal sound, something not easy to find in today's Rock Blues, which would be enough.
Eric Steckel is the new enfant prodige of the Rock Blues guitar of these years. The only burden he might encounter could be, in the future, losing the main path like two of his distinguished predecessors in the uncomfortable role of enfant prodige of recent years: Jonny Lang, who let himself go to mainstream sounds, and in a certain sense Joe Bonamassa, one who is slowly losing himself in his sonic confusion. Steckel already has a good following in Italy, he often returns here and also graced the prestigious stage of the Pistoia Blues two editions ago. The live performance in this small American club kicks off with "San-Ho-Zay" by Freddy King, a tasty Rock Blues appetizer with a Funky aftertaste in which the boy and his Stratocaster with a ripped sound let themselves go on a ride like those not heard in a long time, let alone from a boy who was only 16 at the time of this live. His "Radio Blues" arrives, in the midst of the slow Blues tradition, all carried in a smoky atmosphere. Hearing the voice of a kid in such a sly, seasoned and cavernous environment as the Blues gives an incredible effect. Like a tropical storm, "Espirita" arrives. Steckel’s awareness reaches very high levels, a compelling, warm, and introspective composition, in which he unleashes warm minor pentatonics as if it were raining, astonishing. It moves on to "Me And My Guitar", a very bonamassian piece; indeed, it seems to feel that groove that good Joe had at the time of "A New Day Yesterday: Live".
Without much chatting, "Philips Highway" arrives, and it is a piece of pure Southern Rock in the style of the Allman Brothers Band, it very much recalls "Blue Sky" by the Allman, very much; so much so that in its solo, Steckel intentionally cites "Blue Sky". After all, good Eric grew up with the myth of Stevie Ray Vaughan and the Allman Brothers Band. In order come three Rock Blues blows: "Deep Fried", "Jaywalkin", and "Hey Siste". The live closes with two other covers besides Freddy King's. The first, "Little Wing". The ghosts of Hendrix and Vaughan watch over the young man, especially Vaughan's; indeed it's a version closer to Vaughan's than Hendrix’s, being instrumental like the version of Oak Cliff's legendary guitarist. It reaches incredible pathos, very close to that of the Texan master, considering the fact that we are still facing an 18-year-old boy and that at the time of this live he was 16 (!). It is always good to remember this, so being compared to sacred legends of that caliber is a huge success! The live closes with another classic, "All Your Love", a mythical piece by Otis Rush brought to success by John Mayall at the time of the Bluesbreakers with Eric Clapton.
Let yourself be captivated by this guy because he deserves it, and because he has a compositional and technical maturity out of the ordinary.
Loading comments slowly
