Robben Ford
Truth

Introduction:

This Californian guitarist and singer, now nearing seventy and still going strong, has produced a large number of records, roughly divided into two main types.

The first one decidedly flirts with rhythm & blues, almost with pop; highly sung and arranged tracks (horns, strings, etc.), with the obligatory guitar solo present, but synthetic and “simple,” eight/sixteen bars almost pentatonic, smooth, and then back to the verses and choruses promptly.

The second range of his works is more “musical,” refined and relatively challenging to listen to, more jazz-like, more dry, with Robben accompanied only by essentials (bass/drums and, if desired, a hint of Hammond organ or electric piano). His guitar is constantly at the forefront, the solos are often long and articulated, with him frequently bebopping, making good use of his youthful saxophone lessons and bending even his singing to the law of jazz, making them very mobile and expressive.

Context:

Personally, as a fellow musician, albeit amateur, I much prefer his more jazz/rock/fusion albums. It’s just that the more “commercial” ones sound quite anonymous and perhaps too quiet to me... Ford is always highly professional, even when putting together rhythm & blues tunes, but they don’t “pierce” the collective imagination, whereas when he delves deep into his technique and puts all his skill on the line, his distinctive traits as an exceptional jazz-blues guitarist emerge, his unpredictable and daring phrasing, his surprising and elegant out-of-scale runs, his refined and personal touch, his melodic abilities, and thus the true connoisseurs of well-crafted music perk up and appreciate.

The album under review obviously belongs to the “second range” mentioned above. We’re in 2007, and Robben, hopping between a couple of Californian studios and a New York one, brings forth eleven pieces of exquisite, moderate yet striking blues constantly tinged with jazz and sometimes firmed up by rock. The accompanying musicians change depending on the recording studio, while guest appearances are limited to a cameo by Susan Tedeschi (wife of Derek Trucks, another fearsomely talented guitarist and former Allman Brothers band member) who duets with the main artist on a single occasion.

Strengths and Weaknesses:

Ford has an advantage over the myriad of good guitarists that populate the musical firmament: a very fine voice. Very agile and, above all, clear and… joyful, so that his blues is never melancholic and certainly not sad. Over the years, he has improved it even further, and it’s a pleasure to catch the numerous expressive nuances he manages to infuse in his singing, not particularly ingenious in terms of melodic invention but always incisive and only sporadically unmemorable.

Sure, this is “adult” music. There are no excesses, no messages, no sufferings or thrills to convey. The lyrics are the usual standards, serving mainly to make the voice work. No noise, no experimentation: it is “supported” and fluid music, executed to perfection by mature and skilled musicians. It is unlikely to appeal to the so-called youth… it is rather directed at an elite of true music enthusiasts, although its moderate and balanced aspect can be listened to by anyone.

Album Highlights:

“Nobody’s Fault But Mine” is not the Led Zeppelin one, heaven forbid, but rather the older one by Otis Redding. It is bolstered by a couple of horns and sounds “heavier” than the album’s average. It’s a pity that it fades quickly, starting to fade just as the artist is still going full throttle on the six strings…

“Riley B. King” is a round, cadenced rhythm & blues ballad, exquisitely sung. The guitar is clean and vibrant, with a sumptuous sound thanks to the golden hands of the musician, as well as the very expensive handcrafted Dumble amplifiers, a luxury, which he is accustomed to using.

Nothing less than impeccable “You’re Gonna Need a Friend,” enriched by the gurgles of the Hammond organ and a couple of lively backup singers.

“One Man’s Ceiling Is Another Man’s Floor” is indeed the one by Paul Simon (album “There Goes Rhymin’...” from 1973). From the second verse, the singing passes to the beautiful contralto of Susan Tedeschi. As almost always with Simon, the composition is delightful, starting with the title. Ford adds a couple of solos this time quite pentatonic and linear, akin to Clapton, one might say.

The concluding “Moonchild Blues” is a semi-slow completely orthodox blues, warmed by horns and the superb woman tone of the guitar, which acts as a true second voice in the song. All reheated stew, one might say, but the flavor is more than ever delicious: immortal old American music.

The Rest:

The opener “Lateral Climb” is a very orthodox shuffle, four lines of text, and the guitar is off, another four and more guitar, tackling a blues improvisation episodically bebopped. A not particularly characterized start.

The following “How Deep in the Blues” is a rhythm & blues with monotonous verses and then richly harmonized choruses. Robben’s guitar phrasing shines more than ever, occasionally pushed out of scale as only someone who has studied and played jazz for a long time can do (and he has done so even with Miles Davis, the top league).

“Too Much” is dominated by a rocky and solid riff. We are in the territory of sixties rock blues. The guitar barks, the Hammond howls, the drums hit the cymbals... it’s Robben’s hardest side (so to speak).

“Peace on My Mind” holds no surprises except the immense class with which all the musicians maintain the very cadenced mid-tempo. Ford leaves the rhythm mainly to his pianist, reserving for himself continuous fills around his voice as well as the usual relaxed and sharp solos, interspersed with knowing syncopations and equally exquisite showers of notes sometimes in intricate scales.

Not featuring particular excellences either is “There’s Never Be Another You,” a bit too predictable melodically, but the solo is excellent.

The penultimate track “River of Soul” is very… Californian. Robben showcases his smoothest, rounded voice, reminiscent of Christopher Cross. The nasal timbre of the guitar resembles that of Lee Ritenour… here they brush the edge of Steely Dan.

Final Verdict:

Four stars cannot be denied, Robben Ford is a great artist. Difficult to be deeply passionate about him, but impossible not to enjoy his music, his creativity, his rightness. Not thrilling music but... welcoming. Also sexy, in case someone reading has the habit of setting sound backgrounds for their pleasurable activities with others.