When a sprightly octogenarian saxophonist and co-founder of England’s Marshall Amplifiers releases a debut album, it is not surprising that the music world holds its breath. Over 60 years ago Terry Marshall and his dad Jim began building the guitar amplifiers which bore their name. This signature brand became synonymous with the exponential popularity of rock music and electric blues. Marshall soon became the amplification of choice for luminaries such as Jimi Hendrix and Eric Clapton together with global bands including The Who and Guns N’ Roses. The rest is history.
Terry’s friends are a collection of the best of UK’s blues talent. They include contemporaries of Terry such as bassist Nick Simper (founding member of Deep Purple) and guitarist Peter Parks. Keyboard Player of the Year Paul Long has a lifetime of experience as a performer, producer, and writer. Three of the most respected and talented blues chanteuses feature prominently: Zoë Schwarz, Alice Armstrong, and Emma Wilson. British Norwegian singer, songwriter and guitarist Krissy Matthews has already released one of the outstanding albums of 2024, Krissy Matthews & Friends.
Laurence Jones is creating waves on both sides of the pond having appeared at the Royal Albert Hall in London and New York’s Carnegie Hall. Vocalist/guitarist Robin Bibi, guitarists Robert Hokum and Oliver Brightman, drummers Kev Hickman and Paul Gordon White, and singer/ harmonica virtuoso Hugh Budden might have a lower national profile but are prominent and highly rated in their regional blues venues. Leading from the front is saxophonist Terry Marshall who explains, “My whole business has been love of music, my whole life has been totally music I just love playing.” It is this passion for and enjoyment of music which shines throughout this album of blues classics.
The opening track, Willie Dixon’s “Hoochie Coochie Man,” sets the scene with Krissy’s scintillating guitar solos and vocal dueling with UK Blues Awards Contemporary Blues Artist of 2024, Alice Armstrong. Terry injects jazz infused sax into the mix. Robert Cray’s “Phone Booth” slow blues is expertly arranged and beautifully sung by Independent Blues Artist nominee Emma Wilson.
On Koko Taylor’s “Voodoo Woman,” Alice is joined by Zoë, their contrasting vocal styles adding a fabulous new dimension to the song. Robin Bibi and Laurence Jones give a show stopping performance on B.B. King’s “Worried Dreams,” Terry’s sultry sax tones adding gravitas to the intense mood of despair created by the impassioned vocals and guitar licks. Alice and Zoë return for the upbeat “I Got All You Need,” Willie Dixon’s song enhanced by Hugh Budden’s supreme harp interludes and Hokum and Parker’s riffing guitars.
The version of “Help Me” from Budden is played at a faster pace than usual and in many respects better for it. Extended sax inputs and Paul Long’s fluent and nimble keys add to the distinctive interpretation.
Emma Wilson has drawn comparisons with Aretha Franklin, which makes “Dr Feelgood” the perfect ballad for Emma who sings with feeling, sincerity and empathy for the original. Robin, Peter, and Laurence are back for Peter Green’s “Long Grey Mare” exuding enthusiasm and excitement as they respond on a call and response basis to Terry’s inventive saxophone interpolations.
J.C. Johnson wrote “Me And My Gin,” which was recorded in 1928 by the Empress Of The Blues Bessie Smith. Just over three quarters of a century later, Alice Armstrong gives the performance of her life with a triumphant cover version delivered with energy, passion, heart and soul.
Zoë maintains the standard set with Dixon’s “I’m Ready,” using her unique formula of classical, jazz, blues, and every other genre she has absorbed into her soul and creative imagination. Hugh Budden gives a realistic imitation of one Howlin’ Wolf on “Smokestack Lightning” with its piercing sax, harp, and mesmeric rhythm. Robert Hokum’s guitar contribution sums up this whole album – a UK Unsung Hero Award Winner, blues master, jam session organizer, and global groover since the 1970s.
Everyone who contributed to this album is not just living the blues, they are living their dreams.
Produced by Terry Marshall and Adam Beer
Recorded at The Marshall Studio, Bletchley, UK
Engineered by Adam Beer and Oliver Brightman
Mastered by Christian Wright at Abbey Road Studios
