ROBBEN FORD - In the 1960s, long
before pop artists were backed by the generic, computer-based accompaniment that
is commonplace today, singers often recorded with formidable house bands,
including Booker T. & the MG’s and the Muscle Shoals Rhythm Section. The former
band came together at Stax records in Memphis, laying down timeless grooves on
hits by artists like Otis Redding, Albert King, and Carla Thomas. The latter
group—based in Muscle Shoals, as well as New York and Nashville—enhanced such
classic tracks as Aretha Franklin’s “Respect,” Wilson Pickett’s “Mustang Sally,”
and Paul Simon’s “Kodachrome.” Growing up in the ’60s, a teenaged Robben Ford
spent countless hours listening to artists like Aretha and Otis, at the same
time soaking in guitar blues from Mike Bloomfield, Eric Clapton, and B.B. King.
In his early 20s, Ford went on to join blues luminary Jimmy Witherspoon’s band.
But soon, Ford experienced a diversion from the genre. In 1974, the guitarist
was discovered by saxophonist Tom Scott, whose progressive fusion group, L.A.
Express, then teamed up with Joni Mitchell to support her Court and Spark tour
and play on two of her albums (1974’s Miles of Isles and 1975’s The Hissing of
Summer Lawn).
Today, possessing a résumé that includes stints with an impressively broad range
of other musical personalities—Miles Davis, George Harrison, Little Feat, and
the Yellowjackets, among many others—Ford has demonstrated an uncanny
adaptability similar to that of the MG’s and the Muscle Shoals group. The
guitarist has effortlessly traversed genres without compromising his exquisite,
blues-based playing and singing. So it’s only natural that on his latest album,
Keep On Running (CCD-2187), Ford tips his hat to Muscle Shoals and the MG’s,
offering fresh takes on soul classics, in addition to serving up several glowing
originals.
Keep On Running boasts a core group of heavyweight players—bassist Jimmy Earl
and drummers Toss Panos and Steve Potts. Ford couldn’t be happier with his
co-conspirators. Of the low-end, he raves, “Jimmy’s just about my favorite
bassist in the world. He has a great feel, and he and I see eye-to-eye in terms
of time; Jimmy is so comfortable to play with.” Ford is similarly praiseful of
his percussionists: “Steve plays so beautifully. He can do rhythm ’n’ blues in
such an authentic way, while at the same time sounding incredibly fresh. And
I’ve played with Toss on the road for a couple of years now; I’ve really
benefited from his unique feel.”
Among other instrumentalists, Ford expanded the core group with a battery of
keyboard players. But after the recording was completed, Ford, a relentless
perfectionist, found that their sounds were incongruous. He explains, “At a
certain point, I thought, ‘What’s wrong with this picture?’ It turned out I just
didn’t want to hear the [Hammond] B3 [organ].” So Ford, himself a diligent
multi-instrumentalist, redid most of the keyboard parts, using the more
appropriate-sounding Wurlitzer electric piano.
Ford’s journey throughout this CD, his second for Concord Records, covers many
musical miles. Starting things off, the title track is a fresh though faithful
cover of the Spencer Davis Group classic, which captured a then 17-year-old
Steve Winwood on vocals. Joining the core cast here are Bob Malach on tenor sax
and Edgar Winter on baritone; Ford expertly handles the guitar, vocal, and
keyboard parts. “I really dug this record when I was growing up,” says Ford.
“I’d been wanting to hear it again, but it only recently became available on CD.
My producer [John Wooler] also had this song in mind. We worked up an
arrangement at rehearsal recorded it.”
“Over My Head” showcases Ford’s organic, breezy compositional style in a song
dealing with the oldest of subjects: man chases woman, followed by heavy
infatuation. Here, his smooth, blues guitar screams and moans in a perfect
extension of the song’s soulful vocals. “‘Over My Head’ came from a casual
guitar riff that I found myself playing one day,” says Ford. “The words tumbled
out quite naturally. The riff seemed to suggest something many men go through as
one point, or many times—meeting a woman you know is dangerous but find
completely irresistible.”
Ford was at first uncertain about “Can’t Do My Homework,” originally recorded by
Otis Rush. The guitarist says, “We played the song, but it has such a camp
lyric. It felt so good, though, and was so much fun to play, that we just had to
use it.” And it is such an enjoyable listen, too. Showcased here are Ford’s
gorgeous guitar tones and sharp, playful improvisations, which never stray too
far from Rush’s original version.
On “Badge” (written by Eric Clapton and George Harrison, and recorded by Cream),
Ford offers another respectful cover, his smooth vocals backed by those of
Siedah Garret (the singer also appears on “Bonnie”), and his creamy guitar tone
recalling that of Clapton, while retaining Ford’s own unmistakable imprint.
“I’ve always loved the first Cream album, which is brilliant,” says Ford.
“Recording ‘Badge’ was John Wooler’s idea. I’m glad he suggested it; the song so
was nice to use as a touchstone, since I had worked with Harrison, and he had
recently passed away. You can really hear his influence in there, as well as
Clapton’s.”
“Peace Love & Understanding” finds Ford using R&B to smooth out a more rocking
version recorded previously by Elvis Costello. On this outstanding song, Ford
duets with the legendary Mavis Staples (who, incidentally, began her recording
career at Stax/Volt in 1969, backed by the MG’s) commenting on the difficult
times as of late. Ford explains, “I have to say that I didn’t grow up listening
to Elvis Costello. But this song presented a great opportunity: I don’t like
what’s going on in the world right now, and “Peace Love & Understanding”
expresses a beautiful sentiment.
A smart blues instrumental, “Cannonball Shuffle” was written by Ford for Freddie
King. The composition showcases Ford’s gutsy though refined playing, in addition
to some fine soloing from Malach. Ford says, “While planning this album, Wooler
and I were talking a lot about Freddie King. As a youngster, I’d never gotten
next to him, but now that I’ve taken the time to get inside his style, I modeled
‘Cannonball Shuffle’ after tunes like ‘Hideaway’ and ‘The Stumble.’”
The album’s second half—“Me and My Woman,” “Bonnie,” “Lifetime Thing,” “For the
Love of Money,” and “Hand in Hand With the Blues”—maintains a similar vibe. It’s
at once old-school and, thanks to Ford’s outstandingly fresh playing,
contemporary. Ford says, “This is the music I grew up with, when things were
more carefree. For me, the album is full of nostalgia. I think we could all use
some of that kind of feeling today.”
Concord Records Discography:
Blue Moon CCD-2112
For More Information:
Concord Records
Jo Foster
T: 310-385-4218
E: jof@concordrecords.com
Muriel Anderson's All Star Guitar Night benefits the
Music For Life Alliance
