By ELGIN SMITH
In stark contrast to the past shows I've attended at the Blue Room, guitarist Charlie Hunter generated a near-capacity crowd with his unique jazz-influenced sounds at 18th & Vine: something I haven't seen in quite some time. While Hunter is on the funkier end of the Blue Room's scope of artists, his group's sound was perfect for the smaller, more intimate experience.
Transitioning into a slower blues number, Hunter's sound took on a warmer, more "Sleepwalk" -type sound. The trio played extremely well together, and the chemistry between them was evident. Hunter switched to a lively, electric sound for a solo which showed off his custom instrument that combined bass and guitar into one axe. It was amazing to watch Hunter hit all the bass notes while playing a solo on top of it. Hunter went back to the lazier sound, moved into a long cadenza, and then directed the group into the standard "A Closer Walk With Thee." The group took on a definitively lighter sound, with Fowlkes outlining the melody and Hunter playing with hints of Les Paul here and there. Kalb's brushes were very appropriate, and as the number progressed, a slight sound of New Orleans glimmered through the trio's sound. Hunter--whose variety facial expressions throughout the show were priceless--was all smiles as the band effortlessly concluded the first set to a large applause.
The second set began with one of the most blues-influenced compositions of the night. At times, Fowlkes' sound reminded me of Wayne Henderson (from the Jazz Crusaders), walking the fine line between intense and blaring. Hunter's group then morphed into yet another classic from yesteryear, "I Got Rhythm." It certainly wasn't as Gershwin originally envisioned it, with a strangely dissonant sound. This number had the most avant-garde tones of the evening, and showed that the group could take a classic jazz standard and put their own twist on it.
Heading in the opposite direction, Hunter then played beautifully on his ballad, "High And Dry," taking an extended solo that again showed virtuosity on his hybrid instrument. While that was probably the "nicest" moment of the night's program, the next few tunes took the energy up a level. One number, which sounded like a sped-up version of Johnnie Taylor's "Steal Away," had a killer drum solo by Kalb, and featured Hunter doing some of the most involved bass playing of the night. Later, the group again settled into a shuffle that seemed like it could have come from the Ray Charles catalog: one of those old ¾ pieces that begs for a booming voice.
Unfortunately, this was about the time that the one negative part of the evening started getting on my nerves. Allow me to make this disclaimer: shows like these are not the place for large groups of loud people who are more interested in texting and showing each other pictures on their iPhone than what's going on onstage. (Seriously, go to the Power & Light District instead.) These eight offenders were in the middle of the upper level, and it was a shame that people who were listening and appreciating the show weren't able to sit in those seats.
Regardless, the show wrapped up on a high note, with Hunter and the group returning to the boogaloo feel that kicked off the night. A large section of the last number quoted "Funky Broadway" and gave Kalb plenty of room for another solo. This morphed into a blues jam, which then morphed into another outstanding display of Hunter's guitar & bass chops--showcasing the underlying theme of an evening filled with guitar mastery on 18th & Vine.
Showing 1-1 of 1
like
dislike
