GUY KING

I Am Who I Am and It Is What It Is

IBF Records

Disc 1: 15 tracks/78:56

Disc 2: 15 tracks/69:35

By Myself

15 tracks/45:47

Mark Thompson

A native of Israel, Guy King moved to America, where he tried Memphis and New Orleans before deciding that Chicago was the city he would call home. He was quickly accepted into the blues community and started a long-term gig as the guitarist for Willie Kent’s band. Since Kent’s passing in 2006, King has concentrated on his own career. He was a fixture on the Chicago scene, doing hundreds of shows each year with his “Little Big Band” complete with horns, as a solo act or in a scaled-down trio format. A few years back, King left the Windy City to tour in America, South America, Europe and points in between. But he always returns to Sweet Home Chicago to play shows at Chicago Blues Fest and Andy’s Jazz Club. King’s two new releases -- the solo acoustic By Myself and the jazz trio/double disc set, I Am Who I Am and It Is What It Is -- reflect the artist’s musical journey which took him far from Chicago and then back again.

The two disc set contains nearly 2 1/2 hours of King’s guitar and vocals backed by Ben Paterson on the organ and Mike Schlick on drums.  The title track kicks things off with a B-3 fueled arrangement that allows King & Paterson room to showcase their considerable talents. The jazz influence is even stronger on a romp through Charlie Parker’s “Yardbird Suite”. First Paterson, then King, spins out intricate improvisations that never stray too far from a solid blues foundation.  

The standard “Sweet Lorraine” offers a light vocal from the leader while Stanley Turrentine’s “Sugar” is a memorable organ-guitar workout. The trio sets up one of those smoky, late night vibes on “Going to Chicago”. King sings with a forlorn tone before easing his suffering with a potent six-string solo.  “Agua De Beber” is an instrumental with a Brazilian flavor while “Tear It Down” is a swinging number that features plenty of Paterson’s inventive playing.

King makes it clear that Ray Charles is a primary influence.  The first disc has an extended version of “Drown in My Own Tears”. No one will ever claim that King is Ray’s equal in the vocal department. But his heartfelt effort on this cut rings true, as does his fluid guitar work.  It has been more than forty years since Charles recorded “Hard Times,” yet the song still resonates. King once again impresses with an anguished vocal answered with taut single-note runs. The second disc opens with “Roll With My Baby”; King is in better spirits and Paterson dazzles throughout a fleet-fingered solo sequence.  A cover of “Crying Time” finds the singer straining his voice a bit trying to emulate Charles’ vocal style.

Other highlights on Disc 2 include an emotionally-charged run-through of “I Got a Mind to Give Up Living” (credited as “All Over Again”), a breezy “The Frim Fram Sauce,” and the lovely ballad “Moonlight in Vermont”. Tracks like “God Bless the Child” and “Isn’t She Lovely” shed light on King’s vocal limitations. He fares much better on “Me and Mrs. Jones,” conveying the song’s conflicted storyline.  Instrumentally, King & Paterson are at their best on superbly executed cuts like “Green Dolphin Street,” Jimmy McGriff’s funky “Vicky”, and a romp through ”Kenny’s Sound,” a Kenny Burrell original.

On By Myself, King is transformed into a captivating solo acoustic bluesman, covering seven Robert Johnson classics, in addition to tunes from Muddy Waters and Lightnin’ Hopkins. One might question the need for another version of “Hellhound on My Trail” or “Ramblin’ on My Mind”. King supplies plenty of energy that exposes the emotional heart of each track as his fingers fly across the guitar fretboard, picking delicate lines or slashing slide licks. His mournful cries propel “Come on in My Kitchen” and he provides a higher pitched vocal “32-20 Blues” before employing some of Hopkins trademark phrasing on “Katie Mae”.

Also included is a spirited solo version of “I Am Who I Am (And It Is What It Is) and a King original, “Alone in the City,” that effectively revisits the Ray Charles influence. The final three cuts are a far cry from the Mississippi Delta, returning to the sounds of Brazil for “Nature Boy,” “Acapulco,” and “Besame Mucho”.  King gives a solid performance on each one without generating the passion and fire that makes the previous twelve tracks a stimulating listen.

Mixing genres and styles, Guy King impresses on most of the forty-five tracks on the three discs. There is no denying that he is force to be reckoned with on guitar. It is quite refreshing to hear a player use his considerable chops without succumbing to playing faster and louder. King knows the value of leaving some space in his clean lines. The combination of King & Paterson makes it easy to recommend the two disc set. Acoustic blues lovers will find plenty to hold their interest on the solo recording.  Guy King’s music certainly deserves greater recognition.

For more info or to buy a CD, visit: www.guyking.net

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