JOHN NEMETH

Name The Day

Blind Pig Records

By Mark Baier

The Blues bona fides of John Nemeth are indisputable. His work with Junior Watson, Anson Funderburgh and Elvin Bishop has established him in the top echelon of the modern class of Bluesmen. With the latest release on Blind Pig, Name the Day, John Nemeth has now served notice that his blues stock is spiced with as much Memphis soul as it is Chicago shuffle. Nemeth’s previous CD, Magic Touch, gave us a hint of the silky confidence that Name The Day so compellingly exhibits, but never revealed the true extent of his talents as a vocalist. Name The Day is Nemeth’s tour-de-force, and should go a long way to signify his name in the pantheon of Blues artists.

Kicking off NTD is the spirited “Breakin Free” which wastes no time introducing the listener to the rich horn arrangements that are so integral to the nuances of classic R&B. (Mike Rinta’s horn charts effortlessly cushion Nemeth’s plaintive vocals, and they should be a required study for all comers!) “Breakin’ Free”, with its uptown rhythms and driving beat are a Memphis treat as satisfying as BBQ on Beale Street. The title tune, “Name The Day”, is an ode to the classic Sam & Dave style of R&B, with its swinging guitar stabs and smooth brass backing John’s melodic and inviting lover’s call. Certainly every song on NTD could have been culled from the “STAX Greatest Hits That Never Were” collection; it is conceivable that even the most ardent listener could mistake any song on NTD as a vintage side that slipped under the radar screen.

 It is also refreshing to hear harmonica played in the context of these subtle soul excursions. Nemeth’s harp chops are as reminiscent of old school Stevie Wonder as they are Sonny Boy. How many harmonica players does it take to screw in a lightbulb? Answer: ten; one to screw it in and nine to say “Little Walter never woulda done it that way!” Indeed, John Nemeth’s prodigious harp playing can stand up to that old saw all day. Don’t think that NTD is all soul and R&B, however. Nemeth serves the blues aficionados notice with “Heartbreak With A Hammer”, a fine South Side toe tapper that will fill the dance floor with shuffling humanity. Throughout NTD, Nemeth demonstrates that he has the inner rhythm and the old soul required to pull off this demanding material. The modern vocalists capable of this level of play are on a short list.

Backing Nemeth on NTD are Bobby Welsh on guitar and piano, Smokey Davis on bass, Nick Fishman on drums, Austin de Lone and Jake Smolowe on organ. The amazing brass consists of Jeff Teczon on sax, Frank Bailey on trumpet and Mike Rinta on trombone. The minimal backing vocals are provided by Steve Willis and Ed Earley. Also of note is the assistance of Kid Anderson at the mixing console. Anderson’s recent ascendency to the Charlie Baty guitar seat in the Nightcats, is well known; his prowess at the recording desk is a not so well kept secret.  To that end, it is worth mentioning that the recording quality, the spatial depth and the soundstage created by Anderson is rich and effortless to listen to. His approach is balanced and dynamic, never allowing the listener to be overwhelmed by the arrangement. Just enough spice and gravy here!

Name The Day is a huge success artistically. Nemeth sings with an uncommon passion and urgency that, when combined with his superb control of melody and phrasing, is exciting, memorable and rare. Happily, John is still an artist in the beginning of a career that will no doubt span decades. Listening to NTD, it is evident that his is an extraordinary vocal talent, as comfortable swinging with a Texas three-piece combo as he is fronting a Soul and R&B revue band.  His effortless control of the melodic complexities inherent to great soul is a harbinger of great things to come. One is left wondering if a young Delbert McClinton hinted at such promise.

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