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With over 50 releases to date, and numerous guest appearances, Phil Keaggy has to be one of the most prolific artists in history. He is also one of the most talented (no matter what Hendrix didn't say) guitarists in history. He could surely also be one of the most famous guitarists if that was what it was about for him. Instead, he just continues to put out great music for his fans.

How do you describe Keaggy's mastery of the guitar? Whether playing acoustic or electric he has a communication and flow that transcends understanding. As an instrumental project, Jammed! is an excellent opportunity to listen to Phil as he plays heavier, electric material.

Jammed! is mainly a collection of jams and improvisations culled from other recording sessions. There are three new songs on the album. Jammed! features production notes penned by Keaggy sharing his thoughts and personal stories behind each of these tracks. Unfortunately, the review copy did not include these insights.

Keaggy shows no signs of slowing down. Not only is this album as good as any he has put out, he has other projects on the way.

Justin Wright
07/23/06

Phil Keaggy’s got nothing to prove.

Keaggy is not only one of Christian Music’s pioneers, but was a member of a successful secular band (signed to Decca Records—you know—the label that turned down an English band called The Beatles) before that. He has a great catalogue of solo recordings that display impeccable song-writing skills, as well as a finely-crafted vocal style that brings to mind Paul McCartney’s better days. A multi-instrumentalist, Phil has been an innovator in the studio, and has created memorable solo works using traditional instruments combined with loops and various electronic embellishments. His studio and live bands have included the likes of Michael Omartian, members of King’s X, and a variety of other players of note too numerous to mention.

Oh—he also plays a pretty mean guitar.

I suppose I’m stating the obvious, since Guitar Player magazine, as well as other music publications, regularly acknowledges Phil’s prowess on the fret board. His amazing skills, playing with a band or alone with an acoustic guitar, are well-known to his many fans (although the CCM industry never really seemed to know how to properly promote his work), and his live improvisations are the stuff of legend, and yet there is still that vague feeling among his fans that we’ve never really gotten to hear Keaggy totally unfettered and swinging. 

Phil must get that same feeling, because he’s just released Jammed!: a CD of instrumental jams featuring his stunning guitar work.

This isn’t the first such collection—in fact, several of the songs are re-worked from 1999’s Premium Jams project. It just seems that there is the need, every few years, for people to be reminded that Phil Keaggy is, indeed, one of the premier guitar players in the rock music world.

There’s no way that a CD of twelve tracks of fine progressive blues/rock playing by Phil Keaggy isn’t going to get a ‘five tock’ rating from me. It simply wouldn’t make sense—it’s a must-have for anyone who ever got chills up and down their spine from a good guitar lick. The album is full of excellent playing, not only from Phil, but also from John Sferra, Lynn Williams, Mike Radovsky and Keith Carlock on drums, Wade Jaynes, Spencer Campbell & Anthony Sallee on Bass, and Mr. Keaggy on all of these instruments and more. If there is a hint of reservation in my words, it is not because this album doesn’t deliver the goods—I suppose it’s because there is the subtle suggestion of, ’see—I can jam when I want to,’ about the project—almost as if it’s to satisfy the air-guitarists out there who have a need to ‘prove’ that Keaggy is really as good as they told their friends he is. But like I said back there at the beginning: Phil’s got nothing to prove.

So, what would I like to see? I’d like to see Phil rock out the way he does here—and the way he’s always done in a live setting—in the context of his excellent catalogue of songs! On Jammed! We mostly have a collection of the tasty middle sections and solos from blues work-outs and studio out-takes. This is wonderful, but Keaggy is a good enough song writer to not have to rely on disembodied jams to display his articulate, fiery, fluid guitar technique. This is similar to what another guitar legend, Frank Zappa, did when he released his ‘guitar’ albums, which featured guitar solos culled from various live and studio sources. The virtuosity was stunning, but the context was sterile—all crème filling, but no Twinkie (did I really just write that?!)! Phil’s song writing is good enough to support extended improvisation, and in the age of the CD there’s no longer any reason to hold back (40 minute LPs limited the potential for much soloing, back in the day!). I’d like to see Phil synthesize his songwriting and passionate soloing more in the direction he was headed towards on his excellent Play Through Me album.

We’ve heard Phil burn up the tracks throwing down guest solos on other artists albums for years, we’ve journeyed with him through his pop, rock, progressive and instrumental phases, and now we’ve had several ‘jamming’ albums to marvel at—now, I’m hoping to see Phil merge his passion, his playing, his singing and his writing to produce the essential Phil Keaggy project. ….hmmm. The Essential Phil Keaggy Project. Keep that title in mind, Phil—it’s got a nice ring to it.

Guitar players and guitar player aficionados alike will love this CD of sizzling guitar work. Among the blues /rock jams are a couple of more challenging pieces, such as Phil’s interesting take on Beethoven’s 9th. Mostly, turn it up loud, close your eyes, plug in your air guitars and/or air drums, and enjoy…..

Bert Saraco