Gonna Boogie Anyway
Artist: Chris James and Patrick Rynn
Label: Earwig
Time: 12 tracks / 47 mins

As this duo was nominated for a Blues Music Award for their label début, I was looking forward to this, but after only a couple of tracks, I was feeling disappointed. Most music is defined by what it is, but while listening to this, I found myself constantly thinking about what it isn’t. 
 
For example, it isn’t the aching blues that comes from a Les Paul’s long, smooth, sustained solo; it isn’t the rustic acoustic Delta blues of a man who woke up the morning his baby left him; and despite the piano hammering away (too much) in the background, neither is it the impassioned blues of Rory Gallagher (although that’s the nearest to what it is). In short, it isn’t blues with deep feeling.
 
The title gives a clue to its Chicago boogie base. It reminds me more of a band playing well at a bar, putting out some energy to keep the atmosphere upbeat. 
 
There are things to enjoy, like James’s shimmering, buzzing guitar tone on Bo Diddley’s “Dearest Darling;” some tasty slide on “Life Couldn’t be Sweeter,” reminiscent of James’s namesake Elmore; and the two energetic instrumentals. Despite some directionless piano work from veteran Howlin’ Wolf sidesman Henry Gray, “H. M. Stomp” is the first wordless highlight, a piece with a smart groove and welcome harp. The other is warm-up version of the opener, Robert Lockwood Jr.’s “Money Don’t Like Me,” where saxes come more to the fore.
 
The CD works best at the extremes: either stripped back, like the duo piece “Headed Out West,” or on full band tracks like “Life Couldn’t be Sweeter,” where horns add some punch and the piano is better proportioned. For me, the irritating piano is what really takes it down a tock or two. The players may be veterans, but often the keyboard simply does not add anything to the track and distracts from the essentials.
 
The Chicago blues royalty plays well and the guitar work is effective, but for me this needs more harmonica and instrumentals (vocals aren’t their strong point), much less piano, a bit of organ, and some shortened tracks. 
 
Derek Walker