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Reviews for Kevin McKendree's Hammers & Strings From “Blues Revue” magazine October/November 2005 issue Outside the jazz idiom, instrumental projects by solo artists are sometimes viewed with suspicion. The thinking is that only serious fans of the artist or his instrument will take an interest. It’s not true, of course - good song selection, strong playing, and clever arrangements will reward any listener - and Kevin McKendree is here to prove it. McKendree (who has recorded with Brian Setzer and Etta James in addition to his usual employer, Delbert McClinton) has assembled a collection that spans R&B, jazz, raucous boogie, and sophisticated after-hours blues and that can be enjoyed by anyone with open ears. Though it’s a solo effort, the songs aren’t solo performances. Hammers & Strings puts McKendree’s piano and B-3 in several small-group settings. The bass players are Stephen Mackey and Spencer Campbell, with drummers Lynn Williams, Kenneth Blevins, and Big Joe Maher. Terry Townson adds trumpet to two cuts. Four tracks feature vocals: McKendree handles the mellow soul ballad “From Way Behind” (think Ray Charles) and the rocking “Think For Yourself.” The Charles Brown chestnut “Fool’s Paradise” receives a lovely treatment featuring McKendree’s rolling piano and Maher’s smooth vocals and immaculate brushwork. Maher sings again on “Let’s Go Get Stoned,” this time trading lyrics with Delbert McClinton. McKendree shines on the instrumental side. His “Funky Kayjay,” Sixty Sharp Knives,” and “The Fuss Bird” have a funky jazz flavor along the lines of Ramsey Lewis, with block chords and a kicking beat. Townson’s trumpet plays off syncopated piano in “Fuss Bird’; “Kayjay” is all McKendree and Maher, with B-3 filling all the cracks. “Gone Awry” and “Boogie #427” ate pure roots-rock, wild piano boogie triumph. “Just Before Sunrise” is another brush-driven, downcast but uptown Blues in the mold of “Fool’s Paradise.” The wildcards in the deck are “Mr. Boo,” a smoky, dramatic jazz number that sounds Iike the theme from a detective film. A similar feel infuses the thunderous, slightly theatrical “Henry’s Dead,” one of the few minor-key boogies out there. Things tilt Afro-Cuban on the closing number, “Canción,” providing contrast and a suggestion of McKendree’s versatility and interests. Open ears indeed --- Hammers & Strings is a varied, enjoyable set. TOM HYSLOP From "allmusic" From the start of this CD, a very spirited version of Lionel Hampton's "Boogie Woogie" (here renamed "Boogie #427), through a set full of boogie-woogie piano (even on non-blues tunes), blues ballads, and New Orleans-style R&B, this is a delightful outing. Kevin McKendree's piano style mixes together boogie-woogie, Ramsey Lewis, and Ray Bryant without sounding like a copy of any of them. He and drummer Big Joe Maher (who recalls Ray Charles and Charles Brown) each take two vocals, including one apiece with the backing of a tasteful three-voice vocal section. The other players are fine, but it is McKendree's piano (occasionally augmented by organ) that keeps the excitement really going. Highlights include a laid-back "Let's Get Go Stoned," "Just Before Sunrise," "Fool's Paradise," and "Sixty Sharp Knives." This accessible outing is well worth checking out. Scott Yanow From "BluesWax Ezine" (06/22/2005) A Significant Talent Steps Out Again Kevin McKendree is one of Nashville's premiere on-call piano men. Of course, that's only when he isn't on the road with Delbert McClinton's sensational band. After listening to his last self-released CD, Miss Laura's Kitchen, people reportedly asked Kevin, "What's with all the guitar?" Well, it seems he is a fine guitarist too, but being a guy who actually listens to his fans, Hammers & Strings was born. During the initial listen I thought, "Where is the guitar?" As it turned out, it was not missed on this outing. This guy has a left hand so independent that it has its own phone number. Wow, eleven original compositions ranging from the full-tilt Boogie of "Boogie #427" to the sly Jazz augmented by a muted trumpet from his Delbert bandmate Terry Townson on "Mr. Boo." The story of "Mr. Boo" is a real pisser and I will go into more detail in a future BluesWax interview with Mr. McKendree. Suffice to say the song's credits show a Yates McKendree co-authoring the tune and playing cymbal. Yates is his 4-year-old son, so stay tuned for the backstory on this up and coming new sideman. The syncopated, sophisticated boogie on "Henry's Dead" must allude to the recent demise of Henry Mancini, whom Kevin does proud here. Speaking of Boogie again, "Gone Awry" really doesn't, it's just the off kilter left hand Boogie cut live that makes your senses go a bit awry. You may have heard this as one of Kevin's big solo numbers at Delbert shows which always produces a huge audience response. A milestone is reached as McKendree makes his recorded singing debut, however reluctant or sonically altered (mic run through an amp, then mic'd), it works on "Think For Yourself." The heady love-drenched and personal lyrics of "From Way Behind" make up for any perceived (mostly by Kevin himself) vocal deficiency. It is one brilliantly performed love song with an added organ dub that gives it an extra kiss of sweetness. His delivery is an innocent Andy Griffith aw-shucks while the lyrics are peppered with urbane cut-to-the-bone honesty. The spirit of Ramsey Lewis shows up on "The Fuss Bird." Del and longtime pal Big Joe Maher team up on Ashford and Simpson's "Let's Go Get Stoned." Big Joe plays drums on quite a few tracks and provides another outstanding vocal on "Fool's Paradise." The instrumental "Just Before Sunrise" feels more like up all night with its smoky after hours club atmosphere. I needn't regal you with my take on all the songs, great though they be, so let's conclude this is a record to own and play, repeatedly. The man is a significant talent. Beardo |
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