This past Fall, relatively recent in terms of live music shows given this health pandemic, this writer saw Boston-based pianist/composer/bandleader Anthony Geraci deliver a sizzling show with his core band that plays on this, Geraci’s third and best CD as a leader, Daydreams in Blue. Geraci, a long-time sideman in the New England blues scene as a key member of both Sugar Ray & the Blue-Tones and Ronnie Earl and the Broadcasters, has come into his own in recent years as a bandleader. And, he’s been noticed with BMA nominations for Pinetop Perkins Piano Award for five consecutive years in addition to many other nominations from prestigious outlets. Geraci has appeared on over 50 recordings from both vintage and contemporary blues artists.
Geraci’s core band features Boston favorite Dennis Brennan on lead vocals and harmonica (Brennan has several albums under his own name) and Boston-area stalwarts Michael Mudcat Ward (acoustic bass), Troy Gonyea (guitar) and Jeff Armstrong (drums). For this date, Geraci called on special friends – his bandmate with Sugar Ray & the Blue-Tones, the blazing guitarist Monster Mike Welch who graces eight of the dozen tracks, blues-rock icon Walter Trout who ignites “No One Hears My Prayers” along with Peter Ward on rhythm guitar, all abetted by the horn tandem of trumpeter/arranger Scott Arruda and saxophonist Mark Early. Ten are Geraci originals with covers of Earl Hines and Billy Eckstine’s “Jelly, Jelly” and Brennan’s “Dead Man’s Shoes.”
As much as Geraci likes to play a Hammond B-3 organ, he sticks to his core instrument, the acoustic piano, and it’s his exceptional piano playing that stiches consistency throughout. The album opens with “Love Changes Everything,” a smoker marked by Geraci’s bright playing, strong horn parts, Brennan’s passion, and Welch’s incendiary solo. “Tomorrow May Never Come” is an infectious soul tune again with the same cast, and strong horn ensemble parts. Trout blows the roof off on the gutsy, deep “No One Hears My Prayers” against a thick, blaring horns backdrop. The requisite calm follows in Geraci’s wonderful lyrical piano into to “Daydream of a Broken Fool” before the band takes the syncopated tune into raucous territory, making way for both Geraci’s percussive attack and Welch’s searing lines.
”Mister” has Brennan blowing his blues harp as the tune struts along behind Geraci’s barrelhouse piano, a standout pure blues track, setting the stage for an outstanding four song sequence. The blistering boogie, rapid tempo “Tutti Frutti Booty” rather obviously nods to the late Little Richard, who was still alive when the tune was recorded. This is the only turn for Geraci on vocals. Brennan delivers “Jelly, Jelly” in his own style, knowing that it wouldn’t be wise to mimic Eckstine’s vocal, buoyed by Welch’s axe, and Geraci’s spot-on piano, as stellar blues piano as you’ll ever hear. Brennan’s “Dead Man’s Shoes’ is a dramatic tune – “What kind of man would wear those shoes?”- just keeps ringing indelibly.
The mood lightens with the shuffle “Hard to Say I Love You,” a showcase for Geraci, who is the only soloist, spurred on by Brennan’s emotive vocal and Armstrong’s beats. “Living in the Shadow of the Blues” is a piano-driven NOLA influenced tune. “Crazy Blues/Mississippi Women” is an old school approach with Geraci’s piano clearly prominent and rollicking in true blues fashion when Welch makes a rather surprise signature entrance. “Ode to Todd, Ella, and Mike Ledbettter” is Geraci in trio format for a brief nod, remembering family and friends.
Expect Geraci to garner more nominations with this one, and, better yet, a long deserved win. This is clearly in the higher echelon of blues albums this year.
