The term “Blues Summit” implies a gathering of guests. Whether Devon Allman was inspired by B.B. King’s Grammy-winning 1993 album of the same name or not, there are similarities in that the lineup featured contemporary artists and blues stalwarts. Here, Allman takes a break from the Allman-Betts Band and returns to Ruf Records for this high-profile meeting that includes Larry McCray, Robert Randolph, Jimmy Hall, Sierra Green, Christone ”Kingfish” Ingram, and The Memphis Horns.. While Allman sings and plays guitar on most, like the gracious host, he even sits out on a few in this eclectic mix of instrumental and vocal tracks, letting his guests take the lead.
There are some clear winners here, but some of the choices, at least to me, are puzzling. Why cover such tunes as “Wang Dang Doodle” and “Little Wing,” for example,as others have countlessly rendered them? Though Allman has never been truly comfortable in a straight blues format, leaning more towards blues-rock on his solo albums, with Honeytribe, Royal Southern Brotherhood, and The Allman-Betts Band. So, in that respect, we can cut him a break for moving more directly toward blues and soul, albeit with mixed results.
Upon closer examination of the credits, a few interesting observations emerge. McCray is the co-writer on two tunes and the sole writer of two others, yet curiously appears on just one, “Hands and Knees.” Even with the rotation of guests, the rhythm section remains consistent throughout, featuring Allman’s bandmates from ABB: John Ginty on keys, John Lum on drums, and bassist Justin Corgan. Jackson Stokes, the co-producer, like Allman, plays either rhythm or lead guitar on most tracks.
Opener “Runners in the Night,” one of the McCray-Allman co-writes, is a mid-tempo blues that features the distinctive vocals of Allman (one of his strongest), backed by the searing guitar of Kingfish, and the stabbing Memphis Horns. The same songwriting team is behind the muscular rave-up “Blues Is A Feelin’,” with Jimmy Hall of Wet Willie at the mic. Hall stays aboard, singing the gospel singalong “Peace to the World,” with Robert Randolph’s singular pedal steel in the instrumental break, blending nicely with former bandmate John Ginty’s B3. There’s a jarring segue into the strings-infused ballad “Real Love,” sung soulfully by Sierra Green in a tune penned by Allman, who plays the tasteful guitar parts alongside Stokes, and provides background vocals with Green.
Allman also wrote “After You,” a solid but not likely memorable R&B-tinged tune. The second half of the album is not as strong as the opening four tunes, except for McCray’s “Hands and Knees,” where he both sings and plays lead guitar. It’s the album’s deepest blues track. McCray also wrote the Stax-like instrumental “Gettin’ Greasy With It,” replete with a shout chorus and aptly featuring The Memphis Horns. Corgan is filthy funky with his bassline, and David Gomez honks like an old-schooler on tenor. Hall does a great job on “Wang Dang Doodle,” but as mentioned, the album would be better served with an original. Similarly, Allman tries hard to put his stamp on Hendrix’s “Little Wing” by layering in Stokes’ rhythm guitar parts. Yet, at least to me, save the Clapton-Duane Allman version from Layla, this one should be left alone. The session closes with the Allman-penned instrumental, “Midnight Lake Erie,” a companion piece to his “Midnight Lake Michigan” from his 2014 Ragged and Dirty. It’s a rather dark, moody piece highlighted by Allman’s lead guitar and Ginty’s piano, an unsuspecting way to close, given so many other upbeat tunes in the mix.
As mentioned, there are potent gems here. With a few better choices, Blues Summit would be positioned for a slightly higher climb.
