| If you thought that Wamble’s style of mixing jazz, blues, gospel, and popular music was just a fluke; then think again because his new recording proclaims that he for real. What continues to impress, is his abilities as a singer, guitar picker, and improviser. With equal strengths the question is asked: Does he sing better or does he play guitar better? The unqualified answer is simply yes on both counts. Whereas his acclaimed debut Country Libation offered the obligatory “get to know me” recording; Bluestate has a more focused and relaxed vibe due to the return of his longtime band members, who are now given more of a chance to show their wares with fine performances as things open up on the socially conscious “If I Live to See the Day” with Wamble’s dissonant vocals layered against a jazzy and upbeat melody interspersed with solid solos. The music is fueled with a touch of soul and spirituality on the lamenting yet beautiful ballad “Washing of the Water” written by Peter Gabriel and a burning rendition of the Negro Spiritual “Rockin’ In Jerusalem” featuring Branford Marsalis on saxophone filled with gospel and hard bop goodness with extended solos and soulful vocals. Make no mistake — this is a serious jazz band with nifty instrumental pieces like the groovy “Homewrecker Hump,” “No More Schrubs in Casablanca,” and the nod to bluegrass on “The Bear and the Toad” as they serve up jazz - “Southern-fried” style on this outstanding and progressive release.
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— Mark Turner, Allaboutjazz.com |
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| Doug Wamble’s second album as a leader, Bluestate, captures an artist breaking completely into his own voice. Wamble’s playing is joyous, humorous, sharp, intelligent, and deeply felt. With Bluestate Wamble joins a select group of adventurous guitarists who work from the jazz mode and pull elements from other styles of music as they like: Bill Frisell and Kurt Rosenwinkel are two that come quickly to mind.
Besides for his impeccably tasteful guitar work, Wamble also sings on a variety of tunes throughout the CD. The opener, Wamble’s own “If I Live to See the Day” makes commentary on the current American political situation, with Wamble’s delivery at times bringing to mind the acerbic Mose Allison. “Washing of the Water,” a Peter Gabriel song from his Us album, starts as an out of time gospel testimony, an approach that Wamble credits to the inspiration of Keith Jarrett’s Standards Trio. Wamble follows with a typically striking guitar solo, then resumes his vocal work, with drummer Peter Miles roaring and crashing like waves on the shore. Finally, pianist Roy Dunlap unleashes a pianistic maelstrom that brings the song to an emotional high. (See full review.)
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— Jazzitude.com |
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| The second album from guitarist/vocalist Wamble heralds the arrival of a major talent. Playing with the quartet he’s barnstormed the country with for the better part of two years, Wamble blends blues, gospel and post-bop jazz, creating a moving, personal statement. Wamble’s vocal phrasing on the lead track, a lament for peace titled “If I Live to See the Day,” calls to mind the limber singing of Kurt Elling. But then, on the follow-up, Wamble changes pace and nails the sad heart of Peter Gabriel’s “Washing of the Water.” Elsewhere, there’s the swinging “One-Ninin’ ” from pianist Roy Dunlap and a scorching, one-shot sax solo from producer Branford Marsalis on the traditional “Rockin’ Jerusalem.” But every cut has something to offer. One of the year’s best.
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— Glenn Whipp, LA Daily News |
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| Bluestate is one of those breakout albums that brings startlingly to attention a musician who has developed a distinctive sound of his own, one that flows naturally from his personality and who he is. A native of Tennessee, and yet exposed to a multitude of additional influences as he traveled, Doug Wamble has absorbed the elements that allow him to express musically who he is. And the result, Bluestate, is one of the unexpectedly enjoyable releases yet this year. (See full review.)
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— Don Williamson, JazzReview.com |
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| Few things are as heartening as witnessing a musical unknown emerge fully formed and raring to spread his or her wings even farther. Such is the case with singer, songwriter, and guitarist Doug Wamble, whose debut album, Country Libations, aims for a multitude of targets and hits them all. Merging blues, jazz, and gospel with unimagined ease, Wamble has devised a unique style all the more impressive for its distinctive personal nature. What other artist could move from a Fats Waller type swinger like "Baby, if You're Lyin'," complete with a lusty, idiomatically perfect vocal, to a free-jazz jam like "Dim Tangy Tennessee Twang," featuring a slippery, inventive guitar improvisation that wouldn't be out of place on an avant-garde jazz project, to a deliciously slanted take on the Police's "Walking On the Moon" Wamble can do it all, and without a trace of the self-conscious showiness that could so easily tarnish an ambitious recording such as this. These days in particular, a rare, inclusive talent like his comes as nothing less than a gift. |
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— Steve Futterman, Barnes & Noble |
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| Fusion? Crossover? This guy eludes even those categories. Wamble seems to have absorbed everything from Robert Johnson to Ornette Coleman and integrated them in highly personal fashion into music that is as fascinating as it is idiosyncratic. Some of the selections, especially those with Wamble's vocals, are particularly compelling as fundamental roots blues. A piece such as "Dim Tangy Tennessee Twang," on the other hand, uses a country swing groove as the takeoff point for startlingly free improvising. Another shift of gears leads to the easygoing lyricism of the Johnny Mercer-like "The Sweet Magnolia Tree." The commercial prospects of Country Libations may be negatively affected by its broad eclecticism, but it is an impressive introduction to a guitarists-singer-composer with a bright future. |
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— Don Heckman, Los Angeles Times |
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| Doug Wamble pours out an eclectic and genuine offering of rich music on his debut release, Country Libations. With an interesting swirl of delta blues, gospel music, and strong jazz elements, the music has a rural, yet urban appeal. The guitarist and composer has a youthful appearance but plays and sings like an aged master. He has recorded and performed with notables such as Wynton Marsalis and Cassandra Wilson, and delivers strong fret board chops whether on acoustic flattop or slide guitar. Backed by a skilled band, it's the authenticity of his playing and sound that makes the recording unique.
The first two selections are a good premise for the overall tone of the
recording, beginning with Libation No. 1, entitled "Back of Hymnal." It
features music from a church setting with its spiritual-like piano intro and
earnest vocal intonations by Wamble. This segues into Libation, No. 2 —
"Trouble, Lord," where Wamble and the band mix funky blues vocals
interspersed with swinging jazz solos.
The quartet on the record brings the right mood to the music, with down-home
violin and piano solos on the lovely anthem "If I Fall." The musicians
feel comfortable with selections like Libation No. 4 — "Ain't Quite Four
This...", with its straight up gut-wrenching delta blues. They also flow
with melodic ease on the impressive "Sweet Magnolia Tree," revealing that
Wamble is equally proficient delivering rich vocals as well as playing his
axe.
The selections vary in style from the jazz swinger "Dim Tangy Tennessee
Twangs," which could be classified as a country jazz instrumental, to the
soulfully rustic Libation No. 7 — "Along the Way." The surprise selection
is the remake of the '70s super group The Police's hit song "Walking on the
Moon," which features a unique arrangement as well as a guest performance by
artist and producer Branford Marsalis on soprano sax.
The music industry will have a difficult time labeling this music. Is it
country, jazz, blues, gospel, or all of the above? Whatever the classification, its sum is equal to its individual parts: Just plain good music.
Visit Marsalis Music on the web. |
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— Mark F. Turner, AllAboutJazz.com |
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| ...Doug Wamble's new album Country Libations is, so far, the debut recording of the year. Thoroughly integrating rural blues, gospel, swing, and free jazz into an organic musical conception that owes little to any model, this acoustic guitarist, singer, and composer is a one-man compendium of avant Americana. If he only presents one-tenth of his potential live, it will be worth seeing. |
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— The New Yorker |
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