Joe Bonamassa and Various Artists

B.B. King’s Blues Summit 100: Celebrating the King of the Blues

Keeping the Blues Alive Records

The scope of this celebration of B.B. King’s 100^th birthday makes it a wonder how Joe Bonamassa pulled it together amid all the projects the guitar star immerses himself in. But he did, and his commendable endeavor resulted in one of the most highly entertaining blues extravaganzas in some time. Forty-two veteran and contemporary blues, rock, jazz, soul, and R&B singers and guitar stylists signed on at Bonamassa’s request, interpreting 32 songs closely linked to the “King of the Blues.” Bonamassa and his band, including a robust horn section, play behind them all. Five of the tracks were released last year on King’s birthday, followed by five more each month, leading to the release of this full package of two CDs or three vinyl albums.

As expected, every performance jumps out of the speakers in grand style. A cast of many stripes resulted in inspired pairings and some of the album’s peak performances. Susan Tedeschi’s duet with Michael McDonald on “To Know You is to Love You” is the first of them. The two singers blend their distinct velvet and spice voices in a sultry, rocking take of the Stevie Wonder/Syreeta Wright soul classic while Bonamassa, Smith, and Derek Trucks consistently stoke the emotion with short, piquant solos.

Shemekia Copeland, Myles Kennedy, and Slash then blast through “When Love Comes to Town.” Bono must have written the song, which appeared on U2’s 1989 Rattle and Hum album, expressly for King. It perfectly captures his monumental, bellowing voice. Copland, Kennedy, Slash, and the band match that original with red-hot gusto and glory.

Those two songs alone could vie for blues performance of the year, but there are others.

Marcus King and Buddy Guy’s contributions are equally top-notch. The long program is split between up-and-jumping blues and down-and-dirty, with no wavering in explosiveness. King and Guy, separated by generations, provide similarly uncommon lowdown intensity on guitars and in voice. Guy at 90 can confidently pass the torch to King. The multi-faceted sensation absolutely inhabits the blues of “Don’t Answer the Door,” delivering the song as if it will be his last. But Guy’s scintillating rendition of “Sweet Little Angel” proves that he will not be done anytime soon. The man is a marvel of gritty strength and spectacular blues music nuance. As if confirmation was needed, the producers left Guy’s spoken comment in the mix at the song’s conclusion. He says, quite matter-of-factly, “I think you better leave that alone; there ain’t nothin’ wrong with that.” By the sound of it, they took his advice.

Emulation abounds throughout the album, imitation completely absent. These artists all play themselves through B.B. King’s music. When a reminder of King does strike a bell loudly, such as through guitarist Chris Cain’s robust voice when he sings the galloping “You Upset Me Baby,” it is only because Cain naturally shares King’s intonation.

Christone “Kingfish” Ingram, Joanne Shaw Taylor, Trombone Shorty & Eric Gales, Warren Haynes, Jimmie Vaughan, Jimmy Hall & Larry Carlton, and Larkin Poe all turn in fabulous renditions of well-known gems. One bright discovery for me is singer Jade MacRae, who with help from guitarist Robben Ford, channels the 1970s southern R&B of Delaney & Bonnie Bramlett and Friends on “Ain’t Nobody Home.” Keep an eye on that lady.

Joe Bonamassa and company play on this album as if the late B.B. King himself came down and stood in admiration in front of them. Bonamassa has made major strides in a variety of environments over the years, but B.B. King’s Blues Summit 100: Celebrating the King of the Blues stands as a career-crowning achievement so far.

Tom Clarke for MAS

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