by Tom Baldino
Sound man and JSJBF board member Joseph Vincent Riggio is always looking for ways to keep Blue Collar Blues interesting and fresh. His booking agency, jV Archer Entertainment, has had artists from England, Italy and all over the United States, as well as youth groups, and generational shows, however, this was the first totally acoustic show, featuring singer/songwriter Chris Vincent from New Orleans.
The Incinerators
The host band, The Incinerators, are not an acoustic act, but they were happy to open the night that way. Leader John Fernandez went deep into his guitar collection for a beautiful Gibson Southern Jumbo Cheryl Crow signed model, and guitarist Rich Coccoli was armed with his Ovation 50th Anniversary acoustic. Along with Steve Smith on bass, they played through acoustic amps directly into the PA. As always, Chris Martell was on drums and Gary Neuwirth played harp directly into the PA as well. Miss Kimmie was there to spice things up with some great vocals, harmonies, and those awesome Christmas Boots!
The opener was one they have done many times, Taj Mahal’s“She Caught the Katy,” but it had a fresh sound acoustically, with John’s singing and playing in sharp focus. “Lonesome Whistle Blues,” a Hank Williams tune had a more bluesy feel, with Gary’s harp playing really adding to the feel, sounding crisp and clear with that setup. Miss Kimmie channeled the deep emotional pain in the lyrics of Koko Taylor’s “Earnestine,” and sat in for backing vocals with John on Keb Mo’s “Dangerous Mood.” Kimmie then led them through one of the band’s staples, made famous by Irma Thomas, “You Can Have My Husband.” John returned to the mic, and led them through another Keb Mo number, “Soon As I Get Paid,” with the rhythm section of Steve and Chris keeping the groove and really complementing the acoustic arrangement. The band also did a fine version of Howlin’ Wolf’s “How Many More Years.” The adaptation of the Temptations “Just My Imagination,” also worked well as an acoustic number with Miss Kimmie on vocals. Another great song they covered, Rufus Thomas, “Walking the Dog,” sounded vibrant, with Kimmie backing John on vocals. Rich took the mic for the closer, a song that was meant for this style, Louis Jordan’s “Caldonia,” and they brought the house down with it.
Chris Vincent
Chris Vincent, a New Jersey transplant, now living in New Orleans, had a tough act to follow, but he was certainly up to the task. With nothing more than his 1947 Gibson L7 nicknamed “Gloria,” and a pinky slide, he performed two sets of original material, as well as selected covers that had little in common with the originals. He started with “Come Clean,” from the new CD Chris Vincent & the Raw Deal. Without the bass and drums of band, he was able to accentuate his vocals and strong playing, but in this setting, some of it was lost to the volume of the crowd. “Good Crook” the title track, is rockabilly number that got the audience more involved with some great lyrics and fret work. Two older numbers, “Wrong Way Town”, and “Big Trucks Win” followed, again highlighted by his inspired playing, and insightful words. Next up was a song most famously associated with Louis Armstrong, “On the Sunny Side of the Street,” but done in Chris’ unique style. Another new number “Snakes,” was introduced by Chris as “a song for all the lovers in the crowd.” After an older tune,” Rascal,” he closed the first set with “Half Block Cadillac,” which intertwines the issues with the car in the title, and his woman, both of which he needs regardless of their shortcomings.
The second set began with two older songs, the up tempo “One Request,” and another fine number “May Be Less.” “Cows,” also one off the new disc, Chris explained to me, comes from the local expression “when the cows lie down, fish biting,” which he interprets as “strike while the iron is hot,” and if so, it’s time to let your “freak flag fly.” The original song, “Ballad of Ricky,” was sandwiched between two covers, “I’m in the Mood for Love,” from the 1935 movie “Every Night at Eight,” which was a personal interpretation, nothing like that standard, and “Hello Dolly,” which had that NOLA feel but, unlike Sachmo’s version, it had Chris’ personality stamped all over it. “Screwdriver Keys,” featured some fine picking coupled with car theft, which if your old enough to remember, could be done with a screwdriver in the ignition. Another new tune, “Midnight After All” talks about pride coming before the fall in this relationship. “In the Mood,” not the Glen Miller tune, used some minor cords to get the point across, in this engaging song. “Cash Only,” the final tune, extolled the virtue of hard currency, with the refrain, “no checks,” repeated throughout.
Chris is an artist like no other I have seen before, with his unique take on song structure and delivery that may take some getting used to, but he is a fine musician, with something to say in a very original way. Check him out at www.ChrisVincentNewOrleans.com and @chrisvincentmusic on Instagram.