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THE DEVON ALLMAN PROJECT - BLUES SUMMIT (July 2025) Musicians : Devon Allman : lead vocals (tracks 01, 05 et 09), rhythm and lead guitars Robert Randolph : pedale steel guitar The Memphis Horns : wind section (tracks 01, 06, 08) Mark Hochberg : strings Well for those who would like to know more and have arguments to rush to this nugget, the album begins with a brassy blues sung by Devon Allman, well supported by the winds of the Memphis Horns, on a fairly moderate tempo, but which "push", with when necessary some welcome breaks avoiding the monotony which could set in and allowing for opportune relaunches. An uncredited female voice (Sierra Green?) comes to punctuate the coda. This is followed by a more aggressive and cutting guitar riff that introduces the second track, where a harmonica, also uncredited (Jimmy Hall singing the title?), leads a saraband around the vocals, before taking off in a question-and-answer solo with a guitar, still with that catchy beat, which we find even more joyful and lively on the following track, a blues-soul with slide and winds, the Funky Butt Brass Band this time, still sung by Jimmy Hall, which gives Robert Randolph the opportunity to distinguish himself. A beautiful track for the stage! We then take a break with a quieter, more syrupy ballad, with strings managed by Max Hochberg and a layered organ, sung by the very soulful voice of Sierra Green. Female backing vocals and discreet percussion support a peaceful tempo punctuated by a few breaks, while an equally tranquil guitar solo, almost ethereal but very pleasing to the ear, adorns it. A clear interlude before a more energetic restart sung by Devon, a bittersweet rock-soul original with an insidious charm that pulses at a moderate tempo, with a very simple guitar solo distinguished by multiple key changes over a tension-generating progression before returning like a flower to the heady chorus held by the choirs. I really enjoyed it. It then keeps going into a completely different style with a syncopated funky-soul composition by Larry McCray, filled with breaks and supported by the winds of the Memphis Horns, before a naughty Willie Dixon cover, centered on a sexual party and treated as a well-paced classic blues, with a still uncredited harmonica in support. Then we return to a more soulful spirit thanks to a new composition by Larry McCray, which he sings himself, a classically crafted but very effective soul-blues, with bouncy bass, a double guitar solo that's always effective, and a new intervention from the Memphis Horns: it's pulsing, it's rolling, it's moving forward... Another great track for the stage! A special moment with the famous "Little Wing" by Hendrix, treated in the Derek & the Dominos style (hello Uncle!), and there we are treated to a real thrill, with this always impactful composition on which the guitars give their all, wah included. Special mention to the guitarist who had the good idea to express himself on the neck pick-up, and to Devon's soulful vocals. A great moment! We end this album, which has all the makings of a little gem, with a Devon Allman track: a very interesting, dark, tormented, and haunting instrumental, kicked off by the lovely fluty sound of a distorted guitar on a neck pick-up, and which also provides the opportunity for an interesting bass solo before a tenor sax kicks things off again, a bit like Pink Floyd in the 70s, and the piano concludes in a nostalgic way. Another form of blues… With this album, Devon Allman makes an impression by once again demonstrating the very broad range of his great talent. One might argue that dogs don't make cats, but sometimes certain skills skip a generation or get lost along the way. This isn't the case here, even though Devon has shown since the beginning of his career that he has his own way of expressing them. In any case, Allman or not, it would be a shame to miss out on such a beautiful album! |
