Bill Walsh’s Common Ground Band has been presenting its Blues In The Village for almost seven years at the Birch Street Bistro in Roslindale. Last night’s Blues In The Village invitation jam ran smoothly and offered many great blues classics performed by some top notch players.
Featured last night were vocalist Gretchen Bostrom and saxophonist Dick “The Poet” Lourie from the Juke Joint 5 and Providence keyboardist John Juxo. The three fit in perfectly with the blues styles played by Walsh’s usual line up; Walsh on guitar, Gary Barcus on bass, and Roscoe Hamer on drums.
Walsh opened by leading the players through the first of three instrumentals, a mellow piece to accommodate the dining crowd. Walsh’s mellow octave guitar lead was augmented by the sweet soul from Lourie’s saxophone. Lourie’s sax line became more fulsome, a heft of melody that meandered playfully across the rhythm section’s groove. Keyboardist John Juxo tapped out an easy going organ groove, coaxing his melody out of his instrument until he had numerous keyboard notes percolating, flowing over the brim.
Juxo played a funkier keyboard in the second instrumental. You could hear the 1960s influences in those keys. He must have listened to a lot of Booker T. Lourie served up a stirring saxophone line in the third instrumental. His musical ebullience kept growing in spirit as well as texture. Louries had certainly learned quite a lot during his time as a professional musician. It was a joy to hear him construct his melody line as he went along. Walsh played fine last night, but he kept his offerings low key, likely to keep the spotlight on the other players.
Featured vocalist Gretchen Bostrom belted “Big Boss Man” out of her throat with an exuberant rasp. Bostrom emoted with the sharp high notes inside her husky drawl. The band played around her smooth as a velvet glove. The rhythm section put some muscle behind her and a bulbous horn line from “The Poet” and a bluesy honky tonk run of organ notes topped it all off nicely. Walsh finally found his comfort level and showed more of his sprightly melody line.
“Early In The Morning” had a nice palpable bass line and a lively drum beat with three to four rolls of tom and snare played over it. Drummer Roscoe Hamer always puts in some really cool extra smacks in there. Juxo spiced things up with a bouncy, sweet accordion waltz. Walsh spiced it up with an interval of high notes that he danced around the groove. Meanwhile, Bostrom did a fine job putting the verses across, but she needs to let go of whatever training she’s received and just go with the feeling of the song.
Speaking of Bostrom’s vocal ability, she worked the verses with style on Slim Harpo’s “Ti Ni Nina Nu.” Lourie’s floaty sax vibe was another plus there. Walsh tossed in some nice guitar boogie and Juxo threw in some grooving organ chords. With finesse, Bostrom segued into “Walking The Dog” and she actually walked the dog(you’ve gotta see her do that crazy dance).
The players began their second set with a jumping jukebox feel. Elements of early 60s surf, late 50s rock and roll, and Memphis soul all came bubbling up to the surface. Little Richard’s “Lucille” was marked by Lourie’s rocking sax, Walsh’s muscular chords, and the rhythm section’s multi–dimensional layered groove. Mr. Roscoe Hamer laid down a steady beat while putting some rolls of tom and snare over it. “Five, Ten, Fifteen Years” was grooving fun as Bostrom fronted the players with confidence.
Bostrom and Lourie got to perform one of Lourie’s originals, “Ready For My Close Up,” that will be on an upcoming Juke Joint 5 E.P. The Poet played trumpet on this beauty of a song influenced by 1930s jazz. The number was played last night with a polite lilting swing. Laurie tapped out sweet intervals of notes that pleasantly reminded of old time speakeasies, ballroom dancing, and big city nightclubs from back in the day. Bostrom sang in a vocal glide, her silky voice just barely kissing the lyrics.
Harmonica player Andy Donovan played a train influenced melody line, whistling out the melody line, high and sweet, with the texture of a locomotive’s siren call as it rounds the bend into town. Juxo played a funky swing, New Orleans flavored accordion. Eventually, Walsh chimed in with a springy, stringy guitar line that darted around the beat, in and out between the other melody instruments with style. It became one busy multi-layered song. “Teenie Weenie Bit” grooved by on the strength of Laurie’s suggestive, seductive horn lines and the irresistible, mischievous beat from Hamer. Over this Juxo layered a texture of brittle organ soul.
Singer Bobby Mac and a guitarist whose name I didn’t get came in near the end and provided dollops of soulful voice and R&B guitar riffs. They got the band to play a reggae version of Sam Cooke’s “You Send Me,” and Laurie’s’ floaty sax line was made an intriguing backdrop.
Bostrom and the players closed out the night with the exciting blues number “I Wanna Rock.” Bostrom coolly handled the lyrics as The Poet blasted out some mean horn shots. A feisty guitar line lolled its way higher and sharper inside the song’s personality.
The Common Ground Band will celebrate their seventh year presenting Blues In The Village at the Birch Street Bistro this October. Any greater-Boston area blues fan would certainly like this weekly session. The Birch Street Bistro is a very comfortable room. The food was great last night, and we had one of the best servers, Miller E., that we’ve ever seen bringing us our drinks.
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