They come into a town to show people what real blues is all about. Downtown Dave And The Deep Pockets came to Boondocks Tavern & Country Grill last Saturday night. What a show it was at the Weare, New Hampshire venue. Fronted by singer-harmonica player Dave Glannon, the Deep Pockets featured their former guitarist Jimmy Kokolis filling in for Mike Revela and bassist Mickey Maguire filling in for Joe Zangri. Even with substitute players, there was no holding back the blues power that this quartet could muster. They whipped up the kind of blues that people will travel miles to hear.
Glannon’s vocal was sharp, edgy as the band opened with “Night Train,” a thumping blues that the singer’s timbre fit like a glove. Guitarist Jimmy Kokolis unleashed some serious roots notes. Yet, it was Glannon blowing an electric harp, creating an old time jive vibe, that put everyone on notice they were encountering real down and dirty blues .
“I Got Loaded” featured Jimmy Kokolis’s playing guitar riffs that rang out with brittle, tender tones. Mickey Maguire’s bass lines sloped down some place cool as Glannon blew a train whistle horn sound out his axe, and it completed the bluesy rumble of the number.
The funkier beat of “Pawn Shop” gave Maguire a chance to build a muscular groove over Leroy Pina‘s solid drum work. Kokolis pulled out a string of feisty notes, each one dripping with authentic echoes of yesteryear. Maguire spent the evening tackling material that he might not play often or ever played at all. Still, he locked into a groove with others and contributed to a thick wall of blues. Harp lines, guitar chords, and the rhythm section blended into one seamless fabric on “Going To The Church.” The band made their sound move like a jack rabbit. Springy beats from Leroy Pina made it feel like the band was ready to pounce at any given moment.
Kokolis, on Robert Johnson’s “Crossroads,” expanded on the original guitar line with a greasy phrase. It created a movable party vibe. Some of Glannon’s harp lines spread nicely wide with a tremendous rhythmic sweep. “Little Sister” was old time rockabilly rambunctious fun. Glannon\, here, offered sweet augmentation with his harp.
Glannon’s interpretation of a Duke Robillard number, “Fishnet,” complete with some new lyrics added, generously offered a bunch of splashy electric harp notes over a thumping groove. Vocally, Glannon’s steady, edgy timbre placed another layer of seriousness over the fine blues pile drivers supporting him. Kokolis played a lot of brisk funk riffs. You could’ve danced to this one even if you were sitting down. Glannon’s portable harp microphone allowed him to run around the room mischievously, blowing his notes as he went his merry way through the crowd.
Glannon and his Deep Pockets handled a more country blues, the singer’s original, “Bill Paying Blues,” giving it a shuffle beat and a mean guitar grind. See sawing harmonica notes gave it its country flavor, one that resonated sweetly through the Boondocks Tavern. While the band was in that mode, they went into Johnny Cash’s “Folsom Prison Blues.” Another shuffling beat, with moving groove, chugging electric guitar chords, and Glannon’s edgy vocal line, they kept it real. A train whistle inspired harp line only added to the gritty beauty. Next, Glannon’s simmering harp notes spearheaded the way right into the Deep Pocket’s take on Freddie King’s “Big Legged Woman.”
Glannon and his boys had fun working “Snatch It Back And Hold It” into something that could snap at you with its sudden shifts into the chorus. Glannon’s original “Packing It Up” found him singing simultaneously into his vocal and harp microphones, giving his voice a heavier, old time radio announcer timbre. It made you feel the despair of the song even more.
The Deep Pockets glided into an instrumental tune by New Orleans funk band The Meter. Glannon’s harp found a bluesy home amidst the knobby funk, and it showed the band was more than just a blues band when they widened their sound with this number. Also, Glannon’s vocal coos between the lyrics of “Smokestack Lightning” reminded of the suspicious moans of an alley cat. Meanwhile, the others played a crawling king snake vibe within their rhythmic click. Together, it was fearsome and loaded with meaning.
Maguire‘s bass line on “Devil Woman” moaned the sly sinister groove. Meanwhile, Kokolis’s guitar gruel and Glannon’s wave of crunchy harp notes cast a hypnotic spell on listeners. Kokolis sang some lead vocals a bit later, showing he has a smooth, soft timbre that paved the way for a couple of mid-tempo joyrides. Glannon, after a merciless “It’s All Over Now,” came back into the fold with a mighty, low wail blowing out his harp on “Key To The Highway.” That harp phrase was among his meanest and most meaningful of the evening, showing he’s seriously into his instrument. A harp player just can’t get that kind of thing going on without practice and paying his dues.
Glannon had all sorts of tricks up his sleeve the other night. Unpredictable, Glannon delighted and surprised at many turns. “Killing Floor” found Glannon contrasting well his whistling harp notes against a brisk paced rhythm section. On a slower blues crawl, Glannon’s sang out sincere pleas, making you feel it. Kokolis pulled out a grinding, slow boil. He took his time playing out his notes, adding to the tremendous feeling of the song. Glannon, taking his portable microphone with him, walked out the front door and played his harp for the people outside. He soon returned to perform at his usual place at the mike stand. He’s a peripatetic harp player who only stands still for so long before he goes for a walk, bringing his instrument with him.
Glannon put on one heck of a show last Saturday night. Not only did he and his boys play real serious down and dirty blues, he’s a natural entertainer. He knows how to connect with his audience and build a rapport. Blues fans who don’t like to get distracted by other genres when they go out to hear a band cannot go wrong with these guys.
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