Reviews

Former Roomful of Blues trumpet man Al Basile is out with another solo disc, his sixth by my count, a work that gives a whole new meaning to word eclectic. Basile’s style is in the time machine and making more jumps than the main character on the TV show “Quantum Leap” did. “Go Back Home To The Blues” back hands the project off in grand fashion with both Basile’s trumpet and guitarist producer Duke Robillard reaching into their expertise on this audio piece of advice. “Airlift My Heart” is a metaphor taken from the Berlin airlift during the Cold War and the sparkling “Can I Trust You With A Kiss?” not only shows off the brass section, but also keyboardist Bruce Katz who gets more than his fair share of spotlight during The Tinge. Basile’s influences are all over the map, including Tony Bennett, Ray Charles and vocalist Eddie “Cleanhead”Vinson, to the point of channeling the latter during “Too Slow.” Deja vu is attained via “Losing My Cool,” a first, and french kissing, cousin to the 1972 Cornelius Brothers& Sister Rose hit, “Too Late To Turn Back Now” as Bruce Katz also throws some premium piano work into the cheek to cheek special “While We’re Dancing.

Although there is a ton of good music on The Tinge, I also have to mention the liner notes and disc package by Mary Ann Rossoni, one of the better ones I’ve seen of late. During the notes regarding “While We’re Dancing,” Basile mentions his older fans lament that they don’t make songs like that anymore. If a fan of any kind of blues or jazz in the last sixty years, The Tinge is on a campaign to prove that statement wrong. Peanuts

Al Basile was originally a writer of poetry and fiction, and was the first to earn a master’s degree from Brown University’s Creative Writing program. A chance meeting with Duke Robillard in the late 60’s changed his career path, and he ended up becoming the first trumpet player hired for Robillard’s legendary Roomful of Blues band. He was fortunate to play with many blues and jazz greats, like Eddie “Cleanhead” Vinson and Big Joe Turner, during his tenure with the band, but he left the group in 1975 to teach, sing, and write songs. He reunited with Robillard in the late 80’s, and has played and written many songs for Robillard’s albums since then, while also managing to carve out a nice solo career.

The Tinge (Sweetspot Records) is Basile’s sixth solo release, and not unlike an early Roomful of Blues or solo Robillard album effortlessly moves from blues to jazz to swing. There are a few familiar faces present that could account for those similarities, namely Mr. Robillard himself, and former Roomful mates Rich Lataille (the only original member still in the band) and Doug James.

The songs, all Basile originals, range from “While We’re Dancing,” which has more than a touch of Satchmo present, “Too Slow,” done in the “Cleanhead” style, and “Just Wait And See,” a soulful jazz tune that gives Robillard room to stretch out. “Airlift My Heart” benefits from a clever lyric, as does “Not The Wrong Woman.” “Give Me The Rainbow” would be a nice fit on a Sinatra or Tony Bennett album. “Daddy’s Got A Problem” sounds like a lost Percy Mayfield track and Robillard provides some tasty guitar.

Basile has a smooth, mellow voice and plays cornet on all the tracks. The band, in addition to Robillard, Lataille, and James, included Bruce Katz on keyboards, Mark Teixeira on drums, and Marty Ballou on bass. They provide wonderful support in all the various settings. Robillard produced the disc and Lataille and James arranged the horns. Basile’s liner notes also provide helpful insight behind the making of each song.

The Tinge is a superlative release that will certainly please fans of blues, swing, and jazz.

Trumpet player Al Basile delves deep into musical history in the liner notes of this set by recalling Jelly Roll Morton’s explanation that jazz grew out of the Spanish Tinge which places the accents on the first, fourth and seventh beats of an eight beat pattern. Using this as a base, Basile applies the tinge to the thirteen self-penned cuts collected on this fine new disc which blurs the already fuzzy line between jazz and blues. Sounding uncannily like his old band mate Duke Robillard on vocals (who also produced and played guitar on this set) Basile applies his Master’s degree in creative writing to tales of bridging the gap between lovers, Airlift My Heart, where the muted trumpet evokes the painful divide, as well as tales of finding just the right woman, Not the Wrong Woman, where he boasts “I asked for a Jackson, she gave me three bighead Bens” over a rollicking horn driven soundtrack that recalls his early stint with Roomful of Blues. Warm organ grooves compliments of Bruce Katz fuel the thoughtful Can I Trust You with a Kiss while a buoyant beat propels Give me a Rainbow giving Basile a chance to echo Tony Bennett’s upbeat side. On Too Slow Basile and Robillard are joined by former Roomful band mates Rich Lataille and Doug James for a slow burning jazz number that pays tribute to the time the band spent working with Eddie “Cleanhead’ Vinson. The torch keeps burning on While We’re Dancing which features Basile’s rich trumpet work behind lyrics about the simple joy of traditional cheek to cheek slow dancing. Basile turns up the heat considerably on Daddy Got a Problems where the syncopated groove and Katz’s swirling organ propel his tale of a troublesome mate who soon finds her way down the road on the slide guitar propelled, You’re Still Right (and I’m Still Gone).. Also included are gems about people who are their own worst enemy, She’s in Love with Losing, and succumbing to the allure of the opposite sex, Losing My Cool. In addition to the finely honed lyrics, what really sets this disc apart from other blues discs featuring horns is that Basile uses his trumpet as a lead instrument instead of just another part of the horn section competing for attention with the sexy saxophone. With everything from bright jazzy runs to heavily muted, low-down smoky accents, Basile recaptures the role of the trumpet as the meat of the sound, not just the gravy. With strong, thoughtful lyrics, a crack band and a master’s touch on trumpet, Basile has crafted a terrific release.

Add one of the most genial, invigorating albums of the year to Al Basile's sterling resume. The Tinge - so named because the artist's 13 original songs are neither fish nor fowl stylistically, but rather colored (tinged) by multiple styles, unites Basile with his first music business employer, Roomful of Blues's Duke Robillard, whose steady hand is felt as both producer and guitarist. With sax masters Rich Lataille and Doug James sitting in as well, half of the original Roomful lineup is on hand to support Basile's warm, conversational vocals and always exceptional cornet work. Advancing a nice blend of ballads and stompers, Basile offers an array of captivating textures along the way. "You're Still Right (And I'm Still Gone)" bridges grinding electric blues and roadhouse rock, with Robillard spitting out fuzz-rich solos and Bruce Katz crafting a frantic workout on the 88s in service to Basile's mock-enraged vocal attack. A rich urban blues of the mean woman variety, "Daddy Got a Problem" ("Daddy got a problem/momma won't play/daddy got a problem/mama might stray") affords Basile an opening for a discursive plunger soliloquy up front in between Robillard's stinging electric guitar sorties, robust bursts of horn punctuations, and Katz's crying, rumbling organ solos. On the tender side, "Can I Trust You With a Kiss?" features the guitar-horns-organ triumvirate in a decidedly gospel-ish, Muscle Shoals southern soul mode (circa late '60s vintage) behind a pleading Basile vocal, whereas the graceful rhythms, gentle, romantic swing and lovey-dovey lyrics of "While We're Dancing" beautifully evoke the ballroom of yore; Basile gives the narrative an ingratiating Tony Bennett-like caress courtesy his sandpapery voice and understated phrasing before closing it out with a striking, incrementally ascending cornet solo. Here, and throughout The Tinge, Al Basile had a good day at the office.

Basile Pesto At Its Besto, (02/20/08)
In 1973 Duke Robillard talked Al Basile into joining Roomful of Blues and he became the band's first trumpet player in a horn section that included Rich Lataille and Doug James. Soon after the first album's release, Robillard and Basile both left to pursue other ventures. They have remained friends and many of Basile's songs appear on Robillard's recordings. Robillard has also produced all of Basile's solo albums including this new one, The Tinge. The band on this outing consists of Basile (vocals and cornet), Robillard (guitars), Marty Ballou (bass), Mark Teixeira (drums), Bruce Katz (keyboards), Lataille (saxes), and James (saxes and clarinet). Basile wrote all of the songs while the horn arrangements are by Lataille and James. Basile brings many years of songwriting experience to this recording and he has finally defined his sound beyond the scope of genres. While 2003's Red Breath was a Jazz album and 2004's Blue Ink was a Blues album, this newest album is his most comprehensive. On The Tinge we hear Al Basile's "sound." Opening with "Go Back Home to the Blues" we know we are hearing something very special as soon as Basile takes his first cornet solo, Robillard counters with an equally impressive guitar solo. There is little music being made like this today and I am reminded of Doc Cheatham, especially on "While We're Dancing." "Too Slow" is a wonderful song structured in the style made popular by Eddie "Cleanhead" Vinson with whom Basile played with as a member of Roomful of Blues. "Give Me The Rainbow" could be a Pop standard. Basile's singing has never sounded better. "Can I Trust You With A Kiss?" could be a southern Soul classic with Bruce Katz's Hammond organ and it has great potential for a duet. The horn arrangement on "Not The Wrong Woman" is outstanding and reminiscent of the old days as James, Lataille, and Basile take their solos. "Airlift My Heart" is a touching love song with great solos by Basile and Katz. "Daddy Got A Problem" and "She's In Love With Losing" tell stories of great emotional depth. The liner notes help the listener as Basile describes his motivation for each composition. The Tinge is Basile's most complete collection of songs to date and they all demonstrate Basile's personal recipe. This one is highly recommended.

Former Roomful of Blues member Al Basile plays cornet and sings wonderfully on this set of tunes produced by old bandmate Duke Robillard. And where Duke is, fine guitar playing can't be far behind. It all serves as a lesson in American jazz, blues and soul.

A stealth original Roomful of Blues reunion album, Basile’s latest finds him doing anything but working a well worn groove. Giving a sly tip of the cap to Cleanhead Vinson, Basile and his pals highlight his horn work as they move around the horn from jump blues to soul and simply party on. A solid set that lets the blues have their day, Basile writes and plays like he’s at the top of his game giving any real, contemporary blues fan a sweaty roadhouse experience and more. Hot stuff.

The latest solo effort from Roomful of Blues cornet player Al Basile is one of those rare contemporary blues releases that takes smooth, jazz-flavored blues in the spirit of Cleanhead Vinson and Joe Williams and finds its own comfortable niche. Not only are Basile's vocal and playing front and center but, as a sideman, Duke Robillard's guitar work is better than ever. At its best moments, the result might be described as sounding like a great Robert Cray record. The grooves simmer and cook expertly and the playing is nothing less than top notch. Bruce Katz alternates between piano, organ and Wurlitzer while a horn section (Basile and saxmen Rich Lataille and Doug James) adds color and dynamics. The songs are moody, jumpy, in-the-pocket variations on old-style, big city blues ("Go Back Home to the Blues," "Too Slow"), R&B ("Just Wait and See"), an occasional country-flavored pop tune ("Can I Trust You With a Kiss") and what could pass for a jazz standard ("Give Me the Rainbow") that manage to never sound trite.

Al Basile is often referred to as "the Bard of the blues," and his background as a poet and fiction writer certainly validates this reference. As a musician, he was Duke Robillard's first-call cornet man when the Duke formed Roomful Of Blues, and, altho both men have long-since left that group, its influence still shows in Al's latest solo effort, "The Tinge." It is a mixture of swingin', jazz-flavored blues with just a, well, "tinge" of soul and the classic material Duke and Al were responsible for "back in the day."

A generous portion of Al's cornet is delightfully mixed in among these cuts, which also feature his smoky vocals. The horn section features Rich Lataille and Doug James, and Duke Robillard adds guitar as well as serving as the set's producer. This gives us one half of the original Roomful lineup swinging for the fences on this one. With Bruce Katz on keys, Marty Ballou on bass, and Mark Teixeira on drums, these cats cover all the bases with their vast knowledge of the various genres' presented herein.

As on Al's previous solo effort, "Groovin' In The Mood Room," he gets a chance to show his stuff after some 35 years in the biz. Check out the muted cornet and the Duke's solo in "Just Wait And See." "Not The Wrong Woman" swings out after a cool piano intro, the horn section playing call-and-response behind Al's vocal. "While We're Dancing" and "Can I Trust You With A Kiss?" are beautiful examples of Al's sweet, jazzy cornet style. A deep blues groove and some killer slide drive "You’re Still Right, and I'm still gone." And, "Losing My Cool," with that backing horn-and-B-3 section, recalls vintage STAX-era soul.

Our favorite cut was the ultra-funky groove that sets up in the bluesy "Daddy Got A Problem." Again, Duke Robillard supplies a cool lead, and it's a sly little tune about Daddy's "problem," namely, "Mama," who has a tendency to "stray!"

All the publications that list Al Basile as a poet only know half the story. His musicianship and clever songcrafting are impeccable, and one listen to "The Tinge" will show you why!! Until next time....Sheryl and Don Crow.

Basile’s supple, natural voice is perfect for midtempo vamps, and his rich cornet playing kick starts the restrained jump blues at the core of these tunes.

The band’s loose vivacity is contagious, but it’s Robillard and Basile’s sympathetic partnership that forms the heart of this disc’s sound. These veterans clearly enjoy their meetings in the studio, and The Tinge confirms that they’re improving with age.

Originally a poet and fiction writer, Al Basile was the first to get a masters degree from Brown University’s Creative Writing program. He also wrote musicals as an undergraduate. However, he met Duke Robillard in 1969, and it changed his artistic direction for life. He began his performing career in 1973 by joining Duke as the first trumpet player in Rhode Island’s premier jump blues band, Roomful of Blues. Leaving the group in 1975, he devoted himself to teaching, singing and songwriting. Al began his own solo recording career in 1998. The Tinge is Al’s seventh album, and he is joined by Roomful of Blues’ Rich Lataille in the horn section, along with Doug James and Duke Robillard, half of the original Roomful lineup. Give Me The Rainbow, what I feel is the premiere song on the album, has a modern rhythm section with jazz piano styles of the sixties. Basile was definitely influenced by the sunny side of Tony Bennett on this one. You will also want to take note of Not The Wrong Woman. The opening song, Go Back Home To The Blues, …well, just think “Johnny Rivers”. The Tinge is on Al Basile’s own Sweetspot Records label and can be ordered directly off Al’s web site, though the CD is so new that it is not yet shown. Or you can get it from CD Baby or Amazon.

Ex-Roomful of Blues vocalist and cornet player Al Basile joins Duke Robillard, another alumnus of that legendary band, for his fifth disc of rock, blues, soul, and R&B. Robillard’s influence is all over this project: His less-is-more guitar work adds a juicy dollop of jazz-rock flavor to the stripped-down three-piece format. Basile also sings a bit like Robillard, and the two obviously have a similar vision. This relaxed, tremendously likeable set of songs boasts a nearly perfect combination of tunes, players, and direction.

Basile wrote all the material here, and though he acknowledges his many influences (from Chuck Berry on “Coffee and Cadillacs” to Delbert McClinton on the country-sounding “Your Rights” and Doc Pomus, whose “Little Sister” gets a nod from Basile’s “Baby Sister”), he’s never a slave to them. Aside from the startling but flawlessly conceived backward guitar solo on the low-key funk workout “I’m in a Mood,” little jumps out of the speakers with urgency. Rather, Basile and Robillard find a sweet spot and work a casual midtempo style that’s the very definition of soul-blues.

That type of comfortable, unhurried, but never nonchalant approach sounds easy, but it’s difficult to achieve in the studio. Even the comparatively rollicking “How Much Better (Better Can Get),” a straight-ahead rocker reminiscent of Robert Palmer’s version of “Bad Case of Lovin’ You,” shifts smoothly into the disc’s cruise control. And Basile really shines on ballads: The low-boil croon of “Be a Woman,” the subtly urging opener “I Got To Be the Boss,” and the album-closing “You Satisfy” sound like great old ‘60s Muscle Shoals sides rescued from the vaults.

A playwright and fiction writer, Basile’s lyrics are sharp, and he never overthinks a song. That apparent ease is the most striking element about a set of tracks that sounds like the product of a few friends who convened at a jam session after work. Groovin’ in the Mood Room is the perfect title for an album where nothing is forced and the groove and mood come naturally.

Al Basile has a genuinely raw and soulful singing voice. His latest CD, Groovin’ In The Mood Room, released by Sweetspot Records, displays that and much more. The fact that it was produced by veteran blues icon Duke Robillard, who also played guitar on its 13 tracks, has much to do with its rich flavor. This is Basile’s fifth record to date, and Robillard has played guitar on all of them. Basile’s voice is personal and pleasurable, and his songs and style are a perfect match for Robilllard’s six-string prowess.

Longtime fans of Roomful Of Blues will find an immediate attraction to the album. Basile played trumpet for the Rhode Island based blues band back in the early days, while Robillard was the original guitarist and vocalist. Al decided to lay his trumpet down in 1975, opting to spend his time teaching, writing songs, and perfecting his unrefined vocal sound. Robillard and crew then went on to experience success as one of the greatest blues club bands of all-time. In the early days, Basile was also known for his work with the likes of Big Joe Turner, Clarence ‘Gatemouth’ Brown, and Johnny Johnson. A few of his tunes can be heard on early Robillard solo albums.

Basile’s voice evokes the styles and sounds of Kim Wilson, John Hiatt, Delbert McClinton, and that of Robillard himself. A few of the tracks on the CD are reminiscent of early Fabulous Thunderbirds, bluesy and genuine yet rocked up. Listen to ‘How Much Better (Better Can Get). Along with Basile’s brusque vocal, Robillard’s rhythm and lead playing is rockin’ and rough. I love listening to Duke when he gets into this heavy blues-rockin’ mode; it seems to bring out the best in him. ‘She’s On The Mainline’ follows, in an approach that takes the listener back to early Roomful Of Blues, horns and all (with Doug James on tenor sax). ‘Picked To Click’ is a pleasant blues number, slow yet very rhythmic. Robillard’s lead throughout is fantastic. ‘Your Turn To Pay’ gets even deeper. Basile belts out the vocal passionately, and segues nicely into Robillard’s wailing slow blues solo. He ends the song with a second solo. ‘Baby Sister’ has an interesting John Hiatt air about it. ‘I’m In A Mood’ gets experimental. Besides Robillard’s backwards guitar effect, Marty Ballou’s bass playing is standout. ‘Be A Woman’ is a pleasant blues ballad. ‘You Satisfy’, with Robillard singing backup, is a satisfying end to this great album.

Robillard’s band, Marty Ballou on bass, Mark Teixeira on drums, Bruce Bears on organ, and Doug James on tenor sax, rounds out the CD. Al’s also a known cornet player, and plays the instrument on ‘She’s On The Mainline’. Though Groovin’ In The Mood Room is, without a doubt, a Duke Robillard album just as much an Al Basile, these two performers are definitely a combined effort and make wonderful music together. The album contains a lot of great blues, rock, soul, r&b, funk, and even a little jazz, and it exerts an all around pleasant groove.

Brian D. Holland
Modern Guitars Magazine
December 07, 2006

With his fellow Roomful of Blues alumnus Duke Robillard as guitarist and producer, Al Basile here gets to show off his considerable skills as a singer and songwriter. (He plays trumpet on only one cut.) As with any project Robillard is involved in, this is a deliciously masterful excursion through American roots idioms, from swaggering rock-and-roll to soul-dripping balladry, with blues, country, swing, and even a touch of psychedelia in between.

Basile's fifth CD plumbs his close relationship with Duke Robillard more than any other. Produced by Robillard in his home studio (aka the "Mood Room"), and using the core of Robillard's own touring band, the recordings have the jump swing feel one would expect of those musicians but is overlain with rich lyric imagery from Basile who wrote all the songs here. What else would the listener expect from an Ivy League educated writer of poetry, fiction and a lyricist who has been performing for the past 35 years? Though he originally joined Robillard's band as a trumpet player, Basile has contributed lyrics to dozens Robillard's recordings. Imagery here is firmly in the blues realm, but the adult stance, the economy of storytelling, and high level of craftsmanship shows a maturity seldom found in this genre. Basile provides all the vocals here, and stylistically he owes a lot to the Robillard influence, growling and emoting with fire at times while whispering steely lines at others. Packaging includes full liner notes, complete lyrics plus Basile's commentary about each song helps one appreciate the sources of material. Really the only thing missing here is Basile's horn playing. Only one of the tracks features horns and
Basile, who has performed on many of Robillard's CD releases, can really blast. Take a listen to "This Dream" from Duke's Temptation release (Pointblank 1994) for just one example. On the other hand, horns would be superfluous on many of the tracks on Basile's latest, so we'll just assume he's saving it for another time. This is one of the most literate blues records ever released.

With a voice that evokes long time friend and occasional band mate, Duke Robillard, singer, writer and trumpet player Al Basile has crafted a compelling collection of blues that have a modern lyrical sensibility but are firmly rooted in the sounds of the past. Recorded in Robillard's Mood Room studios with a crack band including Robillard on guitar, Marty Ballou on bass, Mark Teixeira on drums, Bruce Bears on organ and fellow former Roomful of Blues band mate Doug James on tenor sax, the musical backdrop of this disc accomplishes Basile's stated goal of getting your groove bone in motion. Most of the credit for the rollicking good time goes to Robillard who seems to relish serving a sideman's role. Stepping out of his role as band leader, he seems looser and more energetic than on many of his own releases.

While there is much to like here "I'm in the Mood" features a backward guitar track that is a sonic delight while "How Much Better (Better Can Get) rocks with an abandon that recalls Eddie Cochran's "Summertime Blues." The rest of the band kicks into high gear when it needs to and compliments Robillard's tricky syncopated rhythms with well placed fills that are spare, yet effective. Basile also adds some instrumental flair on the soulful "She's on the Mainline" where he dusts off his trumpet to add some well placed grease to the groove.

While lots of discs feature top rank musicians, what makes this one stand out are the well crafted lyrics that reveal Basile's long stint as a teacher. Instead of simply recycling verses from the blues cliché songbook, he often takes a look from another angle. Countless bluesmen have lamented bad luck, bad whisky and bad women as the source of their problems. On "I Got to be the Boss" Basile turns the equation around and looks at himself as responsible for most of what happens in his life. On "Picked to Click" he cleverly connects to pieces of blues lore while giving himself some modern distance by going through the laundry list of things he's missing like mojo, conquer root, hot foot powder and the like. "Your Turn to Pay" is a flat out blues lament about the biting pain of 20/20 hindsight regarding a relationship he shouldn't have abandoned.

While the path he walks isn't new fodder for the blues, seldom has it been done with such sharp self realization. "The Show Must Go On" cuts the legs out from under no good double talking folks who have an answer for everything while "Your Rights" is a countrified, Delbert McClinton influenced, look at tattered relationships. "Coffee and Cadillacs" is a rollicking, cautionary tale for every blues musician who has been screwed by a flashy manager. Overall, this is a terrific disc that deserves a good chunk of time on your player.

A long time Duke Robillard associate that checked out of the Roomful of Blues a long time ago but never cut his ties with Robillard is back with a sort of follow-up to last year's collaboration between the two. Well-played adult pop with the touches you expect from Robillard running all through the proceedings and Basile pulling his weight just as well, it's the kind of set tailor made for satellite and internet play because it's the kind of music that you freak over when you get the chance to - discover it for yourself. Fun, rousing stuff that opens the ears and delivers the goods. Trust these brand names on board and you can't go wrong.

Show and tell time: there are hundreds of blue-eyed soul singers as good as Taylor Whatever from American Idol. They're out there right now in our great country, singing their hearts out to an indifferent audience, maybe in a Holiday Inn or big city nightclub, hoping to keep their gig and self-re- spect intact. Sometimes it works and sometimes it doesn't, but you really can't sing this style of rhythm & blues without a big heart and a good deal of delusion, because the odds are against breaking through to the big time. Enter Al Basile, who approached this trade from the other side. After attending graduate school in the creative writing program at Brown University, Basile became the first trumpet player in the original Roomful of Blues. That's where he met album producer and guitarist extraordinaire Duke Robillard. They attack these tracks with a ferocious feeling, elevating it above the dance floor into a real creation. Discounting the fact these songs, as good as they are, are never going to be become soul standards, Al Basile proves there's more than one way to skin a cocktail onion, and graduate degree or not, he has the credentials that make this music one of our national treasures.

If John Hiatt ever has a notion to hire a sound double to fulfill a contractual obligation, he need look no further than Al Basile. Not only is Basile a dead ringer vocally, but as a published poet and a holder of a master's degree from Brown University in creative writing, he has the same ability to turn a clever phrase.

Basile, a cornetist and vocalist, revives his nearly 40-year musical partnership with Duke Robillard for "Groovin' in the Mood Room," his fourth solo CD. Robillard, his old bandmate in Roomful of Blues, contributes his great axmanship and production talents.

While Basile's three previous albums featured members of Robillard's band, "Groovin' " utilizes a more stripped-down combo, giving Basile more room to stretch out musically. As a result, Basile is freer to express his roots-rock, jazz and second-line funk sensibilities.

Vocalist/cornetist and former Roomful of Blues member Al Basile's fifth CD Groovin' in the Mood Room (Sweetspot) combines dynamic jump blues, boogie and swing, and serves as a fine showcase for Basile's smooth, swinging voice. "I Got To Be The Boss" addresses the age-old question of exactly who will be in charge in any situation, while "'Picked To Click" examines the equally venerable issue of whether famed magical potions really work and "Your Turn to Pay" is a prototype payback tale. Basile's "Baby Sister" and "Coffee and Cadillacs" are among the songs that display his affection for Chuck Berry. He contributes some hot cornet work on "She's On The Mainline," while guitarist Duke Robillard (who also produced the CD), bassist Marty Ballou, and drummer Mark Teixeira comprise the main rhythm section. Saxophonist Doug James also chips in on "She's On The Mainline," while organist Bruce Bears adds soulful choruses and bottom to "Baby Sister" and "Be A Woman.''

Like Nick Curran, Dave Gross is building a formidable reputation as a purveyor of blues and R&B that is rooted mainly in the 40s and 50s. Blessed with a natural blues voice and a compelling guitar technique, Gross brings all of his talents to bear on "Take The Gamble," which was produced by Duke Robillard at "Duke's Mood Room," and which features Duke himself on three tracks. The cast of musicians assembled to back Gross on this set makes impressive reading - artists like Doug James (baritone and tenor sax), Al Basile (cornet), Dennis Gruenling (harp), Don'a Oxford (piano and organ), Arthur Neilson (upright bass) and Mark Texeira (drums) will be familiar names to most of the readers of this magazine, who will recognize that their musical roots are grounded in the eras that Gross is influenced and inspired by.

Gross sets out his stall from track one, opening with a jumping rendition of Gatemouth Brown's "She Walks Right In," a call and response slab of R&B that displays Gross's powerhouse vocals and fat-toned guitar underpinned by rocking piano, jazz inflected harp and a wild baritone sax solo from James. The only other covers on this set are the jazz inflected big band R&B of "Hot Lips," Page's "Walkin' In A Daze" replete with hot tenor sax and superb jazz cornet from Al Basile, a swinging workout on T-Bone's "I Know Your Wig Is Gone" featuring hip vocals, hot tenor and more superb cornet and the 30's styled swing of "After You've Gone" which captures the era to perfection with more of Gross's hip vocals and Basile's wonderful cornet.

The other nine songs are all Gross originals, that segue seamlessly with the classic covers already discussed. "Mess On My Plate" visits New Orleans courtesy of Oxford's Fess inspired piano, James' pumping baritone sax and baleful horn charts, Gross's vocals and guitar mixing elements of T-Bone Walker and Johnny 'Guitar' Watson. Watson again coming to mind on "I'm Leavin' Baby" with it's strident guitar and cascading piano, the highlight being Gross and Duke trading licks as the number builds to a finale. "I'm So Hungry Blues" has a smokey T-Bone Feel. T-Bone again coming to mind on "Make Things Right," although this time it is laced with a downhome swampy feel.

"Once Had A Girl" is a frantic rocker with a country edge. "You Ain't Playin' Me No More" has country blues roots that are enhanced by rolling piano, resigned vocals and melancholy guitar whilst "Swingin' On All Six" does exactly that.

I can only paraphrase the title of this set and say "Take A Gamble" on Dave Gross.' I can guarantee that you won't be disappointed. (www.DaveGrossBand.com)

On "Take A Gamble" I continually made reference to Al Basile's wonderful cornet playing which is a great lead in to his own latest CD "Groovin' In The Mood Room" a reference to Duke's Mood Room where it was recorded. That is not the only similarity this set has with the Gross one, as Basile's is also produced by Duke Robillard, and also features Robillard, Teixera and James supplemented by Marty Ballou (bass) and Bruce Bears (organ).

Basile has turned out a succession of fine solo CDs that have explored his soul, blues, R&B and jazz leanings - each of them featuring his exceptional ability to write great songs with great lyrics in all of those genres (his songs have been recorded by the likes of Robillard and Ruth Brown).

"Groovin' In The Mood Room" does exactly that. Opening with the churning shuffle "I Got To Be The Boss," with it's throbbing bass lines, Basile's muscular vocals echoed by Robillard's tough blues guitar - this set explores Basile's blues, swing, soul and rockabilly roots.

"How Much Better (Better Can Get)" is a stomper replete with Chuck Berry styled guitar, chanted vocals and Sandy Nelson styled drums."'She's On The Mainline" is a sleazy swinger with baying horns and hip vocals (and is also the only track where Basile brandishes his formidable cornet), whilst "Picked To Click" features Robillard's slinky guitar underpinning Basile's 'voodoo' vocals and lyrics.

"Your Turn To Pay" is a brooding soul opus, Robillard's weeping guitar echoing the pain that permeates Basile's vocals. "Baby Sister" has the feel of a 60s Stones rock ballad. "'Your Rights" is a Country Ballad with a strong Johnny Cash feel whilst "Take My Word For It" has a late 50s Presley feel replete with twangy rock 'n' roll guitar.

Add in the Arthur Alexander styled soul of "You Satisfy" where Robillard's guitar has a Robert Ward feel, the bouncy rockabilly, country 'n' roll of "Coffee and Cadillacs" and the brooding "I'm in A Mood"' and you have yet another winner from Al Basile.

Red Breath is very much a swinging, straight ahead album...Like his horn, his voice exudes a warm, welcoming quality...His solos are delightful because they are thoroughly musical, mostly exploring the middle register of the horn, and never involving technical showmanship. His sound and melodic lines are everything in his playing."

"...Al Basile should be familiar from credits on Duke Robillard projects. This Robillard-produced solo record (Shaking the Soul Tree - Sweetspot 3882) is notable for Basile's richly inflected singing and superior, soul-centered songwriting. The midtempo 'Look Into It' boasts a stunning horn chart; 'Thirty-Five Women,' with its Latin percussion, nails the Drifters-meets-Arthir Alexander groove; 'You Know'is lush 60s pop-soul; 'Bad Intentions' struts like a stray cat."

"...the album is a zesty representation of sweet and sassy soul, R&B, and the blues...Basile, originally a fiction writer, proves to be an excellent lyricist, too, on the animated 'Rueful Rules' and 'Lorelei'...a multi-dimensional listen with lots of really cool licks."

"Fat R&B vibes, groove, Blues, swing and even some haunting pictures
evoked by his vocals and guitar playing make this a diverse treat for
many tastes, which include mine! Favorites are "Rueful Rules", "Drive Me
Darling", "One Step Closer", "Ain't That A Man".

Al Basile began his performing career in 1973 as first trumpet player with Roomful Of Blues, through whom he met Duke Robillard, for whom, after reuniting with him in the late 80s, he has written songs that have featured on Duke's releases on Rounder, Stony Plain, Pointblank and Shanachie.

Robillard returned the favour by backing Basile on his solo CD debut, Down On Providence Plantation, and Basile has turned to his old friend again to not only produce the set but along with his band, John Packer (bass), Jeff McAllister (drums), Doug James (baritone sax / bass clarinet) and Sax Beadle (tenor sax), augmented by Tom West (piano, B3 and sampled harpsichord), provide the quality and soulful backing Basileís music deserves.

The set opens with "Leave A Good Thing Alone", a Stax / Memphis soul hybrid on which Basile's naturally soulful vocals are underpinned by a great band performance replete with funky sax and tough, uncompromising guitar (Robillard), continuing with the introspective soul of "Look Into It", where Basile's melancholy vocals are accentuated by haunting B3 and baying horns. "Rueful Rules" is a slow funky drag with mournful horns, West's B3 and Robillard's intricate and tantalizing guitar fills adding a deep soul textures to Basile's wry vocals.

Several of the songs are infused with the spirit of Arthur Alexander; "After The Fall" with its shimmering guitar and poignant vocals and horns, the reflective, and deeply soulful "You Scare Me", and the moodily defiant "I Picked Her Up" are all gems that will appeal to soul fans of all persuasions. "Brand New Fool" is a lowdown funky slab of R&B with hard riffing horns and rolling piano; Basile's sly vocals perfectly complement his tale of his seduction at the hands of a woman with "Bad Intentions", his experiences enhanced by his own seductive cornet, which takes on a "spooky" feel on the sleazy "Ain't That A Man', with its "voodoo"piano and percussion.

In his liner notes, Duke Robillard says that "His (Basile) appreciation for
blues, soul and gospel makes for a satisfying combination of influences",
resulting in this well crafted and deeply satisfying set.

Down on Providence Plantation, a new disc from Al Basile, who has written for Duke Robillard. Al's disc has some very well crafted tunes and the band hits and holds a solid groove. Roomfull of Blues and Duke Robillard alumni are all over this record and if you like that sound, this CD won't disappoint you. Released by Sweetspot Records, it is Al's first (but hopefully, not last) effort. Sweetspot is Al's own label, formed to release this collection of his songs. It deserves your support.

...Robillard's guitar is all over the record - soloing on top of a funky rhythm on "Don't Start Something", playing backwards parts on the powerful "You Brought My House Down", digging deep into the blues on "I Really Miss You" with a gritty, soulful vocal by Basile.... Basile's disc has a moody ambiance...

On Down on Providence Plantation, singer/songwriter/ trumpeter Al Basile reaches way back for inspiration: back to Motown, back to gospel and soul, even all the way back to the blues. Although the set is all original material, every song is a nod to a particular musician or tradition, from the Smokey Robinson smoothness of "Bite Your Tongue" to the B.B. King urban blues of "What Your Kisses Say." Most of the tunes fall under the headings of sweet soul or blues, with an odd funk piece here ("Don't Start Something") and a rock number there ("Prove It to You").

Basile, who has previously made his mark as a horn player with Roomful of Blues, saves his breath for singing, leaving the soloing to former bandleader (and producer) Duke Robillard on guitar. Robillard's fretwork is remarkable; his nimble acoustic riffing jazzes up "When I Reach My Limit," and he scorches a blue streak across "An Understanding Heart."

I like the title of the album. Positive and spiritual and not unlike the good feeling you get from listening to this guy's stuff.

Songs like "Bite Your Tongue" really reminded me whose voice Al reminds me of. A lot like Van Morrison. Also, the vocals are very clear - just think the opposite of most of Phil Collins' hits. Here's a guy (Al) with a very individual voice who isn't afraid to get right up to the mic. That also gives the CD a nice 60s jazz feel which I can certainly live with. Except that this recording here is clear and bustin'.

Then there are other songs like "Things Aren't Going So Well" which are right out of Clapton's 70s years. Remember "Wonderful Tonight'" (I think that's the name.) Well, this one will remind you of it. Has that sort of smooth voice, nearly apologetic stream flowing through it. The sort of song you write at midnight on a Saturday because you just don't feel right.

And the whole thing starts out with "When I Reach My Limit." One of my favorites. The chord progression is just too pleasing to the ears. 'when I reach my limit I'm gonna go downtown / put on my torn up coat, and walk around / I'm gonna watch the leaves blowing off of the trees / think about Schubert and the Viennese / when I reach my limit I'm gonna go downtown. I appreciate that refreshing start to a this pep-encrusted fun froth.

A welcome talent to any genre. And here's a man who mixes his genres like sun-lit cocktails. Get a drink.

Like Robillard, Basile stays true to the blues while finding novel approaches to keep the music vibrant.

As a jazz fan, the inclusion of such musicians as Al Basile on cornet is especially welcome.

Robillard’s tribute taps perfectly into the old-timey groove on “T-Bone Shuffle,” where his picking is mostly on the rhythm and leaves lots of space for Al Basile to blow a jumping cornet solo.

...the best original number - the stealthy "This Dream (Still Coming True)" - came from Al Basile, whose cornet leads a horn section.

...the muted trumpet again growls in the background, adding just the right touch of Louis Armstrong-like low-down jive.

...Robillard makes excellent use of cornetist Al Basile to color the arrangments creatively...

...special guests including Tom West on organ, and the great Al Basile on cornet.

Blues & Rhythm review of
Duke Robillard's La Palette Bleu (New Blues For Modern Man)

There are only a handful of people who could cowrite (with Al Basile) something as true blue as "You Mean Everything to Me."

Duke Robillard's "Sayin' Don't Make It So," from his new album, Explorer, is a classic blues tune on a classic blues theme: That woman sure ain't no babe in the woods. That sentiment was expressed by Robillard's frequent lyricist, Al Basile, with this gem of restrained raunch: "You say you just moved, and you don't know your way around / But your mailman says you got the busiest box in town ...