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Without a doubt one of the most exciting and innovative artists gracing contemporary blues, guitarist Joe Louis Walker has glowed like a shining blue beacon over the last decade. His 1986 debut album for HighTone, Cold Is the Night, announced his arrival in stunning fashion; his subsequent output on HighTone and Verve has only served to further establish Walker as one of the leading younger bluesmen on the scene. He traveled a circuitous route to get to where he is today. At age 14, he took up the guitar, playing blues (with an occasional foray into psychedelic rock) on the mushrooming San Francisco circuit. But by 1975, Walker was burned out on blues and turned to God, singing for the next decade with a gospel group, the Spiritual Corinthians. When the Corinthians played the 1985 New Orleans Jazz & Heritage Festival, Walker was inspired to embrace his blues roots again. He assembled a band, the Boss Talkers, and wrote some stunning originals that ended up on Cold Is the Night. More acclaimed albums for HighTone - 1988's The Gift, Blue Soul the next year, and two riveting sets cut live at Slim's in 1990 - preceded a switch to the major Verve imprint and three more discs that were considerably more polished than their grittier HighTone counterparts.
Author: Bill Dahl :: Source: All Music Guide (www.allmusic.com)
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JOE LOUIS WALKER
pasa tiempo
| RELEASE DATE: |
10/29/2002 |
| LIST PRICE: |
$15.98 |
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PASA TIEMPO
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Recommended |
[12.05.2003] |
"...a set that comes unreservedly recommended.."
- Mick Rainsford (Blues In Britain)
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My Highest Recommendations |
[08.27.2003] |
I've probably spun this disc about a thousand times since receiving it. I have played it for both friends and fellow musicians alike. Each time; I get a different reaction. Many people are reminded of the 1970's jazz fusion - no way. I remember the period well, and there were no players mixing R&B, straight-up blues, soul and jazz. No. Joe's got a new brew going and it's entirely his own mix. Walker's got one of the most soulful voices on the planet, and it really shows on this particular recording. As far as planning and production goes - this one is award winning. The covers are brilliant and well-chosen; his songwriting abilities need no justification - equally brilliant as the covers. Listen to the opening percussioin along with Walker's soaring vocals on the Van Morrison classic, "Sweet Thing!" Joe doesn't let you down, and we get the same reaction from the second track: "Direct Me" another wonderful cover by Otis Redding, and Steve Cropper. We are treated to a Walker original on track #3 "Barcelona." This one takes you into a jazz mode where all the performers are spotlighted. Joe gives a standing ovation performance with his rendition of Boz Scaggs' "I've Got Your Love" - powerful vocals. A killer slide greets you on track #5, with a gentle treatment of John Hiatt's "Love Like Blood." Tracks #7 and #8 are both Walker originals that pass the test with ease. "You Get What You Give" is one of my favorites; Walker pours his whole soul into this gem. The final track "You Can't Sit Down" will have you jumping out of your chair! Two guitars sparking: Joe Louis Walker and Phil Upchurch! My highest recommendations.
- Dick Houff (Twin Cities Blues News)
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Best Offering Yet |
[08.25.2003] |
Joe Louis Walker knows how to work a song. The Californian has been playing guitar since he was fourteen years old, honed his talent under Mike Bloomfield’s tutelage, fronted some of the best blues bands on the San Francisco blues scene, got involved with gospel along the way, and has more than ten albums to his credit.
But who could’ve predicted that the innovative bluesman would record not one, or two, but three new albums in 2002. Pasa Tiempo, released last November (2002), followed Telarc’s In The Morning and Guitar Brothers for JSP. While In The Morning gives it a run for the money, Pasa Tiempo might be the best offering we’ve heard from Walker yet.
The versatile guitar player assembled a group of top-notch players for the Pasa Tiempo sessions, recruiting trumpeter Wallace Roney, saxman Ernie Watts, organist Barry Goldberg, and guitarist Phil Upchurch, while talented drummer Leon Ndugu Chancler (the Jazz Prophets, Santana, the Crusaders) anchors the mostly Latin mix.
A soulful take on Van Morrison’s Sweet Thing opens the album in a move that might surprise blues purists. Walker’s gruff vocals quickly take over elevating the song to an emotional level somewhere between blues and soul. His jazzy take on Otis Redding’s Direct Me, punctuated with sharp chords from Goldberg’s Hammond B3 is marvelous fun, and a simmering rendition of Boz Scagg’s I’ve Got To Love fuels an already red-hot fire.
While Walker’s own fretwork is tremendous throughout the album, he holds back on most of these tracks, reserving the solos for the other players. A bubbling take on Elmore James’ It Hurts Me Too finds Walker ready to open up and by the time he hits the rollickin’ instrumental You Can’t Sit Down, he’s running full-throttle. An interesting note: Walker’s three originals – the Miles Davis-influenced Barcelona, the rhumba-based title track and the sultry lounge rhythms of You Get What You Give – all showcase an interest in a world far beyond the typical limitations of electric blues.
-Living Blues
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Classic Recording |
[08.25.2003] |
The man is nothing less than prolific. In 2002 Joe Louis Walker released 3 new albums, each one different and unique. "Pasa Tiempo" might just be his best effort to date. It certainly is one of the most diverse and most interesting.
Joe has assembled some of the best session musicians around, including trumpeter Wallace Roney, saxman Ernie Watts, organist Barry Goldberg and drummer Ndugu Chancler.
Plenty of jazz rhythms here, fueled by Chancler's drumming and Golberg's Hammond B-3. There is a Latin flavor to many of the tracks that will surprise blues fans. Sure there is a rollickin' track or two, but for the most part Walker spearheads a movement that spins the blues into another direction entirely. Walker's guitar work has never been better, but if you are looking for grandstanding solos beware - Joe Louis Walker reserves the solos for the other players. This is their showcase. He is simply the conductor.
"Pasa Tiempo" is a watermark for the blues. This is a fascinating and enjoyable experiment that breaks the limitations of the blues. Surely we will hear the words "classic recording" for years to come.
- John Muller (President, United Jersey Blues Network)
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