By: David Schultz

A former confederate of jazz visionary Ornette Coleman, guitarist James “Blood” Ulmer has taken a recent fancy towards the traditional blues, using the embattled tones to express his dismay over the destruction of New Orleans by Hurricane Katrina on 2007’s Bad Blood In The City. With a weathered voice that embodies the emotional depths that birthed the blues, Ulmer plays them like they are meant to be played: precise, heartfelt and extremely soulful. With New York City lacking for an authentic blues hall or juke joint, Ulmer and his exemplary band, which has been with him for much of this decade, took over The Jazz Standard this weekend for a series of perfunctory sets heavy on blues revival.

With its complement of tables, booths and efficient waitress service, The Jazz Standard comes perilously close to dinner theater and for his second of three Friday night sets, Ulmer played before a crowd chowing down on the Standard’s signature plates of ribs. Ulmer got the star treatment; longtime confederate Living Colour’s Vernon Reid led the band through a traditional blues opening, warming up the crowd before playing Ulmer onto the stage in the fashion of the old-time R&B stars. Remaining slightly aloof within the intimate environs, Ulmer played the entire hour long set sitting center stage, serving as the anchor and focal point for the fine assemblage of musicians.

Arguably more recognizable then the headliner himself Reid acted as the evening’s unofficial master of ceremonies, fronting a band that included Masque’s keyboard wizard Leon Gruenbaum, Aubrey Dale (drums), Mark Peterson (bass), David Barnes (harmonica) and Mazz Swift (violin). Well seasoned, they all meshed together quite well but given the time limitations, there simply wasn’t enough time for them to do much more than run through the set, passing the solos back an forth. Barnes displayed a fine feel for the blues, turning in some impressive harp while playing off of Ulmer’s guitar, Gruenbaum and Swift added a baleful “House Of The Rising Sun” feel and Reid couldn’t help but infuse his blues-based solos with his inimical electric guitar scree.

A fine night of music, it still felt like there was unmet potential. Ulmer possesses quite the charismatic presence and while a full band fills out the songs, it detracts from the power of what an unaccompanied Ulmer could accomplish. Similarly, Reid, Gruenbaum and the rest have the ability to go in a number of directions but remained within their roles. Getting past what could have been, what actually took place was a fine, albeit short, reminder of the vitality of the blues.

Labels: James "Blood" Ulmer