Jason Ricci And The Bad Kind ~ ~ Behind The Veil
Full disclosure, I am friends with Jason Ricci and have had the privilege of introducing him and his band at several shows. I’ve interviewed him before and will most certainly do so again. But despite my friendship with Ricci, that has never stood in the way of my objective reviewing of his albums.
I’ve been looking forward to hearing Behind The Veil, the new disc released on Gulf Coast Records, for several months as I heard bits and pieces about the album as it was taking shape. First in the writing, then the recording, and now it is unleashed on the world.
Fortunately for me and the listening world, Ricci is one of the foremost practitioners and players of the tin sandwich – the harp – the harmonica and sings with a passion that sometimes crosses the line into frenetic ecstasy. He is quite the showman, and he has matured into a well-seasoned performer. Catching a full show by Ricci and The Bad Kind is an experience one is not likely to forget anytime soon.
Aside from Ricci on harmonica, vocals, and backing vocals, the band consists of wife Kaitlin Dibble on vocals and backing vocals; Brent Johnson on guitar and backing vocals; Jack Joshua on double bass, electric bass, vocals and backing vocals; and John Perkins on drums and backing vocals. Other backing vocals are provided by Lauren Mitchell.
Special guests include Joanna Connor on guitar and frequent collaborator Joe Krown on piano and Hammond B3 organ.
The disc starts off with Casco Bay with some sweet harmonica sounding like an accordion. It gave me the feeling of being in a French Café sipping a coffee and listening to the sounds of a busking group. It’s a bold choice for a group that is so well associated with the blues.
The next selection is 5 – 10 – 15 and Ricci whips the band up for Dibble to start off the vocals. Now, this is some blues and should satisfy those who came for them. Dibble’s in good voice and Ricci’s harp playing adds a great deal to the proceedings.
They follow up with an instrumental, Baked Potato, that gives Ricci a chance to show off some of his best chops. Lately, he’s become the go-to guy for anyone needing a hot harmonica player and he demonstrates why that is with this number. The rest of the ensemble builds a great pocket that Ricci and Johnson fill nicely.
Just like the group for which the song is named for, Cirque Du Soleil, flies high. This is bass player Joshua on the vocals and he has a steady voice and Johnson has a couple of nice riffs as does Ricci.
Speaking of Joshua, his bass opens Wrong Kind Of Easy/Nobody But You before Dibble takes over on the vocals. She purrs her way through the song seductively while Ricci plays the harp like a saxophone in a film noir. The rest of the gang joins in with the harmony on Nobody But You. It’s a good combination and paints a dark picture.
Ain’t She Fine starts out with the whole band playing hard before Ricci rips into the vocals. This is the Ricci that uncorks when he’s playing live. I can’t wait to see him do this one live as I know it’s going to be an audience favorite – a combination of rock and blues with Johnson tearing up his guitar and the rhythm section creates a deep pocket for them to play in.
The longest track on the disc is the classic St. James Infirmary. It starts out creepy with a “Pray for the dead” riff before settling in with the song. The harp is dark, and Ricci’s vocals are likewise; he screams in pain. Yes, this is the perfect season for this take on the tale of death in New Orleans and I’ll be sharing this on my Halloween shows. At eight minutes plus, it may be stretching things, but I love it and think it’s a strong interpretation.
Things get a little funky with Why Don’t We Sleep On It. It’s a duet between Ricci and Dibble and more than a little autobiographical. Jason, don’t screw up a good thing (I’m sure he won’t…). Enjoy the playful banter along with Johnson’s great guitar work.
Ricci’s harp introduces the slow, languid Terrors Of Nightlife. It’s another dark story but New Orleans is full of them and Ricci is steeped in the juju of the Crescent City. Once again, you can feel his pain through his lyrics and his delivery. I’m going to need to listen to this one a little more – I like it, but it cranks up the anxiety level.
More funk comes our way with No Way and Dibble stepping behind the microphone. Even with the funk it tells the story of a woman who is having a string of issues with the men she encounters. Dibble’s delivery is strong and you can feel her frustration and exasperation.
Joshua takes over the lead vocals on Shipwreck. The bass is prominent with the harp punctuating the melody and setting things up for Johnson’s guitar.
Ricci and company close out the album with Hip-Hug-Her. The Stax classic holds up very well and for audiences who may not be familiar with it, it will be a brand-new gem to hear. This instrumental gives all the players a chance to step into the spotlight one more time.
Over the last few years, Jason Ricci has gone from very good harp player to world class harp player and as his confidence grows so will his abilities. He refuses to get pigeonholed and brings in jazz, r&b, and other genres into his playing. One of my favorite songs that Ricci does in concert is a cover of Lou Reed’s Walk On The Wild Side (you can find it on YouTube) and that doesn’t take away from my love of his blues playing.
If you don’t have any of Ricci’s recordings in your library, Beyond The Veil is a good place to start. If you’re a fan, you most likely already have it. Check out Ricci’s website and catch him live when he comes near you and let yourself go. Thanks Gulf Coast for giving Ricci the leeway to experiment with his musical chops, the result is very good.