It couldn’t really have been anything less than an event when Reese Wynans announced that, after years of playing the sideman, he was to step out into the limelight with an album of covers documenting his remarkable career in the recording industry. A thirteen-track album boasting a who’s who of the blues world, Sweet Release was recorded in conjunction with Joe Bonamassa who, acting as producer for the first time, was also responsible for the concept. A vibrant, joyful record that pays glorious tribute to the vast possibilities of the blues, sweet release is not unlike sitting next to Reese as he takes the listener on a personal journey through the highlights of his record collection and it is an absolute delight from start to finish.
Starting out as it means to go on, sweet release races out of the traps with a rampant Crossfire, the Stevie Ray Vaughan classic. The track takes flight from the moment Chris Layton’s explosive drum roll kicks everything into gear and, with Sam Moore delivering a blistering vocal, the band simply rage on the track. The album quickly returns to Stevie territory with Say what! (originally mooted as the opening track). With the band stripped-back to a four-piece, Reese drives Chris, Tommy (Shannon) and Kenny Wayne Shepherd hard on the predominantly instrumental track, and they rise to the occasion beautifully, Kenny’s wah-inflected guitar work set against a rock-solid rhythm section that can do no wrong. Willie Mitchell is up next, his brilliantly soulful the driving beat cheekily interpolated with the Stones’ satisfaction and flowing to the brim with salacious sax. An album highlight sees Reese joined by Doyle Bramhall II for a take on Otis Rush’s You’re killing my love, and it has to be said that Doyle simply nails the Otis vibe, to the extent that you’ll be checking the liner notes just to make sure it really is him! Another track drenched in the horns of Paulie Cerra (along with partner in crime Lee Thornberg), you’re killing my love is everything you could love about the blues in six life-affirming minutes. The title track, by way of Boz Scaggs, is the first of several tracks that sees Reese joined by his Bonamassa bandmates (Joe included), and it’s a restrained, acoustic-led take on the track with a wistful air and some lovely, understated keys from Reese. Meanwhile, Shape I’m in (initially considered as the album’s title track), sees Reese joined by Chris Layton and Tommy Shannon for a blistering take on the Arc Angels boogie-woogie belter. The piece is helped enormously by the split vocals of Kenny Wayne Shepherd and Noah Hunt, who really turn up the heat and bring the first half of the album to a toe-tapping conclusion.
The second half of the album opens with hard to be, another Stevie classic, driven by Michael Rhodes’ propulsive bass and given a great vocal by Jimmy Hall and former Clapton collaborator Bonnie Bramlett. In contrast, the instrumental Riviera Paradise steps away from the hard-boogie piano and places Reese’s V3 front and centre in a neat departure from the original. It gives the piece a hazy, lazy atmosphere evocative of long days on the beach and the solos (from Kenny Wayne Shepherd and Joe Bonamassa) are simply stunning. A particular treat sees Reese is the hard blues rocker, Take the time, a blues masterclass that includes Juanita Tippins, Jade MacRae, Mahalia Barnes, Michael Rhodes and, as an added bonus, Gov’t Mule band leader Warren Haynes, whose gritty vocal is an album highlight. So much trouble slows the pace and features Joe on lead vocals, the bond shared by Joe and Reeese almost psychic thanks to the years they’ve spent touring together. Paring things down to the bone, I’ve got a right to be blue sees Reese and Keb’ tackle the piece together and, with a hint of crackle in the mix, it sounds like one of the old blues 78s that clearly inspired the pair. Travis Carlton’s creeping bass introduces the dusky, late-night soul-blues of soul island, all slinky sax and V3 strut. Lounge music for lounges that serve whiskey all night long, soul Island brings the album to the point where the brave, naked closer of blackbird, played solo and instrumental by Reese, draws the curtain on the record and leaves the listener shaking themselves awake in the daylight. A bold take on a much-loved classic, Reese puts all his emotion into the playing and the decision to leave it instrumental works very much in the piece’s favour – leaving the listener to imagine the lyrics and let the simple melody wash over them. An inspired choice for the album closer, it is a warm and human moment shared between the listener and Reese alone- exactly the conclusion needed for a debut solo effort.
Sweet Release not only meets but exceeds any expectations the listener may have had for Reese’s first ever turn in the spotlight. Aided by a cast of exceptionally talented musicians, the record as a whole feels incredibly personal, the tracks charting the incredible course Reese has taken through the music industry. Drawing together funk, soul, blues and boogie-woogie, sweet release is a varied record, always tethered by Reese’s understated-yet-inspired work behind the keys and it is one of those records that will warm a winter morning or soundtrack a summer day. A guaranteed entry into the albums of the year, Sweet release is a masterclass in how a simple passion for music can unite and inspire and we can only hope it encourages Reese to step out in front of a band once again. 9.5
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