One of the very few truly honest recordings, stripped of studio-artifice and delivered as close to live as possible, ‘Accomplice One’ features the remarkable Tommy Emmanuel (one of the few guitarists in the world to be dubbed a Certified Guitar Player by Chet Atkins) joined by a selection of guests that reads like a who’s who of guitar royalty. J.D. Simo, Mark Knopfler, Jerry Douglas… the list goes on and on, with each guest bringing a unique piece of their own artistry to the mix. It’s a remarkable effort, and the album, which predominantly reimagines classic songs from across the spectrum of rock, blues and country, is one of those rare pieces of work that makes you feel like you’re there in the studio as the music is played. Released on the boutique Players Club Label (Mascot), it’s an essential record for anyone who admires the artistry that goes into great guitar playing.
Joined for opening number ‘deep river blues’ by Jason Isbell, Tommy gets the album off to a fine start with a beautifully played number that sets the tone for the record. Utterly unadorned by studio trickery, it’s a gorgeous, unreconstructed blues that cuts to the heart of the genre. As you’ll find across the album, the song works best in the interplay between Tommy – an ever courteous host – and his guest and the harmonies they raise, not to mention the exquisite guitar work, is an absolute joy. In contrast to the calm sweep of ‘deep river blues’, the bright and breezy ‘Song and dance man’ (featuring Ricky Skaggs) is a country tune that recalls the live albums that Neil Young cut solo, with its gorgeous picked guitar and deftly harmonised vocals guaranteed to brighten the dullest of days. Oh, that guitar – it really is beautifully played, and it’ll bring a smile to the face of anyone who worships at the altar of that six-stringed instrument. Next up, ‘Saturday night shuffle’, which features Jarma Kaukonen and Pat Bergeson, kicks off with a little bit of natural studio chatter between the musicians before they break into the promised shuffle. However, it’s the next track that truly sends the album into overdrive. A country-pickin’ tune, the way Tommy, J.D. Simo and Charlie Cushman seem to share a psychic link on ‘Wheelin’ & dealin’’ is something to behold. The absolute mastery that Tommy has over his instrument is especially apparent on the sweet instrumental, ‘c-jam blues’ (with David Grisman & Bryan Sutton). It’s remarkable to hear the way that each guest brings their own personality whilst, at the same time Tommy brings continuity and feel to the record, and the result is rather like the best blues jam festival you’ve ever heard, full of life, laughter and exquisite musicianship.
If there’s one track that you’d imagine just does not need a cover, it’s Otis Redding’s ‘sitting on the dock of the bay.
And yet…
J.D. Simo returns once again for an elegant take on the track and, once again, that sparkling interplay between J.D. and Tommy is what really brings it to life. It’s a cover version to treasure and the addition of understated percussion really helps to give the track a vital pulse that proves irresistible.
Tommy takes things down a notch on the svelte ‘Borderline’, a track that features the not-inconsiderable talents of Amanda Shires on vocals before drawing the first half to a close as the wonderful Mark Knopfler brings his unique styling to ‘you don’t want to get you one of those’, a stripped-down blues ditty that recalls Eric Clapton’s sweet tribute to J.J. Cale, ‘they call me the breeze’.
Kicking off the second half of the album, Tommy is joined by Clive Carroll for the sweeping ‘keepin’ it real’. It’s an unbelievably lovely piece of guitar work that brings a tear to the eye before suddenly exploding into life for an unexpected second half that is simply bursting with life. That country feel returns for the taut stomp of ‘looking forward to the past’, an energetic track cut with Rodney Crowell. Perhaps, the biggest surprise is a stunning rendition of ‘purple haze’ with Jerry Douglas. It’s hard to imagine one of Hendrix’s most pyrotechnic outings rendered in acoustic form, but Tommy and Jerry draw the melodic heart of the piece out perfectly and, from the moment those oh-so-familiar chords ring out, fans of both Tommy Emmanuel and Hendrix will be in raptures. ‘Rachel’s lullaby’, one of the few original tracks on offer, sees Tommy and Jake Shimabukuro play a gorgeous piece of music written for Tommy’s daughter. It opens with a snippet of Rachael speaking, and it’s as tender and heartfelt as any track you’re ever likely to hear. Gentle toe-tapping can be heard on the sweetly meandering ‘Djangology’, a track which features the combined talents of Frank Vignola and Vinny Raniolo. However, a late album highlight can be found in ‘Watson blues’ (once more featuring David Grimson and Bryan Sutton). One of those hazy, lazy tracks that just seem to radiate the warm heat of the Autumn sun, ‘Watson blues’ is a charming, deceptively simple instrumental which allows the listener to bask in the musicianship on offer. With the album drawing near its end, Jack Pearson lends a hand on the shuffling ‘tittle tattle’, a track with a subtle, jazzy undercurrent, before Suzy Bogguss helps Tommy to close out the album with the scintillating, late-night beauty of ‘the duke’s message’. Off the back of two instrumentals, her voice has all the more impact and it is an evocative and emotional end to an album full of surprises.
Tommy Emmanuel, Certified Guitar Player, has an intuitive grasp of his instrument. His gift is not so much in technical ability (although his ability cannot be understated), but in his rare empathy with the songs he performs, whether his own or a well-chosen cover. He is also incredibly generous of spirit, and the way that he puts his guests at ease, treating each as his equal, results in a series of natural, fluid collaborations that serve always the song and never the ego. ‘Accomplice one’, when all is said and done, is one of those very special albums that leaves you feeling as if its creator has personally gifted it to you, and it lives long in the memory after each listen. 9
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