Falling Through the Cracks

Michigan's Doug Deming has fronted his band the Jewel Tones for a decade, becoming one of the most popular and likeable blues bands on the local Metro Detroit scene. With this recording on a nationally distributed label, guitarist/vocalist Deming can showcase his band to everyone, helped by a hefty lineup of guest all stars, including harmonica master Kim Wilson and nutty genius keyboardist Bill Heid. Deming hearkens back to a simple time, where the lines blurred between urban electric blues, honky tonk, rockabilly, swing jazz, and rock & roll. Yet he is beholden to nothing specific, dipping into all of these styles, doing them all quite well, and having a real good time in the process. Deming's guitar and vocal work never waft away from being on the mellow side, a slight degree on the slick side, not all that distinctive, but always authentic. Drummer Julian Van Slyke and acoustic bassist Bob Conner keep things steaming right along in the true tradition of hardship-turned-to-good-times urban and traditional big city blues. Three tracks with saxophonist Keith Kaminski and trombonist John Rutherford from the Motor City Horns, and veteran jazz trumpeter Dwight Adams up the ante on the soul quotient. "It Was the Wine" comes from vintage shuffle swing, "Everynight When I Get Home" uses the horn minimally on a ballad with Heid tinkling the 88's, and the excellent "No Sense" is another jazz-type tune, with Deming in a more contemporary statement, confused about his significant other's vagaries and indulgences. Four tracks with the famous Wilson (ex-Fabulous Thunderbirds) include the rockin', scolding "sit you down, stop your runnin' around" lyric of "Momma Didn't Raise No Fool," and the Muddy Waters-type urban blues "Only Time Will Tell" also featuring Bettye LaVette, and music director and extraordinary pianist Al Hill. Dennis Greuning and Dave Morris also guest on the harmonica, with the train-tine rock sound of "Tonight Is the Night" and the sly, bompity-bomp, Ventures-style surf tango "Put It Down" their best features, respectively. Though in retro form, Deming always gives a good account of being present in the modern world, giving his style a universal appeal. Where the title track is a slow, downhearted, and accessible blues, two versions of "Don't Worry Me" jam out with a lot of excitement, or for part two, a much slower duet with Wilson that keeps the energy in check. Born to be a skilled instrumentalist, Deming unfurls his jazzier sails on the hard swinger "East Side Hop" with Greuning in call and response, while "Heading Out!" sports a simple melody, but allows Heid on the B-3 organ to stretch out, therefore cutting the guitarist loose to strut his stuff as well. Surely there are many Midwest bands that do the nightclub circuit in their local environs, but Deming and his band are due for some regional, national, and international recognition with this set of tunes that come across as ultimately pleasing, competent, and professionally played. They are the perfect band for any blues-chasing occasion. ~ Michael G. Nastos