Jason Eady Mississippi

All Eady’s albums are always excellent, crafted and well played, in addition I always find them lyrically interesting. On Mississippi he says the music came before the words and “Since the vibe was important for this one we knew that was the only way to do it and capture the energy. I couldn’t be happier with the way it turned out.” This meant recording it live, including the harmonies. Gordon Quist (Band of Heathens) produced this tight yet loose-limbed blues funk of an album that hits a groove from the start and will have you sashaying around the room: be careful you don’t spill your drink.

He’s from Mississippi and so it’s a short step from his crafted americana output to some blues-lite, a step he’s occasionally made. Still to the forefront of the sound is his authoritative baritone and the familiar use of harmonies on the chorus. Way Down In Mississippi opens the album and the deft grumbling bass, a distorted guitar picking licks, a shuffling and liquid drum rhythm plus delicate electric piano is the platform he uses to talk of his youth and his early musical influences whether church gospel, bluegrass or blues. A sumptuous start.

Band of Heathens musicians back him throughout plus David Jimenez covering all guitar sounds. They all fit like a glove and Courtney Patton (his wife) and Kelley Mickwee, who often resides in the Shinyribs band, harmonise. A great illustration where this all works perfectly is Once Upon A Time In New Orleans. Here they also perform alongside a trumpet solo being blown by Branden Lewis, a regular in the New Orleans’ Preservation Hall band. It’s not all bright blues and bouncy but soulful is Mean Time and Getting Even where Eady takes time out to reflect on life. Trevor Nealon’s tasteful keyboard solos shimmer above an insistent snare or Jimenez picks some tasteful licks with the volume dialed down.

The whole 38 minutes is a tonic and evidence of a supreme craftsman at work.