Travis Colby Band just dropped their sophomore CD A Better Age, and it’s chockfull of great blues guitar and piano styles. Colby has erased his New Hampshire accent entirely for this recording, sounding like a blues singer from a better time in the genre. There is also a lot of sophistication within this collection of cool blues, hot soul, and driving funk.
Colby and his band mates open with “Daddy Gets Hungry Too,” a barrelhouse piano ballad about Colby feeding his toddler daughter. He fractions his notes down to tiny bits of notes that have grit, tone, and voice. Around his tinkling is the horn duo of trumpeter Doug Woolverton and saxophonist Justin Breault. Colby’s regular band mates, bassist Jeremy Kindsvatter and drummer Alex Chapman, do a fine job keeping the sound full and old fashioned beneath that flavorful piano roll.
“Rather Not Know” finds Colby singing in street hipster, world weary fashion, his smooth vocal carrying a tone that suggests dark knowledge. His shimmering organ powers this 1970s influenced blues number, echoing that decades jazzy guitar excursions. Colby acquits himself well as a six stringer too, pressing out a smoky phrase with a sophisticated pattern and emotive notes, making the listener feel it. His melodic lines move around with greasy ease, and it’s impossible not to fall in love with this number.
While it’s not a conscious ode to the Sunday afternoon jam in Goffstown, New Hampshire where Colby is a monthly feature, “Wantu Wantu” is a snappy rhythmic affair. Tapping out tasteful 16th notes with the greatest of ease, each one an expressive gem, Colby creates a party vibe, with a little help from his horn section and their wide, vibrant lines. Area blues Chanteuse Lisa Marie adds her warm chops to the irresistible charm of Colby’s chorus, and that chorus sums up the meaning of life for many musicians: “I Wantu, Wantu/Don’t Wantu, Need To.” A shrink would likely conclude that Colby had to have a subconscious influence from the jam.
“Lazy And Hazy” bops its way into a snazzy organ riff fest. This mid-tempo cruise will compel any listener to tap the toes or bob the head or maybe both at once. Tasteful blues guitar phrasing is considerate and tempered, its self-restraint making it a more powerful statement, keeping its tension just below the surface. A B3 is one with the rhythm section, keeping this one flavorful in its rhythmic underpinnings.
Another greasy 1970s style glide, “Mercy Of Your Mood.” finds Colby jazzing it up on a B3. He gives that organ a heck of a workout during and right after his chorus. He starts out peppering the listener with a succession of single notes, speeding them up before separating them into slower quicker intervals. In each section, Colby makes the listener feel like he’s taking him somewhere. The journey is the goldmine in this song and it’s rendered with special dynamics in the organ, guitar, and rhythm section, like a vehicle created by adjoining separate parts. The title should suggest the lyrical content, words we can all relate to based on at least one relationship before we smartened up. Guest musician Jon Pelzman plays an especially greasy, grooving guitar on this track, a nice touch.
“My Little World” finds the blues maestro, multi-instrumentalist taking things down tempo, creating a gospel vibe with Leslie Avila and Lisa Marie serving up spiritual fiber in the backdrop. Colby puts a nice church vibe in his B3 so the listener feels saved as well as entertained.
Instrumental work “TC Boogie” is a foot stomping barrelhouse piano romp. While the drums and bass motor this overdrive number, Colby whips out morsels of old time piano music that dazzle with speed and precision while remaining authentically in an early time period of New Orleans blues. Boy, is it fun to follow along with the rapid pace of this piano roll. Listening to this could one feel like he’s in a speakeasy while someone pours him a drink as a pianist plays from the corner of the room.
“Those Days” benefits from a hooky bluesy chorus. It anchors this contemplative, wistful reflection that builds itself up with flinty, shiny guitar phrasing and a piano ballad style. This tune is Colby’s anthem to his own past, and he expresses his nostalgia even as he’s dismissing them as not equal to his romantic represent. Lisa Marie helps keep the earthy chorus afloat, adding a churchy, spiritual feeling to an especially emotive song.
“Back To Myself” is more in the 1970s classic rock frame of mind than blues. It goes chugging down the tracks at a brisk pace motored by a locked into a groove rhythm section. Colby cuts loose on guitar and makes waves, a wavy guitar phrase that has the fullness of multiple instruments. The elements all come together here in a song that could be a turntable hit on local stations around the country. Colby makes the listener feel his angst in the twists and turns in this number as it rocks right out.
Colby and company close out with a slow blues boiler, “Shadow Of A Better Age.” Colby’s guitar phrasing here, intervals of brittle, greasy notes, arc over the tune with artistic integrity as well as being something cool to listen to. Contemplative lyrics and the easefully hip vocal delivery make this feel like another of those great world weary songs. The rhythm boys have all the right touches to punctuate this crawling coolness while keeping it full of motion. The waves of motion in this song make it a perfect close out number, as if Colby is saying farewell until next time my music and your ears come together.
Colby, Chapman, and Kindsvatter have done quite well for themselves here. This sophomore album is even stronger and much more sophisticated than 2012’s Quick Fix. A greater level of recognition and a busier gig schedule will likely happen for the trio by the end of the year. Colby is still relatively very young which makes it exciting to anticipate where he will take his career in the coming years.
