The largeness of sound and the largeness of purpose on Willie J. Laws’ new CD Black Maria cannot be overstated. This is a big album and it’s a big deal. Laws’ vocals, guitar, and his friends on their supporting instruments all weave a masterpiece of sound.
This beautiful disc opens with the wide ranging, free wheeling soul of Laws’ original tune “Standing In The Rain.” Laws’ vocal here pour forward with smoothness and a large feeling. Likewise, his lead guitar feels free, loose, and it moves with the fluidity of jazz. One can enjoy that guitar line while wondering where he’ll decide which possible path he can take it in. Guest guitarist Roberto Morbioli makes his own mark here and that give this piece another fine dimension. One can also hear the 1970s influences of Curtis Mayfield and Sly Stone in the layering of soulful, intricacy.
Title track “Black Maria” finds Laws opening his song by mimicking the police radio transmission in lyrical style. The term “black maria” refers to police vans that are used to transport multiple suspects from the scene of a crime to the police station or transport prisoners to jail houses from courts. Laws peppers this tune with jumpy, twitchy guitar riffs before opening his heart of anguish with one of his liveliest lead guitar lines. Organist Bruce Mattson opens a swell of swirling chords at the right moments and all the while Laws croons with whimsical flair while imitating police talk.
Laws, Mattson, bassist Malcolm Stuckey, and drummer Osi Brathwaite composed “Deep Deep Well” together. While Laws finesses this whole thing at the microphone, Mattson funks it along with infectious keyboard chords, bass player Jesse Williams and Brathwaite keep things humming with a pulse that threads its way through all with uncommon style. Laws grinds out one of his meanest melodic phrases here yet remains a cornerstone of a well constructed foundation.
With lyrics credited to a T Canales and music by Laws, “The Smuggler,” which begins with intriguing sound effects then switches to Laws describing a clandestine route, is a sly number fitted with many fine elements. Slithering along on a unique songwriting pattern, this piece gets flavoring from a Latin tinged accordion, a percolating organ line, a funky rhythm section, and Laws rangy vocal leaps. Laws the milks the Spanish named locations and the suspenseful intrigue for all their worth as he glides through with a high flying croon and a zippy motion laded lead guitar line. One can feel all of the moving parts in this tale of unlawfulness and uncertainty.
“Love Like Rain” is a down tempo blues dandy. Mattson’s piano notes certainly fall like a light rain, covering all in something that cleanses, purifies. Laws makes a good piano bar crooner, someone who can match the emphatic piano notes with strong, soulful sustains and an emotive caress of the Mattson original lyrics. It’s a testament that Laws can sing with great results in any kind of setting, showing he is even more than a monster guitar slinger.
“Hello My Darling” by Philip Walker hearkens back to jump blues of a much earlier decade. The West Side Horns blow this one well, putting a brassy hum to the backdrop as Laws sings with unbridled joy to some jaunty rhythms. This one will make you want to skip down the sidewalk feeling the way you feel after leaving a less than satisfying partner.
Mattson also contributes his original tune “Devil In My Baby’s Eyes” to this album. Laws slyly snakes his voice around a tight rhythm section during this mid-tempo romp. Laws keeps this one loose, in motion. Bass notes from Jesse Williams slink around. Drums persistently push. Organ chords swirl. An electric guitar follows the stop-start rhythm section moves with tuneful pluck and precision before eventually getting its own lease on life as Laws slides his fingers around the fretboard with a slippery aplomb. It sounds like two guitars taking turns and one is Roberto Morbioli
Likewise, “Good Blood After Bad,” penned by Mattson with music by Laws, Mattson, and Brathwaite, has a mid tempo funk groove. Throw in Laws’ fuzzy lead guitar phrase, which he twists and turns like a getaway taking corners on two wheels.
“Red Ant” tip toes through the dark with sparking guitar riffs, flute-like organ notes. Laws picks so many raw, guttural and grease notes out of his axe it isn’t funny. He picked a good effect pedal here, making his axe sound out its gripes with spanking energy.
Possibly the most fun song on this disc, “Last Prophet Of The Funky Texas Blues” finds Laws indulging himself in psychedelic blues guitar. His lead guitar phrase is a light touch on a lot of notes that keeps the legato style brimming with life. Laws’ narrative in the beginning and his continuing mighty soul at the microphone make one feel he’s landed in a special place. Largeness, precision, and art all come under Laws command as he makes his joyful feelings come through his instrument.
Laws closes out his album with “Snooky Jump,” another Laws original. This time Law, influenced by Texas blues, punches out a pretty, whistling lead guitar line. Meanwhile, Laws shouts sings this one almost like a circus barker, announcing the lyrics as much as he sings them. A little old time barrelhouse piano line complete the scene, playing out alongside Laws’ guitar boogie.
Laws and his friends have a lot to be proud of here. They’ve accomplished something that feels large, stands tall, and showcases musicians and songwriters with talent to spare. Black Maria is a startlingly good CD which will likely increase Laws’ prestige in the greater-Boston/New England music scene, furthering his name beyond his local blues community.
http://www.williejlawsband.com/?fbclid=IwAR1BoYDkPuja3NRDMT2JNxgma-ia8UzjK7AEXXe7HBODJ9UaKVUuvEH9yPg
