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The first two posthumous Jeff Healey albums, Mess of Blues (which appeared only days after his death in 2008) and Songs from the Road (2009), focused on his blues-rock guitar playing, the basis of his renown, even though he had spent much of the last decade of his life performing and recording in the early jazz styles of the first three decades of the 20th century, and often playing the trumpet. Last Call, a studio recording drawn from sessions held in February 2007, returns to the jazz format of previous albums Among Friends, Adventures in Jazzland, and It's Tight Like That. But instead of playing with his band the Jazz Wizards, Healey is accompanied by only two fellow musicians, pianist/clarinetist Ross Wooldridge of that group, and violinist Drew Jurecka. That is, they accompany him when he has any accompaniment at all. Sometimes, Healey is alone, or rather, he is the only musician, even if there are multiple instruments. The closing track, Some of These Days, features two guitars, trumpet, and vocals, but they're all Healey, overdubbing himself. Annotator Colin Bray, another member of the Jazz Wizards, attests to Healey's love of early jazz, as demonstrated by his extensive collection of 78 rpm records, and, like its predecessors in this vein, Last Call clearly is a labor of love by an aficionado intent on replicating the sound of a musical style he reveres. Nor is it without accomplishment. When Healey and Jurecka dig into the guitar/violin duet The Wildcat, they sound for all the world like Django Reinhardt and Stéphane Grappelli, which is exactly what they are aiming for. Healey is a less impressive trumpet player, although he manages to approximate the ‘20s style he's after. He is also an adequate vocalist, but not really a stylist capable of putting his own stamp on the songs of, say, Hoagy Carmichael (Hong Kong Blues), or Bing Crosby (Pennies from Heaven). So, like Healey's other jazz albums, Last Call is something more than a busman's holiday, but something less than a major artistic statement. ~ William Ruhlmann, Rovi
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Eric Bibb has been generally categorized as an acoustic blues player, but like Keb' Mo', the contemporary artist he most resembles, Bibb actually only uses blues forms on occasion, and it no doubt helps to get the listener in the door, but what is really on display here is a smooth-as-velvet singer/songwriter. It's curious that he dedicates A Ship Called Love to the great Curtis Mayfield, because Bibb is really much closer to Mayfield in tone and approach than he is to a Blind Lemon Jefferson, say, and the title cut here, which leads off the album, owes more than a little to Mayfield's faux gospel classic People Get Ready. It also gets things underway nicely here, but as love song after gentle love song rolls by, all meticulously arranged, recorded, and sung with perfectly nuanced emotional presence, A Ship Called Love begins to drift from shore in its own studied smoothness. Not that there aren't high points, like the autobiographical Troubadour, a fine duet with Ruthie Foster that arrives at about midpoint in the set, and the engaging, gentle reggae lilt of Turning World, but by the time Bibb gets around to actually playing a blues, the micro-analytic More o' That, it seems downright radical after so much gentle elegance. The closer, Praise 'n' Thanksgiving, flirts with folk-gospel, and is so grateful and reverent that it is impossible to resist, even as one wishes that a little of that reverence had been replaced with pure, wild joy. That, in the end, is what this album needs to make it more than a pleasant rumination on the sea of love. It needs a touch of wildness to temper the calm surface of these songs, because love, more so than all the other emotions, benefits from occasional changes in wind direction. ~ Steve Leggett, Rovi
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