POP MUSIC REVIEW : Exploring New Shades of the Blues

Given the relative simplicity of blues forms and instrumentation--we’re talking 12-bar patterns and $12 harmonicas here--one would think we would have heard all that the blues world has to offer long ago. Then along comes an outfit such as the Junior Watson/Lynwood Slim Band to show just how many unexplored regions still remain.

While undisputedly working deep within the traditions of the blues, guitarist Watson and singer-harpist Slim (a.k.a. Richard Duran) approached their music with verve and a wild infusion of personality at the Righteous Brothers Hop on Monday night.

Watson, best known from his long tenure with the Mighty Flyers, has a staggering command of his six strings, from the most sod-level rural styles through free-flying jazz chord-melody solos, full of sly dissonances and unexpected leaps. There is a logic to his soloing, but one so convoluted that scientists would probably have a field day dissecting his brain once he’s done with it.

Slim’s individualism doesn’t find such extreme expression, but he does just fine with a seasoned singing voice that’s free of most of the over-emoted cliches of many younger (i.e. not dead yet) blues singers. He also is a stylish harmonica player, particularly on the jump-swing blues numbers where harmonicas rarely tread.

Completing the group are pianist Tom Mahon, recruited from San Diego’s Rhumboogies, drummer Richard Innes, who has worked with nearly every blues act in Southern California at one point or another, and master bassist Larry Taylor, who in his career has worked with everyone from the Monkees to Canned Heat to Tom Waits.

Monday’s nine-number set was composed of a few originals and of covers previously untouched by other contemporary bands, such as Rufus Thomas’ “Don’t Leave Me Baby” and John Lee Hooker’s “Messin’ With My Bread.” Buddy Johnson’s “Just Your Fool” proved a showcase for Slim’s vocals, as he wound cool Charles Brown-like shadings around Watson’s rich chording.

Mahon took an extended romp on his electric grand piano on an instrumental number that also brought the rhythm section to the fore. Innes is possibly the most accurate blues drummer on this coast, nailing the elusive shuffle beats that confound other stickmen. With some of his past outfits, though, he seemed only to be marking time, rarely bringing much immediacy or spark to his playing. Perhaps having the splendid Taylor for company makes a difference, because Innes has rarely played better.

Though Watson took illuminating solos on nearly every song, he particularly stood out on the Slim-penned “Tried to Call You,” during which Watson mixed chordal solos with buzzing single-note runs that could make one laugh aloud with their surprising logic, and his own instrumental “The Woodpecker,” on which his playing took on a cartoonish quality, conjuring images of a puppy stumbling down a stairway at one point.

As fine a group as this is, one suspects it’s thus far only scratching the surface of what a great band it could be. To achieve that, the members will need to sweat out an original repertoire that takes full advantage of the distinctive personality they are now just overlaying on existing styles.

Monday’s show was part of a continuing “Blue Monday” series presented at the Hop by longtime Southland blues promoter Dan Jacobson. He has made several other stabs at finding a home for the blues in Orange County, and hopefully this one will stick. Admission each week is $5, and he usually has excellent headliners and opening acts. The Watson/Slim band also plays Thursday at Jacobson’s blues series at the Golden Sails hotel in Long Beach. Information: (213) 498-2824.