Pop Music Review : Ford on the Road: Reliable, Hard-Driving

Guitarist Robben Ford spent a brief period in Miles Davis’ electric band in the mid-’80s, injecting the kind of blues-washed, Hendrix-inspired lines that Davis favored in his last years. That same approach has served Ford well during the years he’s been out on his own.

Though the guitarist’s Coach House concert Thursday didn’t vary much from his local appearances in the last couple years, no one seemed to mind. After all, Ford was doing what he does best with his high-powered, jazz-flavored band, the Blue Line: rifling through blistering guitar lines and wah-wah effects stretched tight over hyperactive bass-and-drum play.

The Blue Line’s modern take on the blues tradition extends the hybrid initiated by Cream and others in the ‘60s. But Ford’s contemporary slant will keep things fresh only as long as he keeps adding material. Thursday’s show was too much of the same old thing from Ford and his crew.

It needed more of the kind of play the band engaged in at the show’s close, when Ford paid homage to his late boss. Bassist Roscoe Beck struck up the familiar lines of Davis’ “All Blues” before the band joined in for some interplay that echoed the trumpeter’s classic 1969 “Bitches Brew” session (which featured guitarist John McLaughlin).

From there the band jumped back into more familiar sounds: chuck-a-luck rhythm guitar pinned by tough bass lines and almost manic timekeeping from drummer Tom Brechtlein. Despite his jazz leanings, Ford’s most attractive quality is his ability to make the blues rock.

An added feature of this show was the enlistment of a second guitarist, David Grissom, whose attitude-plus picking contrasted nicely with Ford’s more confident attack. Grissom’s spare accompaniment served to free Ford to pursue higher meaning, and the leader took full advantage, making his guitar rant, scream and whimper.

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Grissom used acoustic guitar to back Ford on “Mystic Mile,” the moody lament that moves along on a riff resembling B.B. King’s “The Thrill Is Gone.” Ford matched Grissom’s reserved backing with warm, sliding tones played with the innocence of a child’s voice. Rather than build dynamically, the tune became even more soft-spoken as it progressed, with the two guitarists exchanging cool licks before closing in a series of ever quieter tones.

But for the most part, this was an up-tempo affair with plenty of dynamic excitement and muscular flair. “Busted Up” featured Ford’s crying wah-wah effects. “The Plunge” moved to a funky beat with Ford pulling some Wes Montgomery-styled chording from his electric instrument. “Start It Up” shuffled through a number of clever stops and changes before Ford whipped up one of his most inspired improvisations.

To his credit, the guitarist doesn’t rely solely on flash to get his point across. His solos build logically and are filled with plenty of contemplative space before blasting off again. Ford has oodles of technique; luckily, he also has something to say.

His voice is another manner. Though not an unpleasant instrument, Ford’s voice remained within a narrow range, seldom straying to the higher reaches or employing tonal variations, such as growls, yells or hog calls. As long as he stays within his range, he sounds a bit like Ricky Nelson did, albeit a Nelson with his nose firmly pinched by a clothespin.

Brechtlein’s potent drumming is the power behind this band. His hard-hitting snare and tom-tom play, often with both hands smashing away in unison, not only makes for stimulating listening, but also provides visual stimulation, as he shakes his head in time to the onslaught. As a team, Beck and Brechtlein are tight, empathetic and eager to stir things up.