Jed Potts and the Hillman Hunters - Jazz Bar, Edinburgh, 21 February 2016

Guitarist, singer and occasional banjo player Jed Potts is a mainstay of the Edinburgh blues scene whose playing I’ve enjoyed in various different contexts at times over the last couple of years.  But when it comes to his blues trio Jed Potts and the Hillman Hunters, their schedule and my diary have conspired against me catching them again since the launch of the Edinburgh Blues Club two years ago.  No matter, this week the planets were aligned for once, and I managed to catch them at the Jazz Bar – and, as a special bonus, with a horn section drawn from some of Jed’s compadres (the Hillman Husky Horns, no less).

Jed Potts - Eyes Wide Shut

They kick off in trio format though, with a Freddie King instrumental, and from the off there’s great guitar from Potts, attacked with funky exuberance.  The following ‘Fishing After Me’ – essentially ‘Catfish Blues’ by another name – reinforces that sense of gusto.  Over a shuffling rhythm, Potts gets physically engaged in his soloing, responding to the rhythm of the song.  And on a subsequent slow blues his guitar licks go in unusual directions, with variations in tone including some nicely squelchy notes.

The horn section enters the fray for BB King’s ‘Days Of Old’ – which, let’s face it, would be better titled ‘Gonna Ball Tonight’ – and immediately hits the bullseye.  By the time they get to Larry Williams’ proto-rock’n’roll jump blues ‘Boney Maronie’ the whole outfit is in top gear, with a great sax solo from Tom Pickles, rumbling guitar from Potts, and a belting horn ensemble passage.

They drift through something which Potts characterises with a Neil Young quote as “starting off slow then fizzling out”, but which actually features nicely woozy horns and a tense, piercing guitar solo.

One of the key things about Jed Potts, I think, is his pervading sense of fun, whether it’s on Johnny ‘Guitar’ Watson stuff of a ‘Blueberry Hill’ mode, with biting guitar sounds and Hispanic undertones, or when blasting through Chuck Berry’s ‘Back to Memphis’, with the horn guys showing well-drilled synchronicity – or indeed on Gary US Bonds ‘New Orleans’, where his guitar solo demonstrates his happy knack of taking you where you want to go, but surprising you with how you get there.  And into the bargain, he’s capable of taking blues of different modes, and elements of New Orleans funk, and melding them into something coherent.

Potts was ably assisted here by Jonny Christie on drums, Craig McFadyen on bass, and the horns of Tom Pickles (sax), Charles Dearness (trumpet) and Ross Lothian (trombone).  For his next adventure I’d like to see whether he’s got some original material up his sleeve.

Support act Piranha Blues also feature a tasteful selection of blues covers.  ‘Help Me’ is restrained and reflective, with an interesting guitar solo from Richard Price and mournful harp from guest Roy Mitton.  ‘Mean Old Frisco’, meanwhile, hits the mark as a shuffling country-ish blues, with a nicely twangy slice of guitar from Scott Hannah.  Personally I’d like stuff like ‘Tore Down’, ‘Walking By Myself’ and ‘Ice Cream Man’ to have a bit more welly – just kick it in the nuts, guys! But that’s probably more to do with my previous acquaintance with these tunes with anything else. To be fair though, on the set closer of Stevie Ray Vaughan’s ‘The House Is A Rockin’’ they duly deliver the kind of rough and tumble that keeps me happy.

Kara Grainger - Voodoo Rooms, Edinburgh, 8 May 2015

That Kara Grainger knows what she’s about is evident from her sound alone.  When she appears at the Voodoo Rooms, strapping on an acoustic guitar, I’m surprised to see that her band features bass, drums and keyboards, but not a second guitar to create a bit more substance.  But it turns out that she creates a satisfyingly full guitar sound on her own account, thanks very much, particularly when she adds some slide into the mix.  Later on she cranks things up a notch with the aid of a Strat, but the sense of balance is retained.

It’s a sound that makes comparisons with Bonnie Raitt and Susan Tedeschi inevitable, as she bridges country blues and melodic soul of the Paul Carrack variety.  And if Grainger’s guitar playing is accomplished, her voice is the perfect tool for the job in hand, full of light and shade, and delivered with impeccable control.

Kara Grainger directs operations

The other key element in the Kara Grainger equation is the songs, which are perfectly weighted to fit that countrified blues-meets-melodic aesthetic.  She seamlessly blends together her own songs with covers going right back to the roots of the blues, such as Robert Johnson’s ‘Come On In Kitchen’ and ‘Love In Vain’.  Contrasting highlights include the downright delicious ‘Lost In You’, and the punchiest moment of the set, ‘Little Pack Of Lies’.

She warms up as the set progresses, especially perhaps once she’s been delivered a whisky by one of the audience.  But there remains a sense that she’s playing within herself, and I’d love to see her let loose now and then, to go to the edge.  Perhaps this is a consequence of doing this tour with a young British pick-up band.  She evidently has them well-drilled, as they respond to her signals without batting an eyelid, but they don’t give the impression that they could offer much in the way of spontaneity. Which is a shame, because as impressive as this performance was, I sense that Kara Grainger has a lot more in the tank.

The Rising Souls opened the evening with a short set that generated an increasingly warm audience response, and deservedly so.  The Edinburgh trio, playing guitar, bass, and box and percussion, served up a bunch of rootsy, soulful original songs featuring standout vocals from Dave Archibald.  I’m sure I wasn’t alone in wanting to see and hear more from them in future.

Piranha Blues followed up with a breezy set of classic covers, delivered with swing and wit and some original arrangements.  Have to say I still prefer Van Halen’s version of ‘Ice Cream Man’, but I particularly enjoyed ‘Just A Little Bit’, which brought back memories of Clarksdale, MS – of which more another time.