Riffs: Take a ride with Willie Nelson

Willie Nelson has always dabbled in many other musical styles, though the foundation of his work stays grounded in country.

He’s at his best penning story songs and interpreting material that covers the genre’s classic themes about traditional values, romantic dilemmas, hard living and family loyalty. Yet Nelson can range far afield conceptually without ever sacrificing the sound or style that’s made him both instantly recognizable and a longtime fan favorite.

The new 100-song, four-CD set One Hell Of A Ride (Sony/Legacy) depicts his versatility and scope by covering examples of every idiom he’s explored since the mid-‘50s. It begins and ends with “When I’ve Sang My Last Hillbilly Song,” the first version done in 1955, the second recorded last year. Other than the inevitable changes in range and tone due to aging, Nelson’s ability to build emotion through a song, make the lyrics resonate and ultimately make the listener truly feel and experience the tune remain intact.

This set goes through all his various phases, among them the outlaw period, numerous duets with everyone from Faron Young and Webb Pierce to Waylon Jennings and Ray Charles, up-tempo pieces, waltzes and ballads, drinking and cowboy numbers, even Tin Pan Alley, reggae and blues works. You hear him moving in and out of jazz-flavored work one moment, then coming back to honky-tonk the next. He can be topical or historical, political or introspective, sentimental or hard-edged, and in every situation there’s never any question of credibility or design.

There are many high points scattered among the CDs, with his versions of “Hello Walls,” “Crazy” and “Family Bible” among the gems on the first disc.

There are four Waylon and Willie numbers headlining the second CD, among them “Mammas Don’t Let Your Babies Grow Up To Be Cowboys” and “Good Hearted Woman,” plus his takes on “Stardust” and “Georgia On My Mind.”

“Old Friends” with Roger Miller and Ray Price, “Pancho & Lefty” with Merle Haggard and “In The Jailhouse Now” with Webb Pierce are three sterling duets featured on disc three, alongside another western classic “My Heroes Have Always Been Cowboys” and his reworking of “City of New Orleans.”

“Seven Spanish Angels” with Ray Charles proved a sizable hit during its run, and it’s one of three powerhouse collaborations on the final disc, as well as “Mendocino County Line” with Lee Ann Womack and “I’m Moving On” with Hank Snow.

While not everything is perfect (“To All The Girls I’ve Loved Before” still sounds like lightweight MOR with a Latin flavor, and his version of “The Harder They Come” isn’t among his more memorable outings), it’s still impressive to survey how many idioms Willie Nelson does effectively explore over this set.

He’s still at his best doing Texas country and western swing, but One Hell of A Ride shows that Willie Nelson can do many other things, most of them extremely well.

Current blues releases

The gritty, evocative vocals of Eddie Davis and often spectacular guitar assistance from Jef Lee Johnson and Joe Mass are among the prime attributes of Rediscovering Lonnie Johnson (Range), a session featuring fresh approaches to vintage blues and jazz cuts, many of them like “He’s A Jelly Roll Baker,” “6/88 Glide,” “Swing Out Rhythm” and “Bull Frog Man” either written or co-written by Johnson.

The Blues Anatomy band also includes at times a full horn section and also harmony vocals from Geoff Muldaur. Johnson was a formidable soloist and underrated vocalist, and these new versions of his songs may introduce 21st century audiences to his music.

The band also covers cuts from W.C. Handy (“St. Louis Blues,” “Careless Love” ) and Louis Armstrong (“I’m Not So Rough”) while even throwing in an occasional original as well (Joe Mass’ “Ben Franklin Hotel Blues”). This is excellent repertory fare, sung and played with energy and conviction.

Eric Bibb blends passionate spiritual pieces with equally intense political tunes in his latest release Get On Board (Telarc). “Spirit I Am,” “Promised Land” and “Stayed on Freedom” are robust, dynamic works that mix inspirational lyrics with occasional moments of anger, while “If Our Hearts Ain’t In It” is bolstered by fiery slide guitar from Bonnie Raitt and “God’s Kingdom” and “Step By Step” offer Bibb’s earnest, striking leads and understated accompaniment. “Conversation,” a collaboration matching Bibb with Ruthie Foster also offers some of his sharpest and most ambitious guitar playing on 12-string. Get On Board shows both the prophetic and the optimistic sides of the blues, with Eric Bibb excellent in both areas.

An all-star collection of instrumentalists under the banner of the Delirium Blues Project combine forces on Serve Or Suffer (Half Note), a session mixing blues, jazz and R&B that was recorded live at the Blue Note last August. Keyboardist Kenny Werner did the arrangements and also serves as bandleader for a solid unit whose ranks include the saxophone wiz James Carter (great tenor solos on “Blue” and “Spirit”) plus trumpeter Randy Brecker, guitarist Adam Rogers and fluid acoustic and electric bassist John Patitucci. Roseanna Vitro is usually associated with mainstream, bop or pre-rock jazz material, but shows on “What Is Hip” that she can also belt her way through funk and soul pieces. The band delves into songs from Mose Allison, Joni Mitchell and Eric Bibb among others, and Vitro also takes her turn in the solo spotlight on “Cheater Man,” “Spirit” and “Half.” Serve or Suffer presents several topflight players doing both familiar and different works, but having no difficulties in any context.