Review: David Egan – self-titled
Posted on: Sunday, Nov 3, 2013
David Egan – self-titled
(Rhonda Sue Records: RSR003)
This is the third solo album from Shreveport, Louisiana born David who was born in 1954; family life for David was steeped in music, a household where conductors, singers and musicians often visited. It was later, while attending Centenary College in Shreveport that he was told by an honest professor that music was more likely his forte; so, he enrolled to study Jazz Theory and Composition at the North Texas State in Denton.
After some time spent in Nashville he returned to Shreveport and began working with his childhood friend Buddy Flett in the R&B band The A-Train, from its beginning in 1976 until the band parted in 1986; he also spent two years as part of Jo El Sonniers’ back-up band but, it was in 1992 when his composition “Please No More,” was performed by Joe Cocker on the album ‘Night Calls,’ that he decided to focus solely on his song writing career.
Over the years since then he has become a well renowned writer and accompanist to artists such as; Irma Thomas, Etta James, Jimmy Witherspoon, Solomon Burke, Tab Benoit and the Fabulous Thunderbirds, to name but a few.
The twelve self-penned numbers are immersed in a wonderful concoction of very late night after hours jazz and gloopy New Orleans swamp music.
His vocals possess the svelte and elegant languor of Charles Brown and Nat King Cole; he also displays a marvellous understanding of the latter’s Jazz orientated piano phrasing. The almost drawling, rolling urging Jazz inflected piano of “That’s A Big O’l Hurt,” is joined by a breathy and equally moody baritone saxophone that is luxuriously and effortlessly delivered by Dickie Landry.
The driving, urging rolling piano shuffle duties of “Outta Mississippi,” are backed by Bruce McDonalds’s angry burning fuzz guitar that is straining at the leash well down in the mix, all the while Dickie’s screaming alto saxophone rides over the top strengthening the urgency of the number.
The absolute highlights of the album are the slow burning emotional builders that are “Every Tear,” a simple, sincere declaration of love that burns itself into your soul and “The Outside,” a jazz/soul piano driven tale of a man’s realisation that he will always be excluded despite all his best and sincere efforts.
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