Gary Primich lives the blues, that's why he's so good at it.
Primich spends upwards 200 nights a year touring and playing in venues all across the country. His renaissance-like abilities as a singer/songwriter/harmonica player, separates him from many other one-trick pony style blues artists.
His latest effort, Dog House Music, is a wonderful example of his versatility and musical sensitivity -- a reflection of his unorthodox training. Blues is not something that is traditionally taught in a classroom and Primich honed his meaty, fat-toned harmonica chops and energetic R&B vocal style at Chicago's legendary Maxwell Street Market. There he jammed with the likes of Big Walter Horton, Johnny Littlejohn, Sunnyland Slim and John Henry Davis. Though a resident of Austin, Texas, for the last 15 years, Primich still embodies the characteristic blue-collar work ethic of his Midwest stomping grounds, recording six albums in the last 10 years, and as mentioned, playing more than 200 nights per year nationally and internationally.
In addition to these solo efforts, Gary is an in-demand sideman, gigging and recording with notables such as Omar & The Howlers, Tish Hinojosa, Steve James and Libbi Bosworth.
The album opens with "Mr. Lucky," an uncharacteristic blues song as it is a celebration of good fortune. This twist on the idiomatic tone of most blues pieces is found plenty throughout Primich's work.
He does work in the traditional voices too, singing songs in the first-person that relay a hopeless situation, a third-person narrative that warns of evil or of bad times once come. The title track, "Dog House," is a good example of the typical first-person lamentation -- though not without a bit of ironic, self-aware humor. Primich wrote every song on this album, save two by long time collaborator and bassist Jeff Turmes and "Elizabeth Lee" by Michael Fracassco. In particular, Turmes' "I Can't Stand You When You're Drinking" stands out as an incredible track, illustrating a doomed relationship for the voice "can't please you when you're dry."
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Unfortunately, one track I can't get through is "Hoodoo Preacher," where Primich outlines a warning against the power of a Voodoo shaman. This is a reflection of his obviously ignorant bias against a perfectly valid world religion. It is particularly insulting that the Yoruba religion be still portrayed as unholy and dangerous in this supposedly enlightened age.
Of course what really matters here are the solos. Anyone can lay down a shuffle, but how many can communicate a moment of melodic Nirvana? This ability is not lacking at all throughout this album with several moments standing out as pure revelations.
In particular "Texas Love Kit" stands out as every instruments' time to shine within Primich's playful melody. Specifically Joe Moeller, on guitar, carves out one of the most eloquently, simple solos I have ever heard.
Gary Primich will be playing this Saturday, Oct.19 at Club Rhythm and Blues at 3523 Central Ave. Call 256-0849 for more information.
