Eddie Roberts of The New Mastersounds recently came out with his new solo album It’s About Time on Tallest Man Records. For those of you that know Roberts and The New Mastersounds, you know that they have some serious cred in the funk world for bringing the party to whatever stage they are playing. For his second solo venture, Roberts teamed up with Hammond B3 virtuoso Wil Blades (whom he has worked with in the past), Dirty Dozen Brass Band drummer Jermal Watson, and Jazz Mafia’s Joe Cohen (tenor sax) and Mike Olmos (trumpet), who both guested on the New Mastersounds’ Out on the Fautline.
Since making the full move out to San Francisco almost two years ago, Roberts has had the opportunity to immerse himself in the forever hip culture of the West Coast. Bringing his UK-style brand of “roughneck” funk and mixing it with the laid back vibes of the Cali coast, he has aptly dubbed his solo band the West Coast Sounds. Regarding his evolved sound, Roberts said, “It’s been a year and a half since I made it to SF, and I do think I’ve developed some WCS. For one thing, to wake up to a blue sky every day makes a difference to ones feelings and moods! Also, being around this great music scene, and playing with some of the most exciting players I’ve ever come across has inspired me.”
Though the New Mastersounds released new material recently, they have seen a serious decline in stateside shows, which has allowed Roberts to pursue his solo work in San Francisco, which has always been a creative outlet that he found necessary; so expect to see a lot more of the West Coast Sounds. “Over the 13 years of New Mastersounds I’ve always needed to have a side project.”, Roberts explains. “If you get stuck just playing one repertoire you can get stuck in a rut and it can drive you crazy. This however is the first time I’ve recorded solely with US musicians and with this instrument configuration. I wanted a bigger sound than NMS, and despite there only being 5 players instead of 4, I feel that there’s so much more range of sounds for me to play with.”
“The Long Drive Home” starts the album off with a driving drum beat by Jermal Watson, and rapid-fire guitar riffs from Roberts, basically letting you know that there will be no fooling around going on here, as it is time for a session in F-U-N-K. “Break the Fast” brings it back a beat, especially with a slow moving, seemingly afro-cubana groove in the middle section of the song. Everything quiets down, while Watson keeps this nice downtempo beat, and the horns rise and culminate with a strong finish that heat things up again. The addition of Watson was a no-brainer for Roberts, as he explains, “As far as Jermal goes, for me, the drummer is the most important part of the band…you get this right and the rest is easy. I met Jermal nearly a year ago in the Jam room on Jam Cruise and we immediately connected. He’s been my right hand man ever since.”
Blades shows off his mastery of the ivory keys on “Fast’in”, so much so that each note melts into the next in a deliciously funkdafied sandwich. Roberts must have had a blast working with Blades, as the guy has played with everyone from John Lee Hooker, Karl Denson, Stanton Moore, and Melvin Sparks. He is one of San Francisco’s finest for a reason, and it is plain to see on this record. “Playing with real B3 players who live and breath it is such a joy,” says Roberts, “everything just sounds ‘right’ as soon as you hit the first note. I’ve always loved the sound of guitar and B3 together ever since I heard my first Grant Green / Big Joh Patton session.”
The idea of adding horns to this album was one that Roberts didn’t need to think twice about. After working with Jazz Mafia’s Cohen and Olmos on the New Mastersounds Out on the Faultline, it was plain to see the added dimension that horns bring to the music. Just take a good listen to “Black Bag”, for example (which you can check out on the link provided below). While it has a great groove to it, could you imagine it without the horns? They add that extra layer that makes the song the rump-shaker that it is; it’s the icing on the cake, if you will. When getting a good listen to “Pack of Lies” you feel like you could be in the movie Swingers looking for beautiful babies with Trent and Mikey. Olmos and Cohen’s horn section really shines bright on this smooth as silk track.
“A Day, A Week, A Month, A Year” is deep soul jazz cut that brings the heavy. It’s got this grungy, swampy sound to it that takes you down to some local haunt down in N’awlins. And the album comes to an end with a tongue-in-cheek cover of Gotye’s “Somebody I Used To Know”, which is something that you simply have to listen to with your own two ears. It is surprisingly awesome. You don’t really put two and two together at first, then as the horns come in you do a double-take and realize what song it actually is.
Roberts is the consummate professional, it is no wonder that he plays with everybody that comes through the Boom Boom Room in San Francisco when he is home on a nightly basis. His guitar playing is always poignant, yet fundamental; he knows how to play with the whole band so well, while knowing just when to put some stank on it with his masterful guitar skills. Whether it is with the New Mastersounds, the West Coast Sounds, or another ensemble, Roberts brings out the best in the musicians he plays with, which is what makes It’s About Time the groove-a-licious album that it is. Cut after cut, Roberts and the WCS’s take you on a journey into the world of the get-down.
It’s About Time is a hair short of a full hour of an incredibly fresh and groovy sound delivered by Roberts and his West Coast Sounds partners-in-funk. Check out Eddie Roberts and the West Coast Sounds w/ L4LM at BB King’s in NYC on Dec. 21st for the End of the Funking World Party, celebrating the release of It’s About Time, and at San Francisco’s Boom Boom Room on Dec. 15th. We asked Roberts his thought on the End of the Funking World Party at BB’s which will see Borahm Lee’s (of Break Science) Dopamine Project close out the show with a special set of brand new music, and our good friend Gepetto doing the opening honors with some nu-house funk, “Well, us musicians always say ‘you’re only as good as your last gig’, which is why I always play like it’s the end of the world.. I guess this time it’s ‘you’re only as good as your last World’”!
You can purchase tickets below:
December 21 BB Kings New York, NY Tickets
Listen to the single “Black Bag”:
You can download It’s About Time at this link
Eddie Robert’s West Coast Sounds playing with members of Trey Anastasio Band, Levon Helm Band, Dirty Dozen Brass Band, Mofro, Break Science, and more!