The Reviews Are In!
apparently, Music Critics from all around the world Want The Blues, Too!
Here’s What they’re Saying About our new album!!
JOHN Muller FROM THE North Jersey Blues Society HAD THESE KIND WORDS TO SAY
You have to scratch your head and wonder when a CD arrives at your home titled " Committee of Vultures " - Most definitely not your average, run-of-the mill " blues band ". Then again , if " the blues " is a framework , and so many social , emotional , political , influences are striking it with the intensity of a wrathful lightning strike , there is always room for the creatively unique , the ground-breaking , the devil-be-damned , that makes up the Contemporary Blues Scene . Purists will always be out there , giving the " Next Gen's" pure hell fire for daring to be different , screwing with the tried and true , pulling apart the fabrics of "their music " , and clamoring , with torches high , for the heads of the peculiar , the visionary , and the offbeat .
What exactly is a " Committee of Vultures" ? A group of vultures is called a committee . Vultures are amazing birds , but they are often misunderstood . Vultures have an important ecological role in the world.There are 23 vulture species in the world - and at least one type of vulture is found on every continent except Australia and Antarctica .International Vulture Awareness Day is celebrated world-wide on the first Saturday of each September .
Let's drift back to the " Committee of Vultures " -
Committee Of Vultures is a loose ensemble of experienced musicians based in New Jersey. The members’ careers include stints with Bob Dylan, The Blues Brothers Band, Lenny Kravitz, Rick Derringer, Donald Fagen and Southside Johnny & The Asbury Jukes. The album contains twelve songs written by Robert VanKull who sings on some songs (and plays guitar and harmonica) and the album was produced by Benny Harrison and Bob Zaleski. A large number of musicians are involved: Benny Harrison is on keyboards and guitar, Kevin Hadley, PK Layvengood, Robert Mills and Steve DeAcutis are on guitar, bass duties are shared between Jack Daley, Glen Burtnik, Brandon Morrison, Tony Servedio, Charlie Torres, Gerry Babo and Kenny Aaronson, drums between Dave Halpern, Ray Grappone, Lee Falco, Andy Kenopensky and Joe Bellia; pedal steel comes from Jimmy Ryan, horns from Al Chez, Darrell Hendricks and Baron Raymonde, accordion from Kraig Greff, fiddle from Tim Carbone and harp from Rob Paparozzi. Vocals are spread around with Rob Paparozzi, Ken Darcy and Robert Mills on one song each, writer Robert handling seven and Ada Dyer contributing to four; backing vocalists include Lisa Lowell, Sheryl Marshall, Patti Maloney, Leslie Wagner and George Unverzagt. The music covers a lot of ground with soul, country, rock and Americana all competing with the blues for space at the table.
All songs are written by hardcore Jersey Delta native and saw mill worker Robert Van Kull, noted for his transient existence and aversion to cameras and interviews. Van Kull is partnered with musical legend Benny Harrison, a well known staple in the N.Y./N.J. music scene as a vocalist, multi-instrumentalist and songwriter. This duo have been recording continuously since 2012. They draw from a deep well of the best musicians the area has to offer and have amassed a deep vault of studio recordings that remain largely unreleased to date.
The blues is the trickster of musical genres. It’s a joyful, exuberant music full of upbeat rhythms and playful humor – but it’s also a deeply sad music that deals with suffering and loneliness. It’s a music of dance halls and wooden porches, open fields and grimy factories, the city and the country, the North and the South. The blues captures something deeply familiar, yet impossible to describe.
That’s probably why it has had such an enormous influence on modern music. Every style of popular music today – hip-hop, R&B, EDM, country, rock, metal, and jazz – they all have their roots in the blues. ( musicdictionary.com)
" Committee of Vultures " is the essence of " the blues " . Their songs are packed with stories , unforgettable songs , well crafted journeys that take us along as we interact with hope and loves lost , redemption , betrayal , and rebirth . These are stories that we all share, a communal bond all tied together by the music of " the blues".From rock n' roll , blues , soul , swamp boogie , country rap , and plenty of soul we cross that " Jersey Delta " , taking that same mythical quest that drove Robert Johnson to seek out the devil decades ago . Every musician here has an important role to play . Every musician brings their extraordinary talents front and center . There are many surprises along the way : " Lightning Struck the Fairgrounds " is powerful , rhythm driven , full-throttle blues ; " Dressed to Get Naked " is a Christmas-dipped delight featuring a swinging trumpet from Al Chez , Ada Dyers vocals , Pk's slide , and Lee Falco on both drums and backing vocals ; " Vainglory " brings mandolin and banjo centerstage ; " Criminal Minds " features rock guitar , slide , and accordion ; " Expert on Grease " is the ballad of two people and their journeys in a small town - the clever lyrical interplay between "Grease" and " Greece " is a highlight ; " Crossroad Dancing " kicks off Side 2 with Robert Mills on vocals and a very cool combination of pedal steel , fiddle , accordion , alongside a bass harmonica - Six outstanding tracks on Side 1 with another set of 6 stellar compositions on Side 2 - The extraordinary versatility here is truly impressive .
" Jersey Delta Records " is dedicated to the preservation and promotion of the music , culture , and history of the Jersey Delta...at Jersey Delta our motto is " Serve the music " .
" Committee of Vultures " creates music that is not always clear cut - You may not like everything that is offered but the trip is well worth the effort . Noone stars here but everyone shines ! They are not reinventing the wheel here , just creating some great music that makes you feel good , taking you on a journey that will certainly surprise you. Enjoy the ride! Solid effort well-worth tracking down!
Sammy Stein is a columnist, reviewer and broadcaster on BBC Radio who has run the London Jazz Platform! this is her review from something else reviews:
Committee of Vultures, a collection of world-class musicians centered in New Jersey, has assembled to create new, original material that captures the distinctive musical soul of the region. This powerful collective utilizes an eclectic mix of genres that spans the full spectrum of roots music ranging from rock ‘n’ roll, blues, soul and swamp boogie to Americana, alt-country and gospel.
They’ve been recording since 2012 and amassed a vault of recordings featuring 30-plus musicians and vocalists who give Committee of Vultures an ever-changing sound from one session to the next. Loosely configured but bound by a common musical thread, the brothers and sisters of Committee of Vultures are dedicated to their shared musical promise to serve the music and to honor the mystical traditions of the “Jersey Delta.”
Digging deep into the roots of their shared musical heritage and returning with richness, wisdom and groove, Committee of Vultures is a force to be reckoned with on their new album Everybody Wants the Blues, out via Jersey Delta Records in early 2022.
Being roots music, there is a sense of the music having originated in one region. Everybody Wants the Blues is heavy with tradition and human themes. There are essences of Tom Waits in the music, but also sounds which remind one of London bands of the 1970s and 1980s, with the feeling of camaraderie, and the sense of lessons being related after a few beverages at the bar in a dark, slightly off main street club after a gig perhaps.
The tales are intriguing, often centered on relationships and mostly on women: Everybody Wants the Blues is packed with stories and a sense of shared understanding.
Contributors to Committee of Vultures in various configurations include: Benny Harrison (keyboards, guitar, vocals), Robert Van Kull (songwriter, vocals, guitar, harmonica), Rob Paparozzi (harmonica, vocals), Kevin Hadley (lead/slide guitars), Ada Dyer (vocals), Dave Halpern (drums), Jack Daley (bass), P.K. Layvengood) (guitar), Al Chez (horns), Jimmy Ryan (pedal steel), Kenny Aaronson (bass), Tim Carbone (violin), Steve DeAcutis (guitar), Glen Burtnik (bass, vocals), Patti Maloney (vocals), Robert Mills (guitar, vocals), Lisa Lowell (vocals), Sheryl Marshall (vocals), Joe Bellia (drums), Charlie Torres (bass), Brandon Morrison (bass, backing vocals), Lee Falco (drums), George Unverzagt (backing vocals), Charlie Torres (bass), Kraig Greff (accordion), Darrell Hendricks (trombone), Baron Raymonde (saxophone), Robert Mills (vocals, guitar), Jimmy Ryan (pedal steel), Jerry Babo (bass), Tony Servedio (bass), Andy Kenopensky (drums) and Leslie Wagner (backing vocals).
Everybody Wants the Blues begins with “Lightning Struck the Fairgrounds,” a powerful, full-throttle blues number with a rocky backdrop underpinning the arrangement and vocals. Ada Dyer demonstrates lyrical storytelling as her majestic voice intones the song’s tale well, while the backing remains steady and uplifting. From the opening introduction to the final fading notes, this is a solid and sassy number.
The title track has an entirely different feel – that of life lessons being delivered. All of this probably unfolds in a backroom bar in the middle of Nowheresville, where the experienced man is lecturing the younger one in the ways of dealing with life’s fights, women and the importance of associating with friends. “Jenerosty” is laid back, and tells of the dangers in being too generous with your heart, and money. The beautifully arranged music and the standard of delivery add to the uplift, but on a second or third listen, it becomes clear the words tell the story of death and sadness, which is slightly disconcerting.
“Criminal Music” is about the effect of overindulging, maybe putting on a heck of a performance but not taking it too seriously: “He’s got the looks; he’s got the hair, his pretty face is everywhere, a jack of hearts, a man so rare.” There is a touch of the Feelgoods about this number, in no small measure. “Dressed to Get Naked” is driving blues with solid and powerful vocals, again provided by Dyer, some good harmonies behind her provided by Lee Falco’s backing vocals, and some terrific trumpet from Al Chez. The horn section of trumpet, trombone, and sax do a tremendous supporting job and interact with the vocals.
“Across the Thorny Country” speaks of times gone, historical trails, long journeys made, and reasons behind these – fights with wives, seemingly prominent. VanKull’s vocals do justice to the rough-and-ready characters contained in the lyrics, and the tight backing from the band, including the harmonica and guitar solo interludes, create an atmospheric and creative number. “Crossroads Dancing” is slightly strange, as the lyrics make little sense, and it is more about the connection of Committee of Vultures’ vocals and the instruments. The lovely violin solo is a surprise as it rises out of the background, and suddenly the band sounds like an Irish pub ensemble after a few Guinness beers, inhibitions lost, talent to the fore, and the music flowing freely.
“Terrible Driver” sees the blues return with a vengeance, as the vocalist tells us about a terrible (lady) driver. “But I’m the one who pays the fine sir, so please let it go,” the Committee of Vultures singer explains – because she is his girlfriend and he is a married man! “Our Lady of Angles” sees a change of vocalist and a song that pushes Ken Darcy’s range to the limit. It’s ultimately a pretty mundane track that tells the story of a woman getting slightly drunk, which is about all that happens. However, “Book of Kings” more than makes up for it with its bluesy, strolling lines, Dyer’s supers supporting vocals, and the well-worked guitar.
“Vainglory” sees VanKull add banjo and mandolin to the instrumentation, which makes for a lighter feel, adding contrast to his smoky vocals. “Expert on Grease” is a ballad, telling the tale of two people – he the expert on grease, she the expert on grief – and their journeys in a small town.
There is nothing extraordinary, devastatingly different, or experimental about this new Committee of Vultures album. Everybody Wants the Blues delivers what it promises, and the empathetic confluence of musicians is a delight to the ear. This perhaps is the point – not to be different but to emphasize the traits found within the genre the collective has chosen to highlight.
It’s a good listen, make no mistake. This is the sound of musicians enjoying each other and their roots, delivering stellar, exemplar performances.
Vents Magazine's RJ Frometa says:
We’ve all had the blues all of 2020, and now with a resurgence at the end of 2021, it looks like we might be singing the blues again very soon, but let’s hope not. We have the Committee of Vultures and their newest album, Everybody Wants The Blues, which is definitely a force to be reckoned with.
Committee of Vultures is a collection of world class musicians that capture the distinctive musical soul of New Jersey. This hyped collective utilizes an electric mix of genres, not just the Blues, to span the full spectrum of possibilities and roots that are deeply rooted in every one of them.
Starting with Lightning Struck the Fairgrounds, we’re straight away thrown into C.O.V’s bluesy suaveness as soulful vocals sweep the cobwebs away and lead you into the album. Followed by the album-titled track Everybody Wants the Blues (they do, let’s be honest, it’s part of being human…), it ditches the gentle pace for a more energetic sound that builds on a more rock ‘n’ roll base and gritty vocals that push the sound forward well.
And after all those vocals there’s the instrumentation. Somebody’s really breaking it down on the rhythm guitar on this one, more than likely more than one person, as there appears to be a pair of tracks.
The brothers and sisters of C.O.V. are dedicated to their shared musical promise to serve the music and to honor the importance of traditions.
As we get into the deeper cuts, there’s no hold-up in musicianship and soulful blues as tracks like Book of Kings provide a more gentle build-up. On other cuts, such as one of the singles, Dressed To Get Naked, the down home countrified feel and appeal is readily apparent about two, maybe three seconds into it at the most.
This isn’t your arm chair producer/computer geek sitting in his bedroom ‘making beats’. This is accomplished, well practiced, difficult to duplicate, country rap tunes (yes, rap) inspiration. Everybody Wants the Blues from Committee of Vultures is a warm and inviting record that lives and breathes the blues.
VinylChapters.com Jamie Parmenter wrote:
Committee of Vultures spread their blues-based wings on the raw and powerful album, Everybody Wants the Blues.
Blues bands and musicians are probably the best at being able to switch lineups, play with anyone and build hard-hitting tracks at the drop of a hat. It’s a skill that comes with a dexterity that only a few have. Committee of Vultures have always had an ever-changing lineup of faces in the band (30 plus at times) but this only helps create their unique sound and intriguing flows. With Robert Van Kull and Benny Harrison more of the mainstays of the band, they lead their rabble of musicians on a fun journey throughout the new album Everybody Wants the Blues.
Starting with Lightning Struck the Fairgrounds, we’re straight away thrown into C.O.V’s bluesy suaveness as soulful vocals sweep the cobwebs away and lead you into the album. The track creates a visual story of sinister and malice as only the blues can do, as the instruments keep pace and light up the track when necessary, guitar, later on, showing off its intricacies as vocals get more flagrant and powerful.
Followed by the album-titled track Everybody Wants the Blues (they do, let’s be honest, it’s part of being human…), it ditches the gentle pace for a more energetic sound that builds on a more rock ‘n’ roll base and gritty vocals that push the sound forward well.
It might seem like your basic blues able from the first couple of tracks, but the record does dish out a few surprises throughout, including the Christmas-tinged previous release Dressed to Get Naked. Featuring a swinging, trumpet-fuelled opening, it’s a beautifully realised sound full of boogie beats, playfulness and strong melodies. This is all backed up by one of the more powerful vocal performances on the record. Terrible Driver keeps the enigmatic fun-fuelled sound going as it drives onwards with piano keeping hold of the rhythm. It could be taken straight out of the 80s-fuelled blues movement that reminded many what a fantastic medium of art it was for a new generation.
As we get into the deeper cuts, there’s no hold-up in musicianship and soulful blues as tracks like Book of Kings provide a more gentle build-up. It could perhaps do with a more raw and powerful finish but this doesn’t take away too much from the song. Closing duo Vainglory and Expert On Grease both show off expert songwriting, the former intricate and tailored, the latter a more settled finish that rounds the album off nicely.
Everybody Wants the Blues from Committee of Vultures is a warm and inviting record that lives and breathes the blues. Featuring a myriad of skilled musicians, the album allows each artist to show off why they were used for the record without a beat or note seemingly out of place or unneeded. A great listen.
This is from our brothers and sisters in Spain!!
Ruta 66 Discomatico said: (Translated into English)
It’s about community or something. Because behind this band, Committee Of Vultures (or C.O.V.) are a handful of excellent musicians who have been recording songs since 2012 to demonstrate the good state of their native New Jersey. Up to 30 different performers shape an album of twelve songs that certainly sounds delicious.
Trying to quote them all, here we find Benny Harrison (keyboards, guitar, vocals), Robert Van Kull (composer, vocals, guitar, harmonica), Kevin Hadley (lead guitar, slide guitar), Rob Paparozzi (harmonica, vocals), Ada Dyer (vocals), Dave Halpern (drums), Jack Daley (bass), PK Layvengood (guitars), Al Chez (horns), Jimmy Ryan (steel pedal), Kenny Aaronson (bass), Tim Carbone (violin), Steve DeAcutis ( guitar), Glen Burtnik (bass, vocals), Patti Maloney (vocals), Robert Mills (guitar, vocals), Lisa Lowell (vocals), Sheryl Marshall (vocals), Joe Bellia (drums)Charlie Torres (bass), Brandon Morrison (bass, backing vocals), Lee Falco (drums), George Unverzagt (backing vocals, Charlie Torres (bass), Kraig Greff (accordion), Darrell Hendricks (trombone), Baron Raymonde (saxophone), Robert Mills (vocals, guitar ),Jimmy Ryan (pedal steel), Jerry Babo (bass)Tony Servedio (bass), Andy Kenopensky (drums) and Leslie Wagner (backing vocals).
Obviously, the result is totally heterogeneous, going from blues to country or soul without too much blush. It doesn’t matter if they sound like Tom Waits now and then Shemekiah Copeland, because they are so good at their thing that everything flows normally. It is evident that, after its title, there is no hidden inclination towards the blues and from it, as in almost all things, part the rest of the music that sounds on an album whose only objective is to show that in New Jersey there is something beyond Bruce Springsteen.