David Bennett Cohen

Seems Like a Good Time for the Blues

Self-released

Blues pianist David Bennett Cohen has been on the scene for over sixty years and yet, as hardly a household name, his resume would be the envy of many, even those that are indeed well recognized. He’s a founding member of Country Joe and the Fish and has recorded and performed with Jimi Hendrix, Johnny Winter, Bob Weir, Huey Lewis, Buddy Miles, Michael Bloomfield, Eric Andersen, Hubert Sumlin and many more. The list is endless, but this writer gravitates to the likes of Bobby Kyle, Jimmy Vivino, Debbie Davies and other active artists. It doesn’t hurt to realize that he was once Dave Keyes’ teacher or that Arthur Neilson (Shemekia Copeland) is his guitarist on this solo outing, Seems Like a Good Time for the Blues. His other core band members are drummer Mike Rodbard and bassist Tim Tindall. Fred Walcott or Eddie Torres contributes congas on select tracks. Cohen (DBC) has all the vocals, plays acoustic piano and acoustic guitar on “The Night Owl and the Early Bird.” After a lengthy hiatus this is DBC’s follow-up to Bittersweet, issued just last year.

As a blues pianist, DBC delves mostly in what you’d expect – boogie-woogie, NOLA R&B, and blues riffing.  He’s got a knack for catchy tunes as evidenced by the snappy opener, “The Next Time,” where he regales us with humorous lines, allows space for an economical piano break while his bandmates keep the infectious groove. “Life Ain’t Fair” unfurls in similar fashion with Neilson’s guitar assuming a stronger role. “Neighbors” is a boogie-woogie throwback where he issues a series of complaints, first about apartment living, then carried over into country living. It’s fun stuff further elevated by his buoyant pianism. “The Night Owl and the Early Bird” is a rhumba with Walcott on congas. It’s the kind of tale you’d swear you heard somewhere, replete with phrases such as “it goes to show you never can tell birds of a feather.” His crisp piano playing clearly reflects the sharp rhythm sense of a veteran.

“Cookin’ in the Kitchen” is a celebratory shuffle that namedrops all kinds of delights from red beans and rice to macaroni and cheese. It’s another nice feature for Neilson who knows how to “get in and out” while saying his piece better than most.  The title track is the requisite slow blues tune that although not mentioned in the credits, has DBC doubling on organ. DBC annunciates well but his vocals lack the emotive phrasing and dynamics of seasoned blues vocalists. That’s to be expected, given his role as a valued sideman throughout his career. His wit. carefree approach, and keen observations help considerably, applied again in “Growing Old” and “Walkin’ Around the City.” He nods to his first boss, Country Joe McDonald, who wrote the closer, “Flyin’ High,” a robust shuffle where Neilson launches a killer solo and DBC follows suit. This highly energized track, with his elongated “Flyin’ High” in the choruses, get this vote as the top track.

Never pretentious or ostentatious, David Bennett Cohen delivers good, solid, witty songs. He’s long past having to prove anything. Instead, he’s all about having some fun. He’s long earned that right.

• Jim Hynes

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