Vanessa Collier Do It My Own Way

September 11, 2024

Vanessa Collier

Do It My Own Way

Phenix Fire

Those who follow soul singer/multi-instrumentalist Vanessa Collier in social media are certainly well aware of her views on how industry types display sexist and controlling, discrediting attitudes toward successful female artists. She got fed up a few years ago, leaving a major blues label to forge her own path. Her new title, Do It My Own Way, on her own label, of course, comes as no surprise to those in the know. Yet, what is a bit surprising is the intentional retro feel of the album, with all eight Collier original tracks mining the sounds of Memphis’ Stax and Hi Records. Heck, even legendary Hi organist Rev. Charles Hodges is aboard. Yet Collier didn’t lean on anyone else with a legendary Memphis name, opting to produce and do all the writing and arranging herself, true to the album title. And, the bulk of the album was recorded in Maine of all places. Frequent Collier collaborators include the BMA Guitarist of the Year recipient Laura Chavez, renowned bassist Scot Sutherland, and veteran drummer Byron Cage (Otis Taylor). Trumpeter Doug Woolverton (Victor Wainwright), percussionist Trey Macias, and backgound vocalist Maureen Murphy (on two tracks) assist. Multiple BMA nominee and winner Collier brings the full array of vocals, layered vocals, tenor and alto saxophones, flute, resonator and slide guitar.

These eight tracks, running a little over half an hour, encapsulate soul, vintage R&B, and early rock n’ roll. The horn slathered funky (love Sutherland’s bass line) “Elbow Grease” kicks off with Collier’s tenor so low in the register it sounds like a baritone. Switching to alto for her soaring solo, the rhythm section and Chavez’s funky riffs keep the groove tight. The title track addresses those very same issues we mention in the opening. She’s intent on fighting and hopes that her courageous stance inspires others to do the sme, thereby possibly bringing change. “Take Me Back” is blend of lush soul and Americana with her sax solos cutting through the the kind of accompaniment that could easily fit a band like the Sttylistics. “Wild as a Rainstorm” plies similar turf as Collier intends to encourage fellow and inspiring artists to find their own independent path, thinking mostly of her younger sisters.

Funk grooves again abound in “Shoulda Known Betta,” with Collier and Woolverton blowing punch lines before yielding to Chavez for a fiery solo. The swaying “Just One More” carries a rhumba beat as Collier effectively layers her vocals and delivers one of her most potent sax solos, inspiring the guitarist Chavez to do the same. “Rosetta” rather obviously pays tribute to the iconic godmother of rock n’ roll, Sister Rosetta Tharpe. This upbeat standout tune, replete with Murphy’s background vocals, swings with abandon as Collier repeatedly states, “I’d like to follow in your footsteps.” She and the band beautifully capture the joyous spirit of vintage ‘50s rock ‘n roll. Resonator guitar introduces us to the closer, “Warrior,” a toast to strong, independent women, with her mother in mind. Chavez takes her trademark spiiraling solo in the break as Collier’s layered vocals gleefully soar.

Collier has won the BMA Horn Player of the Year four times, and has also won Contemporary Blues Female Artist. With this effort, she could be vying for Soul Album and Soul-Blues Artist of the Year. Don’t bet against it.

– Jim Hynes

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