by Hal Horowitz
As one of the few roots bluesmen not afraid to experiment with different musical forms, Joe Louis Walker takes a substantial departure from the rest of his catalog on his third album in little over a year. Pasa Tiempo maintains Walker's blues roots, but infuses them with jazz, R&B and soul -- most underpinned by a strong Latin vibe, as the title indicates -- with stirring results. Much of Walker's contributions to this project rely on his gospel-hued vocals, with his guitar taking a decidedly supporting role. Certainly early Van Morrison is an influence, and the disc's opening track is a stirring soul-drenched version of the Irishman's &Sweet Thing.& The singer/songwriter/R&B/jazz direction continues with covers of Boz Scaggs' &I've Got Your Love,& John Hiatt's &Love Like Blood,& and Otis Redding's &Direct Me,& all relatively obscure tracks from these artists that Walker makes his own. Guest musicians like saxist Ernie Watts -- who turns in a tour de force performance on Walker's nearly eight-minute soul/gospel tune &You Get What You Give& -- trumpeter Wallace Roney, along with the vibrant percussion section of legendary Santana/George Duke drummer Leon &Ndugu& Chancler, and Master Henry Gibson, push all the right Latin/jazz buttons. The bluesiest turn on the album comes with an instrumental slide guitar dominated take on Elmore James' &It Hurts Me Too.& Interestingly, although a fine performance, it's the one track that doesn't mesh with the overall vibe. Originals such as the light, loungy cha cha of the instrumentals &Barcelona& and the title track -- both featuring Roney's magnificent horn, really push Walker on a path listeners haven't heard from him previously. Even the Booker T. groove of the set, closing oldie &You Can't Sit Down,& works, if only as one of the few showcases for Walker's guitar. It all adds up to a successful side project that will please the artist's old fans along with hopefully expanding his audience. Pasa Tiempo is a unique entry into Joe Louis Walker's already eclectic catalog, proving that bluesmen can work in other genres while maintaining the integrity and enthusiasm of their musical love.