Tom Hemby

You’ve heard Tom Hemby play. Oh, you might not realize it, but you have heard him. Hemby’s much in-demand guitar skills have helped form the sound of countless albums by an amazing array of artists in and out of the CCM community – everyone from Amy Grant to Rob Thomas and Brian McKnight. His guitar skills are legendary in Nashville, as are his songwriting, production and programming abilities. In the Moment is his second solo release and, by rights, should establish him firmly as a major guitar legend in the ears of anyone that hears it.

Those who know of Tom Hemby’s playing will not be surprised to find that his guitar work is right up there with the best in the business – the surprise here is Hemby’s astounding accomplishment as a multi-threat instrumentalist. Certainly not the first artist to multi-track a variety of instruments, Hemby achieves a level of energy and apparent spontaneity that is rarely achieved by even the best ‘solo’ artists. On the manic “Man That’s Crazy,” for instance, Hemby produces an astonishing tour de funk that sounds as if it was recorded live in the studio by a small group of Nashville’s hottest jazz/funk players instead on one man: the bass is hot and funky, the organ adds a classic soul sound underneath, the guitar absolutely wails and screams, and the drums beat out a staccato frenzy that will grab your nervous system and have you bopping and moving your body in a musical Pavlovian spasm – all Hemby!

Aside from playing electric guitars, nylon string acoustic, bass guitars, synthesizers, piano, organ, and Larry Adler-quality harmonica (didn’t see that coming!), Hemby produces the most convincing drum programming I’ve ever heard – and that’s hearing the programming side-by-side with tracks featuring former Frank Zappa drummer Vinnie Colaiuta! When Hemby isn’t doing it all he’s joined by the likes of the afore-mentioned Mr. Colaiuta on drums, the legendary Nathan East on bass, and Pat Coil on piano and synthesizer (“Schemes & Dreams,” and “The Necessary Blond”). Mark Douthit adds his reliable sax to “The Other Side of Friday,” which also features Gary Lunn on bass, and Scott Sheriff does a smoothly-textured multi-tracked vocal performance on Steely Dan’s “Third World Man.”

Six tracks are written by Hemby with one (the drums and electric guitar duet/workout, “In the Moment”) co-written by Hemby and Colaiuta. Hemby’s compositions range from dreamy soundscapes featuring stunning arpeggios and runs, backed up by tasty chords and ornamental motifs set against contrastingly busy percussion. Songs like “Here & There” and “Seventh Heaven,” are atmospheric and engaging – inviting the listener into a world of sound and musical exploration.

“Sub Aqua,” written by Scott Henderson, is reminiscent of the mid-70’s jazz/soul/funk band, Stuff. The song is a tight, funky jam with outstanding solo work by Hemby and Colaiuta. “Geraldine,” composed by the Yellowjackets’ Russell Ferrante, and Pat Coil and Lyle Mays’ composition, “Schemes and Dreams,” both sound similar to the work of the Dutch prog/pop/jazz band Focus – very melodic and featuring strong solo work, including some wonderful harmonica tones from Hemby on “Geraldine.”

For those looking for something with a rock edge there’s “The Other Side of Friday,” featuring a bluesy, rock-toned slide guitar riff with a good dose of fuzz in the attack – Douthit’s sax doubles some of the guitar lines and keeps this ‘heavy’ track from venturing too far away from the jazzier feel of the rest of the album. The other side of the coin is the lovely “Goodbye For Cathy,” which features Hemby handling all of the instruments once again on Dave Grusin’s jazzy ballad.

Finishing up the album is a track which – in a perfect world – would immediately climb the charts to become a mammoth hit single. “Can I Count on You” is not only the album’s most pop-oriented song, but the vocal cast is nothing short of stellar. Amy Grant, Vince Gill, Mandisa, Bill Champlin, Ron Hemby, Melinda Dillon, and Christopher Cross are all featured to excellent effect on this driving, up-tempo, locomotive of a song. Written by Robbie Nevil, the track features Hemby, Craig Nelson (bass) and none other than Michael Omartian on piano and organ. Omartian’s inventive, percussive piano style perfectly flavors the song and Hemby’s soloing is breathtaking – one of the finest rock/pop solos since Larry Carlton’s “Point it Up.”

In The Moment is over 66 minutes of virtuoso playing that will satisfy any fan of funk/jazz-oriented instrumental music and also gives a nod toward pop, just for good measure. Hemby is certainly a musical renaissance-man. I would love to see what he would do with a small combo covering some standards. Live jam.

Until then, In The Moment is a fine addition to your instrumental music collection.

Tagged as: In The Moment, Tom Hemby

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