Living Blues #290 Top 10 Reviews: DaShawn Hickman – Drums, Roots & Steel
DaShawn Hickman — Drums, Roots & Steel (Little Village Foundation – LVF 1049)
DaShawn Hickman is a new name on the scene, bringing some fresh interpretations of some classic gospel songs out of his Keith Dominion House of God church in Mount Airy, North Carolina. His debut album, Drums, Roots & Steel, will certainly turn heads in his direction, as his vibrato-laden lap steel guitar playing brings the gospel church style to the forefront. The instrumentation is fairly stripped down, creating a pleasant, uncluttered sonic landscape of slide guitar and bass (performed by Charlie Hunter) that sits comfortably on a warm bed of traditional African drums and other assorted percussion, led by Atiba Rorie and Brevan Hampden.
The disc opens with the traditional New Orleans piece, merely called Saints, a hip, stripped-down version of When the Saints Go Marching In. Here, it's set in a minor key as opposed to the joyous major key listeners are so accustomed to hearing. Heavy syncopated percussion creates a rhythmic wave in the background as Rorie and Hampden accompany the silk steel barrage.
Just a Closer Walk With Thee is a languid, minor blues melody with an elongated intro. Hickman presents a laid-back groove that merely states the melody and immediately gives way to the one-chord vamp that then allows him to stretch out. Hidden inside the groove is a slickly inserted direct quote of Wade in the Water. This piece prominently features the percussion ensemble of cabasa, congas, tambourine, and cowbell.
Shout is an appropriate title for the next groove—a hand-clapping tune that features the vocal prowess of DaShawn's wife, Wendy Hickman, chanting, "Lord, I just wanna thank you" over a traditional, medium-tempo blues chord progression. Things slow down with the pensive piece Don't Let the Devil Ride, with DaShawn's male vocal presence delivered upfront—only to switch later to a different rhythmic groove with more galloping pace as Wendy's vocals take the wheel, serving a much more sensual style.
Morning Train has a bit of a funk groove (reminiscent of Sly Stone's Thank You for Talkin' to Me, Africa from the 1971 album There's a Riot Goin' On), with Wendy singing "the evening train might be too late," before DaShawn states the melody clear and plain, then tosses it back over to the percussionist and bassist Charlie Hunter. He holds off on the single-note lap steel guitar discourse until later in the tune, when he uses the wah-wah pedal to great effect combined with his wicked vibrato—it's definitely the best solo on the album.
The timeless staple Precious Lord makes an appearance with a mid-tempo 3/4 time feel, as Hickman takes his time to articulate the melody. The album closes with a brief version of Wade in the Water (merely hinted at in the earlier Walk with Thee solo). This time, however, the bass is eschewed for a direct duo between steel guitar and percussion. The conga solo stretches out and takes the lead for the final declaration.
Though this album doesn't purport to be either your typical blues or gospel album, it deceptively holds not only the elements of groove-oriented blues and gospel, but also the added ingredients of soul, R&B, and funk. Recorded at Earthtones Studio in Greensboro, North Carolina, these seven carefully selected pieces land on familiar territory, yet offer fresh interpretations for the uninitiated.
For DaShawn, there will be obvious comparisons to other slide guitarists (think either traditional sacred steel Robert Randolph of the Randolph Family Band, or the prolific guitarist Derek Trucks whose perfected slide style is undeniably based on the sacred steel tradition). Still, Hickman seems up to the challenge of carving out a path of his own. Produced by none other than the prolific eight-string guitar wizard Charlie Hunter, DaShawn's debut album is sure to warrant a follow-up album with even greater rewards in store. Indeed, the native drums lead the steady march as the steel strings drone over the melodies and chords that represent the very essence of the roots found in the gospel tradition.