ALBERT CUMMINGS’ NEW ALBUM TEN
#2 ON BILLBOARD BLUES CHARTS
#20 AMERICANA/FOLK ALBUM CHART
#1 iTunes BLUES CHART
TURNS IT UP TO TEN WITH AN EXPANSIVE SOUND ON HIS NEW ALBUM AVAILABLE APRIL 8
THE ACCLAIMED BLUESMAN BUSTS DOWN GENRE WALLS ON TEN, PRODUCED BY GRAMMY-WINNER CHUCK AINLAY AND FEATURING A GUEST APPEARANCE BY VINCE GILL
NEW SINGLE “NEED SOMEBODY” PREMIERES TODAY!
February 17, 2022 – There are few albums today that are grounded in the blues but can still instantly jump off into a whole new sense of expression. On his new studio album TEN, Albert Cummings ventures into rock, country, soul, and Americana, while his songs range from wall-ratting tunes to soft ballads, with Cummings’ rugged, world-wise vocals hitting all the right moods. Musically diverse and emotionally cohesive, TEN’s 13 original tracks stand as a compelling statement about who he is now and where he may be headed. TEN will be released on April 8 via Ivy Music Company.
The first single, scorching rocker “Need Somebody,” premiered earlier today via Guitar Player Magazine, who stated about Cummings, “With over two decades’ worth of solo releases under his belt, his recorded body of work catalogs a guitarist that has gone from strength to strength. Renowned for his raw, off-the-cuff stage performances, what you see really is what you get with this maestro.”
TEN was recorded in Nashville at Peter Frampton’s Phenix Studios. Helping Cummings craft his vision for this album was Grammy-winning producer Chuck Ainlay (Mark Knopfler, Dire Straits, George Strait, Peter Frampton, Miranda Lambert, Emmylou Harris, among others) and a dream team of musicians including drummer Greg Morrow, bassist Glenn Worf, keyboardist Michael Rojas, and guitarist Rob McNelley. “The music that started to be played in the studio sounded like it was being created on a whole new level,” Cummings raves. “I knew in a flash we were onto something. “
“Need Somebody” also represents another crucial element of TEN – the emotional depth Cummings reaches with his evocative lyrics. TEN is the first record where Cummings, as he explains it, “let the listener into my personal space.” The music is more songwriting-focused, with the guitar being used as a tool to drive the songs home. “Meet the Man” and “Too Old to Grow Up” provide vivid portraits of people living their lives, alongside a passionate ode of love on “She’s The One.” A song especially close to Cummings’ heart is “Beautiful Bride.” It’s the first song he ever sang in public –and he sang it at his own wedding.
A particular thrill for Cummings was working with Country Music Hall of Famer Vince Gill, who lends his vocal talent on the boisterous roadhouse tune “Last Call.”
Throughout his career, Cummings has strived not to place boundaries on his music and with TEN,he has raised the bar to a place where anything seems possible. “I have been playing for a lot of years and still find new ways of expressing myself,” Cummings says. “That’s what this album is all about to me. It supports my belief that I can accomplish whatever I set my mind to.” TEN is available for pre-order on February 18.
Cummings kicks off his 2022 tour tonight in San Juan Capistrano, CA with additional stops including Los Angeles, Oakland, Seattle, New York and Nashville. List of tour dates below.
2.Too Old to Grow Up
6.Sounds Like the Road
7.Meet the Man
9.Take Me Away
10.Alive and Breathing
11.She’s The One
12.Got You Covered
Feb 17 – Coach House Concert Hall – San Juan Capistrano, CA
Feb 18 – Ramona Mainstage – Ramona, CA
Feb 19 – Grand Annex – Los Angeles, CA
Feb 20 – The Painted Table Event Center – Fresno, CA
Feb 23 – Felton Music Hall – Felton, CA
Feb 24 – Blue Note Napa – Napa, CA
Feb 25 – Auburn Placer Performing Arts Center – Auburn, CA
Feb 26 – Black Oak Concert Series – Tuolumne, CA
Feb 27 – Yoshi’s Oakland – Oakland, CA
Mar 2 – The Jack London Revue – Portland, OR
Mar 3 – Triple Door – Seattle, WA
Mar 4 – The Spanish Ballroom – Tacoma, WA
Mar 5 – The Seasons Performance Hall – Yakima, WA
Mar 6 – Volcanic Theatre Pub – Bend, OR
Mar 8 – The Sapphire Room – Boise, ID
Mar 24 – Katharine Hepburn Cultural Arts Center – Old Saybrook, CT
Mar 25 – Bull Run Restaurant – Shirley, MA
Mar 26 – Spire Center for Performing Arts – Plymouth, MA
Apr 14 – The Iridium – New York, NY
Apr 15 – Fairfield Theatre Company Box Office – Fairfield, CT
Apr 16 – Jimmy’s Jazz & Blues Club – Portsmouth, NH
Apr 22 – Gateway City Arts – Holyoke, MA
Apr 23 – Bearsville Theater – Woodstock, NY
May 25 – Open Chord Music – Knoxville, TN
May 26 – City Winery Nashville – Nashville, TN
May 28 – Downtown Brilliant – Brilliant, AL
May 29 – The Spinning Jenny – Greer, SC
Jun 2 – US National Whitewater Center – Charlotte, NC
Jun 3 – Blue Note Grill – Durham, NC
Jun 17 – Mauch Chunk Opera House – Jim Thorpe, PA
Jul 29 – Head of Falls and River Walk – Waterville, ME
In the trajectory of watching great musicians develop, there is no set timetable. Some appear full-blown right from the start, and others can take a whole career to get to that elevated place. Albert Cummings arrived strong right at the beginning and has kept growing over a course of endless tours and nine previous albums, right up to today with the release of the album TEN. It’s the kind of recording that shows exactly why all the accolades and excitement have been deserved. Now, it’s an irrevocable truth that the musician has made his full-on breakthrough. And it comes at exactly the perfect time, when the world is looking into what might be in store past the challenging experience of the pandemic for the last two years. Music, being one of the world’s tried and true joys of life, has always had a way of bringing healing and inspiration to listeners, and at no time in recent decades has it been needed more than now.
When Albert Cummings started making plans for the sessions that would become TEN, his first sign that this would be a turning point for him was when he connected with producer Chuck Ainlay. With Ainlay’s credits working with Mark Knopfler, both solo and with Dire Straits, and George Strait, Miranda Lambert, Emmylou Harris and many others, it was immediately obvious that this new album would be one for the ages. Cummings knew a new vista for his music was right in front of him. “When you walk into a room with a producer like this, it feels like there is a whole new world of possibilities ready to open up,” he says, “and I felt like things were really turning in an exciting new direction.”
It didn’t take long for exactly that to happen. A dream team of musicians quickly became involved in the TEN sessions, including drummer Greg Morrow, bassist Glenn Worf, keyboardist Michael Roujas and guitarist Rob McNelley. “There was a moment when I looked at the players in the studio with me,” Cummings says, “and I felt giddy. I knew immediately this was exactly the band that I needed to have with me to take my new songs where I wanted them to go. The music that started to be played in the studio sounded like it was being created on a whole new level. I knew in a flash we were onto something. “
One of the most striking things on TEN is the songs themselves. Written by Cummings, the 13 tracks feel like a compelling and extremely emotional summation of what the artist has seen and done. The evocative way the lyrics capture Cummings’ life and his early days in music captures with exquisite detail how someone in his world went on to make such a strong impact on modern blues and beyond.
The lead track, “Need Somebody,” begins the album with a sonic slugfest of back-alley power. It is the sound of one who will do everything he can to stand up to the forces that attempt to take him apart. It is exactly the kind of sound that Cummings has spent his life perfecting. Blues is not a style of music that easily progresses. It takes a major effort to move into a modern age without losing all the power of its page. This is exactly what Cummings is able to do on “I Need.” It is the kind of song that makes a statement of who he is musically now, and what his desires are for the future. “Too Old to Grow Up,” is a slight sideways move musically from “Need Somebody,” but stays in the same psychic groove just enough to stand with the anthemic groove of the album.
Albert Cummings has always prided himself on not putting limits on the music he can create. And it takes that kind of inner belief to keep growing, no matter when you start or where you go. Which is why this new album has raised the bar to a place where everything feels possible. “At one point Chuck Ainlay said Vince Gill was interested in meeting with me. And before the sessions had been completed, Gill was able to add background vocals on the song ‘Last Call.’ I figured then it was a sign that anything can happen, and it’s so important to stay open to all possibilities. And that’s the way I look at music. You can surprise yourself in so many ways with things that at one point seemed so far away. I have been playing a lot of years, and still find new ways of expressing myself. That’s what this album is all about to me. It’s given me a new way of looking at my future, and lets me believe that I’m still able to do whatever I can dream of. And that’s the real joy of it.”
For someone with the kind of background Albert Cummings has, that kind of confidence about his new music says it all. This is a singer and guitarist who has played with many of the greatest players of the modern era, and received the kind of awards and recognition that few others do. Raised in Massachusetts and self-taught on the banjo, it was a 1987 concert by Stevie Ray Vaughan and Double Trouble that opened Cummings to a new world of modern blues and inspired him to take up the guitar. It didn’t take long from there for him to find his way to the front of the pack. In fact, Albert Cummings’ very first album FROM THE HEART (2003) was produced by Double Trouble’s Chris Layton and Tommy Shannon and included the group’s Reese Wynans on keyboards. That had not happened before Cummings’ release.
From that first album, the burgeoning blues world of the 2000s opened its doors for Albert Cummings. He recorded several albums for Blind Pig Records, and on 2012’s NO REGRETS the guitarist extended the boundaries outside the blues world to include country and rock influences like he really hadn’t before. It was obvious that the musician did not want to limit himself in any way, and saw a wider possibility for where his music could go. With its release on Cummings’ own indie label imprint, Ivy Music Company, TEN is a full realization of that possibility.
Praise for Albert Cummings:
“[The Long Way (2000) is a] barrage of guitar pyrotechnics that calls to mind a grand mix of the styles of past masters like Albert King, Freddie King, Stevie Ray Vaughan and Jimi Hendrix.” – Bluesprint Magazine
“[On True To Yourself (2004)] he attacks his axe with unbridled ferocity and deep soulfulness…his depth and expression are matched only by his terrifying technique and tone.” – Guitar One
“This recording [Working Man (2006)] is the calling card of a blues star who has arrived. Cummings’ guitar work is sizzling. This is one of the top blues albums of 2006.” – Billboard
“Though Albert always walks a fine line between rock and blues, he demonstrates effortlessly [on the live recording, Feel So Good (2008)] that the blues makes everybody feel great.” – Bostonblues.com
“The blues is best served up live, with an enthusiastic audience and a killin’ band, and that’s exactly what guitarist Albert Cummings does on Feel So Good. Cummings effortlessly shifts from chimney subdued stylings to raucous roadhouse raunch to soaring yet stinging lead lines, driving his audience to frenzy in all the right places.” – Guitar Edge Magazine
“[Feel So Good is] one of the best live albums recorded in a long time.” – Music Connection
“Cummings’ first live album [Feel So Good] provides the perfect showcase for the fiery guitarist’s axe-handling skills and enormous onstage charisma.” – Blurt
“All the tracks on [No Regrets (2012)] pop with Cummings’ emotive style not just in terms of what he’s producing, slamming and bending his Strat’s six strings, but also in terms of where he pushes his simple yet soulful voice…That Stevie Ray tonality and combustion is not hard to hear in Cummings’ playing, but make no mistake—he’s not a Vaughan clone. Stylistically, compositionally, lyrically, and vocally he is very much a distinct entity.” – The Phantom Tollbooth
“[On Someone Like You (2017)] Albert gets into Robben Ford territory soloing effortlessly over the rhythm changes…these forays into jazz-blues are a real treat and leave the listener longing for more.” – Blues Rock Review
Scot was born on January 31, 1969 in the heartland of America. He started playing bass at the age of 14, and by 1987 he was playing
professionally in central Iowa and in Chicago. Although Scot claims to be self-taught, he has had several incredible teachers and mentors to help him hone his craft. Scot prides himself on being versatile and open-minded with regard to all musical genres. Over the years Scot has performed, recorded, and/or toured with a wide variety of artists and groups, but he is best known for his work within the blues field
Warren grew up in Houston, Texas and is a graduate of the prestigious Berklee College of Music in Boston, MA
Warren’s father Lester Grant Lanier Jr High Perry Kay and Dr. Robert Morgan (High School of the Performing Arts) were early mentors in his musical development.
While attending Berklee as a songwriting major, Warren studied the drums under the legendary Alan Dawson.
After graduation, Warren moved to New York City to pursue his career as a drummer and songwriter. After a few years in NYC, Warren started his own Production Company, Tay Tay Productions. A year later he signed a music licensing deal with Beth Wernick Imaginary Friends and Partners.