Ric Harris and The Heat Merchants | Along the Avenue Review

By Tom Faddis

Ric Harris and The Heat Merchants’ latest offering, Along the Avenue, is an impressive continuation of Harris’ journey through the blues, taking listeners on a ride that blends tradition with fresh sounds through jazz and rock. Released on October 21, 2024, this self-produced album showcases Harris’ roots in the blues while highlighting the evolution of his artistry since his earlier work, including Open for Business. Drawing from his rich background in Chicago’s blues scene and influences from jazz, rock, and funk, Harris carves out a distinct voice that remains faithful to the genre’s legacy while pushing its influences to today’s sounds.

The album’s title track, “Along the Avenue,” kicks things off with a blues-rock punch, establishing Harris’ command of both guitar and vocals right from the start. His ability to weave elements of classic blues into a rock-forward arrangement shows how comfortable he is bridging the old and the new. Supported by the tight rhythm section of Marty Binder on drums and Dany Gomez on bass, Harris navigates the line between grit and groove, with background vocals from Andrea Miologos, Bree Gordon, and Steve Kostakes adding soulful depth to the arrangement. While his guitar playing reflects the influence of the blues, Harris also has hints of jazz in his phrasing, marking this as a strong opener that immediately lets you know that Harris has many guitar treats in store for you during this album.

“And Left Us Alone” exemplifies Harris’ lyrical guitar style full of expressive bends and just the right amount of reverb. Harris strikes a balance between technical skill and heartfelt expression. His tone recalls the soulful stylings of Gary Moore, while the harmonic foundation provided by Kostakes on keyboards adds layers of depth. The background vocals are carefully placed, accentuating Harris’ lead without overwhelming it, allowing the song’s catchy melody to shine through. Harris’ solo on this track, rich with double stops and subtle dynamic shifts, solidifies his command over his instrument, making this track a deeply satisfying blues exploration.

On “So Tell Me,” Harris shifts gears, trading his usual distorted tones for a cleaner, funkier guitar sound. Binder and Gomez lock in tight on the rhythm, creating a foundation Harris builds upon with sharp, engaging vocal and guitar performances. The track has a vibrant, syncopated groove that recalls the rhythmic sensibilities of funk, while the clean blues lines are a nod to Harris’ mix of jazz and blues. This fusion of funk, jazz, and blues gives the song a unique edge, showing Harris’ willingness to explore different sonic textures while staying within the blues tradition.

“Before the Sun Up Above” has a modern blues-rock vibe with elements of funk, showcasing Harris’ versatility. His matter-of-fact vocal delivery fits the tune perfectly, while Kostakes’ organ tones add an authentic blues touch. The keys solo shifts gears midway, leading to Harris’ lyrical, blues-drenched guitar solo. Similarly, “Gotta Find A Way” follows this vibe, showing how Harris refines familiar blues sounds into something fresh and dynamic

“Just Another Fool” brings a sultry vibe as Harris plays with space and phrasing in his solo, allowing the music to breathe. The interplay between Harris and Kostakes shows that the two musicians have a shared understanding of dynamics, resulting in a track that feels expansive in its development and presentation. It’s a perfect example of Harris’ knack for weaving together different stylistic elements to create something that is relatable and fresh.

“What Is Left for Me Anymore” is a catchy, tongue-in-cheek number, featuring an island-meets-blues guitar riff and playful lyrics. There are hints of surf blues in this track, adding another unexpected flavor to the mix. “You Walk Away” satisfies blues traditionalists with its classic form and easily recognizable riff, grounding the album in the familiar territory of the genre’s roots.

“One I Can’t Deny” is pure blues shuffle goodness. Harris’ joy in the genre is palpable as he leans into the groove, with Binder and Gomez driving the rhythm and Kostakes’ piano fills adding an authentic blues feel. This track, with its robust shuffle and Harris’ playful guitar work, is sure to get listeners moving. The chemistry between the musicians is evident here, as they play off one another with ease, creating a track that feels spontaneous and alive.

The album’s closer, “From Heading Out the Door,” has the jump blues style, giving the track a buoyant feel that ends the project on a high note. The walking bass line and infectious guitar riff, combined with Harris’ energetic delivery, make it a fitting conclusion to an album that continuously surprises and delights.

When reflecting on Along the Avenue, it’s clear that Harris has continued to develop his fusion of sounds since his debut, Open for Business. On that earlier release, Harris melded improvisation with original melodies, with tracks like “Before We Turn Out the Light” showcasing his fine slide guitar work and emotional depth. His work as a songwriter and guitarist is evident in this latest album, where he further refines his blend of blues traditions with his own artistic voice. Harris’ improvisational approach, honed in the Chicago blues clubs, is still central to his music, but he now incorporates more of his jazz hues and a wider range of influences, making Along the Avenue feel like a culmination of his musical journey.

With Along the Avenue, Ric Harris brings us a genre-rooted blues album that is a living, evolving art form. His ability to balance respect for tradition with a drive to bring in new sounds is what makes this album stand out. Whether you’re a fan of classic blues, rock, or just good storytelling through music, this album delivers. Harris has once again shown his craft in blending the old and the new to create something worth listening to.