Katie Henry review…December 21, 2018….




Katie Henry grew up in the mountains of North Jersey, before eventually movin’ ‘cross the river to NYC and honing her craft in the Big Apple’s bustling club circuit.  Her debut album is entitled “High Road,” and features Katie on vocals, clavinet, guitar, vintage vibe piano and acoustic piano.  Producer John Ginty is on organ, melodica, and even drums on one cut.  All the ten cuts are Katie originals, or co-writes along with bass man Antar Goodwin.

As you listen to this set, you’ll find yourself captivated by Katie’s soulful voice, akin to Bonnie Bramlett or my neighbor, Etta Britt.  There’s a lot of testifyin’ goin’ on here throughout, too, starting off with “If I’m scared to lose what was never meant to last, I’m goin’ Nowhere Fast!”  A church-ified, New Orleans-styled groove sets the tone for some mighty fine Sacred Steel from Marcus Randolph (of the Randolph Family Band) in “Chapels,” while at the other end of the spectrum, “Dead Man’s Hands” recalls a no-good lover set over a haunting, down-to-the-Crossroads groove, with guitar from Jonathan Fritz and drums from Hector Lopez.  Katie hits us with a cool, Southern-rockin’ shot of logic, with “Someday,” which, as we all know, “never comes!”  The slide from Spin Doctor Anthony Krizan is to-die-for, and this one was one of our two favorites.  The other closed the set, as the band hits a funky groove on “Takes A Lot to keep movin” nowadays, and features backing vocals and strong percussion from drummer man Moe Watson.

Katie Henry has one of the most expressive voices you’d ever want to hear, and the testifyin’ material allows her voice and musicianship to lead the charge.  Add in the skills of John Ginty both in front of and behind the mic, and this set takes the “High Road” to blues Nirvana!  Until next time…Sheryl and Don Crow, The Nashville Blues And Roots Alliance.


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