1 	In The Beginning 	5:14
2 	Ghosts 	5:27
3 	Freedom 	6:44
4 	Red Lady W Cello 	5:01
5 	Oasis 	5:11
6 	Just Like It Is 	3:08
7 	I Can't Stand The Rain 	3:31
8 	The Champ 	5:13
9 	Tiger Walk 	5:19
10 	Comin' Up 	4:55
11 	Don't Let The Sun Catch You Crying - Hidden Track 	8:39
12 	Chevrolet - Hidden Track 	5:47

Lenny Castro 	Percussion
Ronnie Cuber 	Sax (Baritone)
Charlie Drayton 	Guitar (Bass)
Russell Ferrante 	Piano
Robben Ford 	Primary Artist, Guitar, Vocals
Steve Jordan 	Drums, Percussion
Bob Malach 	Sax (Tenor)
Benmont Tench 	Organ
Bernie Worrell 	Clavinet, Organ 

The first thing that comes to mind when listening to Tiger Walk is the pair of instrumental albums recorded by Jeff Beck in the mid-'70s, Blow by Blow and Wired. Like those two recordings, this outing showcases a fiery, inventive electric guitarist in a rock and jazz-rock setting. Robben Ford, known in recent years for his blues work with his band, the Blue Line, eschews vocals here, teaming up with keyboard funk master Bernie Worrell for some chunky, funky, wah-wah-laden grooves. This music, led by Ford's blazing guitar lines, is more appropriately categorized as instrumental rock than jazz, but the rhythms recall James Brown and Worrell's alma mater, the P-Funk gang, as often as they do those of a hard rock band. Tenor saxophonist Bob Malach turns in a couple of solid solos, and the rhythm section of drummer Steve Jordan and bassist Charlie Drayton cooks throughout. ---Jim Newsom, AllMusic Review

Listening to this Robben Ford disc reminds me how much this man's guitar contributed to the sound of the much-maligned late period of Miles Davis. At its core Tiger Walk is a quartet recording centering around Ford, Bernie Worrell on clavinet and organ, Charlie Drayton on bass guitars, and Steve Jordon on drums and percussion. Benmont Tench of Heartbreakers fame plays organ on "The Champ," with Russell Ferrante on piano and Lenny Castro on percussion. Castro chips in on the hard-driving "In the Beginning" as well. Bob Malach adds tenor to three tracks; Ronnie Cuber brings in his baritone-tones for two.

Way out in front of this barrage of driving funk is Ford's guitar. His artistry is undeniable and shown to good effect throughout this recording. Every now and then I caught myself listening for that unmistakable Harmon-muted trumpet to drift in over the groove, but most of the time Ford's pyrotechnics are more than enough to hold one's attention. "In the Beginning" is hot, but "Ghosts" (not Ayler's) ups the ante. "Freedom" shows that our man can play sweet too, although Jordon hardly lowers the level of his drums. "Red Lady w/ Cello" contains, alas, no cello, or red lady either, but does feature some wah-wah from Robben such as to make another of his old bosses, George Harrison, proud or envious, depending on his state of Krishna consciousness. "Just Like It Is" should not be overlooked by wah-wah fans either — sounds like "Haitian Divorce," but meaner, leaner, and cleaner.

"I Can't Stand the Rain" ventures into real down-and-dirty blues territory, and Ford shows he belongs. One of the other tracks is called "The Champ," which he very well may be at this point. Of funky electric blues guitar. Or of groovy Milesian leisurewear (check out his tigerprint shirt in the inside photo.) Tiger Walk is as solid an outing as has ever come from this man, who is certainly a master of his instrument and chosen genre. ---Robert Spencer, allaboutjazz.com

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1 	Let Me In 	3:59
2 	Supernatural	5:49
3 	Nothing To Nobody	5:30
4 	Water For The Wicked	4:23
5 	Don't Lose Your Faith In Me 	5:40
6 	Hey, Brother	7:26
7 	Dead, Dumb And Blind (For O.T.) 	4:07
8 	If 	6:03
9 	When I Cry Today 	4:19
10 	You Got Me Knockin'		6:11
11 	Lovin' Cup	4:35

Bass – Jimmy Earl
Drums – Vinnie Colaiuta
Guitar, Vocals – Robben Ford
Organ – Ricky Peterson
Percussion – Luis Conte
Piano – Michael McDonald (tracks: 7)
Piano, Electric Piano – Russell Ferrante
Saxophone – David Woodford
Synthesizer – Greg Kurstin
Trumpet – Lee Thornburg
Vocals [Backing] – Michael McDonald 

When an artist records one type of music exclusively for years, it's always amusing to hear the artist's manager, record company or publicist claim that he/she "defies categorization." The fact is that when an artist spends his or her entire career recording a specific style of music, categorization comes easy -- and it's silly and dishonest to claim otherwise. But if any artist really does defy categorization, it's Robben Ford. The eclectic singer/guitarist is a compelling bluesman, but he's equally convincing as a jazz improviser and a pop/rock singer. On Supernatural, Ford's primary role is that of an easygoing pop/soft rock singer -- although a pop/soft rock singer who often incorporates soul, blues or jazz. Ford, who was 47 when this album was recorded, gets in some nice guitar solos on the title song and the bluesy, playful "Lovin' Cup," but Supernatural isn't a blowing date -- it's a vocal date, and Ford's vocals often take us back to the pop world of the '70s. In fact, Steely Dan's '70s albums are a valid comparison on this CD -- like Steely Dan, Ford incorporates enough R&B, jazz and blues elements to give his relaxed, laid-back pop and soft rock a healthy amount of grit and spice. Especially enjoyable is the socially aware pop-soul item "Hey, Brother" -- depending on how you arranged it, this is the type of song that would have worked for Steely Dan, El Chicano, War, Rare Earth or Donny Hathaway in the '70s. Supernatural isn't among Ford's essential albums, and it falls short of being a gem. But it's a decent, if slightly uneven, effort from one of the few artists who really is versatile enough to defy categorization. [A Japanese version the CD was also released.] ---Alex Henderson, AllMusic Review

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Robben Ford, Paul Personne & Ron Thal - Lost In Paris Blues Band (2016)

1 	Downtown 	
2 	Fire Down Below 	
3 	Little Red Rooster 	
4 	I Don’t Need No Doctor 	
5 	One Good Man 	
6 	Tell Me 	
7 	You Are Killing My Love 	
8 	It’s All Over Now 	
9 	Trouble No More 	
10 	Evil Gal Blues 	
11 	I Can’t Hold Out 	
12 	Watching The River Flow 	
13 	Drifting Blues (Acoustic Version) 	

Robben Ford, Paul Personne & Ron ‘Bumblefoot’ Thal
with
John Jorgenson, Francis Arnaud & Kevin Reveyrand

Lost in Paris Blue Band is the unique result of a spontaneous, 3-day studio session of exceptional musicians in Paris. This album contains 13 cover versions of blues, folk and rock masterpieces, such as One Good Man (Janis Joplin), Trouble No More (Muddy Waters), Watching The River Flow (Bob Dylan). --- Editorial Reviews, amazon.com

Lost In Paris Blues Band, featuring Paul Personne, Robben Ford, and guitarist Ron “Bumblefoot” Thal, have released the first of three “making of” video features on their new album, due for release on December 2nd. The album features covers of songs from Tom Waits, Bob Seger, Janis Joplin, Boy Dylan and many more. --- bravewords.com

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1. Rose Of Sharon
2. Day Of The Planets
3. Howlin’ At The Moon
4. Rainbow Cover
5. Justified (with Keb’ Mo’ & Robert Randolph)
6. Breath Of Me (with ZZ Ward)
7. High Heels And Throwing Things (with Warren Haynes)
8. Cause Of War
9. So Long 4 U (with Sonny Landreth)
10. Same Train
11. Stone Cold Heaven (with Tyler Bryant)

Robben Ford – vocals, guitar, drums

Into The Sun, which follows last year’s critically acclaimed A Day In Nashville and 2013’s Bringing It Back Home, explores the breadth of Ford’s sophisticated, visionary writing and playing, creating a new chapter in his brilliant musical history.

The album features a coterie of guests: Allman Brothers guitarist and Gov’t Mule frontman Warren Haynes on “High Heels And Throwing Things,” slide guitar guru Sonny Landreth on “So Long 4 U,” Americana and blues icon Keb’ Mo’ and pedal steel wizard Robert Randolph on “Justified,” vocal sensation ZZ Ward on “Breath Of Me," and along with gritty Southern rock newcomer Tyler Bryant on “Stone Cold Heaven.” Niko Bolas, whose credits include Neil Young, John Mayer and Keith Richards, engineered.

“Justified” is a sheer gas with Keb’ Mo’ and Ford trading tongue-in-cheek vocal lines as Randolph adds soaring pedal steel punctuation over Jim Cox’s purposefully wobbly honky tonk piano. --- guitarplayer.com

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1. Robben Ford - Green Grass, Rainwater [04:06]
2. Robben Ford - Midnight Comes Too Soon [04:57]
3. Robben Ford - Ain't Drinkin' Beer No More [05:21]
4. Robben Ford - Top Down Blues [05:12]
5. Robben Ford - Different People [04:12]
6. Robben Ford - Cut You Loose [06:11]
7. Robben Ford - Poor Kelly Blues [04:10]
8. Robben Ford - Thump And Bump [06:13]
9. Robben Ford - Just Another Country Road [03:46]

         Robben Ford - vocals, lead guitar
         Audley Freed - guitar
         Brian Allen - bass
         Ricky Peterson - organ
         Wes Little - drums
         Barry Green - trombone

For his new album A Day In Nashville, revered guitarist Robben Ford and his band spent a day in the Music City studio Sound Kitchen, invited some friends and recorded seven new songs penned by Ford, along with his version of “Poor Kelly Blues” from Maceo Merriweather and “Cut You Loose,” first recorded by James Cotton.

The follow up to 2013’s acclaimed Bringing It Back Home, A Day in Nashville was originally planned as a live album to be recorded during his 2013 European tour. Inspired to write some new music, Robben instead decided to challenge himself and his band by doing something he’s never done before in his 40-plus year career: recording an album live in the studio, in one session.

“We had a great experience,” says Robben, who was joined by guitarist Audley Freed, keyboardist Ricky Peterson, bassist Brian Allen, drummer Wes Little and trombonist Barry Green. “We decided to make the record in a controlled environment, but treat it like a live show.”

The result is a soul-lifting collection of American roots music by one of the most respected living guitarists. A Day in Nashville ranges from Chicago South Side soul (“Midnight Comes too Soon”, “Cut You Loose”), the Michael McDonald co-write, “Different People”, high-energy R&B (“Just Another Country Road) and rural, driving blues (“Poor Kelly Blues”).

“Nine songs in one day, that normally takes some time. But I credit the musicians. I thought, If we can pull this off, wouldn’t that be something.” --- guitarplayer.com

Ależ płyta Robbena Forda „A Day In Nashville” emanuje delikatnością, wysublimowaniem. Wprawia w świetny nastrój, niezależnie od aktualnej kondycji słuchającego. Dziewięć nagrań jakie znajdziemy na tym albumie to dawka oldschoolowego bluesa. Z resztą już grafika wydawnictwa dobitnie sugeruje silne nawiązanie do przeszłości. Okładka została zaprojektowana w stylu retro i jeszcze na krążku CD widnieje nadruk imitujący winylowy longplay. Całość trwa niewiele ponad 45 minut więc wszystko się zgadza.

Robben Ford jest muzykiem drugiego planu, tak mogłoby się wydawać, lecz jego osobiste konto zasila kilkanaście solowych projektów i współpraca z takimi postaciami jak Miles Davis, Dizzy Gillespie czy Jimmy Witherspoon. Właśnie muzyce z pogranicza bluesa i jazzu w zasadzie był zawsze wierny nie licząc momentów kiedy jako sideman wspierał glam rockowy Kiss lub folkową Joni Mitchell . Na „A Day In Nashville” gra to co czuje najlepiej, stąd idealna harmonia która staje się zaraźliwa.

Ford jest przede wszystkim gitarzystą ale ten instrument wcale nie zdominował jego najnowszej solowej płyty. Bardzo często w równorzędnej roli głównej występuje puzon obsługiwany przez Barriego Green’a. Po gitarowym początku gdzie dęciak i aksamitny dźwięk organów Hammonda stanowią tło dla „wiosła” Robbena Forda, w knajpianym „ Ain’t Drinking’ Beer No More”, puzon dochodzi odważnie do głosu i interesująco przegaduje się z gitarą. Od tego momentu bardzo dużo ma do powiedzenia także w innych utworach, rozpoczynając od kolejnego na płycie, instrumentalnego „Top Down Blues”. Na albumie znalazły się także dwa covery „Cut You Loose” i „Poor Kelly Blues” z repertuaru odpowiednio: Jamesa Cottona i Big Maceo Merriweathera. W pierwszym z nich śmielej odzywają się cudowne organy Hammonda, w drugim razem z gitarą sprawiają że kompozycja sprzed kilkudziesięciu lat, pierwotnie zaśpiewana przy akompaniamencie fortepianu, zabrzmiała całkiem energetycznie. Jeszcze tylko jeden instrumentalny popis Forda i jego kompanów i całość wieńczy elegancko i z klasą „Just Another Country Road”.

Czas na ostanie zdanie. Niech będzie takie: płyta „A Day In Nashvile” jest zestawem bardzo sympatycznych bluesowych numerów. Dobrym na każdy dzień. (i wyszły zdania dwa). --- Witold Żogała, rockarea.eu

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1.    The Brother
2.    You Cut Me To The Bone
3.    Worried Life Blues
4.    Start It Up
5.    Step On It
6.    Prison Of Love
7.    Tell Me I’m Your Man
8.    Talk To Your Daughter

Line Up:
    Robben Ford - guitar, vocals
    Roscoe Beck -  bass
    Tom Brechtlein – drums

Continuing the "Ohne Filter" series of releases from Germany, Music Video Distributors is now offering the 1993 Robben Ford concert that was part of his European tour. Robben Ford is one of the few guitarists who successfully and continually manage to cross traditional Blues with modern day Jazz. His Fusion infused guitar play still oozes of B.B. King style licks, but also features blistering solo work through uncommon scales and measures. The one thing Robben Ford is most famous for however is his unique phrasing, a style that makes him instantly recognizable. You hear one bar of his solo play and you know it has to be Robben Ford.

Despite his cross-over compositions, Robben Ford has always remained a minimalist when it comes to arrangements and it can be witnessed no better than at a live show, like this one. Consisting of only a three-piece band with Robben on guitar, Roscoe Beck on bass and Tom Brechtlein on drums, their live shows are explosive displays of utter craftmanship and raw talent. Although Robben Ford may be the star of the show, there can be no question that "The Blue Line" is more than a background band. Roscoe and Tom are the backbone of everything Robben does and the interplay between the musicians is marvelously energetic and inspired. This is especially evident in moments when the band begins to improvise – which happens quite frequently during live shows as the band never lets itself getting tied down by what’s on the record. Ford frequently takes a liberal approach to his material during live shows with musical excursions that are an amazing display of the band’s versatility and skill. --- dvdreview.com

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01 – Everything I Do Gonna Be Funky
02 – Birds Nest Bound
03 – Fair Child
04 – Oh, Virginia
05 – Slick Capers Blues
06 – On That Morning
07 – Traveler’s Waltz
08 – Most Likely You Go Your Way And I’ll Go Mone
09 – Trick Bag
10 – Fool’s Paradise

Musicians:
Robben Ford – guitar, vocals
Larry Goldings – organ
David Piltch – bass
Steve Baxter – trombone
Harvey Mason – drums

Over the course of his 40-plus year career, Robben Ford has survived within a niche that is just jazzy enough for the beboppers and yet still contains enough soulful string bending for the hardcore blues hounds. With Bringing it All Back Home, he eschews his penchant for jazz-bop and instead presents a collection of blues and R&B tunes that focuses on the emotional content rather than guitar pyrotechnics. Even though he is quite a prolific composer, Ford decided to dig deep into the history of American music for the source material with only two originals on the album. Everything from Charlie Patton and Allen Toussaint to Big Joe Williams and Bob Dylan are covered here and masterfully interpreted by a group of A-list musicians that includes organist Larry Goldings and drummer Harvey Mason.

Relying entirely on the neck pickup of his 1963 Epiphone Riviera, Ford’s tone throughout the album is the unifying thread here. It also provides a complete argument for the musical cliché that “it’s all in your hands.” During his solo on “Bird’s Nest Bound,” you hear everything from crystal clear rhythm stabs à la Cropper to just a hint of breakup when he digs into some mean double-stops. Each track has the looseness of a jam session but refrains from the extended over-soloing–only the instrumental “On That Morning” extends over six minutes. Ford breaks out some Wes-style octaves for the head while Goldings lays down some of the most tasteful B-3 fills since Jimmy Smith’s Christmas album. With this album, Ford has found the right mix of vibe, tone, and material—not an easy task. ---Jason Shadrick, premierguitar.com

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01. Miss Miss - 6:34
02. Ladies' Choice - 6:30
03. Hawk's Theme - 6:22
04. Low Ride - 2:26
05. Stella And Frenchie - 8:03
06. Softly Rolling - 7:27

Personnel:
- Robben Ford - guitar, saxophone
- Paul Nagle - keyboards
- Stanley Poplin - bass
- Jim Baum – drums

This is one of the jazz records I like most, turning back to it often. The lineup is almost perfect: bass, drums, fender rhodes keyboards and Robben Ford on the guitar, with the exception of the first and last number where he switches to the alto sax. It results a mellow yet intense sound which characterizes and unifies the album. The succession of the numbers fits the title. The first is a mid-tempo swing: the theme is quietly presented, a brief electric piano solo follows and then the sax gradually raises the tension, screams, and then goes back to silence. The second number is a gloomy, slow swing in three where the long guitar solo is intertwined by keyboards interventions. Then the mood changes; the next piece raises the tension with a mid-tempo funky rhythm, accelerates to a climax and then calms down, ending with an intense, layered guitar solo. The next piece is a sort of slight reprise of the previous one, opened by a great yet extremely simple attack. The fifth piece changes again the pace as it is a latin beat, possibly the most leisured moment of the whole record. The close is a ballad, actually a free form dialogue between the keyboards and a delayed saxofone, softly leading the listener to the natural conclusion of the album. The work is a snapshot of a young, creative artist in a state of grace, where everything - sound, composition, variety - just works. It is a shiny little gem that keeps on fascinating me after all these years. So perfectly beautiful that I cannot even think to listen to anything else Robben Ford has produced. ---Pietro Braione, amazon.com

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01. Oh Gee (Matthew Gee) - 6:29
02. Red Rooster (Willie Dixon) - 4:24
03. Eighty One (Miles Davis - Ron Carter) - 8:07
04. Ain't Nobody's Business (Jimmy Witherspoon - Clarence Williams - Graham R.Prince - Porter Grainger) - 3:48	play
05. Sunrise (Robben Ford) - 11:28
06. Blue & Lonesome (Little Walter Jacobs) - 8:23
07. Miss Miss (Robben Ford) - 8:56
08. Everyday I Have The Blues (Peter Chatman) - 5:26			play

Personnel:
- Robben Ford - guitar, saxophone, lead vocals (02,05,06,08)
- Paul Nagle - keyboards
- Stan Poplin - bass, guitar
- Jim Baum - drums
- Jimmy Witherspoon - lead vocals (04,08)

Sunrise is an album of live recordings made in 1972 by Robben Ford, and released on CD in 1999. Though Ford's music ranged over jazz, blues, and rock music styles, the performances on this album are strongly rooted in jazz, despite some of the songs having been composed originally by blues artists. The songs on this album were originally recorded live in clubs noted at the time for introducing promising new artists to the music world. ---wiki

It's ironic that some of the people who swear up and down that they don't like jazz will get into Robben Ford, whose career has as much to do with jazz as it does with blues, pop, soul and rock. Though Ford was never a "jazz snob," his jazz credentials are quite solid. Jazz, blues and rock are all primary ingredients of Sunrise, a CD that was released in 1999 and contains live performances at Los Angeles and London venues in 1972. Back then, the singer/guitarist was in his early twenties and hadn't yet become famous, but those who were hip to Ford knew that he was a unique young talent who had considerable promise. This unpredictable and highly enjoyable collection ranges from the hardcore instrumental jazz of Miles Davis' "Eighty One" (which finds Ford playing the sax) and jazz-rock fusion of "Miss Miss" to spirited performances of Willie Dixon's "Little Red Rooster" and Peter Chatman's "Every Day I Have the Blues." The latter finds Ford performing a vocal duet with blues singer Jimmy Witherspoon, who is the only vocalist on "Ain't Nobody's Business." The late Witherspoon thought the world of Ford, and it's easy to see why they got along so well -- like Ford, Witherspoon was an eclectic, unpredictable artist who held jazz and the blues in equally high regard. Whether you're into jazz, blues or rock -- or all of the above -- Sunrise is a CD to savor. --- Alex Henderson, Rovi

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1. Magic Sam
2. For the One I Love
3. North Carolina         play
4. There's No One Else
5. Inside Story
6. Need Somebody
7. Far Away
8. Tee Time for Eric

Robben Ford - Guitars, Vocal
Jimmy Haslip - Bass
Ricky Lawson - Drums
Russell Ferrante – Keyboards

Except for a couple import hard to find albums, this marked guitarist Robben Fords 1979 debut. Here he serves notic that no prisoners will be taken. Simply put, this is one of the greatest jazz/fusion releases ever! Robben and band simmer and smoke, all the while playing from the heart. I would be hard pressed to name another guitar album where jazz and rock so wonderfully coexist. Only Larry Carltons 1977 debut self titled album comes to mind, and Larry is usually honest enough to admit he stole Robben Fords trip! -- Benjamin J. Neiman.

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