b. April 22nd, 1957 in Los Angeles (California)
SLEEPING WITH A STRANGER
Hightone
October 1995
Fils d'un guitariste de jazz et d'une chanteuse de blues, James apprend la guitare assez jeune. Il accompagne des bluesmen confirmés comme Albert Collins, Big Joe Turner ou Smokey Wilson. Il participe au premier album (chez GNP-Crescendo) de Mama Roo en 1990 en tant que guitariste. Pour son premier disque en solo, James est produit par Bruce Bromberg et Fontaine Brown (qui co-signe plusieurs titres). Il s'y montre bon chanteur, compositeur et guitariste inspiré dans la lignée de Robert Cray et de Joe Louis Walker (qui furent également découverts par Bruce Bromberg). Le morceau-titre en donne la parfaite démonstration. Toutefois, l'ensemble manque un peu de flamme mais reste globalement plaisant à l'écoute.
The son of a jazz guitarist and a blues singer, James learns the guitar quite young. He accompanies confirmed bluesmen like Albert Collins, Big Joe Turner or Smokey Wilson. He participated in the first album (for GNP-Crescendo) of Mama Roo in 1990 as a guitarist. For his first solo album, James is produced by Bruce Bromberg and Fontaine Brown (who co-wrote several tracks). He shows himself a good singer, composer and an inspired guitarist in the tradition of Robert Cray and Joe Louis Walker (who were also discovered by Bruce Bromberg). The title track gives a perfect demonstration of his talent. However, the set lacks some fire but overall still pleasant to listen.
DARK NIGHT
Hightone
October 1998
En avril 1997, James Armstrong est gravement agressé chez lui. Ses nombreuses blessures l'obligent à une longue convalescence. Certaines de ces blessures l'empêchent de jouer correctement de la guitare. Cet album témoigne de sa lutte pour se remettre de ce traumatisme. James laisse de nombreuses parties de guitare à son second guitariste Michael Ross et à deux invités : Joe Louis Walker et Doug Mac Leod. Comme sur son précédent disque, la production est confiée à Bruce Bromberg et Fontaine Brown qui donnent un son de blues contemporain très propre. L'introspectif "Dark night" mais aussi "Too many misses for me", "Lil' James", "Bank of love" méritent l'écoute.
In april 1997, James Armstrong was seriously stabbed in his home. His numerous injuries forced him to a long convalescence. Some of these injuries prevented him from playing the guitar properly. This album reflects his struggle to recover from the trauma. James leaves many guitar parts to his second guitarist Michael Ross and two guests : Joe Louis Walker and Doug Mac Leod. As on his previous disc, production is entrusted to Bruce Bromberg and Fontaine Brown which give a very clean contemporary blues sound. The introspective "Dark night" but also "Too many misses for me", "Lil' James", "Bank of love" are worth listening.
GOT IT GOIN' ON
Hightone
September 2000
Troisième et dernier album pour Hightone, il symbolise le retour en force de James Armstrong à la lead guitare (maintenant qu'il a totalement retrouvé ses moyens). Assez similaire aux précédents opus, il n'est donc pas particulièrement original. Toutefois, certains titres sont largement intéressants : "Got it goin' on", "2 sides", "Mr B's", "Beat up by love", "Likes her lovin'".
Third and final album for Hightone, it symbolizes the return of James Armstrong on the lead guitar (now that he has fully recovered from his old injuries). Very similar to the previous opus, it is not particularly original. Nevertheless, some titles are widely interesting : "Got it goin 'on", "2 Sides", "Mr B's", "Beat up by love", "Likes her lovin'".
BLUES AT THE BORDER
Catfood
2011
Après 11 ans d'absence discographique, voici le retour de James Armstrong sous la bannière de Catfood. Pour l'occasion, James co-produit le disque avec ses musiciens Michael Ross et Bob Trenchard. Incontestablement, il a gagné en maturité et en créativité livrant ici un disque parfaitement maitrisé. D'excellentes compositions figurent parmi ses meilleurs réussites : "Blues at the border" (co-écrit avec sa compagne Madonna Hamel), "Everything good to ya", "Somebody got to pay", "High maintenance woman", "Baby can you hear me", "Young man with the blues".
After 11 years of discographical absence, here is the return of James Armstrong under the banner of Catfood. For the occasion, James co-produced the record with his musicians Michael Ross and Bob Trenchard. Undoubtedly, James' maturity and creativity are at their best, delivering a perfectly achieved disc. Excellent compositions among his best achievements : "Blues at the border" (co-written with his girlfriend Madonna Hamel), "Everything good to ya", "Somebody got to pay", "High maintenance woman", "Baby can you hear me", "Young man with the blues".
GUITAR ANGELS
Catfood
2014
Pour son deuxième album chez Catfood - avec la même équipe - James devait reproduire la superbe réussite de "Blues at the border". Encore une fois, il a composé la plupart des morceaux et propose deux superbes reprises ("Take it to the limit" des Eagles et "Blues ain't nothin'" de Johnny Copeland). Parmi ses propres compositions, on peut relever les remarquables "Grandma's got a new friend", "Healing time", "Guitar angels".
For his second album at Catfood - with the same team - James tried to reproduce the stunning achievement of "Blues at the border". Once again, he composed most of the tracks and offers two superb covers ("Take it to the limit" of The Eagles and "Blues ain't nothin'" written by Johnny Copeland). Among his own compositions, we can point out the remarkable "Grandma's got a new friend", "Healing time", "Guitar angels".