Tomas Doncker has played with genre-busting groups like Defunkt, J. Walter Negro and The Loose Jointz. He has toured internationally and recorded in Japan with jazz pianist Masabumi Kikuchi, and produced studio and song writing sessions with Bootsy Collins, Yoko Ono, Grammy-nominated reggae vocal group the Itals, and Grammy-winning producer Prince Charles Alexander. He has performed in China, headlining the Shanghai Folk Festival, and as part of the Shanghai World Expo. Doncker’s sound is impossible to define because his work has many different elements, which is a good thing.
The Mess We Made, Tomas Doncker’s third release for True Groove Records, is one funky album. Track 1 is “Same Ol Dolls,” is a groovy, thumping opener — its inspirational lyrics need some listening to, as they are incendiary — and a touch of laid-back, bluesy vocals. Like much of Doncker’s music, the beat is relentless and pacey, making this a super way to begin The Mess We Made. “Church Burning Down” starts with some intricacies in percussion, superbly offset by Doncker’s deep, throaty vocals. This is a strong, up-beat number, again with strong lyrics. There is a gorgeous middle section to “Church Burning Down,” with vocals over bass.
“The Revolution” is an easy, cool number with Tomas Doncker’s trademark standing bass lines over strong percussion. The title track on The Mess We Made is distinctly sleazy – in a good way. Strong, deep funk beats stride out under breathy, deep vocals. The lyrics are not so strong on this number, but it is listenable and makes way for the following “Don’t Let Go,” which is possibly the best track on the album. Open, clear acoustic guitar and vocals tell the ballad of a relationship gone wrong. The listener is drawn into the story by the emotive singing and sense of loss. Doncker’s voice and tone is suited well to counter the sharpness and clarity of the guitar work.
“Blood and Concrete” is almost opposite to the previous track with its multi-layers from the start. Horns emphasize the background tunes, whilst the vocals and bass work together to create the theme and walk the listener through a scene of devastation and despair. There is an interesting horn insert midway through which adds to the textures of the piece. There is a lot going on. U2’s “I Still Haven’t Found What I’m Looking For” introduces itself with some fret bass setting the rhythm and is given the Tomas Doncker treatment. It is a lovely rendition of a great song and Doncker’s emotion is beautiful. There is always a danger when covering a song which is so well known and was done well in the first place but Doncker manages to give it enough of his own twist to make is different but still recognizable.
“Time Will Tell” is the closing track on The Mess We Made, and it is a more typical Tomas Doncker track with strong vocals over a slow, funky beat. Previous albums I reviewed of Doncker’s include Moanin’ at Midnight: The Howling Wolf Project and Big Apple Blues with Yusef Komanyakaa, and the pervading factor is his delivery: always true blues/funky, always emotive and always interesting. Doncker’s vocals are lovely, sonorous and mellow but the words become clearer as you get your ear in, because they aren’t clear initially. This is not the strongest music I have heard form Tomas Doncker, but it is certainly listenable and playable to the core.
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