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REVIEWLAND...

MUSICIAN magazine (Oct. '97)

"Coltrane is my idol," admits Austin-based guitarist Chris Duarte. "Everything he did was pure music." In light of his debut, the very Stevie Ray Vaughan-inspired Texas Sugar Strat Magik, Duarte's knowledge of Coltrane is somewhat surprising. But the guitarist goes deep with 'Trane. "You listen to how he plays and you try to play in the spirit." That relationship with the jazz giant might make more sense after listening to Tailspin Headwhack (Silvertone), Duarte's follow-up. Not that the guitarist has decided to play jazz. Rather, like 'Trane, he soars with confident new expression and style. Forget labeling him as a blues guitarist: "I'm a musician and I explore music," he states. "For people to label me as a blues player, that's cool; it's the way the system works, but it doesn't do me or what I do justice." You got that right. Produced by David Z, a member of Prince's Revolution, Tailspin Headwhack showcases Duarte's monstrous chops, from funk to punk, from Hendrix ("Drivin' South") to B.B. King (a send-up of "The Thrill Is Gone"), all marked by Duarte's percussive, in-your-face Strat sound and a subtle use of samples, loops and electronics. After earning numerous accolades for his debut, Duarte is a litlle unsettled with his growing reputation as a "guitar hero". "It's something you always want, but when you get there you look back and wonder, "Do I want to go back to comfort and anonymity?" For the guitarist though, the allure of heroism is great. "I like being somebody who'll influence music and younger players. Every true musician should want to make a mark on music," he says with a laugh. "It's like when people say, 'This sounds Hendrixian or Mozartian.' When they hear me, I want people to say, 'This is a Duarte-ism."
- Bob Gulla

BLUES ACCESS magazine (Winter '98)

At first glance, Chris Duarte looks like any other barroom rocker: Elbow-length ponytail, frayed jeans, cut-up T-shirt, battered Stratocaster. But let there be no mistake, Duarte is different. Though routinely - and unfairly - typecast as one of a few thousand Jimi-Stevie wannabes, the guitarist spends most of his time off-stage listening to John McLaughlin, John Coltrane and post-Bitch's Brew Miles Davis. Hendrix and Vaughan are major influences, sure, but it's not likely they're his only ones. Duarte's music isn't that simple. His first big-label release, the hard rocking Texas Sugar Strat Magik, surprised a lot of people with its brilliant recklessness. But there's nothing reckless about Tailspin Headwhack. It's painstakingly crafted: Duarte recorded Texas Sugar in a week; this one took two months. The blues undercurrent is still present, and Duarte rocks hard, but Tailspin Headwhack is much thicker, the outside influences more diverse. Get out the headphones, 'cause we're talking tape loops, hip-hop rhythms, wah-wah pedals, a little sampling and some serious funk. Much has been made of Duarte's audacity in taking on B.B. King's classic "The Thrill Is Gone". So what? Duarte's version has nothing to do with King's; the words are the same, but that's about it. This is bold stuff. If Jimi the Great were still with us, you know he wouldn't have a problem with Duarte's funk-and-power approach. Snippets of the Hendrix and Vaughan influences appear throughout Tailspin Headwhack, but especially on "Drivin' South", a Curtis Knight and the Squires tune from Hendrix's early BBC sessions, and on the stark-and-dark ".32 Blues". Also on the menu: "Cleopatra", a Junior Medlow tune that Duarte reworked into a stunning rocker, "People Say", classic funk from the Meters, "Crazy", a song originally done by the Vanguards, an Austin-based band that once included Duarte's longtime bassist, John Jordan, and "Crimino", Duarte's thoughts after someone stole the band's equipment in New York City. "Walls" is Duarte's ode to Kurt Cobain. Though well intended, it's a little too alternative and abrasive for this outing. Fortunately, it's the final track and doesn't get in the way. If Duarte keeps this up, the comparisons with Vaughan and Hendrix are sure to continue because, like them, he's a genius.
- Dave Ranney

HOUR entertainment weekly (Nov. 27-Dec. 3, '97)

Subtitling Tailspin Headwhack "Texas metal blues" may have aptly captioned Duarte's full-throttle approach. Full of hell-bent energy, lean and mean, this is about as in-your-face as Texas blues-rock gets, especially in the opening cuts. "Drivin' South", in fourth position, would've made a stronger opener considering the nice angle taken on other tunes like "The Thrill Is Gone". But Duarte holds your attention with a variety of pockets and unexpected textural twists and turns, borrowin a rap groove here and machine-gunning a little Hendrix there. There may be nothing new under the blues sun, but there are some strong style elements here and ferocious guitar, supplanted by Duarte's mostly reserved vocal. Now gimme an aspirin! - Dean Cottrill

THE BEAT entertainment weekly (Nov. '97)

After Chris Duarte debuted with the release of Texas Sugar, he found himself being compared to Stevie Ray Vaughan. Now, on Tailspin Headwhack, Chris delves deeper into the exploration of his musical influences. On this new release, Chris adds some "Coltrane-jazz" influence to the blues. This is most apparent on "Crimino". While pure blues comes through on the cut ".32 Blues", don't pigeonhole the axeman, because his "Walls" might make you think of Nirvana.
While Duarte's "Cleopatra" could've been taken from the Hendrix catalog, he borrows and drives home the Hendrix tune "Drivin' South". Then he tips the hat further by adding a funky flavor to B.B. King's "The Thrill Is Gone" and the Meters "People Say". The Austin-based Duarte has created a recording that will expand on his title of blues guitarist. Along with his band, including longtime bassist John Jordan, Chris is on his way to creating his own rough edged style. With Strat in hand, we can only guess what we'll hear next from this determined musician.
- Gale Huguelet

WESTWORD entertainment weekly (Nov. 13-19, '97)

Three years ago, the Texas-based Duarte's debut album, Texas Sugar Strat Magik, brought the impeccable talents of this unique, Coltrane-loving guitar wizard to the attention of blues lovers and musicians everywhere. However, he was largely snubbed by critics at elite jazz-and-blues publications, possibly because some him as nothing more than a pretty boy. Headwhack probably won't land Duarte any features in Down Beat either, and that's unfortunate because this album is even better than its predecessor. Whereas Magik included a number of cuts that led to the usual next-Stevie Ray talk, Duarte's latest largely steers away from such a sound. There a few gut-punching houserockers present, but most of them sport a funk-hop beat that's seldom heard in this genre. Moreover, the sound as a whole is softer, more confident, more diverse. Emblematic is his version of B.B. King's signature tune, "The Thrill Is Gone". By covering this number, Duarte is making a ballsy statement about his abilities as an interpreter and an improviser, and had he faltered, the result would have been extremely embarassing. But he more than justifies the risk: his "Thrill", complete with a hypnotic, trance-like rhythm, is not a mournful cry but an ominous warning. Of course, those listeners who don't understand that Duarte is a jazzman at heart may be left wondering where on Earth he's taking his blues. But it's likely that even they will follow him to his next destination. It should be a colorful and adventurous journey.

- Linda Gruno

VANTAGE POINT

GET READY TO ROCK! website (2008)

Chris Duarte is having a party! And that's no mean feat when you have been described as 'The John Coltrane of the guitar' and you enjoy a penchant for angular guitar explorations. But on 'Vantage Point' Chris kicks open the barn door and rocks out big style. The Atlanta based guitarist is one of the most essential players to have emerged from the Austin Texas blues scene. And while Chris has inevitable been touted as the natural successor to Stevie Ray Vaughan and the like, he has his own style which is based on exploring the outer parameters of his guitar playing. And to date, his albums have been a mix of incendiary solo's, different tone explorations and inspired playing. There's more of the same on 'Vantage Point', but like its predecessor 'Blue Velocity' there a greater sense of coherence to the material. And with its mix of tough rocking blues, boogie, funk and even jazzier elements, allied with his intense playing style 'Vantage Point' brilliantly showcases the many shades of Chris Duarte's unique style. Yes there's an undoubted Texas feel to the proceedings and on occasions he does evoke a mix of SRV, Hendrix and even Johnny Winter, but these are but stylistic inflections along a musical journey that is all his own. On the opening long linear lines of 'The Best I Can Do' and the more laid back 'Blow Your Mind' he conjures up some Lonnie Mack style roadhouse rocking. The self explanatory 'More Boogie' finds him building up a real head of steam with his intuitive rhythm section, while 'Troubles on Me' is the kind of intense meandering guitar exploration that sets Chris aside from his contemporaries. He digs so deep in terms of tonality and intense note flurries that you wonder if he's ever going to return back to earth to check in with his rhythm section. Significantly both 'Blow Your Mind' and 'Troubles' enjoy lengthier explorations on two unexpected bonus tracks, giving you an insight into how hard he explores his grooves. Simply stunning! But he does return to base for an up tempo rock and roll work out on 'Let's Have A Party' and evokes the sprit of Hendrix with a psychedelic drenched tone on 'She Don't Live Here Anymore', a number that employs a Zeppelin style stop-time device and change of pace in the middle. 'Vantage Point' will please many of those fans who have long championed this adventurous guitarist. There's been a feeling that he has often been a few songs short of breaking on to a bigger level, but once you hear the tough grooves and burning solo's here, you'll be hooked. My personal favourite is 'Babylon' on which he utilises a catchy repeated chorus and a trademark mesmerising guitar break that might belatedly give him a bit more deserved radio play. The closing Jeff Beck style instrumental 'Woodpecker' is a funked up, warm toned jazzy excursion on which Chris eloquently demonstrates his chops in the company of his excellent rhythm section - Joseph Patrick Moore and Jeff Reilly – a gentle reminder if it was needed that for all his brilliance this is in fact a band, the marvellous Chris Duarte Group!

- Pete Feenstra

ROCK PAGES website (2008)

After a career-span of twenty one years and six personal albums (plus the countless session works he did), the guitarist/singer from San Antonio, Texas, spoils his tradition of release frequency and presents a new album within a single year, always in his well known blues-rock style, characteristic of his origins and always very, very interesting. Clearly Texas Boogie Blues-oriented as he always was, in the style marked by musicians as important as Albert Collins, T-Bone Walker, Stevie Ray Vaughan and his brother Jimmie (with or without the Fabulous Thunderbirds) and consequently Billy Gibbons and ZZ-Top, Duarte continues under the same sonic badge producing cuts full of energy and guitar work of a higher level. Justifiably considered to be one of the top bluesmen of our days, Duarte releases yet another exceptional album (produced by Mike Varney) consisting of eleven tracks from which one can scarcely pick a favorite, plus two bonus alternative versions of two of the songs already in the album. This is a true Vantage Point for Chris Duarte indeed, as he further establishes his position in the blues world and justifies the fuss made about him all through these years.

- Alex Politis