Set One:
01.Slapstack
02.Satisfy
03.Big Legged Woman
04.The Best I Can Do
05.Still I Think Of You
06.Something Wicked
07.Let's Have A Party
08.Letter To My Girlfriend
09.Sundown Blues
10.Scrawl
11.Ridin Out The Storm 

Set Two:
12.101
13.Leave Her Be
14.People Say
15.Purple Gloaming
16.One More Cup Of Coffee
17.Cold,Cold Day
18.Hard Mind
19.Paper Dolls
20.My Way Down

Encore:
21.Encore Tuning
22.Cross My Heart
23.Watch Out

Chris Duarte - Guitar/vocals
John Jordan - Bass
Brannen Temple - Drums

The Venue, Portland, Me - 9/12/10

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01. Show Me That You Want It (4:37)
02. Yes, It's You (3:21)
03. Take Me Now (4:57)
04. A Dollar Down & Feeling Low (8:20)
05. I Bucked It Up (5:47)
06. Outta My Way (4:05)
07. Leave My Soul Alone (7:07)
08. Sweet Little Girl (4:21)
09. Lazy Afternoon (11:11)
10. Can't Shut Me Out (4:09)
11. Blue Jean Outlaw (8:45)
12. Carelessness (7:24)

Chris Duarte (vocals, guitar); 
Steve Evans (bass);
Mads Tolling (violin);
Aaron Haggerty (drums).

An impressive and fiery Texas blues guitarist, Chris Duarte's latest album, My Soul Alone, was recorded at Prairie Sun Studios in Cotati, California with Aaron Haggerty on drums and Steve Evans on bass; Mads Tolling adds violin on one track (the final cut, "Carelessness"). Earlier in his career, Duarte was often compared to fellow Texas guitarist Stevie Ray Vaughan, and Johnny Winter's name was tossed around, as well, but Duarte has been at this professional blues thing for a couple of decades now, and while he quite likely will never escape the Vaughan/Winter cul du sac, it's obvious at this point that he has his own varied spin on the whole modern Texas blues thing, spicing it up with, at times, a jazz feel, and he even pushes into light psychedelia now and then. This newest release doesn't break much new ground on that template, but it does spotlight Duarte's songwriting (he wrote each of the dozen tracks here), and his guitar work shines like it always does. Highlights include the upbeat and almost pop "Yes, It's You," the slow blues "A Dollar Down and Feeling Low," the smooth and flowing "Blue Jean Outlaw," and the set closer, the edgy and almost eerie "Carelessness." ---Steve Leggett, allmusic.com

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1. Baddness
2. Brand New Day
3. All Night
4. Metaphor Song
5. Free 4 Me
6. How Long
7. Paper Dolls
8. Metaphor (Acoustic)
9. Azul Ezell
10. Watch Out
11. Duarte e Ezell (Opus 1 No. 3)

Chris Duarte (vocals, guitar); 
Doyle Bramhall (drums, percussion); 
Jason Patterson (drums). 

Chris Duarte has been many things during his career: Stevie Ray Vaughan heir apparent, psychedelic blues-rocker, light-speedy guitar god. For his third album, Duarte presents a new incarnation. It's a lot like his previous ones, but with an added spiritual element that usually comes later in an artist's career. So there are a few introspective pieces here--particularly "Azul Ezell" and "Metaphor (Acoustic)"--and a number of efforts at experimentation. One of these is "Metaphor (Electric)," which arrives just a few years too late for the grunge era. Another is "How Long," with Duarte doing his best to sound like Howlin' Wolf. Where does all this leave us? Well, it's a good album, and there's no doubting Duarte's proficiency or his sincerity. It seems, though, that he's still looking for his own voice. Once he can bring his considerable musical arsenal to bear on that, he'll be a force to be reckoned with. ---Genevieve Williams, Editorial Review

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01. Do the Romp (Kimbrough) 4:13			play
02. 101 (Duarte) 5:18
03. Fire's Gone Out (Duarte) 4:15
04. Like Eric (Duarte) 3:49
05. My, My (Duarte, Herring, Jordan, Miles) 4:53
06. One More Cup (Dylan) 6:17
07. B Flat Blues (Duarte) 3:34
08. Last Night (Duarte) 9:26
09. Mr. Neighbor (Duarte) 4:55
10. Take It to the Lord (Duarte) 4:21			play

Chris Duarte- Guitar, Vocals
John Jordan- Bass
Ed Miles- Drums

Although he doesn't totally transcend his Stevie Ray Vaughan/Hendrix influences, Chris Duarte attempts to progress beyond them -- occasionally -- on his fourth release, Romp. Kicking off with the greasy Junior Kimbrough-penned title track, he then moves into a sizzling Hendrix-fueled instrumental, "101," which shows his hot-dog guitar prowess but could have been on any of his previous discs. Similarly, the flashy "Like Eric" doesn't hide the fact that if you wanted to hear Eric Johnson, you'd buy an Eric Johnson album. Things finally settle into a more unique groove on "My My." Here his haunting Hendrix-styled distorted fuzz tone nudges a mechanical beat that's creepy and edgy. Better still is a version of Dylan's "One More Cup of Coffee," the album's six-minute centerpiece that transforms the original into a dreamy, ominous ode, utilizing near spoken lyrics against a subtle and stark backing. With a slinky guitar solo that reflects the tune's longing, it's where the guitarist finally establishes a distinctive approach, albeit with someone else's song. On the nine-minute "Last Night," Duarte mines similar territory with a brooding, mesmerizing poem of devils and inner demons that sounds like something Jim Morrison conjured up in a heroin-fueled nightmare. His guitar skitters and snakes around the melody, exploding then suddenly pulling back in a dazzling display of restraint and fret shredding that makes you wish he would have maintained this level of menacing intensity for the entire album. "Mr. Neighbor" revisits Hendrix again in a tune that is structured so closely to "Bold as Love" -- right down to the guitar tone -- you'd think Jimi would get a co-writing credit. The closing, spiritually based "Take It to the Lord" shows that Duarte can compose a religious ballad that doesn't pander to lowest common denominator clichés. He's obviously got chops and good ideas, but Duarte still hasn't quite forged his own sound for an entire album. Romp though, proves that he's getting closer. ---Hal Horowitz, allmusic.com

This is a spectacular offering from a real guitar virtuoso, whose tonal pallete is as rich as that of any player I have ever heard. If you think of Chris Duarte as 'just' a Texas techno flash guitar slinger, then think again. Certainly, musical references to Hendrix and Stevie Ray are not hard to find but they are conveyed in a context that Duarte makes his own: this is mastery, not mimicry. This album is an absolute treat and after playing it about 30 times I still hear something new every time I hit 'play'. I have only heard the excellent 'Strat Magic' album previously but this is a whole new ball game, and better. Air guitarists will not be able to resist Romp, 101 or Like Eric, whilst dyed in the wool blues fans will slake their thirst on numbers like B flat Blues and Take It To The Lord. However the album's tour de force is Last Night. This is just under 10 minutes of brooding malevolence and possessed (yet controlled) guitar playing. Frankly it is worth buying the album for by itself. Mention should also be made of Duarte's strong, but never overbearing, vocals and the production is wonderfully open and detailed: I could have sworn this was analog recording (it wasn't!). --- Richard Pratt, amazon.com

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01 Ridin’ 04'08              play
02 City Life Blues 08'06
03 Cross My Heart 03'42  play
04 Waiting On You 04'02
05 Sundown Blues 06'28
06 Cold Cold Day 06'56
07 My Heart Don’t Want to Let You Go 06'10
08 Killing Time 08'27
09 Purple Gloaming 06'19
10 Me All Me 06'15
11 Hamra St. 03'58

Personnel: 
Chris Duarte (vocals, guitar)
Chris Burroughs (drums)
Matt Stallard  (bass)

Whatever progressions the Chris Duarte Group make on their 2010 release Infinite Energy are a matter of depth, not breadth. The group doesn't try anything new -- Duarte still specializes in a distinctly Texas brand of the blues, one that has ... Full DescriptionStevie Ray Vaughan as ground zero, where even the Hendrix-isms are filtered through SRV -- but they do manage to lock into a soulful groove on "My Heart Don't Want to Let You Go" and creates a noir-streaked moodiness on the instrumental "Hamra St" quite unlike anything he's done before. Elsewhere, the sound remains the same and if the production is way too clean for Duarte's increasingly rough, wobbly vocals, his guitar sounds hot and full, speaking with a warmth he can not manage, nor needs to create, as a singer. ~ Stephen Thomas Erlewine, allmusic.com

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