A longtime musician, Tim Thompson began playing piano at the age of nine, then switched to trombone before finally settling on his instrument of choice, the guitar. At the same time, he delved into songwriting. Driving frequently between his native Minnesota and Nashville, Tennessee, to pitch tunes, Thompson finally settled down in Music City in 1993. He picked up work as a staff writer for a small music publisher, and also began producing music. (He now has some 35 albums under his belt.) Thompson also played on many sessions, including hundreds of demos for songwriters.
Thompson’s brilliance is best witnessed, however, on his solo records, which includes Cathedral, Christmas, Faces, and, most recently, Revved Up. Recorded entirely on a T5, Revved Up showcases Thompson’s meticulous fingerstyle approach in an eclectic set of 12 pieces, five of them originals. And throughout, the T5, with its uncommonly wide tonal and dynamic range, responds to his each and every nuance.
Guitar fans will be especially impressed by Thompson’s detailed, multilayered arrangement of Steely Dan’s “Josie”, in which he simultaneously captures the original recording’s bass, keyboard, guitar, and vocals on guitar — all while maintaining a danceable R&B groove. If that weren’t enough, Thompson adds his own killer solo that picks up where Walter Becker’s original one left off.
Thompson’s impressive jazz chops shine through on his take of the Latin-tinged Duke Ellington/Juan Tizol classic, “Caravan”, which was recorded with two tracks of guitar. Apparent on this track are Thompson’s imaginative sense of harmony and his easy, swing feel. Two Antonio Carlos Jobim pieces — “How Insensitive” and “One Note Samba” — reveal the depth of Thompson’s jazz side with some lilting Brazilian-style arrangements.
But Thompson’s chameleonic personality is most clearly revealed in his original compositions. “Indecision Blues” and “Down and Dirty” are rootsy yet sophisticated; “July Song” and “Blue Sky” are bright and harmonically compelling; and “Head for the Hills” nods to the flamenco tradition. All of these compositions, with their tricky counterpoint, showcase Thompson’s jaw-dropping technique — which, most important, is always in service to his outstanding songwriting.
— Marc Harris
A longtime musician, Tim Thompson began playing piano at the age of nine, then switched to trombone before finally settling on his instrument of choice, the guitar. At the same time, he delved into songwriting. Driving frequently between his native Minnesota and Nashville, Tennessee, to pitch tunes, Thompson finally settled down in Music City in 1993. He picked up work as a staff writer for a small music publisher, and also began producing music. (He now has some 35 albums under his belt.) Thompson also played on many sessions, including hundreds of demos for songwriters.