Reviews

It must be one of the most common of fantasies, being a guitar hero. There is a catch of course: you have to know how to do it. Mr. Charles definitely knows how. This guy is a player of tremendous skill, as this CD of five original compositions shows. His previous work has already received some national attention, and deservedly so. He is adept at a number of styles ranging from Hendrix inspired rock to funk and fusion. The fusion number, "Before All is Said and Done," really grabbed me as did "Get Real." Charles' biting tone on "Get Real" is raw and stormy. The production quality of the album is also fine with good balance and just enough polish. I would venture to say that if Charles could find a powerhouse singer to match his earth-shaking guitar work, a major recording contract wouldn't be far behind.

I was stunned by the lead cut "Before All is Said and Done." It's a great piece that immediately brought to mind several of my favorite guitarists, most notably Larry Carlton and Robben Ford. That's not to say Robert doesn't have his own style, because his playing here most certainly does. It's dazzling in some spots, gorgeously slow in others and interesting everywhere. It's a really nice composition that will grace my tape player lots in the future. The flip side is something entirely different. It's a very Hendrix/SRV sounding cut called "Get Real." Robert is just as at home on this material as the first cut. His playing sparkles as does that of the other musicians, Stefan Abuan on bass, Freddy Krumins on drums, and Ryan Burns on keyboards. An excellent effort all around. I suspect we'll be hearing more from him in the future.

from Vintage Guitar Magazine 9/94

from The Rocket 9/24/97

Bridging blues, LA-style fusion, and hard rock, the gutsy, mature solos of Robert Charles veer from pentatonic wail to jazzy diminshed flavors. The slurs, hearty pull-offs, and halfbends on his first song recall Larry Carlton's Steely Dan-era style, with a more distorted tone. Charles' second cut hits hard with wrangly runs and a blustery Hendrix neck-pickup vibe-fitting as the Seattle native's been soaking up Jimi's vibe for years. "But Carlton's 'Kid Charlemagne' solo really changed my life," says Charles, who runs his Fender strat through a Music Man 4x10 amp. " He really fused rock and jazz-amazing ". Here's proof that there's more to Seattle than grungepuppies, seafood shacks, and stiff coffee.

from Guitar Player Magazine 11/94

Every once in a while we come across something that isn't exactly "hard music trade publication -type stuff," but it deserves attention nonetheless (read: Put away your metal adjectives). The Robert Charles band: Heavy? No. Hard? No. Intense? Hell yes. Charles' blistering fusion of jazzy licks with blues-rock sensibilities, coupled with his natural melodic instincts, make this tape a winner. Charles, a guitar player out of the Pacific Northwest, has been making waves in the guitar community since the release of his first solo effort Extensions. Fans of everything from Steely Dan to Robben Ford to Hendrix will dig this big time.

from Foundations 10/94

The latest batch of songs by jazzer Robert Charles is mostly instrumental and delves into more familiar melodies typified by the opener, “Moon River,” where Charles uses heavy vibrato, lots of whammy bar, and monstrous volume swells. It works beautifully, and as in most songs here, he sticks close to the cuff, melodically, while adding grace notes when and where needed.

The same can be said for his arrangement of “All of Me” where Charles stays away from the norm by using a tougher sound and a bluesy lilt with open-string hammer-ons and double-stop licks that give a different feel to what could easily become a cliche.

There are several original pieces here too, with “Dexter’s Song” being the best.

A jazzy blues shuffle, it’s cool head has a huge hook. The solos compliment that intro nicely and he gets very jazzy with some fine octave soloing thrown in for good measure.

If there is a complaint it would be the length. There are only six songs, and while they are all on the money, the time comes in at a little over 30 minutes. Another cut or two might have given us some more insights into his playing. But, on the other hand, there’s never a dull moment. -John Heidt

from Vintage Guitar Magazine 04/09