Greg Piccolo & Heavy Juice Who Knows What the Future Holds (MoMojo Records)
If you already know of Greg Piccolo, it’s likely because of his noteworthy tenure with Roomful of Blues – having spent 25 years as founder, key tenor sax player and, eventually, ‘leader’ amongst a rotating cast of more than 45 musicians. Originally fashioned after Buddy Johnson’s R&B band, ROB’s blues-rock beginnings evolved into a jump blues outfit, Piccolo’s razor-sharp horn section gaining them great renown (not to mention an outstanding stable of guitar heroes). Piccolo left in ’94, releasing solo projects, forming Heavy Juice and constantly evolving his style to arrive at Who Knows What the Future Holds – his 6th post-ROB release and – as you will read – his finest release to date.
With the ’90 release of his first solo record – “Heavy Juice” – he was still in ROB and this release was but a spirited variation of what he’d already been doing, with a cast of ROB players supporting the project. He did, however, get to select which songs he wanted to cover – a tip of the hat to taking on even more responsibility as a player. The release of “Acid Blue” some 5 years later, coupled his name with the name of his hand-picked dream band, “Heavy Juice”, together with the thrill of showcasing 5 of his own songs while developing a more versatile, somewhat more spontaneous approach to the music. ‘97’s “Red Lights” demonstrated further progressions, including adding his own lead guitar and covering multiple styles of music – from swing, bop and acid jazz to more R&B and a hint of rock. Jump ahead to this release and you really shouldn’t be surprised to discover a clearly defined focus on the staging of Piccolo as a definitive singer-songwriter. At this point, he’s a master of presenting solid grooves as a band leader and his spirited vocals ooze with requisite soul which can only come from having lived the music over a long period of time. The fact that these songs are all mined from his personal vault of originals, seals the deal that, at 75, his time has more than arrived.
Kicking off with “I’ve Lost Faith” (note that ‘Faith’ is a woman, as opposed to a political statement), Piccolo fires off a solid slice of ‘50s rock’n’roll-inspired fun. From Shinichi Otsu’s piano-driven accompaniment (recalling the farfisa riff of “96 Tears”) to Dean Shot’s tough, 50’s-sounding guitar solo, Piccolo is clearly having a ball with this up-tempo, boppin’ sound, seemingly celebrating the Dion’s and Del Shannon’s of the world – all wrapped up in a tight, seamless production and punctuated by one of the best horn sections possible. Still, the star of the track is Piccolo – his clear, dynamic vocal making the best out of lost love, supported by a buoyant chorus of backup vocals. Savour the flip he gives his vocal each time he delivers “world”.
Tough to follow, but “Truth is a Sly Fox” again benefits from Otsu’s smooth B3, rim shots and those ever-lush horns. With a relaxed, more intimate vocal (calling to mind the distinct, New Jersey sound of Southside Johnny), this R&B number is a total finger-snapper, replete with another tight guitar solo from Shot and an overall ‘50’s sound.
Not unlike the title track of ‘97’s Red Lights, “People are Hot” provides a solid shot of reggae which not only boasts Piccolo’s own tenor sax solo but gets a rhythmic boost from drummer Bob Ruggiero’s solid beat and the tight punctuation of the horns.
The swinging “Let’s Play in the Car” makes for an expert cruising song – top down, radio cranked to eleven, and the promise of a curve-friendly highway on a warm, sunny day. Another tasty guitar solo from Shot is ably reinforced by the consistently lovely kiss of those irrepressible horns.
“She Couldn’t Stay” is a key track on this release, another bittersweet story of lost love featuring Piccolo’s heartfelt vocal delivery, accented by Otsu’s piano, supported by sweet washes of B3. The song unfolds with Ruggiero’s steady rim shots as Piccolo’s voice is shown in its strongest, most soulful light. The entire composition sends a sincere shiver.
Likewise, “Don’t Tell Me the Truth” is a highlight track empowered with the ability to transform deception into something worth looking forward to. Shot’s tough chording coupled with Otsu’s piano and the bulletproof rhythm section of Ruggierio and bassist, Paul Tomasello, establish a beefy groove as Piccolo’s expressive, cool-as-a-cucumber vocal helps underline an almost humorous lyric with complete surety. As always, Otsu anoints yet another track with greasy B3 as the horn section only adds a strong, slippery accent to the song’s muscular groove.
The bouncy, full swing of “Dream Girl” is a showcase for bassist Tomasello as the full band shines under yet another assured vocal from Piccolo, not to mention his take-no-prisoners tenor solo. Further tasty embellishments from Otsu’s piano and supreme timekeeping from Ruggierio expand this song into a big band salute. You can almost see imaginary dancers breaking into a gleeful Lindy Hop or Jitterbug as the song’s relentless pulse takes their bodies prisoner.
There’s no denying the tenderness of “Break In the Clouds” and the undeniable sense of hope it seems to promise. A stunning track, Piccolo’s song-writing skills are another serious takeaway from this release, as he and Heavy Juice embroider this rousing ballad with just the right recipe of instrumentation. A sensation of doom and gloom is completely lifted by the accompanying soundtrack to generate this reassuring sense of optimism, both musically and lyrically. Between Piccolo’s fervent vocal and Otsu’s piano, especially, the elements are reordered convincingly.
The slow, piano-driven “Guilty” provides yet another instance of Piccolo’s grasp of transforming the melancholic into something completely gratifying, accentuating the impressiveness of his highly expressive vocal skills.
Enter the title track – “Who Knows What the Future Holds” – for an exhilarating trip back in time as the added touch of New Jersey a capella group, 14 Karat Soul, demonstrates Piccolo’s reverence for doo-wop. This is yet another stand-out song which, thanks to the collective efforts of his skin-tight band playing as one, borders on a highly tasteful slice of funk. Piccolo’s tenor sax solo takes it over the top while the contribution of the backup vocals borders on musical perfection.
If one has to end on a high-point, let it be with “I’m Moving On” – delivered with enough sass and spunk to suggest that Archie Bell and his Drells stand up and take notice. An even closer comparison might be taking the quality of early Blood, Sweat & Tears – a strong, signature guitar sound coupled with dominant horns, blistering B3 and a driving beat, blending blues and jazz to R&B and you get the idea. This could be the very best song on an already excellent album. Moreover, the fact that Piccolo’s vocal more than holds its ground atop such a dominant musical presence testifies that this talented collective can succeed in any musical direction they please. At the same time, this commanding release more than validates Piccolo as a powerhouse vocalist, an exceptional songwriter and an overall force to be reckoned with – regardless of genre. His long-time prowess and status as a heavyweight tenor sax juggernaut gets an update. Once you mix in the silky smooth production from the late, great Terry Manning and Who Knows What The Future Holds proves to be practically perfect for this summer’s playlist.
More details are available here on his website: https://www.gregpiccolo.com
Enjoy some of our previous coverage here: Bentley’s Bandstand: May 2026
Musicians on the album are Greg Piccolo on vocals, tenor sax and and tenor sax solos (3,7,8,10); Shinichi Otsu on Hammond B3, piano,Wurlitzer, synthesizer, bass synthesizer, and background vocals; Bob Ruggiero on drums on all tracks except 9, and background vocal on 1,6; Dean Shot guitar and background vocals; Paul Tomasello on bass on all tracks except 8,9, background vocals on 1,6; Horn section: Mark “Kaz” Kazanoff on baritone sax; Al Gomez on trumpet. And Karat Soul on background vocals on 10.
The album was recorded at Sonic Ranch, El Paso TX; produced by Terry Manning with assistant engineer Felipe Castanada and additional engineering by Evan Baake at the Power Station, Waterford, CT. It was mastered by Richard Rupert of Green Valley Recording. Front cover photo was by Karo Achten; session photos were by Bonnie Tallman; and graphics were courtesy of Lonnie Wilcox of Wilcox Graphic Innovation.