Albare - Plays Jobim Vol. 2

Albare -  Plays Jobim Vol. 2 - Alfi Records

This CD is the second volume by the guitarist Albare devoted to the legendary father of bossa nova, Antonio Carlos Jobim. Like the first volume, there are ten renditions of Jobim's signature songs along with the classic "Summer Samba." Albare co-produced this with Phil Turcio, who did the mixing and mastering. Like the first volume, Joe Chindamo is on piano. Chindamo also made all the arrangements and conducted the orchestra. Ricardo 'Ricky' Rodriguez is on bass again, while Pablo Bencid is on drums on most of this recording, and Luisito Quintero is on percussion. Antonio Sanchez plays drums on two songs, Nestor Torres plays the flute for two, and Randy Brecker plays trumpet on two selections.

Reviewing Albare's earlier volume of Jobim's music, I wrote, "Albare is a romanticist as a guitarist, with his guitar (whether electric or acoustic) in a melodic and lyrical mode. His single-note playing sings the lyrics while adding with genial embellishments to the melody while provided with a light, subtle backing." Like the earlier recording, strings provide a lush, breezy feel for "Dindi," "Summer Samba," "Girl From Ipanema," and "So Dança Samba." Nestor Torres' flute adds a nice touch to "Summer Samba," while Randy Brecker's bright trumpet adds some heat to "So Dança Samba," which also sports an appealing guitar solo. Torres' also adds color to Albare's treatment of "How Insensitive," as does Brecker' again enlivens's muted trumpet on "Favela." Albare's picking lends a poignant case to "A Felicidad" and a reflective interpretation of "Trieste." The album closes with the calming, relaxed "Meditation."

Like the prior Jobim tribute, these are relaxed performances where Albare plays with a deft touch. The resulting music is another easy to listen to recording full of charm that captures Jobim's music's beauty.

I received my review copy from a publicist. Here is "How Insensitive" from this album.

Sleepy John Estes - Newport Blues

Sleepy John Estes - Newport Blues - Delmark

The late Sleepy John Estes was among those blues artists who recorded prior to World War Il whose career was resurrected after being rediscovered as part of the folk boom in the sixties, and received some recognition until his death in 1977. Estes was among the finest folk-blues poets whose songs were often derived from his own experiences. He penned some classic blues themes like Someday Baby which was the basis of Big Maceo's Worried Life Blues. 

Delmark recorded Estes after his rediscovery resulting in several superb and classic albums. They have just issued Newport Blues, which is the first new Estes album on Delmark since 1969, and was recorded after a Newport Folk Festival appearance in 1964. On it, he is joined by Hammie Nixon, a remarkable harmonica accompanist, and jug blower, and Yank Rachell who provided mandolin, guitar, and piano support. Both Nixon and Rachell do get a chance to sing but it is Estes who is at the front. 

Listening to Estes, one is struck by the crying vocals as Estes is heard recreating his pre-War recordings, Secret Agent along with Airport Blues. The latter tune's melody would be appropriated by John Lee 'Sonny Boy' Williamson (who knew Estes and Nixon from growing up in Tennessee) for the well-known Good Morning Little School Girl. Estes also provided new songs including Newport Blues. Estes was a rudimentary guitarist but Rachell provided a firmer rhythm and some fills on guitar or mandolin, while Hammie Nixon's harmonica playing is greatly underappreciated and was an influence on John Lee Williamson. His vocals on NYC Breakdown and Worried Mind Blues are highly moving. 

The music has a rawness reflecting its lack of artifice, but the level of the performances is far above some of the celebrated modern grunge blues. This is a terrific new release.

I received my review copy from Delmark. This review originally appeared in the June 2002 DC Blues Calendar although I have made some minor edits to the original review. Here Sleepy John Estes and Yank Rachell perform in 1966.

Al Muirhead Quintet -Live from Frankie's & The Yardbird

Al Muirhead Quintet -Live from Frankie's & The Yardbird - Chronograph Records

This album captures Canadian trumpeter Al Muirhead in two performances from a 2018 Canadian Jazz Festival tour. Muirhead, whose career spans eight decades (he first recorded in 1953), leads a top-flight quintet on these recordings. Common to both performances are Muirhead on bass trumpet and trumpet, Kelly Jefferson on Tenor Saxophone, and Neil Swainson on bass. Guitarists Reg Schwager and Jim Head, and drummers Jesse Cahill and Ted Warren round up the players on performances from Yardbird Suite in Edmonton, Alberta, and Frankie's Jazz Club in Vancouver, British Columbia.

Before the tour, a setlist of jazz standards was provided for the improvisations. Muirhead writes, "What you are about to hear is not your usual slick, well-rehearsed, beautifully arranged recording. It is music being performed by a group of musicians, some meeting for the first time on the bandstand, playing the music they love. It is raw, spontaneous, and more importantly, it is real. Musicians working together, knowing their roles, their functions, listening to one another to make music." 

Muirhead's is heard primarily on bass trumpet, which one might mistake for a trombone. He and Jefferson are terrific on Sonny Rollins' "Tenor Madness," on which everyone solos. Different performances of the jazz classic open and close this album. Muirhead exhibits a definite warmth and somewhat wooly texture to his sound on the classic ballad "Emily." At the same time, he certainly can build heat playing bass trumpet as he exhibits on Clifford Brown's "Joy Spring." Jefferson impressed this listener throughout with his full-bodied tone, fluid playing, and imaginative, lyrical improvisations. His open trumpet playing is stellar on "Mona Lisa." Guitarist Head shines with his fleet playing on "Emily," while guitarist Schwager dazzles on "Joy Spring."

Listeners will find plenty of heat and heart in this album." Live from Frankie's & The Yardbird" brings together some first-rate, straight-ahead bop and swing characterized by a top-notch ensemble playing and outstanding soloists.

I received a download to review from a publicist. Here is a short soundcheck of "Emily."

Casey James - If You Don't Know By Now

Casey James - If You Don't Know By Now - Self-produced

Singer-guitarist Casey James may be best known as a finalist on the "American Idol" TV show. While blues was the heart of his musical soul, after "American Idol," he was signed to a major-label country deal. However, the limitations of commercial country overlapped only with his passions. More recently, with drummer-producer Tom Hambridge at the helm, he has turned to his love of the blues while also allowing him to display his instrumental skills. His latest album is a set of fiery blues-rock and soulful blues with a healthy dose of soul. A tough studio band supports James' guitar and vocals. The band includes Hambridge on drums, Tommy McDonald on bass, Mike Rojas on keyboards, Rob McNelley on rhythm guitar, Emmanuel Echem on trumpet, Bryan Meggison on saxophone, and Desmond Ng on trombone. Hambridge and Wendy Moten provide backing vocals.

Fans of Delbert McLinton or John Nemeth's bluesier side will likely find Casey James to their taste. His passionate singing and searing blues-rock guitar certainly capture the listener's attention. A couple of songs may be a bit too rock-flavored for the likes of some, the high-stepping groove of "Girl's Got Something" certainly should appeal to most listeners. Then there is a superb ballad, "Here To Please," and the equally soulful, finger-snapping title track with a marvelously crafted guitar solo. Another outstanding performance is the soul-blues of "Wish Me Luck," which again illustrates how convincing a singer James can be as the Rojas' organ and the horns riff in support. Also, there is another well-crafted guitar solo on this song. 

James gets a party groove going on the exhilarating of the funky "Come On Saturday Night." If you aren't at least tapping your feet, have someone check your pulse. There is also some rowdy kazoo playing on this track. Also of note is "Nothing But Time," which sounds like a classic 50's Gulf-Coast swamp pop number. The album closes with the atmospheric, swampy, slide guitar blues-rock two-part "Faith," with James singing and playing his heart out. With the broad mix performances on "If You Don't Know By Now," listeners will be quite aware of whom Casey Jones is. He indeed handles a soulful ballad with as much authority as a stomping blues rocker. 

I believed I received my review copy from Casey James. Here is a recent Casey Jones performance.

Jeremy Monteiro - Live at No Black Tie

Jeremy Monteiro - Live at No Black Tie - Jazz Note Records

One of Singapore's premiere jazz artists, pianist Jeremy Monteiro's career has him playing and recording with such jazz giants and legends as James Moody Benny Golson, Michael Brecker, Herbie Mann, Ernie Watts, Charlie Haden, Carmen Bradford, and many more. In the eighties, he formed a partnership with Eldee Young and Redd Holt, who had been part of the Ramsey Lewis Trip before starting Young-Holt Unlimited. In 1986, Claude Nobs, who produced the Montreux Jazz Festival, was in Singapore and heard a recording by the trio. He called Monteiro and invited him to play the main stage in Montreux, provided he also brought Young and Holt. The trio played, and a live recording was issued of the performance. Thirty-five years later, the pianist was joined by another stellar duo, bassist Jay Anderson and drummer Lewis Nash for a live recording at No Black Tie in Kuala Lumpur, Malaysia.

Monteiro's influences include Oscar Peterson, Erroll Garner, Chick Corea, and Keith Jarrett. From the introductory notes of Dave Brubeck's "In Your Own Sweet Way" to the closing notes of Herbie Hancock's "Watermelon Man," he impresses with splendid technique, touch, timing, and dynamics. He can astonish one minute and then engender a sense of calm. One bravado performance is "Just in Time," where his solos build in volcanic intensity before Nash takes a solo that dances around the performance's rhythms. Bassist Anderson is equally compelling here. Then there is a delightful interpretation of Duke Ellington's "Prelude to a Kiss," where he delicately states the melody and an understated solo leads into bassist Anderson's masterful, imaginative solo. 

Other tracks include the easy swinging original that is a tribute to James Moody, "Mode For Love," with the fluidity and precision of Monteiro's playing standing out with the sublime support he receives. It is followed by a gorgeous melodic ballad, "Josefina," that he wrote for his wife. Then there is "Mount Olive" that he wrote for Eldee Young and Redd Holt, which evokes when Young and Holt took him to a Black Church one Sunday morning. This track suggests the classic late sixties recordings from Ramsey Lewis and then Young-Holt Unlimited. 

The rest of the album is on a comparable level. "Life Goes On" has an impressionistic flavor, while the trio's interplay is exemplary for "Monk on the Mountain." This number is not about the jazz pianist and composer but inspired by an American who gave up his worldly possessions to become a Buddhist monk. Monteiro's dazzling playing is complemented by Nash's pulse and Anderson's counterpoint. The closing take on "Watermelon Man" brings this superior piano trio recording to a close. It must have been quite a time for the audience at No Black Tie audience when Monteiro, Anderson, and Nash performed.

I received my review copy from a publicist. Here is an 2016 performance of "Mount Olive" by Jeremy Monteiro with a different group.

Roseanna Vitro - Listen Here

Roseanna Vitro - Listen Here - Skyline Records

"Listen Here" reissues Roseanna Vitro's 1984 album that launched her remarkable recording career. Vitro has been one of the most notable jazz vocalists in her over a 35-year career with dynamism in her performances. Her clear diction, pitch, the dynamics of her horn-like phrasing, and expressiveness have engrossed audiences over this time. On this recording, Vitro was handsomely backed by a superb rhythm section; pianist Kenny Barron, bassist Buster Williams, and drummer Ben Riley. Arnett Cobb adds his tenor sax on three selections, Bliss Rodriguez replaces Barron on one track, Scot Hardy is on guitar for one selection, and Duduka Fonseca adds percussion for two.

This was a remarkable session starting with the sterling opening rendition of the Bossa Nova standard "No More Blues." She captures the listener immediately. On an album of exquisitely rendered classic songs, a few tracks stand out, such as her rendition of Ellington's "Love You Madly." Her horn-like singing and scatting are matched by Cobb's tenor sax and Barron's superlative solo. "Centerpiece," with just Rodriguez and Cobb accompanying her, also stands out with Cobb's outstanding tenor sax complementing her superb singing. Then there is the supple support of the longing she expresses in "A Time For Love." This song is followed by the joyfulness exhibited on "This Happy Madness," the reflective performance of the title track, and the jubilant swing of "It Could Happen to You," with yet another stellar Cobb solo.

Steve Allen wrote the liner notes that are reprinted on this reissue. "Is Roseanna Vitro a jazz singer? Yes, but no means only that. Her voice, the basic sound, is lovely, her diction clean. Though she sings and phrases with experienced authority, there is something charmingly girlish and feminine in the sound, long may it wave." Allen's 35-year old words ring true still today as she continues to enthrall us with her live performances and recordings. Thirty-five years after its initial release, "Listen Here" sounds fresh and vital, and its rerelease is most welcome.

I received my review copy from a publicist. Here is a recent video of Roseanna Vitro performing.

Jack Brandfield - I'll Never Be the Same

Jack Brandfield - I'll Never Be the Same -Gut String Records

Born in New York City in 1998, tenor saxophonist Jack Brandfield debuts with a drummer-less trio album backed by guitarist Randy Napoleon and bassist Rodney Whitaker. The latter two were on the Michigan State University faculty, which Brandfield attended while earning a B.M degree. Before attending Michigan State, Brandfield was a student at the Laguardia School For the Arts, and then at Lincoln Center's Youth Academy, he worked in ensembles directed by Ted Nash, Vincent Gardner, and Melissa Aldana. Presently he lives in Miami, where he is a graduate student at the Frost School of Music at The University of Miami.

About this album, he writes, "The title track, "I'll Never Be The Same," speaks to the inspiration behind the making of my debut album. For the past four years, I've had the great pleasure to be under the mentorship of two of my favorite musicians, Rodney Whitaker and Randy Napoleon. The knowledge and insight I received from them on what it means to swing, how to present a melody, and the importance of carrying the torch for this great American art form will stay with me for the rest of my life. The making of this album is a celebration of the friendship and bonds I built with them."

This statement describes the music on this recording, which is like a graduate thesis on interpreting the American Songbook. Brandfield brings a full-bodied tone and plenty of warmth to the standards he interprets, with Napoleon and Whitaker providing supple support. Listening to his rendition of "Over the Rainbow" or the title track," one is struck by his tender melodicism. He certainly can swing as he exhibits on "Lover Come Back to Me" and "On a Slow Boat to China." There is the delight of his rendition of Thad Jones' "Bossa Nova Ova," the sublime pleasures of the "Ballad Melody," and a superb performance of Ellington's "Do Nothing Till You Hear From Me."

Brandfield also stated about this recording, "The drumless trio is a sound that has always captivated me since hearing "Stan Getz Meets The Oscar Peterson Trio" at a young age. That album was a gateway for me to hear all the great tenor players of the 20th Century, such as Ben Webster, Johnny Griffin, and Zoot Sims, who are a few of my favorites. I have always tried to emulate their ability to sing through the horn with confidence and a sense of subtlety and beauty. On the record, I pay tribute to these inspirations by attempting to do what they did best, presenting my favorite melodies with my own voice." 

Like those great legends who inspired him, Jack Brandfield indeed sings through his horn, and this album introduces us to a marvelous new tenor sax voice that we look forward to hearing more from in the future.

I received my review copy from a publicist. Here is a video of Jack Brandfield performing

JAMES HARMAN Mo’ Napkins Please: ...Strictly the Blues... Vol.2

Sad to hear about James Harman's passing. Here is a review from 2000 that I have not previously posted.

JAMES HARMAN

Mo’ Napkins Please: ...Strictly the Blues... Vol.2 

CANNONBALL (2000)

James Harman has built a well-deserved following with his strong blues vocals, harp playing, and songwriting. Cannonball has just issued this new album of recordings from the 80s, that come from the same 1984-1987 sessions that produced Strictly the Blues...Extra Napkins: Vol. 1. These sessions reunited him with some alumni of his band as well as other top-rated West Coast performers including guitarists Hollywood Fats, Junior Watson, and Kid Ramos; pianists Gene Taylor and Fred Kaplan; bassists Willie J. Campbell and Larry Taylor; and drummer Jimi Bott. 

The tunes are a collection of classics and originals that are modeled on classic blues recordings. The title track is a hot shuffle with some Little Walter-styled harp as Junior Watson rips off a Willie Johnson-inspired solo as the tune evokes Howlin’ Wolf’s Memphis recordings. "Annalee", dedicated to Tommy Johnson and Robert Nighthawk, is a Harman original lyric with Kid Ramos’ guitar adding some Texas flavor to the number. "Too Much Family," a rocking lament about his in-laws overcrowding the house features some terrific Hollywood Fats guitar, also in a Willie Johnson mode, who trades eights with drummer Stephen Taylor Hodges. "Icepick’s Pawnshop Blues," based on the "Forty Four Blues," has Harman lay down harp and his vocal is accompanied only by Fred Kaplan’s piano and Hodges on drums. Mix in these distinctive Harman originals with first-rate covers of The Five Royales’ "(Feel Like) Messin’ Up," Champion Jack Dupree’s "Shim Sham Shimmy," Gatemouth Brown’s "Dirty Work at the Crossroads," and Lightnin’ Hopkins’ "Jake-Head Boogie." The latter tune finds him backed only by Kid Ramos’ guitar evoking the King of Dowling Street’s memory quite effectively. Gene Taylor has a boogie-woogie feature, "The Falcon’s Nest," that showcases his ability to tickle the ivories.

By the time the album closes with an acoustic reprisal of the title track, one is satiated with the musical delights here.

This review is from the May-June 2000 Jazz & Blues Report. I likely received a review copy from Cannonball Records or a publicist. I have made minor grammatical edits to the original review. Here he performs "Extra Napkins."

New Moon Jelly Roll Freedom Rockers - Vol. 2

New Moon Jelly Roll Freedom Rockers - Vol. 2 - Stony Plain

This is the second album from the New Moon Jelly Roll Freedom Rockers. As I noted in the review of Vol. 1, the genesis for the New Moon Jelly Roll Freedom Rockers was on a tour bus when Mavis Staples and Charlie Musselwhite hot the road together with the North Mississippi All Stars. Eventually, Luther Dickinson (guitar, mandolin, and bass) and his brother Chris (drums and washboard) sat down for a guitar jam with ex-Squirrel Nut Zippers leader Jimbo Mathus, along with their father, Jim Dickinson (on piano), and blues greats Charlie Musselwhite (on harmonica) and Alvin Youngblood Hart (guitar and mandolin) for a blues and roots music celebration under the rubric of the New Moon Jelly Roll Freedom Rockers. After Jim Dickinson died in 2009, the recordings hung out in archives until Stony Plain founder Holger Petersen heard about the sessions. He expressed his enthusiasm to release the recordings. Luther Dickinson and his partner/engineer Kevin Houston finished the production of this and the earlier album.

Things start with Charlie Musselwhite's "Blues For Yesterday," a song recently re-recorded with Elvin Bishop. In addition to his harmonica, there is some sterling slide guitar in the backing (by Hart?). Alvin 'Youngblood' Hart handles the vocal on the revival of the Sir Douglas Five rocker, "She's About a Mover." I assume Jim Dickinson played the cheesy Farfisa organ on this. 

Jimbo Mathus wrote and sings a raucous shuffle "Searchlight (Soon in the Morning)" with Musselwhite wailing on harmonica and Jim Dickinson rollicking on piano besides Mathus' effective guitar solo. Mathus' "Greens and Hams" is a marvelous original that evokes Tommy Johnson and Charlie Patton. Jim Dickinson is featured on four vocals, including a late in the evening sounding interpretation of Charles Mingus' "Oh Lord, Don't Let Them Drop That Atom Bomb On Me." One can hear another Dickinson vocal on a cover of Junior Wells' "Messin' With the Kid." This latter performance provides another showcase for Musselwhite's harmonica along with some stinging guitar (from Luther Dickinson?).

Musselwhite returns for the swamp blues feel of his topical original, "Black Water," which is followed by Alvin 'Youngblood' Hart's country blues original, "If Blues Was Money," with Musselwhite's harmonica supporting Hart's husky singing. Luther Dickinson might have added a mandolin to this track. Luther Dickinson's whiny slide guitar is at the fore for his thoughtful rendition of Earl Hooker's "Blue Guitar." Jim Dickinson closes this volume with an atmospheric cover of The Mississippi Sheiks' "Blues Is a Mighty Bad Feeling," with a steady groove, moody guitar, and harmonica. 

About the first volume, I concluded, "The performances are mostly top-flight, resulting in some serious fun." This quote also pretty much summarizes the music on this disc as well. Like the first volume, this album will have considerable appeal to blues and roots music fans. 

I received my review copy from a publicist. Here is "She's About a Mover" from this album.

Eugene 'Hideaway' Bridges - Man Without A Home

Eugene 'Hideaway' Bridges - Man Without A Home - Armadillo

Another new album on Armadillo is Eugene 'Hideaway' Bridges, Man Without a Home. This writer is not familiar with Bridges, but this is apparently his second album, but he is among the younger blues-soul singer guitarists, and I suspect he is from around Memphis. Produced by Bridges with former DC Blues Society President Michael Roach, this is a terrific disc that merits wider exposure as he writes and sings about the heartaches and joys of the male-female relationship. 

Bridges recounts how he Used to Sing Love Songs with bright brassy horns backing his vocals and clean, fleet guitar playing, but now all he sings is the blues, the rocking shuffle that opens this disc. If I was going to compare him to other bluesmen, I might suggest Bridges is a bit more vocally intense version of the late Mighty Joe Young or Fenton Robinson. One can hear more than a touch of Sam Cooke in his gospel-rooted singing. You're Gonna Miss Me is a walking tempo blues with a down-home groove, Bridges' declaration he is a Bluesman borrows a bit from the Isley Brothers' Fight the Power, while he takes the tempo into the alley on the slow blues where he feels so alone like a Man Without a Country, Man Without a Home. 

Movin' and a Groovin' is one of two numbers associated with Sam Cooke, the other being the ballad I'm Fallin' In Love, and Bridges' vocals evoke the legendary soul giant. He is that good a singer. I'll skip the track by track analysis except to note that the band is really solid, Bridges' fluid fretwork is a delight throughout, and the horns add punch and musical coloring behind his powerful performances,

I believe I received a review CD from Armadillo, This review originally appeared in the June 2002 DC Blues Calendar, although I have made some minor edits to the original review. Amazon shows copies of this CD, new as well as used, as being available. It is available on streaming platforms. Here is Eugene 'Hideaway' Bridges performing.

TuneTown - Entering Utopia

TuneTown - Entering Utopia - Three Pines Records

About the debut album "There From Here," by the Canadian trio TuneTown, I concluded, "While the members of TuneTown are each excellent players, playing together, they are a superlative trio." This recording is the new release by the trio of Kelly Jefferson (Saxophones), Artie Roth (Bass), and Ernesto Cervini (Drums, Percussion & Bass Clarinet). The present album, like the debut, is a mix of originals (including contrafacts) and standards.

Cervini's "Hello Today" introduces all three as they alternate with brief solos. Jefferson particularly impresses on a bluesy performance that suggests an acidic Johnny Hodges. Roth contributed the title track, a radical reworking of "Out of Nowhere," with a gorgeous sax solo over a floating pulse. Cervini's "Billyish" is a hard-bop original showcasing Cervini along with Jefferson's sterling sax. 

Other notable tracks include Roth's "Sycamore," a contrafact of "Poinciana," set to 7/4 time with a captivating performance, and the interpretation of Charlie Parker's "Cheryl" with brawny sax from Jefferson and Cervini's propulsive drum solo. On the closing "Blue Gardenia," Cervini is on the bass clarinet instead of drums and provides texture and counterpoint to Jefferson's sax, with Roth's bass anchoring an evocative performance. 

Also, there are several free-form trio improvisations on an album that is an outstanding follow-up to their debut album. TuneTown certainly is making its mark as a first-rate contemporary jazz ensemble.

I received a download to review from a publicist. Here is their performance of "Sycamore."

Trevor B. Power- What is Real

Trevor B. Power- What is Real - Farm 189 Records

New Jersey rocker Trevor B. Power has recorded an album of original rock and blues numbers played with a definite flair. Besides singing, he plays guitars and harmonica. Co-producer Anthony Krizan also plays guitars, drums, bass, tambourine and adds backing vocals. Will Wilde adds harmonica to one selection, John Ginty plays the B3, and Rob Clores plays piano and also the B3. Except for Wilde's harmonica on "Get Well Johnny," the specific personnel on specific selections is not identified. (Wilde's contribution is specified in the publicity, not on the CD).

Opening with a hard rock topical "World Gone Madd," Power sings robustly with slight gravel in his voice against an emphatic backing with whining slide guitar. It's followed by a funky blues, "Get Well Johnny," devoted to his older brother with some wailing harmonica from Wilde. The publicity makes a comparison of Power to John Mellencamp. One can hear similarities in Power's topical song, "Pandemic (2020)." This song relates to people's spirit in striving to overcome these difficult times.

"Easier Way" is a driving blues with plenty of Hound Dog Taylor meets George Thorogood broom-dusting slide guitar and a gravelly, almost spoken vocal. "Life Is Good" is a solid old-fashioned rock and roll with rollicking piano from Clores. There is more hard rock with "Sexy Bitch," a duet with Danielle Illario. Power's hoarse shouting vocal here may be his weakest, but Illario sings with a definite appeal. Up after this is a country-styled lament "I'm a Fool," and a bluesy shuffle "Woman," with some evocative slide guitar and restrained backing. 

A Dylan-esque number, "This Old Road," has a moody, pensive vocal while Power plays an acoustic twelve-string guitar. It closes an album that crosses genres with a number of appealing performances.

I received my review copy from a publicist. Here is "Pandemic (2020)."

Jeff Ellwood - The Sounds Around My House

Jeff Ellwood - The Sounds Around My House -Self-produced

Jeff Elwood's "The Sounds Around My House" is an auspicious debut for the tenor saxophonist as a leader. A Southern California native, Ellwood leads a quartet of Alan Pasqua on piano, Dark Oles on bass, and Joe LaBarbera on drums. Bob Sheppard adds his tenor sax to one selection. This band is heard on a nicely programmed set of tunes that includes an Ellwood original, three Pasqua originals, and one original by bassist Oles.

Ellwood's "U-R," a contrafact based on "All the Things You Are," is the opening selection and introduces us to Ellwood's robust playing with little vibrato, backed by an excellent, swinging rhythm section. After his solo, pianist Pasqua carefully crafts his solo with a deft touch, followed by skilled solos from Oles and LaBarbara. Following this performance are two of Pasqua's originals. "Agrodolche" is an engaging ballad with charming performances by Ellwood and Pasqua. "Old School Blues" is a modern blues composition, shifting between minor and major modes. Ellwood's mastery of the saxophone's full tonal range is on display here. The title track is a lesser-known song from Alec Wilder and Johnny Mercer. Pasqua's restrained playing introduces this enchanting performance.

Ellwood pays homage to Rick Margitza, a saxophonist who had a significant impact on him, in a dreamy performance of Margitza's "Provence." With Bob Sheppard adding a second tenor sax, Ellwood pays homage to Dick Oatts on Oatts' "King Henry." Pasqua's chord work helps provide the foundation for a Coltrane-styled performance with the two contrasting saxophonists. Sheppard has a huskier tone, compared to Ellwood's more airy delivery. Pasqua writes very memorable melodies, and his "Barcelona" is another composition that allows Ellwood's lyrical playing to shine. Bassist Oles shines on this number. Bassist Oles contributed the hard, swinging "The Honeymoon," with Ellwood further displaying his playing's fluidity and clarity. Pasqua is dazzling on this, while LaBarbera is explosive on his solo. 

The album closes with Ellwood and Oles's exquisite duet interpreting "For Roger," composed by Joe Magg. It caps a superb album of robust, contemporary jazz by an outstanding saxophonist supported by an excellent band.

I received my review copy from a publicist. Here Jeff Ellwood is heard on "All or Nothing at All.

Doug MacDonald Duo - Toluca Lake Jazz

Doug MacDonald Duo -  Toluca Lake Jazz - Self-produced

The latest album from guitarist Doug MacDonald is of duets with bassist Harvey Newmark. Now located on the West Coast, MacDonald is a Philadelphia native who was inspired by such guitarists as Joe Pass, Johnny Smith, Howard Roberts, and Wes Montgomery while forging a personal style. About his playing, I remarked, "He impresses with his clean, fleet and imaginative attack and thoughtfully constructed solos." Bassist Newmark was born in Hollywood, California, who took up the bass in middle school. His experiences include working with the Buddy Rich Big Band, Lew Tabackin, Carmen McRae, Joe Henderson, and many others. He also has played with various classical orchestras as well. 

The intimacy provided by a guitar-bass duet allows MacDonald's beautiful tone to shine as much as his creative mix of single-note runs and chords, while Newmark provides a rhythmic anchor with his fat lines. The recording starts with a delightful rendition of "Flamingo," a song associated with the one-time Ellingtonian Herb Jeffries with whom MacDonald worked. The pair take listeners to Brazil for a lovely samba, The Little Boat," as MacDonald chording while Newmark solos. Among other charming performances are the beauty of "These Foolish Things" and "Easy Living," which showcases bassist Newmark.

MacDonald says he wrote the title track for a big band. I have not heard the big band rendition, but the performance here suggests this song is a contrafact of "Cherokee." "Is This It" is a solo guitar featured based on the chord changes of "What Is This Thing Called Love." "De-Ha," with its boogaloo rhythm, is an interesting original that is structured differently for the melody and the solos. Then there is an intriguing interpretation of Coltrane's "Village Blues." 

A lively original, "New World" serves to close out a most delightful recording.

I received my review copy from a publicist.

Dave Thomas - One More Mile

Dave Thomas - One More Mile - Blonde on Blonde Direct

With a music career going back to 1969, Welsh-born singer-songwriter- guitarist-harmonicist Dave Thomas brings over a half-century to this new release centered around the blues. There are three different sessions represented, including one in Cleveland with Travis Haddix's horn section. Another session from Ireland where that session's producer, Declan Sinnott, plays all the instruments except the harmonica. The final session was in Bristol with Ken Pustelnick's Groundhogs. 

With Tom Arnold on the organ and Terry Popple on drums, the album opens with a marvelous cover of B.B. King's "It's My Own Fault." Thomas comes across as a top-notch, soulful singer with an unforced vocal delivery with strong horn-driven urban blues backing. His own "I Like My Chicken Fried" showcases some solid interplay between Thomas and Arnold, while Thomas' down-home harmonica is showcased behind somewhat laid-back singing on James Cotton's "One More Mile." There is a three-song acoustic set with Declan Sinnott providing the backing for Thomas' warm, sober singing. "I Want the Blues," where Thomas sings about finding comfort in the blues from everyday troubles. In contrast, He shows a reflective side in the folk-ballad "You Danced in My Kitchen."

The final trio of songs has him backed by the Groundhogs in a blues-rock vein. The last three songs are by Tony McPhee, who led this pioneering British blues band in the 1960s, where they backed touring acts, including John Lee Hooker. There is a late 60s' psychedelic feel with whining slim guitar against a trebly bass riff on the environmental anthem "Garden." Then there is the hard rock-inspired "Eccentric Man" that comes off as heavy-handed. Thomas only adds his vocals here, but these were the least appealing to this listener. 

It would be easy to recommend a full album of Dave Thomas in the urban blues vein of the first four selections, or one with a few acoustic selections mixed in. He is a very talented singer but does get a bit overwhelmed (for my taste) by the rave-ups of the final three songs. Despite my reservations, I enjoyed this album.

I received my review copy from a publicist. Here is the title track.

Bob Corritore & Friends - Spider in My Stew

Bob Corritore & Friends - Spider in My Stew - Vizztone/SWMAF Records

This album is yet another compilation from Bob Corritore with the veteran blues harmonica teamed with some of today's most outstanding blues artists for many wonderful traditional Chicago blues. Among those heard, with Corritore's harp backing, are Sugaray Rayford, Lurrie Bell, John Primer, Alabama Mike, Diunna Greenleaf, Francine Reed, Johnny Rawls, Oscar Wilson, Willie Buck, and Bill & Shy Perry. Bell, Primer, Rawls, and Bill Perry also contribute guitar. Other guitarists on this album include Bob Margolin, Junior Watson, Kid Ramos, L.A. Jones, Jimi 'Primetime' Smith, and Jimmy Rapp. Among the keyboard players are Fred Kaplan, Shea Marshall, Doc Holiday, and Bob Welsh. Bob Stroger, Adrian Marie, Kedar Roy, and Troy Sandow are among the bassists, while the drummers include Brian Fahey, Andrew Guterman, Marty Dodson, and June Core. Shea Marshall and Doug James are heard on saxophone.

With this contemporary group of blues all-stars, one should not be surprised with just how good some of these performances are, starting with Oscar Wilson's robust singing on a cover of Fenton Robinson's "Tennessee Woman." Sugaray Rayford's "Soul Food" is one of the few originals here. It sounds like a hot 50's Memphis shuffle as he exuberantly shouts about going to get Big Mama's Soul Food. Corritore's fat wet tone evokes Papa Lightfoot here while drummer Marty Dodson channels Fred Below. Alabama Mike transforms Chuck Willis' "Whatcha Gonna Do" into what it might have sounded if Jesse Fortune had recorded it in Chicago. Junior Watson is outstanding on guitar. Mike also updates Harmonica Slim's "Drop Anchor."

Koko Taylor sang the original rendition of Willie Dixon's "Don't Mess With The Messer." Diunna Greenleaf makes this song her own on a recording that evokes Willie Dixon's productions. Here Corritore playing more in a Sonny Boy Williamson II manner. Add Doug James' rousing baritone sax solo and one has a gem of a performance. Willie Dixon also wrote the title track, which Lurrie Bell pours his heart into with fervent singing and white-hot guitar while Corritore shines on chromatic harmonica. Johnny Rawls contributes a soulful B.B. King-styled "blues, "Sleeping With the Blue." 

With trebly guitar from Kid Ramos and Johnny Main, Francine Reed powerfully updates the Staples Singers "Why Am I Treated So Bad" and Bob Dylan's "I Shall Be Released." Another standout selection is Willie Buck's channeling of Muddy Waters on "Soon Forgotten." Jimi 'Primetime' Smith's guitar, Fred Kaplan's piano, and Corritore's harp contribute to evoke the Chicago blues legend on this stellar cover. Everything on this album is wonderfully played, and again Bob Corritore has put together a collection of first-rate Chicago-styled blues with so many outstanding selections.

I received my review copy from VizzTone. Here is Bob Corritore and Sugaray Rayford.

Daryl Davis - American Roots

 Daryl Davis - American Roots - Armadillo

Daryl Davis is a fixture on the DC music scene and arguably one of the finest blues and boogie-woogie pianists anywhere, not just in DC. Influenced by many of the greats of jazz and blues piano, Davis was fortunate to have been taken under the wing of Chuck Berry's pianist, Johnnie Johnson, and the legendary Pinetop Perkins, who helped him mature into a master of blues and boogie-woogie piano. Additionally, as those who have witnessed his performances at clubs, festivals, or swing dance, he is no slouch on a guitar. While it has taken some time, he has put together an album, American Roots on the British Armadillo label. 

Put together at several sessions in the area, the disc displays Davis' versatility and is certainly a lively album which is at its best when his piano is at the fore. Comprised of originals, some like the rollicking I'm a Boogie Man display the pumping piano and Daryl's energetic vocals, although the backing vocal chorus is dispensable. As many know, Daryl often works with Chuck Berry, and We All Owe a Debt is a tribute to his sometimes employer. Other tunes evoke other legends of blues and rock'n'roll, including Little Richard (Let Me Boogie With Your Woogie) and Jerry Lee Lewis (Going Back to the Country). However, Lewis seems more of an influence on Davis' playing. Phil Wiggins adds his harmonica to this selection. 

With a variety of backing musicians present, the level of the groups varies, with some of the rhythm sections are more workmanlike than others. Bob Margolin lends his guitar to a rocking Broadminded, one of two selections on which Ron Holloway adds his authoritative saxophone. Two piano features, Double "D" Blues, a tribute to Johnnie Johnson, and the closing Y2K Boogie, dedicated to Pinetop Perkins, display his terrific piano playing. I'm Coming Back is a terrific slow blues that suggests that Davis could produce a killer straight blues album.

Some of the material may be a bit lightweight, but this is in keeping with Davis' ability to get people up and dancing. And his playing is never insubstantial. 

I likely received this CD from Armadillo, This review originally appeared in the June 2002 DC Blues Calendar. Many of the songs here are available on a CD Daryl produced, Greatest Hits. Here is Daryl performing.

Larry Johnson - Midnight Hour Blues

Biograph has issued an exemplary country blues disc. Still active in New York today, Larry Johnson's musical star shined brightly in the sixties and early seventies, but as the magnificent 1971 recordings on Biograph's "Midnight Hour Blues" show, it is criminal that his talent has languished in obscurity while less talented artists are acclaimed as acoustic legends. A student of the Reverend Gary Davis, Johnson displays plenty of the facile Piedmont style on this release while John Hammond provides some terrific accompaniments on slide guitar or harmonica which thoroughly compliment Johnson on the sprite opening "Blood Red River," the morose "One Room Country Shack," and the other blues heard here. Johnson's vocals are as delicious as the striking instrumental work. Hammond joins Johnson on a vocal on the closing "Tell Me Mama." Simply a terrific release that is welcome back on the scene. 

Today would have been Larry Johnson's 83rd Birthday. He was born on May 15, 1938, in Wrightsville, Georgia.  I recently came across this brief review I did in 1995 of a reissue of Larry's Biograph album, "Midnight Hour Blues." It was originally issued as "Country Blues." I likely received my CD from a record distributor. Here is a video of Larry performing the great Leroy Carr song, "Midnight Hour Blues."

The 14 Jazz Orchestra - Cartoon Bebop

The 14 Jazz Orchestra - Cartoon Bebop - Dabon Music LLC

Here is the latest release from the South Florida Big Band under the leadership of composer/arranger Dan Bonsanti. About this 13 piece band's prior release, "The Future Ain't What it Used To Be," I wrote that it was "effervescent, contemporary big band recording with a nice selection of songs and strong musicianship." Bonsanti contributed two compositions, the title track and "A Day Tripper's Blues Buffet," which combined motifs from the Beatles number with a blues. Other pieces come from Chick Corea, Stanley Clarke, Airto Moreira, Herbie Hancock, Wayne Shorter, and others. 

The personnel included folks recording out of their home studio in part because of the pandemic. He engaged folks from around the country, including trumpet players Bretty Murphey in Wisconsin and Jason Carder in Arizona, and trombonist Dana Teboe in Maine. Bonsanti also engaged drummer Peter Erskine in Los Angeles, and woodwinds players Ed Maina in Tennessee and Tom Tinko in New Jersey. Guitarists Lindsey Blair and Randy Bernsen, drummers Lee Levin, Jack Ciano and Mike Harvey, woodwinds players Ed Calle, Peter Brewer, and Neal Bonsanti (Bonsanti's brother), bassists Nicky Orta, Tim Smith, Jamie Ousley, and Matt Bonelli, pianists Mike Levine and Kemuel Roig, and percussionist Richard Bravo all recorded from different locations around Florida. Bonsanti credits his engineer, Mike Levine, for the superb job stitching together the various parts into a seamless whole.

Bonsanti's handsome arrangements add to the flavor of this recording. The title track starts the fun and is based on music from the old Rocky and His Friends cartoon with some motifs from Charlie Parker and Thelonious Monk added. It has an attractive arrangement, a robust tenor sax solo from Ed Calle, Jason Carder's searing bop trumpet, and Ed Maina's fiery alto solo supported with fresh horn riffs. Also of note is Bonsanti's treatment Brazilian flavor of Moreira's "Misturada." There is sparkling piano from Kemuel Roig and Lee Levin's crisp drumming. Stanley Clarke's "Dayride" provides big band fusion funk with Lindsey Blair standing out on guitar and Calle taking it to the alley in tenor sax.

There are a couple of Chick Corea tunes heard here. "Got a Match?" is taken at a feverish tempo with searing Calle tenor sax and Ed Maina's effervescent piccolo. "Duende" is a lovely ballad with Neil Bonsanti (Dan's brother) on oboe. Herbie Hancock's "Driftin'" is a straight-ahead relaxed swinger with Maina tearing into a bluesy solo while Jason Carder's mute trumpet evokes Sweets Edison. Then there is Leslie Bricusse's lovely ballad, "When I Look Into Your Eyes," that was written for the movie "Dr. Doolittle." It has been recorded by Jack Jones, Sammy Davis Jr., Nancy Wilson, and Tony Bennett. It is a showcase for Calle's warm tenor sax set against a beautiful setting. There is also a striking rendition of Wayne Shorter's "Infant Eyes," with Randy Bernsen's enticing guitar and Mike Levine's spare, well-crafted piano solo.

The album closes with "A Day Tripper's Blues Buffet," which comes off like a mash-up of the Beatles' classic, "Night Train," and "Blues in the Night." This spirited performance features Ed Calle's rousing tenor sax and Lindsey Blair's blues-rock guitar. It caps another excellent big band recording from The 14 Jazz Orchestra.

I received my review copy from a publicist. Here is a pre-pandemic performance of The 14 Jazz Orchestra.

Wayne Alpern & Dorian Wind Quintet - Jukebox

 

Wayne Alpern & Dorian Wind Quintet - Jukebox - Henri Elkan Music

According to his website, "Wayne Alpern ALPERN is a New York City composer, arranger, and scholar who integrates popular and jazz idioms with classical techniques and repertoire to create a sophisticated contemporary style of cross-genre, or even post-genre music. After years of composing complex new music, he embraced his personal history and indigenous musical culture and fused them with his classical background and training. His work includes numerous jazz arrangements, string quartets, woodwind and brass quintets, mixed ensembles, pieces for string orchestra, and several piano works."

This present recording consists of his arrangements for the Dorian Wind Ensemble of twenty songs from the classics, Broadway, jazz classics, and rock-pop standards. The Dorian Wind Ensemble consists of Gretchen Pusch on flute, Gerald Reuter on oboe, Benjamin Fingland on clarinet, Karl-Kraner-Johansen on horn, and Adrian Morejon on bassoon.

The Wind Ensemble's performance of the arrangements transform compositions such as "Blue Moon," Fleetwood Mac's "Don't Start Believing,'" Charlie Parker's "Ornithology," The Beatles' "Penny Lane," and the Stephen Sondheim classic "Send In the Clowns" into chamber ensemble gems. The resulting performances are such that they might be comfortable being on a Masterpiece Theater show (and one of the tunes performed is the "Downton Abbey" theme). 

Alpern's arrangements also give considerable charm to Duke Ellington's "In a Sentimental Mood," "Do-Re-Mi" from "The Sound of Music," and the "Nutcracker Suite." "Jukebox" is a fascinating and delightful recasting of familiar numbers that may be easy to listen to but has solid musical substance.

I received my review copy from a publicist.

John McLean and Charles Barkatz - Shadow Man

John McLean and Charles Barkatz - Shadow Man - Leaky Shoes Records

Author and composer John McLean has developed into an eclectic, multi-talented artist who has followed his theater, cinema, and musical passions. The Manhattan, NY native, brought up on a ranch near Dallas, Texas, and studied writing and theater in Boston. As a jazzman, John has been a leader of several groups in Paris, where he became associated with his duo partner, partner Charles Barkatz. He also appeared at the Cornelia Street Cafe in Greenwich Village, NY. 

Barkatz, a Paris native, first started playing classical guitar. After he became influenced by Muddy Waters, B.B. King, John Lee Hooker, and especially Jimi Hendrix, he started playing in a blues vein. Later after seeing West Montgomery and Kenny Burrell in Paris, concentrate on learning jazz technique. He records and regularly plays in the U.S at the Blue Rooster and the Five O'clock Club in Sarasota with guitarist/singer Al Fuller and Tampa with the singer Peter D'Straw. He and McLean collaborated on his 2019 CD, "So Nice to Come Home To."

The two handle the vocals on this Kaz Kazanoff produced CD. Kaz and the Texas Horns are part of the musicians backing McLean's vocals and Barkatz's vocals and guitars. Other players include Derek O'Brien on guitar, Nick Connolly on keyboards, Chris Maresh on bass, and John Chipman on drums and percussion. Alex Cole on reeds and Elaine Barber on harp both contribute to two tracks each.

The music on "Shadow Man" reminds me of a jazzy John Mayall recording. McLean's vocals mainly remind me of Mayall, while Barkatz adds some tasty blues guitar. Add riffing horns and unusual horn solos such as Al Gomez's amplified muted trumpet on the opening "Leaking Shoe Blues." The songs don't knock me out. I find that sometimes the lyrics sound as if words strung together to rhyme, such as on "Brooklyn Blues Cafe." This song is about a Paris, France bar and provides Barkatz an opportunity to display a different guitar attack. Kaz Kazanoff also takes a booting tenor sax solo on this tune. 

There is the evocative blues ballad, "Lucia," where Alex Coke's soprano sax solo stands out. Another slow atmospheric blues is "Silver Lake," sung in French and with a haunting guitar solo. The title song is a bouncy shuffle with a refrain of "Dance Dance Dance for the Shadow Man" and more scintillating guitar. Kazanoof's horn arrangement for "She Cry Blues" lends that performance a Boz Scaggs flavor. "Black Train" is yet another solid moody performance with Kazanoff contributing mournful harmonica.

"Shadow Man" is a well-played and produced album. With Charles Barkatz's first-rate guitar, solid ensemble backing, Kaz Kazanoff's production, and McLean's singing, this is an appealing, bluesy album.

I received my review copy from a publicist. Here is a video of "Leaking Shoe Blues."

Dexter Allen Keep Moving On

Dexter Allen - Keep Moving On - Endless Blues Records

This new album by singer-songwriter-guitarist Dexter Allen is a mix of straight-ahead urban blues and southern soul. Years of playing lead guitar with Bobby Rush can be heard in the funk-tinged performances here, if not quite as bawdy as Rush. Through overdubbing, Allen plays keyboards and bass in addition to guitar. Others on this date include drummers Christopher Minter and Joey Robinson and the keyboards of Joey Robinson.

A comparison for Allen might be Theodis Ealey (thinking especially of Ealey's Ichiban albums and songs like "Bluesman Lover"), in his mix of songs that are traditionally rooted along with a touch of straight soul. Allen has an appealing baritone voice, and he plays straight-forward, idiomatic guitar. He more capably handles a straight shuffle like "Pack Up My Bags," where he sings about moving far away from his woman who treated him like a dog. The title track deals with people coping with everyday struggles, but one should keep their hopes up. "F.A.B.U.L.I.S.T. Woman" is a down-in-the-alley blues about this woman that won't do right. 

Allen's soulful side is perhaps best shown on "I Just Love That Woman," with appealing deep from the gut singing, along with "Can't Live Without You." The music of the latter number evokes the Toussaint McCall classic, "Nothing Takes The Place of You," Allen takes us to church with his singing here as he tells his girl she's the best thing for him, and he doesn't want to lose her love. Then there is a funky appreciation of a lady's shaking her body on the dance floor, "I Like The Way."

Overall, this album is a solidly produced blues and soul recording. Dexter Allen stands front and center with the first-rate music present on "Keep Moving On."

I received my review copy from a publicist. Here is a video of Dexter Allen performing.

The David Angel Jazz Ensemble - Out on the Coast

The David Angel Jazz Ensemble - Out on the Coast - Basset Hound Productions

The David Angel Jazz Ensemble grew out of the rehearsal band that Angel began in 1969. While the group featured many West Coast jazz giants over the years, it currently consists of 13 top-notch players to showcase Angel's compositions and arrangements. While Angel is one of the most respected composers/arrangers on the West Coast; however, he is virtually unknown to the general public. Jim Self wanted to correct this by documenting his music. 

The members of the ensemble are David Angel - tenor sax, conductor; Phil Feather - alto & soprano sax, piccolo, flute, alto flute; Gene Cipriano - alto & soprano sax, clarinet; Jim Quam - tenor sax, clarinet; Tom Peterson - tenor sax, flute, alto flute; Bob Carr - baritone sax, bass clarinet; Jonathan Dane - trumpet, flugelhorn; Ron Stout - trumpet, flugelhorn; Stephanie O'Keefe - horn; Scott Whitfield - trombone; Jin Self - tuba, bass trombone; John Chiodini - guitar; Susan Quam - bass; and Paul Kreibich - drums. This ensemble laid down 22 tracks in just four days, right before the pandemic hit. There are 15 original compositions by Angel and his arrangements of seven standards. These are spread over three discs containing two and 3/4 hours worth of music. 

In the booklet that accompanies this 3 CD set, Jim Self observes, "This group is not so much a big band, but a 13 piece jazz chamber ensemble. Every chart has extensive space for jazz solos. I like to describe his stuff as 'Gil Evans meets J. S. Bach" – let that sink into your mind! Imagine the jazz harmonic complexities of Evans with the Polyphonic lines of Bach. …"

Angel's writing is striking and fresh to these ears. The set opens with "Out on the Coast 2," one of four such named pieces. It starts with a sax trio before the full band joins in swinging with a crisp, measure sound that evokes to these ears an expanded Clifford Brown-Max Roach band. Guitarist Chiodoni takes a choice, skillfully constructed solo here. There is a Latin-accented arrangement for the Arthur Schwartz standard, "Alone Together," with a superb trumpet solo from Jonathan Dane. Angel certainly captures the essence of Duke Ellington's "Prelude to a Kiss" that features a gorgeous Gene Cipriano alto sax solo set against the handsome setting Angel crafted.

"Ah Rite!" is a swinger opening with Bob Carr's husky baritone sax, with mood and tempo shifts along with another strong Dane trumpet solo, Scott Mayfield's plunger mute trombone, and a vital ensemble sax section. After this unique blues, we are treated to the impressionistic "Wild Strawberries," with its lush horn voicings. Jim Self takes a lengthy solo on Johnny Mandel's "Hershey Bar." Tenor saxophonist Tom Peterson takes the spotlight on "Loverman," again, with Angel providing a glorious framework for his playing. One can hear the classical influences in Angel's compositions in the waltz, "Leaves," as well as his interpretation of Billy Strayhorn's "A Flower is a Lonesome Thing." Scott Whitfield's trombone is showcased on "Leaves," while the warmth of Stephanie O'Keefe's French horn takes the spotlight on the Strayhorn classic. 

Hopefully, this sampling of the performances provides an idea of the range of music heard here that is only touched on here. Jim Self and David Angel comment on each selection, and the soloists on each track are identified in the accompanying booklet. This information enhances the pleasures one has listening to the superb performances on an outstanding big band jazz recording.

I received my review copy from a publicist. Here is an interview with David Angel & Jim Self discussing this release.

Benny Turner & Cash McCall - Going Back Home

Benny Turner & Cash McCall - Going Back Home - Nola Blue Records

After the death of Clay 'Clady C' Graham of the gospel group The Pilgrim Jubilees, Benny Turner texted Sallie Bengtson, Nola Blue Records President to find Cash Mccall. McCall was found in Memphis but not doing well and needing support. The contact led the two veterans of Chicago's blues scene to the recording session producing "Going Back Home." Turner and his bass and vocals, along with McCall on rhythm guitar and vocals, are joined by a variety of studio players including Raishene Webb, and Joe Krown on keyboards, Butch Mudbone on guitar, Billy Branch and Johnny Sansome on harmonica, and Rodd Bland on drums. 

These are solidly performed songs (9 covers and one original) as one might expect from the personnel and Benny Turner's production skills. The vocals are pleasant, if not compelling, with McCall overshadowed by his performances from decades past when he had some hit recordings, did session work as a guitarist for Chess and other labels and spent a year and a half touring with Minnie Riperton. His blues recordings in the intervening years also had a vocal range reflecting his gospel roots.

One should not get an idea that these are poor performances. Turner does a solid job in reviving Harold Burrage's "Got to Find a Way" on which McCall played on as well as a wry treatment of Willie Mabon's hit "Poison Ivy," a driving rendition of Elmore James' "Shake Your Money Maker," as well as a rollicking interpretation of G.L. Crockett's "There's a Man Down There." 

McCall had a close connection with Willie Dixon, but adds little to the cover of "Spoonful." Much better is his humorous, talking blues original, "Money." Billy Branch's harmonica and Mudbone's slide guitar contributes to an enjoyable "It Hurts Me Too," with Turner on backing vocal. This Tampa Red song is wrongly credited to Elmore James. There is an entertaining, bawdy "The Dirty Dozens" taken from his days playing with pianist Little Johnnie Jones.

Billy Branch handles the vocal (and harmonica) on a Sonny Boy Williamson cover, "Bring It On Home," that takes this recording home with Turner and McCall in supporting roles. This track closes an enjoyable, although not compelling, Chicago blues recording.

I received my review copy from a publicist. This review appeared originally in the May/June 2019 Jazz & Blues Report (Issue 384). Here is a video of the two talking about this recording

Cash McCall -Blues Coming Down/ One Who's Got a Lot

Cash McCall -Blues Coming Down/ One Who's Got a Lot - Nola Blue Records

Morris Dollison, Jr., better known as Cash McCall, passed away in 2019, after the release of a Nola Blue Records album with Benny Turner, "Going Back Home." Nola Blue previously issued one half of this single, "One Who's Got a Lot," as a download in 2020. On January 29, 2021, they are issuing "Blues Coming Down." Both were recorded in Los Angeles and produced by Jim Koeppel, with a band that included Koeppel on guitar, pianist Tennyson Stephens, bassist Welton Gite, and drummer James Gadson. Added on "Blues Coming Down" are Rajiv Halim on tenor saxophone and John Christy on the Hammond B3.

"Blues Coming Down" is a solid, straight-forward slow blues with some raspy tenor sax, Koeppel's taut guitar solo, and McCall's gritty vocal. The melody of "One Who's Got a Lot" has a Malaco feel (think "Down Home Blues" and "Someone Is Steppin' In") and an emphatic groove with more direct singing and more searing guitar from Koeppel. Stephens piano is first-rate in support, and Gite and Gadson push the performance forward. Nothing earth-shattering, perhaps, but this is an entertaining, substantial addition to Cash McCall's musical legacy.

I received my review copy from a publicist. Here is "Blues Coming Down."

James Holvay -Sweet Soul Song

James Holvay -Sweet Soul Song - Mob Town Records

This five-song EP represents the return to blues-eyed soul singer-songwriter-guitarist James Holvay. Holvay grew up during the peak era of Chicago soul with such stars as Curtis Mayfield, Major Lance, The Impressions, and Gene Chandler. While a teenager in a blue-eyed soul band, his songwriting talents benefited Brian Hyland and Dee Clark. One of his songs was passed on to the Buckinghams, who had the chart-topping recording, "Kind of a Drag." The Buckinghams would have three other national hits with Holvay's songs. He left music for some years, but after Sharon Jones, Amy Winehouse, and others, he started writing new songs in the Major Lance-Gene Chanler-Curtis Mayfield vein, and this eventually led to this disc. 

The five originals included are gems, as are Holvay's vocals. One can hear echoes of Mayfield and Chandler in his singing, whether the uptown groover "Working On It" or the deep soul ballad "Still The Fool" (that especially shows a deep Mayfield-Chandler influence. "Love Has Found A Way" is another uptempo number that adds a touch of Tyrone Davis to the mix. The title track is Holvay's salute to classic Chicago soul and the stars he idolized as a teenager that sounds like a lost Major Lance recording.

Holvay found some sterling musicians and backing singers for this outstanding evocation of a classic soul music era. It is a recording that has the listener aching for more.

I received my review copy from a publicist. Here is the title track.

David Larsen - The Mulligan Chronicles

David Larsen - The Mulligan Chronicles -Self-produced

Saxophonist-educator-composer David Larsen's exploration into Gerry Mulligan's compositions has culminated in "The Mulligan Chronicles." Larsen says, "In my studies, I traveled to the Library of Congress to view hundreds of Gerry Mulligan's handwritten scores and interview countless musicians." Larsen has put together a repertoire that ranges from early to later Mulligan compositions. On baritone sax, he has recruited for this effort musicians who all had an association with Mulligan. Trombonist Dave Glenn played 2nd trombone for Gerry Mulligan's Concert Jazz Band, while Pianist Bill Mays worked with Gerry off and on since the 1980s. Bassist Dean Johnson worked with Gerry for almost all of his later career, and drummer Ron Vincent joined Gerry's working quartet in the 1990s. It is a band that is true to Mulligan's music's spirit and style while the members bring their voices.

The relaxed loping groove of "Walkin' Shoes" starts with Larsen takes a burly solo followed by the other quintet members that capture the feel of a 50s World Pacific or Prestige recording. Larsen is a strong player and leader and takes the group through various settings such as the light swinger, "Curtains," with Larsen and Glenn trading choruses, or the moody tribute to Monk, "Good Neighbor Thelonious," with a superlative Mays solo. There is the delight of the call and response of the horns playing the head of "Festive Minor."

On "Idol Gossip," Larsen and the ensemble ably handle the brisker tempo with a particularly burly baritone sax solo from the leader. This track is followed by a lively rendition of the Latin rhythms of "Rico Apollo." Larsen and Mays further shine on "The Flying Scotsman" with its shifting motifs, while "Out Back of the Barn" has a down-home, bluesy feel. Glenn plays with a touch of gutbucket here. Larsen exhibits a more reflective tone on a lovely ballad, "Etude For France."

Combining Gerry Mulligan's compositions with first-rate, straight-ahead playing, David Larsen has produced the memorable "The Mulligan Chronicles."

I received my review copy from a publicist. Here David Larsen leads the group on "Walkin' Shoes."

Curtis Salgado - Damage Control

Curtis Salgado - Damage Control -Alligator Records

Listening to Curtis Salgado's new album (his fourth for Alligator), I found his soulful singing evoking Solomon Burke. I am not suggesting conscious copying, but rather similarity in their voices. This similarity is perhaps most evident in the opening "The Longer That I Live," a fresh original from Salgado, Mike Finnigan, and another that has him sing about growing older, the challenges he faced, and that the older he is, "the older I want to get." Finnigan adds some sterling organ, Jim Pugh is on piano, while Kid Andersen provides some scintillating guitar. Another original, the funky "What Did Me In Did Me Well," has a philosophical reflection about a relation he ruined. He adds some harmonica against the same sterling backing band.

Contrasting to these two numbers' southern style is the New Orleans to Memphis rock and roll of "You're Going To Miss My Sorry Ass," with Kevin McKendree's rollicking piano and George Marinelli's piano. While his singing is not evocative of Solomon Burke here, Salgado ably delivers these witty vocals. McKendree and Marinelli (on slide guitar) are also on the southern roots rock-flavored "Precious Time." Then there is the Tex-Mex accent of "Count of Three" with guitarist Johnny Lee Schell, organist Mike Finnigan, pianist Jim Pugh, and drummer Tony Braunagel. Then there is a terrific soul ballad, "Always Say I Love You (At The End Of Your Goodbyes)," with Jackie Miclau replacing Pugh on piano. It is a further demonstration of the variety to be heard on this recording. 

The 13 songs on this album were captured at sessions in Nashville (engineered by McKendree), Studio City, California (engineered by Schell), and Santa Clara, California (engineered by Andersen). Salgado has had difficult health issues in the past, but listening to his vibrant, robust singing, one would never guess that. Add first-rate backing and terrific originals to Salgado's top-flight vocals, and one has an outstanding recording.

I received a download to review from Alligator Records. Here is "The Longer That I Live."