Adam Schultz - Soulful Distancing

Adam Schultz
Soulful Distancing
Blue Heart Records

"Soulful Distancing" is the debut album under the name of 18-year old songwriter-guitarist Adam Schultz. Schultz's dad asked Clarence Spady if he would give then 14-year old Adam a guitar lesson, and Spady was so impressed he invited Adam to play a couple of songs with him at Spady's regular Terra Blues gig in NYC. Thus began Spady's mentoring of Schultz, who has developed into quite a guitarist and has quite a close musical relationship with Spady.

Spady and Douglas Schultz produced the present album. Spady adds his guitar as well as vocals on the five cover tunes. Adam Schultz wrote six songs for which Spady sang one, Michael Angelo sang four, and Ekat Pereyra sang one. Besides Adam and Spady's guitar, the core members of the studio band are Adam Cohen on bass, Robert O'Connell on keyboards, Sharon O'Connell on drums, Scott Brown on piano, Tom Hamilton on saxophone, and Pat Marcinko on percussion.

As Spady says in his liner note about Adam, "He has developed a unique style: fusing a Latin jazz influence from his music teachers with a blues influence from me, sprinkled with a bit of funk that Adam is naturally drawn to." This statement is displayed in his playing on the revival of Johnny 'Guitar' Watson's "A Real Mother For Ya," as well as his original "Harlem Tonight," a fine original that might melodically suggest "Just the Two Of Us" with a solid Michael Angelo vocal. The old Louis Jordan classic "Early in the Morning," besides showcasing Adam's keen, crisp guitar, also has saxophonist Hamilton in the spotlight.

Spady revisits Adam's "Good Conversation" that Spady recorded on his recent album, "Surrender." Then on an imaginative cover of Little Walter's "Who," Adam's lean, twisting guitar impresses more. Another song of note is the Latin-tinged funk, "Cure For the Blues," about this dancing lady who has the cure for the blues. A terrific vocal by Angelo, a churning bass line by Cohen, and more scintillating blues guitar result in a super track. Then there is a nifty cover of Tyrone Davis' "Can I Change My Mind," with a choice Spady vocal, along with an intriguing funk re-working of the old Ricky Allen recording "Cut You Loose."

There is plenty to enjoy in "Soulful Distancing." Adam Schultz is a guitarist who shows much more than promise and writes some darn good songs. Add that the under-recorded Clarence Spady sings on six of the eleven songs and strong backing from a first-rate studio band, and one has quite a solid blues with a strong dash of soul recording.

I received my review copy from a publicist.

2b3 2b3 Jimi

2b3
2b3 Jimi
Self-produced

2b3 is an organ trio that have devoted this project to the music of Jimi Hendrix. 2b3 consists of electric guitarist Mike Abbott, B-3 organist and synthesizer player Jeff Jenkins, and drummer Mike Marlier. All three have long careers as performers, educators, and more.

Abbott has performed or recorded with Randy Brecker, Maria Schneider, Jeff Hamilton, John Clayton, Sammy Davis Jr., Burt Bacharach, Joey Calderazzo, Marc Copland, and others. Abbott is the author of "The Guitar and Amp Sourcebook," and currently teaches at the University of Denver, Colorado Conservatory for The Jazz Arts, and privately in Denver.

Drummer Marlier has performed and recorded with countless artists and musicians, including Dave Grusin, Nelson Rangell, Benny Golson, Bobby Shew, Rob Mullins, the Neophonic Jazz Orchestra, Lee Ritenour, and Stanley Jordan. He is director of drum set studies at Lamont School of Music of Denver University.

Jenkins, as a jazz pianist, has worked with many jazz legends. These include Phil Woods, Freddie Hubbard, David Fathead Newman, Marlena Shaw, Eddie Harris, Richie Cole, Dakota Staton, Bobby Hutcherson, Curtis Fuller, Benny Golson, John Abercrombie, and Clark Terry. He was resident in New York in the eighties, where he studied with Richie Beirach, Kenny Barron, and Fred Hersch. He currently is teaching at the University of Colorado at Boulder, and for the Colorado Conservatory for the Jazz Arts.

This recording is fascinating, with some performances closer to Hendrix's recordings than others. While the trio might reference at times the melody of "Manic Depression," the energetic and exciting instrumental solos are pretty free-flowing in a jam band vein. This also holds on the rendition of "Purple Haze" that opens this album and the driving version of "Fire." In contrast, the foundation for the atmospheric interpretation of "Little Wing" hews somewhat close to Hendrix's original recording, although there is no attempt to imitate Hendrix's sound. "Foxy Lady" (misspelled Foxey on the album) is almost transformed into an organ trio shuffle with Jeff Jenkins providing color for Abbott's searing guitar solo before laying down his own choice soulful organ solo before Marlier takes the spotlight. There are two tracks I believe are not associated with Hendrix as a performer. "Etched in Stone," by Jeff Jenkins is a gospel-laced blues that evokes "A Change Is Gonna Come," while "Jimi" by Mike Abbott is a dreamy composition with Jenkins setting the atmosphere for Abbott's nuanced solo.

Jimi Hendrix's music has long attracted interpretations from jazz artists going back to Gil Evans Big band. 2b3 have added to this body of jazz interpretations of Hendrix with an intriguing and appealing recording.

I received my review copy from a publicist. Here 2b3 perform Hendrix's "Manic Depression."

Bobby Parker Shine Me Up

Bobby Parker
Shine Me Up
Blacktop

Bobby Parker’s second Black Top album certainly shows that the acclaimed Bent Out of Shape was no fluke. | should caveat that Bobby is one of my favorite artists, and one of the benefits of living around D.C. has been the opportunities to see him relatively frequently and get to know him. 

A Washington area native, Bobby Radcliff once mentioned to me that years ago Parker was as good as his better known Chicago contemporaries. Listening to Shine Me Up, one would suggests that in some ways Bobby betters them. Ten of the eleven songs are Parker originals, and neither Buddy Guy nor Otis Rush have contributed any comparable body of new songs in recent years. And, they are good songs mixing hooks with catchy riffs and tasteful horn riffs covering a wide soul-blues palette. 

For example, It’s Unfair, a terrific slow blues, opens up with a James Brown horn part before Bobby sings about women treating men like toys as the band captures some of the flavor of the classic Stax recordings of the seventies. Bobby adds a pleading vocal and his buzz-saw guitar with the skill of a surgeon finely opening up his patient. The title track finds Bobby asking his woman to “Shine me up baby. Make me feel good for you and me. | feel dull and I’ve had a bad day darlin’, and | really need sympathy... .’ Splib’s Groove finds Bobby working over a go-go groove, and Somebody’s Coming In My Back Door is a classic blues theme freshly reworked by Parker. 

The one cover is a lesser known Little Willie John recording, Drive Me Home. The choice of the song may have been fortuitous, but Parker’s keen, high-pitched vocals owe a bit to the past rhythm and blues giant, although Bobby brings plenty of his own personality to the songs. It has taken Bobby Parker years to get to where he is now, which is one of the blues’ most sizzling vocalist-guitarists. He also happens to be one of the best songwriters in the idiom.

This review appeared in a 1995 issue of Jazz & Blues Report (Issue 205), and likely also appeared in the DC Blues Calendar, the DC Blues Society's newsletter. I probably received a review copy from Black Top Records. This may be available used or as a download. Here is Bobby Parker performing "Watch Your Step" a few months before he passed away in 2013.

 

Otis Rush - Troubles Troubles

This is a review that I wrote in Fall 2006 and published in the November-December 2006 Jazz & Blues Report (Issue 288). I will be posting other reviews from this every few days in next couple weeks.

Universal Music on the Verve label has released the second batch of CDs in its series, The Sonet Blues Story. These sides make available albums from the 1970s that were issued in Europe on the Sonet label although some were imported in the United States and some were even issued in the US, as GNP-Crescendo issued The Legacy of the Blues recordings stateside. This latest batch includes more from that series along with other albums that Samuel Charters had produced for Sonet. I will be posting these reviews every few days. 

Otis Rush’s volume, subtitled Troubles, Troubles, is being released for the first time in its original form. Alligator had leased it, but Bruce Iglauer edited the solos and added “noisy keyboard” (quoting Sam Charters in his notes here), was retitled as Lost in the Blues, but there was a very critical reaction including from Rush (I seem to recall).

This 1977 Swedish session was with Rush’s band at the time with Bob Levis on second guitar, Bob Strokes on bass and Jesse Green on drums tackling a diverse repertoire including Jimmy Reed’s Baby What You Want Me to Do, You’ve Been an Angel, and You Don’t Have to Go; Willie Dixon’s Little Red Rooster; B.B. King’s Whole Lotta Lovin’ (actually Please Love Me) and Troubles, Troubles; Albert King’s Got to Be Some Changes Made; and Little Milton’s Same Old Blues (on which drummer sings). Alternate takes of You Been an Angel and Same Old Blues are included. 

The song selection is mostly covers of some well known songs with Rush sounding relaxed and soulful (Little Red Rooster suggests more of Sam Cooke’s influence than Howlin’ Wolf) with plenty of solid guitar. Rush’s admiration for Albert King is evident from the opening notes of a strong rendition of Albert King’s Got to Be Some Changes Made, and he throws quite a bit of passion into Hold That Train. 

This may not be an essential Rush album, but it is a very good ‘un and the release in this untampered form is most welcome. 

I likely received a review copy from Jazz & Blues Report. This may be available used or as a download. Here is Otis Rush in performance.

Clint Morgan - Troublemaker

Clint Morgan
Troublemaker
Lost Cause Records

"Troublemaker" is an intriguing recording of roots music as pianist-singer Clint Morgan who mixes country, blues, folk, and gospel. Besides singing, he plays piano on this album. Others on this album include Kevin McKendree (who co-produced this with Morgan) on keyboards, David Santos on bass, Kevin Blevins on drums, Jim Hoke on saxophone, and Bob Corritore on harmonica. Additionally, there are appearances by Bob Margolin, John Del Toro Richardson, Kinky Friedman, Watermelon Slim, and the McCrary Sisters.

This is a well-produced recording with excellent backing. Morgan's singing might suggest Johnny Cash and even does a pretty solid rendition of Cash's "Big River." His vocal style is often more talking than singing with a narrow range and occasionally stilted approach. There are several tracks of note, including "Hungry Man Blues," a fascinating reworking of Robert Johnson's "Kind Hearted Woman," although Morgan's woman just can't cook a decent meal. Then there is the rock and roll of "She Take My Money," about a woman who thinks Clint is a cash machine. The backing evokes classic Chuck Berry with a seriously booting sax solo from Hoke and rollicking Johnny Johnson-styled piano.

Whatever vocal limitations Morgan has, he has a knack for crafting and delivering lyrics such as "Too Rich To Sing the Blues," singing that he can sing like Robert and Elmore but is too busy picking stocks for his retirement plan. Jonn Del Toro Richardson joins him on slide guitar and vocal for "Hurricane Harvey," about the devastation caused by the hurricane that took homes away but still, the sun will come out tomorrow, which is a whole new day. Kinky Friedman joins Morgan for the honky-tonk "Someone Put a Walmart on the Farm." Watermelon Slim and Bob Margolin add their talents to Morgan's "The Cover of the Living Blues," a reworking of the hit "The Cover of Rolling Stone."

There are a couple of gospel numbers included. One is a rendition of the old spiritual "Go Down Moses" with the McCrary Sisters, with Morgan's softly sung baritone quite effective. With just his piano accompaniment, he sings about Jesus as a troublemaker. The simplicity of his performance adds to its effectiveness. Despite his limitations as a singer, Clint Morgan's songs are intriguing, and his performances have a definite appeal.

I received my review copy from a publicist. Here is a a track from the album with Bob Corritore on harmonica.

Joel Frahm - The Bright Side

Joel Frahm
The Bright Side
Anzic Records

On "The Bright Side," tenor saxophonist Joel Frahm leads a trio consisting of bassist Dan Loomis and drummer Ernesto Cervini. This trio was born at a masterclass at the University of Toronto as an offshoot of Cervini's band Turboprop. During a European tour, a repertoire of recent original tunes by the band members. The present album provides a sense of the breadth of the band's repertoire.

One hears hints of trio albums by Sonny Rollins and Joe Henderson for some of this recording, starting with the opening "Blow Poppa Joe," which is dedicated to Joe Henderson. Frahm is a saxophonist with a robust tone able to improvise thematically or melodically. On this performance, he plays propulsively with Loomis as an anchor and Cervini driving things along, playing around the groove before taking a crisp solo. "Thinking of Benny" is dedicated to Benny Golson, and Frahm's playing has a playful and prancing quality to it. It is followed by Frahm's "Boo Sip Dip," a brisk performance based on a fascinating bebop-inspired line, and after an inspired sax solo, Frahm and Cervini trade fours.

 Loomis composed "Silk Road" with his bass stating the theme as Cervini adds percussive accents before Frahm enters on soprano sax on an alluring, atmospheric performance. It is followed by Frahm's salute to bassist Omer Avital, "Omer's World." Frahm and the trio play with considerable energy here. Loomis also contributed "X-Friends" a reimagining of the standard "Just Friends," with surging sax over a turbulent rhythm. Cervini composed the tone-poem "The Beautiful Mystery," with Frahm's tenor and the rhythm section inducing a sense of serenity,
 

The title track is said to be based on the opening riff of Lou Reed's "Walk on the Wild Side." It also sounds as it incorporates a bit of "Jumping' With Symphony Sid," along with Frahm quoting other compositions in the manner of Dexter Gordon. It provides an engaging close to a superb recording.
 
 I received a download to review from a publicist.Here is Joel Frahm in a trio setting.

Kenny Shanker - Beautiful Things

Kenny Shanker
Beautiful Things
Wise Cat Records

Kenny Shanker is a saxophonist, pianist, vocalist, and award-winning composer from Pleasanton, California. He started playing piano when two and has developed into an impressive talent. Shanker has performed with the New World Symphony, Richard Bona, David Benoit, Shelly Berg, Lage Lund, Taylor Eigsti, Bill Mobley, the Nelson Riddle Orchestra, and many others. Now residing in New York, he has performed at Carnegie Hall, Birdland, Dizzy's Club, Smoke, Smalls, Fat Cat, Jazz at Kitano, and other locations.

"Beautiful Things" is his fourth album, second for Wise Cat Records. On this session, he played alto saxophone and backed by a rhythm section of Daisuke Abe - Guitar, Mike Eckroth - Piano, Yoshi Waki - Bass, and Brian Fishler - Drums. Bill Mobley plays trumpet on three of the twelve selections. Shanker wrote 5 of the twelve tunes, with the other seven being standards.

The opening "Cool Mint" has the feel of a sixties Brill Building hit with a memorable melody before Shanker's fruity solo followed by thoughtful solos by Eckroth and Abe. It is followed by the hard bop "Prestissimo" with a breakneck tempo that evokes "Giant Steps." Taken at an almost frantic tempo, Shaker, trumpeter Mobley, and pianist Eckroth navigate the changes impressively. On Rogers & Hart's "It Never Entered My Mind," it sounds like synthesized strings added to a ballad performance where he exhibits a beguiling tone. Abe takes an alluring acoustic solo here. It is followed by the bouncy "Mirth," with a solo that suggests Sonny Fortune and other Coltrane-influenced alto saxophonists. Mobley adds some mid-range heat on his trumpet on this selection.

Eckroth opens the swinging interpretation of Oscar Peterson's "L'impossible," with Shanker exhibiting fluidity along with his melodic tone over the entire range of the alto sax. Abe's guitar chords help set out the walking tempo for Shanker's lyrical playing on "Without a Song." A charming rendition of "I'm Old Fashioned," where Abe takes solos crisply and cleanly. "Like Someone In Love," an alluring duet with Waki on bass, is another choice track.

Thelonious Monk's "In Walked Bud" opens as a duet between Shanker and drummer Fischler. Eckroth and Waki join the performance halfway through. Eckroth also solos before Fischler does, with Shanker riding the performance out over Fischler. Shanker's title composition closes the recording in a beautiful manner (pun intended). Kenny Shanker plays thoughtfully, displays a beautiful tone and fluid technique, and is backed by a splendid band on an outstanding recording.

I received my review copy from a publicist. Here is a promotional video for this recording.

Perry Smith Peace

Perry Smith
Peace
Smith Tone Records

About his new album "Peace," Perry Smith states, "I had been interested in recording a trio album of standards to really draw the listener in through classic melodies, dynamics and the natural sound of my Gibson ES-175. Using a traditional archtop hollow body, my style of jazz guitar can really work with a sensitive and swinging rhythm section like Schnelle and Minaie. I chose to record a variety of standards that have meant a lot to me over the years, and what I discovered is that as my own life experiences have unfolded, my connection to these songs, and what I have to offer musically has only gotten deeper."

Born in the San Francisco Bay area, Smith has degrees from the University of Southern California (where he studied with Joe Diorio) and New York University (where's he studied with John Scofield). As a guitarist, he generally blends the traditions of jazz with contemporary sounds, although on this recording, his playing is directed more to the straight-ahead tradition. Six of the nine songs were recorded when Perry was in Los Angeles with bassist Sam Minaie and drummer Dan Schnelle. He has a long association with both members of his trio, and they recorded those tracks on an off-day from their playing together. The other three selections are solo performances that he recorded in Los Angeles a few months later before the pandemic struck. This album is Smith's 5th full album as a leader.

The music is thoroughly delightful with Smith's exquisite tone, clean and nuanced phrasing, and lyrical playing complemented by Minaie and Schnelle. Indeed, the beautiful rendition of Richard Rogers' "This Nearly Was Mine" shines with his crystalline single note runs mixed with chords carefully played over Minaie's light bass and Schnelle's use of brushes. The repertoire is not limited to the Great American songbook as heard in the take of Sam River's "Cyclic Episode." Perry and trio readily negotiate the leaps and twists of Rivers' melody with some energized guitar. As marvelous as Smith is throughout, his playing on "Darn That Dream" is gorgeous, with Schnelle again adeptly playing brushes. Also striking is the rendition of Horace Silver's "Peace" with Smith's careful and precise placement of notes as well as chording behind Minaie's bass solo.

The three solo performances that close this album, "A Child Is Born," "I Remember You," and "Alone Together," are gems of melodic improvisation. They complete a thoroughly engaging and marvelous jazz guitar album. It is available at bandcamp, https://perrysmithmusic.bandcamp.com/album/peace.

I received my review copy from a publicist. Here is a solo guitar performance from Perry Smith.

Mike Zito Resurrection

Mike Zito
Resurrection
Gulf Coast Records

About his new album "Resurrection," Mike Zito states that it "is an album of feelings, emotions, and is very personal. The title track is how I once almost lost my love, but it came back stronger than ever. I have had this song in me for years, but it only makes sense now to share it with the world. After the year we have had on planet Earth, I believe we all need a rebirth. This rebirth has given me an opportunity to be who I want to be musically and artistically." Joining Zito on this album are some musicians who've played with him for the last several years, including Matthew Johnson – drums; Doug Byrkit - bass guitar; Lewis Stephens – piano, organ; Zach Zito - acoustic guitar; and Lisa Andersen - backing vocals. Eric Demmer is on saxophone, and Fernando Castillo on trumpet where heard.

While often described as a blues-rocker, there is more rock than blues on this album to these ears. This comment is simply descriptive. Zito sings with vitality and can shred with the best of him. More importantly, he does write good songs and performs with heart and heat. There is a Tom Petty flavor on the opening cover of J.J. Cale's "I'll Make Love To You." In addition to his saw-toned slide guitar, Demmer rips off an intense bit of hot honking tenor sax. There is much more rock energy elsewhere on this recording, such as "Don't Bring Me Down."

Other tracks include a hard rock cover of Blind Faith's "Presence of the Lord." Zito may not be Stevie Winwood, but he acquits himself well with his vocal while adding searing guitar. "When It Rains" is a bluesy number with a relentless rhythm and atmospheric horns. I am not fond of the head rock arrangement of Howlin' Wolf's "Evil." Zito's vocal strikes this listener as overwrought here, although Stephens' organ is noteworthy. Not everything is hard rock or blues-rock. "In My Blood" has a low-key, restrained backing to complement Zito's understated singing.

About the title track, Zito says, "The title track is how I once almost lost my love, but it came back stronger than ever." It is a powerful track with solid lyrics and passionate singing. It closes an album that will have considerable appeal to those who like their music rocking.

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

Long John Hunter Border Town Legend

Long John Hunter
Border Town Legend
Alligator Records

Long John Hunter's exhibitionistic electric blues is fields removed from Cephas and Wiggins. With years of playing all night at the Lobby in Juarez, Mexico, across the border from El Paso. His gigs became legendary as he would swing from the rafters or stroll outside with his long guitar chord. So were his
45s for the New Mexico Yucca label. A couple years back, the now defunct Spindletop label issued his first cd, and this new follow-up, "Border Town Legend," is now on Alligator. 

Long John Hunter is an old fashioned Texas guitar slinger and vocalist. While B.B. King is his original influence, his cutting, guitar shows as much influence from T-Bone and other Texas based blues guitarists. One track, "Long Star Shootout" is a playful guitar battle with Hunter's guitar opening and closing, while sandwiching solos from Derek O'Brien, Johnny Nicholas, Joe Kelley and young Guitar Jake Andrews (son of Sam Andrews, guitarist for Janis Joplin and Tracy Nelson). His gritty singing is a strong point, too. His phrasing is right on the button, and the slight rasp in his vocals goes down like a smooth ale. In addition to his own playing, Art Lewis, his fabulous saxophonist, gets several spots to lay down some tough tenor solos including on the rousing "Ole Red" and his down in the alley spot on "Arkansas." 

While his covers of "Grits Ain't Groceries" and "Everybody Knows," are solid, they don't add anything to the better known originals. The strength of this collection is the originals, like the jaunty "Nasty Ways," co-authored with producers Tary Owens and Jon Foose, or the opening "T-Bone Intentions." Matched with some of Austin's finest players, it is a welcome straight, no chaser Texas blues album which will not disappoint those who have seen hirn live or heard his earlier recordings.

This review appeared in the March 1996 Jazz & Blues Report. I received my review copy from Alligator Records. I see Amazon sells this as a CD-R but it is available used from various, and one can listen to this recording on various streaming services. Here Long John Hunter performs a Gulf Coast classic, "Irene."

Jonathan Karrant & Joshua White - Shadows Fall

Jonathan Karrant & Joshua White
Shadows Fall
JKR

"Shadows Fall" is an album of duets between vocalist Jonathan Karrant and pianist Joshua White. DownBeat has cited Karrant as among the top rising jazz vocalists, while pianist White has been praised by such artists as Herbie Hancock and was a finalist of the prestigious Thelonious Monk International Piano Competition. This 13-track album brings together standards such as "Lush Life," "So in Love," and "I Thought About You," along with contemporary songs not typically heard in the jazz genre like "Simply the Best," and "Your Smiling Face."

Karrant has a warm, tuneful delivery with a relaxed, clean diction complemented by White's accompaniment that hints at a formidable technique but doesn't overshadow Karrant's vocals. This is evident in the rendition of the Tina Turner hit "Simply the Best," which opens this recording. White's rolling chords and concise solo chorus behind Karrant's singing provide a new setting for the lyrics. The tempo increases for Richard Rogers' "My Romance" with a swinging vocal before White takes a couple of dazzling choruses. "Detour Ahead" has a moving plaintive vocal set against White's intricate backing. A similar reflective quality characterizes the rendition of Macy Grey's "I Try."

A mix of vocal and a short-spoken rap underlying a playful take on Mose Allison's "Stop This World," with a sterling piano accompaniment and solo. White's elegant backing underlies a memorable performance of Billy Strayhorn's "Lush Life." There is a spirited rendition of James Taylor's "Your Smiling Face" with a jaunty vocal enhanced by White's buoyant playing. Perhaps standing out among the consistently solid performances is Karrant's passionate singing of "I'm Afraid The Masquerade Is Over."

Other selections include bright renditions of "Wrap Your Troubles In Dreams" and "I Thought About You," along with a tenderhearted treatment of "My One and Only Love." The album concludes with Betty Carter's "Being Me." Throughout, the clarity of Karrant's singing brings the lyrics to the fore against White's eloquent accompaniments. Simply put, "Shadows Fall" is a splendid album of piano-vocal duets.

I received my review copy from a publicist. Here is a video about this album.

Ian Charleton Big Band A Fresh Perspective

Ian Charleton Big Band
A Fresh Perspective
Self-produced

Ian Charleton grew up around Carbondale, Illinois, and began playings saxophone when in 5th Grade. He joined a jazz band as a freshman in college and later attended North Texas State University, where he earned Bachelor's and Master's degrees in the jazz studio program. He then joined the Navy to play in a military band and has been head of academics at the Naval School of Music, running a staff of instructors and teaching arranging.

For "A Fresh Perspective," he selected a number of musicians from Southeastern Virginia are: Leader/Arranger: Ian Charleton, Saxophones: Richard Garcia: Alto/Soprano Sax (Lead), Jason Hammers: Alto Sax, Keith Philbrick: Tenor Sax, Michael Ferrante: Tenor Sax, David Fatek: Baritone Sax, Trumpet and Flugelhorn Mark Oates (Lead), Pete Sutorius, Mark Nixon, Kerry Moffit, Trombones John Lloyd (Lead), Lisa Drefke, Carl Lundgren, Dandrick Glenn (Bass), Emily Charleton (Vocals), Bart Kuebler (Piano), Wes Wagner (Guitar), Ryan Persaud (Bass), and Bob Habib (Drums). He had lengthy associations with Bart Kuebler, Kerry Moffit, and Keith Philbrick, while others like John Lloyd and Richard Garcia are more recent musical friends. The program of ten songs includes four originals along with six arrangements of standards.

Charleton's big band is what might be labeled a mainstream big band with a swinging rhythm section as well as melodious horns. One might think of the modern Basie Band mixed with touches of Thad Jones, Quincy Jones, Clark Terry, and others. The Basie touch is evident on the opening "1 West 67th Street," with Kuebler's piano leading the rhythm section for the beginning before the horns enter with trombonist Lloyd taking a solo, exhibiting a fluid and warmth. There is a subtle cool lyricism for the relaxed "Sunday Morning. " This selection showcases pianist Kuebler, Kerry Moffit on flugelhorn, and bassist Persaud. Moffit's solo is particularly gorgeous, and the subtle ensembles frame the solos wonderfully. The title track is a more modern composition in 6/4 with a lilting rhythmic feel. After Richard Garcia's serpentine, snake-charmer tone, soprano sax solo, Moffit follows with another lyrical Flugelhorn solo before drummer Habib solos dynamically.

Charleton's wife Emily wryly delivers the humorous lyrics of Rogers & Hart's "Everything I Got Belongs To You" set against a Basie-like backing with punchy horns. Emily Charleton also is heard on a jazz waltz rendition of "Blue Skies," which is taken at a lazy tempo. On his relaxed swinging solo, Philbrick displays a full-bodied sound on the tenor sax. Charleton's arrangement of "Stardust" helps frame Kerry Moffit's enchanting, lyrical flugelhorn solo. There is Latin fire for the performance of Stefan Karlsson's "El Otono." Moffit adds smoldering heat on trumpet while Garcia is torrid on alto sax. Then there is a novelty in the slowed-down "Tea For Two," with pianist Kuebler lending this performance a pensive feel, while Moffit's muted trumpet hints at the great Harry 'Sweets' Edison. Usually sung as a ballad, "When Sonny Gets Blue" is revamped with a hot Latin arrangement with Lloyd's fiery trombone from Lloyd and Philbrick's searing tenor sax.

Closing this album is a mid-tempo original, "Party on Park" with guitarist Wagner, and the rambunctious baritone saxophonist David Fatek, in addition to those from pianist Kuebler and bassist Persaud. It caps a top-flight straight-ahead big band album that should have feet tapping and fingers snapping.

I received my review copy from a publicist. Here is an interview with Ian Charleton.

Lorraina Marro Love Is For All Time

Lorraina Marro
 Love Is For All Time
 Self-produced
 
Los Angeles native Lorraina Marro is a singer with a high voice with a touch of vibrato that celebrates love in various ways on a recording that displays her ability to swing along with delivering a ballad with tenderness and grace. Marra cites Nancy Wilson as a prime influence and credits Barbara Streisand, Sarah Vaughan, and Linda Ronstadt as early influences and inspirations. On an album of standards, she is accompanied by pianist Steve Rawlins (who produced this session), bassist Jennifer Leitham, guitarist Grant Geissman, drummer Steve Pemberton, trumpeter Dr. Bobby Rodriquez, and tenor saxophonist Ricky Woodward.

Ms. Marro certainly has a presence with her vocals. Her pitch, phrasing, diction, and vocal dynamics are spot on, although I wish her vocals had less vibrato, although that is a matter of taste. It doesn't hurt to have such an excellent backing band. Saxophonist Woodward shines on the opening "Stairway to the Stars", while Geissman's comping, obligattos, and solo on acoustic guitar are marvelous, enhancing soft vocal on the bossa nova "I'm Not Alone." A swinging "The Night Has a Thousand Eyes" has both Dr. Rodriquez and Woodward shining as they trade lines throughout the performance. Woodward plays majestically on her pensive vocal on Arthur Hamilton's ballad "Rain Sometimes." Her playful treatment of "My Baby Just Cares For Me," backed just by the rhythm section, places the spotlight on bassist Leitham before a choice solo from Rawlins. Greissman lends a bossa nova feel to a wonderful interpretation of "People."

Ms. Marro sings a couple of tunes in Spanish with a touch of drama in her musical storytelling for "Viajera Del Rio" with lovely trumpet from Dr. Rodriquez. The closing "Esta Tarde Vi Lover (Yesterday I Heard the Rain)" is a precious performance sung both in Spanish and English. Geissman's guitar accompanies her Spanish vocal before the rhythm section enters with her switching to English. If not wholly to my taste, Lorraine Marro still is a vocalist of considerable merit who is wonderfully supported on this well-programmed album.

I received my review copy from a publicist. Here she performs "People."

Anders Hagberg North

Anders Hagberg
North
Prophone Records

Anders Hagberg is known for his mastery of a variety of flutes and soprano saxophone. Currently, he is a Professor of Musical Performance, Improvisation at the University of Gothenburg, Academy of Music & Drama, but has a lengthy performing resume. Hagberg has toured worldwide with his own groups and as a soloist with Mynta and New Jungle Orchestra and musicians like Marilyn Mazur, John Tchicai, and Anders Jormin. He has synthesized jazz, Scandanavian lyricism, and influences derived from longtime collaborations with Oriental musicians. On this recording, Hagberg is accompanied by Johannes Lundberg on double bass, Joona Toivanen on piano, and Helge Andreas Norbakken on percussion.

There is a pristine quality to the music on this recording with a mix of lyrical performances with atmospheric soundscapes that conjure up moods. Hagberg's superb flute playing is displayed on the opening "Islands of the North" with the wonderful backing by the rhythm section. Pianist Toivanen is a marvelous musical companion. The lyrical tone of Hagberg's bass flute opens the pensive rendering of "Inga" with restrained, supportive backing. With technical command of his instruments, Hagberg's focus is on fostering a mood.

The title track incorporates ambient sounds on an austere, dreamy tone poem with Hagberg's soprano sax conjuring up an arctic night over the light foundation provided by the rhythm section, with Norbakken being especially outstanding with his percussion on this selection. Some of the same qualities are also present in "Silent Ways," with the voicing added by Lundberg's bass adding to the distinctive mood engendered by Hagberg's flute.

"Four Three" sounds like it may have been derived from a folk tune or dance with subtle shifts in tempo and volume, including some spirited playing by all. The interplay between the flute and Toivanen's piano is stellar. "Melodic Modes" is another gem with understated support to the unfolding lyrical themes developed by the leader along with a mesmerizing theme wonderfully played by the rhythm section.

A reference point to this recording might be some of the atmospheric recordings on ECM by such artists as Miroslav Vitous, Terje Rypdal, Jan Garbarek, and Eberhard Weber. Like recordings on ECM, this album is as wonderfully recorded as the music presented is played. Anders Hagberg has produced a recording of considerable substance and beauty.

I received a download to review from a publicist. Here is Anders Hagberg performing "North."

Cephas and Wiggins Cool Down

Cephas and Wiggins
Cool Down
Alligator

John Cephas and Phil Wiggins are perhaps the premier acoustic duo in the blues today, and they certainly do nothng to tarnish that reputation with their first Alligator album, "Cool Down." Given the substantial body of recordings they have previously made, the present album provides variety in the musical settings. 

In addition to straight duets, Phil's brother Skip adds bass and vocals on places, Kentucky Travis-style guitarist Eddie Pennington adds his touch to several songs, a small combo with clarinet and piano by Daryl Davis enliven a couple of tracks, and on a version of Skip James' "Special Rider," Djimo Kouyate plays the kora, an African stringed instrument. There are also personal renditions of songs from Blind Boy Fuller ("Screaming and Crying"), Bessie Smith ("Backwater Blues"), Fats Domino ("Going to the River"), and Reverend Gary Davis ("Twelve Gates to the City"). 

While generally thought of as a light, bouncy, ragtime flavored music, the Pledmont-inspired blues Cephas and Wiggins play on this disc has a sober, restrained character, which this writer detected on even the uptempo numbers such as the opening "Action Man," and "The Blues Will Do Your Heart Good." A somberness pervades much of this,and those looking for some Blind Blake style ragtime fingerpicking or the like will not find it here. What one will find here are very thoughtful, measured blues that repay careful listening.

This review appeared in the March 1996 Jazz & Blues Report. I likely received a review copy from Alligator Records. Here is  a live performance from the 2003 Smithsonian Folklife Festival.

Ricardo Silveira Solo

Ricardo Silveira
Solo
Moondo Music LLC

This album is Brazilian guitarist Ricardo Silveira's first solo recording. Born in Rio de Janeiro, he started playing guitar at the age of 11; he was initially inspired by rock and blues acts, like the Beatles, Jimmy Hendrix, Led Zeppelin, Cream, and BB King. He also started exploring jazz artists like Dave Brubeck, Miles Davis, Joe Pass, George Benson, and Wes Montgomery. He developed chops jamming and began studying classical guitar and music theory to pursue music studies in college. Brazilian universities at that time offered courses in music. They didn't offer courses specifically designed for guitar, so Silveira signed up for a summer course at Berklee College.

The summer course at Berklee would change his life. After the summer course, he got a scholarship to continue studying at Berklee. In Boston, he met Bill Frisell, who recommended him for a salsa band. This began his professional career. Herbie Mann hired him after Claudio Roditi told Mann about Silveira. He quit Berklee and left for New York to play with Mann. He played and recorded with several greats in New York. After recording his first album as a leader in 1984, he moved to Southern California, where he recorded more albums and established himself on that scene.

Quarantined at home during the pandemic, he decided it was a good opportunity to record a solo album. Silveira included six of his original tunes, all of which he recorded on previous albums but re-
imagined here for solo guitar. He also interpreted songs by great Brazilian composers Marcos Valle & Paulo Sergio Valle, Antonio Carlos Jobim, and Johnny Alf, along with a rendition of Rodgers & Hart's "My Romance." The Rogers & Hart number is the only one this listener is familiar with.

He plays unaccompanied electric guitar; The album opens with Silveira's "Rio Texas," a lovely slow composition that showcases his attention to detail, careful selection of notes and chords that linger in the air. "Preciso Aprender A Ser Só" is a gentle song from Marcos Valle & Paulo Sergio Valle that Silveira provides a delightful take on. "There is a folk-like quality to his charming original "That Day in Tahiti," with more appealing guitar. "Tango Carioca," has a funky bass line over which he spins a subtle but impressive improvisation. Even if the performances are generally at a slow tempo, one forgets this listening to the gorgeous rendition of Jobim's "Luiza," which brings out every bit of the romanticism of Jobim's song. The same can be said about his performance of "My Romance," where he embellishes the melody and lyrics of the standard. Then there is the haunting beauty of Johnny Alf's "Eu E Brisa," again where it seems he plays every note to bring out its full significance.

Listening to "Solo" is like being at an intimate house concert with a guitarist of the highest level who is concerned not about displaying his technique but rather displaying his ability to create an evening of melodic enchantment. All one needs is a glass of their favorite beverage while savoring this recording.

I received my review copy from a publicist. This review appeared in the July-August Jazz & Blues Report (Issue 397). Here is "Tango Carioca" from this album.

The Lost Melody - New Songs For Old Souls

The Lost Melody
New Songs For Old Souls
Tie Records

The members of the piano trio, The Lost Melody, have been playing nearly two decades together. Comprised of pianist Joe Davidian, bassist Jamie Ousley, and drummer Austin McMahon, until recently, they performed as the Joe Davidian Trio. Over the years, the band became more of a collective, and the focus changed from playing jazz standards towards their own original music. In so doing, they champion a 'melody first' approach to composition and improvisation.

The three provided ten compositions for this CD. Davidian composed six, while Ousley and McMahon each contributed two. One can detect a variety of influences from Bud Powell, Bill Evans, Jimmy Rowles, and Oscar Peterson in their performances, starting with the energetic opening "Leaving Montserrat" and the enchanting ballad "Sol," by McMahon. Davidian is a striking pianist with his crisp, fluid playing and melodic improvisation. Ousley and McMahon are marvelous in their support as they complement and enhance Davidian's piano." Ousley contributed the waltzes, "A Minor Waltz," and "A Sea of Voices." These are alluringly performed with restraint and eloquence. On Davidian's "Ready Or Not," the pianist's effervescent lead leads to the sympathetic, responsive backing. Then there is the romanticism exhibited on "When First We Met," for which one can imagine lyrics being written for.

"New Songs For Old Souls" is a splendid piano trio recording with plenty of melodic charm, first-rate musicianship, and memorable compositions.

I received my review copy from a publicist. Here is "A Minor Waltz."

L’abîme

L’abîme
L'abîme
Multiple Chord Music

L'abîme (translated as The Abysm) is a Quebec quintet who debut with the eponymously named album. The group was conceived about two years ago with a unique sound rooted in modern jazz with solid rock and contemporary classical influences (the music of Olivier Messiaen being a significant touchstone). Its members are pianist Jonathan Turgeon, bassist Hugo Blouin, saxophonist and flutist Alex Dodier, tenor saxophonist and clarinetist Gabriel Genest, and drummer Jean-Philippe Godbout. Pianist Turgeon composed all the tunes, but the whole group helped put together the arrangements.

The music on this debut recording is a showcase for the group's woodwind players, who explore a wide range of textures and timbres. The album opens with the reflective "Requiem," which is set forth at a stately pace with Dodier and Genest helping state the theme over Turgeon's piano. Genest's woody-tone clarinet weaves in and out with Dodier's surging sax before closing in a muted manner. "Perdu dans les bois" translates as 'lost in the woods.' The spotlight is on Didier's soprano sax and pianist Turgeon on a dreamy performance on this cut. "'Labîme" opens with a brief bass solo before Turgeon plays cleanly and crisply while building in energy before the horns join in to add additional heat.

The three-part "Le Culte" is a centerpiece of the recording. The quintet navigates moods and various sonic textures opening in the first part with a somber tone generated by flute and clarinet and the interplay between the two and a turbulent rhythmic foundation. As the performance evolves, one hears commonalities with some of the recordings by the AACM and similar musicians herd in the use of dissonance, composed sections. Among the attractions in this three-part composition are Blouin's sawtooth bowed bass, Genest's buzzing, stormy tenor sax, and Turgeon's piano.

Closing this recording is "L'etang au crepuscule (the Pond at Dusk)," a lovely, unhurried performance that opens with Genest's dreamy clarinet and then Blouin solos over Turgeon's spare accompaniment. It closes this quartet's impressive debut, with challenging, but accessible music.

I received a download to review from a publicist. Here is a selection from the album.

Dave Stryker With Bob Mintzer and the WDR Big Band - Blue Soul

Dave Stryker With Bob Mintzer and the WDR Big Band
Blue Soul
Strikezone Records

Guitarist Dave Stryker's latest recording dates from March 2019 when he recorded with the WDR Big Band with tenor saxophonist Bob Mintzer. Mintzer, who serves as the principal conductor for the renowned Cologne, Germany band, provided the arrangements. The material here includes several songs in the vein of the Eight-Track soul and pop songs Stryker has featured in some recent recordings. Also heard are Stryker's originals that are in a similar groove-based manner.

Obviously, there is a difference between Stryker's usual organ jazz combo and a big band. However, the finger-popping, soulful feel of these performances is similar, in part due to Mintzer's handsome arrangements. Stryker is terrific with his lithe single note, horn-like solos set against a relaxed swinging groove. There are several standouts in the big band, including the keyboards of Billy Test (whose organ playing is excellent), drummer Hans Dekker and Mintzer himself.

Standout tracks include renditions of a couple Marvin Gaye songs, "Trouble Man" and, "What's Going On." Karolina Strassmayer is impressive on alto sax while Billy Test plays some funky organ. Stryker's jaunty original "AHA" has a robust Mintzer solo along with one from Stryker. Another original "Blues Strut," has a relaxed marching groove and showcases Test and Mintzer in addition to Stryker's scintillating playing. An unexpected delight is the performance of "Prince's "When Doves Cry," with Stryker's lyrical statement of the melody set against brassy horns. In addition to Stryker's nimble fretwork, alto saxophonist John Hörlén exhibits a dry, bluesy tone.

Against the relaxed swing of "Wichita Lineman," Stryker makes use of the lower register of his guitar to state the theme before Andy Hunter's surging trombone. Mintzer and Stryker are the soloists on Stanley Turrentine's "Stan's Shuffle," that closes this recording. With varied music, Mintzer's terrific arrangements, and the first-rate backing of the WDR Big Band, Dave Stryker's "Blue Soul' is his latest memorable recording.

I received my review copy from a publicist. Here is "Blues Strut" from  this CD.

Kelly's Lot - When or Where

Kelly's Lot
When or Where
Self-produced

Kelly's Lot was formed in 1994 by Kelly Zirbes, a folk singer/songwriter with a heart for the blues. Kelly Zirbes met guitarist and soundman Perry Robertson in 1996, who soon after produced 'Kelly's Lot - Live at the Troubadour,' one of the 15 CDs by Kelly's Lot. Within a year, he joined the band. In the last ten years, they have mostly played as a 5–8-piece blues band. It has been a year or so since "Can't Take My Soul" came out. I wrote favorably about that album and Ms. Zirbes, "Her grainy, heartfelt singing and crisp, understated support result in a varied and enjoyable set of blues and roots.

"When or Where" is an acoustic collection of blues and blues-tinged songs that would fit in as Americana. Also on this recording is Doug Pettibone, co-producer and guitarist, and David Grover on bass. The songs include interpretations of songs from Howlin' Wolf, Ma Rainey, Lovie Austin, and Robert Johnson, along with originals by Zirbes and Robertson that are "inspired by them and others who came before us."

The acoustic backing echoes my comments concerning the prior album about understated support, especially Pettibone's guitar (slide and non-slide). At the same time, Robertson and Grover provide a firm backing for her singing. "Stronger" opens this set with Zirbes vigorously singing about not giving in to the challenges of everyday life and "what doesn't kill you, makes you stronger." Pettibone's mix of chords and rolling single-note runs adds to the appeal here. I did find her vocal on "Heaven" going a bit over the top towards the end where there was a backing chorus, but that is a minor blemish. "Lost" is a slow original with a song about being on a lonely road with no way home. With a simple, stark backing, it is very moving. The title track is a shuffle about loss and remembrance and being left alone and can't call someone on the phone.

There are a couple of unusual Howlin' Wolf covers. "Somebody in My House" is taken at a slower, quieter fashion on Wolf's song about infidelity with slide guitar adding to the atmosphere. "Nature" is taken a walking tempo as she sings about its natural to be looking around. Lovie Austin wrote "Jealous Hearted Blues," which was recorded by Ma Rainey. With Pettibone's slide guitar (sounds like a dobro) and her laid-back singing, one suspects this performance could easily cross over to traditional country and Americana. Pettibone sounds like he is playing twelve-string lending a jug-band or skittle band feel to Ma Rainey's "Black Eyed Blues." An amiable cover of Robert Johnson's "Stones in My Passway" benefits from an arrangement that is not a copy of Johnson's recording.

As on "Can't Take My Soul," Kelly Zirbes impresses with her subtle, expressive vocals. With the well-thought repertoire and steady, emphatic backing, "When or Where" should have considerable appeal.

I received my review copy from a publicist. This review is in the current July-August 2021 Jazz & Blues Report (Issue 397). I have discovered I never posted my review of "Can't Take My Soul." I will post that review later this week. Here is a video for "Stronger."

Capital Blues Reissues

The second group of Capitol Blues Reissues from EMI continues the high standard of the first set. Five new releases along with a sampler compilation are in the same distinctive packaging with solid annotation and illustration andfirst-rate music. These reissues serve as a final testament to blues scholar, writer and producer, Pete Welding, who was the executive producer of this series. Welding, a former Down Beat, Blues Unlimited, Rolling Stone and Living Blues contributor, also headed Testament Records, was A&R for Playboy Records (responsible for that label's releases by Phillips Walker and Leadbelly), and was involved in numerous reissue projects over the years. The quality of the Capitol Blues series, including his own liner notes for several volumes, is not surprising to those of us who relied on his Down Beat reviews of twenty five years ago in building blues collections. According to the monthly publication ICE, Billy Vera is taking over the as the series executive producer.

The musical level of these five new releases may be higher than the initial reissues in the series. Texas  Guitar Killers (Capitol CDP 33915) is the only compilation among the present releases, and brings together a diverse group of performers. Included are several superb recordings by T-Bone Walker from the Old Swingmaster label that Walker recorded in December 1945, along with several alternate takes of Walker's Imperial work. These supplement the available reissues of Walker's Black & White and Imperial
recordings. They are exceptional sides with tasty small group backings (with particularly interesting hom voicings on the 1945 recordings). Another electric guitar R&B pioneer, Lowell Fulson is heard on two different sessions. The earlier 1948 session is comprised of Texas country blues duets with brother Martin, while a 1953 big band session provides a completely different, jump-band flavor. Other recordings include Gatemouth Brown's first recordings, a couple of strong tracks from Pee Wee Crayton, country blues sung by LC. Wilams backed by Lightnin' Hopkins, and thirteen (sometimes chaotic) selections from Smokey Hogg (some with Hadda Brooks on piano) that display his down-home Texas roots along with his idiosyncratic sense of time. Mark Humphrey's notes place this diverse and lively music in its musical and historical context.

Some will remember Mississippi Fred McDowell's double album, I Do Not Play No Rock'N'Roll. A two-disc release includes that long out-of-print album, along with the same title (Capitol CDP 33919) with selections issued on an obscure album, Just Sunshine, and unissued takes and tunes, all from the same sessions, produced by Malaco Records Tommy Couch. McDowell, perhaps the last great traditional Mississippi blues musician, is the foremost of the bluesmen discovered by folklorist Alan Lomax in the late fifties, playing an intense slide guitar style marked by his keen cutting tone and his percussive, mantra-like rhythms. Echoes can be heard in R.L Burnside and (to a lesser extent) Junior Kimbrough, but neither reaches the level of McDowell. The recordings here are among the first McDowell made using an electric guitar, and Couch backed him with a couple of rock musicians on bass and drums who provide firm, sympathetic accompaniment on many numbers. Many of these tunes were recorded by McDowell on several occasions, but his renditions of Kokomo Me Baby, Red Cross Store, 61 Highway, and Write Me a Few of Your Lines, as well as his interpretations of Baby Please Don't Go, Good Moming Little School Girl and Drop Down Mama, stand up with his best recordings of these items. With the simple rhythm backing added to his highly charged hesitating guitar riffs on Drop Down Mama, it makes for a high voltage performance that one will have trouble sitting still to. While a few tunes may come off as not as tightly executed, the overall level is quite high, and it is certainly one of the more valuable additions to the Capitol Blues series.

John Lee Hooker may be the most prolific blues recording artist of all time. Particularly around the late forties and early fifties, he made numerous recordings for a variety of labels, most done for either Bernie Besman or Joe Van Battle, operators of small Detroit labels as well as lessors of material to national labels.Such recordings as Boogie Chillum, Crawling King Snake, Hobo Blues, and I'm in the Mood, established Hooker as a National act. Ace Records' has collected Hooker's most commercially important sides from this period on The Legendary Modern Recordings (available on Flair in the US), while Hooker albums on Charly, Specialty and Krazy Kat collect other Hooker recordings from this time. Newly issued is Alternative Boogie (Capitol CDP 33912), a three disc album that brings together two vinyl albums, Coast to Coast Blues Band, and the three record set, John Lee Hooker's Detroit, that United Artists issued in the early seventies after the success of Hooker 'N' Heat (the collaboration with the blues-rock band, Canned Heat). These albums (reissued on this set) made available alternative takes and other songs by Hooker from the stockpile of producer Besman. Hooker's guitar boogies and moody. slow high intensity blues formed a distinctive and powerful body of blues, and the level of these and other performances of the time are remarkably high, such as the takes of John Lee's Original Boogie (an altemative of Boogie Chillum), I Rule My Den (a variant of Crawling King Snake), three versions of I'm in the Mood and other strong cuts. Some of these sides include either Andrew Durham or Eddie Kirkland on second guitar, James Watkins on piano and Eddie Burns on harmonica. And while many of these are alternatives to issued recordings, Hooker's performances from this time have a particularly improvisatory feel to them. Those who are into John Lee Hooker's early recordings know what to expect and will have to consider whether they want this material or not, while those more familiar with his band boogie recordings may want to first check out the Ace-Flair or Specialty discs of Hooker's early music first. However those, like this writer, who are into Hooker's early recordings will find plenty of musical treasures here.

After Freddie King signed with the independent Shelter label, he was able to get his friend Jimmy Rogers onto the label as well. Chicago Blues Masters: Volume Two: Jimmy Rogers (Capitol CDP 33916) makes available Rogers Shelter album along with four unissued tracks. Included are sessions with pianist Bob Riedy, the Aces, and Riedy's own band with Freddie King guesting. Rogers was a member of Muddy Waters greatest band (and later Howlin' Wolf's band), leaving Waters after his success with That's All Right. He made recordings for Chess that are amongst the finest examples of Chicago band blues. His Shelter recordings were among the first he made after resuming music. The earliest sides include remakes of such classic Chess tunes like Act Like You Love Me and Broken Hearted Blues along with the fine new blues, Gold Tailed Bird, still a staple of his performances today. While Rogers is in good voice, the backing provided by the Aces is surprisingly more functional than the spectacular accompaniment they often provided. Better are the selections with Riedy's band (the band Rogers was then regularly associated with). The best of these also sports some tremendous guitar by Freddie King with spirited new renditions of such classic Chess recordings as That's All Right, You're Sweet, Sloppy Drunk and You're the One. The final four songs (without King) include a tasty remake of Blues (Follow Me All Day Long) and a reworking of Sonny Boy Williamson I's Decoration Day Blues titled I Lost a Good Woman, with added horns. These sound better than I remember, although they are overshadowed by the best of Rogers' Chess recordings (look for the Chicago Bound album on cd).

The last new album is devoted to Snooks Eaglin, The Complete Imperial Recordings (Capitol CDP 33918). Eaglin, one of New Orleans' most celebrated contemporary performers was known to many as a street performer before his compelling recent recordings for Black Top. These early 1960 sides were produced by Dave Bartholomew and include the legendary James Booker on piano. There is a mix of classic blues like C.C.Rider and J.B. Lenoir's Mama Talk to Your Daughter, Bartholomew's own songs like That Certain Door and Goin' to The River, along with efforts obviously inspired by the contemporary pop music of the time. Those familiar with Eaglin's singular guitar style with its quirky twists and unusual rhythmic emphases will hear it in these 26 short tunes, though with a less fiery, chicken scratching tone than his recent recordings, while his heart-felt and earnest singing might explain why he never enjoyed great commercial success at the time. There are seven previously unissued tunes and one can hear occasional minor glitches in the performances or the ensemble work, but otherwise these wide-spanning performances have substantial entertainment value in addition to their historical nature.

In addition to these releases,Capitol also has issued a sampler collection Livin' With the Blues (Capitol CDP 31747) with tracks from these and the initial seven releases in the series. The packaging,  annotation and the material on all the Capitol Blues releases is first rate, and one could hardly go wrong from an entertainment point of view with any of these. I look forward to future releases under Billy Vera's direction.

This review originally appeared in the March 1996 Jazz & Blues Report (Issue 209). I believe I received review copies from EMI. I am not sure of the availability of these reissues today, but one might to check used CD stores.

Doug MacDonald Live in Hawaii

Doug MacDonald
Live in Hawaii
Dmac Music

Guitarist Doug MacDonald began his career in Hawaii before establishing himself in Southern California. His latest recording comes from a November 2019 performance at The Atherton Performing Arts Studio of Hawaii Public Radio. Joining him are Noel Okimoto on vibraphone, Dean Taba on bass, and Daryl Pellegrini on drums. MacDonald notes the unusual presence of a vibraphone in a guitar-led quartet. "Replacing piano with vibraphone lends a different artistic expression, and the harmonic constraints of four mallets offers me a different space to solo and develop chord melodies." On MacDonald's website, he likens this quartet to the Red Norvo Trio with drums added.

The album starts with an effervescent take on "My Shining Hour," which provides all four opportunities to solo. MacDonald impresses with his cleanly shaped lines and crystal clear tone. Okimoto's shimmering vibraphone provides an open base for MacDonald as well his solos as MacDonald comping. Bassist Taba anchors the music while also laying down robust solos, while Pellegrini ably propels the music while also taking crisp, focused drum solos. MacDonald contributed a couple of originals like the breezy "Cat City Samba" with Okimoto's crystalline solo followed by the leader's well-shaped, prickly solo. Then there is the easy rocking treatment of Oscar Pettiford's "Blues in a Closet" that bassist Taba takes the lead on. Like all the tracks here, the pace of the performances is spot on. "Star Eyes" is given a Brazilian-bebop fused performance. The performance of "Lester Leaps In" may be the highpoint of this set, with Okimoto dazzling as is MacDonald when the two trade fours.

Doug MacDonald's band is first-rate and sounds like they have been playing together for some time. With the strong selection of tunes, and top-flight soloing, he has produced another excellent album.

I received my review copy from a publicist. Here with a slightly different quartet, Doug MacDonald performs "Lester Leaps In."

Vinnie Riccitelli Octet For the Record

Vinnie Riccitelli Octet
For the Record
Self-produced

With a musical performing career stretching from 1941 to 2018, Vinnie Riccitelli led a highly successful freelance career for decades. He did have an album in 1956, "Unique Jazz, Jazz From Westchester," that had eight originals he penned and played by an octet that included tenor saxophonist Carmen Leggio, trombonist Eddie Bert, and trumpeter Joe Shepley. Since then, he freelanced, including being part of Bobby Rosengarden's East Coast Orchestra for the Jerry Lewis Telethon. He was a sideman for such legends as Barbara Streisand, Frank Sinatra, Tony Bennett, Bobby Darin, Lena Horne, and many more. He also was affiliated with some of New York's swing big bands, including Lew Anderson's All American Big Band, which enjoyed a lengthy residence at Birdland. Riccitelli appeared on multiple recordings of this band as the first chair alto sax.

Retiring from playing, he rediscovered his love of piano and became inspired to revisit some of his unrecorded compositions and arrangements. "For the Record," released some sixty-plus years after his first album, features those songs and arrangements, and was recorded between November 2019 and January 2020. Riccitelli, while no longer playing, was present for all the recording sessions. This most recent project again provided him the chance to work with and reward some of his longtime friends, including a former student of his from the late 1940s, tenor saxophonist Joe Stelluti, alongside his talented son Chris, on baritone sax, and Joe's brother Lou on bass. Others on this album include Leo Ursini or Nathan Childers on alto saxophone, Glenn Drewes on trumpet and flugelhorn, Bruce Bonvissuto on trombone, Eddie Monteiro on piano, and accordion, and Tony Tedesco on drums. Four of the seventeen tracks were composed by Riccitelli, and he wrote arrangements for all but one track, which was Tommy Newsom's arrangement for "Maids of Cadiz." Before moving to California to be part of Johnny Carson's Tonight Show Orchestra, Newsom played in Riccitelli's octet.

Aside from Riccitelli's for originals, the compositions include some classic jazz standards and songs from the American songbook. These include "I'm Old Fashioned," "If You Could See Me Now," "Stompin' at the Savoy," "Star Eyes," "Mr. Lucky," "Maids of Cadiz," "Along Came Betty," "Darn the Dream" "Dolphin Dance, "Jordu," and "Round Midnight." The octet swings and displays a clean, measured tone in a manner that suggests a fusion of bebop and West Coast cool. This sound is heard on "Riccitelli's "Minor Seven Heaven," which showcases Joe Stelluti's tenor saxophone. Another fascinating original "Blues Dominant" is another feature for Stelluti as well as trombonist Bonvissuto.

It should be noted that the performances are relatively short, ranging from 3 to 5 minutes. Stelluti is also prominent on "I'm Old Fashioned," which has a couple of solo choruses from pianist Monteiro. There is a gorgeous arrangement for Tadd Dameron's "If You Could See Me Now," with memorable solos from Drewes and Chris Stelluti. Chris Stelluti's robust baritone sax is also featured on the hip interpretation of "Serenata." The arrangement of "Stompin' at the Savoy" is a feature for bassist Lou Stelluti with the horns framing his playing. "Star Eyes" has shifting rhythms, tempos, and moods, along with some fiery trumpet from Drewes. Tommy Newsom's arrangement for "Maid of Cadiz" provides for a mesmerizing interplay by the horns before Bonvissuto's brassy solo.

On "Mr. Lucky," Monteiro plays accordion with an organ-like flavor. Drewes' haunting trumpet evokes Clifford Brown on a rendition of Benny Golson's "Along Came Betty." Bonvissuto's reflective trombone is showcased on "Darn That Dream," an arrangement originally written to showcase Eddie Bert. Riccitelli's arrangements of Duke Jordan's "Jordu" and then Thelonious Monk's "Round Midnight" also merit mention using half-time and double-time on the Monk classic, adding spice with the horns providing atmosphere behind Drewes soaring trumpet.

This album is a splendid recording that allows Vinnie Riccitelli and his well-crafted, handsome arrangements to shine. Add the excellent ensemble sound and terrific, focused solos, and one has a jewel of a jazz recording.

I received my review copy from a publicist.

Kendall Carter Introducing

Kendall Carter
Introducing
LLadnek Music

A Louisville Kentucky native, Kendall Carter is an emerging name on the Hammond B-3. Also an educator, he has caught the ear of guitarist Dave Stryker who produced this recording and played guitar. Kelly Phelps plays drums on this organ trio recording. Kendall cites Jimmy McGriff, Shirley Scott, and Charles Earland as among the inspirations and influences that led to his personal style. This session is mostly of familiar tunes to allow Kendall's audience to get a feel for his playing in a traditional context and with a familiar repertoire.

There is nothing fancy or exotic about this recording. Listeners are treated to a solid, straight-ahead organ jazz trio recording. Things start with a reworking of a Jackson 5 recording, "Blame It On the Boogie," into a striking shuffle as Carter states the theme as Stryker adds chords with Phelps subtly pushing the performance follows. Next up is a rendition of "Afro Blue," with the version quietly building in intensity with Stryker stating the theme while Carter lay down a rhythmic cushion and then solos. Bill Withers' "Lovely Day" allows more interplay between Carter and Stryker, followed by an energetic rendering of Kenny Dorham's "Short Story."

While the tunes may be familiar, Carter's selection of compositions is fresh. Carla Bley's "Lawns" is taken at a very leisurely pace, followed by a sparkling rendition of Lee Morgan's "Speedball." A lovely treatment of Sam River's "Beatrice" followed by a chicken fried interpretation of "This Masquerade Is Over." Carter's original "Punjabi Affair has an intriguing melody line, while Carter's church roots is reflected in "That's All," taken at a languid tempo.

Stryker contributed "Blues For Kendall," which is taken at a walking tempo and provides the album's final showcase for Carter's deep soul organ talents and Stryker's nuanced fretwork. This recording is a notable introduction to a distinctive new voice on the organ and a first-rate jazz organ trio recording.

I received my review copy from a publicist. Here is "Lovely Day."