In a Blue Mood

Catherine Russell Is Strictly Romancin'

2012-01-27T00:05:00.008-05:00

Catherine Russell, the daughter of the legendary Luis Russell and Carline Ray, has yet another collection of musical treats with her latest album, Strictly Romancin’ (World Village). It carries on in the vein of her well received Sentimental Streak and Inside This Heart Of Mine, with a similar collection of mostly long forgotten blues, ballads, love songs and swing from the twenties to today.

On this date, she is joined by guitarist Matt Munisteri, pianist Mark Shane, bassist Lee Hudson and drummer Mark McLean with Dan Block’s alto saxophone and clarinet. The tenor saxophone of Andy Farber is present on four tracks while Joe Barbato adds clarinet to two selections. Vocally she remains as commanding as in her past efforts as her vocals are delivered soulfully yet with a clarity that many vocalists today would benefit from listening to her mix of clean diction and musicality.

She and her collaborators have such a way of uncovering lesser know gems from such well known composers and songwriters as Edgar Sampson, Hoagy Carmichael, Duke Ellington and Billy Strayhorn, Mary Lou Williams and Ivory Joe Hunter as well as bring a fresh touch to some very well known songs while Munisteri in particular adds some very neat guitar playing channeling at different times, Eddie Lang and Django Reinhardt as well Charlie Christian.

Certainly the yearning vocal of the swinging Edgar Sampson-Ken Harrison Under the Spell of the Blues, helps set the tone and then followed by the gypsy swing rendition of I’m In The Mood For Love, with Barbato’s accordion being stunning. If Ev’ntide is not a familiar Hoagy Carmichael song, Russell’s warm rendition should change that. The Ellington-Strayhorn I’m Checkin’ Out, Goodbye, has a lively backing anchored in part of Shane’s stride-base piano and John Allred’s gruff trombone and some nice alto sax fills from Black along with Jon-Erik Kellso’s bright horn arrangement. Then there is the hep lively jive of Mary Lou William’s tribute to Louis Armstrong, Satchel Mouth Baby, with Munisteri providing vocal harmony.

It is a joy to listen to Catherine Russell deliver Lil Green’s classic ballad blues In the Dark, with Shane taking a solo. No More is a choice uptown blues as she sings about not needing nor caring for her lover with the horns caressing her vocal. There is some more Left Bank Gypsy jazz flavor on Everything’s Been Done Before, with Barbato’s accordion and Munisteri’s deft single note acoustic guitar contribute to this romantic performance. It is followed by the yearning and pleading vocal on Ivory Joe Hunter’s Don’t Leave Me, with Shane evoking the late blues and country balladeer’s piano style while Munisteri perhaps takes his finest solo. Then there is a lively rendition of the early jazz classic Everybody Loves My Baby, that swings hard with some fine muted trumpet from Kellso and clarinet from Block that is more in the vein of Benny Goodman than Buster Bailey (who played on the original by Eva Taylor which had Louis Armstrong on cornet).

Russell’s mother, Carline Ray, adds her vocal to He’s All I Need, a gospel classic from Sister Rosetta Tharpe and Marie Knight with Shane providing solid, idiomatic piano. This disc closes with the jaunty “Whatcha Gonna Do When There Ain’t No Swing?” As long as Catherine Russell is around we don’t have to worry about that question, because we won’t be blue because she will keep us swinging. Strictly Romancin’ is another varied and marvelous recording by Catherine Russell. Those who have her prior albums likely have been waiting for more from her and will not be disappointed. Others will discover just how wonderful a performer she is.

I received my review copy from a publicist for this release. Here is Catherine doing the title track of Inside This Heart Of Mine.

Andy Bey Knows It "Ain’t Necessarily So"

2012-01-26T00:05:00.003-05:00

On the new disc, Ain’t Necessarily So (12th Street Recordings), veteran pianist and vocalist Andy Bey is heard on a live 1997 recording from New York City’s Birdland. It was recorded a few months after his acclaimed studio date, Ballads, Blues & Bey, and had him backed by Peter Washington on bass and Kenny Washington on drums, except for Vito Lecszak on drums for two tracks.

Possessing a broad vocal range,going from a deep bass to a bluesy falsetto, Bey phrases his vocals in a horn-like fashion, extended phrases punctuated by some vocalese, and thoughtfully emphasizing some of the lyrics. As he shows on a brief solo during On Second Thought, Bey certainly is not lacking in piano technique, his playing is marked by its spare and understated approach, evoking the melody through the use of chords and to help underscore his interpretations of such songs the Gershwin classic opening this set; the Kern-Hammerstein staple, All the Things You Are, Someone to Watch Over Me; and the Ellington ballad, I Let A Song Out of My Heart.

Even on the instrumental, If I Should Lose You, he makes use as much of the silences as the notes he plays, while throughout, Kenny and Peter Washington unobtrusively fill out the performances that were so enthusiastically received the evening this was recorded.

This review originally appeared in the March 2008 Jazz & Blues Report (Issue 302) and I received my review copy from that publication or a publicist for the recording. Here is a video of Andy Bey performing.

The J Street Jumpers Were Good For Stompin’

2012-01-25T00:05:00.000-05:00

The Washington DC area has long been a hotbed for jump blues and swing dancing. One of the popular bands in the area was The Uptown Rhythm Kings fronted by Eric “Shoutin’” Sheridan, a singer with considerable personality. After Sheridan left the Washington area, the band morphed into the J Street Jumpers with guitarist Rusty Bogart and pianist Artie Gerstein anchoring the group. Bogart subsequently left the Washington area making us poorer for his encyclopedic knowledge of jazz and blues guitar styles, his driving playing, his constant swing and good taste and the Jumpers themselves are now history although others still keep the local jump blues-swing dance grooves alive. This review of their Severn release, Good For Stompin’, appeared originally in the December 2003-January 2004 DC Blues Calendar although I have made a few minor stylistic edits.

The brief swing revival has seemed to die down as a national craze, but its clear that nothing made Brian Seltzer’s Orchestra or groups like Big Bad Voodoo Daddy any better than countless bands that had been playing such music back at least three decades when Roomful of Blues and Powerhouse were making noise. Proof of this is evident from Good For Stompin’, the new Severn Records release by The J Street Jumpers. It is a handsomely sounding and swinging big little band disc with some fine playing by the entire band and some lovely vocals from the

featured singer Carmen Velarde, who sings wonderfully in a blues-ballad vein including lovely renditions of several songs from Count Basie’s songbook, including Blue and Sentimental. She does not come across quite as convincing on the hot-tempoed rendition of Louis Jordan’s Fire, although the band rocks very hard here, but on the slow ballads and pop tunes she is wonderful with her rendition of the Buddy Johnson hit, Til My Baby Comes Back to Me. She also capably delivers, I Don’t Hurt Anymore, from the Dinah Washington repertoire.

Pianist Artie Gerstein sings enthusiastically if not quite as distinctively as Ms. Verlande, with his rocking I Want You I Need You featuring a booting tenor sax solo and slashing guitar from Rusty Bogart, that displays Bogart’s synthesis of such masters as T-Bone Walker and Gatemouth Brown. I don’t want to sound overly critical about this as it is a wonderful disc, and the Jumpers play splendidly, have wonderful tight arrangements and are a first rate band. Furthermore, this disc will certainly make for very happy dancing feet.

Johnny Otis - An Appreciation

2012-01-24T00:05:00.006-05:00

Others have written obituaries about the late Johnny Otis. One of the best ones appeared in the New York Times and Marc Myers at his blog, jazzwax.com, had a very astute appreciation of the gentleman who was sometimes referred to as “The Godfather of Rhythm & Blues.” But Johnny Otis was so much more. Born in Northern California in a primarily African-American neighborhood, he may have been genetically of Greek ancestry, but he choose to live as an African-American. He played the spectrum of Black American Music (to use a phrase favored by Nicholas Payton), not simply Rhythm & Blues.

His musically chops may have started with Count Matthews and his Blues Band in the San Francisco Bay Area. On the recommendation of Nat King Cole and Jimmy Witherspoon, he moved to Los Angeles to play drums with Harlan Leonard and His Rockets, one of the last big bands to emerge from Kansas City. He himself was leading a big band soon after and recorded “Harlem Nocturne,” the first of a number chart topping records over his career.

He was among those who made the transition from big band to the smaller jump bands that would provider the foundation for post-war rhythm and blues. With Bradu Ali, he soon was operating “The Barrelhouse,” which would feature some of the greatest artists. And he would soon be starting his career as a talent scout, disc jockey, television host, record producer, community leader and organizer, entrepreneur, author, songwriter, recording artist, church leader and so much more.

The performers he discovered as well as those he recorded with are legion and legendary: (Little) Esther Phillips, The Robins (later the Coasters), Mel Walker, Linda Hopkins, Lester Young, Illinois Jacquet, Ben Webster, Jimmy Rushing, Johnny ’Guitar’ Watson, Big Mama Thornton, Jackie Wilson, Little WIllie John, Devonia Williams, James Van Streeter, Preston Love, Big Jim Wynn, Pete ‘Guitar’ Lewis, Jimmy Nolen (guitarist on “Willie and the Hand Jive” and inventor of scratch guitar as bassist Christian McBride observed), Etta James, Delmar ‘Mighty Mouth’ Evans, Margie Evans, Jackie Payne, Charles Brown, Johnny Ace, Slim Green, Gene ‘The Mighty Flea’ Connors, Clifford Solomon, Marie Adams, Joe Fritz, Don ‘Sugarcane’ Harris, Amos Milburn, Gatemouth Moore, Pee Wee Crayton, and Louis Jordan to throw a few names around.

My first conscious exposure to Otis’ music was the Kent album Cold Shot in DownBeat. That album introduced me to the singing of Mighty Mouth Evans, Johnny’s son Shuggie on guitar (displaying a facility way beyond his years) and Otis himself on piano, vibes and drums. Featured on the instrumental title track was Sugarcane Harris on violin and his performance with Otis at the time would relaunch his career. Cold Shot brought Johnny back to the fore of the blues world and led to a follow-up studio album on Epic (which I do not believe is currently available), as well as albums by Shuggie and Harris and The Johnny Otis Show Live at Monterey. This latter album was from a live Monterey Jazz Festival performance where Otis brought together Big Joe Turner, Esther Phillips, Roy Milton, Pee Wee Crayton, Eddie ‘Cleanhead’ Vinson and Ivory Joe Hunter for one of the greatest celebrations of this music ever.

Over the next thirty odd years Johnny continued to record, both with new recordings on his Blues Spectrum label by some of these pioneering legends as well as a variety of albums that covered the whole spectrum of blues and jazz. For Arhoolie, he did a loving homage to those Black Big Bands that inspired and influenced him, Spirit of the Black Territory Bands. For Alligator he produced in the early 1980s, The New Johnny Otis Show which introduced vocalists Vera Hamilton and Charles Williams as well as had plenty of Shuggie’s guitar, while Good Lovin’ Blues from 1990 had a fuller band with saxophonist Clifford Scott and vocalist Jackie Payne.

Of course, Johnny Otis was more than simply a musician. He was a painter, a community leader and social activist who also ran for political office (endorsed at the time by Dodger legend Maury Wills). He also ministered at his non-sectarian Church at which folks of any faith (even nonbelievers) were welcome and which carried out a variety of social welfare programs including a community kitchen. He was a disc jockey as well as a performer and in the late 50’s had a popular television show. In addition to recording for a variety of labels, he produced and played on recordings for Mercury-Emarcy, Duke-Peacock, Federal and Capitol Records, and later operated Dog Records. He continued in radio, even after moving back to the San Francisco area, hosting a regular show of music and interviews until the past few years.

Otis championed the pioneers of blues and Rhythm and Blues for his entire life. He conducted a series of interviews for Blues Unlimited with some of these and when he himself was interviewed, always noted the hype and publicity received by imitators and popularizers while the originals were still around. As a songwriter he contributed such classics as Every Beat Of My Heart for Gladys Knight and The Pips. He authored several books, including Listen To The Lambs which contained his reflections after the Watts Riots, and Upside Your Head!: Rhythm and Blues On Central Avenue, where he discussed the music he played such a major roll in. Otis was also a painter with some of his paintings reproduced in Colors and Chords: The Art of Johnny Otis. Midnight at the Barrelhouse: The Johnny Otis Story, is George Lipsitz's excellent biography on Otis.

Otis’ musical legacy consists not only of Shuggie, but also Nicky, drummer with the Steve Edmondson-Jackie Payne Band, and Shuggie’s son, Eric Otis, who is also a guitarist as well as composer and orchestrator with works with his other grandfather, another musical legend, Gerald Wilson.

Marc Myers had several recommendations of Johnny’s recordings in his blog that I have linked above. I recommend:

The Johnny Otis Rhythm & Blues Caravan; The Complete Savoy Recordings. A 3-CD box set with 77 recordings of which I wrote: “[T]he recommended collection of Otis’ Savoy recordings, not simply because it is so complete, but because it is so good and influential. This is out-of-print but should be available

Midnight at the Barrelhouse - The Johnny Otis Story Volume 1: 1945-57. I have ordered this Ace reissue which was released a few months ago to celebrate Johnny’s 90th Birthday. It is the first of a two disc retrospective of Johnny Otis’ musical career. It includes a variety of his Savoy, Duke, Capital and Dig recordings along with big Mama Thornton’ Hound Dog as well as versions of his songs So Fine and Every Beat Of My Heart. The second volume, On With the Show - The Johnny Otis Story Volume 2: 1957-1974, is scheduled for early February release.

The Johnny Otis Show Live at Monterey. As I wrote when this was rereleased on CD in 2000, “There has been hardly anything recorded in this vein since this that has come close to equalling this good rocking time.”

Other releases of note include:

Creepin’ with the Cats. One of several albums from the English Ace label compiled from Otis’ Dig Records and includes vocalists Little Arthur Matthews and Handsome Mel Williams as well as guitarist pete ‘Guitar’ Lewis and Jimmy Nolen on a range of material that was contemporaneous with Otis’ Capitol Recordings. Another Ace reissue in this series from Otis’ Dig group of labels is Dig These Blues with selections from Al Simmons, Slim Green, Sidney maiden The Cats From Fresno and Sugarcane Harris.

Johnny Otis Show: Vintage 1950’s Broadcasts from Los Angeles. Another release from English Ace Records that captures some live location performances with Johnny and his band although with some radio ads of the time (including Maury Wills endorsement of Johnny running for assemblyman).

Cold Shot - A reissue of the album which featured a young Shuggie on guitar, vocalist Delmar Evans and Sugarcane Harris with some fine blues with highlight’s including “Country Girl,” with plenty of swagger in the performance, “Goin’ Back To LA,” a “Sweet Home Chicago” variation and the title track, a strong instrumental showcasing Harris’ violin.

Spirit Of The Black Territory Bands. The Big Band Album Otis recorded for Arhoolie may only be available today as a download. It has strong renditions of songs associated with the big bands of Count Basie, Lionel Hampton, Duke Ellington, and Jay McShann that influenced and provided inspiration for Otis.

Here is Johnny and company doing "Willie and The Hand Jive" from 1958. It is a different you tube clip than circulating the web.

Phantom Blues Band's Deep Footprints

2012-01-23T00:05:00.008-05:00

The Phantom Blues Band has returned with a new disc full of bluesy old school sounds, Footprints (Delta Groove). First attracting notice for their work with Taj Mahal, there Delta Groove debut, Out of the Shadows, drew further attention, while the band’s members are in demand for various touring acts and recordings, so that guitarist Denny Freeman, now part of Bob Dylan’s touring band) only appears on several of tracks here. The rest, Mike Finnigan, vocals and keyboards; Johnny Lee Schell, vocals and guitar; Larry Fulcher, vocals and bass; Joe Sublett, saxophone; Darrell Leonard, trumpet; and Tony Braunagel, drums, are such a strong unit even without Freeman’s fine playing.

The rhythm section lay down the groove, the horns mix taut riffs and the soloists keep things fresh and concise. Despite the name, this band mixes in southern soul along with straight blues. It opens with Finnigan covering Howard Tate’s Look at Granny Run, while displaying his versatility on the classic ballad, Cottage For Sale. His rendition of Ray Charles’ classic blues, A Fool For You, is nicely done although not far removed from Charles’ original. He shows himself to be quite a good interpreter of Charles here.

Schell reworks Freddy King’s See See Baby as well as a nice bit of Rufus Thomas funk, Fried Chicken, although he is not as strong a singer here. Exceptional is his vocal on Darrell Leonard’s A Very Blue Day, with a nice trumpet solo and an evocative melody that evokes Horace Silver and Herbie Hancock. Fulcher treats us to Earl Randle’s deep soul ballad, Leave Home Girl and his reggae-flavored When the Music Changes is a stunning closer.

Not a poor truck and some exceptional ones by a band that sounds incapable of putting out anything but solid recordings.

This review was written for Jazz & Blues Report although I do not believe it ran. I believe I received a review copy from a publicist. I posted my review of Out of the Shadows on December 31, 2011. Here is a video of them.

Bruce Barth Trio's Live At Smalls' Piano Jazz

2012-01-22T00:05:00.000-05:00

Among newer releases on Smalls Live in its Live at Smalls series is one by the Bruce Barth Trio. Pianist Barth is accompanied by the bass of Vincente Archer and drummer Rudy Royston on location recordings from the Greenwich Village club that captured a late September 2010 performance. I am most familiar with Barth from his work on Terrell Stafford’s excellent celebration of the music of Billy Strayhorn, This Side of Strayhorn, (MaxJazz), but this is first album under his name I have heard. He has a pretty extensive resume including a stint with Terence Blanchard and a number of prior recordings as a leader.

With the exception of a rendition of Good Morning Heartache, the trio performs Barth's original compositions. The opening “Oh Yes I Will is not typical of several performances in that it opens in a pensive, impressionistic manner before Barth’s playing builds heat while Royston pushing things along and Archer provides a steady anchor. Sunday opens somewhat in a similar fashion as it develops in a similar fashion before the arpeggios are contrasted with block chords before it closes more pensively. There is a lovely ballad Yama and the lovely version of Good Morning Heartache, finds Barth playing with great restraint and in a spare fashion while Royston provides understated percussive support.

This listener’s favorite track might be Almost Blues. This is a terrific, spirited hard bop blues with a Monkish tinge with some driving playing with Royston’s rhythmic accents pushing it along before he solos and then trades fours with Barth. Archer gets to solo on Peaceful Place and the spirited Wilsonian Alto which has a bit of latin spice in the performance. Afternoon in LLeida, is a lovely performance mixing in Barth’s manner of setting a mood while providing contrast with some bluesy passages.

As usual with SmallsLive recordings, this is handsomely produced and the sound is quite fine. Barth’s crisp, yet feathery touch is complemented by his sideman for a thoughtful and lively recording. I will be checking out some of his past catalog. Its available from SmallsLive directly or other vendors.

I purchased this CD. Here is Bruce Barth performing Wilsonian Alto from 1 2004 performance with a different trio.

Sabertooth's Two Tenor Dr. Midnite Jazz

2012-01-21T00:05:00.004-05:00

Sabertooth is a two-tenor organ group that has been holding down a weekly gig at Chicago’s The Green Mill jazz club. Saxophonists Cameron Pfiffner and Pat Mallinger along with Pete Benson on the Hammond B3 and Ted Sirota on the drums hold forth Sunday in the wee early hours (2-5 AM) at The Green Mill.

Sabertooth has held forth here since 1990 and June 23, 2007, Delmark was there to tape the night and the result is a new CD, Dr. Midnite - Live at The Green Mill, that captures the two tenor organ combo in high flight. Delmark likens the two to such past celebrated two tenor tandems as Eddie ‘Lockjaw’ Davis and Johnnie Griffin and Gene Ammons & Sonny Stitt. These two players have been at it together for such a longtime and their empathy certainly shows here as does the stellar support they also receive from Benson and Sirota.

The two open the disc on flutes for a hint of Scottish flavor before they dig in for Mallinger’s Blues For C Piff. This number quickly illustrates their contrasting styles as Pfiffner comes across to me as showing a bit of Sonny Rollins flavor in his playing while Mallinger is more Coltrane-ish. After each solos, Benson takes a shift before the horns come back, again hinting at taking us to the Scottish highlands, then finishing this solid blues. The melody of It's Surely Gonna Flop If It Ain't Got That Bop, alludes to Ellinton’s It Don’t Mean a Thing …, as the two take flight on this bop flavored original with Mallinger on alto and Pfiffner on soprano. There is a nice drum solo on this from Sirota.

The group provides a marvelous rendition of the Harry Belafonte calypso, Mary Anne, as Pfiffner evokes Sonny Rollins as this opens with Mallinger on alto again. They play jointy on some measures, which is spiced up by Mallinger alto being a commentator to Pfiffner’s tenor.The title track, a Pfiffner composition with his spoken introduction, is slightly spacey number. It is followed by an unexpected rendition of the theme from the classic television show, Odd Couple. What delightful way they set up the melody before Mallinger opens up on tenor set against a buoyant rhythm, and then they sing ‘Don’t You Think It’s Odd’ to ride the song out.

The Grateful Dead’s China Cat Sunflower closes this album. Perhaps the music here is a bit less focused, although hardly unlistenable. If I was living in Chicago, I think I would want to be well-rested for Saturday night, because based on Dr. Midnite Sabertooth is obviously worth staying up and going to see.

This review originally appeared in the April 2008 Jazz & Blues Report (Issue 303), although I have made minor editorial and stylistic changes. I received my review copy from Delmark. Here is a video to give you all a taste of Sabertooth at the Green Mill.

Remembering Johnny Otis and His Classic Savoy recordings

2012-01-20T00:05:00.015-05:00

The music world and fans of jazz, blues and rhythm and blues have come together to note, mourn and celebrate the life of Johnny Otis. Obituaries with details on Johnny’s life have been published in the NY Times and LA Times and more will follow. This writer has been a fan of Johnny Otis’ many faceted career for over four decades since first acquiring the Cold Shot album by The Johnny Otis Show on Kent Records. I will be providing a fuller appreciation of him in a few days, but thought it might be useful to post this review from the May/June 2000 Jazz & Blues Report (Issue 245). The underlying CD box is no longer in print but can be purchased from dealers of our-of-print and used recordings.

The release of a triple disc box set, The Johnny Otis Rhythm & Blues Caravan, The Complete Savoy Recordings is coincidental with Otis’ induction into the Blues Foundation’s Hall of Fame. The release is one of a series of reissues being produced by Atlantic, The Savoy Jazz Originals that includes also a box set of Jimmy Scott’s Savoy recordings and other classic modern jazz sessions from that pioneering label.

The seventy-seven selections on the three discs present almost 4 hours of Otis’s classic rhythm and blues. As Billy Vera, who programmed and annotated this box notes at the conclusion of his booklet notes, “Johnny Otis certainly must be listed high on any list of rhythm and blues pioneers. Along with his caravan of singers and musicians, he played a vital role in creating and nurturing one of the most vibrant musical genres of the twentieth century.”

The collection opens up with four sides Otis recorded with a Big Band for Excelsior that show his links to the Count Basie sound. The opening Harlem Nocturne was a classic slow instrumental blues that included Bill Doggett on piano, Teddy Buckner on trumpet, Paul Quinchette, and James van Streeter on tenor saxophones, and Curtis Counce on bass. A couple of sides from this session sported terrific vocals from Basie vocalist Jimmy Rushing, one of which, Jimmy’s Round the Clock, predates similar songs from Joe Turner, Otis himself and Chuck Berry. One other instrumental dates from this 1945 session and is followed by a striking 1947 instrumental, Midnight at the Barrelhouse, which finds Otis working with the smaller jump band combo and sports some electrifying guitar.

By 1949, Ralph Bass signed Otis to Savoy and started recording with smaller groups that included the wonderful pianist Devonia Williams, and the great Pete ‘Guitar’ Lewis. Otis by this time was often heard on vibes, and not drums. The basic model of his group was the pioneering, chart-topping combos of Louis Jordan and Roy Milton. Like them he had a crisp, swinging rhythm section and punching, riffing horns. He also had Pete Lewis’ slashing guitar; and vocalists including shouter Redd Lyte, The Robins, Little Esther Phillips and Mel Walker. Lyte is an able shouter on the rocking Ain’t Nothin Shakin, while Lewis turns in a nice T-Bone flavored solo on the slow Hangover Blues.

Prior to being paired with Little Esther, the Robins showed their versatility on the rocking If I Didn’t Love You So, and the sweet ballad, Rain in My Eyes. The addition of Little Esther for the classic Double Crossing Blues led to Otis first #1 recording with Savoy, and one of 11 Otis recordings to chart in 1950. A slashing instrumental like Headhunter showcased the great Pete Lewis, as did the first part of The Turkey Hop, a dance number derived from a children’s song. Otis revisited Harlem Nocturne on Blues Nocturne, with some hot Lewis guitar and deep in the groove alto sax from Floyd Turnham, while Cry Baby introduced the blues crooner Mel Walker (backed by the Robins) on a number that adapts the melody of Charles Brown’s Drifting Blues. This description of the contents of the first volume only touches on the riches to be found here.

The second disc opens with four items featuring the Robins who parted from Otis after a dispute with the Robins’ management. I’m Living OK may not have charted, but this rocker featuring the group’s bass vocalist sports fine playing from Otis and Lewis. There Ain’t No Use Begging is a slow ballad featuring Bobby Nunn, while their last recording, You’re Fine But Not My Kind is a medium tempo blues with some fine vibes from Otis. Little Esther and Mel Walker developed into Otis’ prime vocalists. Their duets featured playful banter between the singers and Deceivin’ Blues, Cupid’s Boogie, Wedding Boogie and Faraway Christmas Blues (the latter two with Lee Graves added) proved quite popular. The second disc concludes with a couple vocals by gospel singer Mary DeLoatch who recorded as Marilyn Scott and produced a nice coupling including a hot Beer Bottle Boogie where Otis is heard on drums and features terrific piano from Devonia Williams and a tenor solo by Lorenzo Holden.

By the time of the Disc Three recordings, Little Esther had been signed by Ralph Bass to Federal, so Mel Walker becomes even more prominent on the vocals. A title like Gee Baby, which reached #2 on the charts with a larger band sports very nice muted trumpet and trombone along with some apt tenor fills and a vocal that suggests a Charles Brown influence. Pete Lewis evokes T-Bone Walker’s Stormy Monday on the intro to Redd Lyte’s Gonna Take a Train. Linda Hopkins made some of her earliest recordings with Otis, and her Doggin’ Blues shows that even then she was a powerful singer.

Mambo Boogie was a hit for Otis and his band as they took advantage of the mambo craze of the time, while Otis’s first vocal, All Nite Long, also was one of 15 Savoy recordings to crack the Billboard charts. One previously unissued selection is the theme for Hunter Hancock’s Harlem Matinee radio show and illustrates all the musical bases that Otis covered in less than two minutes, with snippets of Harlem Nocturne and Jumping at the Woodside included along with a nice boogie woogie segment.

This is a class production. The booklet by Billy Vera provides his usual literate and thoughtful consideration of the artist and the music. Otis himself contributed the painting that serves as the cover for the booklet and the box. While much of this has been issued over the years, I do not know how much was available on compact disc. I believe most of Disc 1 was previously available, but this becomes the recommended collection of Otis’ Savoy recordings, not simply because it is so complete, but because it is so good and influential.

The Rediscovery Recordings of Howard Tate

2012-01-19T00:05:00.002-05:00

Howard Tate was one of the significant musical figures who passed away in 2011. His recordings in the 1960s were covered by the like of Janis Joplin, and his own Verve album became legendary. I was privileged to see him in 2002 shortly after his rediscovery and his performance was indeed memorable. I purchased this CD and my review of it (corrected for this blog) appeared in the Dec. 2003 - Jan. 2004 DC Blues Calendar which was the newsletter of the DC Blues Society.

The rediscovery of soul singer Howard Tate was certainly welcome by those who have heard his legendary Verve album, Get It While You Can. This writer was fortunate to see him at the 2002 Pocono Blues Festival and was delighted to acquire

Rediscovered, his first recordings in about three decades, on Private Music. Reunited with Jerry Ragovoy, who wrote most of the songs here and plays piano on most as well, Tate sounds as strong a vocalist as he did three-and-a-half decades ago.

Most of the material is deep soul although a couple of blues gems are included such as Don’t Need No Monkey on My Back. There certainly is a blues tinge to some of the material that is also reflective in the bluesy accompanying guitar while the Uptown Horns provide their usual crisp and punchy backing. Among other standout numbers are the opening Mama Was Right and All I Know is the Way I Feel. I would not be surprised to see the latter song become a favorite for cover versions. There is also a fine version of Prince’s Kiss as well as a gospel number Eternity before the album concludes with Tate reprising Get It While You Can accompanied just by Ragovoy’s piano.

This album certainly will please the fans of Tate’s classic recordings and for others this serves as a first-rate introduction to a soul survivor who is at the top of his game.

Here is a video of Howard & Jerry Ragavoy doing Get It While You Can.

Dan Mahar's Lone Stone's Throw

2012-01-18T00:05:00.002-05:00

Dan Mahar is a singer-guitarist from Sioux Falls, North Dakota, who is a former Nashville sideman and session player and toured with Country star Billy Dean. He has a new album on White Smoke Records, Long Stone’s Throw, which is a blues-rock disc in the vein of a Coco Montoya or a Tinsley Ellis. This is not to say that he is necessarily quite up to their level, but this recording will have its most immediate appeal to fans of that musical style.

He certainly is a solid singer and certainly pulls out all the stops on his solos. The band is solid and keeps a rock-solid, heavy groove going, which suits Mahar. The performances are originals, although Linda Lu sounds like a reworking of the Ray Sharpe classic rock and roll number and has nice harp from Karl Kabbage. You Don’t Have to Tell Me has a clever opening, with a riff from Johnny Cash’s Folsom Prison Blues, before launching in the quick walking tempo with twin guitars soloing against each.

I Never Meant Us to Fall is a nice change of pace, with a relaxed vocal on a r&B tinged ballad. The title track is a nicely done shuffle with particularly nice guitar, the rhythm section swings and some nice horns in the background. This writer assumes that Mahar is playing the dobro on, I Got My Baby Working, which places new lyrics to Got My Mojo Working, and again benefits from a more laid back rhythm. The closing track, Someday I’m Gonna Know, is a gospel number which he performs accompanied solely by his dobro.

For my taste, this is a mixed bag. Some of the tracks sound a bit heavy-handed and the backing is too busy. Those whose tastes lean towards a rock-tinged blues may find much more here to their liking.

This review originally appeared in the April 2008 Jazz & Blues Report (Issue 304) and I have made some minor stylistic revisions. I am not sure of my source for the review copy although it likely came from a publicist or Jazz & Blues Report.

Jimmy Blythe Messed Around The Blues

2012-01-17T00:05:00.002-05:00

Born in Lexington, Kentucky, Jimmy Blythe arrived in Chicago as a teenager in 1916. As Bob Koester notes, not much is known about Blythe outside of his recordings and piano rolls. He recorded extensive in small groups featuring such noted instrumentalists as Johnny Dodds, Louis Armstrong,Roy Palmer and Natty Dominque as well as singers like Blind Blake, Lottie Beaman, Lonnie Johnson, Monette Moore and Ma Rainey. Recordings such as these as well as with Jimmy Bertrand’s Washboard Wizards and Blythe’s Washboard Ragamuffins give a sense of the type of ragtime-early boogie woogie flavor that marked his music.

Delmark’s reissue of Blythe, Messin’ Around Blues, is derived from 19 of the piano rolls that Blythe recorded which outnumber the actual piano solos he recorded. Modern technology probably makes the reproduction of piano rolls on CD much better than reissues of 1920s’ recordings mastered from old 78s. At the same time, the technique of cutting a piano rolls may limit the grittier aspects of Blythe’s playing. Certainly Blythe was comfortable on the blues he performs here like Sugar Dew Blues, as well as rendering the pop songs of the day as My Baby. His recording, Chicago Stomp, was perhaps the first boogie woogie recording. It shows how vigorous his playing could be and can be heard at http://www.redhotjazz.com/blythe.html.

The music presented on Messin’ Around Blues has a stately quality with ragtime and stride flavor, but little in terms of the ragged, boogie style that can be heard on the recordings of contemporaries like Clarence ‘Pinetop’ Smith, Cow Cow Davenport or Meade Lux Lewis as well as Blythe’s own recordings. Delmark is to be congratulated for issuing this, however I suspect this may have a limited audience.

This review originally appeared in the March 2008 Jazz & Blues Report (Issue 302). I received my review copy from Delmark.

Week of Indian Jazz Includes Celebrated Saxophonist Rudresh Mahanthappa

2012-01-16T14:00:00.000-05:00

Rudresh Mahanthappa is one of several artists who come from the Indian Subcontinent that will be featured at Blues Alley, in Washington DC, that starts today. In a series of performances that are presented by Blues Alley in conjunction with the Embassy of India, Mahanthappa’s appearances on Thursday and Friday, January 19 and 20th with Samdhi will be a highlight of the jazz week and this series. Tonight vocalist Sachal Vasandani appears, while tomorrow guitarist Sanjay Mishra & Friends will be there. Wednesday, January 18, guitarist Rez Abassi is there with his trio. Michael West of the Washington City Paper has highlighted this performance. According to his website, Rez will also be appearing with Rudresh Mahanthappa’s Samdhi.

This writer is particularly excited to the appearance of Rudresh Mahanthappa’s Samdhi. That is also the title of his most recent recording on ACT. He is one of the most praised saxophonists to have come to some prominence in the past several years and with such other performers who have their origins in the Indian Subcontinent such as Vijay Iyer has made a significant impact on contemporary jazz.

Samdhi is a Sanskrit word meaning ‘twilight,’ but he advises that in Hinduism this word has a greater significance as representing the phase between ages, ‘the period between the destruction of one universe and the creation of the next.’ In essence it “represents transition and a reflection of the past while waiting to see what the future will bring.” He further notes some of his inspirations that go beyond Charlie Parker to include Grover Washington Jr, David Sanborn, the Brecker Brothers and the Yellow Jackets. He strives to mix passion with virtuosity and gone beyond the jazz tradition to a whole range of music including aspects of South Indian Music as well as fascinated by electronic music and hip hop with the new array of sounds and beats. The new release Samdhi, reflects his musical pursuit and to these ears represents ant intriguing and realized musical fusion of jazz and other elements.

On the recording, his alto saxophone and laptop electronics is joined by guitarist David Gilmore, bassist Rich Brown, drummer Damion Reid and “Anand” Anantha Krishnan on mridangam and kanjira. Mahanthappa’s alto playing is wonderful, with a sinewy, singing tone (reminds me of Jan Gabarek at times) and solos that mix intellect and passion. An example of his integration of electronics and his alto playing is presented on the opening Parakram #1 is a tone poem with his alto riding over his electronics. The exhilarating Killer has fire from him against the South Indian rhythms with Gilmore’s guitar contributing his own fireworks, with the interplay between these two and especially the percussion of Krishnan becomes mesmerizing. More of this interplay can be heard on Breakfastlunchanddinner.

Each of the musicians is featured on this recording. Bassist Brown has a solo Richard’s Game which segues into Playing With Stones, with tempo changes but a constant in the Mahanthappa’s playful, lyrical lead of the performance here. Gilmore;s “Rune” is followed by the afore-mentioned “Breakfastlunchanddinner.” There is a return to electronics on Parakram #2, which is a lengthier track and very intriguing with his use of hip hop grooves, loops and overdubs. Meeting of the Skins is a percussion feature providing solos for both Reid and Krishnan. The remainder of Samdhi is as fulfilling to listen to with its natural fusion of its musical elements for music that is at times entrancing and other times sensuous and high-spirited,

The delights of listening to Samhi (which I purchased) brings a definite anticipation to seeing Rudresh Mahanthappa’s Samdhi this week, although the members of Samdhi may vary from the recording. It will an an opportunity to see one of the significant new musical voices of today. For more information on the performances this week, including ordering tickets, visit, http://bluesalley.com

Here is a video of Rudresh Mahanthappa’s Samdhi in performance from October 2011.

Here is guitarist Rez Abassi in performance.

Frank Melrose's Two-Fisted Chicago Jazz Piano

2012-01-16T00:05:00.002-05:00

Frank Melrose was a younger brother of music publishers Walter and Lester Melrose and as Delmark’s Bob Koester notes in the booklet for the Delmark release of Bluesiana, was virtually the only Caucasian artist to record for ‘race” (blues records) in the late ‘20s and early ‘30s, where he recorded with such bands as King Mutt’s (that also included trumpeter Punch Miller), the Windy Rhythm Kings with Junie and Oliver Cobb, and the Beale Street Washboard Band with Johnny Dodds, along with his own sides with the Kansas City Stompers.

An impressive two-fisted pianist, an early jazz discography listed two piano solos he recorded as if by Jelly Roll Morton, and he continued performing until found brutally murdered in 1941. These recordings were made in 1940 and originally intended for Bob Thiele's Signature label but Thiele was drafted. They were acquired by stockbroker and jazz fan Frank Lyons who supplied Delmark the recordings for issue.

This is a straight-ahead ‘Chicago style’ jazz date with a band that included cornet player Pete Daly, a regular associate of Melrose’s from the early ‘30s and saxophonist Boyce Brown, with vocalist June Davis on three tracks. There are pop tunes of the era like Sugarfoot Strut (that Louis Armstrong recorded) as well as some New Orleans classics (Jelly Roll Morton’s New Orleans Blues) and Melrose’s own originals (the hot Corrine Romp[, Bluesiana, with June Davis who comes off as a decent Billie Holiday imitator, and Rosetta, which itself became a jazz standard) .

There is plenty of hot jazz here and Morton’s influence can be heard in Melrose’s composition Original Stomp, with a nice Daly solo some tailgate trombone from Bill Helgart and a pumping bass, rolling piano break from Melrose, in addition to the spirited rendition of Morton’s New Orleans Blues, with Melrose taking the lead at the beginning. The World is Waiting For the Sunrise is a showcase for his rollicking piano backed by just the rhythm, while his introspective version of Body and Soul is one of two piano solos here.

Bluesiana is a delightful example of mainstream small group jazz of the pre-bebop era that certainly will be of interest to those who appreciate earlier styles of jazz.

My review copy was provided by Delmark Records. This review originally appeared in the November-December 2006 Jazz & Blues Report (Issue 288).

Sandy Carroll's Asks To Be Taken "Just As I Am"

2012-01-15T00:05:00.002-05:00

Memphis based pianist, singer and songwriter Sandy Carroll has a new Catfood Records CD, Just As I Am, that is an intelligently produced album that blends soul, rock and blues for a nice musical stew that ranges from ballads, blues/rock and gospel, to New Orleans styles and country. She says, “Just As I Am is a project Jim and I have been working on for a few years. It came together when Bob Trenchard got involved and we decided to finish it and release it on Catfood Records.”

The Jim, Carroll refers to, is celebrated producer Jim Gaines, who is her husband. Gaines produced, engineered and mixed this disc. The studio band is pretty strong with guitarist Evan Leake and keyboardist Rick Steff being the only persons playing on all or almost all the selections. Sandy Carroll had a hand in all of the songs here which go to celebrating one’s fellow persons on the opening, uplifting, Blessed Be, asking for blessings for the children who hold the light, the warriors that let us sleep at night, the healers, the lame, and “blessed be the glory blessed by thy name,” to her amusing lyrics about trying to improve on her natural self in Helping Mother Nature, where she looks in the mirror and gets the botox blues as she sings “nip, tuck fill it in.”

She sings about love, yearning and whether the man she loves is her Heart Fixin’ Man, as well as the tragic young love in Romeo & Juliet, whose lyrics Bob Trenchard (who plays bass on the track) brought to her. There is more of spiritual message on Runnin’ Out of Grace, while she gives advise to men that if they want to treat their woman right, “they need to lean how to give Slow Kisses, set to a boogie piano based accompaniment. The album closes with the title track that she co-wrote with James Sjoberg and the late Luther Allison and which Allison recorded on his Reckless album for Alligator. It has been years since I last listened to Allison doing this, but I can’t imagine him crafting a blue ballad performance in his own style as she does with her vocal asking “Will you love me just as I am.”

The songs resonate with both the crisp production and lyrics matched by Carroll’s wonderful vocals that bring a strong country-soul flavor with nice elements such as Steff’s use of accordion on Romeo & Juliet to lend it a Tex-Mex flavor and Leake’s guitar (except on the title track) provides atmosphere without overshadowing her natural, understated singing. While some of the publicity for this characterizes this as a blues recording, there is little actual blues on this (one blues is the somber Waiting For the Storm with a strong guitar solo). Regardless of how one classifies this recording, it is a recording that should appeal to a wide range of listeners with Carroll’s natural, heartfelt singing and the strong backing provided her.

I received a review copy from a publicist for this release.

Mid-Atlantic Jazz Festival Bring the Real Jazz to DC area

2012-01-14T00:05:00.053-05:00

Paul Carr and Randy Brecker at 2011 Mid-Atlantic Jazz Festival

It is about 5 weekends from the 3rd Annual Mid-Atlantic Jazz Festival. The Mid-Atlantic Jazz Festival revives the legacy of the East Coast Jazz Festival that ran for 15 years starting in 1992. The ECJF originated in honor of Elmore “Fish” Middleton, a Washington, DC jazz radio programmer, whose commitment to promoting jazz music and supporting emerging jazz artists became the guiding principle behind the festival. The driving force of the ECJF was the late Ronnie Wells, a Washington DC jazz icon. After her passing, so did the ECJF.

Bassist Michael Bowie

Mid-Atlantic Jazz Festival takes place at the Rockville, Maryland Hilton Hotel over the President’s Day Weekend. Under the auspices of Washington DC area saxophonist and educator, Paul Carr, the Festival has a focus on not simply bringing some of the best local and national jazz performers to the area, but to help nurture and support Jazz Education. Besides such notable performers like Roy Haynes, Terrell Stafford, Carmen Bradford and Nicholas Payton, the festival spotlights local artists like vocalist Sandra Johnson, guitarist Mark Mosely, and bassist Michael Bowie. There are master classes for aspiring jazz musicians, a jazz for mall boppers class, jam sessions, band competition for high school bands and more. There are also artist interviews, and much more.

The Festival opens on Friday night February 17 with highlights on the main stage being Winard Harper and the great vocalist Carmen Bradford backed by the Mid-Atlantic Jazz Orchestra conducted by Paul Carr. Saturday afternoon a highlight will be the Jazz Ain’t Dead Jazz Troupe featuring Maurice Chestnut. Saturday evening features the acclaimed Baltimore vibraphonist (and much more) Warren Wolf and the legendary Roy Haynes and the Fountain of Youth band with the terrific Jaleel Shaw on saxophone. Sunday afternoon has a focus on gospel with a play, “The Mahalia Jackson Story’ featuring vocalist Lavenia Nesmith. Sunday evening includes a Trumpet Summit featuring Brain Lynch, Nicholas Payton and Terrell Stafford and the evening concludes with Festival director Paul Carr’s Quintet with Terrell Stafford, Joey Calderazzo, Michael Bowie and Lewis Nash.

Nicholas Payton will be part of the Trumpet Summit.
He is seen here at the 2009 New Orleans Jazz & Heritage Festival

As can be seen, this year's Mid-Atlantic Jazz Festival will present another full weekend of great music. I had a blast at last year's Festival and look forward to more of the same. I hope to see some of you there. For more information check out the website, http://www.midatlanticjazzfestival.org/. Here is a preview of the Festival.

Hans Glawischnig's Panoramic Jazz

2012-01-13T00:05:00.003-05:00

New York based bassist Hans Glawischnig has certainly come along way from his Graz, Austria beginnings. He has attended Berklee, the Manhattan School of Music and in 1995 took the bass seat in Bobby Watson’s Urban Renewal followed by a stint with Maynard Ferguson, before he was invited to join Ray Barretto’s New World Spirit Ensemble Jazz followed by engagements with Pacquito D’Riviera, David Samuels and Bobby Sanabria along with performances with Billy Harper, Richie Beirach, Billy Hart, Joe Locke, Steffon Harris, Claudio Roditi, Brian Lynch, Phil Woods and Claudia Acuna to name a few. and his first album as a leader was Common Ground for Fresh Sounds/New Talent in 2003.

Now Sunnyside has just issued his latest release as a leader, Panorama. On his nine compositions he is joined by such well known artists as pianists Chick Corea, and Luis Perdomo; drummers Johnathan Blake, Antonio Sanchez, and Marcus Gilmore; saxophonists David Binney, Miguel Zenon and Rich Perry; and guitarist Ben Monder. Zenon (in whose band Glawischnig) is present on four of the performances which have a pretty wide cast. Zenon’s sax dominates the opening Line Drive, with his clean tone and marvelous invention followed by the impressive Perdomo’s piano while the leader’s bass anchors the proceedings and drummer Blake imaginatively keeps pushing the tune along while adding his own accents.

The title track features Corea in a very thoughtful, lyrical vein, while Glawischnig also gets to solo, while Zenon returns on The Orchids, a performance that evokes some of the flavor of Keith Jarrett’s European Quartet recordings. Gypsy Tales, is a quintet track with guitarist Monder, saxophonist Binney and drummer Antonio Sanchez with a spacey feel, with Binney taking a probing tenor solo while Monder’s guitar is in the post McLaughlin and Abercombie approach. Set to Sea is a lovely ballad featuring the tenor of Rich Perry, while Corea returns for Oceanography, derived From How Deep Is The Ocean. Barretto’s Way, opens with nice bowed bass playing before a bit of flamenco is evoked by his bass (suggestive of David Holland here).

The rest of the album features fresh material, thoughtful and inventive playing and marvelous group interplay making Panorama a superior jazz release. Here is a youtube of Hans playing with Miguel Zenon's group with Luis Perdomo on piano.

This review originally appeared in the October 2008 Jazz & Blues Report (Issue 309). I believe I received my review copy from the publication.

Charlie Parker In Washington DC

2012-01-12T00:05:00.002-05:00

Uptown Records, who not to long ago issued a legendary Town Hall (NYC) concert by Charlie Parker and Dizzy Gillespie, have another surprise that will be welcomed by jazz lovers. Washington D.C., 1948 is a release of Charlie Parker’s contribution to a May 23, 1948 concert produced by Willis Conover entitled ‘Dixieland v. Bebop,’ held at a long-closed venue, The Music Hall that was in Northwest Washington, near Howard University.

The booklet that accompanies this CD, has extensive notes that chronicle the history of this event, the performers and the music. As indicated from the concert title, Parker came to Washington as part of a concert that presented Dixieland musicians in addition to a bebop group. The Dixieland musicians included Wild Bill Davidson, clarinetist Tony Parenti and trombonist Benny Morton who are only held on one of the tracks on this disc, which is devoted to the surviving bebop oriented tracks. In addition to Parker, the best known musician here was the great drummer Buddy Rich. Others heard here include drummer Joe Theimer (who had been in the Navy band that included John Coltrane) on the opening number, tenor saxophonist Ben Lary, pianist Sam Krupit, bassist Al Phipps and trombonist Rob Swope.

The opening number here is Tiny’s Blues, before Rich, Phipps and Parker are brought up for Bernie’s Tune, and the ballad These Foolish Things, before a lengthy Scrapple From the Apple. After these three numbers, the band becomes simply a quartet for Ornithology and KoKo (Bird’s legendary transformation of Cherokee). Parker is clearly at the forefront, with Rich swinging things along. Krupit takes an extended, slightly frantic piano solo on KoKo after which Bird and Rich trade fours before Rich takes a solo. These two performances stand out with Bird’s brilliant playing and Rich’s charismatic percussion.

After this is an abbreviated C Jam Blues on which the three Dixieland horns joined the full band, but cut short when Davidson got angry at Parker’s very audible laughter offstage during a fine solo by Parenti. An unfortunate end to what sounded like a very promising performance that would have given more a chance to display the common ground between alleged musical adversaries. Sound quality is adequate given the circumstances and one can certainly hear what was played without difficulty if not in highest fidelity.

The accompanying booklet includes insights and the evening’s history from Ron Fritts, Ira Gitler and Ross Firestone and adds to this valuable restoration of a piece of jazz history that will be essential to Charlie Parker aficionado as those who love classic bebop, especially given the unusual backing band for Bird heard here.

This review originally appeared in the November 2008 Jazz & Blues Report (Issue 310). I likely received my review copy from that publication.

Dave Gross' Varied Crawling the Walls

2012-01-11T00:05:00.003-05:00

Singer-guitarist Dave Gross’ new disc Crawling the Walls on the VizzTone group’s SwingNation Records, should solidify his reputation. Only 24 he shows he has listened and absorbed a lot in this disc that provides a wide palette of sounds ranging from gypsy jazz to storming Chicago blues. He certainly is worthy of some of the praise that Bob Margolin lays on him in the liner notes, especially his marvelous musicianship. His vocals perhaps come off at times as flat and other times a bit over-the-top, but sounds better than his last disc. This aspect of his music should mature along with him. one might expect him to grow as a singer.

The album opens with his remake of an early Bobby Bland recording, It’s My Life Baby, channeling the Clarence Holliman in his work. Its followed by Rock in My Shoe, a piece of rock’n’roll that echoes some mid-fifties’ Specialty rock recordings with a blistering solo. Ike Turner’s Cubano Jump, offers him more chance to showcase his driving guitar. The title track is an original in the vein of twenties and thirties era speakeasy blues with some nice growling trumpet from Jon-Erik Kellso and clarinet by Gerry Niewood, although Mike Bram’s drums are way too prominent.

Inspiration Blues, is a spirited take on T-Bone Walker's recording with Niewood blasting on tenor and Gross sounding strong playing in a Walker-inspired vein. It is followed by his own midnight blues-ballad, You’re Not the One, with Kellso growling before Gross starts off as Pee Wee Crayton reborn before taking the solo in his own direction. Margolin’s point in the liner notes that Gross “always adds a creative trick or twist to classic licks and tones,” is nowhere better illustrated than here. Back to the twenties with Clarence Williams’ Baby Won’t You Please Come Home, with drums replaced by banjo and Scott Robinson on bass sax with Kellso blasting playing with out mute but adding some bluesy smears, followed by Gross, on acoustic guitar, taking a nice solo with tinges of Eddie Lang, before pianist Canal Fowkes takes the lead with some stride before Robinson struts on the bass sax on a nice classic Chicago jazz performance.

Don’t Take Too Long, with Dennis Gruenling on harmonica conjures up the sound of the classic Willie Dixon produced Cobra recordings of Otis Rush, while Find Yourself Another Man, is a pastiche of classic Muddy Waters band, again with Gruenling wailing on harmonica. This performance reminds me of some of Bob Margolin’s recordings in the same vein. Gross, like Margolin is not as convincing vocally. It Was Born in the 20’s, is a stunning acoustic guitar feature with Gross paying tribute to Django Reinhardt (and Matt Munisteri providing crisp rhythm in this delightful small group jazz performance as well taking a nice solo as well) with Kellso’s trumpet and Niewood’s clarinet providing atmospheric support. Gross’ acoustic guitar solo, A Little Love, A Little Kiss, revives an Eddie Lang guitar solo from the twenties, and like he does throughout this recording, honors those who inspired him by not imitating and replicating his influences, but rather extending them and displaying his own musical personality.

While his vocals may not be Dave Gross’ strength, they do not detract from the overall high level of the music that makes Climbing the Walls, a welcome release.

I received my review copy from either a publicist or VizzTone. I wrote this review for Jazz & Blues Report but I do not believe this review ran. Here is Dave performing with Dennis Gruenling on harmonica.

Jackie Ryan and the Night and the Music

2012-01-10T00:05:00.000-05:00

Her new album, You and the Night and the Music (OpenArt Productions), served as my introduction to the artistry of San Francisco vocalist Jackie Ryan. A fascinating and often compelling voyage through the American songbook, Ryan impresses with faultless pitch, phrasing, and musicality. The anchor of her backing here is the trio of pianist Tamir Hendelman, bassist Christoph Luty and drummer Jeff Hamilton. They are joined on several of the selections by saxophonist Red Holloway, harpist Carol Robbins and guitarist Larry Koonse, with Robbins and Koonse each joining Ryan for a duet with her.

From the opening moments of You‘re So Nice to Come Home To, with Hendelman’s insistent piano and Holloway’s emphatic tenor to the lingering notes of the duet with guitarist Koonse, While We’re Young. She displays not only her broad vocal range, but, as importantly, her extensive, expressive range as she belts out the opening number or equally convinces on the marvelous, intimate duet with Robbins, You Are There. Her relaxed vocal on Ray Noble’s The Very Thought of You, is complemented by Holloway’s empathic tenor.

He mother was Mexican who sang to her Spanish folk tunes when she was growing up and she sings Besame Mucho in Spanish with her pleasing vocal complimented by Koonse’s striking acoustic guitar which Hendelman’s spare piano effectively complements. In addition to Ryan’s vocal and Holloway’s potent playing, bassist Luty has a strong solo playing with the bow on Let There Be Love. The Best is Yet to Come may be best known from Frank Sinatra’s classic recording, but Ryan, with her trio accompaniment, gives this classic a fresh take.

One would have to stretch to find anything to even quibble about on this truly excellent disc by a vocalist that so many have rightfully have taken notice of, and much more will be expected of in the future.

My review originally appeared in the November 2008 Jazz & Blues Report (issue 310). My review copy was provided by a publicist for the release. Here is Jackie singing The Very Thought of You with Tamir Henderson on piano and Red Holloway on tenor sax.

Big Joe Turner's Birthday Boogie Woogie Jubilee With Axel Zwingenberger

2012-01-09T00:05:00.014-05:00

I have many fond memories of the late Big Joe Turner, one of the greatest blues shouters of all time. I had the honor to emcee Big Joe and Lloyd Glenn at Buffalo’s Tralfamadore Cafe in 1977 and saw him a number of times in New York whether at the Lone Star, Trammps or Fat Tuesday’s. In the 1970s he became acquainted with a young German pianist Axel Zwingenberger who played boogie woogie in the manner of the boogie woogie legends Pete Johnson (with whom Turner sang with in Kansas City, New York and Los Angeles), Albert Ammons and Meade Lux Lewis. Zwingenberger is still around and one of a number of individuals throughout the world still playing classic boogie woogie, showing his deep appreciation for the greats of the idiom while displaying his own touch.

Boogie Woogie Jubilee is among the albums that Big Joe and Axel recorded together and currently available on Vagabond Records. It was recorded on May 1981 at Big Joe Turner’s Los Angeles home with the legendary jump blues band leader sitting in on drums. This is a wonderful informal house party recording and the occasion of this back yard party was Joe Turner’s 70th Birthday Party. And after Joe makes a comment to his friends, Axel launches into some Albert Ammons inspired boogie woogie before Joe shouts Hide and Seek Boogie, bringing together of some traditional blues verses and asking the audience “are you ready.” Audience claps reinforce Roy Milton’s steady drumming that helps propel Zwingenberger’s boogie woogie piano as well as Big Joe’s singing.

Big Joe generally was in terrific voice that afternoon. He sounds at times even stronger than as on of his contemporaneous recordings for Pablo and other labels. There are takes on some of the songs most associated with Turner such as Chains Of Love, Flip, Flop & Fly, Cherry Red, and Piney Brown Blues, wonderfully delivered with the strong, sympathetic accompaniment. And one can hear the audience enjoying these performances. The highpoint might be the title track, an extended vocal jam between Turner, Eddie ‘Cleanhead’ Vinson and Margie Evans and Cleanhead wishes Big Joe ‘Happy Birthday’ during his vocal here. There is one boogie woogie piano instrumental, California Crawl, that places Zwingenberger’s marvelous piano in the fore front as he conjures up Meade Lux Lewis and Albert Ammons.

Boogie Woogie Jubilee is a superb album with outstanding blues vocals and marvelous boogie woogie piano. I also recommend a studio recording by Big Joe and Axel, Let’s Boogie Woogie All Night Long, from a few years earlier, where Axel’s brother Torsten handles the drums which Johnny Otis engineered, and another disc has him with Lionel Hampton. Recent albums has him in a trio with Charlie Watts on drums and accompanying Albert Ammons granddaughter. I will be giving my thoughts on some of these other albums by Axel in future blogs.

I purchased this and several other albums by Axel directly from him at his website, http://www.boogiewoogie.net/2/en/0/a/0/aktuelles.html, and hear some clips from the recordings. Some may be available from third party sellers in the United States.

Here is Axel with Charlie Watts on Jools Holland's program Later, that includes a clip of boogie woogie classics. Then a video of Big Joe Turner from the American Folk Blues Festival in 1966.

Whop Frazier - How Bluesy Can You Get

2012-01-08T00:05:00.006-05:00

Word came out towards the end of 2011 that William ‘Whop’ Frazier had passed. I had known Whop for about two decades, although I cannot remember when I first saw him, but he played with about everybody playing blues and classic R&B around the Washington DC area. After working as a side man he joined a gospel group and later joined the Bad Influence Band, with whom he recorded his and their first album.

Whop then started his own band, Whop Frazier and Friends By Choice which played throughout the region over the past couple decades. It was always a solid band that would mix in a few R&B chestnuts along with classic and original blues. If Whop played with everybody, pretty much everyone played with Whop at times. Jesse Yawn often sang with Whop and tenor saxophonist Ron Holloway (formerly with Dizzy Gillespie and now touring with Warren Haynes) was a not infrequent guest in Whop’s band over the years. Drummer Earl Ivey and Washington keyboard legend Jackie Hairston were regulars in his group over the years although for specific gigs personnel could change.

Whop Frazier and Friends By Choice Summer 2008 at Wilson Plaza in Washington DC.
From left to right - Jackie Hairston, Whop Frazier, Earl Ivey and (I believe) Tom Newman.

Whop had a warm smile for everyone and it was felt when he sang. He reworked How Blue Can You Get, singing ‘bluesy’ instead of blues and made you feel so good. And he knew how to get the dance floor filled with renditions of Mustang Sally, and other classic R&B numbers like Some Kind of Wonderful or Turn Back The Hands Of Time. Guitarists Michael Tash and Bobby Thompson were among those who developed their chops playing with Whop while Tom Newman or Harold Flood was his featured guitarist over the past few years.

Whop was born August 31, 1943 in Washington DC. In an interview with Felix McLairen published in the December 2008 issue of the DC Blues Society’s newsletter, Capital Blues Messenger, Whop talked about his career and life noting that he “lived and grew up around 14th & U Streets. I hung out a lot and spent time around the Howard Theater just a few blocks from where I lived.”

“I became interested in music ‘cause I was hanging around musicians all the time. I was a young teenager when I started trying to play guitar and got tips from “Skip” Pitts. He was the guitarist who did the wah-wah thing for Isaac Hayes. He said my fingers were too long for the guitar and suggestedI take up electric bass. … I was gigging by the time I was about 14. I played at the Spa Club on 14th and T Streets. I also played the Coach Lounge where Billy Stewart sometime played. In fact, I dated Billy’s cousin for a while. I also played with Bill Harris at clubs on U Street.” Billy Stewart had a number of hits for Chess Records and Bill Harris was an original member of The Clovers as well as a pioneering jazz and blues guitarist.

He first went on the road at the age of 17 with Dee Clark. Locally he “played with Jesse Yawn, Eddie Daye & the 4 Bars. When I was in my early twenties I gigged with Little Royal, Wilson Pickett, and Pookie Hudson. … I started playing Top 40, jukebox tunes. I got into the Blues mostly when I got with Bobby Parker. Bobby was in his twenties and playing with a lot of [local and national] big names, like B.B. King. Later on I also did shows with Blues musicians like Junior Wells, James Cotton, and Bobby Blue Bland.” He stayed with Bobby for ten or so years playing the chitlin’ circuit and credited Bobby for getting him to sing.

Whop explained how he got his nickname, “Well, it came about for a couple reasons. I started out using a pick on the bass that made a whopping sound. But as a teenager I also was known for exaggerating. The guys laughed and talked about me telling whoppers of tales. One of ‘em suggested they call me Whop. The name stuck.”

Memphis Gold, Harold Flood, Tom Principato and Whop Frazier at 2006 Columbia Pike Blues Festival

Whop recorded at several albums that gave a sense of what he was like to hear live. They may not have been innovative, but full of his solid, heartfelt and ebullient blues and soul. His first album was with Bad Influence and then two self-released studio albums, Bathtub Blues and Here I Go Again. A performance at the Bluebird Blues Festival is available at itunes and amazon as a download. On this latter album harmonica player Roger Edsall joins the band with Harold Flood on guitar. Whop could be relied on for solidly played and always entertaining music. Even when not performing, he was there to attend and support other local bluesman. It was always great to see him, whether catching him perform or simply chatting with him. I am among the countless many who will miss him.

He died at the age of 68 on December 22, 2011 of complications from lung and bone cancer. He is survived by his loving wife, Dolores “DeDe” Frazier, four daughters, Amber M. Frazier, Shula Payton, Lisa Frazier, and Cynthia Brooks; three sons, William Frazier Jr., David Frazier, and Isaac Calhoun. He is also survived by 9 grandchildren and 2 great grandchildren.

Here is a youtube video Whop used for promotional purposes from 2010 with Jackie Hairston, Earl Ivey and Harold Flood on guitar.

Memphis Blues Party From Bukka White and Furry Lewis

2012-01-07T00:05:00.002-05:00

Arcola Records has issued a wonderful recording by Furry Lewis, Bukka White and Friends, Party! At Home. Recorded in Memphis in July 1968, the first two selections by Bukka White were recorded at Albino Red’s, and the last three by Furry were recorded in Furry’s apartment. The majority came from a party at Furry’s Apartment and while the performances by the two blues legends are typically lively ones, they benefit from banter with friends.

What’s nice while there are familiar songs from both, there are some interesting choices. For example we get to hear White redo Lightnin’ Hopkins’ Hello Central( from the session at Albino Red's), Give Me 49, in White’s lively percussive, driving style along with White doing Drifting Blues and other numbers with Lewis adding encouragement. Lewis does a typically fine rendition of John Henry as well as Let Me Call You Sweetheart from the party as well as a fine rendition of his Kassie Jones from the other session.

As indicated, both White and Lewis sound real good here and the informality of the party setting adds to the spirit of the performances here. Recommended.

This is an older review from 2007 and originally appeared in the March-April 2007 Jazz & Blues Report (Issue 291). I purchased this CD.

Here is Bukka and then Furry.

Billy Gibson's Southern Livin'

2012-01-06T00:05:00.006-05:00

This is an older review from 2007 and I did select this recording to be an outstanding blues recording of 2007. It appeared in the March-April 2007 Jazz & Blues Report (Issue 291). I received my copy from wither Inside Sounds or a publicist.

Born in Mississippi where he developed his distinctive soulful singing and harp, Billy Gibson has established himself as among the strongest blues acts in the Memphis area today. Gibson has a new album on Inside Sounds, Southern Livin’, that focuses on his marvelous vocals although he does not ignore his harp. Gibson’s band includes guitarist David Bowen and bassist James Jackson, both veterans of Albert King’s band along with drummer Cedric Keel and keyboardist Charlie wood along with some taut horns on several tracks and guest appearances from guitarists Preston Shannon and Daddy Mack Orr.

Bowen’s original Fireman opens with Bowen playing some guitar evoking Albert King before Gibson’s delivery of the clever lyric. Bowen & Gibson collaborated on Mississippi, a funky celebration his roots and the state’s people with a short harp break. Preston Shannon guests on guitar on Bowen’s I’m Single, a rocking shuffle about no longer being tied up and out having fun, while Too Many Times, is a soul-blues ballad reflecting on a relation gone bad as his woman tries to take two and make three with a killer line about how hard it is to forget her for as Willie Nelson says “you’re always be on my mind.”

Gibson's Hey Hey Pretty Baby. has him telling is woman he is going to rock and sock it to his woman that she’ll know it can’t be wrong, throwing in a short, focused chromatic harp-break. One of three covers included here is a tasty reworking of Sam Myers, I Got a Thing for the Voodoo Woman. Other covers include the fine rendition Booker T & the MG's classic, Hip Hug-Her, with exceptional harp, and the closing Sex Appeal (from Willie Dixon’s Pen, on which Daddy Mack takes the guitar lead), with another nice vocal.

There is hardly anything i can fault on this impressive release. The band is tight and Bowen and Wood are as impressive on their instruments as Gibson is on harp, but the focus remains on the songs and Gibson’s authoritative and convincing vocals. Highly recommended.

Here is Billy performing at the North Atlantic Blues Festival in 2007.

The Cookers "Cast The First Stone"

2012-01-05T00:05:00.008-05:00

Taking their name from a series of classic Blue Note live recordings, The Cookers is an ensemble built upon some of the strongest jazz musicians of the past half century or so. With the tenor saxophone of Billy Harper and trumpet of Eddie Henderson they are supported by a rhythm section of pianist George Cables, bassist Cecil McBee and drummer Billy Hart. These five have graced clubs, stages and recording studios with the likes of Dexter Gordon, Max Roach, Lee Morgan, Herbie Hancock, Art Blakey and countess others, while each also establishing a formidable legacy of their own.

More recently they have been joined by younger players in their tradition: trumpeter Dan Weiss and alto saxophonist Craig Handy. Weiss in fact has become the band’s straw boss and produced the group’s latest disc, Cast the First Stone (Plus Loin Music). Saxophonist Azar Lawrence guests on several tracks on this. The compositions are originals from Harper, McBee and Cables with one exception.

The title track is a Harper original built around a punchy four note figure that sports tempo changes in its melody and displays the band’s fiery approach that may suggest some of the recordings by Woody Shaw and others from the seventies and eighties with the energetic ensembles and surging solos from Harper, Weiss and Cables. The latter mixes in a more melodic segment as McBee buzzes around him and Hart mixes in adept use of accents on his cymbals, before Harper takes the lead with some fiery playing followed. The nature of the composition gives the performance a rougher feel. McBee’s Peacemaker has a lighter, more supple tone with Henderson taking the initial solo employing a mute. He is followed by a lengthy solo from Craig Handy and then McBee, as Cables and Hart softly play under him.

Cables’ Looking For Light has an elegance to it. Guest Azar Lawrence adds some alluring soprano, soloing along with Henderson (again using a mute) and Cables reinforcing the spirit of the performance. Harper’s The Seventh Day has a more forceful cast, followed by the uplifting Croquet Ballet. Harper, Weiss and Cables solo on both numbers while the latter tune also includes a solo from Handy. After Cables’ Think of Me where Henderson soars, the recording concludes with Harold Mabern’s The Chief, that features dynamic tenor sax solos from Lawrence and Harper, and a drum solo by Hart. It concludes a strong recording.

This is not simply an all-star band put together for the studio, but a working group as evident through the striking performances of fresh, engaging material.

A publicist provided me with my review copy.

Here are The Cookers (with Kirk Lightsey in lieu of George Cables).

Kid Chocolate Has His Take On Louis Armstrong's Music

2012-01-04T00:05:00.008-05:00

It was at 2006 New Orleans Jazz & Heritage Festival that I first saw Kid Chocolate (real name Leon Brown) when he sung as part of the Marsalis Music Honors tribute to drummer, bandleader and teacher, Bob French. At the time, he was limited to singing as he had lost his trumpet chops due to illness. Thankfully the chops have restored and he has been able to resume playing trumpet under the name that Bob French gave him in 2000. Kid Chocolate has played with countless folks, including recently overseas with clarinetist Michael White, while establishing a reputation in New Orleans.

With a quartet that includes pianist Thaddeus Richard, bassist Richard Moten and drummer Ricky Sebastian, Kid Chocolate has produced and issued a recording, My Take (Funkin Horns Records), that pays homage the great Louis Armstrong as he provides his own renditions of a number of classic songs associated with New Orleans most beloved son. From the opening moments of Wild Man Blues, Kid Chocolate leads to the closing notes of I’ll Be Glad When You’re Dead (You Rascal You), Kid Chocolate and band lays down plenty of ebullient music.

He mixes his spirited trumpet on the opening Wild Man Blues as well as on Shine. The latter tune sports his very effective understated vocals as well as trading fours between trumpet and drummer Sebastian. He also has a charming vocal on High Society Calypso, with its delightful Caribbean-tinge. Richard plays marvelous on this. I am with Jimmy Rushing’s vocal with Bennie Moten of the Hoagie Carmichael ode to the Crescent City, New Orleans. It is nicely sung by Kid Chocolate in an Armstrong-styled manner and segues into Up the Lazy River. Richard is stunning on piano both accompanying the vocal and in his short solo. The leader eschews his trumpet on this.

“I’ll Never Be the Same” has a nice latin groove and after his vocal, Kid plays nice muted trumpet in a more contemporary vein, It contrasts with the extroverted trumpet that opens All Of Me, followed by a some horn-like phrasing in his vocal owing more than a little to contemporary jazz singers such as Jon Hendricks. Moten and Sebastian both take crisp solos on this. “Weatherbird Rag” is a duet with bassist Moten. His trumpet is a bit more relaxed than Armstrong was on his classic duet with Earl Hines on this Armstrong composition originally performed by King Oliver. Kid Chocolate employs his mute producing slurs and cries to open the venerable “St. James Infirmary Blues,” in a performance that is a terrific bridging of the jazz and blues realms.

He is marvelously complemented by his band who, like the leader, bring these performances to fruition as Kid Chocolate tells his stories. Most of these performances allude to Armstrong but none of them copy or imitate the master nor any familiar versions of any songs. Kid Chocolate has a more relaxed vocal and trumpet attack than Armstrong and invests his own musical personality in a consistently ingratiating manner. The Louisiana Music Factory in New Orleans (www.louisianamusicfactory.com) and other vendors have this available.

This was a purchase of mine. Here is Kid Chocolate playing with the great drummer, Shannon Powell.

And he he is with the New Orleans Moonshiners with Al 'Carnival Time' Johnson singing.

The Bass Clarinet of Jason Stein Tells The Story This Time

2012-01-03T00:05:00.014-05:00

After starting on rock and blues guitar, Jason Stein has focused his musical career on the bass clarinet. In this respect he differs from a variety of multi-instrumentalists such as Bernie Maupin, Eric Dolphy, James Carter and David Murray who have made major statements on the instrument, but not play it exclusively. His Chicago quartet is heard on his Delmark release, The Story This Time, and includes Keefe Jackson who plays mainly tenor saxophone but also doubles on contrabass clarinet here, bassist Joshua Abrams and drummer Frank Rosaly. Jackson’s use of the contrabass clarinet also serves to provide a deep bottom on the selections he employs it on.

The eleven performances here include five originals along with three compositions from the Lennie Tristano school and three from Thelonious Monk. The choice of compositions from Tristano along with Warne Marsh and Lee Konitz are reflected in his interaction with Jackson throughout. Their playing is akin to the interplay of Konitz and Marsh on Tristano’s classic oeuvre and provides a feeling of the suspension of time, although the two generally eschew the tonal purity of the Konitz-Marsh front lines.

Marsh’s Background Music opens this with some heat and bebop flavor as Stein quickly displays a strong attack followed by Jackson’s hot tenor as the two weave in and out of each other’s lines while the rhythm keeps the tempo heated. It is followed by Stein’s, Laced Case, which suggests free jazz in the vein of Ornette Coleman. The two play in a bluesy vein as the rhythm embellish Stein’s growls and then provide provide a base for the swinging groove of by the leader and Jackson. There is a lively opening to Stein’s Little Big Horse, which makes use of the contrast in pitches and tonalities between tenor sax and bass clarinet. The three interpretations of Monk’s music also provides an interesting rhythmic approach. Unlike Steve Lacy’s explorations of Monk’s music which were quite close to Monk’s conceptions of his songs, Stein and his band provide a rhythmic feel that I suggest is akin to the Tristano school with its rhythmic static-ness as on Skippy.

This overview of several of the performances hopefully will give a sense of the performances on this. Some might describe this as free jazz, but that may refer to the looser musical structures they build their improvisations and with few exceptions do not relate to frenzied or frenetic playing (although the two reeds sound a bit abrasive at the beginning of Konitz’s Palo Alto), and certainly will not sound too out for those who have listened to a broad spectrum of contemporary jazz. Stein has put together a fine band for the musical explorations heard on this very absorbing recording.

I received a review copy from Delmark Records. Here is Jason Stein rehearsing Monk's "Skippy."

Riley Savoy and Toups Form Traditional Cajun SuperBand - The Band Courtboullion

2012-01-02T00:05:00.001-05:00

The Louisiana label Valcour Records has just issued a eponymously titled recording by The Band Courtboullion. The recording brings together three major names in Cajun music of the past few decades, Wayne Toups, Steve Riley and Wilson Savoy along with bassist Eric Frey for a wonderful collection of traditional Cajun songs in an acoustic mode. All three are heard on accordion at different parts and contribute vocals. Toups has it write when he refers to the songs being “a part of the amazing culture that i grew up with and still are a major part of the way I interpret and play the music I play today.”

To listen to Toups take the lead on the lively The Bosco Blues with Savoy adding the crying fiddle as well as Iry Lejeune’s The Convict Waltz. Savoy provides crying fiddle that evokes the classic recordings of The Balfa Brothers and Nathan Abshire from over four decades ago on Swallow Records. Overdubbing allows Riley to play accordion, fiddle and guitar on Lawrence Walker’s La Vie Malheureuse, while his guitar and fiddle support the accordion and vocals of Savoy on another Lawrence Walker song, Chere Alice. There are a couple lively instrumentals including The Hathaway Two-Step with Toups’s driving accordion, fiddle from Savoy and solid rhythm guitar from Riley.

Other songs include favorites from Shirley Bergeron and DL Menard are heard along with the terrific renditions of traditional dance hall and juke box favorites that is wonderfully played and recorded. The physical CD includes a pdf file of song lyrics and translations and a link to valcourrecords.com to download two more performances by the three. This is heartfelt, joyful, traditionally played Cajun music expresses the heart and soul of the Cajuns in Louisiana and reaches the hearts of those who love this music wherever they may be. This can be obtained from Valcour Records or better stores such as the Louisiana Music Factory (from whom I purchased this).

Here are two you tube videos by the three to whet your appetite for this superb recording.

James Armstrong Finds Blues At The Border

2012-01-01T00:05:00.001-05:00

A new album by singer-guitarist James Armstrong, Blues at the Border (Catfood Records) is a cause of celebration for blues lovers. This is only the fourth album by Armstrong who debuted over a decade ago on Hightone with Sleeping With a Stranger. After a home invasion attack stabbing left him with permanent nerve damage in his left hand, he rebuilt his guitar style and resumed touring and musical career as his brings a lean and deft, razor-like guitar style together with a soulful vocal attack. Comparisons will obviously be made to Robert Cray which may both reflect artists who bring a strong soul base to their blues and both generally employing an unstated approach to their songs.

Recorded in New York City and Texas, the set was produced by Michael Ross, Bob Trenchard and Armstrong himself. Armstrong’s bands bring lean, yet crisp backing to the mostly original material that displays Armstrong’s ability at crafting songs dealing with everyday life with judicious use of wit and irony. Armstrong’s wit is obvious on the opening Everything Good To Ya (Ain’t Always Good For Ya), with his choral refrain noting his father’s advice that candy tastes good but causes tooth decay and eating an apple a day may be good but too many apples gives one a tummy ache. Somebody’s Got To Pay is a soulful number by Trenchard and Sandy Carroll about one giving too much and the other taking too much in their relationship as he pleads with his women to stop believing outsiders.

The title song, co-written with Madonna Hamel, is a humorous complaint about being an international traveler having to deal with getting back to the United States in these post-911 days and how the world has changed with some slide guitar providing mood to his vocal before a concise slide guitar break. More of his controlled, clean slide playing is heard on Devil’s Candy, with an emphatic rhythm in the backing. The lyric is about a lady with an intoxicating effect that left obsessed with her. He gave her his heart, but she wanted his soul. It's an impressive performance that exhibits that even though he shows considerable restraint, Armstrong generates smoldering intensity in his performances.

Dave Steen penned “High Maintenance Woman” on which Madonna Hamel adds a guest rap-vocal playing the high maintenance woman in Armstrong’s life who keeps him on the run. Still, despite her high costs to maintain, she keeps him warm. Young Man With the Blues is a moving tribute to his father, a jazz musician who raised James as a single father. Its a song about James’ mother walking out, making Armstrong’s dad a young man with the blues. Brand New Man is a shuffle where he sings about how his love made him a brand new man and he doesn’t want to lose her. The album closes with Trenchard’s Long Black Car, in which one won’t get to heaven in unless one slows down and turns one’s life around.

Armstrong’s nuanced performances reward careful and repeated listening. Blues at the Border is a most notable new blues recording.

A publicist provided my review copy. Here is James at the 2011 North Atlantic Blues Festival.

Phantom Blues Band Comes Out of the Shadows

2011-12-31T00:05:00.009-05:00

Best known as the band that backed Taj Mahal on several award-winning recordings, The Phantom Blues Band finally has a handsome disc of its own, Out of the Shadows (Delta Groove) that will certainly will make even more aware of this superb group.

The seven members of the band have a wealth of experience playing with a who’s who of pop and rock music ranging from keyboard whiz-vocalist Mike Finnigan who was on Hendrix's Electric Ladyland album and toured with Dave Mason to guitarist Denny Freeman who was share guitar duties with Stevie Ray Vaughan before being part of the Antone’s House band and currently is in Bob Dylan’s touring group. Saxophonist Joe Sublett and trumpeter Darrell Leonard are known as the Texacali Horns, guitarist-vocalist Johnny Lee Schell had a lengthy tenure with Bonnie Raitt starting in the late seventies, bassist-vocalist Larry Fulcher had stints with Smokey Robinson and the Crusaders as well as reggae groups Third World and Andrew Tosh while drummer Tony Braunagel has too many credits as a producer to list.

Producer John Porter has let them wax a number of classic R&B numbers with a dash of reggae added that should go down easy. From the opening funk groove of The Meters’ Do the Dirt, the Memphis Hi Records groove of I Only Have Love, the rocking reworking of Don & Dewey’s Big Boy Pete, a fresh reworking of Chuck Berry’s Havana Moon, Fulcher’s handling of a reggae classic, Book of Rules, and solid takes of blues from Jimmy McCracklin, Bobby bland and Ray Charles. Finnigan especially is a terrific vocalist and Schell and Fulcher are very good with some terrific playing (listen to Freeman solo on Part Time Love).

Perhaps the only shortcoming is that this album is the prevalence of covers, although few acts can perform the range of material they do sand at the same time inject the band’s personality into the material. Few will be disappointed in this recording of solid blues and rhythm numbers masterfully played.

This review originally appeared in the May-June 2007 Jazz & Blues Report (Issue 293) and I have made some corrections to the published review. I received my review copy from either Delta Groove Records or a publicist for the label.

Here is the Phantom Blues Band doing "Part Time Love" from the 2008 Legendary Rhythm and Blues Cruise.

And here they are with Taj Mahal

Phillip Walker Going Back Home

2011-12-30T00:06:00.010-05:00

Its been way too long since Philip Walker had a new studio album. Delta Groove has just issued Going Back Home, that finds the Gulf Coast native and longtime West Coast bluesman in solid form. The strength of the disc is Walker’s characteristically strong vocals (with just a hint of sandpaper in his voice and his guitar playing which rock and swing at the same time.

Producer Randy Chortkoff has selected a solid backing band that includes guitarist Rusty Zinn, Jeff Turmes on bass (and sax for a few tracks, Richard Innes on drums as well as provided Walker with a diverse range of material from the pens of Percy Mayfield (the opening Lying Woman), Lowell Fulson (Mama Bring Your Clothes Back Home), Lightnin’ Hopkins (Don’t Think ‘Cause Your Pretty), his old friend Cornelius Greene aka Lonesome Sundown (Leave My Money Alone and If You See My Baby), Ray Charles (Blackjack), Champion Jack Dupree (Bad Blood), and Frankie Lee Sims (Walking With Frankie) along with several originals from Chortkoff (although Honey Stew is suggestive of a Lightnin Hopkins recording).

Eddie Snow’s Mean Mean Woman features an accompaniment derived from Junior Parker’s Mystery Train. The backing is a bit too upfront at times and the music loses some of its regional flavor with the somewhat anonymous groove. One wishes the rhythm section was not right on the beat at times such as on the two Lonesome Sundown blues where more of the laconic Excello groove would have been beneficial. The band might also have limbered up on some of the grooves of Lightnin’ Hopkins’ Jewel Recordings at times.

These are still very good recordings, with Walker first rate throughout and his take on Blackjack, Leave My Money Alone, Bad Blood and Walking With Frankie are particularly outstanding, and if not a perfect date, there is still plenty to enjoy.

This review appeared in the April 2007 Jazz & Blues Report (Issue 292) and my review copy was sent by either Delta Groove or a publicist for them.

Here is the late Phillip Walker in performance.

Varied & Vintage Coleman Hawkins in Europe

2011-12-29T00:05:00.016-05:00

Coleman Hawkins, In Europe: London, Paris & Brussels (Standing Oh!vation), is an import DVD that collects video from four different European locations with Jazz’s first great tenor saxophonist heard in different group contexts from 1962 to 1966. The DVD contains nearly two hours of performances from those shows as well as a bonus of almost a half hour in bonus performances from the 1960 TV film, After Hours with another group featuring Hawkins.

In Europe opens with a quintet that he co-leads with Harry ‘Sweets” Edison with a group that includes Sir Charles Thompson on piano, Jimmy Woods on bass and Jo Jones on drums. Filmed in 1964 at London's Town Hall, the full group is featured on Wardell Grey’s Stoned. This is followed by ballad features for Hawkins (September Song), Thompson (What’s New on which Hawkins is heard reciting the melody at the opening), and Edison (Willow Weep For Me). The full group is seen on Edison’s blues Centerpiece, before the set closes with the Ellington standard, Caravan, which spotlights drummer Jones. The next set is from 1966’s Royal Jazz Festival in London and has Hawkins in a quintet co-led with the great Benny Carter and with a terrific rhythm section of Teddy Wilson on piano, Bob Cranshaw on bass and Louis Bellson on drums. They launch into a swinging Blue Lou, before short ballad features for Carter, I Can’t Get Started, and Hawkins, Body and Soul, before a lengthy romp on Hawkins’ Disorder at the Border, which gives everyone a chance to stretch out. Musically, these selections may be the highpoint of this video compilation.

A nice 1966 Parisian rendition of the standard Moonglow follows with Hawkins supported by Oscar Peterson on piano, Sam Jones on bass and Louis Hayes on bass is followed by an intriguing 1962 quintet date from Brussels with pianist George Arvanitas, guitarist Mickey Baker, bassist Jimmy Woode and drummer Kansas Fields. The interesting program opens with an unaccompanied tenor sax solo from Hawkins, Blowing For Adolphe Sax. The rest of the program includes a spirited Disorder at the Border, South of France Blues (aka Blues in G and Rifftide. “South of France Blues” is reminiscent of “After Hours” and is a chance for guitarist Baker, a respected session man on hundreds of sessions and the Mickey of Mickey & Sylvia fame, to shine in addition to Hawkins.

As if these performances were not enough, the 1960 TV show After Hours is included, with a sextet co-led with trumpeter Roy Eldridge, a rhythm section of guitarist Barry Galbraith, pianist Johnny Guarnieri bassist Milt Hinton and drummer Cozy Cole with vocalist Carol Stevens. Legendary NYC radio announcer William B. Williams does the voice over to set the scene of a late night after hours club where the musicians just pop in to play and if the setting is a little contrived, the music is very solid.

I would not be surprised if Standing Oh!vation is a successor to the Improv-Jazz series of DVDs and like those, the packaging is not very elaborate. It lacks the superb annotation that is characteristic of the JazzIkons series of DVDs and the reproduction of the original film does not seem to be as good, but certainly the video here is quite satisfactory and the performances are quite welcome to have available. Fans of the Hawk and swinging jazz will enjoy these.

This review originally appeared in the March 2009 Jazz & Blues Report (Issue 314) and my review copy was provided by a publicist. It may be hard to find as well but worth searching out. Jazz Loft (www.jazzloft.com) does show this in their online DVD catalog.

Coleman Hawkins from you tube performing South of France Blues.

Donald Bailey's Philly Based Hard Bop

2011-12-28T00:05:00.009-05:00

This is the third of three reviews I did reviewing the initial batch of releases on the Taking House Records series, Blueprints Of Jazz. I received review copies I believe in Jazz & Blues Report, but I am unaware if this review ever ran. I will be running the other reviews in the next several days.

A series of new releases from Talking House Records, Blueprints Of Jazz, shines the spotlight on lesser known innovators and style-setters in jazz. Series co-producer Marc Weibel noted the series “is unique in that it presents a collection of modern recordings by some of the few remaining musicians that have a true historical connection to jazz scene of the 50’s, 60’s and 70’s. … Blueprints of jazz gives the casual jazz fan a chance to discover significant jazz artists they weren’t aware of before - artists that are peers with the jazz legends they’re already familiar with. The series first releases spotlight drummers Mike Clark and Donald Bailey along with saxophonist Billy Harper. each is handsomely packaged with digipacs that include liner booklets as well as use modern and vintage photographs, the latter using or evoking the classic work of Francis Wolff and used not only in the booklets, but the back cover and the disc labels.

Blueprints in Jazz, Vol. 3, showcases drummer Donald Bailey. Bailey is best known for his stint with the late great jazz organist Jimmy Smith with whom he spent nine years and played on many of that legend’s most celebrated recordings. Bailey grew up as part of Philly’s very vibrant jazz scene playing with the likes of Lee Morgan, Bobby Timmons, Jymie Merritt, Jimmy Garrison, Jimmy Health and John Coltrane, although his most important mentor was the highly influential, although obscure pianist, Hassan Ibn Ali and with whom he played with extensively, attributing to that experience how he “learned to play drums.” In 1982 he relocated to the Oakland area, but for this session he surrounded himself with Philadelphians. The band here includes two veterans of Max Roach’s group; the terrific unsung saxophonist, Odean Pope and bassist Tyrone Brown. Pianist George Bailey fills out the band with trumpeter Charles Tolliver appearing on one track.

Pope’s Plant Life opens with a hot groove and a robust solo that Bailey kicks and the rhythm kicks along. Hassan Ibn Ali’s Blues It was an unrecorded original by the pianist that Bailey supplies a Caribbean groove with Burton introducing the theme before Pope makes his entrance. Tyrone Brown opens on bass on his composition Gone Now with a 5/4 time signature, while Bailey’s brother, Morris Junior (father of bassist Victor) supplied the lilting jazz waltz, Variations.

Pope’s “Fifth House” is a variation on Coltrane’s Giant Steps, with Pope’s impressive utilization of the sheets of sound approach. It is followed by the ballad For All We Know, which opens with Pope unaccompanied before joined by Brown’s bass. It is followed by Pope’s Family Portrait, that Scott Yanow suggests is similar to Coltrane’s 1960 recording of Summertime, and if the performance conjures up the classic Coltrane Quartet, the players each display their own distinctive styles. A medley of Brown’s USQ, a stunning bass solo, that leads into Pope’s Trilogy on which Charles Tolliver makes the group a quintet, with a horn line that suggests some of Sun Ra’s horn arrangements with Bailey driving the piece along.

On the closing Blue Gardenia, Bailey is on harmonica with Burton and Brown supporting him on a charming performance that shows a different side of him. Its a surprising conclusion to another excellent recording in what one hopes is simply the initial; batch of releases in this series of recordings.

Here is a you tube video with Donald talking about his career and playing harmonica.

Mike LeDonne Keeps The Faith.

2011-12-27T00:05:00.002-05:00

I was not familiar with organist Mike LeDonne prior to listening to his new Savant CD Keep The Faith. LeDonne grew up on hard soul and funk before falling under the spell of Miles Davis and Wes Montgomery and the swing feeling. He spent eleven years in the legendary vibist, Milt Jackson’s quartet before establishing “The Groover Quartet” with saxophonist Eric Alexander, guitarist Peter Bernstein and drummer Joe Farnsworth. LeDonne’s band is well name as they hit the groove and run hard with it.

This disc opens with a dynamic rendition of the O’Jay’s hit, The Backstabbers, which establishes the mood with Alexander as well as the leader both being especially striking as drummer Farnsworth provides the hard swinging rhythm. The late Charles Earland was a major influence on LeDonne, and the Earland penned title track that hurdles out the gate like a runaway midnight special. Alexander takes things up a notch followed by fiery single note playing by Bernstein who certainly has become one of the most in demand guitarists (Sonny Rollins for one) and so at home in the context of an organ band. The leader himself provides plenty of chicken fried grease here as well followed by the three trading fours with drummer Farnsworth. Its typical of the fire to be heard here.

LeDonne’s original blues, Big John, is a tribute to another jazz organ master, John Patton. The relaxed walking tempo provides a change of pace from the burners that opened this album. It is followed by the relaxed groove in an interpretation of Michael Jackson’s The Way You Make Me Feel.” The four invest quite a bit of feeling into Donny Hathaway’s classic Someday We’ll All Be Free. Another LeDonne original, Scratchin’ is fleet groover as Bernstein takes a driving solo followed by some strong tenor sax while “Burner’s Idea” is a hot bluesy number that shows inspiration in Earland’s similarly styled compositions (Earland’s nickname was “The Mighty Burner”). The leader takes us to the church of organ blues here.

This writer is an unabashed fan of organ jazz. Listening to this was like being an eleven year boy alone in a candy store. However, the musical treats of Mike LeDonne and The Groover Quartet, on Keep The Faith, have no calories, don’t promote tooth decay and is musically enriching. LeDonne has produced a superior organ jazz recording that will be listened to repeatedly by this writer.

My review copy was provided by Jazz & Blues Report for whom this review was written. Here is Mike and the Groover Quartet at the 2010 Chicago Jazz Festival.

Tommy McCoy Lays His Demons Down

2011-12-26T00:05:00.002-05:00

An Ohio native, but living in Florida since 1967, Tommy McCoy has been playing blues ever since. In 1986, journeying to San Francisco and recorded his first project with Mark Hummel. He toured with Johnny Thunder, played in a band with three former Allman Brothers and then did a session in Austin with the late Stevie Ray Vaughan’s rhythm section. A couple years later he entered Kingsnake Studios with a studio band that included Lucky Peterson and recorded Lay My Demons Down, which led to touring the UK as well as a tour of Norway with the late Florida bluesman Rock Bottom.

Blues Boulevard has reissued Lay My Demons Down, co-credited to Lucky Peterson, whose organ helps anchor and spark the performances. Included are 15 performances that are pretty straight-forward efforts. Most tunes are originals such as the rocking Blues Thing, with his recitation of various blues artists and grooving with a feeling playing the fender in a bar with sawdust on the floor as well as the slow Bitter Soul to Heal, a nice slow tune with a bit of a Boz Scaggs feel. He picks acoustic guitar for several tracks including the They Killed That Man, with its narrative of taking a life without a reason why. The title track has him talking about drinking, smoking and staying up all night doing things that ain’t right but things are wrong unless he lays his demons down and changes the life he is living. Its a nice lyric that is well played. He provides his own arrangement of Jimmy Rogers’ Ludella, giving it a funk groove while adding a shuffle beat to Robert Nighthawk’s Bricks in My Pillow, with some broomdusting lap slide from Laptop Randy. He adds an insistent beat to Tampa Red’s Crying Won’t Help You.

Musically this is a solid effort. Tommy Mccoy is a good songwriter, an able singer and a solid guitarist, and receiving solid backing throughout produced an engaging disc that maybe will garner attention from those who missed it the first time around.

My review copy was either provided by Jazz & Blues Report or Blues Boulebard. It was written for Jazz & Blues Report, but I am not sure if it was ever published. Here are videos of him performing.

Billy Harper's Bluesprint Of Hard Bop

2011-12-25T00:05:00.003-05:00

This is the second of three reviews I did reviewing the initial batch of releases on the Taking House Records series, Blueprints Of Jazz. I received review copies I believe in Jazz & Blues Report, but I am unaware if this review ever ran. I will be running the other reviews in the next several days.

Tenor saxophonist Billy Harper is one of the unsung heroes of the seventies, playing with Elvin Jones, Max Roach, Lee Morgan, randy Weston, McCoy Tyner and Art Blakey to name a few. His classic album, The Black Saint, gave the Italian label its name. His present new album, Blueprints of Jazz, Vol. 2, allows him to showcase not simply his own playing but also mix in the poetry and narration of Amiri Baraka on the history of jazz during several of the compositions. In addition to Baraka’s spoken word and his own tenor sax and vocal, his band here includes Francesca Tanksley on piano; Aaron Clark on drums and percussion; Keyon Harrold on trumpet and flugelhorn, Charles McNeal on alto sax; and Clarence Seay and Louis Spears split the bass duties. With the exception of Harper’s adaptation of Amazing Grace, this disc features Harper’s original compositions.

The opening tune is Africa Revisited an adaptation of Coltrane’s Africa which opens with the two bassists followed by the horns firing on all cylinders and cooking a stormy brew as Baraka enters with Part One of Where Dat Stuff Come From?, a recitation about the history of music taking us back to the roots of Africa, middle passage and the transportation of the musics creators back to the US, with Harper’s tenor soaring while Baraka pauses then resumes his history of jazz as Harrold bursts through with a machine-gun like attack while Baraka invokes Buddy Bolden and St. James Infirmary in his music history. Harper’s Knowledge of Self is an older Harper piece with the bassists kicking off its strutting groove as Baraka continues Part 2 of his recitation with Tanksley’s piano prominent followed by Harper’s aggressive tenor playing. Another Kind of Thoroughbred is a mid-tempo blues, with concise, fiery solos from Harper and Harrold.

Thoughts and Slow Actions, originally written for a play, is a pensive number opening with Harper’s intense tenor contrasting with Tanksley’s introspective piano along with Harper’s wordless vocal.Who Can Judge Our Fates, is a stunning number with Tanksley evoking Tyner, while Harper’s blistering solo takes off from Coltrane’s inspiration but finds his own direction followed by Harrold’s bright, crisp brass flight. The traditional spiritual Amazing Grace opens with Harper singing the classic lyrics before through overdubbing, duets with his saxophone while Tanksley on keyboards synthesizes a string session. After the stirring Cast the First Stone? (… If You have Yourself No Sins), with its engaging riff, the album returns to its beginning on Harper’s Oh … If Only, a hot Blakey styled cooker coupled with Baraka’s recitation, Where Does the Music Come From? as he asks “Who knows how the heart became an instrument?” as the music swirls powerfully under him. These ears find the pairing of the Baraka and Harper’s insistent group compelling although others might react differently.

Billy Harper remains one of the most vital of the post-Coltrane tenors still with us and the passion, imagination and intelligence displayed in his playing and compositions here lead one to wonder why he is not a household name among jazz listeners.

Here is Billy Harper in a performance that includes pianist Francesca Tanksley.

Zora Young's Tore Up

2011-12-24T00:05:00.000-05:00

The following review of Zora Young’s Tore Up From the Floor Up was originally published in the February 2006 DC Blues Calendar, which was then the DC Blues Society’s newsletter. It also appeared in the February 2006 Jazz & Blues Report (Issue 279). I received my review copy from Delmark Records. This year, I reviewed a tribute to Sunnyland Slim she recorded.

Zora Young has been part of the Chicago club scene for several decades, and first recorded in the early 1980s. She has developed an international reputation through touring and has a small body of recordings including a 2002 Delmark disc, Learned My Lesson. In 2006 Delmark issued her Tore Up From the Floor Up.

On Tore Up From the Floor Up, she is supported by a band that includes guitarist Pete Allen and Bobby Dirninger on keyboards with horns added to two tracks. She is heard on a mix of originals and songs associated with (among others) B.B. King, Bobby Bland, and O.V. Wright. Certainly there is nothing wrong with the material from the opening reworking of Bobby Bland’s Love of Mine to the ballad medley of Since I Fell For You/Silhouettes, and the low-key down-home groove of Muddy’s Two Trains Running. Her own material is pretty good including the title track or her topically laced Til the Fat Lady Sings. There is also a brief interview to close this release.

This is played and sung well enough, but while enjoyable I found little in Young’s vocals or the band that was striking and memorable that would stand out among similar recent blues releases.

Here is Zora singing what she calls a low-down dirty blues.

Mike Clark's Jazz Blueprints

2011-12-23T00:05:00.002-05:00

This is the first of three reviews I did reviewing the initial batch of releases on the Taking House Records series, Blueprints Of Jazz. I received review copies I believe in Jazz & Blues Report, but I am unaware if this review ever ran. I will be running the other two reviews in the next several days.

A series of new releases from Talking House Records, Blueprints Of Jazz, shines the spotlight on lesser known innovators and style-setters in jazz. Series co-producer Marc Weibel noted the series “is unique in that it presents a collection of modern recordings by some of the few remaining musicians that have a true historical connection to jazz scene of teh 50’s, 60’s and 70’s. … Blueprints of jazz gives the casual jazz fan a chance to discover significant jazz artists they weren’t aware of before - artists that are peers with the jazz legends they’re already familiar with. The series first releases spotlight drummers Mike Clark and Donald Bailey along with saxophonist Billy Harper. each is handsomely packaged with digipacs that include liner booklets as well as use modern and vintage photographs, the latter using or evoking the classic work of Francis Wolff and used not only in the booklets, but the back cover and the disc labels.

Mike Clark is best known as the drummer with Herbie Hancock’s Headhunters, but as displayed on his disc, Blueprints Of Jazz, Vol. 1, he can take a straight ahead groove as hard and tight as a funk number. The studio band is noteworthy including New Orleans alto saxophonist Donald Harrison; tenor saxophonist Jed Levy; young trumpet phenom Christian Scott; pianist Patrice Rushen; and bassist Christian McBride. Quite an impressive line-up who should be familiar to many from the New York scene with an impressive talent and who contributed several originals.

The overall mood is like some classic Blue Note of the late sixties, early seventies, as well as Woody Shaw and Louis Hayes highly underrated band. Levy’s hot romp, In the House, opens up this set with Rushen taking the first solo followed by Levy’s strong tenor and then Harrison's blues-toned alto leading into the leader taking a solo. The tempo slows down slightly on Levy’s Like That, on which trumpeter Scott follows Harrison with some very impressive playing before spots for Levy and Rushen. Tim Ouimette’s 10th Ave. 1957, is a moody blues-based number with an stop-time bass figure anchoring the rhythm with Scott up front again.

The piano-less Past Lives, has a Moorish tinge as well as allows Clark to display his ability to play with the tempo before he and McBride close it out as a duo. Thanks Len is a funky shuffle by Levy that again conjures up the classic hard bop recordings, whereas the Clark-Levy collaboration, Loft Funk, mixes a Crescent City tinge with some Herbie Hancock flavor, with Clark never getting out of the pocket while mixing in some funk spices to the groove, while Clark’s Conchita’s Dance, described as a Coltranesque tune, written in 5/4, suggests as much some of the Coltrane-inspired hard bop of the time from such pens as Woody Shaw, Wayne Shorter and Billy Harper, all of which displayed their own voices as does the sextet here.

The closing number, Billy Eckstine’s I Want to Talk About You, a feature for Harrison, strikes me as the one number most evocative of classic Coltrane (think After the Rain) that concludes this excellent recording.

Here is a video of Mike in performance.

Lluis Coloma's Boogie Woogie and Blues Portraits

2011-12-22T00:05:00.004-05:00

Spanish pianist Lluís Coloma is representative of a worldwide group of pianists devoted to the classic boogie woogie and blues form. His most recent album on Swing Alley, Blues Portraits is comprised of a solo performance along with eleven duets with blues and boogie woogie pianists from around the world. The other pianists (some of whom I am familiar with) include August Tharrats, Mitch Woods, Carl Sonny Leyland, Julien Brunetaud, Bob Seeley, David Giorcelli, Mark ‘Mr. B” Braun, Frank Muschelle, Barrelhouse Chuck (Goring), Philippe LeJeune and Bernat Font.

He opens with his own, lively Coloma’s Boogie. Coloma is then joined on a range of traditional or classic blues and boogies along with a few idiomatic originals. Coloma is on the left speaker throughout. It allows the listener to discern the different in approaches such as Tharrats who sounds a bit honky tonk on the gospel Just a Closer Walk With Thee, while Mitch Woods takes us to New Orleans on Red Beans, adding an affable vocal.

Carl Sonny Leyland's opening bar on C C Rider, evoked Amos Milburn as the two provide a nicely crafted underplayed blues here, while Julien Brunetaud has an appealing vocal on I’ve Got to Learn to Do the Mambo, with crisp lead playing along with his strong left hand, while Swanee River Boogie, dates back at least to Albert Ammons and Fats Domino prior to the furious duet by the two that Albert Ammons and Pete Johnson would be proud of.

David Giorcelli takes lead on the classic piano blues theme 44 Blues, with a rub-board adding rhythmic accents, although the tempo smooths out some of the intriguing twists and turns that Sykes and Little Brother Montgomery provided when playing this. The spirit of Meade Lux Lewis is suggested on the duet between Coloma and Frank Muschelle on the furious Honky Tonk Blues Bar Boogie, while Barrelhouse Chuck conjures up Sunnyland Slim on his terrific reworking of Floyd Jones’ “Schooldays on My Mind,” whereas Philippe LeJeune adds a bit of sophistication on Ray Bryant’s I’ll Stick With It, whose melody is quite similar to Johnny Copeland’s Cut Off My Right Arm.

This is a first-rate album of performances that illustrates the wide number of excellent blues players out there that will be mostly unfamiliar to most. Coloma himself is a superb player who also is quite willing to allow the others to shine here. Piano players do play together, and quite well as shown here.

This review was written for Jazz & Blues Report, but I do not believe it was ever published. I received a review copy from a publicist for this release. His website is http://lluiscoloma.com/en/index.asp. Here is some videos of him performing.

The Legendary Maxwell Davis Was A Wailin' Daddy.

2011-12-21T00:05:00.000-05:00

One of the unjustly forgotten giants of post-war rhythm and blues was the late Maxwell Davis. Its been about four decades since the tenor saxophonist, composer and arranger passed away and his legacy is quite substantial and those that remember him speak at times in awe of his musical genius. The late Jerry Leiber was quoted, “… Maxwell Davis … I doubt if you’ve ever heard that name — but Maxwell Davis made records, he was the quiet producer / arranger for the Mesner Brothers at Aladdin; the BIhari Brothers at Modern and Art Rupe at Specialty. Maxwell Davis must have made a hundred hits, not 12 or 17. And nobody knows who Maxwell Davis is.” The quote os from Dave Penny’s liner essay to a new three CD compilation devoted to Maxwell Davis, Wailin’ Daddy: The Best of Maxwell Davis 1945-1959. This reissue is part of The Architects of Rock’N’Roll series on Fantastic Voyage. One CD is devoted to recordings under Davis’ own name, and the other two to recordings he played on during the forties and the fifties. On the latter two there are ,mostly obscure collaborations by Davis. There is a follow-up volume planned that hopefully will include many of the greatest of the hundred hits, although with impending changes to European copyright law that may not happen.

As indicated, Disc One is devoted to recordings made under Maxwell Davis’ name and display the same authority on tenor that those familiar with his solos behind T-Bone Walker, Amos Milburn, Percy Mayfield and others know. Davis had a fat tone and could have a slight bit of honk in his sound but also play with a warmth on a ballad. If he had toured and not been a hired gun for countless sessions, one suspects he could have been as big as some of the best known rhythm and blues tenor saxophonists of his time. And of course on the blues, his solos still sound timeless. Under his name he had a coupling of Lonesome Road Blues and Honey Dripper that featured vocalist Marion Nichols. Then there is the driving honk of the swinging Hung Out, or a session co-led with alto saxophonist September in the Rain, where his playing exhibits elements of the approaches of both Lester Young and Coleman Hawkins. There is the 2AM mode of Belmont Special, a lively instrumental cover of Hank Williams’ Hey, Good Lookin’, and Blue Shuffle, an instrumental reconstruction of Lloyd Price’s Lawdy Miss Clawdy.

The second CD includes 28 selections of him in a sideman role, opening with an instrumental from a Helen Humes date and ending with Amos Milburn’s Pot Luck Boogie. There is shouter Jo Jo Adams singing Hard Headed Woman Blues, while Helen Humes delivers the swing-jive It’s Better To Give Than Receive. There is Davis as part of Charles Mingus Sextet, wailing behind Gene Phillips on Big Legs, and less familiar recordings from Crown Prince Waterford, Lloyd Glenn and Gatemouth Brown. Then his tenor enlivens Joe Turner (with Pete Johnson on piano) on Don’t Talk Me To Death, a reworking of the classic boogie woogie Roll ‘Em Pete, as well as Pete Johnson’s Half Tight Boogie that has the great boogie woogie and blues pianist more to the front before Davis takes a terrific solo. On on this second disc are a Jimmy Witherspoon jump blues, early Lowell Fulson, and Davis on a date led by drummer Lee Young, Lester’s brother.

The third disc opens with Calvin Boze’s bouncy jump blues Waiting and Drinking, and closes with Little Willie Littlefield’s K.C. Loving (titled here Kansas City after the later Wilbert Harrison hit). Other son this include Floyd Dixon in his Amos Milburn vein in a duet with Mari Jones, on Real Lovin’ Mama, Helen Humes handling He May Be Yours with Davis and a hot big band, and Joe Liggins with Going Back To New Orleans. Davis had played on Ellis Walsh’s original. HE could fit in on such different sessions as an atmospheric instrumental by Red Callendar, the relatively unsophisticated blues of Peppermint Harris and the comparatively suave, modern jazzy blues of T-Bone Walker. A session with Mabel Scott produced the blues that gives this compilation its title and then he can be heard soloing behind June Christy and Ray Anthony. Less surprising is his work behind Jimmy Nelson on Cry Hard Luck, and Percy Mayfield for Loose Lips. Dave Penny notes his close association with Davis, noting that he set Mayfield’s poetic lyrics to music. While only B.B. King recording is included, Davis was responsible for most of King’s recordings until the late sixties. There is also Cordella De Milo’s I Ain’t Gonna Hush, an answer to Joe Turner’s Honey Hush, with slashing Johnny ‘Guitar’ Watson guitar, a track from louis Jordan and even Young Jessie and George ‘Harmonica’ Smith.

Even though most of these selections are ‘obscure,’ there is a consistency of quality and throughout Davis leaves a strong imprint from his strong saxophone and his arrangements where heard. Certainly anyone who loves jump blues and where the blues and jazz idioms intersect will enjoy this. The only possible quibble is the lack of session personnel. Dave Penny’s liner essay certain adds to the value provided by the music. This is an important reissue and hopefully there will be a follow-up of his better known recordings.

This was a purchase. Here from You Tube is one of the recordings that can be found on Wailin' Daddy.

Vintage Sonny Rollins On Impulse

2011-12-20T00:05:00.010-05:00

Among the two LPs on one CD reissues that mark 50 years of Impulse is Sonny Rollins’ On Impulse/ There Will Always Be Another You. The two albums were both recorded in 1965, with On Impulse a studio recording that was his first release for the label while There Will Never Be Another You was a live recording from a performance at new York City’s Museum of Modern Art that was not released until 1978. Drummer Mickey Roker is on both recordings. On Impulse also had Ray Bryant on piano and Walter Booker on bass, while pianist Tommy Flanagan, bassist Bob Cranshaw and drummer Billy Higgins (along with Roker) were on the live Museum of Modern Art recording which took place a few weeks prior to the studio session.

Also common to both recordings was renditions of On Green Dolphin Street, and Three Little Words. The live rendition of the former number being preferred to these ears as Rollins’ tenor sounds a bit sour opening On Impulse. This isn’t to dismiss the performance as it grows stronger during the improvisation. Highpoints on this studio date include the moody Everything Happens To Me which is ideal material for his thematic explorations; and a Rogers and Hart standard Blue Room.

The live rendition of On Green Dolphin Street sounds more energetic (perhaps because of the two drummers). There is splendid Tommy Flanagan on this and then the performance segues into the live Three Little Words. Here Rollins is first unaccompanied, then the drummers join and are followed by piano and bass on the briskly paced rendition. Mademoiselle de Paris is a brief waltz followed by the lovely To A Wild Rose, which he co-authored and then this performance concludes with a very lengthy treatment of the title track.

Rollins playing is superlative throughout, although he sounds off-mike at times and the drums may be a tad too prominent and sound boxy. This may account for why this was not issued until over a decade later. Despite the sound, Rollins and Flanagan especially are terrific throughout this. There is so much classic Sonny Rollins and this contains more very good Rollins.

My review copy was sent by Jazz & Blues Report for whom this was originally written. Here is Sonny Rollins being honored by President Obama as part of the 2011 Kennedy Center Honors.

Evocative Photographs and Oral History of Legendary Keystone Korner

2011-12-19T00:05:00.000-05:00

Keystone Korner: Portrait of a Jazz Club

by Kathy Sloane

Indiana University Press

In its slightly over a decade of existence, the Keystone Korner became one of the most celebrated jazz clubs in the world. It hosted a wide variety of artists and was the site for a number of legendary live recordings by Dexter Gordon, Art Blakey, Woody Shaw and others. Its story is the subject of a wonderful new book from Indiana University Press, “Keystone Korner: Portrait of a Jazz Club” by photographer Kathy Sloane.

Sloane frequented the club during its years and was able to shoot so many jazz artists, both legends like Art Blakey, Dexter Gordon, Elvin Jones, Rashaan Roland Kirk, Mary Lou Williams, Bill Evans, Miles Davis and so many others. In addition to her photographs, she also interviewed not simply artists who performed there, but Todd Barkan the owner, the wait staff and folks that frequented the club. Jazz poet and author Sascha Feinstein, editor of the semi-annual publication Brilliant Corners provided the introduction and edited the interviews. He also compiled the accompanying CD that contains performances from the Keystone.A number of classic performances were captured at the Keystone and the sampling here gives a range of the room.

Keystone Korner was tucked next to a San Francisco police station and when Todd Barkan purchased it and converted a blues bar into one of the great jazz clubs. Barkan booked a wide range of styles including local acts as well as major national acts and created an atmosphere that had major artists holding a benefit to enable Todd to have a kitchen and a liquor license. It was a relaxed atmosphere that did not neglect the local performers who often were the backing band for some national acts. Performers who at the time rarely played jazz clubs like Miles Davis played the Keystone and he booked acts like Sam Rivers that never graced the stage of the Village Vanguard in New York.

Through recollections of Bay area guitarist Calvin Keys, saxophonist Billy Harper, cook Ora Harris, trumpeter Eddie Henderson, poet Jack Hirschman, Fantasy Records publicist Terri Hinte, pianist George Cables, drummer Eddie Marshall, legendary jazz record producer Orren Keepnews, writer, teacher & poet Al Young, trombonist Steve Turre, waitress Flicka McGurrin, Barkan and others the club’s history is weaved together along with the unusual sense of community around the room, It was somehow miraculously that Keystone Korner stayed alive on a shoe string budget as long as it did. Mixed in with Sloane’s images of Dexter, Elvin, Art Blakey, Mary Lou Williams, Richard Abrams, Anthony Braxton, Bobby Hutchinson, Betty Carter, Percy Heath, and so many more and a CD with over an hour of great jazz.

Keystone Korner: Portrait of a Jazz Club is terrific as a window into a legendary jazz club in addition to serving as a coffee table book. It is a fabulous book that jazz lovers will treasure to enjoy the photographs and the story of a fabled room.

I purchased this book. Here is a clip from you tube of Ahmad Jamal at the Keystone Korner in 1981

Walking a Fine Line Greg Nagy Falls Towards None

2011-12-18T00:05:00.004-05:00

This writer first was introduced to singer-guitarist when he was guitarist with the excellent blues and soul band Root Doctor at the Pocono Blues Festival a few years ago. Shortly afterwards, he left that fine band and embarked on his own career as a leader. I missed his debut album Walk That Fine Line, which was highly praised, but have been enjoying his latest recording, Fell Toward None (Vizztone/Big O Records) that displays his mix of classic and modern blues with a strong soul-R&B tinge with some rock accents.

It's an album that features Nagy and a band that includes Jim Shaneberger on bass, Kevin DePree on drums and percussion, on keyboards withGlenn Brown adding percussion on one track and the Motor City horns on three selections. With the exception of the opening Pack it Up, the songs are originals by Nagy and his band members. The strong modern urban soul-blues base of the music is evident from the brassy opening track with tight band work, strong singing by Nagy and fluid stinging guitar. As a vocalist he comes across as an equal to say Tad Robinson, Darrell Nulisch or Delbert McClinton (in his bluesier side) to mention a couple of similar strong blues-eyed singers in the vein.

When he kicks off the rocking shuffle Wishing Well, with some guitar effects, his nuanced use of such effects distinguishes this from the average heavy-handed blues-rock rendition of such material. And those rockers likely could not convincingly deliver a soulful tune like “Be With You,” which is enhanced by the Motor City Horns’ punchy brass. A similar mood follows on “I’ll Know I’m Ready,” a bluesy lament with a warm, relaxed vocal and an effective understated accompaniment creating the mood on a delightful performance.

The rest of the album exhibits variety in material and accompaniments that showcase Nagy’s considerable vocal and guitar capabilities along with that of his strong band. There is exciting guitar work on “Can’t Take It No More,” the tight funk of “Let It Roll,” the country-soul feel of “Still Means The World to Me, “ the atmospheric title track, and the witty lyrics inspired by today’s social media, “Facebook Mama,” (which is set to a Texas shuffle groove with his guitar sounding like he is playing through a Leslie speaker such as Buddy Guy played through on the Junior Wells’ Delmark recording of “Hoodoo Man Blues”).

“Fell Toward None” is an intelligently produced and performed recording that is full of soulful vocals, superior fretwork and focused accompaniments. Greg Nagy and band certainly are growing their reputation with this outstanding recording. Greg’s website is www.gregnagy.com and Big O Records is www.big-O-records.com.

I received my review copy from the performer. Here is Greg in performance doing Willie Brown's M&O Blues.

The Four Hands of Piano From James and Matsui

2011-12-17T00:05:00.004-05:00

Altair & Vega (Tappen Zee Records) is a new album representing the collaboration between pianists Bob James & Keiko Matsui. The seven duets transverse jazz, new age and classical worlds to display the two conversing in their musical dialogue here usually playing four hands piano. James mentions that during the concert they have been performing these duets for about 9 years. As clearly evident on the live concert presented on the accompanying DVD, the two share the piano, with James playing the lower keys and Matsui the upper ones.

The music is lovely and more in the classical tradition, not that there aren’t interludes that are more jazz-inflected such as during the performances of Divertimento (The Professor and the Student) which opens with some stately motifs stated by James and echoed by Matsui with Matsui taking an impressionistic run before a jazzy bop interlude segueing to more dreamy playing.

There is a lovely solo from Matsui on Trees that is part of the live DVD concert recording (from Pittsburgh’s Manchester Craftsmen’s Guild), followed by James’ Duo Oto Subito where the two state the lively theme with each taking an extended passage before they end this performance in an energetic fashion. Also on the DVD is a marvelous rendition by James of the Ray Noble standard, The Touch of Your Lips. The lengthiest performance on both the CD and DVD is The Forever Variations, which the two collaborated with its varying changes in mood and tempo. The CD concludes with James’ arrangement for four hands of Bach’s Chorale From Cantata BWV 147.

The production quality of this is marvelous with marvelous sound to display the superb playing here. The video on the DVD is beautifully filmed and employs a variety of camera angles adding to the enjoyment of watching and listening to the concert performances here. In summary, Altair & Vega present marvelous music perhaps more oriented towards classical ears but certainly wonderful to simply relax and listen and watch.

This review appeared in the December 2011 – January 15, 2012 Jazz & Blues Report (Issue 339) at page 15. I received a review copy from the publicist for the release.

Tail Dragger Live at Vern's Friendly Lounge

2011-12-16T00:05:00.001-05:00

James Y. Jones, the Chicago blues singer took his stage name, Tail Dragger, from a Howlin Wolf song. This was fitting insofar as Wolf was a mentor and heavy influence on him as reflected in his singing, stage act and his music which employs some of the grooves and melodies associated with some of Wolf’s classic recordings, even tossing in a yodel-like Howl on several tracks. A few years back he had a CD and DVD on Delmark is My Head is Bald, Live at Vern’s Friendly Lounge, Chicago. He benefited from a terrific band that has Billy Branch on harmonica, Lurrie Bell on Guitar, Kevin Shanahan on guitar, Bob Stroger on bass, Kenny Smith on drums and Willie Young on tenor sax. Jimmy Dawkins replaces Shanahan on My Head is Bald.

Tail Dragger contributed all the songs except Jimmy Dawkins’ So Ezee. One song, Cold Out Doors, is a DVD bonus track not on the CD. While one would be hard-pressed to call the Tail Dragger a major artist, he entertains with a program that evokes the Wolf. His vocals are slightly slurred and don’t have Wolf’s crispness nor is he as forceful as Wolf was, but still is a very enjoyable singer with the band rocking behind him. Billy Branch is typically outstanding while Lurrie Bell’s stinging lines and riffs evoke Hubert Sumlin’s playing with Wolf. The rhythm duo of Stroger and Smith provide a solid foundation for everybody else. Songs like Tend to Your Business, My Woman is Gone, and the title track, are typically of the solid evocation of Wolf’s music present throughout and its entertaining to watch the DVD to see Tail Dragger singing for the woman, working the crowd and egging his musicians on.

I was also impressed by the camera work and production on the DVD which really gives a sense of that evening at Vern’s Friendly Lounge. This is certainly welcome as an entertaining release that should appeal to fans of classic Chicago blues.

I received my review copies from Delmark and this review originally appeared in slightly different form in the February 2006 DC Blues Calendar which was then the DC Blues Society’s newsletter. It also appeared in the July-August 2006 Jazz and Blues Report (Issue 284). I previously posted a review of his Live at Rooster's Lounge.

If my review interests you, here is Delmark's Trailer promoting this DVD.

Saxophonist Jerry Bergonzi's Strong New CD - Convergence

2011-12-15T00:05:00.002-05:00

Professor at the New England Conservatory of Music, an alumnus of Two Generations of Brubeck and the Dave Brubeck Quartet, Jerry Bergonzi is an unheralded master of the saxophone. He has a new Savant CD, Convergence with bassist Dave Santoro and the Paris-based Italian drummer, Andrea Michelutti and on a couple numbers, pianist Bill Barth. About his last Savant album, Simply Put, this writer wondered “why Jerry Bergonzi is not a household name in the jazz world. He is a superior, passionate and thoughtful musician and composer, with a terrific band and he deserves to have a wider audience commensurate with the high level of the music he produces.”

Convergence contains eight originals and one interpretation of a Gershwin song. With the exception of two tracks with pianist Barth, he is only supported by Santoro and Michelutti although he has overdubbed on several tracks to play both tenor and soprano, although most of the solo focus is with the tenor. The opening Lend Me a Dream, has a boppish flavor with twin horns for the head. It sounds like piano chords sparely played in the background as the leader sounds robust on tenor, as Santoro takes a terrific solo and then Bergonzi trades fours with Michelutti. The Gershwin’s I Got a Crush on You has nice thematic improvisation over a simple repeated rhythmic figure.

Squid Ink, one of the two numbers with pianist Bath, starts off as a quintet with an engaging twisting line. Pianist Barth takes the first solo and Michelutti’s imaginative playing adds to the interest with the leader sounding vigorous over the driving groove. Stoffy is a bouncy, free-sounding trio number followed by the moody Silent Flying. Osiris opens with overdubbed horns stating the theme before Bergonzi focuses on soprano sax (with a snake charmer’s tone) here on this entrancing performance.

Pianist Barth returns for the loping, engaging title track. On the closing Seventh Ray overdubbing is used throughout the performance, not simply for the opening and coda, making for an intriguing dialogue by Bergonzi with himself. It concludes another album of dynamic and thoughtful performances by a highly underrated composer and saxophonist.

This review was originally drafted for Jazz & Blues Report and my review copy was sent to me by them. I previously reviewed Bergonzi’s Simply Put. Here is a short video clip of him performing from you tube.

Daddy Mack's Enjoyable BluesStones

2011-12-14T00:06:00.001-05:00

The Memphis based band led by Daddy Mack Orr has a new disc on inside Sounds, BluesStones, that brings the leader’s vocals and guitar together with his solid band that includes brothers James (rhythm guitar) and Harold Bonner (bass) and drummer William Faulkner with Charlie Wood adding color on keyboards, for a collection of recordings that are performed straight with little artifice.

This has a nice selection of material and the band plays with a driving groove that is almost suggestive of Magic Slim although Daddy Mack is not as compelling a vocalist as Slim. The album opens with a solid rendition of the Z.Z. Hill hit, Shade Tree Mechanic, followed by Junior Bonner’s Plain Man. Slim Jenkin’s Joint is an instrumental from the Booker T & the MG’s songbook whose melody seems based on the Freddy King recording Going Down. It is a feature for Daddy Mack’s stinging guitar work. Savin’ My Love is an original soul-blues ballad, while the band gets a nice groove. Mack’s guitar is very effective on Royal Shade of Blues, as he describes his style of blues. Here he sings while he does not claim to be king, he plays a royal style of blues. He is not quite able to vocally handle the soulful That’s Where Its At.

Overall this was an enjoyable, if not exceptional recording.

This review was written for Jazz & Blues Report but may not have been published. I likely received a review copy from the record label or a publicist for the label. According to Amazon, Daddy Mack Blues Band has at least one more recent release.

Here is the Daddy Mack Blues Band doing an Albert King classic.

Mac Arnold Has Nothing to Prove.

2011-12-13T00:05:00.003-05:00

Mac Arnold’s reemergence in the past few years has been quite noteworthy as more of his generation of blues performers pass on. This review is from early 2007 and I believe my review copy was sent by the label or a publicist. This review originally appeared in the January-February 2007 Jazz & Blues Report (Issue 290). My review of a more recent album by Mac Backbone and Gristle was posted last October, http://inabluemood.blogspot.com/2010/10/mac-arnold-meaty-blues.html.

Mac Arnold had a stint with Muddy Waters about four decades ago and followed that up with work with Otis Spann, John Lee Hooker and Tyrone Davis among others. The bassist has emerged with a new album entitled Nothing to Prove (Plantation 1 Records) and its a record rooted in the sounds of four decades ago although with a hard hitting groove that will appear to today’s listeners.

The rocking shuffle, Blues For You, is a driving party song as Arnold exhorts the audience to enjoy themselves as he plays the blues for them. As a vocalist Arnold really excels on the slow tempo songs like the title track, as he tells someone he’s walked in their shoes and had his share of blues with Max Hightower wailing on harp here. Rudy ‘Blues Shoes’ Wyatt plays the piano on Call Mac Arnold, where Arnold tells the ladies to call him when they want to have fun while their man is on the run. Austin Brashier’s guitar playing is strong here on working against the mambo groove. Wyatt’s piano and Hightower’s harp provide the backing for the down home version of (Get on) Back to the Country.

The Truth sports a funky groove as Arnold notes some rather tell a lie because the truth ain’t good enough, and some are telling rumors ‘trying to break us up,” whereas So Mean to Me, is a late night slow blues that Arnold ably delivers.

The album closes with a fine live version of Get on) Back to the Country, with Hightower playing some solid slide guitar in the vein of Muddy Waters.

Here is Mac Arnold on you tube with Bob Margolin, Kim Wilson, the late Willie Smith.

Cedar Walton Sounds Ageless on The Bouncer

2011-12-12T00:05:00.003-05:00

Cedar Walton has a new release, The Bouncer (High Note) that fans of hard bop and modern jazz piano will find of interest. Walton has had an impressive career starting with his days with J.J. Johnson and Art Blakey, than the numerous sessions with bassist David Williams and the late drummer, Billy Higgins. Whether leading his own sessions or backing the likes of the late Clifford Jordan or Dexter Gordon he was predictable in the sense that one would expect rhythmically swinging, solid and fresh melodic playing and music. On this date he is joined by Williams and drummer Willie Jones III with Vincent Herring on saxophones and flute on five of the eight selections, Steve Turre on trombone for two and Ray Mantilla on percussion for one.

The opening title track is a melodic Walton original based on its tempo with Walton, Herring and Turre each taking solos that establish a lively feel. J.J. Johnson’s Lament is the first time Walton has recorded this with only a trio, and his clean, relaxed touch helps establish the mood before we are engaged with his lengthy solo. With Herring featured on tenor, Walton provides another lively swinger, Bell For Bags, followed by a lovely waltz, Halo, that showcases Herring woody tone on flute. Underground Memoirs is a sextet performance with Turre, Mantilla and Herring on board for a bossa nova tinged rendition of this somber composition with Turre featured prominently here. Drummer Jones is featured on the trio swinger, Willie’s Groove, with Williams also prominent. Williams composed Got To Get To The Island, a driving number with herring in a bluesy mood before the leader’s solo over bassist Williams firm bass lines and Jones’ rock solid groove.

Another trio number, Martha’s Prize, is another lively and youthful sounding performance that closes The Bouncer in a lively mode. While Cedar Walton may be nearing eighty, but on this recording he plays with a vigor with equally engaged players for a recording that is quite striking.

This review was originally drafted for Jazz & Blues Report and my review copy was sent to me by them. Here is a video of Cedar, David Willaims and Jimmy Cobb.

Kennedy Center Audiences Want To Hear Music Not Camera Shutters

2011-12-11T00:05:00.009-05:00

This past Saturday night I attended the Kennedy Center’s NPR Christmas Piano Jazz concert at the Terrace Theatre here in Washington. I have enjoyed the Jazz at the Kennedy Center shows I have attended. I had the misfortune to sit in Row W in front of the photographer who had two Nikon DSLRs on tripods and telephoto. It is curious that the Kennedy Center rules against photography does not apply to the Kennedy Center itself. Furthermore, to have the loud shutter and mirror slap noise during solo piano performances in a room of attentive listeners shows no respect for people who paid to see and listen to the performances. Every time she took pictures, it completely distracted me from enjoying the performances. The fact that she did not show restraint in shooting the performances but shot during every song at that show (Each of the two numbers by the four pianists) showed total disregard for those sitting near her.

I will acknowledge that I was told that I could be moved if I wanted, but as my wife stated to me afterwards, they shouldn’t sell any seats near the photographer. I would assume the Kennedy Center’s policy against people taking photographs isn’t merely proprietary, but also to prevent the visual and aural distractions of camera shutters and flashes. Yet the Kennedy Center impacted the enjoyment of my wife, myself and I would assume those sitting adjacent to me by the highly distracting shutter sound.

I understand the Kennedy Center wishes to document performances, but certainly they can do it less obtrusively than with a noisy DSLR (She used a Nikon although I suspect Canon DSLRs would also be similarly loud). If they insist on shooting from far away from the stage they must look into using quieter equipment or find ways to totally muffle the sound. Additionally, during a jazz performance such as this one, the photographer might be on stage using a quiet camera like a Leica. While some in the audience may be briefly visually distracted by a photographer on the side of the stage, at least no one’s attentive listening will be interrupted by a loud shutter.

One other point is that in future shows of this type, the photographer be restricted in when they take pictures of each performance. If the photographer had limited herself to simply shooting during the first of the two performances, it would have been somewhat tolerable. However, my evening of seeing and listening to wonderful solo jazz piano was spoiled by the Kennedy Center itself.

Since I posted this initially, it was suggested that whoever is shooting be required to use a sound blimp around the camera to muffle the sound. In any event, there are solutions that the Kennedy Center needs to implement

Archie Shepp's Free Jazz Had Strong Cultural Roots

2011-12-11T00:05:00.006-05:00

Among the Universal reissues celebrating the 50th Anniversary of Impulse Records is For Losers/ Kwanza by Archie Shepp. Among those inspired by John Coltrane, Shepp brought together a fiery, passionate style but one rooted both in traditional as well as funk and soul music of the time while also bringing a strong focus on his culture and community. These two albums were recorded at the same sessions in 1969 or so.

For someone associated with ‘free jazz,’ the music has strong foundation the funk of James Brown and Junior Walker. This is clear on the opening track from The Losers, Stick it Up which has a Leon Thomas vocal with Doris Troy and Tasha Thomas providing backing vocals while Mel Brown adds guitar. Even better is Abstract with some nice trombone from Graham Moncur III. Chinalin Sharpe takes the vocal on Ellington’s I’ve Got It Bad (And That Ain’t Good), with Shepp’s tenor embellishing the vocal with a Ben Webster-styled vibrato and alto saxophonist Clarence Sharpe solos marvelously. Cecil Payne adds flute behind Shepp’s robust tenor on Cal Massey’s lovely ballad What Would It Be Without You. The centerpiece of The Losers was Shepp’s Un Croque Monsieur (Poem: For Losers), an extended composition opening on a tight, funky, rhythmic vamp leading to strong energetic and at times free ensemble playing followed by a segment Shepp playing a sour sounding soprano sax, followed by Claritin Sharpe singing Shepp’s poem about everybody loves a winner and who gives a damn for losers. Others on this very strong performance include trumpeter Woody Shaw, Payne on baritone sax, and Clarence Sharpe on alto sax.

While recorded at many of the same sessions, the music on Kwanza was inspired by celebration of ‘Kwanza,’ which Shepp refers to as ‘our traditional African holy week.” In the reproduced liner notes of Emilan Sudan, it is noted that Shepp’s three contributions reflect the sounds of the African communities in the US. With selections such as Back Back, we get more heavy James Brown inspired funk as Shepp solos over the funk groove of Dave Burrell on organ, Wally Richardson on drums and Bernard Pretty Purdie on drums as he preaches the funk blues like a frenzied mix of post-bebop and Screaming R&B honker while Graham Moncur III adds his tailgating trombone. Leon Thomas handles the vocal as well as scatting and yodeling on Spoo Pee Doo, on which Robin Kenyatta’s flute stands out. One of the centerpieces of this album was Moncur’s New Africa, from a session Bob Thiele supervised and is a freer performance with Burrell on piano,Walter Booker on bass and Beaver Harris on drummers providing the foundation with Moncur’s blustery trombone and Shepp’s tenor (and yodels) joined by Jimmy Owens trumpet and Charles Davis’ baritone making for a highly animated and impassioned performance. Shepp’s Slow Drag includes Woody Shaw, Matthew Gee, Clarence Sharpe and Cecil Payne, Cedar Walton, Wilbur Ware and Joe Chambers for another passionate performance built upon a funky rhythmic figure with solos from Shaw and Shepp being especially galvanized. Cal Massey’s Bakai closed the original album as well as this reissue of the two albums and is another example of his marvelous compositions in his all to brief life. It mixes a rhythmic foundation with a strong melodic theme. Shepp plays impassioned here.

There is plenty to get the listener invigorated on this forty-odd years old recordings that have held up well over the years and remind us that Archie Shepp has been always rooted in the past but always looking forward.

I received a review copy from Jazz & Blues Report for whom this review was initially written. Here is Archie Shepp on youtube.

Sinatra. A Choice Of The Best By The Best

2011-12-10T00:05:00.004-05:00

Best of the Best is a new CD compilation for the first time collects Frank Sinatra recordings from both Capitol Records and Reprise Records. The 23 tracks (13 from Capitol and 10 from Reprise) collect his most memorable and iconic recordings. One is hard-pressed to say anything new about this music which should be familiar to many.

From I’ve Got The World On A String to Theme From ‘New York New York’ listeners are treated to classic interpretations of songs from the great tune smiths like Cole Porter, Rogers and Hart, Sammy Cahn and James Van Heusen. These are presented in arrangements from such masters as Nelson Riddle, Don Costa, Billy May, Quincy Jones, and Ernie Freeman. From spectacular big bands to lush orchestra stylings, the voice, the songs and the performances are timeless and marvelously mastered.

Despite the familiarity of the material, some tunes are gong to come off as almost new to the listener such as In the Wee Small Hours Of The Morning, Angel Eyes and Summer Wind. Then there is Fly Me To The Moon from a session with Count Basie that Quincy Jones arranged. At the same time, one appreciates nuances in the songs and the arrangements that one might have missed hearing Sinatra over a Car radio.

Frank Sinatra Jr. provides commentary on each performance, providing insights on how the material was selected and the imprint his father’s recording left. For example, I was unaware that a Kingston Trio recording was the basis of Sinatra’s classic,It Was a Very Good Year. As his son notes, Frank Sinatra was unequalled in recognizing great lyrics. Sinatra’s music has been anthologized, subject of box sets, and prior “Best Of” collections. Let others quarrel about specific songs that are not included. I will simply continue to enjoy the Best of the Best.

Incidentally, this is available as simply a CD, or in a deluxe package that also includes a DVD of a long out-of-print Seattle concert. I did not receive a copy of the DVD so cannot comment on it.

I received a review copy from a publicist. Here is a you tube clip of him singing perhaps the song most associated with him (except for Yankee fans).

Bid Daddy Stallings Throws A Blues Party

2011-12-09T00:05:00.005-05:00

“I’m Charles’ Big Daddy’ Stallings and I approve these blues,” the gentleman from Baltimore proclaims on the introductory track of his third CD, Blues Party (Tai Jeria Record Company). Stallings, who became prominent in the Baltimore-Washington scene about five years ago, brings a down home blues style with a band that mixes traditionally oriented Chicago blues with classic sixties and seventies rhythm and blues. There is a variety of folk handling the backing here including Gail Parrish or Ronald Bland on bass; Russell Hayward II or Bill Pratt on drums; Joe “E Flat” Thomas on saxophone, and Clarence Ward III on trumpet, and Steve Levine on harmonica. Mark Wenner of the Nighthawks adds the down home harp for the Intro, and Down on the Farm. There is plenty of music here, with 16 original songs bookended by his intro and thank you tracks

The title track is a nice good times track, followed by the somewhat salacious “Horny Bee, with a Jimmy Reed groove and some biting lead guitar from Leroy Flowers, Jr, has Stallings grittily delivery the vocal. Riffing horns embellish the simple groove of Fine Lady, that displays Stallings’ simple lyrics and rustic vocal with him taking a stinging solo. Down on the Farm, a lazy, rustic piece of blues story-telling is perhaps the most memorable track here, as he recalls growing up on the farm and the hard life down there with Mark Wenner contributing the harmonica here. Swing 2010, is an instrumental (perfect for dancing) with Washington keyboard legend Jackie Hairston on organ, a hot trumpet solo from Ward and sax solo by Carlos Johnson.

She’s Gone is a lament about Big Daddy’s baby having gone and left him all alone because he did her wrong, while Knocked Up, has his wondering about why so much teenage pregnancy. In Love With Yourself, is a nice soul ballad about one’s marriage ending and no fun to be in love by yourself. After a brief spoken introduction, organist Hairston and saxophonist Johnson are featured on the jazzy The Lucy Number, while Clarence Ward’s trumpet blasts off James, a funk tribute to the Godfather of Soul,” with tough horns and a strong groove, followed by a couple nods to disco-life, I Wanna Dance, followed by his salute to Latin Girls, another number with a dance groove and a percussion break down. Big Daddy closes asking us to put some Blues in Your Funk, with nice harmonica (I presume Steve Levine since it is not credited in the booklet) and brassy horns.

On Old Folks, a slow blues with nice guitar, Stallings sings,”Keep those bloomers on Granny, Grandpa ain’t giving up no love tonight.” While it has some catching lines like most of the record, the lyrics sometimes come off as simply strung together by some common theme. In sense, its perhaps best to enjoy the music and songs and not analyze the words too much. Big Daddy brings plenty of heart to his music and the band is tight behind him. There is plenty of music hear (nearly 80 minutes), if one just gets into the spirit, then one will have a Blues Party. This is available from cdbaby or on itunes. Big Daddy Stallings website is http://www.bigdaddystallings.com.

My review copy was provided by Charles ‘Big Daddy’ Stallings and this review appeared in the June 2010 Jazz & Blues Report (Issue 326).

Kelley Johnson's Vocal Gems at Home

2011-12-08T00:05:00.004-05:00

Kelley Johnson has become a highly regarded vocalist on today’s scene, a reputation that likely will be further boosted by her new album,Home (Sapphire). Nine of the twelve tracks find her backed by a piano trio, with either Geoffrey Keezer or John Hansen handling the keyboards. Jay Thomas contributes horns to three selections.

Johnson possesses a lovely voice, sometimes sweet and at times slightly smoky, while using horn-like phrasing to make the songs come alive. Her singing off the beat and extending her phrase is quite effective. There is a freshness in much of the material. She has an affection for Abbey Lincoln as she opens with Lincoln’s Should’ve Been, and Lincoln’s Living Room is party of a medley with the Lerner and Lowe standard Wouldn’t It Be Lovely. Thomas adds some nice muted trumpet on Irving Berlin’s Be Careful, It’s My Heart.

One of my favorite selections here is the lively rendition of Rodgers and Hammerstein’s A Lovely Night, with her horn-like delivery of the lyrics matched by Hansen’s marvelous accompaniment and solo. Moon River comes off a bit dreamy with Thomas’ horns (I assume he multi-tracked his backing here) helping set the mood, while her delivery comes across too deliberate and a bit languid. Rose Colored Glasses in contrast bubbles with personality followed by a medley of her reciting her poem, From Here which launches into a lovely interpretation of Where Do You Start? with Hansen’s spare accompaniment adding to the mood she sets.

Produced by Johnson with pianist Hansen and drummer Jon Wikan, Home, is another welcome addition to the many worthy vocal releases that have come out recently. She caresses the songs she selects and given sympathetic backing has produced a multi-textured album that brings out new facets each time one listens.

This review was originally written for Jazz & Blues Report although I do not know if the review was published. I likely recieved a review copy from a publicist or from the publication..

Travis 'Moonchild' Haddix Finds Daylight At Midnight

2011-12-07T00:05:00.005-05:00

This writer first became aware of Travis ‘Moonchild’ Haddix from his recordings for the Ichiban label from the late 1980s to the mid 1990s as well as his songs, that found their way in the repertoire of such great singers as Artie ‘Blues Boy’ White. Playing the Cleveland R&B circuit, he had an opportunity to play with Johnny Taylor on the road, but raising a family took first place so he worked for General Motors and the Post Office for over 40 years.

When Ichiban folded, he started his own label, Wann-Sonn, and since 1998 has issued 8 albums, the latest, Daylight at Midnight, has just been remastered and repackaged by Earwig. With a pretty sizable band including a four piece horn section, Haddix presents ten new songs that illustrate his use of humor, irony and clever wording on a variety of blues themes of relationships as well as good and hard times. On the opening Word A Lie, he tells he isn’t telling his women a ‘word a lie, everything I say is true,” as he recounts allowing his women to move in and then how she was doing everything she could to get him out.

The title track is a reworking of the theme about strange things happening as they did when Travis’ moved into a new town and where there is daylight at midnight. Nine Behind, illustrates how clever he can be with a lyric with the song about the number nine, waking up at Nine, having 9 cups of coffee, call 9 different ladies and his woman from 1 to 9 is a 9 and then takes a solid guitar solo. Who Could I Be? is a soulful ballad with nice piano from Robert ‘Red Top’ Young who was in the late Robert Lockwood’s band, as Haddix sings if he could be anyone else who he would be, he would still rather be me.

One of Haddix’s main guitar influences is B.B. King, as his solos throughout this album show. One choice solo is during Way Back in the Country, where he recounts growing up and learning about the birds and bees and becoming a man. “Your Kind of Fool,” has a funky groove and the funk continues on What to Do, before returning to a more traditional blues style on Good Buddy Blues, about a friend where creates more problems than help for Travis. Haddix is a solid singer in the vein of a Bobby Bland and Artie White, although perhaps not having the range of the latter, as well as a solid guitarist. He benefits from a fine backing band although the horns provide a simple backdrop with their arrangements being most often simply backing riffs.

Having a number of Haddix’s albums (Ichiban and Wann-Sonn), I do not believe this is his best effort (check out the Wann-Sonn releases Milk & Bread and Blues From Staghorn Street, as well as the live European recording Mud Cakes). Still, Daylight at Midnight, is a very welcome addition to his body of recordings. For more information check out www.travishaddix.net or www.earwigmusic.com.

I received the review copy from either Earwig or a publicist handling their releases. This review originally appeared in the October 2008 Jazz & Blues Report, to which I have made a few minor changes. And here is some Travis Haddix from You Tube.

Musical Wisdom From Pharoah Sanders

2011-12-06T00:05:00.003-05:00

Among the recent reissues of classic Impulse releases as part of the celebration of the 50th Anniversary of Impulse, there has been a CD containing two of his CDs, Village of the Pharoahs/ Wisdom Through Music. These albums date from the early 1970s after his path making earlier Impulse recordings that made use of rhythmic trance-inducing vamps and a raw, blues-rooted tenor sax style that on these albums may have some rough edges but also less of the high crying overblowing of some of his earlier recordings including those he made working with John Coltrane. He also made use of vocals including wordless chanting. Wisdom Through Music has a smaller group including pianist Joe Bonner, bassist Cecil McBee, drummer Norman Connors and percussionist Lawrence Killian, all of whom are part of the larger group on Village of the Pharaohs which also includes bassists Stanley Clarke and Calvin Hill, drummer Jimmy Hopps and vocalist and percussionist Sedatrius Brown.

The title track of Village of the Pharaohs is in three parts with Sanders on soprano sax sounding like a cross between a snake charmer and a rhythm and blues wailer and in the third part has an exchange in vocalizing and chants with Brown. “Mansion Worlds is another number which evokes The Creator Has a Master Plan, with Bonner setting forth the theme with a driving vamp and percussion with Sanders adding his soprano. Went Like It Came comes off as a rhythm’n’blues gospel infected blues with Sanders on tenor sax and Sedatrius Brown featured on the bluesy vocal. I had the pleasure of seeing this multi-talented woman (a terrific organist as well as singer) over a decade ago in Washington DC, but I understand she has devoted herself to gospel music.

In many respects, Sanders music was world jazz before that term, or ‘world music’ was coined, and heard on Wisdom Through Music. African grooves are most evident on High Life, with Sanders leading the rough house vocalizing of the Afro-Beat grooves before taking a robust tenor sax solo with some honks and squeals, followed by Love Is Everywhere, where he chants (mainly the title phrase) with the band echoing his chant. The title track finds Sanders playing soprano with a bagpipes quality with an intriguing backing.

These are not the best known of Sanders Impulse albums perhaps, but they certainly should be of interest to those who have followed his music (and may have overlooked these when they came out like I did) as well as interested in the important output of the Impulse label.

I received my review copy from Jazz & Blues Report for whom this review was written. Here is a you tube video of Pharoah Sanders.

Bert Deivert's Acoustic Blues Delight

2011-12-05T00:05:00.001-05:00

Born in Boston, Bert Deivert has taken this passion for the blues to Sweden which he calls home and has just issued his tenth album Kid Man Blues (Hard Danger). This writer was not familiar with him but perusing the accompanying booklet I note that my friend Memphis Gold contributes two backing vocals among the twelve tracks and among the albums he has played on was Memphis Gold’s Gator Gonna Bitchu! Three of his earlier albums were collaborations with Eric Bibb and he also is among those who have adapted the mandolin in addition to guitar, acknowledging the influence of such early masters as Yank Rachell and Carl Martin.

Deivert’s skill with the mandolin is on display on most of this release which is my first exposure to his music. It is a varied collection of songs ranging from adaptations of R.L. Burnside’s North Mississippi Hill Country Blues to fingerpicking classics from Blind Boy Fuller and Blind Blake and the deep blues of Skip James and Son House and was recorded in Sweden, Thailand, Mississippi and Germany with a variety of folks assisting Bert. Augmented by backing vocals, R.L. Burnside’s Goin’ Down South, has a string band feel with violin in addition to Deivert’s mandolin 9and he doubles on lap steel guitar. Its followed by some rollicking piano by Willie Salomon for the barrelhouse flavored State Street Pimp, that comes from Carl Martin’s repertoire. Bill Abel adds guitar and the late Sam Carr played drums on Rob and Steal, a nice medium tempo blues recorded at Abel’s Mississippi studio with more hills country flavor. Sven Zetterberg’s nice harp on this was added later in Sweden.

Walter Davis’ Come Back Baby was recorded in Bangkok and this brooding blues originally recorded by Walter Davis has a definitely more modern, electric flavor with guitar from one Dulyasit “Pong” Srabua with some overdubbed mandolin added in the latter part of this performance. The title track was from Carl Martin and is about a younger man being a married woman’s kid man, and features some nice mandolin as well as fiddle and my buddy Memphis Gold is among those adding to the vocal here “if you let me be your kid man I’ll always treat you right.” For some reason, Deivert attributes Keep On Truckin’ to Blind Blake but I believe he meant Blind Boy Fuller, the great Piedmont blues artist of the thirties. A vocal duet with Tom Paley of the New Lost City Ramblers, it is a lively, raggy performance with lively picking from Paley and Deivert and one cannot ignore the resonator slide guitar of Frederick Karlsson here.

Deivert may not be as powerful a singer as Skip James or Son House but his renditions of James’ Cypress Grove and House’s Death Letter Blues, are quite moving. On Cypress Grove, the harp of Mats Qwarfordt helps provide the ethereal quality that James’ vocals and guitar provided. Death Letter Blues is a credible solo cover with rhythmic slide guitar and a solid vocal. Blind Blake’s Diddie Wah Diddie is done as a lively duet with guitarist Lasse Johansson and sports some wonderful mandola playing.

It is often said that blues has become an international music. Certainly the fine music here is evidence of that. Deivert himself notes that this recording was not meant to simply be a solo vehicle, “but, rather a showcase for this fine music that is being made all over the world, and great musicians who are not recognized by a larger audience.” Deivert’s Kid Man Blues is a delightful acoustic blues showcase that it was intended to be. This is being distributed through cdbaby.com and his website is www.deivert.com/blues.

I received my review copy from a publicist. Here are some videos of Bert performing.

Hubert Sumlin at 2010 Pocono Blues Festival

2011-12-04T15:18:00.002-05:00

2010-0724 Pocono Blues Day 2-2173, originally uploaded by NoVARon.

Just found out that Hubert Sumlin just passed away at the age of 80. The 2010 Pocono Blues Festival was the last time I saw Hubert when he was part of an All Star Chicago blues review that included Willie Smith on harmonica (and Willie recently passed away) and Bob Stroger, in the back, was on bass.

Hubert was best known for his association with Howlin' Wolf as well as on sessions with such other blues legends as Sunnyland Slim. He was alas one of the nicest folks you could ever want to meet which is why he was beloved in the blues community.

Here is Hubert and Sunnyland Slim

Hubert jamming with some well known admirers

Sharon Lewis Is The Real Deal

2011-12-04T00:05:00.003-05:00

In David Whiteis’s liner notes to The Real Deal, the new Delmark CD by Sharon Lewis & Texas Fire, there is a perplexing comment about her being annoyed with ‘blues purists.’ I suspect so-called ‘blues purists’ are those most likely to enamored by the powerful performances she performs on this release. She was inspired by seeing Pat Scott and her strong, take no-nonsense approach. Already influenced by the church and Motown and R&B, Scott’s modern soul-blues led her to develop her style and repertoire.

On this, she is supported by a band that includes Roosevelt Purifoy on keyboards; Bruce James on guitar, Melvin Smith on bass and Tony Dale on drums with Billy Branch adding harmonica and Dave Specter guitar on several selections and two tracks have a horn section. She brings originals that strike the listener with the same assertiveness as her vocals opening with the topical What’s Really Going On? and then followed by the title track when she tells like it is that we don’t know what is in her mind so how can anyone say her blues ain’t the real deal. Bruce James takes the nice solo on this as elsewhere, such as on her closing Angel on which Purifoy takes a short solo break as well. On Do Something For Me, Dave Spector takes the guitar solo on a number whose melody will evoke B.B. King’s rendition of The Thrill Is Gone, while her vocal displays her use of dynamics. The late Sam Taylor’s Mother Blues is a “lump-de-lump” styled blues, as fervently delivers Taylor’s lyrics of only the blues can talk to me and tell me how I feel with Purifoy and James outstanding in the backing they provide. I do not mean to slight Smith and Dale who are rock solid throughout this session.

Billy Branch adds his imaginative harmonica to Lewis’ original Blues Train where she invites us to party with her at the party that won’t stop with a melodic and lyrical strain that conjures up “Dancing in the Streets,” as she takes us to Rosa’s and other blues venues, while on Mojo Kings, she has her working in her celebration of her band and how they have that magic king. It is nice to hear new lyrics to Got My Mojo Workin’, a song that has been perhaps covered too bit much, so she makes it sound fresh. Purifoy and James provide a jazzy sophistication behind a low-key vocal on Silver Fox. Indeed, Sharon Lewis may be old school but her love is all we need and she will make it all right. Covers on “The Real Deal” include a soulful rendition of Van Morrison’s Crazy Love, and Wyonna Carr’s fine blues Please Mr. Jailer. Bill Withers’ Ain’t No Sunshine benefits from a reggae rhythmic accent while she ably does Don’t Play That Song, but is overshadowed by Aretha’s recording.

Sharon Lewis has been performing world wide and recording over the past two decades including a 2004 album for Sleepy Dog Records and appeared on Dave Spector’s Delmark album Live in Chicago. The Real Deal is a recording that hopefully will lead to her receiving the recognition that her talents merit. This is an impressive talent and recording.

I received my review copy from Delmark Records. Here is a you tube clip of Sharon Lewis performing with organist Jan Korinek and Groove that should give you an idea of how good a singer she is.