Duke Robillard And His Dames Of Rhythm

Duke Robillard
And His Dames Of Rhythm
M.C. Records

This new release from Duke Robillard is a bucket item dream come true with him on acoustic arch-top guitar and occasional vocals along with his rhythm section of Bruce Bears on keyboards (with Kelley Hunt subbing on three tracks); Brad Hallen on bass; and Mark Teixeira on drums. There is also a horn section including regular collaborators Billy Novick on clarinet and alto saxophone; Rich Lataille on alto and tenor saxophone and clarinet; Carl Querfurth on trombone; and from Vince Giordano's Nighthawks, Jon Erik Kellso on trumpet and Andy Stein on violin, with arrangements mostly from Novick or Kellso. With these players, Duke has a program of songs form the twenties and the early thirties with the dames of Rhythm, Sunny Crownover, Kelley Hunt, Elizabeth McGovern, Maria Muldaur, Madeleine Peyroux and Catherine Russell handling the bulk of the vocals with Duke adding a couple.

The general tenor of the music here is early and pre-bop swing jazz as opposed to the jump blues of much of Duke's recordings. The music is handsomely played and the ambience is not far from that of Giordano's Nighthawks starting off with Crownover's bright, cheerful vocal, joined by Duke here, on the opening "From Monday On," with some terrific violin from Stein, and followed by Muldaur's wistful handling of "Got the South in My Soul," with Querfurth's growling trombone adding flavor, a lovely clarinet solo from Novick and a brief guitar break. Crownover has a naughty innocence on "My Heart Belongs To Daddy," with its light Latin groove and marvelous Novick arrangement.

Peyroux's is flirty on "Squeeze Me," however she lacks the emotional depth of Billie Holiday on "Easy Living," although she is nicely supported. Similarly, Elizabeth McGovern comes off lightweight on her interpretation of another number associated with Holiday, "Me, Myself and I." Catherine Russell is superb as always on a sublime rendition of Benny Carter's "Blues In My Heart," with John Kellso's superb arrangement and growling trumpet (along with Querfurth's similarly toned trombone) lending this sublime performance an Ellingtonian flavor.

"Please Don't Talk About Me When I'm Gone" features singing from Kelley Hunt with sparse backing primarily from Bears and Duke for the first couple verses, before the rhythm kicks in to back Mark Earley's tenor sax solo followed by Kellso's trumpet and then she leads the band on a rousing close. She also has a marvelous take on "Lotus Blossom," a number I am familiar with from Jimmy Witherspoon, and kudos to Rich Lataille for his arrangement. With the combination of Duke's guitar, her piano, Novick's clarinet, and Stein's violin, she does a marvelous rendition of the torch song, "If I Could Be With You (One Hour Tonight)."

Duke's own vocal features include the bouncy "Walking Stick," with Kellso's arrangement showcasing Stein along with Kellso's fiery trumpet, along with the gently swinging lament "What's The Reason (I'm Not Pleasin' You)." The instrumental "Call of the Freaks" closes this out with Duke playing Lonnie Johnson to Kellso's Henry 'Red' Allen on a nice rendition of a tune recorded by Catherine Russell's father, Luis in the early 1930s. If the vocals by Hunt and Russell stand out over the others here, it should be noted that there is appeal to all of the vocals, and does nothing to lessen the delights heard in Duke's revival of some musical gems from the distant past.

I received my review copy from M.C. Records. Here is "Squeeze Me," from the album.

Jazz at Lincoln Center Orchestra with Wynton Marsalis Big Band Holidays II

Jazz at Lincoln Center Orchestra with Wynton Marsalis
Big Band Holidays II
Blue Engine Records

Among the new recordings to help folks celebrate the winter holidays is "Big Band Holidays II" by Jazz at Lincoln Center Orchestra with Wynton Marsalis. This celebrated Orchestra brings big band swing to some holiday favorites and some lesser-known tunes for this time of year. The musicians contributing to these performances from the Orchestra's annual Holiday programs are: Reeds - Sherman Irby –  alto and soprano saxophones, clarinet, flute; music director (2015-2016); Ted Nash – alto and soprano saxophones, clarinet, flute; Victor Goines – music director (2018); tenor and soprano saxophones, clarinet; Walter Blanding (2015–2017) – tenor saxophone, clarinet, shaker; Paul Nedzela – baritone and soprano saxophones, bass clarinet; *Camille Thurman (2018) – tenor and soprano saxophones; Trumpets - Marcus Printup; Kenny Rampton; Wynton Marsalis (music director, 2017/18); *Ryan Kisor (2015, 2017-2018);*Greg Gisbert (2016); *Bruce Harris (2016);*Tatum Greenblatt (2017); Trombones - Vincent Gardner; Chris Crenshaw; Elliot Mason (2015-2016, 2018); *Sam Chess (2017); *Eric Miller (2018); and Rhythm Section - Dan Nimmer – piano; Carlos Henriquez – bass; Ali Jackson (2015-2016) – drums; *Marion Felder (2017) – drums; and *Charles Goold (2018) – drums. Those named marked with an asterisk are substitute orchestra members. Guests on this release include Aretha Franklin – vocals and piano; Audrey Shakir – vocals; Denzal Sinclaire vocals; Catherine Russell – vocals; Veronica Swift – vocals; James Chirillo – guitar.

Anyone who has seen the Jazz at Lincoln Center Orchestra (JLCO) knows what a superb band it is whose members are excellent session players and also fabulous soloists. It is a terrific big band in the Count Basie or Thad Jones-Mel Lewis Big Bands vein. The JLCO members contributing the arrangements for these eleven wonderful performances that open with Wynton Marsalis' arrangement of "Winter Wonderland," where Marsalis' trumpet is only one of the exceptional soloists. Catherine Russell is present for three vocals with her singing on Steve Allan's "Cole Yule" standing out. Sherman Irby arranged this, and he soloed brilliantly. Denzel Sinclaire is heard singing on an animated "We Three Kings" and a bluesy arrangement of "Silent Night." The former number was arranged by Carlos Henriquez and also features Paul Nedzela's superb baritone sax. Victor Goines arranged "Silent Night," which has James Chirillo's bluesy guitar solo. Aretha Franklin is stunning on "O Tannenbaum," accompanied only by her piano. Vocalist Veronica Swift shines on "(Everybody's Waitin' for) The Man with the Bag," with Vincent Gardner's trombone (quoting "Frosty the Snowman") in the spotlight. Walter Blanding is responsible for the swinging arrangement.

The other performances are similarly first-rate, including the buoyant Latin groove of "Brazilian Sleigh Bells." Wynton Marsalis makes the announcements and salutes the various soloists on these excellent, vibrant, toe-tapping, brassy performances. "Big Band Holidays II" will undoubtedly bring plenty of holiday cheer to any holiday celebrations.

I received a download to review from Jazz at Lincoln Center/ Blue Engine Records. Here is the Jazz at Lincoln Center Orchestra performing "Sleigh Ride."

Catherine Russell Alone Together

Catherine Russell
Alone Together
Dot Time

The daughter of Luis Russell (Louis Armstrong's big band leader) and pioneering guitarist-bassist Carline Ray, Catherine Russell has established herself as a superb jazz singer. "Alone Together" is her seventh studio album and is the vein of her prior recordings. It brings together a range of vintage material from the twenties until the seventies.

On this recording, she interprets songs associated with the likes of Rosa Henderson, Louis Jordan, Cecil Gant, Nat King Cole, Fats Waller along with standards from the American Song Book. She is backed by a band rooted in the swing style of the thirties and forties that include Matt Munisteri on guitars, Mark Shane on piano, Tal Ronen on bass, Mark McLean on drums, Jon-Erik Kellso on trumpet, John Allred on trombone, and Evan Arntzen on tenor sax, with a string trio employed on one selection.

Opening with a rendition of the Schwartz-Dietz title track, Russell delights with the warmth and delivery of her vocals. The backing band is superb with Allred and Arntzen soloing on this. This is an album full of songs touching on love and its pitfalls. Munsiteri's acoustic chording launches "You Turned the Tables On Me," as she wistfully sings about her ex who let her fall with a drop." Mark Shane is also outstanding on this hornless selection.

A lovely rendition of "When Did You Leave Heaven?", uses strings to cushion her vocal. Munisteri takes a tight electric guitar solo. Solid, personal interpretations of a couple of Louis Jordan songs, "Early in the Morning," and "Is You or Is You Ain't My Baby?" follow with outstanding backing. Kellso provided the riff-based horn arrangement on "Early in the Morning," with a terrific tenor sax solo by Arntzen and Munisteri contributes some strong jazz-blues guitar. Russell ably handles the lyrics of "Is You or Is You Ain't My Baby?" displaying just how good a blues singer she is. Kellso is exquisite with on his muted trumpet solo. Her revival of Cecil Gant's classic blues-ballad "I Wonder" captures the song's wistfulness.

Then there is her infectious, delightful revival of a 30's pop swinger, "You Can't Pull The Wool Over My Eyes," and her swaggering rendition of Rosa Henderson's 1923 recording, "He May Be Your Dog But He's Wearing My Collar." Munisteri plays dobro on the latter song. Then there is an effervescent take on Nat King Cole's jumping jive, "Errand Girl For Rhythm," and the warmth in her rendition of "I Only Have Eyes for You."

A charming rendition of Fats Waller's "You're Not The Only Oyster In The Stew," closes another terrific Catherine Russell recording.

I received from my review copy from the record company. This review appeared in the March-April 2019 Jazz & Blues Report (Issue 383), although I have made some minor changes. Here is a video of Catherine Russell singing "He May Be Your Dog But He's Wearing My Collar."

St. Louis Blues considered

Arguably W.C. Handy's most famous song might be "St. Louis Blues." I recall the founder of the Blues Foundation, Joe Savarin claimed that it was the most recorded song in the US history. Whatever the truth of this statement, it has been recorded and performed numerous times. Here are simply some of the many recordings of it starting with a 1914 recording from W.C. Handy's Band.

One of the most celebrated versions is by Bessie Smith with Louis Armstrong on cornet.

Louis Armstrong recorded his first version in 1930. I once heard someone suggest the difference between blues and jazz can be heard in the recordings by Bessie Smith and Armstrong.

Here is a more recent rendition from Catherine Russell from the Allen Room at Jazz at Lincoln Center. Mark Shane is the pianist and Jon-Erik Kellso plays the muted trumpet.

Here is the New Orleans clarinetist George Lewis.

Here Nat King Cole sings this classic

Earl 'Fatha' Hines did his "Boogie Woogie on Saint Louis Blues."

Albert Ammons also did a boogie-woogie interpretation.

Here is the legendary Billie Holiday.

One of my favorite versions by a bluesman is the late Johnny Copeland. It was on his first Rounder album "Copeland Special" that included jazz saxophonists Arthur Blythe, Byard Armstrong, and George Adams.

Then there is the great Furry Lewis

And the duo of Sylvester Weaver and Walter Beasley recorded this instrumental version in 1927.

Finally an early version from Duke Ellington with Bing Crosby singing.

There are so many more, but I hope you found these enjoyable.

Kitchen Man

This is another post to consider points I made in my review of Rory Block's album "A Woman's Soul: A Tribute to Bessie Smith." This will be done through comparing her rendition of "Kitchen Man" with several other versions.

Next is the original by Bessie Smith.

Then there is a recent rendition by Catherine Russell

Next, Saffire- The Uppity Uppity Blues Women with the late Ann Rabson taking the vocal

Here is the late Chicago blues woman, Valerie Wellington

A recent recording by a traditional New Orleans styled band, the Yerba Buena Stompers w Miss Ida Blue 

And here one of Bessie's contemporaries, Sara Martin

Catherine Russell Harlem on My Mind

Catherine Russell
Harlem on My Mind
Jazz Village


Some familiar with this blog may be aware, I am a fan of the singer, Catherine Russell. Regarding her 2012 release "Strictly Romancin'," I observed that, "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." The same can be said about this latest recording, with a mix of classic swing numbers mixed with intriguing renditions of fifties rhythm'n'blues and a few obscure songs that she introduces to many. 

On her latest release she is backed by a superb rhythm section of guitarist Mike Munisteri, pianist Mark Shane, bassist Tal Ronen, and drummer Mark McLean. Saxophonists Andy Ferber, Mark Lopeman and Dan Block along, with trumpeter Jon-Erik Kellso, are among those playing on horns. One track has centenarian Fred Staton (brother of the late Candy Staton). 


The title track is an Irving Berlin song that Ethel Waters originally recorded and is performed with small group backing as Russell so sonorously delivers "I’ve got Harlem on my mind /And I’m longing to be low down/ And my parlez vous will not ring true / With Harlem on my mind," and followed by the vibrant big little band (tentet) horn-driven  "I Can’t Believe That You’re In Love With Me," with Munisteri providing solid rhythm guitar in the manner of Freddie Greene. This is followed by the ebullient swing of "Swing! Brother Swing!" with wonderful muted trumpet by Kellso, trombone from John Allred and Mark Lopeman's tough tenor sax. Then there is the wonderful rendition of Ray Noble's classic ballad, "The Very Thought of You," the delightful, slightly naughty, neo-trad reworking of the Clarence Williams' classic, "You Got the Right Key But The Wrong Keyhole" (with Lopeman's clarinet and Munisteri's banjo), and anogther lovely ballad, "Don’t Take Your Love From Me," with a marvelous, romantic tenor sax solo from Fred Staton.

An impish rendition Fats Waller-Andy Razaf gem “Blue Turning Grey Over You,” is followed by a wonderful rendition of a torch song, “You’re My Thrill,” with a marvelous Farber horn arrangement. I am not sure who first recorded “I Want a Man” (Esther Phillips?) but Russell's rendition reminds me of the sass and vigor Ruth Rrown brought to similar material. Benny ‘King’ Carter’s classic “When Lights Are Low,” receives a royal rendition followed by a terrific cover of Little Willie John’s “Talk To Me, Talk To Me,” along with her own, heart-felt take of Dinah Washington’s “Let Me Be the First to Know.”

The retro-swing “Goin’ To Town,” was part of Duke Ellington’s Cotton Club repertoire and recorded by Catherine’s father Luis Russell in 1931. The effervescent performance provides a lively close to another superb recording from Ms. Russell. No one is producing such a series of excellent joyful celebrations of swing jazz and jump blues as Catherine Russell, of which “Harlem on My Mind,” is simply the latest example.

I purchased this as a download. Here Catherine performs a blues Dinah Washington recorded,  "My Man Is An Undertaker."

Catherine Russell Brings it Back

The emergence of Catherine Russell on the music stage in the past few years has provided lenity of magical listening. Daughter of legendary band leader Luis Russell and bassist-guitarist-singer Carline Ray, Catherine Russell delights with her revival of classic and less-known swing and blues tunes. Her latest album, Bring It Back on Jazz Village, continues in this vein with her superb singing backed by a little big band rooted in swing with some gypsy jazz accents. 

The new album brings her back with the creative team from her last album Simply Romancin’, that earned the Grand Prix du Hot Club de France. Among those supporting Ms. Russell are guitarist Matt Munisteri, pianist Mark Shane, bassist Lee Hudson, drummer Mark MacLean, tenor saxophonist and arranger Andy Farber, trumpeter Jon-Erik Kellso, saxophonist Dan Block, trombonist John Allred and baritone saxophonist Mark Lopeman. And what a terrific team on a wonderful collection of songs ranging from the title track, a Peppermint Harris composition recorded by Wyonnie Harris, Duke Ellington’s I Let a Song Out Of My Heart, Johnny Otis and Preston Love’s Aged and Mellow, that Esther Phillips waxed, Public Melody One, which Louis Armstrong recorded for Decca with a big band led by Russell's late dad. There is also a previously unrecorded song by her father, Lucille, that was written for Louis Armstrong’s wife.

And the music is simply top-rate with Russell’s horn-like phrasing, her warmth, joy and intonation superb throughout whether strutting on The Darktown Strutters’ Ball, reflective on Aged and Mellow (which is how she wants her men, just like she wants her whisky). She can be sassy on the title track, moody on After The Lights Go Down Low, and getting the jitterbuggers out on the floor singing Ida Cox’s You Got to Swing and Sway. She sings with the exuberance of Helen Humes and the nuance of Lavern Baker. Then there are booting sax solos, growling trumpets, marvelous piano from boogie to deep swing, guitarist Munisteri jazzy electric blues playing on the title track as well as his deft acoustic chording elsewhere. One also notes the wonderful arrangements with touches of Ellington and other classic big bands. 

The only reason I would be hesitant in describing this as her best recording because her other recordings have also been so marvelous, but Bring It Back is one of the finest vocal recordings I have heard in the past few months. Its an outstanding recording that retains its pleasures with repeated hearings. Catherine Russell not simply brings back, but reinvigorates, some familiar classics and lesser known gems from the blues and swing worlds. 

I received my copy from a publicist. Here is Public Melody One.

Catherine Russell Is Strictly Romancin'

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 accordion 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 Block 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.

Mary Lou Williams Music Celebrated Wonderfully

One centerpiece of the Jazz program that the Kennedy Center initiated a number years ago under the direction of the late Dr. Billy Taylor is the annual Mary Lou Williams Women in Jazz Festival. At this year’s festival, held May 19-21 in Washington, Kennedy Center Jazz Records issued Walkin’ & Swinging: Highlights From the Kennedy Center Mary Lou Williams Women in Jazz Festival No. 2.

The CD compiles performances from the 2010 Festival which celebrated the centenary of the birth of Mary Lou Williams. Williams was a renown jazz pianist, composer and arranger whose career spanned the territory big bands to modern jazz where she befriended numerous visionary jazz artists including Herbie Nichols, Thelonious Monk and even played duets with Cecil Taylor. Last year’s festival celebrated Williams in a program devoted to her music (with the exception of the closing Ellington Cotton Tail).

The recording opens with a rendition of Walkin’ and Swingin,’ the Williams composition that was the theme for Andy Kirk and His Clouds of Joy, the Territory Band that helped Williams gain prominence. It is one of three performances by Sherrie Manicle & The DIVA Jazz Orchestra and the contours of the performance are not far removed from the Clouds of Joy original. The other two selections featuring this Big Band have them fronted by the wonderful vocalist Catherine Russell on What’s Your Story, Morning Glory? (Pha Terrell sang on Kirk’s 1938 original recording), and In the Land of Oo Bla Dee. The latter number was an amusing original that she composed during the hey day of bebop and Ms. Russell provides a fine treatment that I am sure Dizzy Gillespie would have approved of. One other performance employs a big band and that is Ann Patterson’s Maiden Voyage on Scratchin’ In the Gravel/ Truth. Scratchin’ was originally for a septet and then arranged for Duke Ellington in 1966 and the performance here is a medley of the two treatments, wonderfully scored and played with a very impressive tenor saxophonist (Ms. Patterson?).

A couple of performances showcase pianists. Miss D.D. showcases some wonderful playing by Geri Allen as part of The Women in Jazz All-Stars, joined by Esperanza Spalding on bass and Terri Lynn Carrington on drums, while Carmen Staff interprets Aries, from the ambitious The Zodiac Suite, with the incorporation of boogie woogie and strides in this intriguing solo showcase. Tenor saxophonist Virginia Mayhew transcribed several Williams solos that Mayhew employs in her performance of a hot blues, Medi II. The phenomenal young saxophonist Grace Kelly, displaying her somewhat incisive, dry tone, is featured on the Women in Jazz All Stars as they play Terry Lynn Carrington’s arrangement of Pisces, the last movement of The Zodiac Suite. Kelly’s playing shows a maturity far beyond her years while displaying the influence of Lee Konitz with whom she has recorded with.

This disc concludes with Dee Dee Bridgewater joining the All-Stars for a rousing Cotton Tail, a feature in the Ellington Band for Williams friend, Ben Webster. It is a remarkable performance with Bridgewater leading with a stellar scatting performance with a rousing piano solo from Allen and solos from the others. Its the longest performance here and a moment of musical magic including trading fours with Kelly that ends this terrific celebration of the 2010 Festival and the music of Mary Lou Williams. It is available from the Kennedy Center, http://www.kennedy-center.org/giftshop/html/itemDetail.cfm?item_sku=1023989&categ_id=2003092214202595.


This was a personal purchase.

Outstanding New Jazz Releases.

Continuing my lists of outstanding Blues and Jazz, here are some Jazz releases that in 2010 impressed me.  These are not in any specific order.

Jason Moran Ten (Blue Note) This was quite a year for the pianist Moran was was awarded a MacArthur Foundation Fellowship. Ten refers to the the years his trio “The Bandwagon” has been together and this recording mixes a variety of new compositions which his fresh interpretation of Monk’s “Crepuscule With Nellie.” Most fascinating is his “Old Babies,” which is based on a very early twentieth century recording by the legendary pioneering performer, Bert Williams, and whose vocals Moran evokes in his piano on this.

Owen Howard Drum Lore (BJU Records) The genesis of this recording came from Howard’s participation in a jazz workshop’s composition class when someone asked why he a drummer was participating, and the result is this disc of eleven drummer penned compositions, superbly performed by Howard’s combo. Of Howard’s playing, I have noted, “Even when not upfront, his playing complements and pushes the soloists through these fascinating compositions that is a lesson that student at the jazz workshop hopefully by now has learned.”


Maurice Brown The Cycle of Love (Brown Records). A Chicago native who studied at Southern University’s acclaimed Jazz Program, Brown has a warm, lively tone and with a wonderful group produces some superb music. The music on this, his second album, exhibits some a playfulness and melodic qualities that can bring a smile to one’s face, yet there is plenty of substance here.

Lena Seikaly Written in the Stars (self-produced). Distinctive interpretations by this young Washington, DC area singer who has such a marvelous voice. Interesting song selection of standards and originals with a highlight for me being her rendition of the Charles Mingus ballad “Duke Ellington’s Song of Love.”

Catherine Russell Inside This Heart of Mine (World Village). Russell, daughter of the legendary band leader Luis Russell and bassist carline Ray delights us as she mines “lesser known songs from decades past and revive them in a lively fashion that avoids being campy. Her vocals are a model that many singing jazz and blues would do well top listen to and learn from how she delivers her songs as well as marvel from the sensitive and sympathetic support she receives.”

Gabriele Tranchina A Song Of Love’s Color (Jazzheads) This, I wrote, “is a wonderful release that is sure to charm listeners with not only Gabriele Tranchina’s lovely voice, but her wonderful expressiveness and the tight playing in support of her. This is a recording that easily lends itself to repeated listening.”

Azar Lawrence Mystic Journey (Furthermore). The saxophonist with his fine band joined by Eddie Henderson on trumpet and the late Rashied Ali on drums has produced a phenomenal recording that suggests the inspiration that John Coltrane provided Lawrence on a body of terrific material and performances.

Antonio Sanchez Live in New York (CamJazz) Strong double CD performance at NYC’s Jazz Standard with drummer joined by his brother David on tenor sax, Miguel Xenon on alto sax and Scott Colley on bass for some truly special performances. 

Issac Delgado L-O-V-E (Sony Classical) The Cuban singer’s marvelous tribute to Nat King Cole is centered around the three albums Cole recorded that were recorded for Spanish speaking audiences. I wrote that the “combination of Delgado’s vocals and the exquisite accompaniments result in this being one of the year’s most enchanting recordings.”


William Parker I Plan To Stay A Believer: The Inside Songs of Curtis Mayfield (Aum Fidelity). A lively double CD all star free-jazz big band exploration of the music of Curtis Mayfield that may have some ragged edges but makes compelling listening.

Catherine Russell Delves Into the Heart of Classic Songs

It has been about two years since Catherine Russell delighted us with the marvelous disc Sentimental Streak on World Village. The daughter of legendary bandleader, Luis Russell and bassist Carline Ray, Russell has another excellent release “Inside This Heart of Mine,” also on World Village. This present session is produced by Paul Kahn with Catherine as Executive Producer. Like the prior disc, it is rooted primarily in swing tunes from the twenties to the sixties. . The core of the backing band is the trio of Mark Shane on piano, Matt Munisteri on guitar and banjo and Lee Hudson on bass (although Neal Miner is on two selections). Brian Grice and Rob Garcia play drums where heard, while Howard Johnson adds brass bass (tuba) to two selections and Sara Caswell adds violin to a different pair of performances.

In my prior review, I noted that Ms. Russell evokes a variety of influences including Alberta Hunter, Billy Holiday, Ivie Anderson, and Nellie Lutcher. I find Holiday an apt comparison as she phrases the lyric. She does not come across as a Holiday sound-alike in the style of a Madeline Peyroux,. Rather her delivery and timing is reminiscent of Lady Day, and the backing is complimentary and sympathetic. The selection of songs is immaculate starting with the title track, a chestnut that Fats Waller and J.C. Johnson authored with lovely horn solos and Munisteri’s graceful rhythmic riffing in the backing with her expressing the sadness of love being a stranger ‘inside this heart of mine.’ “All the Cats Join In,” is a spicy swinger taken from a Peggy Lee recording with growling trumpet from Jon-Erik Kellso and a strong tenor solo from Dan Black. Andy Razaf is among those who wrote the swinging “We the People,” that Fats Waller first recorded, with lyrics that we don’t care about taxation as long as legislators give us syncopation. Shane takes a lively stride-inspired solo with Munisteri adding short riffed guitar break. “Troubled Waters,” penned by Sam Coslow and Arthur Johnston, comes from a 1934 Duke Ellington recording that featured Ivy Anderson. Kellso’s growling trumpet (echoes of Cootie Williams) underscores Russell’s lamentation here.

A 1969 Maxine Sullivan recording is the source for the delightful rendition of “As Long As I Live,” with another nice piano solo. Paul Kahn’s “November” with backing including accordion and violin has a gypsy jazz ambience as Russell sings about the change of seasons with it getting cold outside while her lover is not by her side. Sara Carswell’s violin and Munisteri’s banjo also lends a gypsy jazz tinge to Rachelle Garniez’s original “Just Because Your Can.” Joya Sherrill handled the vocal in 1945 when the Duke Ellington Orchestra recorded Duke’s “Long Strong and Consecutive,” and the intimate setting here has Russell sound like a female Nat Cole as she sings about wanting long strong and consecutive kisses as “no short snort will suit” her. Perhaps the most fetching, dreamy and romantic number on this album is the rendition of “Close Your Eyes,” with a lovely guitar solo. Its followed by a nice reworking of Wyonnie Harris’ jump blues, “Quiet Whiskey,” with its classic lines

“Whiskey on the shelf,
You were so quiet there by yourself
Things were fine ‘till they took you down
Opened You Up and Passed Your Around.”

Russell and her group take this jump blues recording and transform it into some hep jive.

Russell then directs her interpretative talents to Willie Dixon’s “Spoonful,” with backing from Munisteri’s banjo, Rob Garcia’s drums and Howard Johnson’s tuba. To this trio, horns are added for “Slow as Molasses, originally recorded in 1929 by the Jungle Town Stompers. On the original recording, her father Luis played piano and celeste. Lyrics were added by Rachelle Garniez. which evoke the jazz age. The disc closes with a spirited rendition of one of the most famous of jazz recordings, Lil Hardin Armstrong’s sassy,“Struttin’ With Some Barbecue.”

Catherine Russell continues to mine lesser known songs from decades past and revive them in a lively fashion that avoids being campy. Her vocals are a model that many singing jazz and blues would do well top listen to and learn from how she delivers her songs as well as marvel from the sensitive and sympathetic support she receives. Like her prior recordings, “Inside This Heart of Mine,” is a recording to treasure.

For purposes of FTC regulations, I received a review copy from the record company.

Catherine Russell's Supreme Sentimental Streak

I became aware of Catherine Russell when she appeared as a backing vocalist on the wonderful Marie Knight tribute to Reverend Gary Davis. She is the daughter of the legendary bandleader, Luis Russell, and bassist-vocalist Carline Ray, and has worked with Jimmy Vivino’s Little Big Band, Steely Dan, Paul Simon, Cyndi Lauper and others.
In the 90s, her mom was subbing on bass with Doc Cheatham so she came down and later regularly saw the late trumpeter and started singing with him and the spirit of his music lives in this, her marvelous new album.
This recording is produced by Larry Campbell, who also contributes guitar, violin and mandolin to this project that showcases Ms. Russell’s marvelous way with a song. And, there is a fine collection of songs presented here for Ms. Russell, including I’ve Got That Thing, which her father wrote and recorded (it was released as by King Oliver who was ill that day); Kitchen Man, a vaudeville blues cowritten by Andy Razaf that was a staple of so many singers of that time with its double entendre-filled lyrics; Hoagy Carmichael’s New Orleans; the Wilder-McGlohon South to a Warmer Place (with Rachelle Garniez’s accordion and
Campbell’s violin evoking a French bals-musette); Nellie Lutcher’s playful You Better Watch Yourself, Bub; Willie Dixon’s I Don’t Care Who Knows (originally done by Harold Burrage for Cobra); Garniez’s Broken Nose (again with her accordion) and the sultry Harburg-Gensler Thrill Me.
Russell evokes a variety of influences including Alberta Hunter, Billy Holiday, Ivie Anderson, and Nellie Lutcher throughout this disc. I find Holiday an apt comparison as she phrases the lyric. She does not come across as a Holiday sound-alike in the manner of a Madeline Peyroux, but rather her delivery and timing is reminiscent of Lady Day, and the backing is so complimentary and sympathetic.
Many tracks eschew drummer while several tracks have horns and strings, yet never overwhelm the vocals and the lyric and one can appreciate Campbell’s marvelous mandolin solo chorus on Broken Nose as simply one of the elements that make it such as splendid performance. The acoustic bent of the performances here lend this disc a flavor of the thirties and forties cabaret scene yet everything sounds so contemporary.
This is not a campy revival of such vintage tunes like Brian Seltzer’s Louis Prima pastiches. Instead it is a compelling modern take on such material that will certainly end up on a number of Best of 2008 lists.

She is appearing at the Kennedy Center in Washington DC on May 15 as part of the Mary Lou Williams Women In Jazz Festival