Kenny Kotwitz & the LA Jazz Quintet When Lights Are Low PM Records, LLC
In his liner notes to "When Lights Are Low," Scott Yanow writes that "It is a superior mood album, a revival of the classic sound of the Art Van Damme Quintet, an opportunity for one to hear five masterful musicians blending together, and a very good excuse to listen to some wonderful music." Art Van Damme was one of the few prominent jazz accordionists who was a member of a big band, on the staff of NBC performing on countless radio and television shows, as well as led a quintet of accordion, vibes guitar, bass, and drums. He made his first recordings as a leader in 1945 and led his quintet by 1947. He recorded at least 42 albums as a leader and 100 as a sideman. At different times, guitarists Johnny Smith and Joe Pass were in his quintet. Other recordings included Harry James and Jo Stafford.
Kenny Kotwitz is one of Van Damme's few students, and one of the few accordionists to record with Van Damme. He leads a quintet of guitarist John Chiodini, vibraphonist Nick Mancini, bassist Chuck Berghofer, and drummer Kendall Kay. It is quite a distinguished group, and the music here is more in the vein of elegant, sophisticated ensemble playing with short melodic solos. There are very attractive renditions of "Skylark," "Harlem Nocturne," "Mood Indigo," and "Polka Dots and Moonbeams." At the same time, it would be hard to call any of these performances, all well played, to be compelling. They are relaxing, tuneful, and soothing performances that are easy on the ears.
I received my review copy from a publicist. Here they perform Jobim's "Estate."
Lyn Stanley
London Calling: A Toast To Julie London
A.T. Music LLC
Song stylist Lyn Stanley follows up her two volumes of "Moonlight Sessions," with this tribute to the sultry songstress, Julie London. Most of the songs of this tribute were recorded by the great singer and actress, although Stanley includes a couple that she feels would have been perfect for London, It's Impossible," and "I Heard It Through the Grapevine." On this she has brought in a stellar group of musicians including guitarist John Chiodini; pianists Mike Garson and Christian Jacob; bassists Chuck Berghofer and Michael Valerio; percussionists Luis Conte, Brad Dutz, and Aaron Serfaty, and drummer Paul Kreibich for interpretations of songs that are mostly from the Great American Songbook. I was not aware that Berghofer, who played the bass line for Nancy Sinatra's "These Boots Are Made For Walking," was London's bassist for a period or guitarist Chiodini was Peggy Lee's guitarist for seven years.
Like London, Stanley does not employ a broad vocal range, and her attack is usually understated and melodic. She is backed by a terrific ensemble starting with "Goody Goody," launched by Valerio's Arco bass opening and a chorus shared guitarist between Chiodini (who is superb throughout with his taste and imagination). Chiodini and percussionist Dutz provide a percolating groove to "Call Me Irresponsible," with Garson's sympathetic comping. The rendition of "Bye Bye Blackbird" is an intimate duet between Stanley and bassist Berghofer. "I Heard It Through The Grapevine" is one of the two performances that imagine songs in a manner London might have performed than with an atmospheric backing that allows Stanley to place the focus on the lyrics,
Of course, any salute to Julie London would be incomplete without a rendition of "Cry Me a River," and Stanley's wonderful, plaintive vocal is wonderfully supported by just Chiodini's exquisite guitar (including a marvelous solo) and Berghofer's bass. In a similar vein is her rendition of the classic Cole Porter ballad, "Ev'ry Time We Say Goodbye," with Chiodini and Berghofer equally superb. There are also two appealing, heartfelt renditions of Gershwin's classic "Summertime" with an understated quintet on one and just pianist Garson on the other. Then there is a sublime interpretation of "It's Impossible," (another song London never recorded) with Chiodini's sublime on his Spanish guitar. Chiodini's superb flamenco-tinged guitar and the band's accompaniment provides on "Light My Fire," a version more akin to Jose Feliciano than The Doors, although Lyn's understated sensuality contrasts with the more explicit feel of Jim Morrison on the original.
This is only a sampling of the marvelous music herd on this. There is also a booklet with Scott Yanow's observations on Lyn and each of the 17 performances (which include Lyn's comments). The sound is wonderful, and the productions, with diverse musical settings, and performances imbued with Lyn Stanley's musical personality result in this superb tribute. This is also available in Limited Edition 33RPM 180g two-disc vinyl and Super-audio CDs.
I received my review copy from a publicist. This review originally appeared in the May-June 2010 Jazz & Blues Report (Issue 384). Here is the official video for this release.
Lyn Stanley
The Moonlight Sessions Volume One
A.T. Music LLC
A former corporate marketing executive, Southern California vocalist Lyn Stanley has produced this, the first of two volumes that is directed not simply at jazz enthusiasts but also audiophiles with SACD, hi resolution downloads, high end 45 RPM vinyl editions and even 15ips reel to reel tapes. She certainly has assembled a stellar cast of players for this recording session: pianists Mike Garson, Christian Jacob and Tamir Hendelman, guitarist John Chiodini, bassist Chuck Berghofer, drummer Joe La Barbara, percussionist Luis Conte, harmonica maestro Hendrik Meurkens, tenor-saxophonist Rickey Woodard, and trumpeter/trombone player Chuck Findley. Garson, Hendelman, Jacob, Chiodini and Doug Walter provided the arrangements on the standards and adaptations of pop songs.
Stanley is a marvelous song stylist as opposed to a scatting jazz vocalist who delivers a program "All or Nothing at All," "My Funny Valentine," "Embraceable You," "Why Don't You Do Right," "Crazy," "Close Your Eyes," and "In the Wee Small Hours," with a soft, sultry voice and direct, clean articulation of the lyrics. Her natural phrasing and delivery also contributes to the wonderful performances, along with the marvelous musicians such as Findlay's trumpet on the opening "All or Nothing at All," with wonderful piano and the brassy horn riffs. Woodard's tenor sax adds his magic to "Willow Weep For Me," as he embroiders her vocal with guitarist Chiodini adding chords and fills. Meurkens adds his harmonica to a Brazilian tinged treatment of "Close Your Eyes," while harmonica, and Chiodini's guitar to the lament, "How Insensitive, " that she sings in a heartfelt fashion.
One here's a definite Peggy Lee influence on her rendition of "Why Don't You Do Right?' that opens with finger-snapping, bass and guitar before La Barbara lightly uses brushes with Berghofer taking a solo. The choice of the Willie Nelson penned Patsy Cline hit, "Crazy," is an inspired choice with Berghofer opening playing the opening line before the band comes in with a juke joint feel and Findlay and the horns contribute extra spice. Another softly sung late night lament, "In the Wee Wee Hours," with Meurkens' harmonica complemented by Chiodini's guitar accompaniment and La Barbara's brushes providing the right atmosphere for this marvelous closing performance on a wonderfully sung, played, and recorded album of sophisticated jazz vocals.
I received my review copy from a publicist. This review originally appeared in the September-October 2017 Jazz & Blues Report (Issue 374). Here is Lyn Stanley performing live.
A new album from the singer, Lisa Biales, brings together some terrific covers and backing from members of The Phantom Blues Band, drummer Tony Braunagel (who produced this); guitarist Johnny Lee Schell (who engineered this); bassist Larry Fulcher; trumpeter Darrell Leonard and saxophonist Joe Sublett; along with keyboardist Jim Pugh; bassist Larry Taylor; bassist Chuck Berghofer (member of The Wrecking Crew); trumpeter Lee Thornberg; and others. The result is a very appealing recording.
The performances here include the jump blues revival of Mabel Scott's "Disgusted" with a terrific Joe Sublett tenor sax solo; a solid New Orleans funk reworking of Allen Toussaint's "I Don't Wanna Hear It" originally waxed by Betty Harris; a smoldering cover of Nina Simone's "Be My Husband"; a jazzy rendition of Lil Green's "Romance in the Dark" with the legendary Chuck Berghofer on acoustic bass; a moving rendition of Eric Bibb's "Don't Let Nobody Drag Your Spirit Down" with brief solos by Jim Pugh and Johnny Lee Schell adding to its smokey atmosphere; and a spirited gospel performance of Alex Bradford's "Said I Wasn't Gonna Tell Nobody." She may have quite the voice of an Aretha but she puts everything in her delivery of this latter song's simple message affirming one's faith.
This is just an overview of some of the very enjoyable performances on this. One song of special note is "Crying Over You." This song has special significance for Biales, as it recorded in 1947 by her mother Alberta Rogers who also wrote it. The performance opens with the first verse of her mother's recording before Biales completes the performance as she sings yearning for her phone to ring as she is crying for her love. Chuck Berghofer is on double bass and Lee Thornberg plays a delightful trumpet solo behind Biales' charming vocal.
Lisa Biales has proven to be a real fine interpreter of blues and roots with her honeyed voice and natural, unforced delivery. She enchants here and, with superb backing, has produced another gem.
I received my review copy from a publicist. This review originally appeared in the March-April 2017 Jazz & Blues Report (Issue 371). Here is Lisa performing "Romance in the Dark."
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