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."

Vince Giordano - There's a Future In Our Past

This is a trailer for a film I recently purchased as a download. For those not familiar with Vince Giordano, he has led a small big band, The Nighthawks for about 4 decades that focuses on the hot and sweet music of the 1920s and 1930s, often playing arrangements dating from those years and trying to replicate the sound of the bands as heard on recordings from that era. This band has been employed on a number of films including those by Woody Allen, The Aviator, as well as on the HBO TV series Broadway Empire, in which the band actually was scene performing in some episodes.

This documentary examines what is entailed for him to actually engage in such activities, how he became interested in this music and his ongoing obsessiveness, his collecting of original stock arrangements (he has tens of thousands of such arrangements), the musicians who are in his band and what is entailed in keeping the band afloat and regularly performing.

He is scene performing at (among other locations) Sofia's where he had a regular gig for several years, The Iguana where they currently perform two nights a week, the Newport Jazz Festival (with George Wein off to the side enjoying their set) at a Lincoln Center summer performance, and Wolf Trap as part of a Prairie Home Companion broadcast from that venue. There is scenes of a recording session for Broadway Empire and him on radio promoting a Town Hall concert that celebrated the 90th Anniversary of Paul Whiteman's Aeolian Hall Concert which included the premiere of Gershwin's Rhapsody in Blue. Towards the documentary's end we are taken to a NYC Hot Jazz Festival where a number of younger performers discuss Vince's influence and the Nighthawks are joined by vocalist Catherine Russell for a number.

It is a fascinating look at a gentleman who triples on bass saxophone, tuba and a steel bass, in addition to leading the band, singing and so much more in filling a certain, and important musical niche. This should be available as a download or a rental as well as hard DVD. 

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.

Michael Bram Looking For the Suitcase In The Hall

Michael Bram has spent much of the recent years touring with Jason Mraz’s Band as drummer and musical director. In the back of the bus he would listen to a range of earthy, roots music. With expert production by Dave Gross, Bram has just released Suitcase In The Hall (Swingnation/VizzTone). Gross has provided an austere, spare setting in the vein of a number of recent recordings, such as by Mavis Staples and Bettye LaVette.

Bram takes us on a musical journey ranging from country (Kris Kristofferson’s Nobody Wins, Floyd Tillman’s I Love You So Much It Hurts, and Hank Cochran’s Can I Sleep In Your Arms), to blues (Slim Harpo’s Got Love If You Want It, Howlin’ Wolf’s Howlin’ For My Darling, and Leroy Carr’s I’m Going Away and Leave My Baby), and then to Bram’s blues-infused, roots originals.

The opening It Don't Matter Where You Get Your Appetite, is a swamp-blues number with evocative use of tremolo and reverb in the guitars. Kristofferson’s Nobody Wins benefits from a stark accompaniment (with nice steel guitar by Candy Cashdollar) on which Gross adds a tasteful, deliberate guitar break. Watch Out is an original that evokes Howlin’ Wolf’s Evil. Chris Vitarello adds the biting guitar fills and lead here while Bram blasts some mournful harmonica behind his vigorous singing. Hornick is also on board for the bluesy shuffle that gives the disc its title as Bram sings about leaving town with his suitcase in the hall. In addition to Bram’s harp, Vitarello crafts a solid solo on this.

It sounds like Bram is singing through his harmonica microphone for an enjoyable cover of Howlin’ For My Darling, although some might find the rhythm a bit too emphatic. Jon-Erik Kellso’s trumpet and Matt Cowan’s clarinet help contribute to a traditional jazz feel to Leroy Carr’s I’m Going Away and Leave My Baby, which has become one of this listener’s favorite selections here. It is followed by Bram’s low-key vocal capturing the mood of Bill Mack’s Drinking Champagne, and showing similar restraint on the closing, Can I Sleep In Your Arms, which contributes to the sincerity he conveys.

Michael Bram’s Suitcase In The Hall brings together some real good songs, both covers and originals, along with thoughtful and emphatic production resulting in some excellent performances. The music will appeal to a variety of listeners, especially those who can appreciate blues, country and roots rock. Both Bram and Dave Gross are commended for this splendid recording.

I received a review copy from VizzTone.  Here is Michael Bram performing the title track.

Dave Gross' Varied Crawling the Walls

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.