Ledisi Sings Nina

Ledisi
Ledisi Sings Nina
Listen Back

Ledisi remembers waking up in New Orleans hearing her mother sing, "…and everybody knows about Mississippi Goddam!" Later she learned it was Nina Simone. While in Oakland in her 20s, she was depressed and hearing Simone sing "Trouble in Mind" over the radio. It woke me up. I was feeling discouraged for being different, for being the oddball that liked every style—blues and jazz and Broadway and hip-hop. I had sung every club in the Bay Area, done every gig. Nina's voice said to me I was not alone. Her voice saved my life and woke me up and taught me to be fearless. I had two pieces of luggage and moved to New York City after that."

In the past eight years, Ledisi has produced and toured popular tribute shows to Simone and performed concerts on television, in major concert halls, and at music festivals, featuring her interpreting Simone's songs and explaining her importance and history. This EP album is the culmination of these projects that reveal the depth of Ledisi's continuing sense of gratitude and debt to Simone. The world-renowned Metropole Orkest conducted by Jules Buckley with arrangements by Jochen Neufer and others provides the backing for the majority of the seven songs she brings her voice to. "I'm Going Back Home" features the all-star New Orleans Jazz Orchestra directed by Adonis Rose. "Four Women" is powered by Ledisi in the company of other vocalists of similar stature: Lisa Fisher, Lizz Wright, and Alice Smith. "Wild Is The Wind"—with Spanish guitar, piano, and drums—is the album's sole live recording taken from the 2020 PBS special broadcast Ledisi "Live: A Tribute to Nina Simone."

Listening to Ledisi here, one can perhaps detect Simone's influence as well as Ledesi's own voice with her rich vocal palette, impeccable pitch, diction, and phrasing, along with an impressive mastery of vocal dynamics. This is heard whether she is belting out "Feeling Good" with the full tonal colors provided by Metropole Orkest or the relaxed treatment of "My Baby Just Cares For Me." On the latter number she playfully updates cultural references to the likes of Lana Turner with references to Beyoncé and Halle Berry. There is some wooly, muted trombone of this track. Then there is a wonderful bilingual reading of Jacques' Brel's "Ne Me Quitte Pas (Don't Leave Me)," with the Orkest's horns adding to the longing mood of this rendition. A driving arrangement propels The Metropole Orkest's backing on her full-throated singing on "Work Song" along with a terrific tenor sax solo.

The other tracks are equally striking, including the closing "I'm Going Back Home," with punchy gospel-infused backing and a second-live groove by the New Orleans Jazz Orchestra. Like Simone, Ledisi is a singer who defies categories, as is demonstrated throughout this release. The only complaint is that one wishes there was more music here.

I received a download to review from a publicist. Here is Ledisi singing a tribute to Nina Simone at the Apollo Theater in New York City.

Jonathan Karrant & Joshua White - Shadows Fall

Jonathan Karrant & Joshua White
Shadows Fall
JKR

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

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

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

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

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

Lorraina Marro Love Is For All Time

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

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

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

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

Mark Winkler & David Benoit Old Friends

Mark Winkler & David Benoit
Old Friends
Cafe Pacific Records

"Old Friends" brings together vocalist (and lyricist) Winkler with keyboardist David Benoit for a set of straight-forward jazz vocals. Benoit is likely the best known of the two as a producer as well as performer. Winkler has had a productive recording career as well. On six of the thirteen tunes on this album, the two are joined by bassist Gabe Davis, drummer Clayton Cameron, and guitarist Pat Kelley. Cellist Stefanie Fife appears on three tunes, and percussionist Kevin Winard is on one.

There is an eloquence to the program here with Benoit's accompaniment and Winkler's nuanced phrasing, clear diction, and delightful conversational approach. The selections with the rhythm trio add additional variety to this mix of standards and originals. Bob Dorough's effervescent "I've Got Just About Everything" is the first selection with a lively backing, including Cameron's adept use of brushes and Kelley's nimble guitar. Then there is a duet rendition of Dave Frishberg's "Sweet Kentucky Ham" with Benoit's exquisite accompaniment of Winkler's delivery about a lazy city where the sidewalks close up early. Pat Kelley's guitar opens an endearing interpretation of "The Shadow of Your Smile." Another duet is a thoughtful rendition of Mancini-Bricusse penned "Two For the Road."

The cello of Stefanie Fife joins Benoit in a thoughtful performance of Paul Simon's "Old Friends/Bookends." She also adds instrumental color to Randy Newman's "I Think It's Going To Rain Today." Winkler gives an appropriate moody treatment to "When This Love Affair is Over." Benoit is heard on the organ as well as piano, while Kelley adds some incisive guitar commentary. There is clarity in the manner Winkler sings, which brings the words of the songs to the listener. This is also evident in the original that he and Benoit collaborated on, such as "In a Quiet Place (Kei's Song)" and "Dragonfly," a beautiful song of hope for love. Then there is a Benoit melody to which lyrics were added, "Thirty Years (Only Sunshine Days)," which is dedicated to the memory of jazz journalist Christopher Louden.

The closing track is "Some Other Time," one of the songs from the Leonard Bernstein's "On the Town." It is a nostalgic song about the parting of someone close, and Winkler's heartfelt singing gives the lyrics their proper weight, with Benoit graceful playing. Benoit and Winkler have been friends for some 37 years, and the marvelous vocal performances on "Old Friends" display a musical closeness to match their personal friendship.

I received my review copy from a publicist. Here is "I Think It's Going To Rain Today."

Acute Inflections 400

Acute Inflections
400
Self-produced

"400" is a tribute to Bob Marley by the New York-based duo Acute Inflections. The duo consists of vocalist Elasea Douglas and bassist Sadiki Pierre. Douglas has a varied dance and performing career in addition to developing as a vocalist. She was in the original Broadway production of "Fela." Douglas initially  trained as a classical vocalist, while Pierre received training as a classical bassist, Both found their training confining and have expanded their musical horizons. With her tuneful singing, he provides percussive, melodic, and groovy bass lines.

She has an attractive voice and is skilled in phrasing, although the intimate bass-vocal duets pose limitations for extended listening. It allows her to help focus on Bob Marley's lyrics which still resonate today in our continuing troubled times. Particularly noteworthy are renditions of "I Shot the Sheriff" (where she slows down the vocal as she enunciates the lyric), "Redemption Song" (a particularly lovely vocal), a reflective "Waiting in Vain," and an ardent "Get Up Stand Up."

As suggested above, given the austere setting of the performances (particularly when compared with Marley's original recordings, listeners will likely appreciate this recording by listening to several selections at a time instead of listening in one setting. It is very different from listening to Marley but in its own way, "400" is a moving, heartfelt tribute.

I received my review copy from a publicist. Here Acute Inflections perform "Stir It Up."

Rebecca Kilgore Trio Vol. 1

Rebecca Kilgore Trio
Vol. 1
Heavywood

Based in Portland, Oregon, vocalist Rebecca Kilgore has been involved with 50 or so recording projects. A frequent guest on NPR's Fresh Air, she also appeared on A Prairie Home Companion and the Mabel Mercer Cabaret Convention and at Carnegie Hall with Michael Feinstein. Feinstein comments, "Listening to Rebecca's new recording fills me with joy. Her song choices are masterful and her interpretations sublime." On this recording, she is backed by pianist Randy Porter and bassist Tom Wakeling. Her husband Dick Titterington adds cornet to a couple of the thirteen tunes heard here.

While there are a few songs here that are well-known members of the Great American Songbook, like "Day In - Day Out" and "The Gentleman Is a Dope," most are lesser-known, not so standard standards. These include Dave Frishberg's "Dear Bix," Nellie Marie McKay's "I Wanna Get Married," Dan Davis & Meredith d'Ambrosia's "Somebody Just Like You" and "Because We're Kids" with lyrics by Dr. Seuss from the 1953 film "The 5,000 Fingers of Dr. T."

She has a conversational vocal style with her relaxed, clean, and tuneful phrasing with a lack of vibrato or histrionics. Porter and Wakeling provide emphatic backing. "Dear Bix" is the opening cut and has an imagined conversation between Six Beiderbecke and Hoagy Carmichael. After her vocal, Wakeling takes a solo with Porter comping. Wakeling's bass provides a breezy tempo for the beginning of "Day In - Day Out," with Perter laying down chords in his accompaniment for her lightly swinging vocal. Titterington adds moody cornet for a softly delivered pensive vocal on "Something You Got."

There is a breezy take on "Run, Little Raindrop, Run," followed by the sophisticated ballad medley of a Wild Bill Davis-Don Wolf collaboration "Azure-té" with Duke Ellington's "Azure." There is a touch of wordless vocalizing in addition to her delivery of the lyric on an engaging performance. Then there is a spirited touch to her rendition of "I Wanna Get Married" and the effervescent swing in her interpretation of "Like the Brightest Start," which is enhanced by Titterington's melodic cornet. There is a delightful, perky take on "The Gentleman Is a Dope" and charm in the rendition of "Because We're Kids."

There is a soothing quality about the performances on this album. Rebecca Kilgore sings in a sophisticated, easy swinging, and melodic fashion. With the harmonious backing, "Vol.1" is a splendid vocal jazz recording, and its title indicates she has additional musical delicacies to serve listeners.

I received my review copy from a publicist. Here is Rebecca Kilgore singing "Do You Know What it Means To Miss New Orleans."

Ken Steele - Peter Curtis - Steele in Love

Ken Steele - Peter Curtis
Steele in Love

90-year-old crooner Ken Steele combines with guitarist Peter Curtis on this album of love songs. Steele was born in Winnipeg, Manitoba, where he started singing in clubs and radio before moving to Toronto. In Toronto, he became an in-demand singer and regularly appeared on numerous CBC radio and television programs and nightclubs around the city. As musical tastes changed to rock and roll, Ken began writing for tv and radio and eventually moved to LA. He worked on some sitcoms and won an Emmy writing for Shari Lewis and Lambchop. In 2002, Ken moved to Palm Springs and began singing professionally again. Guitarist Peter Curtis has performed internationally. As a jazz guitarist, he has performed or recorded with notable jazz and blues musicians, including Claudia Acuna, James Carter, Freddy Cole, Taj Mahal, Barbra Morrison, and James Moody. As a classical guitarist, Peter has given recitals in the U.S. and Canada. The two are joined by bassist Baba Elefante with whom Curtis has played with for years.

Listening to this recording, I would not believe Steele was 90 or so when they were in the studio. He sings in a soft, enticing manner with Curtis accompanying as well as playing solos that illustrate his facility and invention. Elefante provides a rhythmic center. As indicated by the album title, this album of love and romantic songs is delivered straightforwardly. This starts with the opening track, a rendition of "Speak Low" with a Bossa-influenced accompaniment and marvelous solo. Then there is a charming, world-weary treatment of "Don't Worry 'Bout Me" and a fresh take on "The More I See You." There is a nostalgic interpretation of "Darn That Dream," the precious romanticism of "My One and Only Love," and "It Could Happen With You," with a dazzling guitar solo.

Crooner is an apt description of Ken Steele's vocal art with the warmth he imbues the performances, as well as his relaxed phrasing and interpretive skills. The performances are gems, although the somewhat sparse backing and the narrow range of tempos of the performances make this a recording that might be enjoyed best listening to a few selections at a time, rather than through an entire sitting. Still, there are considerable rewards to listening to these performances.

I received a download to review from a publicist.

Etta Jones - Houston Person & Dylan Cremer

(1) Etta Jones

Sings Lady Day

High Note HCD 7078

That Ole Devil Called Love/ All of me/ But Beautiful/ You’ve Changed/ I Cried For you/ Fine and Mellow/ God Bless the Child/ Them There Eyes/ You better Go Now.

Jones, vcl; Houston Person, ts; Richard Wyands, p; Peter Bernstein, g; John Webber, b; Chip White, d. New York, NY, June 21, 2001.

(2) Houston Person

Blue Velvet

High Note HCD 7090

Everything I Have Is Yours/ Wonder Why/ Blame It On My Youth/ Too Late Now/ There’s No You/ Be My Love/ I Want To Talk About You/ I Hadn’t Anyone Till You/ Blue Velvet

Person, ts; Richard Wyands, p; Ray Drummond, b; Grady Tate, d. Englewood Cliffs, NJ. July 10, 2001

(3)Dylan Cramer

All Night Long

Nagel Heyer Records CD 073

Caruso/ Estate/ Bumpin’/ Black Orpheus/ All Night long/ Stolen Moments/ Lover Man/ Clouds/ My Funny Valentine/ So What.

Cramer, as; Ron Johnston, p; Steve Holy, b; John Nolan, d. Vancouver, British Columbia. October 7 & 8, 1998.

The release of (1) occurred almost simultaneously with Etta Jones’ passing.  I was obviously conceived as a tribute to Billie Holiday and succeeds as such and also a reminder of the wonderful voice that Ms. Jones had given us for all these years.  The liner notes observe that Jones’ debt to Holiday but asserts she was no imitator, not directly pattern her approach on Holiday’s.  There are times when listening to this that I almost felt that I was hearing Holiday more in the tone of Jones’ voice than her phrasing, but even there one could observe the inspiration of Holiday’s immense legacy.  Included is a nice mix of material from a couple of numbers most associated with Holiday, “God Bless the Child” and “Fine and Mellow,” along with standards such as “All of Me,” and “Then There Eyes.” The supporting band led by her long-time musical collaborator Houston Person is superb here.  Person’s walking tempo tenor solo is a highlight on “All of Me,” while his blues mastery is evident on “Fine and Mellow.” On the opening passages of “You’ve Changed,” he plays with a romantic feeling that evokes Ben Webster.  Both pianist Wyands and guitarist Bernstein are prominent on the performance of the ballad, “But Beautiful,” with Jones’ expressiveness here rivaling that of Holiday.   The singing and playing here is exquisite and with her wonderful final recording, Etta Jones sang as well and as movingly as any point in her life.

(2) is Person’s latest High Note recording with Ray Drummond on bass and Grady Tate on drums joining Person and pianist Wyands for a disc of ballads and mid-tempoed swingers.  Person is marvelous throughout with a warm, full tone and just a touch of vibrato as is the rhythm section whether Wyands lightly comping behind Person or some nice cymbal work or use of brushes from Tate.  Person’s solos here are romantic without employing any devices like excess vibrato, his solos are wonderfully developed, and do not overstay their welcome.   Wyands contributes several nice solos with the one on “Be My Love” being a choice one.  It is followed by a short Drummond solo on bass before Person reenters to lead the song to its conclusion.  The rhythm section plays so well supporting Person that one can almost forget they are there.   While I do not claim an exhaustive familiarity with Person’s recordings, this release is as good as anything I have heard from him recently.

I am unfamiliar with Dylan Cramer, but I take it that (3) is his debut recording. In his notes, Cramer cites his indebtedness to Sonny Criss and L.A. Studio saxophonist Phil Sobel, both of whom he studied with.  Cramer plays cleanly and fluidly on an interesting mix of material.  He sounds as much at home with the almost dirge-like tempo of “Caruso,” as with a bossa nova such as “Estate” or “Clouds.” It's intriguing to hear Oliver Nelson’s “Stolen Moments” played as Cramer’s alto brings a different attack and sound to that Eric Dolphy did four decades ago.  He brings a big, forceful attack to “So What,” at times he comes across as more than one horn. Cramer imparts a nice, bluesy edge to  Wes Montgomery’s “Bumpin’” where pianist Johnston and bassist Holy both take concise solos.  It's a delight to hear such a solid new talent with solid support for a superb debut.

These reviews were written for Cadence Magazine and published in 2002. I received my review copies from Cadence. Here is Etta Jones and Houston Person performing "Fine and Mellow."

Nina Simone - The Montreux Years

Nina Simone
The Montreux Years
BMG

This Nina Simone double album is one of the initial releases (Etta James being another) from the Archives of The Montreux Jazz Festival in conjunction with The Claude Nobs Foundation. The Foundation was founded to oversee the Claude Nobs audio and visual archives of recordings of performances at the Festival. There are 29 performances from six performances from 1968 to 1990 over the two CDs (and available in other formats including double LPs). The CDs are packaged in a small hardback package, including notes in the booklet by Stevie Chick and discographical information. The first disc is a mix of performances from 1976 to 1990, while the second disc is the complete June 16, 1968 performance. There are four songs on each disc. The two discs contain two and a half hours' worth of music.

What made Nina Simone so iconic was the range of feelings and music that she transformed into personal statements. Her virtuosity is evident during the opening instrumental rendition of "Someone To Watch Over Me." Still, her accompaniments can be understated at times, while her vocals of protest or joy take us from a whisper to a scream. Her 'lightning in a bottle" performances like a tightrope walker without a net. Songs of protest against racist injustice like her collaboration with Langston Hughes "Backlash Blues," with complaints about Blacks being sent to Vietnam while being treated as second-class citizens, and the well-known "Four Women." These are interspersed with a great interpretation of "What a Little Moonlight Can Do" associated with Billie Holiday or the jubilant "My Baby Just Cares For Me." Another masterful performance is her interpretation of Janis Ian's "Stars" about the struggles an artist test has with great success and yet great self-doubts.

Her initial 1968 appearance at Montreux has an equally varied and astonishing program of her piano and vocals backed by a quartet of Buck Clarke on drums, Henry Young on guitar, Gene Taylor on bass, and Sam Waymon on organ. Simone takes over the standard "Just in Time," slowing the tempo down and playing a splendid solo. One wishes the backing on this song was more in the background. There is a stirring rendition of an old folk song, "When I Was a Young Girl," followed by a deeply felt interpretation of "Don't Let Me Be Understood," where Young adds acidic guitar. There is the tender reflectiveness in her rendition of Jacques Brel's "Ne Me Quite Pas," pleading for her lover not to leave. With her brother Sam Waymon supporting her, she brilliantly reimagines The Bee Gees' "To Love Somebody" with a deceptively understated rendition. She also sang The Bee Gees' "Please Read Me" at this show. A stirring "Backlash Blues" is followed by "House of the Rising Sun," taken at a brisk tempo. Another adaptation of an old folk song is "Sea-Line Woman," a 19th-century seaport song about sailors and prostitutes sung almost like a work song. Among other memorable selections are "Ain't Got No I Got Life" and the moving closing performance of "I Wish I Knew How It Would Feel To Be Free."

Nina Simone was a singular artist who sang with inspired passion, improvised with her voice as John Coltrane did with a saxophone, and astonished listeners and audiences. This outstanding album captures Nina Simone's brilliance.

I received my review copy from a publicist.

Jeannine Otis - Into My Heart

Jeannine Otis
Into My Heart
Adrielle Music

Born in Detroit, Jeannine Otis is a vocalist, educator, actress, and author living on Staten Island, NY. She was born in a musical family. Her mother was musical director for several Detroit area churches, and she was a cousin to the Thad, Hank, and Elvin Jones. Currently, she is the music director for St. Mark's Church in Greenwich Village. On this recording, she is supported by Stanley Banks on bass, Sam Jacobs on congas, Saul Rubin and Jimmy Ponzi on guitar, Stanton Davis on trumpet, and Johnathan Sherry on piano. Also contributing are Frank Koopman and Onaje Allen Gumbs. Otis wrote several songs while interpreting songs from Betty Shirley, Duke Ellington, Onaje Allen Gumbs, and others.

Otis has a soft, at times whispering, delivery with a touch of vibrato and a relaxed, fluid phrasing. She also has a penchant for Brazilian music, as reflected on the opening "Mod Is For Lovin'" with Ponzi's attractive acoustic guitar and Davis' melodious trumpet. "Touch Me Tonight" is an original torch song she composed. 

Guitarist Saul Rubin plays all the instruments behind Otis' world-weary vocal (and backing vocals) on "Sweet Sad Guitar" and Betty Shirley's delightful "Cokika." Rubin adds exquisite guitar to Otis' intimate rendition of "Lover Man" and her appealing interpretation of "In a Sentimental Mood." Onaje Allen Gumbs wrote and arranged "Joy For Life" and "Into My Heart," both with a dreamy, soothing backing, including smooth soprano sax, for her vocals.

Jeannine Otis sings with a charming appeal and capably supported on an intriguing recording.

I received my review copy from a publicist.

Lauren White Ever Since the World Ended

Lauren White
Ever Since the World Ended
Café Pacific Records

"Ever Since the World Ended" is the fifth album by vocalist Lauren White who not only is an accomplished singer who has been an actress, performer on Broadway and Off-Broadway, and the successful producer on the HBO show "Homeland." Music, though, is central to her, and she regularly performs in clubs in Los Angeles and in New York, where she has a fanbase. The Quinn Johnson trio supports her. Pianist, arranger and producer Johnson's resume includes working with Diana Ross, Jack Sheldon, Diane Schuur, Tom Scott, Poncho Sanchez, Flora Purim, and many others in the jazz, pop, and Latin music worlds. This album is the fourth that White has made with Johnson, who produced, arranged, and played piano on this disc. The other members of the trio are Trey Henry on bass and Ray Brinker on drums. Kevin Winard adds percussion to one track, while Dolores Scozzesi adds vocals to the title track. Kevin Axt on bass, Alex Budman on flute, Grant Geissman on guitar, and Chris Wabich on drums.

Carmen McRae's "If You Never Fall In Love With Me" opens this short album with a sparkling Latin flavored accompaniment. White has a wonderful natural delivery, pitch being on the money, and a terrific sense of phrasing and dynamics. Johnson takes a fabulous solo here. White provides a reflective interpretation of the Bill Withers-Grover Washington classic "Just the Two of Us," again with Johnson shining. Mose Allison wrote the title song, and her rendition is perhaps a bit soberer than the pointed quality of Allison's original. Her performance of Bill Evans' "Remembering the Rain" was previously recorded. It is the one track not with the Quinn Johnson trio. Noteworthy on this song is Budman's flute and Geissman's Bossa infused acoustic guitar. Bassist Henry is prominent in the accompaniment of "Some of That Sunshine." Duke Ellington's "Take Love Easy" is performed at a brisker tempo than the song usually is performed at. Brinker is prominent in the backing and helps propel this sterling performance.

One wishes there were more than eight tracks and about a half-hour of music, but all the music here is excellent. "Ever Since the World Ended" is simply outstanding vocal jazz.

I received my review copy from a publicist. Here is Lauren White and Dolores Scozzesi singing the title track.

Judy Wexler - Back to the Garden

Judy Wexler - Back to the Garden -Jewel City Jazz

While vocalist Judy Wexler's prior album, "Crowded Heart," was Judy's effort to present "jazz standards for the 21st century," "Back to the Garden" has her reimagining songs from the 1960s of Love, Hope, and Change. Wexler co-produced this with Jeff Colella, who plays keyboards (and melodica on one track). Others on this recording include Larry Koonse on guitar, Gabe Davis on bass, and Steve Hass on drums. Others heard on some of this recording are Bob Thiele, Jr. on guitar, Danny Janklow on alto sax, Jay Jennings on trumpet, and Hendrik Meurkens on harmonica. There are strings present on three tracks.

Reviewing "Crowded Heart," I wrote, "Wexler has a delightful, sometimes dreamy voice that conveys joy and heartbreak with her swing, phrasing, clear diction, and sweet tone." With her excellent command of pitch and her storytelling singing these songs, "Back to the Garden" is a delightful, sophisticated jazz-pop recording. Things kick off with her revival of the Youngbloods' appeal for peace and brotherhood, "Get Together," although the moody backing has it come across more like a plea. There is plenty of charm to her relaxed reworking of The Drifters' hit (by Gerry Goffin and Carole King) "Up on the Roof." Kudos for her rendition of Paul Simon's "American Tune," with a strings section enhancing her plaintive vocal. Koonse takes a short acoustic guitar solo here. The strings also add atmosphere to the optimism expressed in her performance of Bob Dylan's "Forever Young."

Colella plays melodica (and solos) on the rendition of Dylan's protest anthem, "The Times They Are A-Changin'." It is another performance the showcases her skill in highlighting the lyrics. Cotella adds a stark arrangement for the cover of the Buffalo Springfield's "For What It's Worth. It is one of several songs for which Erin Bentlage sang background vocals. One of her top vocals here is of Fred Neil's "Everybody's Talkin'." Hendrik Meurkens contributes an enchanting solo to add to the low-key, rather reflective quality of this performance. Jay Jennings trumpet adds to a nostalgic rendition of Sandy Denny's "Who Knows Where The Time Goes." 

Judy Wexler has produced a most agreeable recording with her appealing, heartfelt vocals and solid, understated backing.

I received my review copy from a publicist. Here is Judy Wexler performing "Up On the Roof" from 2018.

Dinah Washington - Sings Bessie Smith ● Sings Fats Waller

Dinah Washington - Sings Bessie Smith ● Sings Fats Waller -  American Jazz Classics

This is a public domain European reissue of two Dinah Washington albums from the late fifties that came out a few years back. I wonder if the inspiration of her tributes to Bessie Smith and Fats Waller might have come from Louis Armstrong's similar albums devoted to the music of W.C. Handy and Waller. In Armstrong's case, inspiration may have come from their compositions, while Ms. Washington focuses on recordings by these giants.

On the Bessie Smith album, she was backed by a band led by her then-husband Eddie Chamblee, while the Fats Waller album had her backed by a big band conducted by Ernie Wilkins. Chamblee was part of that band. Others present on various recordings include, but not limited to, Clark Terry, Johnny Coles, and Reunald Jones on trumpet; Quentin Jackson, Julian Priester, and Melba Liston on trombone; Chamblee, Charles Davis, Frank Wess, and Benny Golson on saxophone; Jack Wilson on piano; Freddie Greene on guitar; Richard Evans on bass; and Charlie Persip on drums.

There is a bit of a trad-swing feel to the Bessie Smith recordings with able renditions of "Backwater Blues," "Careless Love," and "You've Been a Good Old Wagon." There is a surprise in her choice of "Trombone Butter" (renamed Butter from Cholly) with gutbucket tailgating trombone from Quentin 'Butter' Jackson. Nice are renditions of "After You've Gone," "If I Could Be With You" (which Bessie did not record but apparently was close to her), and Dinah's own "Fine Fine Daddy," which is similar in spirit to many of Bessie's recordings. Dinah did not have as heavy a voice as Smith but was in her own way as gripping a performer. It should be noted that four bonus selections include three songs from the sessions that produced the Smith Tribute, including a marvelous "Trouble in Mind." Also, there is a big band recording of "Backwater Blues" that was recorded earlier. Throughout Dinah's musicality, her pitch intonation, diction, and phrasing shine.

The Fats Waller sessions are equally rewarding, backed by a big band. Washington's performances have a different quality from those by Waller. Both were extroverts, although Waller had a dash of outrageous fun in his handling of some lyrics. There are a couple of duets with husband Chamblee on "Honeysuckle Rose" and "Everybody Loves My Baby." She delivers a wonderful rendition of Chu Berry's "Christopher Columbus," which Andy Razaf added after Fletcher Henderson's recording.  She sings an equally marvelous performance of "Jitterbug Waltz," a song that she was first to record as a vocal. Then there is a take on "Black and Blue," which reflected some lyrical changes due to changes in social attitudes from the twenties. Like the Bessie Smith tribute, this was another superb display of Washington's soulful, expressive singing. 

The accompanying booklet includes the original liner notes to both albums, personnel information, and a biography appreciation from Arthur Morton. The CD contains nearly 80 minutes of the Queen singing the blues and so much more.

I purchased this. Here is a television appearance of Dinah singing "Lover, Come Back to Me / Send Me to the 'Lectric Chair."

Maria Muldaur With Tuba Skinny - Let's Get Happy Together

Maria Muldaur With Tuba Skinny - Let's Get Happy Together -Stony Plain Records

Maria Muldaur's career spans some 57 years since she was part of the Jim Kweskin Jug Band, which played old-time blues, country, and hokum songs. Her latest recording, with the popular New Orleans traditional-swing jazz street band Tuba Skinny. Tuba Skinny consists of Shaye Cohn – cornet; Todd Burdick – tuba; Barnabus Jones – trombone; Jason Lawrence – banjo; Craig Flory – clarinet; Greg Sherman – guitar; Max Bien-Kahn – guitar; and Robin Rapuzzi – washboard. Muldaur first heard Tuba Skinny while shopping and their music was played over the store's speakers. About Tuba Skinny, Muldaur says, "They were not just playing a marvelous repertoire of cool tunes with great skill and authenticity, but somehow channeling the very atmosphere and vibration of that bygone era."  

Before the COVID Pandemic in January 2020, Maria asked Tuba Skinny to collaborate for a showcase performance at the International Folk Alliance Conference in New Orleans. The performance was so well-received, and this album was immediately conceived and recorded. Overall, the album (her 43rd album) is her latest excursion into vintage jazz and blues sounds of the 1920s/'30s. It is a fascinating mix of songs ranging from songs associated with the Goofus Five, Lil Hardin Armstrong, Duke Ellington, Billie Holiday, Valaida Snow, and Sweet Pea Spivey (Victoria's sister).

There is plenty of fun to be had listening, starting with the opening rendition of the Goofus Five's "I Like You Best of All." Played at a nice relaxed tempo, this listener is especially impressed by the solos here by Craig Flory on clarinet and Shaye Cohn on cornet. I note that Muldaur's vocals do sound a slight bit weathered. Still, her phrasing, timing, and her ability to deliver lyrics remain intact. Lil Hardin Armstrong wrote the bouncy title tune with nice interplay in the opening between trombonist Barnabus Jones and Cohn on cornet. Muldaur has an ear for relatively obscure songs, including a delightful rendition of Frankie' Half-Pint' Jaxon's "Be You Natural Self," with Jones contributing the first solo chorus followed by Cohn's bright brass play. There is also a reflective rendition of another Jaxon number, "Some Sweet Day," a theme that would be echoed in a variety of pre-World War II recordings.

There is a dreamily played treatment of Duke Ellington's recording of "Delta Bound," with a lovely clarinet solo. Another peppy performance is the vivacious rendition of Valaida Snow's "Swing You Sinners." Cohn's cornet and Flory's clarinet evoke Buck Clayton and Lester Young as Muldaur models her performance of "He Ain't Got Rhythm" on Billie Holiday's classic recording. Then Muldaur revives a Boswell Sisters recording, "Got The South In My Soul," followed by a revival of an amusing 'Dorothy Lamour" recording, "I Go For That." 

A revival of Sweet Pea Spivey's late twenties blues, "Road of Stone," solidly closes this recording. The musical meeting between Muldaur and Tuba Skinny has resulted in memorable, straightforward, and easy swinging jazz vocals and backing.

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

Lonesome Thing: Anaïs Reno Sings Ellington & Strayhorn

Anaïs Reno - Lonesome Thing: Anaïs Reno Sings Ellington & Strayhorn - Harbinger Records

Listening to this debut album by Anaïs Reno, one is astonished that she was 16 years old. Yet, she sounds as if she was much older. At 16, she has received acclaim for her dedication to jazz and the Great American songbook, having won several awards previously and having performed at Birdland Jazz Club, the Friar's Club, Carnegie Hall, and other locations. This is pretty heady, but she comes from a musical family, her father being a former opera singer (who helped develop her vocal technique), and her mother is a concert violinist. 

Pianist Emmet Cohen leads the backing trio with Russell Hall on bass and Kyle Poole on drums. Tivon Pennicott adds tenor sax to several tracks, and her mother plays on two selections. Cohen and Reno did the musical arrangements. The songs include some of the most familiar songs of the Ellington-Strayhorn songbook. With the Cohen trio providing exquisite support, Reno displays a supple, honey voice, as well as having a wonderful sense of time, clarity of her phrasing, and dynamics. This can be heard from the opening moments of "Caravan" with a delightful Pennicott tenor sax solo to the rousing closing of "Take the 'A' Train," again with more splendid tenor sax as well as Cohen's sublime piano. 

Other songs that stand out include a captivating rendition of "Mood Indigo," where her mother contributes a violin solo that evokes Stephan Grappelli. Reno captures the meaning of the lyrics, such as the longingness expressed in a rendition of "Daydream" and the bluesy feel she provides singing "I'm Just a Lucky So and So." This latter number is one of several showcasing her horn-like scatting. Cohen's accompaniment and solo are particularly gripping, and the preciousness of her performance of "Lush Life." There is also a stunning mashup of "Chelsea Bridge" and " A Flower is a Lonesome Thing." She delivers "Chelsea Bridge" as a wordless vocal" before singing "A Flower" with a touch of gentle melancholy. 

As Will Friedwald writes in liner notes, "At 16, Anaïs achieved what precious few adults accomplish: namely, to actually enhance our appreciation and enjoyment of the Ellington-Strayhorn canon." There is little one could add to Friedwald's concise appreciation of this superb recording. 

I received my review copy from a publicist. Here Anaïs Reno sings "A Flower Is a Lonesome Thing."

Roseanna Vitro - Listen Here

Roseanna Vitro - Listen Here - Skyline Records

"Listen Here" reissues Roseanna Vitro's 1984 album that launched her remarkable recording career. Vitro has been one of the most notable jazz vocalists in her over a 35-year career with dynamism in her performances. Her clear diction, pitch, the dynamics of her horn-like phrasing, and expressiveness have engrossed audiences over this time. On this recording, Vitro was handsomely backed by a superb rhythm section; pianist Kenny Barron, bassist Buster Williams, and drummer Ben Riley. Arnett Cobb adds his tenor sax on three selections, Bliss Rodriguez replaces Barron on one track, Scot Hardy is on guitar for one selection, and Duduka Fonseca adds percussion for two.

This was a remarkable session starting with the sterling opening rendition of the Bossa Nova standard "No More Blues." She captures the listener immediately. On an album of exquisitely rendered classic songs, a few tracks stand out, such as her rendition of Ellington's "Love You Madly." Her horn-like singing and scatting are matched by Cobb's tenor sax and Barron's superlative solo. "Centerpiece," with just Rodriguez and Cobb accompanying her, also stands out with Cobb's outstanding tenor sax complementing her superb singing. Then there is the supple support of the longing she expresses in "A Time For Love." This song is followed by the joyfulness exhibited on "This Happy Madness," the reflective performance of the title track, and the jubilant swing of "It Could Happen to You," with yet another stellar Cobb solo.

Steve Allen wrote the liner notes that are reprinted on this reissue. "Is Roseanna Vitro a jazz singer? Yes, but no means only that. Her voice, the basic sound, is lovely, her diction clean. Though she sings and phrases with experienced authority, there is something charmingly girlish and feminine in the sound, long may it wave." Allen's 35-year old words ring true still today as she continues to enthrall us with her live performances and recordings. Thirty-five years after its initial release, "Listen Here" sounds fresh and vital, and its rerelease is most welcome.

I received my review copy from a publicist. Here is a recent video of Roseanna Vitro performing.

Melbreeze I Love Paris

Melbreeze - "I Love Paris" -  Blue Canoe Records

Born in Turkey but now residing in Los Angeles, vocalist Melbreeze has collaborated with Bill Cunliffe Big Band, Jimmy Haslip, and Alan Pasqua. She has also collaborated with Scott Kinsey for several years, including two recent albums. "I Love Paris" is the first co-produced album between the two, with Kinsey handling the keyboards and Trilian bass. Other notable persons playing on this set included Tim Hagans on trumpet, guitarists Yotam Silverstein, Josh Smith and Pedro Martins, Doug Webb on tenor sax, and Gary Novak on drums.

Melbreeze sings in a sultry, evocative manner, half-spoken at times and at other times sung with a soft purr, like a cottony Eartha Kitt. Kinsey has surrounded her usually with atmospheric settings that suggest some of these performances would fit in on a film noir. An unusual halting rhythm and Hagans' haunting trumpet provide the ambiance for "Autumn Leaves." It is an introduction to an unusual repertoire of mostly standards. Brad Dutz's marimba and percussion, along with Hagans' electrified muted trumpet, lend a distinctive tone to her sorrowful singing on "I Fall in Love Too Easily." There is a unique arrangement to her elucidation of Oscar Brown's lyrics to Bobby Timmons' "Dat Dere." 

With train sounds in the opening, there is a touch of nostalgia in her rendition of "Sentimental Journey" with Webb's tenor sax solo. Her vocal includes a mash-up with a Turkish children's game song. On "Don't Explain," her restrained speak-song vocal is framed by Dutz's percussion with Silverstein's nuanced guitar solo. She engages in some storytelling on the title track, which is followed by a smokey rendition of "My Funny Valentine" with Josh Smith's blues-inflected guitar solo. Then there is the Joey Heatherton-like flirty sexiness of the performance of "What Lola Wants," with Hagans' trumpet adding musical color.

Melbreeze has produced an entertaining and intriguing recording with considerable charm.

I received my review copy from a publicist. Here is Melbreeze singing "What Lola Wants."

Roderick Harper Evolving

Roderick Harper
Evolving
Self-produced

"Evolving" is the latest release from New Orleans-based vocalist Roderick Harper. It was recorded live with a cast of friends and mentor, including appearances from late piano legend Ellis Marsalis, sax icon Donald Harrison, and vocalist/drummer Jamison Ross. Others among the accompanists include pianists Oscar Rossignoli, Jesse Davis, Shea Pierre, and John Jones; bassists Robin Sherman and Roland Guerin; drummers Chris Guccione, Gerald Watkins, and Geoff Clapp; and soprano saxophonist Roderick Paulin. Among the twelve tracks are originals mixed in with some choice covers sung with a smooth, romantic warmth and soulfulness that are tastefully supported. At times Harper suggests to this listener a softer version of Donny Hathaway and other places a jazzier Johnny Mathis.

There is plenty of romanticism on the opening "Infinite Heart," which was co-written with Donald Harrison. Harrison graces this track with an airy solo. The late Ellis Marsalis provides the understated piano accompaniment for the blue ballad "Never Let Me Go" that complements Harper's disciplined singing. It is followed by a marvelous rendition of Donny Hathaway's "Someday We'll All Be Free," with Rossignoli superlative accompaniment. His singing here displays his mastery of phrasing, diction, pitch, and dynamics. There are also compelling interpretations of "The Big City" and "Look What I Got," where Harper extracts every iota of meaning from the lyrics.

Other standout selections include his horn-like scatting for Ivan Lin's "Valsa Minera," the heartfelt rendering of Charles Mingus' "Duke Ellington's Sound of Love," and a buoyant treatment of Alvin Battiste's "Salty Dogs." There is a gentle, reflective quality in his singing of "Do You Know What It Means To Miss New Orleans?" that is the final track. John Jones' Fender Rhodes provides an airy setting for the vocal, with Roland Guerin adding a terrific bass solo. It is as memorable and engaging performance as the other songs on this superb album of jazz singing.

I received my review copy from a publicist. Here is Roderick Harper performing "Never Let Me Go."

Ella Fitzgerald The Lost Berlin Tapes

Ella Fitzgerald
The Lost Berlin Tapes
Verve

"The Lost Berlin Tapes" is a previously unissued Ella Fitzgerald recording that came from Verve Records founder Norman Granz's private collection. It was recorded at Berlin's Sportpalast on March 25, 1962, with Ella accompanied by the trio of pianist Paul Smith, Wilfred Middlebrooks on bass, and Stan Levey on drums. It was recorded a little over two years after the February 1960 concert that became one of her best-known and best-selling records, the Grammy Award winning "Mack The Knife: Ella in Berlin."

Ella is in good spirits here and with little duplication of the earlier Berlin show ("Summertime" and "Mack the Knife"). Things kick off with a spirited "Cheek to Cheek" with an appreciative audience evident throughout. She playfully incorporates the names of Sinatra, Eckstine, Belafonte, Perry Como, Count Basie, and others into the lyrics of "My Kind of Boy." The accompaniment is sublime as expected, and even a drum solo from Levey on "Clap Hands, Here Comes Charlie!" There are songs associated with Julie London ( a dramatic "Cry Me a River"), Ray Charles (a playful "Hallelujah, I Love Him So"), and Billie Holiday ("Good Morning Heartache")."

Particular favorite selections include the ebullient "Jersey Bounce," with her scintillating scatting; the thoughtful "Someone to Watch Over Me," and "Taking a Chance on Love," where Smith's dazzling accompaniment matches her horn-like phrasing. Others will undoubtedly find other selections to be of equal or greater appeal. Let listeners be thankful that we have this marvelous new addition to Ella's discography.

I received a download to review from a publicist. Here is Mack the Knife" from this recording.

Aubrey Wilson Quartet Honeysuckle Rose

Aubrey Wilson Quartet
Honeysuckle Rose
Self-released

The Fats Waller song "Honeysuckle Rose" provides the debut album's title from vocalist Aubrey Wilson's Quartet. This album was recorded at Toronto's Canterbury Music Company by Jeremy Darby with Ms. Wilson's vocals accompanied by Chris Bruder on piano and Wurlitzer, Tom Altobelli on bass, and Sean Bruce Parker on drums. Luis Deniz plays alto saxophone, and Scott Taplay plays guitar on two selections, respectively.

Wilson is gifted with an appealing voice with her pure, clean phrasing and diction, as well as fluid, nuanced phrasing. The group has worked out some fresh arrangements for some familiar songs, including the opening "Nature Boy," with a stutter step groove, tuneful scatting, and Taplay's searing rock-inspired guitar. Particularly impressive is the reflective rendition of the title song, taken at a far slower tempo than usual. Taplay's guitar adds atmosphere with his use of effects. There is her singing on a charming, relaxed waltz, "Alice in Wonderland," followed by the relaxed swing of "I Will Wait for You" with Deniz's marvelous dry martini alto sax solo.

 Also notable is the vocal for Mark Murphy's lyrics for Oliver Nelson classic "Stolen Moments," with her horn-like phrasing complemented by Bruder's keyboards. Another unexpected delight is the melodious performance of The Beatles' "Norwegian Wood," with a free-floating piano solo and propulsive drumming. The remaining selections are of a similar level and receive superb backing on this excellent set of jazz vocals.
 
I received a download of this album from a publicist. This CD is available on bandcamp, https://theaubreywilsonquartet.bandcamp.com/album/honeysuckle-rose. Here is a short clip of her performing.