Susan Tobocman Touch & Go

Susan Tobocman
Touch & Go
Self-produced

Born in Detroit, Susan Tobocman has had a circuitous route to her present career as a jazz vocalist. It was not until she was nearly 30 that she gave singing a chance. She spent a year playing keyboards with the new wave band, Tom Tom Club. She discovered a love for jazz and fell under the spell of singers like Shirley Horn and Andy Bey, who seemed to embody the lyrics and tell stories. She has recorded four previous albums dating back to 1998 while becoming established in the New York Scene playing such clubs as Birdland, Small's and the Zincs Bar.

She has become a songwriter of note and a superb interpreter of standards and contemporary pop gems. For this recording, she has assembled a fine group of musicians, including Joel Frahm (saxophone); Dave Eggar (cello); Pete McCann (guitar and co-producer), Henry Hey (piano & Fender Rhodes); Matt Pavolka (bass); and Michael Sarin (drums). In his liner notes, Mark Stryker writes, "'Touch & Go' isn't just a collection of tunes played by quality musicians. It's a unified statement from beginning to end in which Tobocman's vision and personality help shape and color the music even when she's not singing."

Susan Tobocman certainly impresses singing Irving Berlin's classic "What I'll Do." The rhythm sets up an infectious samba groove, and one becomes struck by the beauty of her voice, the clarity of her delivery of the lyrics, her timing, and vocal dynamics. The backing is exquisite. McCann's acoustic guitar solo adds to the charm followed by Hey's choice Fender Rhodes solo. From a superb straight jazz vocal, Tobocman is heard on a folk-jazz rendition of "Wichita Lineman" with Eggar's cello adding to the flavor of her mellifluous vocal. Her interpretative skills are displayed on a brisk interpretation of Gershwin's "The Man I Love," with a spirited Frahm tenor sax solo. Sarin's use of brushes on this lively performance and Hey's fluidity on his piano solo also merit praise.

As a composer, Tobocman contributes songs that one could easily mistake as a lost classic from the American songbook. One standout song is "Make Believe" with her lyric, "When the world is asleep/ And the stars have gone dim/ That's when I make believe/ Beneath the sky there's only him." In addition to her sweet singing, Frahm and McCann solo. Frahm is fabulous on another excellent original, "I Could Get Used To This," as well as on a cover of a James Bond movie theme, "You Only Live Twice." On the latter number Frahm's sonorous, twisting soprano sax is heard

There are two renditions of the Beatles' classic "Help," with Eggar's cello adding to the mood from her arrangement and her soft yearning vocal. She also composed two instrumentals. "Leaves of Absence" has Frahm's serpentine soprano sax set against a Brazilian groove. The spirited title song evokes "Love For Sale" and showcases Frahm and McCann's fleet, single note electronic guitar.

Listening to "Touch & Go," this listener was enchanted by Tobocman's voice but equally delighted by the first-rate musicians on a first-rate selection of songs. It is an excellent recording from a superlative singer.

I received my review copy from a publicist. Here Susan sings "The Man I Love."

Mayita Dinos The Garden Is My Stage

Mayita Dinos
The Garden Is My Stage
Dash Hoffman Records

A landscape designer and artist, as well as one who has performed in jazz venues over the years, Mayita Dinos is able to combine her passions in this debut recording. She has brought together a fine group of musicians for her studio ensemble. The musicians include Bill Cantos or Rick Eames on piano; Gabe Davis on acoustic bass; Hussain Jeffry on electric bass; Dori Amarilio on guitar; Michael Hunter on trumpet & flugelhorn; Alex Budman on flute, clarinet & soprano sax; Steve Hass on drums; and Tiki Pasillas on drums & percussion.

Dinos has worked as a designer specializing in sustainable landscape design. Landscape design requires more than just a knowledge of horticulture because a beautiful garden is like a lush symphony composed of colors, shapes, and textures. Dinos was singing in various venues around Los Angeles, including at jam sessions hosted by Cathy Segal-Garcia, the prolific singer, recording artist, and impresario, when Dan Davilla, a local patron of the arts, approached Dinos with an offer to executive produce a CD for her. Segal-Garcia became her producer and brought on board guitarist Dori Amarilio as a co-producer and primary arranger. Dinos relates, "We spent hours before the actual recording process talking about my musical influences. I had painted illustrations, which I included in the CD package, that really helped Dori understand what each song meant to me. As a result, I feel that each song, as well as the CD as a whole, carries my DNA! I hear tinges of flamenco, birdsong, rain, and the longing for reconciliation with nature in Dori's instrumentation, pulse, and harmonic choices." The publicity for this recording observes that "Each of the songs that Dinos chose relates to the natural world and the music she hears in it."

The title of this album echoes lyrics in Joni Mitchell's "Woodstock" about returning to the garden. This is one of several songs Dinos sings with a clear, soft sweet-sounding voice. Her phrasing flows like a cool stream while she cleanly delivers the lyrics. In addition to playing guitar, Amarilio provided the arrangements for these dreamy, breezy performances. His arrangements complement the warmth of her singing, with Hunter's brass and Budman's reeds accenting these lovely performances such as for Billy Strayhorn's "A Flower is a Lonesome Thing," and Thelonious Monk's "Pannonica." On the Monk tune, Jon Hendricks' lyrics are lovingly rendered. Amarilio transforms Charlie Parker's "Ornithology" into a Brazilian bossa nova with Dinos adding lyrics about birds soaring and nesting. She provides a fresh romantic take on Ben E. King's classic "Spanish Harlem," with Amarilio adding some flamenco touches with his guitar.

Other songs derive from such sources as Freddie Hubbard, Stevie Wonder, and Antonio Carlos Jobim with her delightful rendition of "Aqua de Beber," providing a coda to a thoroughly captivating recording.

I received my review copy from a publicist. From this CD,  Mayita Dinos sings "A Flower is a Lonesome Thing."

Dana Sandler I Never Saw Another Butterfly

Dana Sandler
I Never Saw Another Butterfly
Fractamodi

Vocalist and composer Dana Sandler has produced a moving tribute to the youngest victims of the Holocaust. The album title is taken from "I Never Saw Another Butterfly," a book published in 1959. The book consisted of poems and art by the Jewish children in the Terezin Concentration camp in what is now the Czech Republic. The camp held 144,000 prisoners, including Jewish scholars, musicians, and artists. The album is dedicated to Friedl-Dicker-Brandeis, an Austrian artist and educator who organized secret art classes for the children of Terezin. She collected 4500 children's drawings and poems in two suitcases before she was sent to Auschwitz in 1944. Fifteen thousand children passed through Terezin, of which fewer than 100 survived.

The book made a deep impression on Sandler when she was exposed to it as a teenager. While a classically trained pianist, Dana Sandler focused her vocal studies on jazz and musical theater. She earned degrees in jazz vocal performance from the University of Miami School of Music and the New England Conservatory of Music.

Sandler first became interested in setting poetry to music while attending the New England Conservatory. In January 2019, she found herself "in a position to compose and the melodies poured out of me. I knew that it was meant to be for this moment, at a time where I would be composing this music through the lens of motherhood at a time when Holocaust survivors able to share their stories are dwindling in number and at a time when, sadly, parallels today are all too present."

"I Never Saw Another Butterfly' is a song-cycle that highlights poets in the Terezín Concentration Camp: Pavel Friedmann, Franta Bass, and Alena Synkova-Munkova, as well as additional unknown young poets. Synkova-Munkova was one of the few children to survive. The music comprises four sections, each dedicated to a poet and beginning with a through-composed instrumental dedication. 
For this undertaking, Sandler enlisted world-renowned musicians that she met while studying at the New England Conservatory. These include Carmen Staaf (Dee Dee Bridgewater) on piano, Jorge Roeder (Gary Burton, John Zorn) on bass, Peter Kenagy on trumpet and flugelhorn, Rick Stone on alto saxophone and clarinet, Michael Winograd on clarinet and her husband, drummer and percussionist Austin McMahon (Jerry Bergonzi). Her daughter, Rory Sandler McMahon, adds voice to two selections.

The first part of the song cycle highlight Pavel Friedman with a sober introduction, "Dear Pavel" with Staaf's solemn piano and Kenagy's elegiac trumpet highlighting the somber mood. Sandler has a lovely, lilting soprano who simply sings these poems against the enchanting light, airy setting she has composed. Friedman's "The Butterfly" served to provide the book and this recording with its title from his words: "For seven weeks I've lived here / Penned up inside this ghetto / But I have found what I love here / The dandelions call to me / And the white chestnut branches in the court / Only I never saw another butterfly."

Franta Bass, the youngest of the poets, was just 14 years old when he was sent to Auschwitz. "Dear Franta" is a short introduction with Roeder's bass and Winograd's clarinet. They are featured prominently on the compositions "Home/ The Old House," where Sandler longingly sings about Franta looking toward home and the city where he was born. This is followed by Sandler's daughter singing about the deserted old home.  The final part of this cycle is "The Garden," where Staaf's spare piano accompanies Sandler singing the haunting words, "A Little boy, a sweet boy / Like that growing blossom / when the blossom comes to bloom / The little boy will be no more."

Alena Synkova-Monkova is the only of the poets who survived and passed away in 2008. 'Dear Alena" maintains the somber mod with haunting flugelhorn from Kenagy. There is a measure of rebelliousness and hope in her poems, "Untitled" and "I'd Like To Go Alone." The latter number is matched with Ani Ma'amin" that was composed by Azriel David Fastag in a cattle car on its way to Treblinka. Winograd's clarinet provides a moving interpretation of the melody with its lyrics of believing in complete faith in the coming of the messiah. This performance closes on a lively manner in accordance with a sense of hope. The final poem of this section is "Tears," with a haunting reminder that without tears there is no life. Staaf's simple piano provides the framing for Roeder's bass solo.

The final section is centered on anonymous poets whose moving words transcend the fact we do not know who the authors were or what happened to them. The introduction to this portion, "Dear Anonymous," is lively and reflective of a hopeful future. During "On a Sunny Evening." Rick Stone takes flight on alto sax after a line, "I want to fly but where, how high?" Further, the anonymous poet wrote defiantly, "If in barbed wire, things can bloom/ What couldn't I. I will not die!" The closing "Birdsong," matched with a reprise of "Butterfly," offers another message of hope with its words, "Then if the tears obscure your way/You'll know how wonderful it is/ To be alive." She repeats this several times set against a vibrant backing before her daughter joins her in singing this a couple more times in closing the song cycle.

Dana Sandler has composed memorable music for these poems. She has crafted delicate settings for her lovely, sensitive vocals. The result is this profoundly moving recording of hope to transcend dark times.

This important, profoundly moving, recording is being released on Holocaust Remembrance Day (Yom HaShoah), April 21, 2020, commemorating the 75th anniversary of the liberation of the Concentration Camps.

I received my review copy from a publicist. Here is a trailer for this recording.

Duchess Live at the Jazz Standard

Duchess
Live at the Jazz Standard
Anzic Records

After two delightful studio albums, Duchess, the flirty and fun jazz vocal trio of Amy Cervini, Hillary Gardner, and Melissa Stylianou, have a new recording catching their entertaining act at The Jazz Standard in New York City. Backing Duchess is a swinging quartet of Michael Cabe – piano, Jesse Lewis – guitar, Matt Aronoff – bass, and Jared Schonig – drums on a selection of songs, some of which are from the two prior recordings.

The trio's girl harmony harks back to classic swing vocal groups like the Boswell Sisters and The Andrew Sisters. They sing "(We) Love Being Here With You," which is followed by "Swing Brother Swing," both of which also feature Lewis' biting guitar in addition to the charm of their singing. The brief spoken interludes add to the appeal here. Other notable selections include a cover of The Boswell Sisters' recording, "Herbie Jeebies," with definite showmanship and an effervescent "On the Sunny Side of the Street." Then there is the wisdom of "A Little Jive Is Good for You," and a marvelous rendition of Duke Ellington's "Creole Love Call." Wycliffe Gordon provided the handsome arrangement of this latter number, which they offer an affecting performance with their wordless vocal harmonies.

There is plenty of manic orderly chaos on "Everybody Loves My Baby," with tempo changes and even a kazoo solo to close this cd. "Live at the Jazz Standard" is another delightful album of serious fun from Duchess.

I received my review copy from Anzic Records. here they are performing Duke Ellington's "Creole Love Call."

John Allee Bardfly

John Allee
Bardfly

Portuguese Knees Music

The title of the veteran stage and TV actor, and singer-songwriter John Allee's album is a play on the word Barfly. "Bardfly" is a hip way of expressing the fusion of his dual lifelong passions for all things Shakespeare and jazz. Allee has performed in a number of productions of Shakespeare. "Bardfly" itself arose from Allee's role as Twelfth Night's Feste the Clown in a theatrical mashup called "Barfly Shakespeare," presented at a night club in North Hollywood. For this recording, Allee mines verses from a wide swath of Shakespeare's canon from Othello to Henry IV as a foundation everything from blues, ballads, and hymns to spoken word and swinging ditties. I lack the background in the Bard's work to identify specific sources of specific lyrics, but that has not prevented the enjoyment of this recording.

Adopting the persona of Feste "The Bardfly" Johnson, who is introduced in the opening selection, a talking blues "Bardfly Blues/Samingo." On the opening selection, Allee introduces us to his alter ego against a jazzy backdrop. Allee's recitation reminds me of that by Jean Shepard for Charles Mingus' "The Clown." The backing is more a straight late-night blues vamp played by pianist Maleesh Balasooriya, drummer Aaron Mclendon, bassist Dominic Thiroux, saxophonist Javier Vergaga, and trumpeter Matt Von Roderick with the horn players tossing in phrases from "Take the A Train," Harlem Nocturne," and "Epistrophy," and to highlight the narration. It is undoubtedly an entertaining description at the Three Kings Bar, then shifting into a well-spun blues vocal.

Starting listening to "Until the Break of Day," one is readily impressed. His backing band is terrific (Vergaga is exceptional here, and he has a relaxed, lyrical vocal style. Von Roderick's muted trumpet along with his growls adds plenty of flavor to "Tomorrow is St. Valentine's Day," which has a New Orleans inspired groove. Pianist Balasooriya is excellent here, as well. Besides jazz, Albee has an obvious affection for the blues on "Philomel/Hold That Peace," with the two horns adding a classic urban blues feel with sensors saxophone lines. Then there is the wistful delivery of the ballad "Mistress Mine," with lovely muted trumpet. A walking bass opens up Allee's evocative, and hip recitation of "The Hungry Lion," with the horns adding coloring.

The rest of this recording is equally intriguing and captivating. Whether reciting the lyrics or singing, John Allee is quite an engaging performer, whether singing or recitation lyrics. With the splendid backing provided here, he has produced the excellent, delightful jazz-Shakespeare musical fusion, "Bardfly."

I received a download to review from a publicist. This review originally appeared in the January-February Jazz & Blues Report (Issue 388).

Michael O'Neil Quintet with Tony Lindsay Pacific Standard Time

Michael O'Neill Quintet with Tony Lindsay
Pacific Standard Time
Jazzmo Records

"Pacific Standard Time" is a fascinating new album of vocal jazz by former Santana vocalist Lindsay backed by Michael O'Neill's Quintet. The members of the quintet are O'Neil on tenor sax, bass clarinet, clarinet and flute: Erik Jekabson on trumpet and flugelhorn; John R. Burr on piano; Dan Feiszli on bass; and Alan Hall on drums. Mile Olmos replaces Jekabson on two selections and Omar Ledezma is on percussion on three selections. This is a longstanding group, with O'Neill, Feiszli and Hall being together since the group formed, with Burr joining in 2006 and Jekabson coming aboard in 2011. This is the quintet's fourth album, but not the first with a vocalist as Kenny Washington was featured on their earlier recordings.

As suggested by the title, this is a collection of standards with the members providing arrangements to give a different flavor to these familiar numbers. This is evident with the opening "Just Friends" in which drummer Hall provided the setting in which Lindsay quickly establishes his vocal presence is no novelty. he brings warmth along with a flexibility in phrasing and his dynamics set against the quintet's wonderful backing and solos. I am not familiar with Sting's original of "Fragile," but Lindsay is quite at home from his years as part of Santana with the the leader's Latin jazz setting. Jekabson's brass solo is spirited and lyrical and followed by the leader's robust improvisation and Burr's fluid piano solo. 

On "Summertime," O'Neill's arrangement makes it into almost a suite with three movements with changes in tempo and groove starting as a lament before a funky groove kicks in with O'Neill tearing it up on his solo. Jekabson provided a 12/8 tinge for Lindsay's soulful vocal on Hoagy Carmichael's "Georgia," with more sterling accompaniment. There is pianist Burr's reharmonization of Hart & Rodgers' "The Way You Look Tonight," along with the leader's reworking of Monk's "Rhythm-a-ning," with Lindsay's horn like singing of Jon Hendricks' lyrics and terrific tenor sax and trumpet solos.

 Lindsay is superb whether with exquisite ballad singing on "Come Rain or Shine," or his relaxed delivery on "Night and Day" against a lively groove. Then there is the closing ballad, "You Don't Know What Love Is," with Feiszli's inspired arrangement employing O'Neill's woody bass clarinet and Jekabson's muted trumpet. O'Neill's plays a wonderful bass clarinet solo while Lindsay sings so fervently here.  With Lindsay's first-rate vocals and the superb backing and solos from O'Neill and band, "Pacific Standard Time" is terrific.

I received my review copy from a publicist.

Rebecca DuMaine and the Dave Miller Combo Chez Nous

Rebecca DuMaine and the Dave Miller Combo
Chez Nous
Summit Records

Starting with Cy Coleman's "When in Rome" and concluding with Charles Trenet (and Albert Askew Beach's English language verses) "Que-Reste-t-il/I Wish You Love," Rebecca DuMaine delights listeners with her playful, perhaps flirty, singing. He pitch and intonation are spot on, and her swinging phasing, as well as her articulation of the lyrics, underscore her inviting musical personality. It also helps that her captivating vocals (including her breezy wordless vocalizing as on Jobim's "So Danco Samba") is wonderfully supported by the Dave Miller Combo with Miller (her father on piano), Chuck Bennett on bass, Bill Belasco on drums and guest Brad Buethe on guitar.

Music was always part of her household growing up, and she heard George Shearing, Peggy Lee, Nancy Wilson, and Nat King Cole growing up. While she earned a drama degree and worked as an actress in New York and discovered she preferred jazz singing over musical theater doing some gigs in NY before returning to Northern California. Dave Miller, her dad, has been leading a trio since the 1970s and particularly loved how Shearing back vocalists. They provide marvelous swinging support with pianist Miller and Buethe very adept in their solos.

This a marvelous set of songs here ranging from her bubbly opening number, "When in Rome," that she first heard from Blossom Dearie. As Scott Yanow observes in the liner notes, Rodgers and Hart's "Everything I've Got Belongs to You," is not a typical love song as she sings "I have eyes for you to give you dirty looks, I have words that do not come from children's book, there's a twist of a knife I am learning to … but everything I got belongs to you." It is taken at a brisk tempo, and drummer Belasco takes a solo. The title track is sung in French followed by a captivating vocal on the Rodgers and Hart classic "I Didn't Know What Time it Was," showcasing her impeccable delivery of the lyrics as well as being in tune. Her father has a light, bouncy solo, Buethe following with a peppy one and Bennett with a short bass solo. There is also a wistful rendition of Lennon and McCartney's "Yesterday," with just her father's piano adding to the reflective mood. Bill Withers' "Just the Two of Us," is among his most famous songs, and she lends it a nostalgic flair with memorable piano and guitar solos.

Singing in French and English "Que Reste-t-il/ I Wish You Love," she provides a memorable close to a playful take on songs mostly about love. She has an endearing quality that is displayed throughout this collection of delightful performances of both well-known standards and lesser-known songs that are also gems.

I received my review copy from a publicist. Here is a video of Rebecca DuMaine performing with Dave Miller.

Angelo Divino Love A To Z

Angelo Divino
Love A To Z

A veteran of the jazz and cabaret scene which included performing with the Duke Ellington Legacy Band, write and perform in a show devoted to the Ellington legacy and later did the same with respect to the Frank Sinatra legacy. In the Los Angeles he began an association with the very fine Barbara Morrison. The present album has all original songs from Z Overall that relate to the many facets of love. Backing Divino here are Rich Eames on piano and keyboards; Adrian Rosen on bass; Michael Rosen on drums and harmonica; Doug Webb on saxophone; and Jonathan Dane on trumpet, cornet, and flugelhorn.

While I am not enamored with the songs, I do find plenty in charm with Divino's singing. His relaxed delivery, intonation, pitch, phrasing and the clarity of his enunciation have an engaging quality as does the backing band. Webb's tenor on the opening "Hey Life," while pianist Eames shines in his light accompaniment on the lament, "About Last Night," with Dane's lovely flugelhorn solo. There is the playful "Fun and Games," and his plaintive vocal on "Strangers Again" with Dane's fine muted trumpet. Other songs include the amusing, and buoyant "Flying Saucers," with Eames featured on keyboards, and another wistful song, "I Love You, Goodbye," the lovely reflective "I Remember" with Michael Rosen's atmospheric harmonica, and "Love Is a Place To Stay," with a light, Brazilian groove.

There is much to enjoy here in Divino's warm, relaxed singing and the solid, supportive backing Angelo Divino receives. The only fault I might point to are (what I find to be) uninspiring originals, that he so ably performs. He is a singer that I hope to hear from again. 

I received a review copy from a publicist. This review appeared in the May-June 2018 Jazz & Blues Report (Issue 378), although I made a few minor changes. Here is a video he made to accompany "Flying Saucers."

Vivian Buczek Ella Lives

Vivian Buczek
Ella Lives
Prophone Records

Swedish vocalist Vivian Buczek has made her contribution to the Ella Fitzgerald centenary with this release. This is collaboration with pianist and arranger Martin Sjöstedt with bassist Niklas Fernqvist and drummer Johan Löfcrantz Ramsay. Also appearing on this are Mattias Ståhl on vibraphone; Fredrik Lindborg on bass clarinet and tenor sax; Peter Asplund on trumpet and flugelhorn; and Karl-Martin Almqvist on tenor sax.

The eleven numbers interpreted here include gems from Gershwin, Cole Porter, Jerome Kern, Ray Noble, and Duke Ellington and if these songs will be familiar, the arrangements provided by Sjöstedt along with Buczek's singing, result in lively and fresh renditions. The focus of course is Buczek's vocals. She not only possesses a lovely voice, but her vocals, including her scatting, display impeccable pitch, diction, timing. Her use of dynamics in her delivery of a lyric are marvelous. The backing is terrific too, with Sjöstedt marvelous in comping or soloing as when she wordlessly sings along with Asplund's flugelhorn on "Tenderly."

Highlights include her exquisite rendition of Ellington's "Prelude to a Kiss" with Stahl's vibes accenting her vocal and Ramsey employing brushes; the terrific "The Man I Love," with lively backing, a stellar vibes solo, Sjöstedt superbly accompanying the vocal, and Asplund,  taking his own fascinating solo; the wonderful "The Very Thought of You," with strong tenor sax from Lindborg; and her superb scatting on "Lady Be Good," along with some fiery trumpet. Finally, one cannot understate the importance of the rhythm duo of bassist Fernqvist and drummer Ramsay on the consistently wonderful performances on "Ella Lives." Vivian Buczek has not only provided a stellar Ella Fitzgerald tribute but shows herself to be a fabulous jazz singer in her own right.

I received a review copy from the US distributor of this release. Here she performs "The Man I Love."

 

Duchess Laughing at Life

Duchess
Laughing at Life
Anzic Records

Duchess, the flirty and fun jazz vocal trio of Amy Cervini, Hillary Gardner and Melissa Stylianou, have a second recording that provides a contemporary take on such classic vocal trios as the Boswell Sisters and the Andrews Sisters as they provide fresh and delightful takes on mostly classics of early jazz, and the American Songbook. They are backed by pianist Michael Cabe, bassist Matt Aronoff, and drummer Jared Schonig with guitarist Jesse Lewis appearing ion 9 of the 14 selections and tenor saxophonist Jeff Lederer on four. Additionally Wycliffe Gordon adds trombone to two selections and Anat Cohen adds clarinet to two. The trio share vocals on eleven tracks while each is featured on one.

The trio opens with a delightful take on Clarence Williams' "Swing Brother Swing" which is handled a bit more sweetly than Catherine Russell's recent recording of this number. Lederer rips off some ferocious tenor sax on it. "On The Sunny Side of the Street" is a pretty familiar standard and their backing trio adds fresh accents to the harmonies and vocal interplay with Cabe taking a lively solo. The title track is a sprite number new to these ears followed by a lively rendition of the classic "Everybody Loves My Baby" with Anat Cohen's adds fills around the vocals that include some double time singing and scatting before she takes a wonderful solo. This is a marvelous performance followed by a lazy, wistful "Stars Fell on Alabama," with Wycliffe Gordon adding some growling and crying trombone.

Amy Cervini sings Cole Porter's amusing "Give Him the Oo La La" with Gardner and Stylianou adding their backing while Stylianou takes lead on, "Where Would You Be Without Me," from a sixties Broadway show and Lewis takes a guitar solo here. Gordon joins again on Ellington's "Creole Love Call," on which Duchess sings lyrics in addition to wordless vocalizing. Gordon conjures up Bubber Miley and Tricky Sam Nanton with his growling mute as well as adds his own vocalizing and scatting to that of Duchess on a marvelous take on Ellingtonia. Gardner is up front on a nice take on the Ray Charles classic, "Hallelujah I Love Her (Him) So," and then the trio provides a ruminative take on Porter's "Er'ry Time We Say Goodbye." Johnny Mercer's "Strip Polka" is far from reflective with its zany lyric of a burlesque queen who strips as the band plays a polka while she is always a lady who stops just in time with Lederer's tenor sax providing the right atmosphere.

After a bouncy "Here's to the Losers," Cohen adds some warm clarinet to a lovely "We'll Meet Again" before a bonus track, "Dawn" which sounds like a lullaby. It is an enchanting finish to another delightful recording from Duchess.

I received my review copy from a publicist. This review originally appeared in the March-April 2017  Jazz & Blues Report (Issue 371) but I have made a few corrections and minor changes. Here Duchess sings "Everybody Loves My Baby."

Lena Seikaly - Looking Back

Lena Seikaly is one of the Washington DC area’s finest vocalists with the clarity of her singing along, her control of her pitch and vibrato and the instrumental quality of her phrasing and scatting. One could cite a number of influences, and Ella Fitzgerald may be one, but the overall quality of her singing is akin to Roberta Gambarini. Her third, self-priced album Looking Back has her backed by the Chris Grasso Trio (Grasso, piano; Zach Pride, bass; and Lenny Robinson drums), the go to trio to back jazz vocalists in the Nation’s Capital. Also present is the marvelous guitarist Paul Pieper, whose subtle single note solos and chords add to the wonderful accompaniments here.

The eleven songs here take us back to what John Edward Hasse calls the “golden age of American songwriting” (mostly from the twenties and thirties) with emphasis on material recorded by Ethel Waters, Billie Holiday, and Ella Fitzgerald. I am not familiar with I’m Nobody’s Baby, which gets things off on a swinging note, with some scatting, a crisp drum break and wonderful piano. Fascinating Rhythm opens as duet with Pride with her scatting before the full group enters. Her phrasing is such a delight to listen to and Pieper adds a choice solo before she scats in unison with him for a few bars on this delightful performance. Her rendition of Foolin’ Myself suggests Billie Holiday in her phrasing, with the clean, restraint shown by band adding to the performance's feel.

The settings here lend freshness to familiar songs. A duet with guitarist Pieper results in a lovely,  lively Please Don’t Talk About Me When I’m Gone, while on the Gerald Marks- Walter Hirsch ballad, Baby, What Else Can I Do, Grasso and Pride provide relaxed backing. Donald Heywood and Will Marion Cook’s collaboration, I’m Coming Virginia, may be better known today from the Frankie Trumbauer- Bix Beiderbecke recording, but  was popularized by Ethel Waters. Seikaly and the trio are a bit more vigorous performing it. It is followed by a moody I Cover The Waterfront. Duke Ellington’s I Love You Madly is a pretty duet with bassist Pride. Pieper’s guitar replaces Grasso’s piano on Guilty, which in addition to Pieper’s sublime playing has Pride taking an arco bass solo while Robinson’s tastefully employs brushes.

Of special interest is Irving Berlin’s Supper Time whose lyrics take the perspective of an African-American wife and mother whose lost her husband to a lynching. Written for Ethel Waters, this has been previously done by Roberta Gambarini with the late Hank Jones on piano. Simply accompanied by Grasso, she straightforwardly sings the lyrics. The simplicity of the performance delivers the stark imagery of Berlin’s lyrics powerfully,

With superb backing, imaginative and varied settings for the songs, Looking Back is another wonderful recording by Lena Seikaly. I have seen Lena Seikaly perform on a number of occasions, and this recording captures  the qualities that make her live performances so marvelous. Her website is lenaseikaly.com, and this CD is available on cdbaby.com.

I purchased my copy. I should not that I saw her perform this on April 19 at Loew's Madison in Washington backed by Grasso and Pride and she was wonderful as usual. She will be appearing Friday April 25 at a special Jazz Appreciation Month Take 5 program at the Smithsonian Museum of American Art's Kogod Courtyard dedicated to the music of Ella Fitzgerald. The Museum's website says she will be part of a performance by the Bohemian Caverns Jazz Orchestra on a program that will highlight Ella Fitzgerald’s collaborations with big bands, including the Count Basie Orchestra and the Duke Ellington. More information can be found on the Museum's website. Here she performs After You're Gone from her new album.