The Lucky Losers In Any Town

The Lucky Losers
In Any Town
Dirty Cat Records

It was a little over a year that this writer praised the debut release by The Lucky Losers, "A Winning Hand." This band led by vocalists Cathy Lemons and Phil Berkowitz (who also plays harmonica), also includes Marvin Greene on guitar; Chris Burns on keyboards, Tim Wagar on bass and Robi Bean on drums. Recorded at Kid Andersen's Greaseland Studio, Andersen also adds guitar, keyboards and percussion as well as co-produced this with Berkowitz and Lemons. Others contributing to this include Terry Hanck, Frank Goldwasser, Jeff Jensen, D'Mar and Michael Peloquin. Berkowitz and Danny Caron contributed four originals, Lemons five and there are a couple of renditions of songs not often covered among blues-roots bands.

Listening to the duo again, I remained especially impressed by Lemons natural and soulful delivery while Berkowitz's own unforced singing complements her so well. This is evident on the opening Berkowitz-Caron original "So High," a strong performance that might evoke Delaney & Bonnie. There is an unexpected, and very playful cover of the June and Johnny Cash duet, "Jackson," that shows the rapport between the two. Lemons' original "Don't Let 'Em SeeYa Cry," is a powerful slow blues set against a backing that recalls some of the Johnnie Taylor blues for Stax in the late 60s and early 70s (for example "Hello Sundown" and "Little Bluebird"). Greene suggests Little Milton with his solo on this which is followed by a nice harp solo from Berkowitz on a potent performance. Berkowitz sings "Blind Man In The Dark," for a nice blue-eyed soul performance. Franck Goldwasser plays slide on the rocking blues duet "I Can't Change Ya," while there is a reflective quality by Lemons on her title track.

A cover of Bobby Charles' "Small Town Talk," closes another fine recording by Lemons and Berkowitz. The quality and variety of material and the crisp, uncluttered and unhurried backing contribute to another superior recording from The Lucky Losers.

I received my review copy from a publicist. This review appeared originally in the July-August 2016  Jazz & Blues Report (Issue 367).

Jim Suhler & Monkey Beat Live at the Kessler

Jim Suhler & Monkey Beat
Live at the Kessler
Underworld Records

Jim Suhler & Monkey Beat is a Dallas Texas blues-infused rock and roll and roots band based out of Dallas, Texas. Singer-songwriter and guitarist Suhler and the and have been together over two decades and had four albums on Lucky Seven and two prior ones on underworld while Suhler had a solo acoustic release on Topcat. The band includes Jim Suhler (guitar, vocals), Chris Alexander (bass, vocals), Shawn Phares (keyboards) and Beau Chadwell (drums, percussion). On the new release, "Live at the Kessler" they are joined by Tim Alexander on keyboards and Tex Lovera on cigar box guitar. Heard on these live performances from the Dallas venue are 13 songs that originally appeared on the studio albums, "Panther Burn," "Tijuana Bible," "Bad Ju Ju" and the solo acoustic "Dirt Road," plus two new songs, “Doin’ the Best I Can” and “Reverie.”

There is plenty to like from Suhler's straight-forward, heartfelt vocals along with his strong guitar playing that is crisp and focused, leading one to understand why he plays lead guitar with George Thorogood. His band provides tight, well-paced backing adding to the enjoyment of the songs which range from strong rollicking original blues shuffles like "I Declare" and the rollicking "Scattergun" (with some solid slide guitar); the slide-drenched blues-rock of "Panther Burn"; the gritty rootsy depiction of a border city in "Tijuana Bible"; the wistful bluesy feel of "Deja Blue" (with some Tex-Mex flavored accordion in the backing); the Traveling Wilbury's feel of his celebration of the Gulf Coast in "Texassippi"; and his affectionate tribute to Lightnin' Hopkins, "Po' Lightnin'."

There is not a poor moment in "Live at the Kessler," and so good to hear Jim Suhler & Monkey Beat still doing it so well today.

I received my review copy from a publicist. This review appeared originally in the September- October 2016 Jazz & Blues Report (Issue 367). Here is a video of Jim Suhler & Monkey Beat performing.

The Fat Babies Solid Gassuh

The Fat Babies
Solid Gassuh
Delmark Records

The Chicago classic jazz band The Fat Babies have a new release from their extensive repertoire that includes more idiomatic renditions of songs from the twenties and thirties. The Fats Babies is comprised of leader Beau Sample on bass; Andy Schumm on cornet; Dave Bock on trombone; Paul Asaro on piano and vocals; Jake Sanders on tenor banjo and guitar; Alex Hall on drums; and John Otto on clarinet and saxophones, the same personnel that were on their first album, "Chicago Hot," accounting for the crisp ensemble sound and assured solos. Unlike that earlier album, the songs here are lesser known songs of the era than those on the earlier album. Like that recording, they inject a definite spirit in their recreations.

Ricky Ricccardi, Director of Research Collections for the Louis Armstrong House Museum, notes that band soften playing such music get hot as playing "nostalgia" or "museum pieces," but suggests that the appeal of The Fat Babies is that they "treat this music as a living, breathing thing." This is something that is difficult to accomplish while trying to say stylistically true to the recordings that are the source for these performances. A lively rendition of the Luis Russell-Paul Barbarin "Doctor Blues" opening this album is a joyful reaffirmation of the quality of their performancers of these vintage numbers. Schumm, who arranged this music, plays his cornet in the spirit of Bix Beiderbecke like on "Slow River," a lesser known Clarence Williams composition.

In its playing, The Fat Babies generally avoids being 'nostalgic,' and also  being campy, but there are exceptions in the vocals. Pianist Asaro's crooning on "Did You Ever See A Dream Walking?" is appealing with Sanders' guitar adding a nice touch here, although his Ted Lewis styling on "Egyptian Ella," comes off as a bit campy. The spirited rendition of Thomas Morris' "Original Charleston Strut" (with Hall's drumming standing out with his rhythmic accents), and the lively rendition of "Alabamy Bound" (one of the most familiar numbers here), are other standout selections. Also noteworthy is the rendition of Arthur Schutt's "Delirium," which Ricccardi suggests they provide "an almost Bix-meets-Raymond Scott treatment," taking what was originally a unique chart and performing "something surprising, unpredictable and even a little haunting," although I might suggest evocative as the mood engendered.

A breakneck tempo rendition of "Maple Leaf Rag," closes "Solid Gassuh," which Riccardi observed would be quite a very high compliment from Louis Armstrong and appropriate to use describing the music herein. If this listener has some reservations about several vocals, there are none about the consistent solid performances by The Fat Babies.

I received my review copy from Delmark Records. Here The Fat Babies perform Jelly Roll Morton.

Little Mike How Long

Little Mike
How Long
Elrob Records

Michael Markowitz, aka Little Mike, has a new set of Chicago-styled blues "How Long," although his usual cohorts, The Tornados are not present. Musically there will be little surprises as Mike brings his harmonica, some piano and vocals to a mix of classic blues and idiomatic originals with varying studio personnel, but stylistically very akin to what he done with the Tornados.

The title song is the J.B. Lenoir classic, although Mike's rendition is reminiscent of that by Pinetop Perkins with whom Mike played with numerous times. The studio band is quite tight behind him, even at a breakneck tempo (perhaps a tad too fast) as on "Smokin'," where he sings about cigarettes gonna kill him and he can't quit no matter how hard he tries. There is a surprising take on the Bobby Timmons hard bop classic "Moanin'," with some twisting harp lines and nice guitar. His brisk shuffle "When My Baby Left Me," is followed by a feverish take of Johnny Young's instrumental "Slam Hammer." Other highlights include a cover of Eddie Taylor's "Bad Boy," where he adds rollicking piano behind his harp and earnest vocal, and the atmospheric "Not What Mama Planned," with some nifty guitar.

In an interview excerpted in the liner notes, Mike describes his blues as "deep, hard hitting and raw." Certainly there is little contrived here, just straight-forward blues that fans of Little Mike will be quite familiar and others will find to their taste.

I received my review copy from a publicist. This review originally appeared in the November-December issue of the Jazz & Blues Report (Issue 369). Here Little Mike is seen with the Tornados.

Woody Shaw - Louis Hayes The Tour Volume One

Woody Shaw - Louis Hayes
The Tour Volume One
High Note

Word of a release of a previously unissued recording by the Louis Hayes-Junior Cook Quintet from a 1976 tour was the cause of great anticipation. Released under trumpeter Woody Shaw's name, that reflects the fact that the late Shaw became subsequently one of the most brilliant trumpeters, composers and band-leaders of the seventies and eighties. Not long after this European tour, saxophonist Cook left and Shaw took over as co-leader with Rene McLean (Jackie's son) replacing him, but with the same rhythm section of the highly under-appreciated pianist, Ronnie Matthews, Stafford James on bass and Louis Hayes on drum making for one of the most formidable rhythm sections of that times. I saw the Hayes-Shaw band at the original downstairs Tralfamadore Cafe in Buffalo in winter 1976-1977 and there is a live recording of the Hayes-Shaw group from Lausanne Switzerland from 1977 available.

That 1977 recording is very good indeed, but this March 19676 recording simply has become my favorite Shaw recording, opening with "Moontrane," which Shaw wrote when he was 18 and had recorded with organist Larry Young. Explosive is an understatement of this performance with Matthews really playing a such a high level, and then listening to James under the Shaw's solo while Hayes pushes things along. Things don't cool at all on Larry Young's "Obsequious," which features Cook's hot playing followed by Shaw along with the astounding rhythm section. Things cool down just so slightly on a terrific rendition of Walter Booker's up-tempo bossa/samba, "Book's Bossa," before the band takes flight again on pianist Matthews' burner "Ichi-ban" (the title track of a studio album the group made). This stellar recording closes with a standard by Bronislaw Kaper, "Invitation," which gets a very personalized interpretation by this group.

Listening to Shaw here one cannot help but be astonished by his ability to compose his ideas at such a fast tempo, the brilliant execution, articulation of his playing and the warmth of his tone. It is why such major trumpeters of today as Brian Lynch and Terrence Blanchard regard Shaw and his legacy so highly. Of course when you add the more than impressive playing of Cook, and the superb rhythm section that characterized what was, in it somewhat brief existence, one of the great jazz groups of seventies. Woody Shaw III, Woody's son contributes the liner notes in the accompanying booklet for this CD release which is available as a pdf file on the iTunes download of this CD (which is where I purchased this). I do not know if the liner notes accompany downloads from other sites. With the superb music here, one hopes that Volume 2 will be coming out shortly, as this music here is that good.

This was an iTunes purchase as mentioned in the review. This review originally appeared in the September-October 2016 Jazz & Blues Report (Issue 368). Here is a video of this group with Joe Henderson in place of Junior Cook from 1976.

The Terry Hanck Band From Roadhouse To Your House Live!

The Terry Hanck Band
From Roadhouse To Your House Live
Vizztone

Two years after The Terry Hanck Band's last release, VizzTone has issued a new live recording by them "From Roadhouse To Your House Live!," recorded at the California State Fair by Chris 'Kid' Andersen. the band consists of Hanck on saxophone and vocals, guitarist Johnny ‘Cat’ Soubrand, bassist Tim Wager and drummer Butch Cousins, with special guest Jimmy Pugh on keyboards. About their last album, "Gotta Bring It On Home To You," I noted the range of music from lively R&B, straight blues, swamp blues and pop and if anything, they continue in this vein on what must have been quite a performance for those at the Fair that day.

Hanck is quite a congenial vocalist with a bit of grizzle whose robust saxophone with a mix of King Curtis yackety-yak with Junior Walker honking. Wager and Cousins provide a solid foundation with Pugh (who also gets to display his Hammond B-3 sound on the opening track, Hanck's "Good Good Rockin' Going On," an updating of "Good Rockin' Tonight," on which Soubrand tears off one of his blistering solos. Some yackety-yak sax opens the rollicking cover of T.V. Slim's "Flatfoot Sam," with Pugh's boogie-infused piano leading into a crisp guitar break. Hanck's "Junior's Walk," is the leader's tribute to the Motown legend while Soubrand's tremolo on Chuck Willis' "Whatcha Gonna Do When Your Baby Leaves You," gives the performance the feel of some of Little Willie John's recordings. Hanck's "Smilin' Through My Tears," is an appealing swamp pop-styled ballad with a booting sax solo.

The remainder of this performance is equally varied and entertaining including a cover of Louis Jordan's "Ain't That Just Like A Woman," which opens with Hanck playing Cleanhead Vinson's "Kidney Stew" followed by a bit of "Chattanooga Choo Choo," before launching into the Jordan song. This is followed by a cover of Tyrone Davis' classic "Can I Change My Mind" (there is also a nice rendition of "Slip Away" here). Dave Spector's "Octavate'n," is an instrumental with Soubrand featured and pulling out all the stops. Hanck's original, "Peace of Mind," is evocative of some of Magic Sam's recordings and Soubrand's guitar evokes Sam here.

"From Roadhouse To Your House Live!" captures the engaging and strong blues, R&B and rock of the Terry Hanck Band in very strong form.

I received from my review copy from VizzTone. This review originally appeared in the November-December 2016 Jazz & Blues Report (Issue 369). Here Terry in performance.

 

Cafe Society (Soundtrack)

Various
Cafe Society (Soundtrack)
Sony Classical

A soundtrack to the new Woody Allen film of the same name, "Cafe Society" is a curious collection of a number of new performances of classic songs by Vince Giordano and the Nighthawks mixed with several from classic 78s. 8 of the 15 songs (selected by Allen) were composed by Rogers and Hart, and the other songs mostly are classics of the American songbook. I have not seen the film so make no comment on it .

The personnel for Giordano and his group includes Giordano on bass, Chris Flory or Vinny Raniola on guitar, Mark Shane on piano and Christopher Gelb on drums. What is surprising is the lack of horns in the band and while the crisply played performances may be delightful, if the movie is supposed to conjure up swing music that was featured at the actual Cafe Society, Barney Josephson's pioneering club that was the first racially integrated nightclub in the United States. The Nighthawks come across almost as a gypsy jazz band with the music not bearing relationship to what was played by the Boogie Woogie Trio, Billie Holiday, Hazel Scott, Lena Horne, Al Casey, Eddie Barefield, and the likes. A vocal by Kat Edmondson backed by The Nighthawks on Rogers & Hart's "Mountain Greenery" has charm but far removed from Holiday singing "Strange Fruit."

This is not to say there is anything bad about the new performances. Pianist Shane has a deft touch displayed nicely on the ballad "Manhattan" and the sprite treatment of "My Romance," the latter of several tracks where Flory distinguishes himself. Of note is the YeraSon trio's marvelous rendition of "The Peanut Vendor," followed by a restrained rendition of "Out of Nowhere" by Conal Fowkes on piano, Brian Naepka on bass and John Gill on drums. Fowkes' spirited stride-rooted piano does delight on "This Can't Be Love," a performance that perhaps captures the actual Cafe Society spirit. Still the musical highlight of this album is an alternate take of the Count Basie classic, "Taxi War Dance" with some marvelous Lester Young, while Benny Goodman's "I Didn't Know What Time It Is," also notable.

The music on this soundtrack is quite congenial and listenable although not as exciting or passionate as might have been found at the actual Cafe Society where Barney Josephson persuaded Lena Horne to stop singing "When Its Sleepy Time Down South."

I received a review download from a publicist. This review appeared originally in the November-December  Jazz & Blues Report (Issue 369). Here is a trailer for the movie that I now realize has to do with a Hollywood venue, and not the legendary Greenwich Village venue. Not sure if it would have affected my review of the quality of the music although I would not have made some of the references contained here.

 

Jim Self and The Tricky Lix Latin Jazz Band !Yo!

Jim Self and The Tricky Lix Latin Jazz Band
!Yo!
Basset Hound Music

What a wonderful new release by tuba player Jim Self and The Tricky Lix Latin Jazz Band. The title "!Yo!" is a translation of self, and the release is a terrific latin jazz recording unusually anchored by Self's Tuba (and on two selections the Fluba, a big tuba sized flugelhorn). Self is a long-time studio musician who can be heard on over 1500 movie scores (his tuba projected those galactic tones as the Voice of Mothership in “Close Encounters of the Third Kind”). he has also done a variety of projects and this release is his 13th album. For this, he has brought together a “who’s who” of young West Coast Latin Jazz Musicians (most of whom are on the great Poncho Sanchez Band). Foremost is trombonist/composer/arranger Francisco Torres who produced, wrote or arranged much of the music. The other players (mostly from the great Poncho Sanchez band) are Ron Blake: Trumpet/Flugelhorn; Rob Hardt: Tenor and Soprano Saxes/Flute; Andy Langham: Piano; Rene Camacho: String Bass; Joey De Leon: Timbales, Batá, Shekere; Giancarlo Anderson: Congas and George Ortiz: Bongos.

Evident on the opening mambo by Eddie Cano "Cal's Pals," dedicated to the great Cal Tjader, is the marvelous arrangements that are fluently played with marvelous solos from trumpeter Blake, Self on tuba, Hardt on tenor sax and De Leon on Timbales. The music is bright, lively and bouncy resulting in an infectious performance that is characteristic of the entire recording. The classic "Poinciana," has the ensemble's seamless rendering of Curt Berg's arrangement to frame the leader's solo. In addition to the warmth of the horns, the mix of rhythm with the horns lends such a relaxed feel to this very charming performance. Even when the groove is kicked up a notch, as on Torres' mambo, "For Charlie," there is an relaxed, yet exhilarating quality as Torres on trombone and Self on tuba play a duet before each solos. Self's own "Encognito," is a slow cha-cha with Blake's trumpet solo followed by Self on fluba.

Torres' "Sweetest Blue" is a spicy Afro-Cuban number with a delightful tropical groove, with a choice soprano sax solo from Hardt, an intricate piano solo from Langham and a Batá solo by De Leon and followed by the calmness of his lovely "Quiero Liegar," with Self playing the melody before some gorgeous trombone and piano. Self composed the title track which is a cheerful, and lovely, cha cha. An invigorating interpretation of Tito Puente's "Old Arrival," with a robust trombone solo and the three percussionists trading eights is followed by the closing track, Clare Fischer's "Morning," with an arrangement by Bill Cunliffe and solos by Rob Hardt on flute and Self on Fluba, after which Stanley the Bassett Hound howls to end this latest Basset Hound recording.

"!Yo!" is a complete listening delight. Like New Orleans Brass bands, and Howard Johnson and Gravity (also known as the horns of Taj Mahal's Tuba Band), Jim Self's performances on tuba exhibit imagination and fluidity that far transcend any novelty, and with the superb ensemble and arrangements here, has provided an album of Latin jazz easy to listen to and full of joy.

I received my review copy from a publicist. This review appeared originally in the November-December 2016 Jazz & Blues Report (Issue 369). Here is a track from "!Yo!"

Matthew Skoller Blues Immigrant

Matthew Skoller
Blues Immigrant
Tongue 'N Groove Records

Harmonica player Matthew Skoller has been playing blues in Chicago for decades working with the likes of Jimmy Rodgers Blues Band, Big Daddy Kinsey and the Kinsey Report, Big Time Sarah and the BTS Express, and Deitra Farr Blues Band. Skoller played an important part on the Blues Music Award winning "Chicago Blues: A Living History," produced two albums by Lurrie Bell and plays on Lurrie's new recording, "Can't Shake This Feeling." He has his new release featuring his singing and songwriting in addition to his harp work. On this he is backed by a fine band including Johnny Iguana - Keyboards; Felton Crews - Bass;, Giles Corey - Guitar; Eddie Taylor Jr. - Guitar; Marc Wilson -  Drums; with Mike Avery and Stevie Robinson - Background Vocals and Carlos Johnson - guest Lead Guitarist.

Skoller lays down a varied program of Chicago harmonica blues with some interesting twists and displays flair in harp playing and appeals as a singer. Songs range from the opening topical blues lamenting how the Walmarts and similar stores have shut down the mom and pop stores, "Big Box Store Blues," a modernization of Sonny Boy Williamson I's "Welfare Store Blues," as well as "The Devil Ain't Got No Music", which is why his home is hell. The title song mixes his life with topical themes as well as considers cultural appropriation as he asks does he need a green card to play the blues while observing how Reagan shrunk the government while the war machine expanded. This is followed by his "Only in the Blues" with his ironic lyrics about the latest young sensation outselling B.B. and Buddy, and while Foundations and Clubs claim to be keeping the blues alive, bands make 250 for four or five while playing three 60's singing to drinks.

In between a rant about the greedy with their contempt for the poor ("Story of Greed"), and celebrating "My Get It Done Woman," Skoller covers Cool Papa Sadler's "747" about his woman who left him and caught a 747 because a Greyhound runs to slow and there ain't no tracks in the sky. It is an enjoyable rendition although not as satisfying as the Joe Louis Walker recording of a couple decades back. There is an original instrumental, the appealing, funky "Organ Mouth," a solid rendition of Luther 'Georgia Snake Boy' Johnson's shuffle, "Get Down to the Nitty Gritty" (with some fine piano from Iguana), and a closing slow harmonica feature, Papa Lightfoot's "Blue Lights."

Skoller has provided us with a wonderful recording of varied performances that are splendidly played. The pace of these performances also stand out, as they never come across as hurried or rushed. Matthew Skoller finally has his own fine recording to join those excellent ones he has contributed to.

I received my review copy from a publicist. Here is Matthew performing "Get Down to the Nitty Gritty" from Blues Immigrant.
 

Madeleine Peyroux Secular Hymns

Madeleine Peyroux
Secular Hymns
Impulse

Recorded in a small church in the Oxfordshire countryside of England, Madeleine Peyroux's new album "Secular Hymns" is a collection of secular songs she describes "that are very individual, personal, introverted." Accompanied by her touring band-mates of the last two years -electric guitarist Jon Herington and upright bassist Barak Mori, she revisits tunes by seminal blues artists Willie Dixon and Lil Green, classic gospel singer Sister Rosetta Tharpe, dub reggae innovator Linton Kwesi Johnson, contemporary craftsmen Tom Waits, Townes Van Zandt, Allen Toussaint, 19th century American giant Stephen Foster, and an early African-American spiritual.

She has certainly evolved from being a Billie Holiday imitator first with a low-key introverted take on a R&B classic "Got You on My Mind," followed by a bit more melodramatic attack on Tom Waits' "Tango Till They're Sore," with Herington's guitar and Mori's Arco bass adding to the drama of the performance. Townes Van Zandt's "The Highway Kind" is a more reflective tune with Herington more in a folk guitar mode, while Allen Toussaint's "Everything I Do Is Gonna Be Funky" benefits from the swampy-sounding backing.

The varied repertoire includes Stephen Foster's lament, "Hard Times Come Again No More", the playful Lil Green blues "Hello Babe," the reggae groove of Linton Kwesi Johnson's "More Time" with its lyrics of wanting more time for pleasure and leisure if things are really getting better, a spritely rendition of one of Sister Rosetta Tharpe's most famous songs, "Shout Sister Shout," before this unusual collection of mostly contemporary songs closes with a traditional spiritual "Tampin." It is a lovely performance that ends this very charming recording that displays Peyroux has become s singer of considerable appeal with the splendid support of her band-mates.

I received a download for review purposes from a publicist. This review originally appeared in the November-December 2016 Jazz & Blues Report (Issue 369). There have been a few stylistic edits made to that review. Here is a sample of this recording.
 

Dennis Gruenling Ready Or Not

Dennis Gruenling
Ready Or Not
VizzTone

Harmonica wizard Dennis Gruenling has a new release on VizzTone, "Ready Or Not." Like his previous recording, 2012's "Rockin’ All Day," he is backed by guitarist Doug Deming & the Jewel Tones (bassist Andrew Gohman and drummer Michael Bram). Also, Dave Keyes adds piano to 4 tracks and Doug Sasfai adds saxophone to 4 selections and producer Steve Conte adds acoustic guitar to one selection. The liner notes note that the album was focused on a rock and roll styled record, harking back to the 1950s with artists like Chuck Berry, Bo Diddley and Fats Domino. Gruenling wrote all the songs (some in collaboration) and for the first time takes all the vocals and he comes across credibly with his straight-forward delivery, although his vocals are not on the same level as his harmonica playing. The Jewel Tones and the others certainly do their bit to help create the feel and the lyrics have a school hop flavor.

There are many pleasures starting with the opening Little Richard flavored "Knockin' My Knees," that evokes some of the recordings of Kid Thomas (although Gruenling is somewhat straight-laced compared to Kid Thomas frenzied singing). "Simmer Down" is musically related (not lyrically related) to the Roy Montrell classic "(Everytime I Hear) That Mellow Saxophone" and featured some tasty interplay between Gruenling and Deming. The groove on "Little Sugar," suggests some Gary U.S. Bonds recordings with  very tasty guitar along with a nice harmonica solo, while on "Ready To Burn," it sounds like he sings through his harp mike, giving his vocal a distorted feel matched the hot harp on this. There are two instrumentals, the blistering, "Rockin' With The Rev," and the moody sounding "Count Chromatic," where his fat tone is marked by Deming's Luther Tucker sounding fills that closes the 13 song recording.

"Ready Or Not" is another highly enjoyable recording that fans of Gruenling and Deming will certainly love, and for those unfamiliar with the two, it is musically a solid introduction to the music.

I received my review copy from VizzTone. This review originally appeared in the September-October 2016 Jazz & Blues Report (Issue 368). I made a few minor revisions to the review. Here is a video of Dennis performing Count Chromatic."

Little Charlie and Organ Grinder Swing Skronky Tonk

Little Charlie and Organ Grinder Swing
Skronky Tonk
EllerSoul Records

While best known for his blues guitar Little Charlie Baty has been including playing some jazz-like material with Little Charlie and the Nightcats. While with that band, he did a solo project in 2005 rooted in the swing era that Alligator passed on. A few years later he had an opportunity to do a blues and jazz CD which he was delighted with, but alas still as not been released. He since has left fronting the Nightcats and engaging in a variety of different musical activities including touring with Anson Funderburgh and James Harmon, playing gypsy jazz and other jazz settings. In any event as Baty says, the third time is the charm, as EllerSoul has issued his first jazz recording by Little Charlie and Organ Grinder Swing, "Skronky Tonk" with Lorenzo Farrell on the Hammond B-3 (and bass on one track) and J Hansen on drums and percussion.

The mood is set on the opening title track, a blues, that provides the trio's sound and feel, with Baty displaying the taste and technique and musical imagination one expects. Listening to this recording one can hear a variety of influences at different times, Charlie Christian, Django Reinhardt, Kenny Burrell, Barney Kessel and Les Paul. Paul's influence perhaps is most evident on passages of "How High The Moon," but even here Baty mixes in some bebop later. One can't underestimate Farrell's contributions whether comping or taking some greasy solos. Django Reinhardt's "Nuages" may be this listener's favorite track, with Baty outstanding with his nicely nuanced playing and warm tone and followed by his mix of single note runs and chords on "Pennies From Heaven," which also sports some deep fried grease from Farrell.

Baty's original bop tune, "Gerontology" is followed an evocative rendition of John Lewis' tribute to Reinhardt "Django," with Farrell evoking a church organ on this chamber jazz-type performance. Then there is the peppy Charlie Christian classic "Swing to Bop," and a nice rendition of the Brazilian choro classic from Pixinguinha, "Um a Zero." "Flying Home" closes this very solid guitar-organ trio album. I have not mentioned J. Hansen's contribution, but he is constantly in the pocket and pushing this swinging recording along. Farrell's Hammond B-3 playing is a revelation for a person who is known as a bass player, but displays his mastery of the organ here. Charlie Baty, with his consistently inventive, fluid jazz guitar, exhibits a side of his musical personality that many have not previously heard. One looks forward to more from him in this vein.

I received a review copy from a publicist. This review originally appeared in the September-October 2016 Jazz & Blues Report (Issue 368). I made a few minor revisions to the review. Here is Little Charlie and Organ Grinder Swing performing Kenny Burrell's "Chitlins Con Carne."

Lurrie Bell Can't Shake This Feeling

Lurrie Bell
Can't Shake This Feeling
Delmark

The Mercurial Son, Lurrie Bell has a new recording on Delmark "Cant Shake This Feeling" finding this singular guitarist and singer backed by a first-rate band of Roosevelt Purifoy on keyboards, Matthew Skoller on harmonica, Melvin Smith on bass and Willie Hayes on drums. Produced by Dick Shurman, Lurrie wrote or co-wrote 4 of the 13 songs, and the other songs here are not ones that have been over-recorded with perhaps "Sinner's Prayer" being the best known.

Lurrie's unpredictability makes him such a fascinating guitarist to listen to and this is evident starting with the opening "Blues Is Trying to Keep up with Me," which he penned as well as his solo on Eddie Boyd's shuffle "Drifting," with Skoller and Purifoy also soloing. Lurrie's natural, slightly gritty vocals add to the appeal. There is some nice string popping on a lesser know T-Bone Walker number "I Get So Weary," while he unplugs for "One-Eyed Woman" backed only by Skoller. Another strong original, the slow, moody "This Worrisome Feeling in My Heart," is followed by a cover of one of Willie Dixon's lesser songs, "Sit Down Baby." Lurrie can not do much on this cover of Otis Rush's Cobra recording of this song.

A brisk Little Milton cover "Hold Me Tight," is followed by a nice interpretation of "Sinner's Prayer," that sounds adapted from Ray Charles. There is a nice walking groove of Lurrie's "I Can't Shake This Feeling," a gem that sounds like it came from Willie Dixon's pen with Skoller's backing harp sounding strong along with a typically distinctive Bell solo. Lurrie sings and plays his heart out on Buster Benton's "Born With The Blues," followed by Carey Bell's shuffle "Do You Hear." Bell also does a rendition of Willie Dixon's "Hidden Charms." If Lurrie is among the few guitarists who can conjure up Hubert Sumlin, he lacks Howlin' Wolf's vocal authority, which exposes this song as a lesser Willie Dixon lyric.

"Can't Shake This Feeling" closes with the reflective original (co-penned with Shurman) "Faith and Music" with just Lurrie on electric guitar. The music here is generally exceptional although there are a couple of lesser performances. Still, Lurrie Bell is one of most singular talents today in the blues.

I received my review copy from Delmark. I have revised for this blog the review that originally appeared in the November-December 2016 Jazz & Blues Report (Issue 369) (downloadable at jazz-blues.com). Here is Lurrie in performance.

John Scofield Country For Old Men

John Scofield
Country For Old Men
Impulse

This new release by John Scofield has him reinvestigating his country/folk roots alongside accomplished colleagues Steve Swallow, Larry Goldings and Bill Stewart. It is a homage to such greats as George Jones, Dolly Parton, Merle Haggard, James Taylor and Hank Williams among others, with some songs evoking a classic honky tonk feel like the opening rendition of a George Jones classic "Mr. Fool," with Scofield's twang and use of sustain set against Goldings' country-flavored piano and a simple rhythm groove while a few others taking a different tack as the transformation of Hank Williams' lament. "I'm So Lonesome I Could Cry," into a rollicking roadhouse stomp and almost a mash up with Jay McShann's "Jumpin' the Blues," on a stunning performance with some fiery playing in his improvisation.

There is the restrained rendition of James Taylor's "Bartender's Blues," the percolating groove over a spirited "Wildwood Flower," and a sober "Wayfaring Stranger." The sparkling flavor of the interpretation of Merle Haggard's "Mama Tried," contrasts the bluesy flavor of the rendition of Dolly Parton's "Jolene." Other treats include the Bob Wills' classic ballad "Faded Love," and the classic "Red River Valley," transformed into a rocking organ-guitar feature with some of Scofield's most inventive improvisation. A brief, acoustic statement of the theme of "I'm an Old Cowhand," serves to end a most appealing album of jazz renditions of classic country tunes.

I received a download to review from publicist. Here is John Scofield performing the country classic that was redone by Ray Charles, "You Don't Know Me."

Shirley Horn Live at the Four Queens

Shirley Horn
Live at the Four Queens
Resonance Records

Following up recent recordings by Larry Young, Thad Jones-Mel Lewis Orchestra and Stan Getz-Joao Gilberto, the non-profit Resonance Records has just issued Shirley Horn "Live at the Four Queens," recorded by KNPR on the night of May 2, 1988 at a lounge in that Las Vegas casino and hotel. She was accompanied that night by her regular trio of bassist Charles Ables and drummer Steve Williams.

Over a decade after she passed away, these recordings are wonderfully restored and capture the elegance and the spirited musicianship of this great lady. There are a couple of terrific instrumentals, Randy Weston's "Hi-Fly," that opens this program, and the Rodgers and Hart classic "Isn't It Romantic," that make it clear that she would have been remembered even if she never sang a note, but when she interprets "You'd Be So Nice To Come To," one feels the magic her singing has that led to such great artists as Miles Davis and Wynton Marsalis adoring her.

There are so many treasures including a couple of Jobim penned gems, "Meditation," taken as slow a tempo as possible followed by her playful "The Boy From Ipanema." There is a stunning "Lover Man (Oh Where Can You Be?). The nuances of her singing might lead to comparisons with Billie Holiday. However she does not imitate Lady Day. Instead, like Holiday,she has a rare ability to move a listener while employing a narrow vocal range.

Along with Ms. Horn's wondrous performances, the CD comes with a 56 page booklet with reminiscences of her along with background on her career and these performances, recollections of Richard Seidel, who produced her for Verve and Steve Williams discussing his time playing with her, vocalist Sheila Jordan's memories about her friend as well as the recollections of Shirley Horn's Washington by her friend and neighbor, Washington DC radio personality Rusty Hassan. This booklet is also available as a pdf file for those purchasing this as a download on iTunes. This booklet is part of the packaging that adds to the many pleasures of Shirley Horn's music on this excellent release.

I purchased this. Here is Shirley Horn performing.

Sharon Lewis & Texas Fire - Grown Ass Woman

Sharon Lewis & Texas Fire
Grown Ass Woman
Delmark Records

When some artists seem to be releasing new recordings at least annually, it has been 5 years since Sharon Lewis last recorded her impressive "The Real Deal." She returns here with her band Texas Fire for her latest release "Grown Ass Woman," with her fine band of guitarist Stephen Bramer, keyboardist Roosevelt Purifoy, bassist Andre Howard and drummer Tony Dale. Guests on various tracks include guitarist Joanna Connor, harmonica wizards Sugar Blue and Steve Bell, and the horns of Kenny Anderson, Hank Ford and Jerry DiMuzio. Both Lewis and Bramer each contribute 6 originals and there are two covers on the performances here.

The late Washington, D.C. street singer Flora Molton referred to her gospel-rooted music as "Truth Music." Similarly, Sharon Lewis is quoted in David Whiteis' liner notes, "The blues tells stories about life. This was part of our oral history. The blues is about struggle - about surviving and overcoming." It is also celebrating good times as well as well. In any case, Lewis' powerful, nuanced vocals, the strong backing and excellent material make for  solid listening starting with the opening "Can't Do It Like We Do," a celebration of blues as Black expression where she notes of the imitators she sees touring the world "can't shuffle like Billy Branch, slow blues like Magic Sam," and if you think she's being a snob well she proudly says she is and notes you can't fully learn it because it is more than learning books. Sugar Blue adds magic with his backing and soaring harmonica solo. It is notable that one of the covers here is a fervent rendition of the B.B. King- Dave Clark classic "Why I Sing The Blues."

Lewis certainly knows how to party with the blues ("we ain't gonna play no rock and roll") on the horn driven "Hell Yeah," while she then tells a story about a woman born and raised on mean streets and a big city girl, "Chicago Woman" who won't be denied as she is an independent bitch. This is set against a somewhat heavy backing with blues-rock flavored slide. While this listener was not enamored with the backing here, Lewis still sings powerfully. "They're Lying" is a marvelous original with a southern soul styled vocal. Bramer's "Don't Try To Judge Me" is melodically reminiscent of Johnny Winter's "Don't Take Advantage of Me," as Lewis sings that she don't intend to play the game of those who want to judge her. There is a terrific organ solo from Purifoy here.

Steve Bell's harmonica enlivens the Earl Hooker styled 'galloping horses" groove on a marvelous take on a vintage blues theme "Old Man's Baby." She rather be wined and dined than be a young man's fool. The title track is a celebration of Black Women, delivered with plenty of sass as well as panache. "Walk With Me" (if you're going my way) again shows her soulful manner and followed by Bramer's topical number "Freedom" with its references to violence directed against Blacks with a refrain freedom can't be freedom unless its freedom for everyone" Joanna Connor's slide guitar adds to the atmosphere here.

The album closes with a moving interpretation of Warren Hayne's modern classic number, "Soul Shine" which she opens saying she wants to reach out and touch the listener's hearts. That she does here and throughout. Lewis is a powerful, expressive singer, and her vocals are full of conviction, warmth and humor. She certainly is a "Grown Ass Woman," and with the mostly excellent backing has produced another fabulous recording.
 
I received my review copy from Delmark Records. Here is Sharon Lewis performing.

 

John Lee "Sonny Boy" Williamson: The Blues Harmonica of Chicago's Bronzeville

John Lee "Sonny Boy" Williamson: The Blues Harmonica of Chicago's Bronzeville
Mitsutoshi Inaba
London: Rowman & Littlefield
2016: 234pp + 12 pp illustrations

It is hard to overestimate the importance of John Lee Williamson. better known as Sonny Boy Williamson I. The "I" refers to the fact another outstanding harmonica player, Rice Miller, also called himself Sonny Boy Williamson. the first Sonny Boy not only helped establish the harmonica as a main lead instrument in the blues, but also was a fine singer and whose music helped shape what we know as the classic Chicago Blues. Mitsutoshi Inaba, a Professor of African-American studies at Austin Peay State University previously wrote a biography of Willie Dixon. This is the first English language book on this important Blues Hall of Fame artist. Wolfgang Lorenz wrote "Bluebird Blues" that was published in Germany in 1986.

After acknowledgements and an introduction about the scope of the work, and he provides the details of Sonny Boy 1's life and music in 144 pages of text with chapters on "Learning the Blues: Jackson , Tennessee: 1914-1937"; "Reaching New Heights: St. Louis and Aurora, Illinois: 1937-1938"; "Windy City Blues: Chicago: 1939-1941"; "The Sound of Bronzeville: 1942-1948"; "The Final Days; 1948"; and Epilogue: Sonny Boy's Legacy: 1948-Present." Additionally there is a discography of 20 pages that includes Sonny Boy's recorded accompaniments as well as his own recordings and twelve pages of photographs and illustrations.

While most of Sonny Boy's contemporaries are gone, the author did interview Billy Boy Arnold and made use of recent interviews with Sonny Boy's relatives. He also interviewed harmonica player Joe Filisko on Williamson's harmonica playing.Additionally he made use of published interviews and articles (mostly from Living Blues and Blues Unlimited), as well as Yank Rachell's autobiography, census and other public records in bringing forth the narrative here.

He takes from his ancestry, playing the music in Jackson, Tennessee and St. Louis while traveling to Illinois to make his recordings before finally settling in there. There is considerable detail and analysis of the recording sessions including a few examples of musical notation as well as a written description of Sonny Boy's harp technique (with Joe Filisko being extremely helpful in his insights) along with consideration of some of the lyrics and how they related to Sonny Boy's own experiences. His music is traced from the more country blues oriented style of his earliest sides (many characterized as having a medium-slow blues formula) to the post-war Chicago band sound he helped pioneer including some that had a jump band tempo.

Included in the discussion is Sonny Boy going south to confront Rice Miller, his presence in the Chicago clubs in the forties, the circumstances of his murder and a consideration of his legacy in the blues. The discography includes delineating some of the styles of Sonny Boy's originals as well as a discussion of songs he adapted and their antecedent. It is interesting that in this chart, Sonny Boy's "Stop Breaking Down" is described as loosely related to Robert Johnson's recording and in a footnote, he notes that the refrain is similar but otherwise the lyrics are different.

Inaba has produced a welcome addition to the Literature on Blues Performers which merits addition to one's blues library.

I purchased this. Here is Sonny Boy 1 doing his take on "Stop Breaking Down."

 

Cyrus Chestnut - Natural Essence

Cyrus Chestnut
Natural Essence
HighNote Records

"Natural Essence" is the latest recording from pianist Cyrus Chestnut, and with bassist Buster Williams and drummer Lenny White, is another reason to regard Chestnut not simply as one of the most formidable pianists in a technical sense, but one of the most imaginative and compelling jazz musicians of today. As Steve Futterman observes in the liner notes, "Chestnut has consistently shown himself as an improvisor of rare ingenuity and grace … [yet distinguished from other gifted pianists by] … the sheer pleasure that radiates from all he plays."

The ebullience that emanates from his playing is immediately evident on the opening interpretation of Joe Henderson's "Mamacita," which also displays the energy and drive offered by Williams and White and followed by a swinging reworking of "It Could Happen To You." Four of the nine performances are originals including two from the leader, and one each by Williams and White. Chestnut's "Faith Amongst The Unknown" has a spiritual underpinning anchored by Williams' ostinato, while his other original "I Remember" has a definite charm about it. White contributed a lovely ballad "Dedication," where Chestnut's impeccable touch and sense of dynamics is mesmerizing with White's use of brushes adding to the performance, while Williams' Toku-Do is a spirited, perky performance.

Chestnut, Williams and White brings a fresh approach with the lively rendition of "I Cover The Waterfront" while the extended treatment of "My Romance" that reflects attention to touch and tonal qualities and his orchestral approach to the piano on a hauntingly beautiful performance. This recording closes with the trio taking off on the Gigi Gyrce classic "Minority, a hard bop performance of irresistible drive and swing. ""Natural Essence" is a superb recording that provides more evidence of Cyrus Chestnut's stature of one of today's premier jazz pianists.

I received a review copy from the record company. This review originally appeared in the July-August 2016 Jazz & Blues Report (Issue 367).  Here is this master doing "Swing Low, Sweet Chariot."

 

DOC CHEATHAM AND SAMMY PRICE - DOC & SAMMY

DOC CHEATHAM AND SAMMY PRICE  
DOC & SAMMY
SACKVILLE 3013 

Sackville has followed their wonderful Jay McShann and 'Buddy Tate duet album with another duet recording of two older jazz stylists. Sammy Price is one of the few true surviving boogie woogie pianists left, though his playing also incorporates some stride and swing elements. Doc Cheatham is representative of the blues-drenched trumpet stylings of the twenties. Together they do some wonderful earthy interpretations of traditional jazz staples like "Tishomingo Blues" and "Sheik of Araby." Fats Walter's "Ain't Misbehavin" and "Honeysuckle Rose" receive lively takes. The empathy of Price and Cheatham is quite high and they produce a most rewarding set for which we should be thankful to Sackville and Doc and Sammy for giving us. Here's hoping Sackville continues this series of traditional jazz stylists in duo settings. Incidentally the order of tunes on the record Iabel and jacket is erroneous though listening makes it clear which is "Summertime" and which is "The Sheik of Araby." 

I do not remember how I acquired this release back in 1978. Delmark has since acquired the Sackville catalog and I am not sure if the reissue program of Sackville has yet reached the two albums by the pair. The review appeared originally in the June 1978 Buffalo Jazz Report (Issue 52). Here is a video of a group led by Sammy Price that includes Doc Cheatham doing "One O'Clock Jump."

Ricardo Bacelar Concerto Para Moviola

Ricardo Bacelar
Concerto Para Moviola
Bacelar Produções

This new album by the Brazilian pianist, composer, and arranger Ricardo Bacelar, puts jazz fusion of the 1970s and 1980s in the spotlight as it documents a performance specially produced for the traditional Guaramiranga Jazz and Blues Festival, held annually in Guaramiranga, Brazil, during the renowned Carnival celebration. Recorded at the Via Sul Theatre, "Concerto para Moviola" showcases Bacelar’s deep fascination with ’70s and ’80s jazz fusion, as he is heard on a blend of analog synthesizers, Brazilian music, and acoustic piano with his band that included guitar, saxophones and flute, violin along with a rhythm section and percussion. Mixed in are classics from the jazz-fusion sphere from Joe Zawinul Pat Metheny and Bob Mintzer of the Yellowjackets, several jazz standards from Benny Golson and Horace Silver, along with several Brazilian gems from Jobim, Egberto Gismonti and Ivans Lins and several original compositions from the leader.

Its a pretty varied and lively program and Bacelar and his ensemble transverse his brief lively warm-up number "Cordillera," which leads into a driving rendition of the Weather Report classic "Birdland." Benny Golson's classic "Killer Joe," employs Quincy Jones' arrangement and receives a funky reworking with Marcio Resende ripping a hot tenor sax solo.There is a dreamy feel to the treatment of Metheny's "So May It Secretly Begin," which is followed by the strident Mintzer composed "March Majestic," with some bluesy tenor followed by the soft fusion take on Michel Legrand's "The Windmills of Your Mind" with Resende almost whispering on the sax while Marcus Vinicius Cardoso's violin is quite striking, and is followed by an intriguing "Senor Blues," with percolating percussion on an adaptation of David Sanborn's arrangement.

"Moviola" is a lovely original named after an cinema editing machine and has a lovely waltz-like feel. Several Brazilian classics include the somber rendition of the Buarque-Jobin "Sabiá"; the lovely Gismonti-Carneiro composition "Palhaço," with lovely violin as well as piano; the breezy "Setembro" from Ivan Lins/Vitor Martins/Gilson Peranzzetta; and "Água de Beber," one of the greatest of all of Jobim's songs (co-written with Vinicius de Moraes) with marvelous flute and violin along with the crisp, bouncy ensemble playing. Bacelar's "Apartheid Blues," is a nice blues interpretation with guitarist Ronaldo Pessoa takes off on a blues-rock solo that suggests John Scofeld before Bacelar adds his own jazzy take on the blues.

Chick Corea influenced Bacelar and an energetic take on Corea's "Blues Miles" closes this document of one night's performance with Bacelar on electric piano and solos from Resende and Pessoa. It concludes a live recording mixing a variety of material with a certain freshness in approach and performance.

I received my review copy from a publicist. This review originally appeared in the July-August jazz & Blues Report (Issue 367). Here is "Killer Joe" from this performance.

JJ Thames Raw Sugar

JJ Thames
Raw Sugar
DeChamp Records

JJ Thames impressed on her debut recording "Tell You What I Know," where the Jackson Mississippi based vocalist impressed "as a singer who certainly can belt out a vocal, but displays a nuanced vocal approach and admirable vocal dynamics." "Raw Sugar," produced by Guitarist Eddie Cotton who also co-wrote the songs here (with one exception), is another recording that hopefully will get her better known among blues audiences.

Thames may have formal vocal training but her delivery here as on the earlier recording shows how natural she sounds starting with the opening gospel lament "Oh Lord" (that she penned herself) with Ben Hunter's mandolin and Cotton's guitar while the rollicking rock and roll of "Hattie Pearl" which comes across as a Ike and Tina styled rave-up. and followed by a brisk blues shuffle "I'm Leavin'," first thing in the morning as she has had enough of her man's lying and cheating with some nice idiomatic guitar from Cotton.

"Leftovers" is a southern soul gem in the vein of Barbara Carr with a nice vocal and illustrative of Cotton's production touches with the backing and keyboardist Darryl Sanford contributed to the arrangements. Another excellent track in this vein is the soulful ballad "Only Fool Was Me," while "Bad Man," takes us back in the alley with Cotton playing aggressively. The rest of "Raw Sugar" is equally interesting, making this another impressive recording by Ms. Thames.

I reeeived my review copy from a publicist. Here is JJ Thames in performance.

Bob Mintzer All L.A. Band

Bob Mintzer
All L.A. Band
Fuzzy Music

While perhaps best known for his tenure with the Yellowjackets, saxophonist-composer-arranger Bob Mintzer has been writing and leading big bands for some 40 years. His new album "All L.A. Band" on Fuzzy Records revisits ten of his compositions that he had written over the years. Drummer Peter Erskine produced this recording as well as anchored the rhythm section for this studio big band. Few of the band members are familiar to this listener and with few exceptions, the soloists are not identified.

There is a mix in material and grooves with several numbers having a definite Afro-Cuban slant, others a Basie-ite flavor and others a funk/R&B flavor. The mood is set with the tropical flavor of the lively opener "El Caborojeno," followed by a Count Basie Band styled "Havin' Some Fun," and then "Home Basie" with a mix of R&B and Basie swing with terrific blues-rooted tenor sax playing (and while I might suspect Mintzer of being the player here he refers to the soloist in the third person in the liner notes). "Ellis Island" is another Afro-Cuban laced number with striking interplay between brass and reeds and a strong baritone sax solo.

"New Rochelle" was originally composed for The Yellowjackets and later recorded by Mintzer's big band and again is a lively swinging number set against a back beat. Mintzer describes "Runferyerlife" as "a rhythm changes tune taken at a pretty good clip," and his notes imply he takes the tenor solo with his use of shorter percussive phrases to blend with the rhythm section. There is nice scoring of the horns also backing a suitably blustery trombone solo. After the relaxed fun of "Latin Dance" with its funky bass line, Mintzer revisits the aptly titled, "Slo Funk," which was originally written for Buddy Rich's Big Band years ago.

The closing "Tribute" is another Basie styled number dedicated to "Thad Lewis and all of the great musicians who came out of the Basie band." Nice piano from Russ Ferrante to set the tune and the rhythm of Edwin Livingston on bass and Peter Erskine is first-rate here as on this entire recording. There is plenty of wonderful playing on this recording enhanced by the arrangements and the lively compositions. Not only does this make for fine listening, but all the music was originally recorded for the MINTZER Big Band Essentials play-along app, for all instruments which is available at the App Store.

I received my review copy from a publicist. Here is a selection for you to sample this recording.

Roberto Fonseca ABUC

Roberto Fonseca
ABUC
Impulse!

Grammy nominated pianist Roberto Fonseca has been exploring and celebrating the music of his native Cuba for some time as a composer, producer, solo artist and collaborator with other Latin American music luminaries, bringing forth richly melodic compositions and recordings that capture the irrepressible Cuban sound and its rich musical history. His latest effort "ABUC" continues, and as the title is Cuba spelled backwards, this present effort might be said to "look backward at the evolution of Cuban jazz," with Fonseca writing or co-writing nearly all 14 of the tracks. "I wanted to review the Cuban music history - not only the styles that have influenced me most, but in a broader sense, so people could have a better idea of how the orchestras used to sound in those times." Its a wonderful mix of material with also Fonseca attempting to capture sound of music when audio technology was not so advanced.

Things start on a very hot note with Ray Bryant's "Cubano Chant" with the heat of the performance including a fiery solo from guest Trombone Shorty. "Afro Mambo" is just as raucous, with spirited vocal performances by Daymé Arocena and Carlos Calunga amid the orchestration. "The challenge was to make it sound like the orchestras from the 1940s and 1950s. We invited to EGREM one of the studio's oldest technicians, who really taught us how they recorded back in the day. ...It was really sonic time traveling!" Listening to this one might be forgiven for thinking that Fonseca spliced an older recording onto this performance. "Tumbao de la Unidad," with Eliades Ochoa on guitar and vocal, is Fonseca's call for unity among all cultures set at a much more relaxed tempo, and followed by "Contradanza del Espiritu," which opens with some morose violin before horns set a more stately feeling here with this listener be reminded of Dr. John's performance of "Litanie Des Saints" that was inspired by 18th century composer Louis Moreau Gottschalk. Fonseca's piano playing, and use of delay, reverb and other enhancements engenders an unusual feel here.

"Tierra Santa" tells the story of a musician from Santiago de Cuba who's invited to play in New Orleans, where he discovers an amazing wind ensemble playing in the streets. "He's awestruck, and he rapidly imagines home these melodies would sound with the Santiago conga rhythm." With the insistent, distinctive congas beat, it comes off almost as a blend Afro-Cuban jazz with Fela Kuti's funk and horns, and a highlight on this exceptional recording. "Family," inspired by memories of listening to the radio at home with his mother when he was a boy in the 1970s and the performance displays a fusion of musical styles with hot trumpet in the accompaniment.

Other noteworthy performances include "Soul Guardians," a melodious performance with an incorporation of a variety of influences, including rap, hip-hop and reggae-ton. The spirited "Asere Monina Bonco" has brilliant flute work from Policarpo "Polo" Tamayo, who passed away shortly after the album was finished along with some very impressive bass playing. The lovely bolero, "Después," has Mercedes Cortés Alfaro, Fonseca's mother, on vocals along with the brilliant Manuel "Guajiro" Mirabal on trumpet. Fonseca's brief solo piano reprise of "Cubano Chant," is the coda for the superb "ABUC." which is highly recommended to lovers of Afro-Cuban music and Latin jazz.

I received a download from a publicist for review purposes. Enjoy this a video for "Afro Mambo."

Joe Willie Wilkins & His King Biscuit Boys

 

Going back over issues of the Buffalo Jazz Report, which I wrote for in the mid to late 1970s, I came across the following review of the only full album issued under the late Joe Willie Wilkins' name. This recording unfortunately had limited release and even reviewer's copies are prized collector's items. I received a review copy from the distributor. This review appeared in the June 1978 issue (#52).

When I first put on Joe Willie Wilkins & His King Biscuit Boys (Adamo ADS 9507) I received a jolt. The opening "Mr. Downchild" and "Muddy Walter's "Sad Letter" (a great version) had all the power of Muddy's great recordings from the early fifties . Wilkins was Robert Lockwood's .successor as Sonny Boy Williamson's accompanist on the famed King Biscuit Time radio program. This album is his first lengthy exposure on wax and if there are occasional bum notes from the assorted accompanists don't let that deter you. Also, much of this album is from a live performance and if the sound isn't perfect, the music is funky and down home. A truly great record of blues that anyone into Muddy, the Wolf or others will dig. My choice for album of the month.

Here is "Mr. Downchild" from another live recording.