Chick Corea The Spanish Heart Band

Chick Corea
The Spanish Heart Band – Antidote
Concord Jazz

This new Chick Corea album with his new band is simply terrific. Corea's piano and keyboards are supported by his 8 piece band that includes flamenco guitarist Niño Josele; saxophonist/flutist Jorge Pardo; bassist Carlitos Del Puerto; trumpeter Michael Rodriguez; trombonist Steve Davis, drummer Marcus Gilmore; percussionist Luisito Quintero; and the fiery footwork of flamenco dancer Nino de los Reyes. Also heard is the great vocalist Rubén Blades and gifted singers Gayle Moran Corea and Maria Bianca.

Corea states that his "genetics are Italian but my heart is Spanish. I grew up with that music. This new band is a mix of all the wonderful and various aspects of my love and lifetime experience with these rhythms that have been such a big part of my musical heritage." It is a heritage that gets off with the volcanic opening title track with Blades joyfully singing as well as giving Josele and the horns a chance to solo. Corea himself dazzles on acoustic piano and electric keys, while the arrangement and layering of the horns, piano, and guitar add to the joyous fire here.

The music is so wonderfully played but the incorporation of the flamenco dance to open "Duende," a composition and performance of lyricism and passionate romanticism along with the interplay between Pardo's flute and the brass of Rodriguez and Steve Davis. Nino de los Reyes dancing is even more of a presence in "The Yellow Nimbus" that was initially written as a duet between Corea and Flamenco master Paco de Lucía, with the flurries of the dancer matched by Corea's piano and the responses from Josele's guitar.

"My Spanish Heart" was the title of one of Corea's most successful albums in addition to being a beautiful composition. It opens with an introductory vocal choir before Corea introduces it with stark chords as the performance builds in complexity including an enchanting Blades vocal with the horns providing a counterpoint. It is followed by a thrilling rendition of "Armando's Rhumba," with sterling solos by Davis, Pardo, Rodriguez, and Josele in addition to Corea's magnificent playing while comping for some percussive fireworks by Gilmore and Quintero.

Other performances include Paco de Lucía's "Zyryab" with its Spanish and Middle Eastern influences; the smoldering heat in the rendition of Jobim's "Desafinado" with Maria Bianca's heartfelt vocal; Corea's captivating solo piano arrangement of "Pas de Deux" from Stravinsky's ballet "The Fairy's Kiss" that weaves into Corea's original "Admiration." This fabulous recording will undoubtedly on many Best of 2019 lists.

I received a review copy from a publicist. This review originally appeared in the July-August 2019 Jazz & Blues Report (Issue 385).  Here is Chick Corea and the Spanish Heart Band at the 2019 North Sea Jazz Festival.

Christone "Kingfish" Ingram

Christone "Kingfish" Ingram
Kingfish
Alligator Records

This CD is Christone "Kingfish" Ingram's long-awaited debut. Called a rising prodigy by NPR music and endorsed by Buddy Guy, Kingfish has been playing to blues audiences for most of his young life. Videos and youtube and performances have led to hype about him. Tom Hambridge produced this debut and plays drums on most selections, with Bob McNelly adding guitar and Tommy McDonald on bass. Others playing on this include Marty Sammon on keyboards, Buddy Guy on guitar and vocals, Keb 'Mo on guitar and vocals and Billy Branch on harmonica. Tom Hambridge was involved in writing most of the 12 songs, many in collaboration with Ingram and others with Richard Fleming. One song is a collaboration between Ingram and Jontavious Willis.

At the outset, Ingram is a terrific guitarist with a heavy blues-rock pull out all the stops on most of the electric tracks on this. I really don't enjoy his guitar fireworks as much as I do his singing. He is an outstanding vocalist with plenty of warmth and expressiveness with an unforced delivery. So even if the opening "Outside of This Town," is a bit heavy musically, his singing knocks out. It is followed by a terrific duet with Buddy Guy with another excellent vocal and some of his best electric blues guitar here who is not overshadowed by Guy who is in fine form here.

Billy Branch adds harmonica while Ken 'Mo also is on guitar on the driving "If You Love Me," with an energetic guitar break followed by Branch's solo. "Listen" is a duet with Keb 'Mo and a pop-blues in the vein of Keb 'Mo's music with the backing more restrained. "Believe These Blues" has some of his more interesting guitar solos with exciting twists and turns urns along with his effective use of tonal dynamics. "Trouble" is a rocking number set against a New Orleans second-line groove.

"Been Here Before" is one of the acoustic blues here, with remembrances of his grandma singing and Ingram not sure how he became the way he is. Again he sings the lyrics with clarity and feeling. "Hard Times" is a traditional sounding acoustic blues with Ingram's vocal backed by Keb 'Mo's adept Resonator slide guitar. The closing "That's Fine By Me" is a heartfelt blues ballad that is evocative of some classic Chuck Willis with an excellent piano solo in addition to effective blistering guitar.

I do not deny he is an excellent guitarist, just not to my taste. Christone 'Kingfish' Ingram is a superb blue singer and with strong songs (and one reason I may view the songs so highly is because of how good a singer he is) and the firm support and production, "Kingfish" is a terrific recording, not merely an excellent debut.

I received my review copy from Alligator Records. This review appeared in the July-August 2019 Jazz & Blues Report (Issue 385). Here is a video for "Outside of This Town."

David Finck BASSically Jazz

David Finck
BASSically Jazz
Burton Avenue Music

James Gavin writes about bassist David Finck, that he "may be the most versatile bassist in or out of jazz, fluent in the musical languages of Dizzy Gillespie, André Previn, Rosemary Clooney, George Michael, Phil Woods, Kenny Rankin, Hank Jones, Paquito D'Rivera, Ivan Lins, and Sheila Jordan, to name just a few of the stars on his resume." in his 40 years performing, he has explored and developed a remarkable voice on the bass.

This is his third album as a leader and puts his playing in full displaying with its full sound and his passion for melody and songwriting. He is joined on this recording by Joe Locke on vibes; Jim Ridl on piano; Cliff Almond on drums; Ali Ryerson on flute; Bob Mann on Guitar; Kevin Winard on percussion; and Mike Davis on trombone. Linda Ever and Alexis Cole are guest vocalists.

The embrace of melody is captured on "Old Devil Moon," that features Joe Locke's shimmering vibes, Ridl's tasteful piano and the graceful touch of Almond. Finck bass provides an anchor for a buoyant performance. Finck's bass kicks off the brisk pace of "The Song Is You." Ridl's crisp, rolling solo leads into a brief solo by Locke before Finck showcases his touch, tone and drive on several choruses. These selections also exhibit the marvelous ensemble playing that is present throughout the CD.

Guitarist Mann, with his nylon string guitar, is added to the captivating interpretation of the bossa nova classic "O Barquinho." Finck actually played "The Summer Knows" with its composer Michel Legrand and later with Broadway's Linda Eder who sings the lovely version here. Finck plays an atmospheric bowed bass solo here. "When I Look Into Your Eyes," from the movie "Dr. Doolittle," also showcases Finck's captivating Arco bass playing. His strong Pizzicato bass technique is showcased on "Alfie." Alexis Cole, the other guest vocalist, is featured on Finck's "I Love You So" where she ably handles the unusual rhythms and changing keys. Her clean, melodious delivery is also showcased on Toots Thielemans classic "Bluesette," which features Ali Ryerson's flute along with a brief bass break.

Ridl and Locke both are excellent on the swinging rendition of John Coltrane's "Moments Notice." Finck also takes a robust solo chorus, and Almond adds a crisp drum solo. Trombonist Davis displays a gravelly melodicism on the interpretation of "Tuyo (Theme From Narcos)" with Winard providing the breezy Latin rhythms. Finck even takes a vocal showcasing an attractive low-key style on the closing "All My Tomorrows."

"BASSically," provides David Finck with a showcase of his complete command of the bass. With his marvelous ensemble and the melodic compositions, he has produced an exquisite recording.

I received my review copy from a publicist. This review appeared in the September-October 2019 Jazz & Blues Report (Issue 386). Here is a video of David Finck in 2006 playing "Blue Bossa" as part of The Great Jazz Trio with pianist Hank Jones.

 

Soul Message Band Soulful Days

Soul Message Band
Soulful Days
Delmark Records

While at the Chicago Blues Festival, a photographer-blues deejay I knew mentioned he was going to catch The Joel Paterson Trio in part because of organist Chris Foreman being part of the trio. I made sure to see a portion of their Festival set to see Foreman, one of the most outstanding Hammond B-3 players in the world. He did not fail to astonish. I was aware of Foreman from his playing as part of the Deep Blue Organ Trio on a Delmark album as well as his playing on a Red Holloway Delmark album. All these albums include drummer Greg Rockingham, and the other member of the Deep Blue Organ Trio is famed guitarist Bobby Broom. Other members of this band include guitarist Lee Rothenberg and Greg Ward on alto sax. Geof Bradford on tenor sax replaces Ward on two of the 9 performances, and both saxophones are heard on one track.

There is some spectacular music to be heard here starting with the strutting blues groove of Rothenberg's "Sir Charles," named for Barkley and then organist Earland. Ward displays a sharp bluesy tone, while Rothenberg shows his facility and taste in constructing his solo. Foreman quickly exhibits why he is among the top practitioners of the Hammond B-3 on the planet, Of course, Foreman and Rockingham have been playing so long together that one should not be surprised how tight the groove they lay down is.

The material range from the blues to hard bop and a standard tossed in. There is Cal Massey's reflective "These Are Soulful Days," with Bradford featured, a terrific rendition of Wayne Shorter's hard bop classic from his Art Blakey days, "Hammer Head," with both saxophones heard with the band's feel evoking Jimmy Smith's classic album "The Sermon." In fact, there is a rousing rendition of Smith's hot blues, "J.O.S." from that album. If not possessing a heavy vibrato like Ben Webster, Bradford is marvelous on a reflective performance of Rodgers and Hart "Little Girl Blue."

A rendition of Freddie Hubbard's "Thermo," another song first done by Blakey and the Jazz Messengers. Ward leads off with sparks flying before Foreman takes over with his deep-fried organ grease. It is a marvelous close to this terrific album.

I received my review copy from Delmark. This review appeared in the July-August 2019 Jazz & Blues Report (Issue 385). Here is a video of the Soul Message Band performing, and backing a vocalist Hinda Hoffman.

Toronzo Cannon
The Preacher, The Politician and The Pimp
Alligator Records

This is the Toronzo Cannon's fifth album, second for Alligator, and brings more of searing guitar, intense vocals and intriguing original songs. His lyrics arise from today's headlines, his experiences as a veteran bus driver in Chicago as well as the wisdom of his grandparents, who raised him and often have stories that make for compelling listening. On this release he is supported by Roosevelt Purifoy on keyboards, Marvin Little on bass and Melvin 'Pooky Styx" Carlisle on drums. There are also appearances by Norma Jean on vocals, Billy Branch on harmonica, Joanna Connor on slide guitar, Lynne Jordan, Cedric Chaney and Maria Luz Carball on vocals, and horns arranged by trumpeter Joe Clark.

He writes lyrics that lay bare the similarities between "The Preacher, The Politician and The Pimp," or the humor-filled stories of male braggadocio on "Stop Me When I'm Lying." The former number is taken at a nice relaxed pace while the latter is an exuberant performance with a New Orleans groove and punchy horns. "The Chicago Way," mixes a ZZ Top rocking boogie groove with stop-time and hot single note runs as Cannon sings about breaking the rules, paying his dues and that he will play his blues without an apology, the Chicago Way. He blasts off on this song with a closing guitar solo. There is also a rollicking duet with Nora Jean "That's What I Love About 'Cha." After each noting the other's shortcomings, they also know that the other is "mine all mine."

Then there is the black humor of "Insurance" with lyrics about dealing with doctors and insurance that many will be able to relate to. Alligator's chief honcho, Bruce Iglauer, makes a brief cameo as a doctor while Billy Branch adds his harmonica on this performance. "She Loved Me (Again)" is an original about domestic abuse. In it, Toronzo couldn't take a man beating his woman anymore, and he shot the man. When the cops burst in, she had Toronzo's gun in her hand and said she was the one that shot that man. Cannon's intense singing, and blistering, scorching guitar playing result in perhaps the CD's most compelling performance.

"She Loved Me (Again)" is followed by "The Silence of Friends." This is another message song in which Toronzo observes that too often when wrong things are said or done, 'friends' are silent and not supportive. The closing number, "I'm Not Scared," is sung by Lynne Jordan, Cedric Chaney, and Maria Luz Carball, who sing about no longer being victims, whether from taking abuse from a lover or taking abuse for being gay. Joanna Connor adds slide guitar while Cannon's uses wah-wah and other her effects. After a searing guitar solo, this song, and album ends with Purifoy's reflective piano solo.

Toronzo Cannon follows his inspiration and does things his own way, the Chicago Way. He continues to mature as a songwriter as well as a performer. The result is a compelling, superlative blues recording.

I received my review copy from Alligator. This will be available on September 20.  This review appeared in the September-October 2019 Jazz & Blues Report (Issue 386).  Here is Toronzo performing at the 2019 Chicago Blues Festival.

The Dave Wilson Quartet One Night at Chris'

The Dave Wilson Quartet
One Night at Chris'
Dave Wilson Music

This is the fifth release of The Dave Wilson Quartet, recorded live at the famous Chris' Jazz Cafe 'in Philadelphia, PA in March of 2018. The quartet, comprised of Wilson on Tenor and Soprano Saxophones; Kirk Reese on Piano; Tony Marino on Acoustic Bass; and Dan Monaghan on Drums are heard playing four Wilson originals and six re-arrangements by/of pop/rock favorites. As noted in the publicity materials, this recording is a document of one evening of music recorded live, no overdubs, no second takes and with all the nuances, surprises and magic known as Jazz. Wilson studied with Bill Barron, although he fell under John Coltrane's spell as a teenager. Dexter Gordon is another influence on this along with some of the jam bands for this Lancaster, Pennsylvania resident.

"One Night at Chris'" opens with the swinging boogaloo of "Ocean Blues," where Wilson displays his authority playing over the tenor saxophone's entire range as the backing trio help drive this performance with pianist also taking a solo that shows his chops and melodic invention. Reese's brisk, liquid piano opens the interpretation of the Grateful Dead's "Friend of the Devil" (arranged by Wilson), although Wilson's soprano saxophone's squeaky tone makes this less appealing despite his serpentine improvisation and the excellent backing with Monaghan taking a crisp solo. More satisfying is the rendition of the Beatles' "Norwegian Wood" based on Herbie Hancock's arrangement. There is both robustness as well as his warmth on this lovely performance with exquisite backing by the rhythm section with bassist Marino taking a solo.

I am not familiar with Creed's original of "My Own Prison," but Wilson's performance provides an appealing gutbucket tone. Then there is Wilson's "Movin' On," with an unusual time signature (12/8) and some brawny, sinuous tenor sax along with Reese's surging lines. I find the soprano sax playing a bit more appealing on Brian Wilson's "God Only Knows," with Monaghan laying down an easy swinging pulse. "Untitled Modal Tune," is a burning number with Reese playing vigorously in a McCoy Tyner vein before Wilson wails on tenor here. Wilson lends an Afro-Cuban flavor to a superb performance of "Summertime," with some free blowing at times, crisp piano and some sparks in a spirited drum solo.

Then there is a spirited "Spiral," the title track of a previous Wilson album, with animated piano from Reese, burly tenor sax from the leader and a driving, pulsating groove. As Bill Milkowski concludes, "The crackling intensity of One Night at Chris' is a testament to what can happen on the bandstand on any given night. And this was a particularly good night indeed." The result is this excellent live recording.

I received my review copy from a publicist. This review appeared in the July-August 2019 Jazz & Blues Report (Issue 385). Here is a video of The Dave Wilson Quartet performing"Ocean Blues."

Rick Estrin & The Nightcats Contemporary

Rick Estrin & The Nightcats
Contemporary
Alligator Records

If one counts the nine albums when Little Charlie Baty led the Nightcats, this is the fourteenth album by the tight West Coast ensemble. It is the fifth since Rick Estrin took over leadership after Baty retired from touring. With Christoffer "Kid" Andersen on guitar (who also doubles on bass and others instruments), Lorenzo Farrell on keyboards and Derrick "D'Mar" Martin on drums, the Nightcats remain one of the tightest blues bands going. Others heard on this recording include Alex Pettersen on drums; Quantae Johnson on bass and background vocals; Lisa Leuschner Andersen on background Vocals; Jim Pugh on organ and The Sons Of The Soul Revivers on background vocals. This was recorded at Andersen's Greaseland Studios.

Rick Estrin wrote nine of the twelve tracks, Andersen and Farrell one each and there is one 'obscure' cover. Besides being one of today's t blues harmonica players, Estrin is among the blues finest songwriters. His songs are usually laced with ironic humor, and sometimes biting commentary, and one has a combination hard to beat. Estrin wrote nine of the twelve tracks, Andersen and Farrell one each and there is one 'obscure' cover. Nothing showcases the ironic humor and his commentary better than "Root of Evil." On this song, Estrin asks if money is the root of all evil, what does one call being broke. It is a typically well-played, well-paced performance with a thoughtful unamplified harp solo and a short Farrell solo. The title track starts as a brisk shuffle blues as Estrin sings about the blues not going out of style. It morphs into Estrin's humorous escape into making his music 'contemporary.' Andersen adds a chorus of blues-rock guitar, even having a rap from D'Mar Martin thrown in with a jam band freakout.

Estrin always seems to find himself in strange relationships as in "She's Nuts." On this performance, he has a superb harmonica solo in the vein of Rice "Sonny Boy Williamson' Miller.  Elsewhere, he sings about the older man with his young lover who has her hands in his pocket in "Nothing But Love," the one cover. He has a superb amplified harp solo with swooping saxophone-like lines as Andersen provides subtle backing. There is the soulful blues "New Shape (Remembering Junior Parker)" with a harp solo that evokes the legendary blues giant.

Estrin is also not afraid to showcase the band as on Andersen's instrumental "House of Grease" which sounds inspired by Freddie King performing "Big Legged Woman." Besides Andersen's excellent playing, Farrell has a tasty piano solo. Farrell wrote the jazzy instrumental "Cupcakin'," a jazzy instrumental with Andersen's fleet, jazz-inflected playing complementing Farrell's organ grooves. Estrin also adds his own wide-open harp. Estrin's "Bo Dee's Bounce," is a lively instrumental that showcases Estrin's driving harmonica with Andersen taking a short, imaginative guitar break. It closes another terrific recording by Rick Estrin & The Nightcats, full of excellent material and superb playing.

I received my review copy from Alligator. This will be available on September 20. Here is a video of a recent performance by Rick Estrin & the Nightcats.

Shawn Purcell Symmetricity

Shawn Purcell
Symmetricity
Armored Records

While originally from Pittsburgh, guitarist-composer-arranger-educator  Shawn Purcell currently is based in Washington DC area after having spent over 15 years as a member of various big bands of the Armed Forces in Washington DC. From 1996-2004, Purcell was the guitarist in the US Air Force premier jazz ensemble. Shawn currently is the guitarist with the Washington DC-based US Navy Band "Commodores" jazz ensemble, The Airmen of Note. He currently serves as an adjunct professor of jazz studies at George Mason University.

His musical influences include guitarists Pat Martino, Grant Green, Mike Stern, John Scofield, Pat Metheny, and Peter Bernstein, as well as Clifford Brown and Freddie Hubbard. Purcell has shared the stage, recorded with, and toured with top jazz artists including Terell Stafford, Nicholas Payton, Tim Warfield, Sean Jones, The Chicago Jazz Ensemble, The Metropolitan Jazz Orchestra, and many others. He has played at such venues as Blues Alley, Smalls, The Jazz Kitchen, The Blue Wisp, The Jazz Factory, and Club Bonafide and can be heard on nearly 30 recordings. "Symmetricity" is his first album as a leader and is supported by a dynamic rhythm section of pianist Todd Simon, bassist Regan Brough, and drummer Stockton Helbing. There also are notable performances by guests, vocalist Darden Purcell and tenor saxophonist Luis Hernandez.

Purcell has put together a tight, swinging backing group who mark their presence felt backing him on the opening "Swirl." Purcell, at first comes off displaying a bright, clean tone in the manner of a Wes Montgomery, and playing a unison chorus with saxophonist Hernandez. Hernandez exhibits a robust sound soloing before Purcell takes his solo. Purcell employs some tonal effects as he takes a blistering solo with the band helping build the performance's intensity. The pace lightens on the light swing of "Steady Comin' At Ya." Bassist Brough is featured after Purcell's clean lines with Helbing on brushes before Simon's solo. Purcell brings some heat for the latter portion of this performance. Purcell again makes use of a somewhat distorted tone to build horn-like lines on the funky musical delight, "Red Velvet Cake." With Darden Parcell's wordless vocalizing and Purcell's lovely single-note playing, "A Bela (For Darden)" in a very alluring performance. "Symmetricity in the Linear Evolution" is a straight-ahead groover. Purcell's subtle use of tonal effects here lend a  horn-like flavor to his playing to go with Hernandez's robust tenor sax solo.

The remainder of this CD is equally appealing whether the light swing of the lovely "You, and You Alone," the sonic explorations of "Missed It By an Inch," and a salute to a jazz legend, "'Trane-ing Wheels." This latter number sounds like a most imaginative contrafact to "Giant Steps." Then there is a sublime reading of the Van Heusen-Burke standard, "Here Comes That Rainy Day." The closing selection, "Norm's View" includes Darden Purcell's wordless vocalizing as additional voices with Simon's electric piano on a mix of electronics and straight-ahead playing.

Guitarists Pat Martino, Peter Bernstein, and Dave Stryker have expressed considerable praise for Shawn Purcell. To quote Bernstein, "Shawn Purcell shows his mastery and maturity as player and composer of the highest level." Indeed this recording merits these praises. Shawn Purcell's compositions and arrangements are as stimulating as his thoughtful, imaginative, and ardent guitar playing. With his terrific band, "Symmetricity" is Purcell's outstanding, if long overdue, debut.

I received a review copy from a publicist. Here is a performance by Shawn Purcell of "Darn That Dream."

 

Johnny Hodges - A Short Playlist

Yesterday I reviewed Con Chapman's excellent new biography of Johnny Hodges, Rabbit Blues. Today I thought it would be useful to present a small selection of his music to complement this book. One example is slow bluesy playing on I Got It Bad and that Ain´t Good, with Duke Ellington.

Hodges made so many classics with Duke Ellington from the twenties until his passing and one of my favorites is Rockabye River, as much as for the orchestration as Hodges' blues-infused solo.

There was something magical when Hodges recorded some of Billy Strayhorn's compositions. This performance of Ishafan is from the time Hodges had left Ellington and was on his own.

During his period touring with Jazz at the Philharmonic, Norman Granz got him in the studio with Benny Carter and Charlie Parker. The blues provided a common ground and the three along with Ben Webster, Charlie Shavers and others can be heard on Funky Blues. Hodges solos first, then Parker and then Carter.

We continue with Come Sunday from Duke Ellington's First Concert of Sacred Music.

We close this brief playlist with a Johnny Hodges medley from Duke Ellington's 1947 Carnegie Hall Concert.

Rabbit's Blues: The Life and Music of Johnny Hodges

Rabbit's Blues: The Life and Music of Johnny Hodges
Con Chapman
Oxford University Press
New York: Oxford University Press: 232 pages

Nearly fifty years after he passed away, we finally have a full biography of Johnny Hodges. Hodges was arguably the premier alto saxophonist before Charlie Parker. Perhaps it was his close association with Duke Ellington that underscored the absence of a full biography. After all, his musical career was so intertwined with that of Ellington. Also, he was a taciturn person who sought to keep his private life private and was also a person of few words. With this background, we can appreciate Con Chapman's efforts to detail Hodges' life and music.

Chapman has written a straightforward account of the great saxophonists life and his music as he straightens out some facts about his life. In the Prologue, he notes that the first name by which he is known does not appear on his birth certificate and his given name does not appear on his death certificate. While his birth year is cited as 1906, his birth certificate shows he was born in 1907, and he provides several cases where wrong information is given about him. Other misconceptions are corrected here as well as telling Hodges story.

Chapman first examines Hodges roots, tracing his parents back to Virginia before they moved to the Boston area. His family was a musical one, but his attraction to the saxophone was because he found this one soprano saxophone in a store window "looked so pretty." He details Hodges education on the saxophone that included a few lessons from teachers and other players. Sidney Bechet was a significant influence whom he met when Bechet was in a show in Boston. Also, he learned from listening to records, and he gained experience playing with local artists in Boston as well as travel to New York.

In New York, he scuffled playing in dance clubs and jam sessions, before playing with Bechet at a club the New Orleans artist-owned. Eventually, Willie 'The Lion' Smith took over the band, and at some point, he joined Chick Webb's band, which became established at the new Savoy Ballroom. At some point, Otto Hardwick, who played alto, soprano and baritone saxophones with Duke, was injured in a taxicab accident and Ellington sought Hodges to replace him. Ellington has twice before asked Hodges but was rebuffed, but it was Webb who convinced Hodges this time, telling him it would be better for him in the long-time. So began an association that would last, with one significant interruption, until Hodge's death.

A good portion of the book, of course, is concerned with Hodges' time with Duke. This includes discussing some of the recordings, and live performances Hodges had while with the Duke. There is also discussion of small group recordings Hodges made with members of the Ellington Orchestra, and with non-Ellington small groups including accompanying vocalists such as Billie Holiday and Mildred Bailey. There is also the relationship he had with Billy Strayhorn and other members of the Orchestra including his fellow Bostonian, Harry Carney, and tenor saxophonist Ben Webster who was influenced by Hodges sound and approach to ballads, blues and more.

Chapman explains the factors causing Hodges to leave Ellington Orchestra, going out on as a leader and featured star performing and recording. Chapman details Hodges participation with Jazz at the Philharmonic and an association with Lawrence Welk. Chapman also notes the circumstances leading to Hodges return to the Ellington orchestra with whom he would remain with for the rest of his life. There are also chapters devoted to Hodges' very distinctive 'Tone,' his rivalry with other alto saxophonists, especially Benny Carter, "The Blues" which was always a significant part of his sound and repertoire, and finally a consideration of Johnny Hodges' legacy in Jazz.

In discussing Hodges music, Chapman does not employ technical musical examples in discussing Hodges playing, but his descriptions help bring his music to life in words as best as one can. A biography of Johnny Hodges has been long overdue and Chapman, not merely has filled a hole in the jazz literature, but provided a thoroughly researched, literate, and engaging biography. In addition to telling Johnny Hodges story, it details Hodges legacy and accomplishments as one of the most influential saxophonists in the history of Jazz.  I note that my advance copy did not include photos or an index. These will be in the actual published book.

I received my copy from a publicist. Tomorrow I will post a short Johnny Hodges playlist.

Mark Morganelli & the Jazz Forum All Stars Brasil!

Mark Morganelli & the Jazz Forum All Stars
Brasil!
Jazz Forum Records

This double CD album was recorded at the Tarrytown, NY club, The Jazz Forum, that trumpet and flugelhorn master Morganelli has been operating for a couple of years. Morganelli has been listening for 40 odd years to Brazil and its music. On this salute to Brazil and its music, Morganelli is backed by a band that includes Abelita Mateus on acoustic and Fender Rhodes piano and vocals; Eddie Monteiro on Midi-Accordion and vocals; Monika Oliveira on vocals; Nilson Matta on bass; Adriano Santos on drums; Nanny Assis on percussion, guitar and vocals and Carlos Barbosa-Lima on guitar.

The 27 tracks on the two discs contain an hour and 48 minutes of renditions of songs, some familiar and others new to listeners. Among the composers here are Antonio Carlos Jobim, Vinicius Morales, Baden Powell, Ivan Lins, Claudio Roditi, Joao Donato, Luiz Bonfa, and Ary Barroso. Jobim is the most represented composer with 18 of the selections composed in whole or in part by him.

Jobim-Moraes' "Amor Em Paz" opens this marvelous celebration of Brazilian music with a breezy groove and Morganelli's melodious flugelhorn and inspired improvisation that is followed by Monteiro's accordion sounding like a Hammond B-3. Baden Powell's brisk "Deixa" introduces us to vocalist Oliveira whose approach contrasts with the softer approach, whispery style of Astrud Gilberto. After a crisp Morganelli solo, Mateus improvises over several inspired choruses. One of the most familiar compositions here will be "Desafinado." It opens with lovely guitar from Assis before the leader's lyrical improvisation. Morganelli's favorite Jobim tune is "Chovendo Na Roseira," with its jazz waltz feel and another vocal from Oliveira with Monteiro's midi-Accordion evoking the Toots Thielemans' harmonica.

There are so many impressive performances including Monteiro's vocal on Ivan Lins' "Velas Icadas," and Morganelli's take on Claudio Roditi's "Rua Dona Margarida," which he produced years ago. One would have to check the pulse of anyone not moving in some way to "So Danco Samba." Is it Mateus' Fender Rhodes that takes a vibes-sounding solo, while Morganelli quotes "Takes the A Train" during this track. Then there is "A Ra" by Joao Donato and Caetano Buarque with an infectious rhythm and bright solos from the leader and Mateus on Fender Rhodes to accompany Monteiro's vocal (and a sympathetic vocal chorus).

"A Felicidade" by Jobim and Moraes opens the second disc with its samba groove and the leader's bright melodicism. Nanny Assis takes the vocal on Jobim's "Este Seu Olhar," with Morganelli's lyricism and Assis' soft vocal delivery supported by Carlos Barbosa-Lima's charming guitar. "Corcovado" is a jazz standard known in English as "Quiet Nights of Quiet Stars." Morganelli's flugelhorn has a haunting beauty here with Mateus sublime on piano. Then there is the delight of "Samba de Verae" that some may know from organist Walter Wanderly's recording. Morganelli's improvisation here goes beyond melodic embellishments. Oliveira's loveliest vocal may be on her enchanting, wistful rendition of Jobim's "Dindi."

"Mas Que Nada,"  will be familiar from Sergio Mendes and spotlights Oliveira's spirited vocal. It is followed by a medley of a couple of Luis Bonfa compositions from the film "Black Orpheus," Manha de Carnival/ Samba de Orfeu." A wordless chorus is featured in the first number in addition to the leader's mid-range melodicism. It segues into a lively samba with Monteiro again emulating an organ on the Midi-Accordion. Santos solos crisply on this.

An infectious interpretation of "Aquarela do Brasil" (known as "Brazil") may evoke Carmen Miranda and closes this release with a vibrant mood. It concludes a varied, superbly played, and enthralling salute to the music of Brazil by Mark Morganelli and associates.

I received my review copy from a publicist.  This review appeared in the July-August 2019 Jazz & Blues Report (Issue 385) to which I made some stylistic changes for clarity.  Here is a video from this year's CD release party for this recording.

 

Seth MacFarlane Once in A While

Seth MacFarlane
Once in A While
Verve/ Republic

Seth MacFarlane is best known as the person behind TV's "Family Guy." Besides being a very funny person and a master of many voices, he is a crooner of quite some ability. This album was recorded at a marathon 2016 session at London's legendary Abbey Road Studio 2, the room in which the Beatles cut the majority of their catalog. The session produced his prior album "Full Swing," described as "hard-charging big band swing" as well as material for another, future record. Unlike the hard swing of the prior release, the press release states that "the thirteen songs on this album are all ballads that MacFarlane says 'deal with longing, lost love, and sadness, infused with fond recollection and a hint of hope.'"

Songs on this include compositions by such masters as Irving Berlin, Rogers, and Hart, and Johnny Mercer, with MacFarlane digging deep into their songbooks. The tracks were recorded live in the studio by the hand-picked "Dream Town Orchestra." MacFarlane added his vocals over the last year. Arranger Andrew Coffee states that "They're not necessarily sad break-up songs. They're more reflective, thoughtful, even philosophical, but they're not all torch songs."

A full album of ballads sung wonderfully against lush, scrumptious orchestrations is a bit much for this person to enjoy in a straight sitting. And let me be clear, Seth MacFarlane is a wonderful vocalist, singing with a warm, baritone with clarity and nuance with care about the lyrics whether the opening "Half As Lovely (Twice As Full)" with lovely trumpet punctuating the backing or the romanticism and nostalgia of "I Remember You" despite the syrupy strings. The reeds harken the beginning of "They Say It's Wonderful," with the celebration of being in love. Then there is his sober rendition of the classic lounge song "The Party Is Over," and a lovely "You Are Too Beautiful."

Listening to this, I am thinking of sampling "Full Swing," which I likely will enjoy more than as a whole album. I would find it hard to fault any specific performance here. MacFarlane is a first-rate crooner, and the accompaniments are superlative in their fashion. Rather than being a hard-swinging recording in the manner of Sinatra, we have a fine recording of pop vocals that make for easy listening.

I received a download to review from a publicist. Here is Seth MarcFarlane singing.

 

The Duke Robillard Band Ear Worms

The Duke Robillard Band
Ear Worms
Stony Plain

About "Ear Worms," his latest recording Duke Robillard states "“Ear Worms was conceived as an album of songs that I heard and was attracted to growing up. They are not of one particular genre or style, but rather songs I heard in my pre-teens to my later teens." The term 'ear worms' itself refers to "a song you can’t get out of your head because you love it so much, or it can also be a mundane piece of drivel that haunts you like a bad dream." Besides find some choice gems, he also has contributed some originals.

Backing Duke and his guitar is his long-term band of Bruce Bears on keyboards, Brad Hellen on bass and Mark Teixeira on drums. Robillard, Bears, and Teixeira each sing one vocal apiece, with guests Dave Howard, Julie Grant, Sunny Crownover, Chris Cole, Mark Cutler, and Klem Klimek, handling the remaining vocals. Duke himself observes he only sings one tune here as his voice has been giving him trouble. A variety of players add their instrumental talents to various tracks. This is a fun, wonderfully played recording with the liner booklets including Duke's comments on each song.

"Don't Bother Trying To Steal Her Love" opens this recording with Dave Holland ably handling the vocal. On this Duke channels Ike Turner a little in his rock and roll solo, Duke's only vocal is on the Gerry Goffin and Carole King penned "On This Side Of Goodbye," which he derives from an Eric Burdon recording. It is Baxter Hall doing the guitar rave-up. "Living With The Animals" was the title of an album by Mother Earth with Duke sounding like B.B. King backing Chris Cote's vocal. Duke's instrumental take on "Careless Love," that he opens focusing on the low strings with reverb and tremolo in Duane Eddy's style before moving to his own style with Bears taking a taut solo and the band striking a nice shuffle groove for all the swing dancers. Other instrumentals include his relaxed, trebly rendition of Arthur Alexander's"Soldier of Love," and the burn the town down cover of Link Wray's "Rawhide."

Arthur Alexander's "Everyday I Have To Cry Some" may be most familiar from Dusty Springfield's recording, but was also recorded by another British singer Julie Grant, who Duke met as a booking agent for Connecticut casinos and then discovered her history. She reprises her recording with Sunny Crownover adding her vocal here with terrific backing. Crownover does a marvelous job reworking Brenda Lee's hit, "Sweet Nothin's." Klem Klimek sounds like Levon Helm on Chuck Berry's "Dear Dad," on which one can almost imagine Duke doing a duck walk. Bruce Bears sings a nice rendition of Lee Dorsey's "Yes We Can" while Teixeira does the same on The Neville's "Yellow Moon." These are marvelously played covers of the New Orleans music classics.

A lovely, jazzy instrumental treatment of "You Belong to Me," brings this thoroughly engaging release to a close. I am sure I am not the only one who will have some 'ear worms' from the performances here.

I received my review copy from a publicist. This review appeared in the May-June 2019 Jazz & Blues Report (Issue 384) although I have made stylistic revisions. Here is a recent performance of Duke Robillard doing a Tom Waits song.

 

Take 5 with Cab Calloway

A video of Cab Calloway and His Big Band featuring the Nicholas Brothers from the legendary movie Stormy Weather recently was the subject of several posts on Facebook. While a good portion of the reaction focused on the incredible dance routine of the two brothers, one which Fred Astaire is reported to have called the greatest dance sequence on film. The Nicholas Brothers are astonishing, but also one might overlook the terrific playing of Cab Calloway's big band along with some of the greatest scat singing on film. We kick off this salute to Cab Calloway with Jumpin' Jive.

He also recorded one of the most famous renditions of St. James Infirmary.

His band had some incredible musicians including tenor saxophonist Chu Berry, trumpeters Doc Cheatham and Dizzy Gillespie, bassist Milt Hinton, drummer Cozy Cole, and guitarist Danny Barker. Chu Berry and Dizzy Gillespie are featured on Boo-Wah Boo-Wah.

With the success of Minnie the Moocher, Cab became known as the Hi De Ho Man. Here is a 1934 film with some of his hits from that time.

Finally, here he is heard on the song he is most identified with, Minnie the Moocher. This is not his original recording but a classic one.

New Orleans Jazz Orchestra Songs - The Music of Allen Toussaint

New Orleans Jazz Orchestra
Songs - The Music of Allen Toussaint
Storyville

In recent years, stories about the New Orleans Jazz Orchestra centered on a scandal involving the conduct of its prior director. Now under the artistic direction of drummer Adonis Rose, this important musical institution returns from a three-year recording hiatus with this big band re-imagination of the music of the late New Orleans legendary pianist-songwriter-performer-producer Allen Toussaint. While Some of Toussaint songs have been subject to big band treatment (Joe Williams singing "Get Out of My Life Woman" with the Thad Jones-Mel Lewis Orchestra half-century ago), this is I believe the first such big band album dedicated to his music.

I am not familiar with many of the musicians here, but besides Rose, pianist Victor Atkins, tenor saxophonist Edward Petersen and trumpeter Ashlin Parker are names I know as well as vocalists Phillip Manuel and Gerald French. Dee Dee Bridgewater is a guest vocalist, and other guests appearing on this include Roderick Paulin on alto saxophone and Jamil Sharif on trumpet. Atkins provides detailed information on each selection and identifies those making specific contributions that will highlight musical voices to keep an eye on.

The big band arrangements here expand on the originals while retaining the spirit of Toussaint's music. Trombonist and vocalist Michael Watson delivers "Southern Nights" that opens as a Brass Brand number before segueing into the more familiar melody. Mike Esnault provided the arrangement, and it does sound like an uncredited tuba driving the bass line. Dee Dee Bridgewater, who suggested this project, sings wonderfully. Victor Atkins stately arrangement of Irma Thomas' hit "It's Raining," with a powerful, imaginative tenor saxophone solo from Ed Petersen. Ed Petersen provided the arrangement for the Lee Dorsey hit, "Working in the Coal Mine," building on the simple groove and chord structure with a group vocal segment and an outstanding alto saxophone solo from Jeronne Ansari. Another Irma Thomas hit, "Ruler of My Heart" places the spotlight on the band's wonderful lady vocalist Nayo Jones who injects her personality in the performance which goes from a ballad to a Latin-tinged second-line groove that takes the song out in Mitch Butler's arrangement.

Ashlin Parker's trumpet is spotlighted on "Java" that is based on Al Hirt's Grammy Award-winning recording with an ensemble trumpet solo based Hirt's playing on an Ed Sullivan show appearance. It is followed by "Gert Town," a non-Toussaint piece that is percussion-heavy, Mardi Gras Indian styled number sung and written by Gerald French. The gospel-tinged "With You In Mind" is performed as a marvelous duet between Phillip Manuel and Dee Dee Bridgewater with a punchy Emily Fredrickson arrangement with a marvelous alto saxophone solo. Another band original, "Zimple Street," was composed by Leon 'Kid Chocolate' Brown and arranged by Ed Petersen, and is a hard-swinging, blues with marvelous piano from Atkins, a hot trumpet solo and a spirited vocal from Brown.

"Tequila' might seem an odd choice to close this recording, but Toussaint did record it on a 1969 album. Here, against the familiar groove, tenor saxophonist Ricardo Pascal robustly solos followed by some robust tailgating trombone by Michael Watson with Victor Atkins laying down some Afro-Cuban rooted piano over the strong percussion. It closes a marvelously entertaining big band album that lets us know the only news the New Orleans Jazz Orchestra is now making is its terrific music.

I received my review copy from a publicist. This review appeared in the May-June 2019 Jazz & Blues Report (Issue 384).  Here is a teaser for this album.

Bill O'Connell and the Afro Caribbean Ensemble The Wind Off The Hudson

Bill O'Connell and the Afro Caribbean Ensemble
The Wind Off The Hudson
Savant Records

Bill O'Connell first big break in the New York scene came playing with Mongo Santamaria in 1977. Latin Jazz has always been a significant part of his musical world along with straight-ahead jazz over the past four decades. This newest release is in the Latin jazz vein with the Afro Caribbean Ensemble. Its members include Andrea Brachfeld – flute and alto flute; Craig Handy – alto sax and soprano sax; Ralph Bowen – tenor sax; Gary Smulyan – baritone sax, Alex Sipiagin – trumpet and flugelhorn; Conrad Herwig – trombone; Lincoln Goines – electric bass; Robby Ameen – drums; and Roman Diaz – congas.

With names like Handy, Smulyan, Sipiagin, and Herwig in this little big band, one's ears perk up. Add the leader's arrangements and own playing, and one has expectations for a fabulous recording. These expectations are met starting with the title track with its Afro-Cuban grooves and a charging, robust baritone solo from Smulyan against the percolating heated rhythms and the many-faceted orchestration of the horns followed by O'Connell's driving solo and Handy adding a short chorus. O'Connell's "Jerry's Blues" is a display in the integration of rhythm and melodic invention as the baritone sax and rhythm section plays a rhythmic motif as Sipiagin blasts off with some fiery trumpet followed by some surging tenor sax and more brilliant piano and a tight drum solo.

As good as the originals are, the covers stand out from the originality and inventiveness of the arrangements and the superb playing starting with Tito Puente's classic "Oye Como Va," taken at a slightly slower pace than the better-known versions by Puente and Santana. Besides Brachfeld's sonorous flute, Smulyan digs deep on the baritone sax. O'Connell provides a sterling orchestration for Juan Tizol's "Perdido," with Handy and Bowen but playing quite dynamically on alto and tenor respectively. O'Connell is brilliant sounding part McCoy Tyner and part Eddie Palmieri, and Herwig takes an energetic gruff-toned solo.

The most radical arrangement is on Duke Ellington's "C Jam Blues," which many people would not guess the tune if listening in a blindfold test. The arrangement remakes a song that historically has been a jam vehicle into an orchestrated showcase for band members which includes trading of fours by Smulyan and Bowen as the others provide atmosphere. O'Connell's again solos brilliantly, even inserting a phrase from Monk's "Rhythm-a-ning," before the horns play a riff during the drum and percussion solo that takes this to its close. Also fascinating is the rendition of John Coltrane's "Transition," a composition from Coltrane's freer recordings. O'Connell's orchestration provides the foundation for terrific solos from Handy (on soprano sax), Smulyan and Herwig before the leader's solo backed by the high-level ensemble playing by the band. It is another first-rate performance on a superlative recording that is likely among the best albums of this year.

I received my review copy from a publicist. Here is "Oye Como Va" from this CD.

 

Arlen Roth Tele Masters

Arlen Roth
 Tele Masters
 Aquinnah Records

 Arlen Roth has collected a bunch of fellow masters of the Fender Telecaster guitar for this new album. With a rhythm section of Tom Hambridge on drums, Tommy McDonald on bass, and usually Billy Panda on acoustic guitar (or Bryan Sutton), he has joined with Steve Warriner, Cindy Cashdollar (steel guitar), Jack Pearson, Steve Cropper, Brad Paisley, Will Ray, Albert Lee, Vince Gill, Brett Mason, Joe Bonamassa, Johnny Hiland, Bill Kirchen, Jerry Donahue, and Redd Volkaert. Most of these guests come from the country music world with Cropper and Bonamassa being exceptions.

Mostly instrumental, there are vocals from Steve Cropper, Sweet Mikey C. and Arlen’s daughter, Lexie Roth. There are some terrific country romps including the opening "Remington Ride" with Warriner and the lively adaptation of Paul Simon's "Mrs. Robinson" with Albert Lee." Similar selections include perhaps the over-the-top interpretation of "Ghost Riders in the Sky" with Cindy Cashdollar's steel guitar adding atmosphere and the cover of Chuck Berry's "Promised Land" with Jerry Donahue and a vocal from Sweet Mikey C.

There are many other pleasures, including Roth's marvelous duet with Bill Kirchen, "Tuff Tele," along with Jack Pearson's blues-rock rendition of "Key To The Highway." Pearson is a pretty fair singer as shown on his own "I Can Fix It." Steve Cropper and Hambridge wrote, "White Lightning" with a fair, at best, Cropper vocal but with plenty of solid guitar. "Satisfied Mind" is a lovely guitar duet by Roth with Vince Gill while Roth's rendition of "Tennessee Waltz" has a precious vocal from his daughter Lexie. There is a highly charged revival of Link Wray's "Rumble" by Arlen and Will Ray while the trio of Bonamassa, Roth, and Pearson get down for "Joe's Blues," a number in the spirit of Albert Collins. Roth's "Funky Mama" with Jack Hiland is dedicated to Danny Gatton and provide the appropriate guitar fireworks here.

With 16 tracks and an hour and a quarter of hot guitar, Arlen Roth has put together a memorable release for country music and roots music guitar lovers.

I received my review copy from a publicist. This review appeared in the May-June 2019 Jazz & Blues Report (Issue 384). Here is Arlen with Duke Robillard (who is not on this CD) and Cindy Cashdollar performing.