This year makes the centennial of Nat 'King' Cole, one of the most talented jazz pianists and vocalists who later became a vocal superstar. Here are five choice examples of Mr. Cole's incomparable artistry. First up is his rendition of what has become a standrad, "Route 66."
Then there is "Hit The Jive Jack," with some exquisite guitar from Oscar Moore.
The first two elections have him with his imcomparable trio. The next performance is from the first Jazz at the Philharmonic concert where he anchored a band that included Illinios Jacquwt on tenro saxophone and Les Paul on guitar. While Jacquet is the star, Cole is superb in this jam context.
There are many possibilities for later recordings when the emphasis shifted to his vocal stylings. I have picked "Mona Lisa."
There were so many other possible choices including "Unforgettable, "Smile," "The Ballad of Cat Ballou," and "Stardust." I have chosen one of the most famous holiday songs, "The Christmas Song."
I initially decided to do the short Take 5 playlists on the 5th of the month. I have decided to try to do this on most Saturdays. Hope you enjoy this.
Jason Ricci & the Bad Kind My Chops Are Rolling!! EllerSoul Records
I am not sure if Jason Ricci is considered the Bad Boy of the Blues, but he brings a punk attitude along with his harmonica virtuosity to this new release. He is accompanied by his high energy band of John Lisi on guitar and dobro, Andy Kurz on bass, and John Perkins on drums. Kaitlin Dibble adds guest vocals. Most of the songs are originals from Ricci or Lisi.
While if some of the songs might not fit a traditional notion of blues, they are not heavily rocked out, and there is an understated quality in the performance of some songs such as "Break in the Rain," on which Ricci showcases not only his harp chops but his original, imaginative soloing. Lisi's dobro work is also quite evident here. "Don't Badger the Witness," a more traditional blues structure opens with Ricci's full-toned harmonica sports of gravelly vocal, and one wonders if the theme of not badgering the witness arose from his own experiences. Lisi's guitar, with his use of vibrato and tremolo, adds to the performance's atmosphere. The next track, "F_ck the Falcons (Who Dat Nation)," is a celebration of the New Orleans Saints and profanity-filled lambasting of NFL officiating and the NFL Commissioner set to a hot second-line groove with Slats Klug playing accordion and Lisi laying down a memorable solo. The final track "Who Dat Nation" is a radio-friendly version of this.
"Going to California" is a fascinating instrumental that shows how Ricci is not simply a technical virtuoso, but able to spin a jazz-inflected, soulful solo on the chromatic harmonica before Lisi enters with a contrasting high-energy electrified slide solo. It is followed by Kaitlin Dibble's endearing singing on the Barbara Lynn classic, "If You Should Lose Me," with Ricci's accompaniment and solo full of magic. The title track is a funky slice of music as, in what is almost a throwaway vocal, he celebrates his chops rolling and plays some astonishing harp licks against Lisi's funky guitar as the rhythm gets down with the groove.
"The Way I Hurt Myself" is a fabulous slow straight-forward blues performance with an intense vocal, some terrific blues guitar, and an excellent showcase of Ricci's use of tonal and volume dynamics in his pull-out-all-the-stops, three o'clock in the morning solo. It is followed by the energetic rockabilly-styled "Think It Over." Jason Ricci's chops are indeed rolling on a fascinating blend of blues and roots that showcases a broad and engaging musical personality with a tight, driving band.
I received my review copy from EllerSoul Records. Here is Jason Ricci performing this year with Joe Krown, John Fohl and others at the Maple Leaf Bar in New Orleans.
Blind Lemon Jazz is James Byfield, who has recorded several blues albums as Blind Lemon Pledge. Byfield has written 13 originals songs inspired the Great American Songbook, as well as arranged, produced this album, and plays guitar. Ben Flint handles keyboards and contributed some arrangements, while Peter Grenell is on bass, and Joe Kelner is on drums, all in support of Marisa Malvino vocals. This is not a blues record and not strictly a jazz record. The music is bluesy in a sense of singing about having a bluesy feeling. Musically this is in the vein of late-night saloon music in the manner of Frank Sinatra singing "One For My Baby (And One More For the Road)."
Malvino's smoky, evocative singing lends it that feel as does the light, sympathetic backing. Pianist Flint impresses with his touch and nuanced accompaniment to her singing, and the lyrics contribute to this flavor, such as the title song (not the Avery Parrish instrumental), as she sings about after-hours dancing soft and slow, and the time is right for love. Then there is the evocative song for "If Beale Street Was A Woman," I would take her for my bride, and if Memphis was a singer, the blues would be her song. Flint takes a crisp, blues-tinged solo in the middle of her world-weary vocal. The bouncy "Rich People in Love" is modeled after classic standards about folks going to the parties, arriving fashionably late.
There is a bluesy flavor to the lament "How Can I Still Love You," as well as on the torch song, Bobbi's Blues," and her blue ballad, "Livin' My Life With the Blues," with some choice piano. "Moon Over Memphis" has a reflective feel as Malvino sings about a whippoorwill calling out her lover's name. There is also a homage to Buddy Bolden singing about the day the pioneering jazz cornet player passed, "Buddy Bolden's Song," which borrows some lines from "St. James Infirmary." James Byfield sings ably and plays guitar on the closing lament "Blue Heartbreak."
Malvino's nuanced vocals with restrained, subtle backing and Byfield's intriguing original compositions make for fascinating listening, and no one should be surprised if some of these songs become familiar vehicles for performance by other artists.
I received a review copy from Jim Eigo. This review appeared in the September-October 2019 Jazz & Blues Report (Issue 386) although I made minor stylistic changes. Here is a video for "Bobby's Blues," from this CD.
The Flying Horse Big Band
Good News!
Flying Horse Records
The Flying Horse Big Band is a big band out of the University of Central Florida's Jazz Program under the direction of tenor saxophonist Jeff Rupert. "Good News!" is the sixth album by what is becoming a very highly regarded university big band. On this album, they are joined on several selections by the UCF Studio Orchestra, and on one selection, The Jazz Professors are heard. The music heard are from such jazz masters as Miles Davis, John Coltrane, Thelonious Monk, Antonio Carlos Jobim, Bob Mintzer, and Michael Phillip Mossman. Mossman, a former member of Machito's legendary big band provided and Rupert, each provided several arrangements to this recording.
This is one hard-swinging aggregation starting with the heated rendition of Miles Davis' "The Serpents' Tooth" with some raucous baritone sax from Saul Dautch. This performance also has robust trombone solos from Jeremiah St. John and Christian Herrera while the band roars behind them. If this does not get the temperature rising, call an ambulance. While Miles Davis is credited with "Vierd Blues," it is likely a John Coltrane composition. Trombonist Herrera and guitarist Chris Medina solo against the unusual Mossman arrangement. Mossman also provided the handsome arrangement for Jobim's "Aqua de Beber," one of the three compositions the UCF Studio Orchestra play on to great effect. St. John takes a serpentine-shaped trombone solo followed by Dautch on alto saxophone with a somewhat dry tone.
Mossman provided the ingenious, inspired arrangement of Monk's "Tinkle, Tinkle," with the sections playing off each other. Dautch plays impressively on baritone sax while bassist Zach Greene provides a motif to anchor this performance. This is followed by The Jazz Professors and the UCF Studio Orchestra interpreting Monk's "Round Midnight." Jeff Rupert provided the arrangement as well as tenor sax on a performance opening with the Orchestra providing the setting for Rupert's statement of theme and solo. It segues into The Jazz Professors playing this theme with solos from pianist Per Danielsson, guitarist Bobby Koelble, and bassist Richard Drexler. John Lennon's "Imagine" is heard in two mixes, one a shorter radio mix and also an extended mix with Rupert's arrangement and the Orchestra. Jeff "T-Bone" Gerard provides narration and a moving vocal with some strong tenor sax from Rupert.
We should not forget the keyboards of Mikal Mancini and the drums of Devon Costanza who with bassist Greene and guitarist Medina make a superb rhythm section. They help drive this terrific big band on an excellent recording.
I received a download from a publicist. This review appeared in the September-October 2019 Jazz & Blues Report (Issue 386).
It has been three years since The Terry Hanck Band's last album, "From Roadhouse To Your House Live," which I summarized captured "the engaging and strong blues, R&B and rock of the Terry Hanck Band… ." Hanck returns on this new release with his saxophone and vocals with his band of guitarist Johnny' Cat' Soubrand, bassist Tim Wager and drummer Butch Cousins along with the keyboards of Jim Pugh and guitar, bass and more from Kid Andersen. Anderson co-produced this recording with Hanck, which has several special guests including June Core on drums, Rick Estrin on harmonica, Chris Cain on guitar, and Tracy Nelson on vocals.
Reviewing that live recording, I observed that "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." There is no reason to change that observation based on the performances here that range from blues, rock and roll, and swamp pop. It also does not hurt to have such an excellent band, including the guest musicians. This is heard throughout the 11 performances here, starting with the opening title track. It is a gem of rock and roll with a tagline "I might be old as sin, but in my mind, I am just a kid, lawd I still get excited." Pugh channels Johnnie Johnson or Lafayette Leake, Soubrand takes a rocking solo with Hanck riding the song out with some honking and high note screeching.
Louis Jordan is among Hanck's influences, as shown by a cover of "Early in the Morning," but also on his original "Smooth Tyrone." This song sounds like the Jesse Mae Robinson-Louis Jordan penned "Blue Light Boogie." In this song, Hanck has provided original lyrics replacing those of the original. Pugh, Soubrand, and Hanck all shine musically here while Kid Andersen on bass and June Core on drums keep a relaxed shuffle groove. "Here It Comes" has a relaxed early 60s' R&B groove while it incorporates a bass riff from the Solomon Burke classic "Cry to Me." In addition to a heartfelt vocal, Kid Andersen contributes some neat Spanish-tinged acoustic guitar. On the Chuck Willis-styled shuffle, Rick Estrin adds his sax-like harmonica on "Come On Back," soloing as well as having interplay with Hanck. It is followed by the appealing instrumental, "Rosita (No Wall Call Hold Our Love)."
Several remakes are not far removed from the originals recordings. These include Bobby Charles "Why People Like That?" with some 'yackety-yak" sax and "Howlin' For My Darlin'" with Soubrand channeling Hubert Sumlin. Also heard are energetic renditions of Eddie' Cleanhead' Vinson's "Hold It Right There," and "Feel So Bad," based on Little Milton's Checker recording, with more exceptional Soubrand guitar. One exception is an older Little Milton recording, "Spring," that Hanck and Tracy Nelson, in marvelous performance, transform into swamp pop. It stands out in another splendid collection of blues and roots performances by Terry Hanck.
I received my review copy from VizzTone. Here is a video of Terry Hanck performing "Sweet Tyrone."
Ronnie Earl and the Broadcasters Beyond the Blue Door Stony Plain Records
Ronnie Earl and the Broadcasters have returned with this latest recording. Earl, one of the premier blues guitarists, is joined by his Broadcasters: The core group of Broadcasters – Dave Limina, Hammond B3 and piano; Diane Blue, vocals; Paul Kochanski, bass and Forrest Padgett, drums. Also joining them Anthony Geraci, piano; Peter Ward, guitar; Mario Perrett, tenor sax; Scott Shetler, Baritone Sax, Larry Luisgnan, guitar; Michael Rush, bass and Scott MacDougal, guitar. Also appearing are special guests David Bromberg, acoustic guitar and vocals; Kim Wilson, harmonica and vocals; and Greg Piccolo, tenor sax. Bromberg also provides notes on each of the 15 songs.
I have enjoyed Diana Blue on prior Earl recordings, but her cover of "Brand New Me" surprising me with her stunning singing. With Earl's subtle guitar and horns in the background, she delivers an impressive cover of an Aretha classic. Diana Blue also is heard on a medium-tempo shuffle, "The Sweetest Man," with Limina stretching out while Earl is excellent behind Blue's splendid singing. She also puts her own stamp on Timmie Thomas' "Why Can't We Live Together," and she is superb on the revival of "A Soul That's Been Abused," with Earl dazzling, and Limina greasy. This song first recorded on a Hubert Sumlin Black Top album with Mighty Sam McClain singing and Ronnie playing the second guitar. Then there is the superb slow blues Earl wrote with Steve Gomes, "Peace of Mind." The Broadcasters create an after midnight ambiance behind Blue's vocal while Earl's playing is sublime. There is a terrific updating of the Gamble Huff Philadelphia soul classic "Drowning In a Sea of Love," with Earl spectacular as he pulls out all the stops.
Kim Wilson, Anthony Geraci, and Peter Ward join on a remarkably fresh interpretation of Howlin' Wolf's "Baby How Long." The tempo is slowed down into making this a relaxed shuffle with the marvelous interplay between Wilson's harp and Earl's skittering guitar with Geraci on piano and Peter Ward in rhythm guitar. Earl adds some scintillating obligatos behind Wilson's vocal. Wilson also takes a terrific harmonica solo, and there is some excellent, nuanced guitar by Earl and Ward. Wilson is also heard on Little Walter's "Blues With a Feeling." This is taken at a slower tempo than the original. Special kudos to bassist Kochanski and drummer Padgett for maintaining this slow drag tempo. Earl's backing again is exquisite behind Wilson's vocal and harmonica. Wilson and Geraci also join in on Earl's take from a phrase in "Smokestack Lightning."
"Drown In My Own Tears" displays Earl's impeccable phrasing and nuanced use of dynamics, and only the late Earl Hooker showed such an ability to convey such feeling with similarly small tone variations. Greg Piccolo contributes a strong chorus on tenor sax as well. A duet between Earl and Piccolo, "Alexis' Song," has Earl chording behind Piccolo's probing sax. "T-Bone Stomp" is a T-Bone Walker-inspired relaxed shuffle with Limina also featured. The closing track is a moving "Blues For Charlottesville," with Earl's guitar conveying as much feeling as any lyric might.
The least memorable track was the duet between Earl on his Stratocaster and Bromberg on acoustic guitar, a cover of Bob Dylan's "It Takes A Lot To Laugh, It Takes a Train To Cry," that is a bit too loosely played. It is a minor blemish on another marvelous Ronnie Earl 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 short video animation clip for "The Sweetest Man."
What can one say about B.B. King? One of the most beloved performers of the late 20th and early 21st Century, He truly was the King of the Blues. Here are five choice performances by him.
First is "Sweet Sixteen," which is what one of his signature numbers was earlier in his career. This is from a performance in Africa.
His recording of a Lowel Fulson song, "Three O'Clock in the Morning," was his first major hit recording.
Another early hit was his recording of "Sweet Little Angel." The song goes back to Lucille Bogan's "Sweet Black Angel," but also was recorded by Tampa Red, and Robert Nighthawk as "Sweet Black Angel." Tampa updated his version as "Sweet Black Angel." B.B. attributed his version to Nighthawk's but changed Black to Little. Again we go to B.B. King's African concert for this rendition of a classic.
Dave Clark's "Why I Sing the Blues," was recorded twice by B.B., with the latter rendition from an album "Live and Well" becoming the well known one and adapted by other performers. Here is his recording from 1969.
Finally, the signature number for the last four decades of B.B. King's career was his updating of Roy Hawkins' "The Thrill Is Gone." Initially, on his "Completely Well" album, this was the recording that crossed him over as an artist. Here he is on Soul Train performing it with Bobby Bland.
Of course, there is so much more B.B. King one could choose, but I limited myself to just five.
Melissa Aldana's new album, "Visions: For Frida Kahlo," is inspired and Influenced by the life and works of the great artist Frida Kahlo. “Frida to me is an artist that embraces who she is through her art. She talks about ugliness, beauty, being a female, religion, politics, love affairs, sexuality, but mostly, accepting herself as an individual. This is a big part of how she engendered me to write this music." Kahlo began to emerge as a pivotal figure in Aldana’s work and quest for an honest representation of self. Aldana elaborates that like Kahlo's works, "this album became a path for my own identity and expression. My hope is that this contribution is my first of many that will continue advancing my concepts and convictions.” The inspiration led to this suite that was commissioned by The Jazz Gallery in New York and premiered there in June 2018. She composed all but two of the selections and two of them: "Visions" and "La Madrina" were composed for the Jazz Gallery Residency.
Aldana has been playing saxophone since a child, originally alto and then tenor after listening to Sonny Rollins. She won the Thelonious Monk International Jazz Saxophone Competition in 21 at the age of 24, the first woman and South American to win this competition. Aldana had already been attracting notice with her Crash trio, and since the Competition, her reputation has continued to grow. Her present quintet includes her on tenor saxophone, Sam Harris on piano, Pablo Menares on bass, Tommy Crane on drums, and Joel Ross on vibraphone.
The title track, with moments of "frantic movement interspersed with order and structure frantic," is a remarkable band performance. Her dynamic, probing tenor sax employs the full range of the saxophone and complimented by her exceptional band. This selection sets the tone for an outstanding recording. Ross, one of the most acclaimed young vibraphonists, helps set the tone on the second selection "Acceptance." On this track, Harris shows that he is a pianist with a sure touch. Harris' solo here displays his fecund improvising mind while the rhythm duo maintains a swirling pulse. "La Madrina," inspired by Kahlo's concept of 'Godmother,' has a more reflective quality with segments of improvisation mixed with tightly arranged sections.
Other strong selections include a wonderful rendition of the standard "Never Let Me Go" that opens with a couple of choruses of solo saxophone before the band joins in. Harris takes an understated solo with a hint of stride. Ross, along with Aldana, is brilliant on "El Castillo de Velenje," with its pensive mood. It is a closing track by Melissa Aldana who on this enthralling album establishes herself as one of the significant tenor saxophonists, a notable composer, and leader of a terrific band.
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 Melissa Aldana Quartet with Joel Ross at the 2019 Winter NYC Jazz Festival.
Listening to Ben Levin, one might believe as annotator Mark Thompson observes, is a "product of decades of long nights in dark clubs and smoky juke joints." He has just finished his first year of college even though he plays and sounds with a maturity far beyond his youth. He is from Cincinnati and been playing since he was 11. This is his second recording, and he is backed by Chris Douglas on bass, Oscar Bernal on drums along with his father, Aron Levin on several tracks. Bob Margolin on guitar and Bob Corritore on harmonica are several selections, while legendary King Records drummer Phillip Paul plays on two of the 12 songs.
One is impressed not merely by his solid blues piano technique, but the maturity he displays. His maturity is shown by the fact he never sounds like he is trying to impress people, but simply plays what sounds right. The opening track is a rendition of Big Bill Broonzy's "I Feel So Good." It is based on Muddy Waters' version with Margolin and Corritore helping provide the Chicago blues feel. In addition to his piano, he sings with an appealing, straight-forward, understated delivery. His approach is at the root of a memorable interpretation of Jay McShann's "Confessin' the Blues," with Corritore providing some horn-like harmonica and Margolin in a jazzy vein.
"Before Me" is an original that evokes classic Fats Domino that illustrates his touch, restraint, and taste. Much the same can be said about his playing on the instrumental, "Creole Kitchen." This is a striking tribute to Professor Longhair and other New Orleans piano professors. Phillip Paul takes over the drum chair for the cover of a Freddie King recording, "Lonesome Whistle Blues." This cover features a convincing vocal delivery, strong string-bending from Bob Margolin and an understated piano solo. Then there is "So Soon," an atmospheric blues with some effective spare piano.
Otis Spann's influence is evident during the interpretation of a James Cotton instrumental, "Lightnin'," with Margolin and Corritore capturing the flavor on the solid Chicago blues. Levin, Margolin, and Corritore collaborated on the closing instrumental "Open Late," that sounds like an unreleased Otis Spann slow blues with Corritore on chromatic harmonica. I was not familiar with Ben Levin before this recording. I was impressed by his talent and his musical sense from the first time I heard "I Feel So Good." After listening to this recording several times, I am struck by how fresh this music keeps sounding. "Before Me" is an exceptional recording.
I received my review copy from VizzTone. This review appeared in the September-October 2019 Jazz & Blues Report (Issue 386). Here is a video of Ben with Bob Margolin on guitar and Phillip Paul on drums.
Perry Smith Quartet Live in Brooklyn Smith Tone Records
For 4 years, guitarist and composer Perry Smith, with bassist Matt Aronoff, has been organizing, cultivating and growing this jam session an all-inclusive, everyone-is-welcome "hang." It is now called "The Nest Session," because it is situated currently at The Nest in Brooklyn's Leffert's Gardens. This present recording was recorded at The Nest and has Smith and Aronoff joined by saxophonist Melissa Aldana and drummer Jay Sawyer.
Born in the San Francisco Bay area, Smith has degrees from the University of Southern California (where he studied with Joe Diorio) and New York University (where's he studied with John Scofield). As a guitarist, he generally blends the traditions of jazz with contemporary sounds. About this recording, he states that Wes Montgomery's "Full House" was a significant inspiration. Over the years I've always come back to it because the energy of the band is so joyful. The interactive playing is incredible and the scope of repertoire includes swinging tracks, straight grooves and beautiful ballads . . . a lifetime of inspiration," He notes that this recording is "more straight-ahead than my previous recordings."
A superficial comparison can be made of the performances here to the Sonny Rollins Quartet with Jim Hall. This is only a reference point as Smith and Aldana bring their own vibrant musical voices here. The opening "Starlit Skies" (one of 3 Smith originals) opens with Smith lyrical horn-like lines followed by Aldana's full-throated thematic soloing. Note should be made of the swinging accompaniment throughout by Aronoff and Sawyer. Sawyer kicks off the heated "Premonition" (another original with Smith and Aldana again both in full flight. Smith opens the standard "Don't Worry 'Bout Me" with some honeyed playing followed by Aldana's exquisite solo. The rendition of "All The Things You Are" is equally sublime. Another original, "Golden Days," an appealing contrafact of "Yesterdays," opens as a duet with bassist Aronoff with another engrossing solo from Aldana. Perhaps the highpoint of this CD is a fabulous interpretation of Sonny Stitt's "Eternal Triangle," taken at a blazing tempo with Aldana and Smith both at the top of their game. Sawyer takes a high energy drum solo here.
Listening to this recording makes me want to check out Perry Smith's earlier albums. He is excellent in the straight-ahead vein of this recording. Melissa Aldana astonishes and indeed has established herself as one of today's foremost jazz tenor saxophonists (not to mention a composer as she displays on her own recordings). With a tight band and their superb playing, "Live in Brooklyn" is simply outstanding.
I received from a review copy from a publicist. Here is a slightly different version of the Perry Smith Quartet performing Charlie Haden's "Waltz For Ruth."
Fans of jump blues and hot swing will find this debut from the Jersey Swamp Cats to their liking. Comprised of Gerry Gladston on piano, Don Leich on guitar, bassist Larry Ghiorsi and drummer Chris Reardon with all four contributing vocals whether lead or backing. They lay down nine rocking rhythm and blues classics with influences including the like of T-Bone Walker, Fats Domino, Pee Wee Crayton, Professor Longhair and others on a program of five covers and four idiomatic originals.
Things kick off with an exuberant rendition of the Louis Prima's classic, "Jump, Jive and Wail," with a capable vocal, terrific jump blues guitar, and rollicking piano. An original "Cupcake!" is an easy rocking performance with a credible vocal from Leich who also handles the vocal on a straight cover of "Blue Monday" that hews to the Fats Domino hit although Leich is nowhere as strong a singer as Domino. "I Don't Mind" is another original. It has a New Orleans flavor with a melody that evokes "Junco Partner." Gladston shows restraint in his piano, and there is a strong trumpet solo from guest Patrick Dudasik. Another guest, Anthony Salimene Jr adds saxophone.
There is some terrific playing on "Too Tired" although the vocal sounds forced and lacks the swagger of Johnny 'Guitar' Watson's original. Pianist Gladston sings quite capably on the smooth swing of "Dance All Night!" There is more of a New Orleans groove on the "Tootie Ma is a Big Fine Thing" with quite a good vocal from bassist Ghiorsi while Reardon plays a nice understated second-line groove. Both of these tracks feature the horns and the two horns trade fours on the latter number. "I Get Evil" is based on Albert King's recording of an old Tampa Red classic "Don't You Lie To Me," with fine guitar and Gladston ably singing.
The album closes with some driving hot rod rock and roll, "Shiny Gray Corvette" with Leich and Gladston both singing and a fiery guitar solo. It should be noted that the playing time is around a half-hour, but the performances are tight and concise. The Jersey Swamp Cats are a very talented band, and if the vocals occasionally do not match the terrific playing, "Go Cat Go!" is a completely entertaining recording.
I received my review copy from a publicist. This review appeared in the July-August 2019 Jazz & Blues Report (Issue 385), although I made minor stylistic changes. Here is a video of the Jersey Swamp Cats performing recently.
A few years ago, guitarist Peter Hand led a big band, featuring tenor saxophonist Houston Person on a wonderful live recording on Savant “The Wizard of Jazz: A Tribute to Harold Arlen.” The Peter Hand Big Band returns with a new studio recording, also on Savant, “Out of Hand.” Again, Person is present (on three selections), and a number of top-notch players are heard here including saxophonists Bruce Williams, Kenny Berger, Don Braden, and Ralph LaLama; trumpeters Eddie Allen, John Bailey and Valery Ponomarev; trombonists John Mosca and Vincent Gardner; and a terrific rhythm section of pianist James Weidman, bassist Harvie S and drummer Steve Johns.
Person is featured on three selections, a swinging rendition of Bobby Hebb’s “Sunny”; the classic Harold Arlen torch song “Blues in the Night”; and the Strayhorn/Ellington classic “Day Dream.” Person brings his warm, rich tone and the melodic quality of his improvisations set against Hand’s wonderful arrangements as well as Hand's own clean, crisp guitar. On the opening Sunny,” trumpeter Ponomarev takes one of several sharp-toned solos that exhibit an authority similar to that of Person. Selections like these evoke a classic Oliver Nelson Big Band album “Live in Los Angeles” that featured guitarist Mel Brown on a couple selections as well as Nelson’s arrangements for some of Wes Montgomery’s Verve recordings.
Hand is a wonderful guitarist in the vein of a Montgomery, Kenny Burrell, Grant Green and the like with a definite blues sensibility. Hand’s original “Out of Print Blues” (called Out of Hand Blues” in Donald Elfman’s liner notes) is a nice swinging blues with strong solos from Bruce Williams, Harvie S and Vincent Gardner in addition to the leader. Another Hand original is the waltz “Listen to Your Heart” with its effective use of muted brass, flute, flugelhorn and soprano saxophone with Braden taking a nice soprano sax solo set against the riffing horns while Ponomarev is in more melodic vein.
Hand displays a romantic sensibility of a lovely ballad “Barbara Rose,” while the up-tempo “The Elevator” is a feature for LaLama’s robust and forceful playing and will evoke the Ellington classic “Cottontail.” After the light Latin groove of “Night Echo” (Hand, Bailey, and Weidman stand out here); we are treated the splendid “Day Dream,” before Hand enlivens “Summertime” with his arrangement in 6/4 and employment of flute, clarinet, bass clarinet and muted brass to provide musical colors for Allen’s vibrant trumpet and Weidman’s piano. It is a superb close to this splendid big band recording.
I received my review copy as a download from a publicist. This review originally appeared in the March-April 2015 Jazz & Blues Report (Issue 359). Peter Hand Big Band has a new CD out that I will be reviewing shortly. Here is "Sunny" from "Out of Hand."
Steve Howell and Jason Weinheimer
History Rhymes
Out of the Past Music
Guitarist and vocalist Steve Howell continues his activities in reviving the music of an earlier era on this latest album with bassist Weinheimer. Joining them are Dan Sumner on guitar and David Dodson on banjo and mandolin. Howell has recently published a guide, "Fingerpicking Early Jazz Standards," and the repertoire on this album includes early blues, traditional folk, and older jazz standards. The performances are similar to those on the previous record by Howell and Weinheimer, "A Hundred Years From Today."
Howell is a genial, adept fingerstyle guitarist who sings in a neutral, dispassionate fashion. Weinheimer and company ably support Howell. The strength of the recording is the broad swath of material they interpret. Ranging from "They'll Be Some Changes Made," to Bukka White's "Pine Bluff, Arkansas," they play an easy to listen to set of performances. On few albums will one find the Academy Award-nominated "Blues in the Night." The traditional "Jack of Diamonds" is taken as a folk waltz with a nice vocal and lovely mandolin in the accompaniment. The lilting "Frosty Morn" is a charming interpretation of an old fiddle tune.
"If I Had My Way," is derived from Reverend Gary Davis and Howell's vocal is more animated than he exhibits elsewhere. The light swing and amiable vocal on "Everybody Loves My Baby" lacks the vitality of the original Clarence Williams Blue Five recording with Eva Taylor's vocal and Louis Armstrong's cornet. Howell's, almost whispered, singing is more convincing on his version of the country classic "You Don't Know Me," while the performance of "I Got a Right to Sing the Blues," has a definite allure to it. There is also the traditional "Texas Rangers - The Falls of Richmond," that he dedicates to his father and Rangers of earlier generations.
Those who have enjoyed Steve Howell's prior recordings may have an idea of what to expect concerning these well-performed songs. Listeners may differ in how they react to Howell's dispassionate vocals, but indeed his efforts to update older songs merits appreciation.
I received my review copy from a publicist. This review appeared in the September-October 2019 Jazz & Blues Report (Issue 386). Here are the two performing "Everybody Loves My Baby."
On the back cover of Gaye Adegbalola's new album, "The Griot," she provides a definition of The Griot as "a member of a class of traveling poets, musicians, and storytellers who maintain a tradition of oral history on parts of West Africa … and on this CD." On the second selection of this Cd "Definition: The Griot," she does a recitation set against Jackie Merritt's bones accompaniment that among other things observes The Griot is also "a REPOSITORY, a LIVING ARCHIVE … of Oral History." Additionally, the griot is, in part, a singer, seeker, teacher, preacher, "the entertainer, the unchainer, the keeper of our history, the remover of whitewashed mystery." This should give a sense of the spirit that infuses this recording, much of which might be termed 'protest' songs, but I prefer the term truth songs that the late street gospel singer Flora Molton termed some of her recordings. On this latest musical journey of mostly original songs, she is backed by her co-producer Jeff Covert on electric and acoustics, drums, bass, banjo and keyboards; her own acoustic guitar and harmonica; Roddy Barnes on piano on several selections; Reesa Gibbs on chant and backing vocals on several tracks; Jackie Merritt on bones on three tracks and a horn section led by trumpeter Zack Smith.
There is a definite tinge of anger in her vocals on such tunes as "Nothing has Changed" where she recalls sit-ins and picket lines, dogs, water hoses, burning crosses and lynchings as well as James Byrd dragged by a truck, and brings us up to date singing about the KKK and Nazis marching in Charlottesville with a chorus of "How Can I Be Angry?" There's been some change it's true. Too slowly in my lifetime, much more we can do." Set against a smoldering blues-rock backing and a bit of acid in her vocal, it sets a tone for this remarkable recording. The mood is present in "Hypocrisy: Liearrhia," where she confronts the discourse of the day "You've got a bad case of liearrhia/ You keep running off at the mouth/ Your tongue comes from the devil/ And your truth is crapping out … ."
She addresses female genital mutilation in "Sexism: FGM," with a middle eastern tinge to the vocal as she sings how she will fight to prevent one from taking a woman's Joy. There are also lyrics addressing poverty in a blues track subtitled "Dirty Sheets" with biting guitar; pollution in "Flint Water" set against a rollicking shuffle groove with Covert's Allman Brothers' inspired slide guitar; and protest on "Kaepernicked" where she proclaims him her new Muhammad Ali.
There are several covers including Doc Pomus and Kenny Hirsch's "(There is Always) One More Time" to illustrate hope; the Bessie Smith classic (also done by Nina Simone) she has been singing since her days with Saffire-the Uppity Blues Women three and a half decades ago, "Need a Little Sugar in My Bowl"; and a modern arrangement of Ma Rainey's "Jelly Bean Blues" that closes this CD. "The Groit" has provocative songs along with Gaye Adegbalola's most passionate singing. It makes for compelling listening.
I received my review copy from Vizztone. This review appeared in the July-August 2019 Jazz & Blues Report (Issue 385). Here is a video of Gaye Adegbalola performing at a 2019 House Concert.
Raised in Texas where she grew up singing gospel, Quiana Lynell made her mark in 2017 when she won the Sarah Vaughan International Jazz Vocal Competition Award. As part of winning, she received a contract with Concord Jazz. Earlier that year she appeared with her trio at the New Orleans Jazz & Heritage Festival. This appearance led to her performing in Poland with trumpeter Terence Blanchard’s Spike Lee tribute with a 75-piece orchestra and a continued period of mentoring on Blanchard's part. "A Little Love" is her debut album which covers a wide range of songs from Nina Simone to Chaka Khan, from Duke to the Gershwins, from Donny Hathaway to Irma Thomas. The bookends of the album featuring songs by modern artists Alina Engibaryan and Joshuah Campbell. Backing her is a fabulous band featuring Cyrus Chestnut on piano, Jamison Ross on drums, Ed Cherry on guitars, George DeLancey on bass and Monte Croft on vibes (on several selections).
She has quite an extensive vocal range as well as a broad expressive range and delivers the songs with considerable authority. The clarity, the melodic qualities, and the expressiveness of her vocals is outstanding. There is plenty of positive messages in her songs such as she sings about overcoming “xi," and pushing forth to better times and justice on "Sing Out, March On." One telling performance is a medley of Ellington's "Come Sunday" with Billy Taylor's "I Wish I Knew (How It Would Feel To Be Free)." "Come Sunday" is a magical duet with Chestnut backing her marvelous vocal prayer. The full band joins in for the Taylor composition with guitarist Cherry sparkling behind heartfelt singing.
The authority of her vocals is also exhibited on the standards she performs. This includes a sublime duet with Jamison Ross on the Gershwin's "They All Laughed." Her interpretation of "Just A Little Lovin' (Early In The Morning)" from Barry Mann and Cynthia Weil has considerable charm. she exhibits much warmth in her swinging rendition of Gordon-Revel's "You Hit the Spot." Besides the romanticism of her singing, Cherry and Chestnut both stand out with the clean, crisply played solos.
Additionally, there is a rendition of Irma Thomas' "Hip Shakin' Mama," played by the band with a bit more of a backbeat and a marvelous vocal that hints at her gospel roots along with her interplay with guitarist Cherry. There is no doubt she could do a terrific recording of deep soul in the manner of Irma Thomas. Then there is a marvelous duet with Chestnut on Monte Croft's "What Is Love. With plenty of jazz vocal recordings coming out, "A Little Love" stands out with Quiana Lynell's excellent singing, first-rate backing, and well-chosen repertoire. Given how much I was impressed by this CD, I purchased a download of a more recent New Orleans Jazz & Heritage Festival performance by her.
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 her performing "Hip Shakin' Mama" in Marcus Garvey Park in New York City at the 2019 Charlie Parker Jazz Festival.
"Confessin' My Dues" is the new album by Terry Robb, hailed as one of the finest fingerstyle blues guitarists. Robb draws on his deep knowledge of Delta blues, ragtime and swing in 13 original songs ranging from blistering instrumental blues and stunning fingerpicking to soulful singing backed by renowned jazz musicians Gary Hobbs and Dave Captein on drums and upright bass throughout the album. Adam Scramstad makes a guest appearance on electric rhythm guitar. The press release for this recording states, "Drawing from the well of country blues to Coltrane, ragtime to Hendrix, Americana to American Primitivism, "Confessin' My Dues" represents a lifetime of musical experiences and influences for Robb. Robb himself is quoted about being excited about recording with Hobbs and Captein, feeling they "they would bring a fresh and unique approach to what I was after."
Robb is a spectacular fingerstyle guitarist as is evident on the opening "Butch Holler Stomp," a performance with several musical strains centered on a Blind Blake-like main strain. Blake's spirit is also detected on the initially wistful, "Death of Blind Arthur," which has a segment with breakneck playing. Both of these tracks display not merely technical proficiency but his relaxed fluid attack. He also handles a classic blues shuffle groove with ease and aplomb on "Still on 101." He has a definite presence as a vocalist, if not as engaging as he is a guitarist.
Vocals serve to add variety thought such as on "How a Free Man Feels," with some dazzling breaks, or "Darkest Road I'm Told," a performance that instrumentally evokes John Lee Hooker, but his vocal about the 61st Highway is not as compelling as his playing. The fascinating "Now Vestapol" is a free-floating instrumental in the vein of American Primitivist guitarists with strains from "Mystery Train" and Robert Wilkins "That's No Way To Get Along" hinted at. "High Desert Everywhere" sounds rooted in Bukka White's slide guitar style while Robb's own picking goes beyond Whites driving bottleneck playing.
As noted, Robb makes much about the presence of Hobbs and Captein, but they seemed superfluous on several of the tracks they play on. Despite this, and his vocal limitations, Terry Robb is a superb guitarist whose facility and invention make for gripping listening.
I received my review copy from a publicist. Here is Terry Robb from earlier in 2019 performing
I wrote about Scott Ramminger's last studio album that Scott "writes real good songs, is a most engaging singer and a strong saxophonist who backs himself with some stellar players. The result is another helping of real fine musical gumbo." Since then he issued a live album in the same vein. It included a couple of my photos, so I did not review it. This one is a bit different from his previous studio albums that had been heavy on horn sections and backing vocals. About this recording, Scott says, "I set out trying to make a record that had a slightly different sonic footprint, sort of a stripped down, more acoustic vibe. I hired a fine jazz drummer and upright bass player. And at one point, with my producer hat on, I asked them to play less like we were at Blues Alley (a famous DC jazz club) and more like we were playing in a Brooklyn strip club in about 1960,"
Rise Up features only five players -- Ramminger on vocals and tenor sax; Wes Lanich on piano and Hammond B3, Shane Theriot on guitar, Paul Langosch on upright bass, and Emre Kartari on drums. They tackle eight songs on this CD. Scott's laconic, grainy vocals deliver his sometimes self-deprecating vocals with the right sense of humor and irony, while his sax flows like a nice stiff drink. The band is terrific laying down the right grooves. Pianist Lanich is excellent with his mix of bop and New Orleans rumba, while Theriot (former Neville Brothers guitarist) wails whether playing straight or stinging slide (as on "88 Reasons" where Ramminger's woman gives him reasons to cry).
The material ranges from songs about failing relationships to the topicality of the title track with its funky groove (Lanich on organ) and his acerbic sax as he sings about corrupt politicians, children hungry and immigrants vilified and we have to stop this madness before its too late. He has a robust and passionate sax solo here. Elsewhere his sax is overdubbed to be part of the vocal accompaniment.
Ramminger's songs resonate with memorable lyrics and the rhythm duo of Langosch and Kartari provide a steady groove like in "Lemonade Blues," a slow blues that opens "Life gave me lemons, so I made some lemonade, … I got no sugar in my cupboard, so this stuff don't taste that great." The only complaint is the relatively short playing time, but there is no fat or gristle heard in the eight songs on another entertaining CD from Scott Ramminger.
I received my review copy from a publicist. This review appeared in the July-August 2019 Jazz & Blues Report (Issue 385). Here is Scott Ramminger performing.
Rebecca DuMaine and the Dave Miller Combo Chez Nous Summit Records
Starting with Cy Coleman's "When in Rome" and concluding with Charles Trenet (and Albert Askew Beach's English language verses) "Que-Reste-t-il/I Wish You Love," Rebecca DuMaine delights listeners with her playful, perhaps flirty, singing. He pitch and intonation are spot on, and her swinging phasing, as well as her articulation of the lyrics, underscore her inviting musical personality. It also helps that her captivating vocals (including her breezy wordless vocalizing as on Jobim's "So Danco Samba") is wonderfully supported by the Dave Miller Combo with Miller (her father on piano), Chuck Bennett on bass, Bill Belasco on drums and guest Brad Buethe on guitar.
Music was always part of her household growing up, and she heard George Shearing, Peggy Lee, Nancy Wilson, and Nat King Cole growing up. While she earned a drama degree and worked as an actress in New York and discovered she preferred jazz singing over musical theater doing some gigs in NY before returning to Northern California. Dave Miller, her dad, has been leading a trio since the 1970s and particularly loved how Shearing back vocalists. They provide marvelous swinging support with pianist Miller and Buethe very adept in their solos.
This a marvelous set of songs here ranging from her bubbly opening number, "When in Rome," that she first heard from Blossom Dearie. As Scott Yanow observes in the liner notes, Rodgers and Hart's "Everything I've Got Belongs to You," is not a typical love song as she sings "I have eyes for you to give you dirty looks, I have words that do not come from children's book, there's a twist of a knife I am learning to … but everything I got belongs to you." It is taken at a brisk tempo, and drummer Belasco takes a solo. The title track is sung in French followed by a captivating vocal on the Rodgers and Hart classic "I Didn't Know What Time it Was," showcasing her impeccable delivery of the lyrics as well as being in tune. Her father has a light, bouncy solo, Buethe following with a peppy one and Bennett with a short bass solo. There is also a wistful rendition of Lennon and McCartney's "Yesterday," with just her father's piano adding to the reflective mood. Bill Withers' "Just the Two of Us," is among his most famous songs, and she lends it a nostalgic flair with memorable piano and guitar solos.
Singing in French and English "Que Reste-t-il/ I Wish You Love," she provides a memorable close to a playful take on songs mostly about love. She has an endearing quality that is displayed throughout this collection of delightful performances of both well-known standards and lesser-known songs that are also gems.
I received my review copy from a publicist. Here is a video of Rebecca DuMaine performing with Dave Miller.
Junior Watson Nothing To It But To Do It Little Village Foundation
Junior Watson is among the most respected blues guitarists on the West Coast who has played with and recording with such acts as Big Mama Thornton, George Harmonica Smith, Jimmy Rogers, Shakey Jake, Kim Wilson, Charlie Musselwhite, William Clarke and more. He was the original guitarist in The Mighty Flyers with whom he stayed ten years. He has not recorded often as a leader which is rectified on this new CD from the Little Village Foundation. This recording was co-produced by Kid Andersen with Watson and recorded at Andersen's Greaseland Studios. Andersen himself says, "There is no guitarist on earth I value higher than Junior Watson." Making this record with him is one of the greatest honors in my life."
There is a mix of instrumentals and vocals. Watson sings on several tunes, and there are vocals by guests Alabama Mike and Lisa Leuschner Andersen. Others in the studio band are Sax Gordon on saxophone; Jim Pugh on keyboards, Kedar Roy on bass, and Andrew Guterman on drums with Gary Smith on harmonica on one song.
The mood is set with the opening instrumental, "Up and Out," displaying Watson's crisp, twisting attack that evokes to this listener the shattering Memphis attack of Willie Johnson mixed with a touch of Albert Collins and Jimmy Nolen. Gordon is outstanding while Pugh's skating rink organ adds to the atmosphere. Other instrumentals include "Ska-Ra-Van" a ska version of Juan Tizol-Duke Ellington's Caravan." Gordon takes an imaginative tenor sax solo while Pugh' organ adds to the flavor of the performance. There is a Mexican flavored instrumental "Summer of Love" with scintillating guitar, and a raucous shuffle "Space Flight, with Pugh's organ, followed by some blistering guitar." "Pee Wee Classic," a tribute to Pee Wee Crayton, is an exciting spinoff of "Texas Hop."
The five vocals by Lisa Andersen, Kid's wife, are a revelation as she sings with a forcefulness and nuance that suggests such sixties female singers as Carol Fran, Carla Thomas, and Barbara Lewis. Certainly the hard-rocking "Don't Freeze Me Out" is a gripping performance, while "One Way Street" is a further showcase of how good a singer she is while Gordon is excellent on the baritone sax. Another vocal is the James Brown penned "I Found You," a variant of "I Got You." Alabama Mike co-wrote with Watson, an intense slow blues "A Shot in the Dark," on a performance in the vein of Buddy Guy's Chess recordings. Watson himself is an understated, appealing vocal on a shuffle "Louella," as well as a revival of Chicago blues harpist Dusty Brown's "Well, You Know," with Gary Smith adding his harmonica.
Junior Watson, a brilliant guitarist and with the terrific backing band, is showcased on a marvelous recording that displays his considerable talents.
I received my review copy from a publicist. Here is a clip of Junior Watson performing in 2017.
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