3D Jazz Trio Christmas in 3D

3D Jazz Trio
Christmas in 3D
DIVA Jazz

Only a few months ago, this writer reviewed the 3D Jazz Trio's "I Love To See You Smile," a recording that certainly left listeners smiling. Now the trio of pianist Jackie Warren, bassist and fiddler Amy Shook, and drummer Sherrie Maricle return with a swinging dose of holiday cheer.

The strength of these recordings of songs that are mostly familiar are the arrangements and the vitality of the trio's playing. "Winter Wonderland" is a sparkling performance with Warren's improvisation going far beyond simple melodic embellishments. It is followed by a fabulous calypso treatment of "Up On The Housetop," with an irresistible rhythmic pulse. This track and the Afro-Cuban arrangement of "O Christmas Tree" showcase Maricle's infectious groove making. Amy Shook's fiddle at the beginning of "Please Daddy (Don't Get Drunk This Christmas)" opens the piece as a country hoedown stomp before the performance segues into a rollicking shuffle.

"God Rest Ye Merry Gentlemen" begins as a duet between Shook and Maricle before Warren enters with a solo hinting at the familiar melody. Warren also dazzles on a sprite interpretation of "Greensleeves." The trio's love of Latin grooves is reflected In the Brazilian-spirited treatment of the folk hymn "I Wonder As I Wander," while the trio provides a spirited rendition of "White Christmas." "Silent Night" opens with Warren's gospel-inspired piano before Shook and Maricle add a restrained backing. Shook adds a bowed solo set against Warren's chords and Maricle's deft use of brushes.

A delightful swinging treatment of "Have Yourself a Merry Little Christmas" closes this album. The joyful "Christmas in 3D" is not merely a terrific holiday album, but also an outstanding piano trio recording.

I received a copy to review from a publicist.

Jimmy Carpenter Soul Doctor

Jimmy Carpenter
Soul Doctor
Gulf Coast Records

About Jimmy Carpenter's last album, "Plays the Blues" (VizzTone), I wrote that "Carpenter plays plenty of rousing, raspy saxophone in a Junior Walker-King Curtis--Boots Randolph vein throughout and, if not a great singer, is likable with an unforced delivery… ." Carpenter has a lengthy career in the blues and roots-rock scene, including stints with Jimmy Thackery, Walter 'Wolfman' Washington, and most recently with Mike Zito. Presently residing in Las Vegas, Carpenter leads his own band and plays with numerous others. He also is the Musical Director for the Big Blues Bender and leader of the Bender Brass, The Bender's house band. This new release is on Golf Coast records, a label Zito co-founded.

On this recording, Jimmy has assembled a first-class studio group. In addition to Carpenter on saxophone and vocals, there is Cameron Tyler (drums/percussion/background vocals), Jason Langley (bass), Trevor Johnson (guitar), Chris Tofield (guitar/background vocals), Red Young (keys), Carrie Stowers (background vocals), and Queen Aries (background vocals). Guesting on this album are guitarist Nick Schnebelen, The Bender Brass (Doug Woolverton (trumpet), Mark Earley (baritone sax)), Al Ek (harmonica), and Mike Zito (guitar).

Based on the seven originals, Carpenter has become quite a songwriter. The album opens with the title track with a striking lyric, "Who says the book of love was written in one night/ Who filled it up with empty pages said what's wrong and right/ So many have wagered on the lottery of life/ They opened up their hearts just to be cut down like a knife." Carpenter impresses with his singing here and elsewhere on this album. On this song, he takes a couple of tough rackety yak sax solos. Nick Schnebelen's guests on this track, although these ears founded his playing a tad busy. That is one of two songs that Carpenter wrote with Guy Hale, the other co-founder of Gulf Coast Records. The other song, "Wrong Turn," has Jimmy on guitar with Trevor Johnson playing some blues-rock slide guitar and Al Ek adding some sax-sounding harmonica. Carpenter's vocal sounds distorted and maybe his least appealing singing here. Much better is the relaxed rock and roll shuffle blues "Wild Streak." In addition to some persuasive singing, catch lyrics, Red Young contributes some rollicking honky-tonk piano while Mike Zito adds a searing slide guitar solo.

The autobiographical lyrics of "Love It So Much" is set to a second-line groove as Carpenter celebrates the musician's life on the road, while the Bender Horns add their punch. The finest blues performance is his cover of Little Willie John's "Need Your Love So Bad," with Carpenter's passionate singing and his band's outstanding support. It also may have his best tenor sax solo on the album. An instrumental rendition of The Clovers' "One Mint Julep" also spotlights his tenor sax, although more in a King Curtis-Junior Walker vein. Red Young adds some greasy organ here. Another instrumental is "LoFi Roulette," with Chris Tofield adding searing guitar to Carpenter's gutbucket sax.

A soulful rendition of Eddie Hinton's "Yeah Man" closes this album. Jimmy Carpenter has matured into an expressive, passionate singer and songwriter, and he has produced a very satisfying blues and roots recording.

I received my review download from a publicist. Here Jimmy performs the title track.

Jim Waller Big Band Bucket List

Jim Waller Big Band
Bucket List
Self-produced

A multi-instrumentalist (saxophones, trombone, piano, organ, guitar), arranger, record producer, and educator Jim Waller, fulfills an item on his personal bucket list with this big band album recording. Originally from California, his music career included playing in a surf group, The Deltas. Then he was part of a Las Vegas jazz-rock octet, Los Blues. He has been based in San Antonio since 1977 and worked with many prominent names. On this recording, Waller leads a 21-piece big band for which he wrote the arrangements and seven of the 14 tunes. Additionally, Waller solos formidably on tenor sax while also playing soprano sax and organ. Then there is a string section for his arrangement of "Rhapsody in Blue." Among notable persons on this album is drummer Will Kennedy from the Yellow Jackets and vocalist Jacqueline Soleto who is heard on five songs.

Waller's Big Band is a strong, swinging aggregation that opens with the spirited Brazilian groove of "Samba For Suzell," with first-rate solos from Waller, pianist Chris Villaneuva, and drummer Kennedy, who is particularly dynamic. Soleto is a singer I would not mind hearing more from starting from her ebullient take on Peggy Lee's "I Love Being Here With You." Her phrasing, pitch, and phrasing are right on along with her marvelous scatting. Waller's arrangement provides a Count Basie feel to it. She is a bit more sultry in a Peggy Lee manner on the interpretation of "Why Don't You Do Right." There are heartfelt renditions of "Georgia on My Mind," and "God Bless the Child." On this last song, the middle of the performance surprises with an animated Latin groove and Adam Carillo's terrific alto sax solo.

Waller's "Blues For Los Blues," a relaxed swinger with rousing solos by Jason Galbraith's on tenor sax solo and Dr. Joey Colarusso on baritone sax. The animated "Waltz For Laura" showcases Waller's robust tenor sax, followed by Lee Sparky Thomason's fiery trump. Waller's arrangement for "Rhapsody in Blue" is a brief performance marked by a quicker pace and a swing-based groove as Waller solos backed by a band augmented by a swing section. "A Ballad For Bob" showcases the warmth and melodic qualities Waller invests in his ballad playing. An unusual surprise is the swinging rendition of Bill Doggett's "Honky Tonk" dedicated to San Antonio native saxophonist Clifford Scott and guitarist Billy Butler who played on the hit recording. Juan Valdez evokes Butler's guitar solo on his solo before Waller salutes Scott with his own raucous solo that incorporates the trills characteristic of Scott's playing.

Those wanting a straight-ahead, swinging big band room recording need look no further than "Bucket List." Jim Waller has not fulfilled merely a personal goal but produced a wonderfully performed and thoroughly engaging recording.

I received my review copy from a publicist.

Melody Gardot Live in Europe

Melody Gardot
Live in Europe
Decca Records

This new release by the singer-songwriter and instrumentalist is taken from several years of concerts across Europe which she calls a "a postcard from our tours around Europe." She initially listed to over 300 shows, initially looking for some of the more perfect performances, but at some point realized that what she needed to get at was something different. "it’s not about perfection or ego or demonstration - it’s just about what happens live - because live there is only one element that counts: heart." While tagged as a jazz vocalist, she is more of a stylist whose sensual, smokey singing might suggest to some a cabaret vocalist drenched in Peggy Lee's sound. With mostly spare accompaniment (including cello on a number of songs instead of bass), many of these are moody, atmospheric performances, most of which came from her pen.

The stark backing of guitar, cello and drums with subdued sax adds to the gloomy mood of her vocal "Our Love Is Easy," with Stephan Braun's cello accompaniment under her vocal along with Irwin Hall's very sober saxophone solo matching the mood engendered by her singing here. Then there is the soft vibrato of her vocal on "Baby I'm a Fool," with her slurs, slight variations in pitch and her scatting as if singing in French, set against sparse backing of her guitar with cello and drums on another haunting performance. Chuck Stabb's drums are more prominent on "The Rain," with cello and bass lending a mesmerizing feel before Hall enters with some riveting saxophone with a Middle eastern tinge followed by Gardot on piano mixing in some chords before she sings with a bit more volume and heat before Hall has a fiery solo. 

There are other performances that musically break out of the understated, restrained tenor of many of these performances such as Gardot's "March For Mingus," where she opens with a fragment of the spiritual "Nobody's Fault But Mine" and she  her bass player Sam Minaie who takes a taut solo as she adds chords or short single note runs. Drummer Stabb adds a light marching rhythm before she takes a brief piano interlude that transitions to some intense, driving playing from saxophonist Hall and trumpeter Shareef Clayton. The pair's unison passage evoking (to this listener) Rashaan Roland Kirk before Gardot returns and sings fervently. From this same 2016 Utrecht performance comes a dramatic, bluesy performance "Bad News," as she shouts a bit against horn riffs and biting guitar lines, with some impassioned sax. Other delights include the bossa nova tinged "Lisboa," with hints of Stan Getz in Hall's tenor, Devin Greenwood's guitar having a lovely Brazilian feel and a lovely flute solo from James Casey.

Repeated listening to the songs here brings out new facets of the performances and provides a sense of why Melody Gardot is such a moving and original musical voice.

I received my review copy from a publicist. This review was written in 2018 and it was submitted but never published. She has a new recording out which review I will be posting in the near future. Here is a live performance of Melody Gardot.

Shemekia Copeland Uncivil War

Shemekia Copeland
Uncivil War
Alligator Records

It is amazing to see how it has only been 22 years since Shemekia Copeland's first album came out. Indeed, the promise of that album has been fulfilled many times as she is generally regarded as today's Queen of the Blues. But as she has matured, she has shown that being viewed as a blues artist is no longer a confining description as she readily and convincingly crosses over to musical genres. It can be suggested that her latest album "Uncivil War" is as much a roots and soul recording as a blues recording. This sentiment is a descriptive comment and not a comment on this recording's quality. "Uncivil War" is a superb recording.

"Uncivil War" was recorded in Nashville with award-winning producer and musician Will Kimbrough at the helm. There is quite a crew of musicians on this recording. In addition to Kimbrough, the core band consists of Lex Price on bass and Pete Abbott on drums. Guest musicians on "Uncivil War" include guitarists Jason Isbell, Steve Cropper, Christone "Kingfish" Ingram, Webb Wilder, and Duane Eddy. Also present are mandolin wizard Sam Bush, dobro master Jerry Douglas, and Phil Madeira on organ and guitar.

The material is striking, starting with the opening "Clotilda's On Fire," written by Kimbrough and Shemekia's manager John Hahn. It is the story of the very last slave trade ship to arrive in America (in Mobile Bay, Alabama) in 1859, 50 years after the slave trade was banned. The ship was burned and sunk by the captain to destroy the evidence. The wreckage was finally discovered in 2019. Shemekia's passionate singing is matched by the backing than includes a scorching solo from Jason Isbell. Then follows a terrific Staple Singers-esque message song, "Walk Until I Ride," with Shemekia in total command. I do feel there is a certain naivety to the lyric of the title track. However, Copeland authoritatively delivers the message of cooling down hostilities with folks having differing views. Jerry Douglas and Sam Bush lend an American feel to this track.

"Money Makes You Ugly" is a hard rock performance where she wails about those with money who abuse folks and the environment with a searing guitar solo by Christone "Kingfish" Ingram. There is an affectionate tribute to Dr. John, "Dirty Saint," with a second line beat and some nifty slide guitar from Kimbrough. After an atmospheric cover The Rolling Stones' "Under My Thumb," there is the hard rock "Apple Pie And A .45" that addresses gun violence with lyrics about a child getting killed and blood running in the streets.

Other musical delights include "She Don't Wear Pink" that Webb Wilder co-wrote. Wilder and Duane Eddy add to the alternative country feel of a song with a definite pro-feminist slant. Shemekia is superb in her interpretation of a lesser-known Junior Parker recording, "In the Dark." Steve Cropper adds his guitar to a superlative blues performance. A terrific country-soul flavored rendition of her father's "Love Song" is the final track on an outstanding recording by one of our musical treasures.

I received a download to review from Alligator Records. Here is "Clotilda's On Fire" from this album.

Quintrepid

Quintrepid
Quintrepid
Unseen Rain

Listening to the eponymously-titled debut album by Quintrepid, one might be struck by aspects of the music suggesting classic ECM recordings from decades ago. One might be so struck because of Matt Lambiase's flugelhorn (he has been compared to Kenny Wheeler) and the ambiance of the performances. Others in the group are guitarist and composer Jack DeSalvo, pianist Chris Forbes, bassist Dmitry Ishenko, and drummer and percussionist Tom Cabrera. A solid ensemble, Quintrepid performs six originals here, three by DeSalvo and three by Forbes.

The music here is striking, starting with DeSalvo's "Seeing through the Ground," opening with Lambiase's evocative flugelhorn set over DeSalvo's chords before the rest of the quintet enter with intricate ensemble interplay as they construct a pastoral mood. One gets impressed by DeSalvo's solo with its complex lines and solo construction. Lambiase solos with building vitality. Pianist Forbes opens his "February Thaw" with delicate playing before Lambiase contributes a gorgeous solo with DeSalvo adding prickly commentary. One is impressed by Lambiase's tone, phrasing, and dynamics within the often mesmerizing musical framework of the performances, such as on DeSalvo's "All Are."

DeSalvo's Because It Sees You" is the most conventional composition on this recording. It might suggest some of Wayne Shorter's Blue Note recordings with Forbes making notable use of dissonance in his solo and accompaniment to Ishenko's prickly guitar flurries and Lambiase bright, flighty flugelhorn. It is a stirring performance that provides a change of pace to the rest of this marvelously played, enthralling recording.

I received a download to review from a publicist. Here is "February Thaw."

Johnny Rawls Where Have All the Soul Men Gone

Johnny Rawls
Where Have All the Soul Men Gone
Third Street Cigar Records

Johnny Rawls returns with his third recording for Third Street Cigar Records with another collection of soul-blues. Recorded in Denmark, Rawls wrote and produced this latest addition to his discography. Horns were added in Ohio. Those familiar with Rawls' prior recordings or performances will find nothing new here. It is merely another well-produced set of songs starting with the title selection, "Where Have All the Soul Men Gone." Rawls' latest song salutes some of the great soul and blues legends that shaped his music and whose legacy he carries on.

Rawls' pleading gospel-rooted soul vocals are set against crisp backing, including moaning horns that evoke the Hi records sound, as he sings about his women and what they mean to him. For example, in "Can't Leave It Alone," he sings about wanting to leave her alone. However, she has her hook in too deep, but also she has everything he needs. In addition to the medium tempo groovers like "Keep On Doing My Thing," Rawls contributes an original soul ballad, "Love, Love, Love," where he celebrates that no one can kiss or hold him as his woman does. 

There is a bit of soul philosophy on "Money" when Rawls preaches about folks needing money to fill up a car, buy new shoes, or buy one's woman a gift. Larry Gold adds a short guitar break to this selection while taking a more substantial solo on "Town Too Small." A gospel original, "Calling On Jesus," is the final selection on another first-rate Johnny Rawls recording.
 
I received my review copy from Third Street Cigar Records. Here is a performance by Johnny Rawls.

Take 5 With Tommy Ladnier

Tommy Ladnier is a forgotten early jazz trumpeter who participated in a number of notable recording sessions starting with a variety of sessions backing some of the early women blues singers like Ida Cox and Ma Rainey. These recordings were under the leadership of pianist Lovie Austin. Later he was among the Black Americans jazz artists to tour Europe during the 1920s with Sam Wooding among others. He also was a member of the Fletcher Henderson Orchestra for a few years. He also was with Nobel Sissle and later led a group with Sideny Bechet with whom he made the famous New Orleans Feetwarmers recordings. For this edition of Take 5 we can only touch upon a few of the 187 recordings he can be heard on.

We start with one of his accompaniments to Ma Rainey on Paramount Records as part of Lovie Austin and her Blues Serenaders. Jimmy O'Bryant is the clarinet player on "Bo-Weavil Blues."

Next up is Tommy's trumpet featured on Lovie Austin and Her Blues Serenaders recording of "Traveling Blues."

Sam Wooding's Orchestra was recorded during their extensive touring of Europe. Here is "Shanghai Shuffle."

With Fletcher Henderson, Ladnier was featured on the Don Redman arrangement of Jelly Roll Morton's "The Chant." Fats Waller was on organ for this session.

We close this brief appreciation of Ladnier with one of the recordings with Bechet aspart of the New Orleans Feetwarmer, "Sweetie Dear."

Hope you enjoyed this. Bo Lindström and Daniel Vernhettes wrote an incredible biography of Ladnier, Traveling Blues published by JazzEdit. I am not sure of it is still in print, but worth looking for if you have interest in pre-bop jazz history.

Dave Riley & Bob Corritore Travelin' the Dirt Road

Dave Riley & Bob Corritore
Travelin' the Dirt Road
SWMAF Records/ Vizztone

Blues can be a very simple music. Simple guitar riffs and crying harmonica accompaniment for heartfelt vocals can get to the listener's heart. This simplicity forms the core of the music by the duo of Dave Riley and Bob Corritore. A Mississippi native, Riley grew up in Chicago, played in a family gospel group, and showed stuff on guitar by Pops Staples. After serving in Vietnam and playing in soul circles, he met Jimmy Reed, who helped shaped his musical outlook. But even more important was meeting Frank Frost after moving back down south. He then started playing with Frost and Sam Carr as well as having associations with John Weston, Pinetop Perkins, and Arthur Williams. This post-war delta style forms the basis of Riley's music. He is joined by his partner, Bob Corritore, a solid harmonica player who has been a blues hero as a record producer, blues radio announcer, concert promoter (at Phoenix's The Rhythm Room), and an extremely adept harp player.

"Travelin' the Dirt Road" is a reissue of their first album that initially came out in 2007 on the Blue Witch label. Two previously unissued selections have been added. Riley's guitar and vocals and Corritore's harmonica are supported by guitarist Johnny Rapp, drummer Tom Coulson, and either Dave Riley Jr. or Paul Thomas on bass. Matt Bishop adds piano to three selections. This album is a straightforward recording of Chicago to Mississippi juke joint music in the manner of Frank Frost, the Jelly Roll Kings, and Jack Johnson.

Riley's sings with a horse delivery. If his vocals lack subtlety, he compensates with honest delivery. The backing band is tight behind him. There are touches of Jimmy Reed boogies; Howlin' Wolf shuffles; and familiar themes as the vibrant title song whose melody evokes "Rock Me Baby," with Corritore wailing on harmonica. "Overalls" is a lively acoustic duet between the two. "Let's Have Some Fun Tonight" is an engaging reworking of Little Walter's "Everything's Gonna Be All Right." I suspect the guitar fills are from Johnny Rapp on this selection.

Other selections of note include the nicely paced shuffle, "Way Back Home," the brooding hoodoo blues "Voodoo Woman, Voodoo Man," and the boogie "Friends (one of two previously unissued tracks)." There is also the Muddy Waters' styled "Doggone Blues," Riley's old partner John Weston wrote. Matt Bishop's piano contributes to the appeal of this performance. There may not be anything fancy about the solid juke joint blues on this recording, but it is most welcome to hear this music played so well and with so much feeling.

I received my review copy from Vizztone. Here is a clip of Dave Riley and Bob Corritore performing.

San Gabriel 7 featuring Femi Knight Red Dress

San Gabriel 7 featuring Femi Knight
Red Dress
JRL-SGS Records
 
The San Gabriel 7 was formed in 2006 by trombonist Jim Lewis, and this is the Southern California based group's tenth album. Lewis, a spacecraft engineer at the Jet Propulsion Laboratory at Caltech, originally formed the group with other scientists and such who were also musicians. Over the years, the original musicians moved on, and now the group features some of Southern California's top jazz musicians.

For this recording, Lewis is joined by a rhythm section of Chad Edwards, Matt Weisberg, and/or Chris Gordon on keyboards; Steve Gregory on guitar; Jonathan Pintoff on bass; Randy Drake on drums; and Scott Breadman on percussion. Besides Mr. Lewis on trombone, the horn players include Glen Berger on saxophone, and Mike McGuffrey, Jeff Jarvis and/or Kye Palmer on trumpet. Dave Cushman is the arranger. Upfront on this recording is vocalist Femi Knight who, besides being a vocalist, is an arranger, vocal coach, choir director, keyboardist, and songwriter. Ms. Knight has performed and collaborated with numerous jazz and pop legends, including Brian McKnight, Harvey Mason, Bill Cunliffe, Patti Austin, and many others.

Knight wrote six songs (one heard in an original and radio edits), and covers of Bettye Lavette and
B.B. King. From the opening "I'm Going Home Tonight" one is impressed by Knight's singing. The clarity of her phrasing, articulation of the lyrics, vocal dynamics, and her singing's fervor is striking. Her soulful-bluesy performances are set against a funky, jazzy background evocative of The Crusaders. Adding to the flavor of this selection is Gregory's jazzy guitar. On her expressive ballad on "Give a Little," Knight showcases her vocal range and tunefulness. There is a lively original blues, "West Indian Brown (Red Dress)," with punchy brass as she singings about this lady who has a red dress on, no one can bring her down, and is about to go town. Berger takes a gutbucket sax solo on this selection.

The two live performances are sterling. Knight is sensational on a rendition of Bettye LaVette's "When a Woman's Had Enough," as she pours everything in her singing while Gregory's solo is more in a blues-rock vein. B.B. King had a hit with Will Jenning's "Never Make Your Move Too Soon," which Knight puts her own stamp on. The San Gabriel 7 evoke The Crusaders while Berger plays a robust, bluesy solo.

"Red Dress" is an excellent showcase of jazzy-soul for Femi Knight with first-rate funky support by the San Gabriel 7.

I received my review copy from a publicist.  Here is a link to a clip of music from this album. https://www.youtube.com/watch?v=W9m6f2gvuJ8.

Chick Corea Plays

Chick Corea
Plays
Concord Jazz

On this compilation of mostly solo piano performances, Chick Corea engages audiences with a program that includes surprising pairings of his favorite influences as well as spontaneous improvisations, and his own compositions. Corea, these performances engage with a wide swath of musical history before enthusiastic audiences in concert halls across Europe and the U.S. The performances here are from concerts in Clearwater, Florida; Paris, and Berlin.

There are deep dives in the classical repertoire for pieces by Wolfgang Amadeus Mozart, Domenico Scarlatti, Alexander Scriabin, and Frédéric Chopin. Also performed are compositions by formative jazz influences Bill Evans and Thelonious Monk mixed with the bossa nova beauty of Antônio Carlos Jobim. Corea also explores The Great American Songbook through songs by the Gershwins and Jerome Kern and the more modern pop of Stevie Wonder.

Corea remains a virtuoso, so it is a delight to hear him perform Scarlatti's "Sonata in D Minor K9, L413, Allegro," with a subtle precise touch. He then segues into Kern's "Yesterdays," with equal clarity in an improvisation. It is not the only unexpected delight of mixing the classical tradition with the American songbook. The program started with a Mozart piano sonata transitioning into the Gershwins' "Someone to Watch Over Me." Corea himself has noted, "To me it fit so well, but I found that, to audiences, it was a little unusual for me to put together a Mozart piece with a Gershwin tune. What do Mozart and Gershwin have to do with one another? That's up to you as a listener, but they're analogous to me."

Adding to the charm of many of these performances is Corea's introductions to some of these performances. He talks about finding and displaying links between music such as between Mozart and Gershwin. His brief talks are playful and informative, as he introduces the captivating performances of Bill Evans' "Waltz For Debby" and Antonio Carlos Jobim's "Desafinado." After assured, lovely renditions of pieces from Chopin and Scriabin are followed by a trio of Monk compositions that he introduced as a tribute to Monk. The performance of "Pannonica" is particularly sterling.

In addition to his inventive rendition of Stevie Wonder's "Pastime Perfect," Corea dazzles on his "The Yellow Nimbus," performed as a tribute to the great flamenco guitarist Paco de Lucía with whom he recorded this composition in 1982. There are two spontaneous performances inspired by audience members, followed by two piano duets with audience members. The duets involved the conservatory-trained French classical pianist Charles Heisser and the French-Israeli jazz pianist Yaron Herman. When they were chosen, they were simply audience members.

The album closes with Corea revisiting some of the Children's Songs he composed in the 1970s. It continues the exploratory and playful character of these performances. "Plays" is another recording that displays Chick Corea's virtuosity and musical brilliance.

I received my review copy from a publicist. Here is "Waltz For Debby" from this album.

Sabertooth Swing Songs of Future Past

Sabertooth Swing
Songs of Future Past
Slammin Media

Sabertooth Swing is a New Orleans jazz band that one might characterize as Neo-traditional or Neo-swing. The members of Sabertooth Swing are Dan Ruch on trumpet and vocals, Alex Canales on saxophone and clarinet, Chris Butcher on trombone, Romain Beauxis on guitar, Spike Perkins on bass, and Robert Montgomery on drums. There are guest appearances from Seth Ballin on saxophone and Ryan Hanseler on piano. This new EP is the result of the band playing a dance in a local juke joint paired with a local blues act. For this occasion, they prepared a setlist of slower tunes with a distinct melancholic air and wanderlust. Apparently, the night was magical and carried forth to the present six-song release.
 

The rhythm section is crisp, and the tempos relaxed, while the solos are concise and well-constructed. Ruch is a capable, energetic vocalist who brings the right, let's have a party feel to these performances. Things start with an inviting "Frankie and Johnny," on which Seth Ballin contributes the saxophone solo. On "How High Is the Ocean," there is a bop-inflected piano solo from Ryan Hanseler before Butcher's steel wool trombone. Butcher's tailgate trombone and Ruch's blistering trumpet open up an imaginative reworking of Tom Waits' "Chocolate Jesus. " There is also a similar traditional jazz recasting of Phish's "Lawn Boy." This song is transformed into an end-of-the-night saloon song, with Canales adding bluesy alto saxophone.

Canales' clarinet is featured on an all-instrumental take of W.C. Handy's "Atlanta Blues," which is the same melody as "Make Me a Pallet on the Floor." It is the final track on an easy to listen to, well played traditional jazz-oriented recording.

I received a download to review from a publicist. Here Sabertooth Swing perform "Chocolate Jesus."

New Moon Jelly Roll Freedom Rockers

New Moon Jelly Roll Freedom Rockers
Volume 1
Stony Plain

As Luther Dickinson writes in the liner notes for this release, the genesis for the New Moon Jelly Roll Freedom Rockers was on a tour bus when Mavis Staples and Charlie Musselwhite hot the road together with the North Mississippi All Stars. Eventually, Luther (guitar, mandolin, and bass) and his brother Chris (drums and washboard) sat down for a guitar jam with ex-Squirrel Nut Zippers leader Jimbo Mathus, along with their father, Jim Dickinson (on piano), and blues greats Charlie Musselwhite (on harmonica) and Alvin Youngblood Hart (guitar and mandolin) for a blues and roots music celebration under the rubric of the New Moon Jelly Roll Freedom Rockers.

Word of this recording was mentioned only obscurely in interviews and referenced as a great old-school recording by those few witnesses. After Jim Dickinson died in 2009, it hung out in the archives until Stony Plain founder Holger Petersen heard about the sessions this year and expressed his enthusiasm to release it. Luther Dickinson and his partner/engineer Kevin Houston finished the production of the present album, which is the first volume. The second volume is scheduled for Spring 2021.

There are ten tracks with Musselwhite and Hart each singing three, while Jimbo Mathus and Jim Dickinson each singing two songs backed by varying configurations. There are times that the groove is straight Chicago blues as on Musselwhite's opening "Blues, Why You Worry Me." Musselwhite's vocals sound a bit more upfront than on some of his recent recordings while his harmonica has a full Mississippi sax sound, with Jim Dickinson strong on piano. In contrast, Musselwhite has a more measured vocal and on the Memphis Jug Band's "K.C. Moan," a performance with a skittle band feel and apt acoustic harp. A real surprise is his high-stepping reworking of "Strange Land" that he recorded on his first album some five decades ago.

Alvin 'Youngblood' Hart is among the finest interpreters of classic Mississippi blues as can be heard on renditions of Charlie Patton's "Pony Blues" and the Mississippi Sheiks' "Stop and Listen Blues." In addition to his robust singing, there is some sterling mandolin on "Stop and Listen." which is likely played by Luther Dickinson while Hart lays down the guitar parts. There is also an interesting cover of Jimi Hendrix's "Stone Free." Mathus is showcased on a brooding slow blues, "Night Time" (with terrific Musselwhite harp), and a raucous, jaunty skittle band rendition of "Shake It and Break It." Jim Dickinson handles the vocal on a bawdy "Come On In My House" with nifty mandolin and a rowdy cover of Wilbert Harrison's "Let's Work Together." The playing on this last number is a bit too busy.

There may be a few flaws here, but the long-overdue release of the first volume from the New Moon Jelly Roll Freedom Rockers should interest blues and roots music fans. The performances are mostly top-flight, resulting in some serious fun.

I received my review copy from a publicist. Here is a clip from 2008 of them performing "K.C. Moan."

David Sills Double Guitar Quintet Natural Lines

David Sills Double Guitar Quintet
Natural Lines
Gut String Records

David Sills is a Los Angeles based reeds player based who a prolific recording career, both as a leader and with others. Influenced by saxophonist Gary Foster with whom he studied privately, the LA Times has called Sills' sound "as a meeting of Stan Getz and Joe Henderson." The double guitar quintet arose from Sills playing venues where there was no piano, so he added a second guitar, which "seemed to open up many musical possibilities and allowed for an interesting mix of musical colors." Sills is heard on this recording playing tenor sax and alto flute. The other Double Guitar Quintet members are guitarists Larry Koonse and Mike Scott, bassist Blake White, and drummer Tim Pleasant. Sills composed five tunes, Scott and Koonse, one each, while Sills, Koonse, and Scott collaborated on one. The other four songs are covers.

Sills is a wonderful player as well as a composer with a striking band on this strong bop-laced date. Things start with Scott's bright, bouncy "Minor Monk." I presume that Scott takes the guitar lead and solo here while Koonse chords and adds fills. Sills' full-bodied tenor follows Scott's clean-toned, fluid lines. Sills also displays a fluidity in constructing his solos. The rhythm section is sterling with Pleasant takes a short drum solo. Koonse contributed "Sync or Swim" with an intriguing melodic line. Koonse's scintillating solo is supported by Scott's chordal backing, followed by the leader's robust solo.

Sills' "Sonny's Side" is a salute to Sonny Rollins with more sweet-sounding guitar followed by more strong tenor sax. Excellent guitar backing is present backing Sills' superb ballad playing on "Lover Man." "Foggy Daze," a contrafact of "A Foggy Day," is a terrific swinging performance. Another contrafact, "Mellow Daze" (based on "In a Mellow Mood"), is another sublime performance with precious guitar and warm tenor sax. "All The Little Things" is a brief, imaginative free improvisation between Sills, Koonse, and Scott based on the structure "All The Things You Are."

Sills' lovely alto flute is showcased on Alan Broadbent's "Quiet As a Star." This performance also has exquisite interplay between the guitarist in support. Sills also plays alto flute on a rendition of Miles Davis' "Nardis," that begins sounding like free jazz before bassist White bridges the group into the Davis melody. Other selections are similarly of a high level.

Sills' Double Guitar Quintet has produced this marvelous straight-ahead bop recording of great appeal with the superior musicianship and strong material.

I received my review copy from a publicist. Here is a performance by David Sills with a group that includes Larry Koonze.

Ronnie Earl & the Broadcasters Rise Up

Ronnie Earl & the Broadcasters
Rise Up
Stony Plain

Ronnie Earl returns with a new album, the majority of which were recorded in "Living Room Sessions" at his house in March 2020, and several from a set at a "Daryl's House Club" show in 2019. Earl was recovering from back surgery at the time of these sessions. Recorded shortly before Covid-19 pandemic shut down most live music, "Rise Up" features the guitarist's band of Dave Limina on keys, Diane Blue on vocals, Paul Kochanski on bass, and Forrest Padgett on drums. Guitarist Peter Ward is also present on some of these recordings and contributed the liner notes. The album is his 13th for Stony Plain and 27th of his 45-year-old career.

Earl is one of the most distinctive and interesting guitarists in the blues. A nuanced player, Earl, is a master of tonal dynamics, phrasing, and solo construction. Earl builds solos like smoldering coals in a charcoal grill that bursts into flames when fat drips down. Furthermore, his accompaniments here cradle Ms. Blue's soulful vocals, while the band displays the cohesiveness and strong interplay of years together.

Ronnie Earl & the Broadcasters seem incapable of playing poorly, and like his prior albums, one would be hard-pressed to find a weak chorus, much less track. There is a solo rendition of the traditional "I Shall Not Be Moved," opening this recording followed by Earl's original "Higher Love" with one of Blue's sterling vocals. Among her other memorable vocals are the performances of Fenton Robinson's "You Don't Know What Love Is," Little Johnny Jones' "Big Town Playboy," and the gospel-tinged interpretation of Bob Dylan's "Lord Protect My Child." Then there is the stone-cold topical blues with perhaps Diana Blue's most intense vocal, "Black Lives Matter." This song is an original from her and Earl, and Earl adds a spoken part where he celebrates Dave Maxwell and others who have passed on.

There are, of course, several superlative instrumentals, including the slow, brooding "Blues For George Floyd," where his playing drips with emotion. In addition to a tribute to Lucky Peterson, another slow mesmerizing instrumental is "Talking to Mr. Bromberg." Limina is a first-rate organist who is featured on piano on the old Ray Charles instrumental "Mess Around."

Peter Ward joins in on "Navajo Blues" that showcases both guitar stylists. It is the closing track on yet another exceptional Ronnie Earl recording.

I received my review copy from a publicist. Here is a relatively recent performance by Ronnie Earl & the Broadcasters.

Matt Haviland Something To Say

Matt Haviland
Something To Say
Connotation Records

Trombonist Matt Haviland has been performing and been a featured soloist with some of the top names in been jazz since the early 1980s. Past credits include work with the Illinois Jacquet Big Band, Vanguard Jazz Orchestra, Maria Schneider, Steven Bernstein's Millennial Territory Orchestra, and the Mingus Big Band. Currently, he is a regular member of several ensembles in the New York area, notably the Pete McGuinness Jazz Orchestra, Scott Reeves Jazz Orchestra, Peter Leitch's New Life Orchestra, and Diane Moser's Composer's Big Band.

For this recording, he put together a stellar ensemble with Vincent Herring on alto sax, David Kikoski on piano, Ugonna Okegwo on bass, and Johnathan Blake on drums. Mark Gross on tenor sax and Bill Mobley on trumpet are each present on three selections. Four of the performances are by a quintet, one by a quartet, two by a sextet, and two by a septet. Whatever the format, this is a terrific contemporary jazz recording in the mode of classic sixties Blue Note recordings.

The bright sextet interpretation of Freddie Hubbard's "Arietis" gets the music off in a heated manner. Haviland exhibits a rowdy, gravelly tone while his solo develops fluidly. Gross's tenor contrasts with a somewhat dry tone followed by Herring's fiery trills kicking off an inspired solo that is energized by Blake's drums before Kikoski's follows with more spirited playing.

The leader's "Fillet of Soul" is built on a bass line with shifting minor harmonies that evokes "Body and Soul." This septet performance opens with Okegwo's statement of the bass figure over which the four horns all solo. In addition to the marvelous harmonies from Haviland's arrangement of the four horns, Gross and Mobley are exceptional here." The other septet performance is the energetic "The Way It Is," with the energy building with each of the horn solos.

Kikoski provided the arrangement for a lively rendition of Joe Henderson's "Inner Urge." Haviland and Herring are inspired before Blake provides some percussive fireworks. Kikoski provides a lovely setting for Haviland's wooly, lyrical solo on the quartet performance of Cole Porter's "Get Out Of Town." Blake adds to this splendid performance with his agile use of brushes. Haviland's imaginative arrangement of Charlie Parker's "Visa," transforms the tune into a slower tango number, with Blake's off-kilter rhythms adding to the appealing, if quirky, flavor here.

The rest of this recording is of similar quality. "Something To Say" is an outstanding recording with first-rate material and excellent, imaginative, and inspired playing that showcases Matt Haviland's talents as a composer, player, and leader.

I received a download to review from a publicist. Here is Matt Haviland leading a group at Small's in NYC in 2018.

Fumi Tomita Featuring David Detweiler Celebrating Bird/ A Tribute To Charlie Parker

Fumi Tomita Featuring David Detweiler
Celebrating Bird/ A Tribute To Charlie Parker
Next Level Records

Bassist Fumi Tomita leads a quartet in an unusual celebration of the 100th Anniversary of Charlie Parker. With saxophonist David Detweiler, they have composed eight compositions that are contrafacts of Parker standards. Joining them are pianist Art Hirihara and drummer Jimmy McBride. Contrafacts are new melodies based on familiar chord changes. Some of Parker's most famous compositions are contracts such as "Koko" based on "Cherokee," "Ornithology" based on "How High the Moon," "Anthropology" and "Moose the Mooche" both based on "I Got Rhythm," and "Bird of Paradise," based on "All The Things You Are."

In the spirit of Parker's compositions, Tomita and Detweiler each have composed four tunes that are contrafacts of compositions of Parker or of tunes he was associated with. Things start with a neat original blues by Tomita, "Oceanology," which introduces us to this choice group. With Tomita's powerful bass lines and Detweiler's robust tenor sax, evocative of Dexter Gordon, this is a terrific small ensemble with Hirihara's fluid piano and McBride's crisp, nimble stick work. Detweiler's "Bird's Yard" is a brisk swinger derived from "Yardbird Suite." Detweiler superbly negotiates the changes displaying a robust tone followed by Hirihara's formidable bebop solo. Then there is a dynamic "Bird Dreams," based on the chord changes of "Cherokee," that was the basis of "Koko," which featured some of Parker's most staggering, virtuosic playing. Detweiler more than acquits himself with his fiery playing on this.

A couple of the tunes are Detweiler's contrafacts of Parker's recordings with strings. "Waltz of the Moon" is based on "East of the Sun (and West of the Moon)," while "Intersection" is derived from Neal Hefti's "Repetition." On "Waltz," Detweiler and Hirihara invest their solos with a genial swinging lyricism. Tomita's "Alice Changes" is a reworking on Parker's "Au Private" that begins with the leader's impressive soloing, followed by Detweiler's vigorous, fluid tenor sax, Hirihara's splendid piano and McBride's taut, focused solo. It is another excellent track on a consistently outstanding recording full of imagination and superb performances.

I received my review copy from a publicist. Here is "Oceanology" from this album.

Kenny Kotwitz & the LA Jazz Quintet When Lights Are Low

Kenny Kotwitz & the LA Jazz Quintet
When Lights Are Low
PM Records, LLC

In his liner notes to "When Lights Are Low," Scott Yanow writes that "It is a superior mood album, a revival of the classic sound of the Art Van Damme Quintet, an opportunity for one to hear five masterful musicians blending together, and a very good excuse to listen to some wonderful music." Art Van Damme was one of the few prominent jazz accordionists who was a member of a big band, on the staff of NBC performing on countless radio and television shows, as well as led a quintet of accordion, vibes guitar, bass, and drums. He made his first recordings as a leader in 1945 and led his quintet by 1947. He recorded at least 42 albums as a leader and 100 as a sideman. At different times, guitarists Johnny Smith and Joe Pass were in his quintet. Other recordings included Harry James and Jo Stafford.

Kenny Kotwitz is one of Van Damme's few students, and one of the few accordionists to record with Van Damme. He leads a quintet of guitarist John Chiodini, vibraphonist Nick Mancini, bassist Chuck Berghofer, and drummer Kendall Kay. It is quite a distinguished group, and the music here is more in the vein of elegant, sophisticated ensemble playing with short melodic solos. There are very attractive renditions of "Skylark," "Harlem Nocturne," "Mood Indigo," and "Polka Dots and Moonbeams." At the same time, it would be hard to call any of these performances, all well played, to be compelling. They are relaxing, tuneful, and soothing performances that are easy on the ears.

I received my review copy from a publicist. Here they perform Jobim's "Estate."

JW-Jones Sonic Departures

JW-Jones
Sonic Departures
Solid Blues Records

I have been a fan of JW Jones since his 2004 recording "My Kind of Evil." I have watched his career progress and enjoyed other recordings by him. He was honored as the Best Guitarist at the 2020 International Blues Challenge, where the trio he was part of, Horojo Trio, was the 1st Place Band. Unfortunately, he won this right before the Covid-19 pandemic prevented him from touring to develop his career further. "Sonic Departures" is his latest and is a strong enough recording to be of interest despite his inability, due to the pandemic, to perform and tour to promote it.

Playing on this recording is his touring band of Will Laurin (drums/vocals) and Jacob Clarke (bass/vocals), along with longtime band-mate Jesse Whiteley on keyboards and horn charts. Kaz Kazanoff also contributed a couple of big band arrangements for the 13 piece horn section on this recording. In part, the album gets its title from Jones's additional tracking of vocals, guitars, and studio effects. He contributed three originals and six covers.

Jones has a very appealing voice in a pop sort of manner. He sings with a straight, attractive, and melodic approach. If he had been performing some 60 years ago, he might have well been a teen star in the vein of Dion. I don't say this as criticism as his tuneful, on-pitch singing and delivery of his originals like the opening "Blue Jean Jacket" and "Ain't Going To Beg" are substantial efforts that have the bonus of his stunning guitar. His craftsmanship, skill, and imagination lead to some very solos that build with fiery intensity.

The covers here include a spirited rendition of a very funky take of a lesser know Albert King recording, "Drying on Dry Land," with the horns adding color to his impassioned vocal. There is wonderfully played cover of Guitar Slim's "Things I Used To Do," along with Clarence Carter's southern soul classic "Snatching' It Back" with some judicious use of studio effects. One standout track is a swinging big band reworking of the Everly Brothers' "Bye Bye Love" that suggests Jones could cut it as a crooner. Whitely has a choice chorus on the piano here. There also is a swinging rendition of Buddy Johnson's "It's Obdacious," with a booting tenor sax solo.

There might be some studio tricks that are departures from JW-Jones prior recordings, but there is no departure from the high level of Jones' music on this outstanding recording.

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

Manuel Valera New Cuban Express Big Band José Martí en Nueva York

Manuel Valera  New Cuban Express Big Band
José Martí en Nueva York
Greenleaf Music

Cuban-born pianist Manuel Valera leads his New Cuban Express Big Band in a marvelous song cycle inspired by José Martí, the famed Cuban writer and independence hero. "José Martí en Nueva York" features Valera's original music based on nine poems from Martí's seminal 1891 collection, "Versos Sencillos." As Kabir Sehgal observes in his album notes, this book was one "Martí wrote during his fifteen year stay in New York as a journalist, as he helped to fund the ongoing struggle for independence in Cuba. The poems address a range of political and societal issues."

For this recording, the New Cuban Express Big Band consists of (VOICE): Camila Meza, Sofia Rei (TRUMPETS): John Walsh, Brian Pareschi, Michael Rodriguez, David Smith, Alex Norris (REEDS): Michael Thomas, Roman Filiu, Joel Frahm, Charles Pillow, Andrew Gutauskas (TROMBONES): Matt McDonald, John Yao, Andy Clausen, Jeff Nelson, and (RHYTHM SECTION): Manuel Valera, Alex Goodman, Ricky Rodriguez, Jimmy Macbride, Samuel Torres, Mauricio Herrera.

This album is a wonderfully orchestrated, sung, and played recording of these poems. While I am not fluent in Spanish, the vocals by both Camila Meza and Sofia Rei are captivating with the clarity and purity of their voices and immaculate phrasing set against the luxurious musical settings Valera provides. Furthermore, he develops each of the seven tracks with shifts in tempos and orchestral colors. The opening "Odio La Mascara Y El Vicio," begins as ballad spotlighting Mesa's vocal before transitioning into a more heated instrumental passage. The transitions in tempos and musical temperature are seamless. In addition to her ardent also, there is Andy Clausen's impressive, smoldering trombone solo.

Sofia Rei is as engaging a vocalist as shown on "Es Rubia, El Cabello Suelto," with the brass and reeds riffing against each other over a tropical rhythm. This recording is music for one's feet and one's head. One can easily imagine dancers filling a dance floor while Alex Norris' trumpet is spotlighted on a lyrical solo. Many of the members get to display their talents and be part of the marvelous ensemble playing. For "Por Sus Ojos Encendidos," the leader's piano is in the spotlight along with the trumpeter, Michael Rodriguez. Among other delights, Joel Frahm's husky tenor sax and David Smith's trumpet are featured on the spirited medley of "Yo Quiero Salir Del Mundo / Yo Pienso Cuando Me Alegro."

With all the superb singing and playing, Andrew Gutauskas's barreling baritone sax and Valera's piano solo on "Si Quiere Que De Este Mundo," are favorite moments on this outstanding recording. The performances are so genuine and naturally sung with the New Cuban Express Big Band's exquisite backing making for truly sublime listening.

I purchased this recording.  Here is a selection from the CD which is available from Greenleaf Music on bandcamp.

The Radam Schwartz Organ Big Band Message From Groove and GW

The Radam Schwartz Organ Big Band
Message From Groove and GW
Arabesque Records

Jazz organists have not often recorded with a full Big Band. Jimmy Smith with Oliver Nelson, and Groove Holmes with Gerald Wilson, are among the few exceptions. Holmes even played the bass part on a couple of songs on his recording. Organist Radam Schwartz, joined by Abel Mireles' Jazz Exchange Orchestra, maybe the first organist to play all of the bass lines throughout an entire big band album. He named his new Arabesque release "Message From Groove And GW." after the Holmes/Wilson album. In addition to his organ playing, Schwartz contributed three originals and five of the ten arrangements to the project. He named the album "Message From Groove and GW" after the Holmes and Wilson album.

It should be noted that the album cover highlights the presence of David F. Gibson on drums. In addition to Schwartz and Gibson, the members of the Mireles' Jazz Exchange Orchestra are trumpets- Ted Chubb, Ben Hankle, James Cage, Lee Hogans; Saxophones- Anthony Ware, Danny Raycraft-alto sax, Abel Mireles, Gene Ghee-tenor sax, Ben Kovacs-baritone sax; and Trombone- Peter Lin, Andrae Murchison; Charlie Sigler on guitar. Schwartz solos throughout, while 12 of the 13 members take some robust solos on the ten tunes.

This album is full of hot swinging grooves, blues feel, and plenty of organ grease starting with Schwartz's "Trouble Don't Last," with some hot alto sax from Danny Raycraft. Riffing horns frame solos from Raycrat, Mireles, Sigler, and the leader of a fiery interpretation of John Coltrane's "Blues Minor." Aretha Franklin's hit "Any Day Now" becomes a solid swinger with brass fire from Ted Chubb as Schwartz adds orchestral cover on the B3 while the other horns riff. Schwartz's "Dig You Like Crazy" is bebop original taken at a lightning-quick tempo with blistering trumpet from Chubb and alto sax by Anthony Ware.

Other standout selections include a rendition of the Isley Brother's "Between the Sheets," which takes the musical temperature down a touch with some lovely soloing from guitarist Sigler and alto saxophonist Ware. The title track is a soulful, straight-ahead swinger built on a memorable riff with rousing solos from Ben Kovacs on baritone sax and Andrae Murchison on trombone. Also outstanding is the performance of Charles Mingus' "Work Song." Schwartz's arrangement and steamy organ add to the passionate down-in-the alley playing, including trumpeter Ben Hankle growling mute solo, Murchinson's tailgate trombone, and Anthony Ware's bluesy alto sax.

The album closes with Peter Lin's trombone, and drummer Gibson featured on a concise rendition of Bach's "Von Gott," interpreted as a ballad. It is a refreshing change of pace on an outstanding, superbly played and arranged release. If organ jazz is thought of as the equivalent of steak and potatoes, "Message From Groove and GW" is the musical equivalent of a perfectly cooked filet mignon.

I received my review copy from a publicist. Here is Radam Schwartz with a big band performing Charles' Mingus' "Work Song."

Kim Wilson Take Me Back: The Bigtone Sessions

Kim Wilson
Take Me Back: The Bigtone Sessions
M.C. Records

"Take Me Back" is Kim Wilson's first new release in three years. The album presents mostly straight-ahead Chicago-styled blues that Wilson recorded at Big Jon Atkinson's Bigtone Studios at different times and locations. These tracks were recorded live without overdubs and in mono. There are a variety of musicians backing Kim's vocals and harmonica. Guitarists on this album include Jon Atkinson, Billy Flynn, Danny Michel, Kid Andersen, Robert Welsh, and Rusty Zinn. Robert Welsh and Barrelhouse Chuck are the pianists, while Kedar Roy, Greg Roberts, and Troy Sandow are on bass, and Johnny Viau adds horns. Drummers on these sessions include Marty Dodson, Ronnie Smith, June Core, Malachi Johnson, and Al West.

There are nine reworkings of tunes from Jimmy Nolen, Howlin' Wolf, Larry Williams, Little Walter, and Jimmy Rogers, along with seven Wilson originals. After a crisp take on Nolen's "You've Been Goofin'," we are treated to one of several Little Walter flavored instrumentals, the rollicking "Wingin' It." Wilson's "Fine Little Woman" sounds like a cover of a lesser-known Little Walter recording with Billy Flynn channeling Robert Lockwood Jr. Wilson remains an unforced singer who is equally authoritative handling Howlin' Wolf's "No Place To Go," Percy Mayfield's "Strange Things Happenin'," and Jimmy Rogers' "Money, Marbles & Chalk." Then there is Wilson's Louisiana swamp-blues "Play Me" and the relaxed late-night harmonica instrumental "Strollin'."

Closing with another marvelous Little Walter styled instrumental "Out of the Frying' Pan," "Take Me Back," is another consistently well-performed Kim Wilson recording that will please many.

I received my review copy from MC Records. Here is Kim Wilson from a 2019 performance.

Kenny Washington What's The Hurry

Kenny Washington
What's The Hurry
Lower 9th Records

Vocalist Kenny Washington (not to be confused with the well-known drummer of the same name) is a New Orleans native who relocated to the San Francisco Bay area after discharge from the Navy. He performed in an Off-Broadway jazz production that also took him to Europe. After returning to San Francisco, he was brought back to New York with vibraphonist Joe Locke for a performance at Dizzy's Club at Jazz at Lincoln Center. He has appeared on several recordings from saxophonist Michael O'Neill and has two live recordings under his name. He has many fans, including vocalist Karrin Allysin, and trumpeter Wynton Marsalis.

On this CD, Washington is accompanied by a core group of pianist Josh Nelson, Gary Brown on acoustic bass, and Lorca Hart on drums. Others on this recording include saxophonist Victor Goines, guitarist Jeff Massanari, trumpeter Mike Olmos, percussionist Peter Michael Escovedo, bassist Dan Feizli, trombonist Jeff Cressman, and percussionist Ami Molinelli-Hart.

This is a well-programmed album, with Washington singing in a variety of settings ranging from piano trio backing, guitar or bass backing, and small combo with horns. Washington is a singer with a considerable vocal range and a slight vibrato. He stands out with his phrasing, the clarity of his delivery of the lyrics and his horn-like scatting and whistling. The backing is immaculate, starting with the piano trio on "The Best Is Yet to Come." Massanari provides a supple guitar backing for delightful renditions of "S'Wonderful" and "I Got the World on a String." Goines adds his fruity tenor sax to Brown's bass intro on an exquisite "Stars Fell on Alabama," with Nelson and Hart adding their understated backing midway, with Brown soloing. Nelson's elegant, skilled piano and Olmos' soft growling trumpet are part of the backing for Washington's melancholic interpretation of Duke Ellington's "I Ain't Got Nothin' But the Blues."

Washington's performance of "Bewitched, Bothered and Bewildered" is a duet with pianist Nelson whose restrained backing adds to the intimacy of the performance. Escovedo's bongos kick off a Latin-feel to washington's reading of the jazz classic, "Invitation," with Nelson taking a stunning piano solo. Washington's hauntingly beautiful rendition of "Here's To Life" is perhaps the album's high point, which is high praise for an excellent recording. Bassist Dan Feizli accompanies Washington on a buoyant "Sweet Georgia Brown," where Washington displays his abilities scatting. A full band with Goines on clarinet, Cressman on trombone, and Molinelli-Hart on percussion provide an effervescent Brazilian groove for Washington as he sings the Jobim-de Moraes Bossa classic "No More Blues (Chega de Saudade)." Goines' blues-inflected clarinet is showcased along with Washington's vocal and scatting.

Guitarist Massanari returns to back Washington on Charlie Chaplin's "Smile." It closes a wonderfully produced and recorded CD that displays Washington's superlative jazz vocals.

I received my review copy from a publicist. Here is a recent performance of Kenny Washington singing "Cry Me a River."

Take 5 - Happy Birthday Thelonious Monk

Today we celebrate the 103rd Anniversary of the birth of Thelonious Monk. This Take 5 of course represents only a small sampling of Monk's music. First up is "Ruby My Dear," with John Coltrane on tenor sax.

Next is a live performance of "Evidence."

Let us savor "Rhythm-a-ning" from "Live at the 5 Spot" with Johnny Griffin on tenor sax.

We follow that up with a solo performance of another gorgeous Monk ballad, "Reflections."

We close with another Monk solo performance. This time it is a live performance of Duke Ellington's "Solitude.

For more Monk, WKCR in New York City (wkcr.org) is playing Monk's music all day today October 10, 2020 until midnight EDT.

JD Taylor The Coldwater Sessions

JD Taylor
The Coldwater Sessions
VizzTone

JD Taylor is a triple threat as a singer, harmonica player, and songwriter. Formerly a member (for 25 years) of the band Little Boys Blue, "The Coldwater Sessions" is his first solo album. He brings a bunch of influences from Jimmy Reed, Junior wells to Memphis soul. Among the musicians backing him are guitarists John Hay and Landon Stone, bass guitarist Matthew Wilson, drummer Danny Banks, keyboardist Rev. Charles Hodges, brass player Mark Franklin, and saxophonist Art Edmaiston. Kevin Houston, who recorded this and co-produced it added percussion, Joe Restivo and Zack Lees each guest on guitar on a track, Mikey Junior plays harmonica on one song, and members of Southern Avenue add backing vocals.

Taylor establishes himself as a singer of nuance and passion quickly on the Jimmy Reed-styled lazy shuffle "Get Me Where You Want Me," and the funky "Ooh Wee." The latter number is built around the guitar riff of Junior Wells "Messing With the Kid," and there is a nod to Wells in Taylor's singing here. His harmonica skills are evident on both these tracks, whether the full-bodied amplified harmonica on "Get Me Where," and the warbling playing on the latter number, which also sports two crisp guitar solos with strong horn riffing in the background. Then Taylor follows up with the Memphis styled soul of "Nothing Left to Stay," sung with warmth and heartfelt emotion. Another convincing slice of deep soul is "At First Glance."

There is also a funky Chicago-styled blues, the easy rocking shuffle, "By All Means" which features Joe Restivo's solid, straight-forward guitar. Landon Stone sparkles on guitar on both the funky, "It Ain't Real Deal," and the quick-paced shuffle "Hanging On." There is another lazy Jimmy Reed styled shuffle, "Honey Honey Baby," where Taylor channels Reed as a singer and harmonica player. Mikey Junior wrote, added harmonica, and shared the vocal on the blues he penned, "Anastasia," an atmospheric performance.

Closing this release is "The Coldwater Swing" is a high stepping instrumental that may evoke the theme from The American Bandstand TV show. It features superb guitar from Zach Lees and Jon Hay and sterling harmonica. It is a splendid finale to a superlative album of first-rate blues and soul music.

I received my review copy from VizzTone. Here is a video of a 2019 performance involving JD Taylor.

Antonio Adolfo BruMa (mist) Celebrating Milton Nascimento

Antonio Adolfo
BruMa (mist) Celebrating Milton Nascimento
AAM Music

In his newest recording, Brazilian pianist, composer, and arranger, Antonio Adolfo salutes the singer-songwriter Milton Nascimento, who perhaps is Brazil's greatest living composer of popular music. Many jazz and pop luminaries, including Wayne Shorter, Herbie Hancock, Sarah Vaughan, Tony Bennett, Stan Getz, Bjork, and Esperanza Spalding, have recorded Nascimento's songs. Antonio's appreciation of Nascimento goes back to the beginning of the latter's career. They initially met just before a major musical event in Brazil in 1967 at which Nascimento was a great sensation.

Chris McGowan's liner notes quote Adolfo, "For this album, I immersed myself in the music of Milton and his partners. I have been working on this project for six months, panning its rich repertoire and adding my Brazilian jazz vocabulary. After working with more than thirty songs to choose nine, I once again concluded that Milton Nascimento is the most modern and profound composer in Brazil. His compositions broke traditional harmonic and rhythmic patterns, with his modalism and natural rhythmic meters, all in a spontaneous, intuitive and natural way."

McGowan observes, "The album title BruMa, which means 'mist' in Portuguese, is also intended to bring to mind two environmental disasters that struck Minas Gerais [Nascimento's home state] in the last decade. BruMa is comprised of the initial syllables of two cities (Brumadinho and Mariana) that suffered similar tragedies. In 2015 and 2019, earthen dams collapsed and let forth floods of muddy waste materials that devastated the towns, killed hundreds of people and rendered the rivers downstream toxic and lifeless for years to come."

Joining Adolfo on this CD are Jess Sadoc on trumpet and flugelhorn; Marcelo Martins on alto flute, tenor sax; Danilo Sinna on alto sax; Rafael Rocha on trombone; Claudio Spiewak on guitar; Jorge Helder on double bass; and Rafael Barata on drums and percussion. Luis Galvao replaces Spiewak on guitar on two selections, Leo Amuedo adds guitar to one track, and Dada Costa plays percussion on five of the nine songs.

Adolfo's latest project continues with a tropical feel, fluid, and elegant piano, handsome arrangements, and stirring soloists. Marcelo Martins takes flight playing some vigorous tenor on the opening "Fé Cega Faca Amolada," which translates as "Blind Faith, Sharp Knight," Claudio Spiewak adds punchy guitar on this song as well. It is typical of the music here with the lively rhythms, strong ensemble playing, and atmospheric horns. Adolfo's deliberate, graceful piano is heard on "Nada Será Como Antes (Nothing Be As It Was)," along with Rocha's crusty trombone. Another standout song is an exuberant rendition of "Cançāo Do Sal (Salt Song)" with exhilarating rhythms that propel Rocha's graveling trombone and Sinna's fervent alto sax. Then there is a memorable performance of "Encontros E Despedidas (Encounters and Farewells)" that Nascimento first recorded with Hubert Laws. In addition to Adolfo's marvelous piano solo, Martins' plays exquisite alto flute. "Tres Pontas" refers to the city where Nascimento was raised, and again is a showcase for the leader's graceful, lyrical piano along with Sadoc's resonant trumpet. The sublime rendition of "Cais (Harbor)" places the spotlight on Sadoc's lovely muted trumpet. At the same time, "Caxangá" displays the skill with which Adolfo can layer the various instruments in the performance as they riff behind Sinna's alto sax solo and Lula Galvao's stinging electric guitar.

Antonio Adolfo's salute to the legacy of Milton Nascimento does justice to Nascimento's imposing body of music. "Bruma" is an exceptional, marvelously performed recording that will touch listeners' heads and hearts.

I received a review copy from a publicist. Here is "Outubro (October)" from the album.

Sonny Green Found! One Soul Singer

Sonny Green
Found! One Soul Singer
Little Village Foundation

"Found! One Soul Singer" is the latest release from the Little Village Foundation. The album is the first full album by Robert 'Sonny' Green, a Louisiana native who relocated to Los Angeles. Green was named Sonny by Big Jay McNeely to make folks think he was Little Sonny Warner, the vocalist on "There Is Something On Your Mind." Growing up, he was a classmate of Mighty Sam McClain. He did record some highly prized 45s.

This recording was done at Kid Andersen's Greaseland Studio, and Andersen plays guitar. Others on the session include Jim Pugh on Hammond B3, Chris Burns on clavinet and piano, Endre Tarczy on bass, and Ronnie Smith on drums. Others on the session include Mariachi Mestizo on violins, Jeff Lewis on trumpet, Mike Rinta on trombone, and Aaron Lington on tenor and baritone saxophone. D'mar plays drums on one track while Terry Hanck and Gordon Beadle are heard soloing on one track each.

Musically, this is a very appealing album of modern urban blues and soul-blues in the vein of Bobby Bland, Little Milton, Syl Johnson, Little Johnny Taylor, and others. He has the gospel-rooted screams and chocked cries down and puts everything into the performances here that are ably backed. There are times when his diction is a bit slurred, as on the cover of Bobby Bland's "I'm So Tired" and Little Milton's "If Walls Could Talk." His rendition of "Blind Man" owes a bit to Little Milton. It is a fine performance, as is Green's channeling of Syl Johnson on the churning groove of "Back For a Taste of Your Love." Trumpeter Lewis stands out with his brief horn blasts here.

Rick Estrin's "I Beg Your Pardon" is a superb slow blues with a vocal that would do Little Johnny Taylor proud. Pugh plays a greasy organ solo. There is a deep soul rendition of an early Willie Nelson song, "Are You Sure." Alabama Mike joins on an original, "Trouble." It is a first-rate duet in the style of the Jewel recordings by Ted Taylor and Little Johnny Taylor. Incidentally, the CD cover lists it as the ninth track. It is the eighth track, and "If You Want Me To Keep Loving You," another strong performance in the Little Johnny Taylor mode, is the ninth track.

This album closes with a well-sung cover of Ted Taylor's "Be Ever Wonderful." There is plenty to enjoy about this recording. Sonny Green ably evokes so many greats as he recreates their songs. He certainly displays his considerable vocal chops, and Kid Andersen and the backing musicians provide top-flight backing. For fans of soul-blues and deep soul, Little Village Foundation has indeed found a most soulful singer.

I received my review copy from a publicist. Here is Sonny Green performing recently.