Led by trombonists Howard Levy and Alan Goidel, Slide Attack is a quintet inspired by the group led by J.J. Johnson and Kai Winding. They bring an ebullient, straight-ahead swinging bop approach to their all original repertoire. The group's other members are Hiroshi Yamazaki on piano, Michael Goetz on bass, and Charles Zueren on drums. The two leaders have experience playing in various settings, including big bands, Broadway shows, and more. Levy contributed five originals, Goidel three compositions, and pianist Yamazaki one.
Things kick off with Yamasaki's "Spring Roll," which was written over the chord changes of Sonny Rollins "Airegin. Pianist Yamasaki takes the first solo, followed by Goidel's wooly solo and Levy's fluttering one before Zeuren showcases his stick work. Goidel wrote the title track that has a bubbling feel featuring Levy's expressive plunger mute solo. Jobim's "Sa Danco Samba" is the foundation for Levy's "Clauditti," dedicated to his wife. He brings a solid drive to his playing, followed by a sparkling Yamasaki solo and Goidel's more gravelly playing. Levy's "Struttin'" is based on Herbie Hancock's "Watermelon Man," with some fascinating interplay between the two during the opening of this playfully funky performance.
Goidel's "Look Within" is a beautiful ballad that showcases bassist Goetz before the composer's feathery playing. "Owens" was inspired by Levy's Aussiedoole. It is a take on "I Got Rhythm" that opens with a spirited Levy spirited followed by Yamasaki's crisp, fluid piano solo, Goidel's measured one, and another melodic bass solo by Goetz.
"Bluesdemic," derived from the challenging changes of Charlie Parker's "Blues For Alice," is a swinging blues with more top-flight solos. The other selections are equally fascinating. "Road Trip" is an outstanding recording with first-rate tunes, a tight swinging ensemble, and superb soloing.
I received my review copy from a publicist. Here is a video clip of Slide Attack.
It is possible that I may have met Ray Gallon when perusing the jazz stacks at J&R Music World in lower Manhattan decades ago. In any event, this is the pianist's long-awaited debut that has attracted praise from the likes of Ahmad Jamal and Ron Carter. Carter, in fact, wrote a brief liner note, "Welcome to the world of the music of Ray Gallon…extraordinary pianist…college professor…talented composer and arranger…and my dear friend… ." Gallon has been playing for many years, with a period he dealt with his health and that of his family and his resume includes playing with Ron Carter, Art Farmer, T.S. Monk, Dizzy Gillespie, Milt Jackson, Harry "Sweets" Edison, Wycliffe Gordon, Benny Golson, Frank Wess, and The Mingus Big Band. On this trio date, he is joined by bassist David Wong and Kenny Washington.
Listening to Gallon, one is struck by echoes of Hank Jones, Thelonious Monk, Barry Harris, Bud Powell, and others, but it is distinctly him backed by a first-rate rhythm section. Highlights on a consistently excellent recording include "Out of Whack" with its off-kilter, Monkish flavor with some nice stick work from Washington. Then there is an intriguing blues "Craw Daddy," with his use of dynamics and touch matched by Wong and Washington. "Harm's Way" showcases not simply his technical virtuosity with the almost frantic tempo but also the fluidity of his playing and his imagination and skill in constructing a solo. Both Wong and Washington solo here as well.
Gallon originally conceived of interpreting "I Don't Stand a Chance With You" as a bossa. Still, it has evolved into an exquisite and poignant ballad rendition played with a light touch. In contrast, on a memorable treatment of "Yesterdays," Gallon acknowledges employing some of the devices Art Tatum used (although not directly emulating Tatum), such as the transitions from rubato into a spirited tempo through an ostinato bass line and remarkably dissonant voicings. Other selections include the dazzling "Plus One," a contrafact based on Fats Waller's "Honeysuckle Rose," where he also trades fours with Washington. Hank Jones was perhaps the strongest influence on Gallon. Gallon, in fact, studied with Jones. "Hanks a Lot" is his tribute to the late piano great and has some of the energetic eloquence that Hank Jones brought to his music.
As a composer, Ray Gallon crafts melodic themes that keep resonating with the listener while the performances take surprising, but engrossing twists and turns, resulting in this excellent recording that leaves listeners wanting more.
I received my review copy from a publicist. Here Ray Gallon performs "Hanks a Lot."
Mark Winkler & David Benoit Old Friends Cafe Pacific Records
"Old Friends" brings together vocalist (and lyricist) Winkler with keyboardist David Benoit for a set of straight-forward jazz vocals. Benoit is likely the best known of the two as a producer as well as performer. Winkler has had a productive recording career as well. On six of the thirteen tunes on this album, the two are joined by bassist Gabe Davis, drummer Clayton Cameron, and guitarist Pat Kelley. Cellist Stefanie Fife appears on three tunes, and percussionist Kevin Winard is on one.
There is an eloquence to the program here with Benoit's accompaniment and Winkler's nuanced phrasing, clear diction, and delightful conversational approach. The selections with the rhythm trio add additional variety to this mix of standards and originals. Bob Dorough's effervescent "I've Got Just About Everything" is the first selection with a lively backing, including Cameron's adept use of brushes and Kelley's nimble guitar. Then there is a duet rendition of Dave Frishberg's "Sweet Kentucky Ham" with Benoit's exquisite accompaniment of Winkler's delivery about a lazy city where the sidewalks close up early. Pat Kelley's guitar opens an endearing interpretation of "The Shadow of Your Smile." Another duet is a thoughtful rendition of Mancini-Bricusse penned "Two For the Road."
The cello of Stefanie Fife joins Benoit in a thoughtful performance of Paul Simon's "Old Friends/Bookends." She also adds instrumental color to Randy Newman's "I Think It's Going To Rain Today." Winkler gives an appropriate moody treatment to "When This Love Affair is Over." Benoit is heard on the organ as well as piano, while Kelley adds some incisive guitar commentary. There is clarity in the manner Winkler sings, which brings the words of the songs to the listener. This is also evident in the original that he and Benoit collaborated on, such as "In a Quiet Place (Kei's Song)" and "Dragonfly," a beautiful song of hope for love. Then there is a Benoit melody to which lyrics were added, "Thirty Years (Only Sunshine Days)," which is dedicated to the memory of jazz journalist Christopher Louden.
The closing track is "Some Other Time," one of the songs from the Leonard Bernstein's "On the Town." It is a nostalgic song about the parting of someone close, and Winkler's heartfelt singing gives the lyrics their proper weight, with Benoit graceful playing. Benoit and Winkler have been friends for some 37 years, and the marvelous vocal performances on "Old Friends" display a musical closeness to match their personal friendship.
I received my review copy from a publicist. Here is "I Think It's Going To Rain Today."
"400" is a tribute to Bob Marley by the New York-based duo Acute Inflections. The duo consists of vocalist Elasea Douglas and bassist Sadiki Pierre. Douglas has a varied dance and performing career in addition to developing as a vocalist. She was in the original Broadway production of "Fela." Douglas initially trained as a classical vocalist, while Pierre received training as a classical bassist, Both found their training confining and have expanded their musical horizons. With her tuneful singing, he provides percussive, melodic, and groovy bass lines.
She has an attractive voice and is skilled in phrasing, although the intimate bass-vocal duets pose limitations for extended listening. It allows her to help focus on Bob Marley's lyrics which still resonate today in our continuing troubled times. Particularly noteworthy are renditions of "I Shot the Sheriff" (where she slows down the vocal as she enunciates the lyric), "Redemption Song" (a particularly lovely vocal), a reflective "Waiting in Vain," and an ardent "Get Up Stand Up."
As suggested above, given the austere setting of the performances (particularly when compared with Marley's original recordings, listeners will likely appreciate this recording by listening to several selections at a time instead of listening in one setting. It is very different from listening to Marley but in its own way, "400" is a moving, heartfelt tribute.
I received my review copy from a publicist. Here Acute Inflections perform "Stir It Up."
Chris Gill Between Midnight and Louise Endless Blues Records
Mississippi blues guitarist and vocalist Chris Gill got into the Delta and Bentonia style Blues from sitting on Jack Owens' porch listening and learning from Jack Owens and Bud Spires. The Bentonia influence continues today as he still hangs out and jams with Jimmy "Duck" Holmes at the Blue Front Cafe. He writes original songs in what he characterizes as a mix of Juke Joint Boogie and Piedmont style fingerpicking. His cites as influences Taj Mahal, Mississippi John Hurt, Rev. Gary Davis, Elizabeth Cotten, and Lightnin' Hopkins. Gill plays both fingerstyle and slide guitar and has been a finalist in the International Blues Challenge.
Gill's skill as a fingerstyle guitarist is evident on the instrumental "Thank You For Another Day" with deft picking that sounds like a pleasant fusion of Mississippi John Hurt and Blind Blake. It is followed by "Song For Honeyboy," which has him playing in a classic Delta blues vein and showcasing his accomplished slide guitar (with echoes of Muddy Waters). The song was inspired by reading Honeyboy Edwards' autobiography. An alluring love song, "You Never Know (That's What Love Will Do)," features amiable fingerstyle guitar with echoes of John Hurt and Taj Mahal to go with an appealing vocal.
Played on a Baritone Mule guitar, "Rolling Man" features a percussive accompaniment to a song about a hobo's travels. Next up is another evocation of classic delta blues, "Fleas and Ticks." Tracks like this and "Song For Honeyboy" show how ably Gill performs in the Delta style. "Souvenir of the Blues" was inspired by a homeless man on Beale Street and is a moody tune with some thoughtfully played slide guitar. "Long Distance Highways" is more of a folk-country number with reflections of playing on the road and home with nimble picking. A dear friend of Gill, Vincent Brawley, wrote, "I Fell in Love With Blues." Brawley passed away a few years back, but Gill does a marvelous salute to his friend about a song listening to WDIA and Mexican radio stations.
The title track is another crisply played instrumental with a dreamy feel. It is the closing track on an album of performances in the blues tradition but with Gill's own memorable slant on acoustic blues.
I received my review copy from a publicist. Here is a performance of "Souvenir of the Blues."
Based in Portland, Oregon, vocalist Rebecca Kilgore has been involved with 50 or so recording projects. A frequent guest on NPR's Fresh Air, she also appeared on A Prairie Home Companion and the Mabel Mercer Cabaret Convention and at Carnegie Hall with Michael Feinstein. Feinstein comments, "Listening to Rebecca's new recording fills me with joy. Her song choices are masterful and her interpretations sublime." On this recording, she is backed by pianist Randy Porter and bassist Tom Wakeling. Her husband Dick Titterington adds cornet to a couple of the thirteen tunes heard here.
While there are a few songs here that are well-known members of the Great American Songbook, like "Day In - Day Out" and "The Gentleman Is a Dope," most are lesser-known, not so standard standards. These include Dave Frishberg's "Dear Bix," Nellie Marie McKay's "I Wanna Get Married," Dan Davis & Meredith d'Ambrosia's "Somebody Just Like You" and "Because We're Kids" with lyrics by Dr. Seuss from the 1953 film "The 5,000 Fingers of Dr. T."
She has a conversational vocal style with her relaxed, clean, and tuneful phrasing with a lack of vibrato or histrionics. Porter and Wakeling provide emphatic backing. "Dear Bix" is the opening cut and has an imagined conversation between Six Beiderbecke and Hoagy Carmichael. After her vocal, Wakeling takes a solo with Porter comping. Wakeling's bass provides a breezy tempo for the beginning of "Day In - Day Out," with Perter laying down chords in his accompaniment for her lightly swinging vocal. Titterington adds moody cornet for a softly delivered pensive vocal on "Something You Got."
There is a breezy take on "Run, Little Raindrop, Run," followed by the sophisticated ballad medley of a Wild Bill Davis-Don Wolf collaboration "Azure-té" with Duke Ellington's "Azure." There is a touch of wordless vocalizing in addition to her delivery of the lyric on an engaging performance. Then there is a spirited touch to her rendition of "I Wanna Get Married" and the effervescent swing in her interpretation of "Like the Brightest Start," which is enhanced by Titterington's melodic cornet. There is a delightful, perky take on "The Gentleman Is a Dope" and charm in the rendition of "Because We're Kids."
There is a soothing quality about the performances on this album. Rebecca Kilgore sings in a sophisticated, easy swinging, and melodic fashion. With the harmonious backing, "Vol.1" is a splendid vocal jazz recording, and its title indicates she has additional musical delicacies to serve listeners.
I received my review copy from a publicist. Here is Rebecca Kilgore singing "Do You Know What it Means To Miss New Orleans."
The latest batch of Columbia/Legacy's Roots N'Blues reissues maintain the level of the earlier issues. Double disc releases by Blind Willie McTell and Brownie McGhee are of particular interest.
The Blind Willie McTell set is entitled "The Definitive," which is not completely accurate as it omits such essential McTell recordings as Statesboro Blues, which was recorded for Victor. Still, the forty-one selections, some with Ruth Willis on vocals, and others with Curley Weaver or Buddy Moss on second guitar, are magnificent sides. There's the exuberant "Georgia Rag," a brisk reworking of a Blind Blake number, the jaunty "Stomp Down Rider" and "Broke Down Engine." Whether playing a bottleneck or not, McTell displays considerable fluidity on the 12-string guitar and sang convincingly with warmth and feeling. This has all of McTell's Columbia Vocalion, and Okeh recordings, and the booklet has an essay by David Evans that will be the standard source for information on McTell in the future. If not definitive, this is essential.
Two discs collect "The Complete Brownie McGhee." Despite his celebrity, in part a result of his long partnership with Sonny Terry, many blues fans are unaware of his commercial recordings for the African-American, then rhythm and blues market. This collection compiles 47 recordings originally waxed for Columbia's Okeh subsidiary, and while some have been reissued overseas, much of this has never been issued. The Kentucky-born McGhee had moved to the rich blues territory of North Carolina when he was discovered by talent scout, J.B. Long. Between August 1940 and October 1941, McGhee recorded the 47 sides (some alternate takes) included here. While distinct from Fuller, McGhee's recordings with Jordan Webb's harp, and either Bull City Red or Washboard Slim ón washboard carried some of the same flavor. Reworking "Digging My Potatoes" as "Picking My Tomatoes," doing "Step It Up and Go," memorializing Fuller in "Death of Blind Boy Fuller," or an early version of "Key to the Highway," these recordings are marked by McGhee's clean articulated vocals, fluid guitar playing and relaxed group swing. Highly recommended.
A single disc of Bukka White's complete Columbia, Okeh and Vocalion recordings is available on "The Complete Bukka White." One of the major Delta blues artists, White's hoarsely shouted vocals were backed by his percussive, barrelhouse bottleneck guitar. Also, White was a blues lyricist of considerable power whose songs often reflected his own experiences. A dozen of these 14 titles were recorded in 1940 after he was released from Parchman Farm, and the time he spent there is echoed in the intense imagery of "When Can I Change My Clothes" (referring to his prison uniform). The sessions also produced "Fixin' to Die Blues," with its morbid imagery, the barrelhouse dance number, Bukka's "Jitterbug Swing," and "Special Streamline," a half-spoken, half-sung train blues with a suggestive slide accompaniment. Prior to being imprisoned, Bukka recorded "Shake 'Em On Down," another classic that became a delta blues standard. These recordings were discussed at length by Sam Charters in his book "The Bluesmen" over 25 years ago, and they stand up as a cornerstone of a country blues collection. Incidentally, all of these titles were previously issued on Ip and cd, but this is newly mastered.
Tampa Red, "The Guitar Wizard," is a single disc with 17 early recordings by one of the most prolific and important early blues artists. One cannot exaggerate the importance or influence of Hudson 'Tampa Red' Whittaker. One would be hard-pressed to name any blues guitarist (particularly slide) who doesn't bear his imprint, nor has one of his songs in his repertoire. While most of his recording career was spent with Victor, this exemplary collection derives from recordings for Okeh and Vocalion. A number of them include Georgia Tom Dorsey on the piano including an accompaniment to "Papa Too Sweet," on a version of "It's Tight Light That." In addition, there are several fine blues presaging his later recordings and influence, including two versions of "Sugar Mama," and his reworking of Lucille Bogan's "Sweet Black Angel." The fact of Bogan's earlier recording is not mentioned in Mark Humphrey's otherwise informative annotation. The music is first-rate, with plenty of Tampa Red's clean, precise slide and bittersweet vocals. Highly recommended.
"Cajun Dance Party • Fais Do Do" is the second collection of vintage cajun music recordings Larry Cohn has compiled for this series. Covering the years 1929 to 1934, this collection is oriented to the recordings of cajun accordion pioneers such as Amédée Breaux, Amédée Ardoin, Dewey Segura and Joseph Falcon. It opens with Amédée Breaux's "Ma Blonde est Partié," the earliest recording of what would be known as "Jolie Blonde." This set is important for its inclusion of six recordings by the pioneer creole accordionist, Ardoin, who influenced both cajun and creole musicians. "Jolie Blonde" is not the only cajun classic whose first recording is collected here. While the musical form here is basically two steps and waltzes, the use of the diatonic accordion and cajun fiddle, along with the high lonesome, crying vocals have a bluesy tonality. While the lyrics may be incomprehensible to many, the soulfulness of this music, which is far removed from the more country-influenced cajun, or R&B flavored zydeco music of today, the music here is quite powerful, although some may find it difficult to listen to this complete in one sitting. But when the accordion gets rocking on a riff and the violin waxes over it, the music can be mesmerizing.
Part of the Contemporary Blues Masters series in Roots N'Blues, a new album, "Stompin' at the Penny," reissues a rare Canadian album of Lonnie Johnson with Jim McHarg's Metro Stompers. This album captures the legendary blues guitarist and vocalist at Toronto's Half Penny backed by a spirited "trad' band. There's a mix of songs associated with Johnson's fellow New Orleans' native, Louis Armstrong, "Dippermouth Blues" and "West End Blues," with Johnson taking a sprite solo on the latter. In fact, his electric guitar playing on this number, the relaxed R&B flavored "Bring It On Home Mama," or the rocking "Go Go Swing," illustrate the continuity between his innovative playing in the twenties and the modern electric guitar style most associated with B.B. King, who acknowledged Johnson as an influence. "Go Go Swing" is particularly fascinating as the Metro Stompers riff like a hot R&B band horn section. This is mostly instrumental and the vocals here show as often as not Johnson's predilection for ballads ("My Mother's Eyes"), a fact not often appreciated by Johnson's blues admirers. Still, this is a highly entertaining collection that is, in all honestly, of most interest to trad jazz enthusiasts but having enough of Johnson's playing to make it of wider interest.
I likely received review copies from Columbia Records. This review appeared in Jazz & Blues Report in 1994. I note that these should be available in some form, including from Amazon.
The Blues in its approximately 100 years has been a music found in the back woods as well as the big city. While it's true that it is a music about the facts of life, as the late Willie Dixon might say, it is also a music that is primarily anchored in the communities of its performances and audiences. While many performers would leave their home communities and become celebrities in a region of the country, others played for family and friends, or abandoned musical careers for the purpose of raising a family and earning a solid living. One of those who chose the latter route was Eddie Cusic, a Mississippi bluesmen whose career leading a band was interrupted by the military draft. After time in the armed services, he settled down until after retirement when he resumed playing the blues. I met Eddie Cusic at the Festival of American Folk Life in 1991 when he was one of the artists who participated in The Roots of Rhythm and Blues,The Robert Johnson Era. Eddie Cusic is a traditionally based delta blues artist whose vigorous interpretations of Catfish Blues and Women in My Life were first-rate. I had the opportunity to speak with him and he told me his story.
Eddie Cusic is from Leland, Mississippi. He was born January 4, 1926 "just down the road from Leland on a plantation called Willman, Willman, Willman, Mississippi." Leland is near Greensville. "I would say about 7 miles from Greensville." The nearest big city is Jackson, the state capital, which is "About a hundred or a hundred twenty-five miles from Leland." Leland is in the "central part in the delta, lowlands, no hills." When l asked, "Hot muggy summers?," he agreed.
Eddie recalled that his parents had come from "Yulah, Alabama, so they told me and that's where they lived down there. Willman Plantation. That's where they raise cotton and corn you know, in other words farm country, you know; and so I was born and raised down there ... and then we moved to Hollyknow Plantation which is a big farm." Eddie was about 7, 8, or 9 when they moved. "So we lived there and I got big enough and all I know was farm. I got big enough to help out with the farm. We raised cotton on a half. They furnished you six months. If you got anything (Left over? Yeah!) If you had anything left over, most times you didn't. And when they settle with you they'd say, 'Well, you came out of debt. What you gonna need?' That's always 'what you gonna need.' Never give you anything if you a profit. Say you come out of go out to those places, slip out. You call them country work, you wouldn't have nothing. Yeah so we stayed debt. If you didn't pick cotton by the hundred or do day there awhile and then we moved out..." Eddie remembers moving to a "black fellow's place called George Hood. Moved out there and that's where I got up a young sound out there."
"Going on around about 15 or 16 years old, I used to go out to this hose
places, slip out. You call this hem country jukes, You know what I
mean, out in the country, way out in the country. And the people used to
leave town to go to the country to have fun, I reckon. The regular law
enforcement was so rough on those people; and if they catch you uptown,
they'd say 'Hey boy. Where you. where you live.' [In falsetto] 'On Mr.
So and So's Place. "You better get your ass outta town, go on back
there' So they would make to those country joints." The country joints
would be open on weekends.
"I used to go around those places and
the guys would be playing them guitars. You know what I mean." Eddie
remembered Jed Sawyer and his sister Fanny Sawyer playing . "She played
the mandolin, he played the guitar. Oh they used to have a fine sound. I
couldn't play anything then." There were no musicians in Eddie's family. So he learned on his own. "I had to start putting a string upside the wall. You understand what I mean, one string up the wall." He described where he got the wire. "Used to bale hay, used to get the bale, hay wire and get me a piece and put it upside the wall and put a bottle on it, pile a brick or something on top of it at the bottom, and then I take any kind of bottle, used a slide, you know what I mean, that's the way ! make music.A little wire, a little piece of wire sticker or so to keep from hurting my hand or finger.
Eddie Cusic playing "Cut You Loose" from 1979-1980 field recordings.
"Then I played that awhile and after then I said I seemed to think that wire didn't have enough ring in it.
So they had them old switch brooms years ago. They had them old switch
brooms. They had a knot with wire tying straws together. I got me a
piece of my mothers broom, and I put that up there - - put the wire
still upside the wall, between two nails. That sounded a little better.
And every place I played, you could tell where I played at. Any house in
the country I played, there was one of the wires there. Me and my
little friends had a ball. So after then, I must have got pretty good
because some of them old guys said, 'Boy, why don't you get you a
little guitar.' Went and got a little old ukelele. Got a little ukelele
with cat gut strings on. That didn't sound too good to me. So I got old
enough and ordered me a Gene Autry guitar out of the Walter Field
catalog. Got me a Gene Autry quitar. Mailman brought it out the country
on the route, I forget which route, it has been so long, and my mother,
she said, 'Boy I don't want you to play no guitar. If you gonna play,
play spirituals.' Always though it was best to be on one side of the
fence; not straddle the fence. I'd rather the blues. So l got that
guitar, and I put it up and I gọt it and used to try to play it, and
my fingers got sore. I'd pick it up and l'd put it down." Asked about
the first music he tried to play, he said it was so long ago. He did
remember going to church and singing in the choir. However he says, 'I
still prefer the blues.'
Asked the first time he saw blues, Eddie replied, "Well I couldn't 'call the name of some of them. But some of them were way back with 'Little School Girl," 'Rolling Stone', that's by Muddy Waters, 'Catfish',
and all that and, oh, a lot of way back songs, lot of them I done
forgot." He started playing the weekend parties. Asked about the first
songs he played, Eddie responded, "Well.Really, I going to tell you the
truth. It been so long I can't remember. But I know 'Little School Girl,' 'Catfish', and all that."
Eddle's
family had a record player, "one of kind where you wind up. ...Yeah,
you wind up when it run down I could copy it. They had hose kind. I
didn't know anything about learning no songs from nobody back then, way
back Eddie's family had a record player, "one of the old kind where you
wind up. ...Yeah, you wind up, when it run down I could copy it. They
had one of those kind. I didn't know anything about learning no songs
from nobody back then, way back then because we were not able to buy the
record, see what I mean and when you get a record, mostly would be
church records, you know, and all that and I just went on."
"...I
went on and put that down and the guy says, 'Man you sound pretty good.
Say why don't you get a big guitar." I got a big guitar, never will
forget. Got it from Tatum Music Company in Greensville and it was a
Gibson, I think. I played it round and they said, You sound better if
you get an amplifier and a guitar and get a guitar." This was back in
the 40s and early 50s.
"In the 50s, that's when I got me a little
band. I met this Little Milton Campbell who's putting out records they
tell me now. I taught him how to play. Years ago. And anywhere you see
him, ask him if he knows Eddie Cusic. He would tell you he would, he
do." He remembers how he met Little Milton. "I used to be out in the
country practicing on my guitar and he strayed across the creek over
there. He could always sing; you could hear him always sing, and he'd
come and start hanging around with me. He had a guitar, but he couldn't
play it. So I used to take his fingers on the chords and what not,
showed him and he could tell you himself and that's what I did. So I
taught him and learned himself. Usually that's the best, and then
when you learn something, they beat you doIng it (laughs) that's pretty
good. I went into the service.When I came out, he had made some
records, so that's how it was.
And so I had one a little band, got my group together there and in 52, the army drafted me so the group
broke up, you know." Eddie's band included "Roosevelt Myers. he's the
drummer, he's in California now. ...James McGary, he's out in the
country now, he do farm work, he quit playing. And I, just myself, 3 of
us. There's another guy I used to have. He followed me around, he named
Jim O'Neil. He used to play drums, play guitar, now he's a preacher in
my home town." He recalled listening to records and the radio at the
time, and "get different sounds and try to imitate them. ...l really
liked Muddy Waters, yeah, Little Walter, course he passed. Whole some
like that." He remembered King Biscuit Time. " He also wrote some of his
own songs. "I don't know music. I play by ear and sound. I play by ear.
And I know when its not right and I know a few chords. ...l can tune a
guitar before I read music lessons. I never did learn that. I play by
ear. They tell me the best kind to play by ear. That's what they tell
me."
Drafted in 1952, he served in the army until 1954. "Did my
training, went to Fort Jackson, South Carolina and I got my training in
Fort Eustice, Virginia, right here. Then I got in the army. I was a
handy man ... They have a motor pool, transportation company. 53rd
Trucking Company, transportation core, and I did so well at different
things, they put me in special services. Stayed there awhile, and then
they asked me if I wanted to go overseas. I told them I didn't think I
did so well." He was then told he wouldn't be sent overseas. "When we
ship you out, you going to California. That's where you get your
discharge."
After getting discharged in California, Eddie returned home. "Coming back home, I decided I want to play a little bit again. So I bought me some little instruments, got some guys back together, played awhile went down to Florida,went down there way down, pretty good." For a while, things went fine. At some
point the group "wasn't doing right, so we got unorganized. So I left
them and I come back. So I went to Stoneville, Mississippi, USDA, Delta
Branch Experiment Station. There I worked for 23 years. Have my army
time added to that for retirement and so I retired in '88." He explained
why he stopped playing music, “So I wasn't get paid for what I was
doing, so I thought, really wasn't cause there wasn't enough for each.
When you're in town and got a job and not meeting your obligation you
have to cut it loose. So I could have got with a record company or
something like that, but I didn't now, so I worked on this job and I
retired in '88, so I finally stopped playing." After retirement, he
started fooling around again and started playing at some of the
festivals around home and "found I could make a little money. I decided
to go back, so that's it."
Eddie recalls playing a lot of tunes, although he doesn't remember many songs he once played. "When I leave
here, I don't be study playing, I be doing something else. Naturally,
if you are not as really into something, nothing but that, you
understand that, that don't make you as well or do as well as you are
interested."Really, I'm not too interested to it. I enjoy myself and get
around and reason I like blues somebody else plays, that will make me
want to play. If I was around this all the time, I would be really
good."
I asked him if played around house parties around home. "I don't do too much around my home. Others playing. Son Thomas 'bout the only one in the area now and he's sick you know."
He has four children. One son, Dale, plays drums and was playing behind
rhythm and blues singer Mamie Davis at the Festival of Folk Life.
(Lonnie Pitchford played lead guitar in that band for the festival.)
While Dale can play a little guitar, he really is a drummer, and playing
as much southern funk as blues. Another son, Tracy plays guitar, "[h]e
likes that bebop. Must learn him what I know." He indicated an interest
in recording as long as "I'd get a little something, you know I
wouldn't mind. Get something out of it."
While I only heard him perform
about five or six different songs over the course of two weeks, that
reflected the format of the Festival of Folklife. There was nothing
fancy about his renditions of Catfish Blues or Women in My Life.He
delivered them in a strong delta manner, with strong vocals and taut
instrumental backing. Having given up music for a long period of time,
he may not have a large repertoire, but his showcase songs are
wonderfully delivered and certainly it would be nice to have some
available recordings by him.
This article appeared originally in the Spring 1994 issue of the National Capital Blues Quarterly,
a short-lived publication of the DC Blues Society. As indicated, I
interviewed Eddie in June-July 1991 at the Smithsonian Folklife Festival
in Washington DC. Eddie was recorded as part of the invaluable Living Country Blues series for the German L&R label. He also had two albums released, I Wanna Boogie on Hightone, and Leland Mississippi Blues on Wolf Records. He died August 11, 2015 at the age of 89. Here is a video of him from a documentary on the Delta Blues.
Butch Warren & Freddie Redd Baltimore Jazz Loft Brad Linde
"Baltimore Jazz Loft" captured an informal performance complementing a session organized to record unheard compositions from Freddie Redd. This album was the last album released during Freddie Redd's career. Redd was a part of the New York scene in the 50s and 60s. He is most famous for composing the music for the play and film "The Connection" and the Blue Note album of music from that play that included Jackie McLean. While not the most prolific recording artist, he had recorded a number of memorable recordings over the intervening decades. Joining him is bassist Butch Warren who played on many classic Blue Note albums by the likes of Sonny Clark, Herbie Hancock, and Dexter Gordon and was part of Thelonious Monk's Quartet for a couple of years.
On this album, Redd and Warren are joined by Washington DC area saxophonist, composer, and arranger Brad Linde. Linde was responsible for organizing these recordings. Matt Wilson, who had been looking forward to working with Warren, is on drums. This album was recorded in October 2013. Warren died not long after this date that is intended to capture the spirit of the jazz loft activities found in New York in the fifties and sixties, such as displayed in the documentary "The Jazz Loft." Recorded at Baltimore's An Die Musik, it has an appropriate ambiance.
After a short piano prelude, the rhythm section kicks off on Redd's "Nothing But the Blues," which provides an opportunity for Redd and Warren to shine. Redd has a piano style that these ears find reminiscent of Duke Ellington with a touch of Monk, while Warren's playing focuses on the walking quarter-note pulse he provides. Linde on tenor sax joins in for "I Can't Get Started" with a warm style in a Lester Young vein. Warren's "I Remember Monk" is a medium-tempo swinger that alludes to Monk more than is an imitation of Monk's music. Redd's spare playing, particularly in his accompaniment to Linde, evokes Monk. Like Monk, Redd makes use of silence as well as what he plays. His playing is not as angular in his lines as Monk. Linde is as impressive here as elsewhere. Warren's "A Little Chippie" opens with a choice bass solo before Linde melodic playing. Another highpoint is Warren's "Barack Obama," taken with a light Latin groove.
I am not sure if there was a live audience for most of this, but on the closing "There Will Never Be Another You," there is an appreciative one for the trio. This performance opens with Redd playing a chorus of "'Round Midnight" before the band launches into the standard. The sound is generally reasonably good, although Linde's sax sounds at times a bit muffled. The music is very, very good, and thanks to Brad Linde for having this recorded and making it available. It is available at Bandcamp as a digital download and a limited edition cd, https://bradlinde.bandcamp.com/album/baltimore-jazz-loft.
I purchased this as a download. Here is a 2011 performance by Butch Warren and Freddie Redd at Bohemian Caverns in Washington DC.
This Etta James double album is one of the initial releases (Nina Simone being the other) from the Archives of The Montreux Jazz Festival in conjunction with The Claude Nobs Foundation. The Foundation was founded to oversee the Claude Nobs audio and visual archives of recordings of performances at the Festival. There are 21 performances from six performances from 1975 to 1993 over the two CDs (and this is available in other formats including double LPs).
The CDs are packaged in a small hardback package. There are booklet notes from Bob Merlis, Etta James' press agent as well. The notes provide an overview of how her career was intertwined with her Montreux performances. There is an interview with guitarist Brian Ray who plays on her appearances from 1975, 1977, and 1978. Others heard on various selections, including guitarists Bobby Murray Josh Sklair, Cash McCall, saxophonist David 'Fathead' Newman, trumpeter Ronnie Buttacavoli, and saxophonist Ritchie Howell, Howard Johnson on tuba, and drummer Herman 'Roscoe' Ernest III. Montreux Jazz producer Claude Nobs adds harmonica to several tracks.
The first disc is a mix of performances from 1977 to 1993. Most are with the Roots Band that included guitarists Bobby Murray and Josh Sklair. The second CD is her first performance at Montreux. Although the personnel are not listed in the booklet, they include guitarist Brian Ray and saxophonist Klaus Doldinger and introduced by the announcer before Etta starts her performance. There is over two and a half-hour of music on the two discs.
As noted, the first disc is a selective ion of performances from different Festival appearances. They find James in fine form with a mix of material opening with "Break-in' Up Somebody's Home." There are several performances contemporaneous with her "Seven Year Itch" album inching stunning renditions of "I Got the Will" and "Damn Your Eyes." The two early performances on this disc are from when she was on the Chess family records. They include the powerful "Tell Mama" and one of several renditions of Jimmy Reed's "Baby What You Want Me To Do" that are on this album, including one retitled as "Running and Hiding Blues." Of particular note is the superb medley she does, "Medley: At Last/ Trust in Me/ Sunday Kind of Love." She introduces them by saying they thought she was going to be a jazz singer. Interestingly, "At Last" is not performed on its own, but this medley is superb with her timeless singing ably supported by The Roots Band. On an encore from 1978 of "Baby What You Want Me To Do," there are some fiery solos from Brain Ray and saxophonist Gene Dinwitty.
The second disc from 1975, her first European performance, features a fair amount of blues, although it opens with a fiery performance of The Staples' "Respect Yourself." This concert was a blues-heavy program with powerful renditions of "Drown in My Own Tears," "Dust My Broom," "Baby What You Want Me To Do," Rock Me Baby," and "Stormy Monday." During "Drown in My Own Tears" there is a point where she sings without a microphone to showcase her power as a singer. The high point of this set is "I'd Rather Go Blind," with one of her most compelling vocals.
Etta James was a force of nature, and she was not simply a powerful singer but a nuanced one with an excellent sense of tonal and rhythmic dynamics. Her backing bands, whether the ones with Brian Ray or The Roots Band, are terrific throughout these performances. Sometimes they get to stretch out and solo. At other times, they wonderfully support her improvised scatting and shouts. The sound and production are excellent, and this superb album is an auspicious initial release for "The Montreux Years" series.
I received my review copy from a publicist. Here is Etta performing at Montreux.
As Bill Dahl observes in the booklet accompanying "Surrender," "You wouldn't call Clarence Spady a prolific recording artist." He recorded "Nature of the Beast" in 1996 and "Just Between Us" in 2008, both highly praised and nominated for Blues Foundation Awards. Now 13 years later comes "Surrender," a disc that is likely to enjoy similar acclaim as the previous albums.
Varying groups of musicians back Spady's vocals and guitar on this recording. These include bassist Jon Ventre, keyboardist Scott Brown, saxophonist Tom Hamilton, Tom Martin harmonica, drummer Barry Harrison, drummer Pat Marcinko, guitarist Adam Schultz, organist Mark Hamza, and drummer Adam Wilson. There are six Spady originals, one from Schultz (who has been mentored by Spady), and covers of songs by James and Lucky Peterson and George Jackson. Six of the nine tracks are studio recordings, while three are from a 1999 live performance.
Listening to "If My Life Was a Book," one might suggest Spady's music as Robert Cray mixed with Marvin Gaye. Here he reflects on his musical career as Schultz takes the lead guitar at the end. Schultz wrote "Good Conversation" with Spade's relaxed, sensual vocal on a soulful performance that might evoke some Gaye for some. Schultz shines within a solo that might suggest George Benson. It is followed by a cover of the Petersons' slow blues "When My Blood Runs Cold," with his hard-edged guitar supporting his passionately singing. There is a relaxed shuffle "K-Man," a moving tribute to his son Khalique who passed away at the age of 25 and whom Clarence thinks about every day. Tom Martin adds down home harmonica here. The title track is a gospel blues inspired by the daily church group meetings he attends. The church helped him overcome his drug use, and talking about his travails, he sings about surrendering to the lord's will. The final studio track is a terrific acoustic small band recording of the Z.Z. Hill classic "Down Home Blues," again with Tom Martin adding harmonica. Pianist Brown is superb on this.
Among the 1999 live performances is "Addiction," a terrific slow blues whose lyrics come from his life with some razor-sharp guitar and keen vocals. "Jones Fall Expressway" is a blues-rock jam that also showcases saxophonist Hamilton and organist Hamza in addition to Spady's scorching guitar. "Pick Me Up" is a strong original dealing with relationship problems and needing a helping hand. He still loves his baby and hopes she understands. This song featured another top-flight vocal along with some biting guitar.
As noted previously, Clarence Spady has not recorded often, but when he has, it has been memorable. "Surrender" is another impressive blues and soul gem, and one hopes it is far sooner than 13 years before his next album.
I received my review copy from a publicist. Here is "Good Conversation."
A guitar player and producer living in Los Angeles, Dan Petty has been a session player and touring musician. "Two Guitars," a gypsy jazz-inspired record focusing on his acoustic playing, is his first recording with him playing both the lead and rhythm parts. One selection features bassist Tim Lefevre, whereas another features the vocal group, The Goods (Lucy Woodward, Holly Palmer, and Michelle Lewis).
Petty certainly is a capable jazz guitarist in the manner of the legendary Django Reinhardt as is audible on the Django compositions that open this recording, "Blues En Mineur" and "Django's Tiger," the rendition of "Tiger Rag" that Reinhardt and Stephane Grappelli put together. Set against his vigorous rhythm guitar, Petty displays his adept, clean, and often dazzling, single-note runs and his thoughtfully structured improvisations. Then there is his gorgeous, graceful interpretation of Reinhardt's "Melodie Au Crepuscule." Stephane Jean Wrembel is one of today's leading guitarists in this vein, and Petty lends his talents to a lively rendition of Wrembel's "Bistro Fado." Also outstanding are the Gypsy jazz treatments of Charles Parker's "Donna Lee" and Cole Porter's classic "You'd Be So Nice to Come Home To."
Not every track is in the 'Gypsy Jazz' mode. "South American Way," with a vocal from The Goods, has a south of the border flavor indicated from its title. The vocal is adapted from The Andrew Sisters rendition, with Petty playing scintillating guitar behind the vocal and his break. Then there is a stunning interpretation of "Tico Tico." In a completely different vein is a precious rendition of Pat Metheny and Lyle May's "James." Bassist Lefevre is added to the feverish rendition of Mike Stern's "Chromazome."
A charming, graceful take on Reinhardt's waltz "Choti" is the concluding selection on Dan Petty's marvelous, highly appealing debut album.
90-year-old crooner Ken Steele combines with guitarist Peter Curtis on this album of love songs. Steele was born in Winnipeg, Manitoba, where he started singing in clubs and radio before moving to Toronto. In Toronto, he became an in-demand singer and regularly appeared on numerous CBC radio and television programs and nightclubs around the city. As musical tastes changed to rock and roll, Ken began writing for tv and radio and eventually moved to LA. He worked on some sitcoms and won an Emmy writing for Shari Lewis and Lambchop. In 2002, Ken moved to Palm Springs and began singing professionally again. Guitarist Peter Curtis has performed internationally. As a jazz guitarist, he has performed or recorded with notable jazz and blues musicians, including Claudia Acuna, James Carter, Freddy Cole, Taj Mahal, Barbra Morrison, and James Moody. As a classical guitarist, Peter has given recitals in the U.S. and Canada. The two are joined by bassist Baba Elefante with whom Curtis has played with for years.
Listening to this recording, I would not believe Steele was 90 or so when they were in the studio. He sings in a soft, enticing manner with Curtis accompanying as well as playing solos that illustrate his facility and invention. Elefante provides a rhythmic center. As indicated by the album title, this album of love and romantic songs is delivered straightforwardly. This starts with the opening track, a rendition of "Speak Low" with a Bossa-influenced accompaniment and marvelous solo. Then there is a charming, world-weary treatment of "Don't Worry 'Bout Me" and a fresh take on "The More I See You." There is a nostalgic interpretation of "Darn That Dream," the precious romanticism of "My One and Only Love," and "It Could Happen With You," with a dazzling guitar solo.
Crooner is an apt description of Ken Steele's vocal art with the warmth he imbues the performances, as well as his relaxed phrasing and interpretive skills. The performances are gems, although the somewhat sparse backing and the narrow range of tempos of the performances make this a recording that might be enjoyed best listening to a few selections at a time, rather than through an entire sitting. Still, there are considerable rewards to listening to these performances.
That Ole Devil Called Love/ All of me/ But Beautiful/ You’ve Changed/ I Cried For you/ Fine and Mellow/ God Bless the Child/ Them There Eyes/ You better Go Now.
Jones, vcl; Houston Person, ts; Richard Wyands, p; Peter Bernstein, g; John Webber, b; Chip White, d. New York, NY, June 21, 2001.
(2) Houston Person
Blue Velvet
High Note HCD 7090
Everything I Have Is Yours/ Wonder Why/ Blame It On My Youth/ Too Late Now/ There’s No You/ Be My Love/ I Want To Talk About You/ I Hadn’t Anyone Till You/ Blue Velvet
Person, ts; Richard Wyands, p; Ray Drummond, b; Grady Tate, d. Englewood Cliffs, NJ. July 10, 2001
(3)Dylan Cramer
All Night Long
Nagel Heyer Records CD 073
Caruso/ Estate/ Bumpin’/ Black Orpheus/ All Night long/ Stolen Moments/ Lover Man/ Clouds/ My Funny Valentine/ So What.
Cramer, as; Ron Johnston, p; Steve Holy, b; John Nolan, d. Vancouver, British Columbia. October 7 & 8, 1998.
The release of (1) occurred almost simultaneously with Etta Jones’ passing.I was obviously conceived as a tribute to Billie Holiday and succeeds as such and also a reminder of the wonderful voice that Ms. Jones had given us for all these years.The liner notes observe that Jones’ debt to Holiday but asserts she was no imitator, not directly pattern her approach on Holiday’s.There are times when listening to this that I almost felt that I was hearing Holiday more in the tone of Jones’ voice than her phrasing, but even there one could observe the inspiration of Holiday’s immense legacy.Included is a nice mix of material from a couple of numbers most associated with Holiday, “God Bless the Child” and “Fine and Mellow,” along with standards such as “All of Me,” and “Then There Eyes.” The supporting band led by her long-time musical collaborator Houston Person is superb here.Person’s walking tempo tenor solo is a highlight on “All of Me,” while his blues mastery is evident on “Fine and Mellow.” On the opening passages of “You’ve Changed,” he plays with a romantic feeling that evokes Ben Webster.Both pianist Wyands and guitarist Bernstein are prominent on the performance of the ballad, “But Beautiful,” with Jones’ expressiveness here rivaling that of Holiday. The singing and playing here is exquisite and with her wonderful final recording, Etta Jones sang as well and as movingly as any point in her life.
(2) is Person’s latest High Note recording with Ray Drummond on bass and Grady Tate on drums joining Person and pianist Wyands for a disc of ballads and mid-tempoed swingers.Person is marvelous throughout with a warm, full tone and just a touch of vibrato as is the rhythm section whether Wyands lightly comping behind Person or some nice cymbal work or use of brushes from Tate.Person’s solos here are romantic without employing any devices like excess vibrato, his solos are wonderfully developed, and do not overstay their welcome. Wyands contributes several nice solos with the one on “Be My Love” being a choice one.It is followed by a short Drummond solo on bass before Person reenters to lead the song to its conclusion.The rhythm section plays so well supporting Person that one can almost forget they are there. While I do not claim an exhaustive familiarity with Person’s recordings, this release is as good as anything I have heard from him recently.
I am unfamiliar with Dylan Cramer, but I take it that (3) is his debut recording. In his notes, Cramer cites his indebtedness to Sonny Criss and L.A. Studio saxophonist Phil Sobel, both of whom he studied with.Cramer plays cleanly and fluidly on an interesting mix of material.He sounds as much at home with the almost dirge-like tempo of “Caruso,” as with a bossa nova such as “Estate” or “Clouds.” It's intriguing to hear Oliver Nelson’s “Stolen Moments” played as Cramer’s alto brings a different attack and sound to that Eric Dolphy did four decades ago.He brings a big, forceful attack to “So What,” at times he comes across as more than one horn. Cramer imparts a nice, bluesy edge toWes Montgomery’s “Bumpin’” where pianist Johnston and bassist Holy both take concise solos.It's a delight to hear such a solid new talent with solid support for a superb debut.
These reviews were written for Cadence Magazine and published in 2002. I received my review copies from Cadence. Here is Etta Jones and Houston Person performing "Fine and Mellow."
Soul Message Band Live at the Blue LLama Live at Blue LLama Records
The
Blue LLama Jazz Club, located in Ann Arbor, Michigan, launches a new
record label, Live at Blue LLama Records. The label will feature live
recordings from past performances at the club and studio releases from
artists who are frequent performers. The label's initial release is from
the superb Chicago jazz organ trio, Soul Message Band. Soul Message
Band consists of Hammond B3 organist Chris Foreman, drummer Greg
Rockingham, and guitarist Lee Rothenberg. This recording is the group's
first live album and features a program in the vein of Jimmy Smith and
Richard 'Groove' Holmes.
Foreman and Rockingham have been
playing together for a substantial period. With guitarist Bobby Bloom,
they constituted the Deep Blue Organ Trio. The two and guitarist Henry
Johnson backed the late saxophonist Red Holloway on a 2009 Delmark
album. For Delmark, the Soul Message Band, including alto saxophonist
Greg Ward, produced the spectacular 2019 recording, "Soulful Days." While Ward is absent on this road recording, this trio is more than capable of making cooking organ jazz.
It is a pretty straightforward set of music opening with Grant Green's "Matador."
Foreman opens it with some greasy, bluesy notes before the trio kicks
things up a notch and plays tribute to Green in their heated performance
with Rothenberg laying down the melody, then a scintillating solo with
Foreman laying down his backing while Rockingham swings hard. After the
sterling guitar solo, Foreman takes things further and displaying why he
is among the greatest living B-3 players. A smoldering, greasy
chicken-fried rendition of Jimmy Smith's "Midnight Special" follows as Foreman again pulls out all the stops on this classic organ jazz blues.
An extended interpretation of Louis Bellson's "Easy Time" is followed by an early in the morning groove of Slide Hampton's "Frame For The Blues." A driving rendition of Stanley Turrentine's "Minor Chant"
showcases more dazzling playing from Rothenberg and Foreman as well as
superb ensemble work. It is a first-rate close to an outstanding
recording that is a must-listen for organ jazz lovers.
I
received a download to review from a publicist. Here is a video of the
Soul Message Band in performance at Andy's Jazz Club in Chicago.
This Nina Simone double album is one of the initial releases (Etta James being another) from the Archives of The Montreux Jazz Festival in conjunction with The Claude Nobs Foundation. The Foundation was founded to oversee the Claude Nobs audio and visual archives of recordings of performances at the Festival. There are 29 performances from six performances from 1968 to 1990 over the two CDs (and available in other formats including double LPs). The CDs are packaged in a small hardback package, including notes in the booklet by Stevie Chick and discographical information. The first disc is a mix of performances from 1976 to 1990, while the second disc is the complete June 16, 1968 performance. There are four songs on each disc. The two discs contain two and a half hours' worth of music.
What made Nina Simone so iconic was the range of feelings and music that she transformed into personal statements. Her virtuosity is evident during the opening instrumental rendition of "Someone To Watch Over Me." Still, her accompaniments can be understated at times, while her vocals of protest or joy take us from a whisper to a scream. Her 'lightning in a bottle" performances like a tightrope walker without a net. Songs of protest against racist injustice like her collaboration with Langston Hughes "Backlash Blues," with complaints about Blacks being sent to Vietnam while being treated as second-class citizens, and the well-known "Four Women." These are interspersed with a great interpretation of "What a Little Moonlight Can Do" associated with Billie Holiday or the jubilant "My Baby Just Cares For Me." Another masterful performance is her interpretation of Janis Ian's "Stars" about the struggles an artist test has with great success and yet great self-doubts.
Her initial 1968 appearance at Montreux has an equally varied and astonishing program of her piano and vocals backed by a quartet of Buck Clarke on drums, Henry Young on guitar, Gene Taylor on bass, and Sam Waymon on organ. Simone takes over the standard "Just in Time," slowing the tempo down and playing a splendid solo. One wishes the backing on this song was more in the background. There is a stirring rendition of an old folk song, "When I Was a Young Girl," followed by a deeply felt interpretation of "Don't Let Me Be Understood," where Young adds acidic guitar. There is the tender reflectiveness in her rendition of Jacques Brel's "Ne Me Quite Pas," pleading for her lover not to leave. With her brother Sam Waymon supporting her, she brilliantly reimagines The Bee Gees' "To Love Somebody" with a deceptively understated rendition. She also sang The Bee Gees' "Please Read Me" at this show. A stirring "Backlash Blues" is followed by "House of the Rising Sun," taken at a brisk tempo. Another adaptation of an old folk song is "Sea-Line Woman," a 19th-century seaport song about sailors and prostitutes sung almost like a work song. Among other memorable selections are "Ain't Got No I Got Life" and the moving closing performance of "I Wish I Knew How It Would Feel To Be Free."
Nina Simone was a singular artist who sang with inspired passion, improvised with her voice as John Coltrane did with a saxophone, and astonished listeners and audiences. This outstanding album captures Nina Simone's brilliance.
Born in Detroit, Jeannine Otis is a vocalist, educator, actress, and author living on Staten Island, NY. She was born in a musical family. Her mother was musical director for several Detroit area churches, and she was a cousin to the Thad, Hank, and Elvin Jones. Currently, she is the music director for St. Mark's Church in Greenwich Village. On this recording, she is supported by Stanley Banks on bass, Sam Jacobs on congas, Saul Rubin and Jimmy Ponzi on guitar, Stanton Davis on trumpet, and Johnathan Sherry on piano. Also contributing are Frank Koopman and Onaje Allen Gumbs. Otis wrote several songs while interpreting songs from Betty Shirley, Duke Ellington, Onaje Allen Gumbs, and others.
Otis has a soft, at times whispering, delivery with a touch of vibrato and a relaxed, fluid phrasing. She also has a penchant for Brazilian music, as reflected on the opening "Mod Is For Lovin'" with Ponzi's attractive acoustic guitar and Davis' melodious trumpet. "Touch Me Tonight" is an original torch song she composed.
Guitarist Saul Rubin plays all the instruments behind Otis' world-weary vocal (and backing vocals) on "Sweet Sad Guitar" and Betty Shirley's delightful "Cokika." Rubin adds exquisite guitar to Otis' intimate rendition of "Lover Man" and her appealing interpretation of "In a Sentimental Mood." Onaje Allen Gumbs wrote and arranged "Joy For Life" and "Into My Heart," both with a dreamy, soothing backing, including smooth soprano sax, for her vocals.
Jeannine Otis sings with a charming appeal and capably supported on an intriguing recording.
Born in Bavaria, saxophonist Tobias Meinhart established himself in Europe before moving to New York twelve years ago, where he has established himself on the scene. "The Painter" is his second recording for Sunnyside. Meinhart is backed by his core quartet of Eden Ladin (piano), Matt Penman (bass) & Obed Calvaire (drums). They are joined by Ingrid Jensen on trumpet and Charles Altura on guitar. Meinhart wrote most of the ten tracks on this recording.
One can't praise the sterling rhythm section here as they navigate the opening "White Bear," a rhythmically complex post-bop composition with a percolating groove built on an ostinato piano riff and Calvaire's deft drumming. Meinhart displays a most attractive tone here and then on the meditative "Oak Tree," where Jensen adds her gorgeous brass sound while Ladin provides a delicate foundation. Then there is the energy of "Movement," with Meinhart's cotton candy tone matching his crafted, fluid solo. Penman's bass solo introduces the title track, which Meinhart enters with some multiphonic on his horn, transitioning into a gorgeous ballad with Ladin's deft piano and Calvaire's skillful use of brushes supporting Meinhart's outstanding playing.
On "Bird Song," Meinhart opens on alto flute, which leads to a call and response with Jensen, with the leader shifting to tenor sax as the two duet over the rhythm section. Meinhart and Ladin duet on an intimate and outstanding rendition of the Brazilian classic "Estate," again displaying the warmth Meinhart invests his saxophone playing with. After a twirling waltz, "Neowise," there is "Last Dance," which was inspired by the ESPN Michael Jordan documentary. Opening with Meinhart on flute before shifting to tenor sax, this track has a dreamy quality and evokes some early seventies post-bop jazz such as Keith Jarrett's American Quartet.
"Dreamers" is a hymn that Meinhart sings over his serpentine soprano sax, the final track, although Meinhart's strength is as an instrumentalist and not a vocalist. Guitarist Altura and pianist Ladin shine with sparkling solos before Meinhart returns, singing and guitar and sax weave around each other as the track closes. Like the rest of the album, the performance displays the exemplary ensemble interplay along with the focused, often passionate solos on this top-flight recording. , I received a download to review from a publicist. Here Tobias Meinhart performs "White Bear."
Lauren White Ever Since the World Ended Café Pacific Records
"Ever Since the World Ended" is the fifth album by vocalist Lauren White who not only is an accomplished singer who has been an actress, performer on Broadway and Off-Broadway, and the successful producer on the HBO show "Homeland." Music, though, is central to her, and she regularly performs in clubs in Los Angeles and in New York, where she has a fanbase. The Quinn Johnson trio supports her. Pianist, arranger and producer Johnson's resume includes working with Diana Ross, Jack Sheldon, Diane Schuur, Tom Scott, Poncho Sanchez, Flora Purim, and many others in the jazz, pop, and Latin music worlds. This album is the fourth that White has made with Johnson, who produced, arranged, and played piano on this disc. The other members of the trio are Trey Henry on bass and Ray Brinker on drums. Kevin Winard adds percussion to one track, while Dolores Scozzesi adds vocals to the title track. Kevin Axt on bass, Alex Budman on flute, Grant Geissman on guitar, and Chris Wabich on drums.
Carmen McRae's "If You Never Fall In Love With Me" opens this short album with a sparkling Latin flavored accompaniment. White has a wonderful natural delivery, pitch being on the money, and a terrific sense of phrasing and dynamics. Johnson takes a fabulous solo here. White provides a reflective interpretation of the Bill Withers-Grover Washington classic "Just the Two of Us," again with Johnson shining. Mose Allison wrote the title song, and her rendition is perhaps a bit soberer than the pointed quality of Allison's original. Her performance of Bill Evans' "Remembering the Rain" was previously recorded. It is the one track not with the Quinn Johnson trio. Noteworthy on this song is Budman's flute and Geissman's Bossa infused acoustic guitar. Bassist Henry is prominent in the accompaniment of "Some of That Sunshine." Duke Ellington's "Take Love Easy" is performed at a brisker tempo than the song usually is performed at. Brinker is prominent in the backing and helps propel this sterling performance.
One wishes there were more than eight tracks and about a half-hour of music, but all the music here is excellent. "Ever Since the World Ended" is simply outstanding vocal jazz.
I received my review copy from a publicist. Here is Lauren White and Dolores Scozzesi singing the title track.
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