New Orleans Jazz Orchestra Songs - The Music of Allen Toussaint

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

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

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

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

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

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

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

Dee Dee Bridgewater Memphis...Yes, I'm Ready

Dee Dee Bridgewater
Memphis...Yes, I'm Ready
DDB Records/ Okeh Records

Dee Dee Bridgewater's new release represents a change for the acclaimed, Grammy Award winning jazz vocalist as she pays tribute to her Memphis roots with this album of interpretations of some classic soul and blues of folks associated with Memphis. Dee Dee was born at Memphis' Collins Chapel Hospital, located not far from where the album was recorded at Producer Willie Mitchell's historic Royal Studios. Dee Dee's father, a trumpet player affectionately known as "Matt the Platter Cat," was a DJ at WDIA.

The album was co-produced by Memphis native and Grammy-winning musician Kirk Whalum, and Willie Mitchell's grandson - Grammy-winning Engineer Lawrence "Boo" Mitchell. It was recorded at Royal Studios in Fall 2016 after multiple visits by Bridgewater to Memphis over a period of several years. Working in Memphis at Royal Studios is like magic," says Bridgewater. "There's so much history that has been recorded in those walls. I just felt I could take this journey in that city with Kirk and Boo. They are my two kingpins and the two helped me realize this project and bring it to fruition."

About the music on this recording she states, "I wanted people to be able to recall the original versions, but I also wanted them to have a more modern feeling while respecting those originals. I'm doing B.B. King's 'Thrill Is Gone,' Bobby Blue Bland's 'Going Down Slow', Otis Redding's 'Try A Little Tenderness,' Al Green's 'Can't Get Next To You,' Ann Peebles' 'I Can't Stand The Rain' and The Staple Singers' 'Why? (Am I Treated So Bad)' - it just doesn't get any better than this in terms of material. The opportunity to make them my own was an opportunity and a challenge I felt honored to take on."

And when she opens with Carla Thomas' "B.A.B.Y." or sings Ann Peebles "'I Can't Stand The Rain," one hears the same authority that marked her jazz recordings. None of these performances are copies as the are subtle tweaks in the arrangements as well as the subtlety of he vocals. Standout tracks include a wonderful rendition of Elvis' hit "Don't Be Cruel" with a booting sax solo as well as her revamping of "Hound Dog" with a reggae groove. The arrangement for the strong rendition of "Going Down Slow," is adapted from a 1960s recording by Percy Mayfield of "The River's Invitation." Then there is her bluesy rendition, down in the alley version of The Temptations' "I Can't Get Next To You," akin to a similar arrangement by the DC blues-roots band The Nighthawks. There is a fervent rendition of the gospel classic "(Take My Hand) Precious Lord," along with a funky riff to help recast "Thrill is Gone," which she sings for B.B. (and I recall she sang at the Kennedy Center shortly after King's death).

Also standing out is the Staple Singers' "Why (Am I Treated So Bad)," before a rendition of the Barbara Lewis hit "Yes, I'm Ready," that helps give this recording its name. Usually one finds vernacular singers doing jazz-oriented projects, usually with mixed results. In this case, we have one of our generation's great jazz vocalists going in the opposite direction and her command as a singer along with terrific backing, make for a superb soul and blues recording.

I received as a download from a publicist to review. Here she sings "I Can't See The Rain."

Jimmy Scott I Go Back Home

Jimmy Scott
I Go Back Home
Eden River Records

Jimmy Scott's career was one of great frustration as for years he was bound to an onerous recording contract with the result that in his prime years, his musical career was stifled. Fortunately starting in the 1980s, Scott's fortune changed. He was amongst the early recipients of the Pioneer Award from the Rhythm and Blues Foundation. Still, despite the efforts of his friends like the late Doc Pomus, it wasn't until a record company exec saw Scott sing at Pomus' funeral that he was signed to a record label. As one close to Doc Pomus noted in the film, "AKA Doc Pomus", it took Pomus to f****ng die for Jimmy Scott to get a recording contract. Fortunately we were blessed with many memorable recordings that displayed his unique vocal styling.

This new album was recorded prior to Scott's passing in 2014 and was the result of the desire of German producer Ralf Kemper to produce Scott, that this elaborate production occurred. Mixed by the late Phil Ramone, Scott is joined by a number of collaborators including Bossa nova icon Oscar Castro-Neves and legendary saxophonist James Moody, both of whom themselves passed away after their contributions to this recording. Scott is wonderfully backed on many songs by drummer Peter Erskine, the great pianist Kenny Barron and organist and trumpet player Joey DeFrancesco. Jazz icon Dee Dee Bridgewater joins Scott on "For Once in My Life," while vocalist Monica Mancini and trumpet master Arturo Sandoval are on "I Remember You," while several tracks have lush orchestrations played by the HBR Studio Symphony Orchestra.

This album is clearly a labor of love from the producer but one would be hard pressed to call this among Scott's finest works. Scott was among the most singular singers whose phrasing, timing and pitch could wring emotion out of what would sound like cliches when sung by lesser vocalists. Yet there are passages here when his vocals sound a tad frayed. Still his ability to move the listener is evident on the opening "Motherless Child," enhanced by Joey DeFrancesco's organ. On "Easy Living" his vocal is half-spoken with a fine DeFrancesco solo. The bossa nova "Love Letters" is an appealing vocal duet with Oscar Castro-Neves who contributes his guitar along with his vocal in Portuguese, while Dee Dee Bridgewater joins Scott for a duet of Stevie Wonder's "For Once In My Life," with James Moody contributing a terrific tenor sax solo.

Furthermore, some of the other performances another singer is at the fore such as Monica Mancini's marvelous featured vocal on "I Remember You," which also has the with the guitar of Oscar Castro-Neves in the accompaniment and with Sandoval's trumpet. On "Someone to Watch Over Me" (perhaps a song he is most identified with), Scott provides a brief spoken introduction before Renee Olstead sings the vocal in an attractive understated manner. There are two duets with actor Joe Pesci that are among the high points of this recording. Kenny Barron's piano is noteworthy on "The Nearness of You," where Pesci both shows Scott's influence in his approach as well as complements Scott.

There is plenty of poignancy throughout, including the closing "Poor Butterfly," with Gregoire Maret's wistful harmonica, but Scott himself shows his years and perhaps health issues. If one was looking for an introduction to Jimmy Scott, there would be other recordings that one would recommend before this. This is more a recording for those who are already fans of him, and wish to hear his last musical testament, that is wonderfully played even if it has some flaws.

I received for review a download from a publicist. Here is Dee Dee Bridgewater behind the scenes for "For Once in My Life."

Mary Lou Williams Music Celebrated Wonderfully

One centerpiece of the Jazz program that the Kennedy Center initiated a number years ago under the direction of the late Dr. Billy Taylor is the annual Mary Lou Williams Women in Jazz Festival. At this year’s festival, held May 19-21 in Washington, Kennedy Center Jazz Records issued Walkin’ & Swinging: Highlights From the Kennedy Center Mary Lou Williams Women in Jazz Festival No. 2.

The CD compiles performances from the 2010 Festival which celebrated the centenary of the birth of Mary Lou Williams. Williams was a renown jazz pianist, composer and arranger whose career spanned the territory big bands to modern jazz where she befriended numerous visionary jazz artists including Herbie Nichols, Thelonious Monk and even played duets with Cecil Taylor. Last year’s festival celebrated Williams in a program devoted to her music (with the exception of the closing Ellington Cotton Tail).

The recording opens with a rendition of Walkin’ and Swingin,’ the Williams composition that was the theme for Andy Kirk and His Clouds of Joy, the Territory Band that helped Williams gain prominence. It is one of three performances by Sherrie Manicle & The DIVA Jazz Orchestra and the contours of the performance are not far removed from the Clouds of Joy original. The other two selections featuring this Big Band have them fronted by the wonderful vocalist Catherine Russell on What’s Your Story, Morning Glory? (Pha Terrell sang on Kirk’s 1938 original recording), and In the Land of Oo Bla Dee. The latter number was an amusing original that she composed during the hey day of bebop and Ms. Russell provides a fine treatment that I am sure Dizzy Gillespie would have approved of. One other performance employs a big band and that is Ann Patterson’s Maiden Voyage on Scratchin’ In the Gravel/ Truth. Scratchin’ was originally for a septet and then arranged for Duke Ellington in 1966 and the performance here is a medley of the two treatments, wonderfully scored and played with a very impressive tenor saxophonist (Ms. Patterson?).

A couple of performances showcase pianists. Miss D.D. showcases some wonderful playing by Geri Allen as part of The Women in Jazz All-Stars, joined by Esperanza Spalding on bass and Terri Lynn Carrington on drums, while Carmen Staff interprets Aries, from the ambitious The Zodiac Suite, with the incorporation of boogie woogie and strides in this intriguing solo showcase. Tenor saxophonist Virginia Mayhew transcribed several Williams solos that Mayhew employs in her performance of a hot blues, Medi II. The phenomenal young saxophonist Grace Kelly, displaying her somewhat incisive, dry tone, is featured on the Women in Jazz All Stars as they play Terry Lynn Carrington’s arrangement of Pisces, the last movement of The Zodiac Suite. Kelly’s playing shows a maturity far beyond her years while displaying the influence of Lee Konitz with whom she has recorded with.

This disc concludes with Dee Dee Bridgewater joining the All-Stars for a rousing Cotton Tail, a feature in the Ellington Band for Williams friend, Ben Webster. It is a remarkable performance with Bridgewater leading with a stellar scatting performance with a rousing piano solo from Allen and solos from the others. Its the longest performance here and a moment of musical magic including trading fours with Kelly that ends this terrific celebration of the 2010 Festival and the music of Mary Lou Williams. It is available from the Kennedy Center, http://www.kennedy-center.org/giftshop/html/itemDetail.cfm?item_sku=1023989&categ_id=2003092214202595.


This was a personal purchase.