Sam Fazio Let's Go

Sam Fazio
Let's Go
Self-Produced

Chicago-based vocalist Sam Fazio handles a variety of jazz and pop numbers on this new recording, which is produced by Tuck & Patti. Fazio is a singer of warmth who subtly phrases the songs to reveal the nuances of meaning in the lyrics he delivers. For this recording, his core band members of pianist Chris White and guitarist Tom Fitzgerald traveled with him to the San Francisco area. There the three set up shop in Tuck & Patti's home and studio. They were joined on this recording by Michael Peloquin, harmonica; Leon Joyce, drums; James Henry, percussion; Ron Belcher, bass; and Tuck Andress, bass. Fazio sings songs from the Great American songbook, some pop tunes, and originals from his pen and those of Tuck & Patti.

The opening song is "Pure Imagination" by Leslie Bricusse and Anthony Newley. White's understated accompaniment provides the foundation for Fazio's delivery of the lyrics. The selection also is a showcase for Peloquin's harmonica accompaniment and solo. Fazio's warmth and nuanced phrasing is quite evident starting here. The spare setting is followed by the effervescent "Let's Go," composed by Fazio, guitarist Fitzgerald, and Patty Cathcart Andress." Joyce's drums and Henry's percussion help propel his swinging performance along with concise solos from White and Fitzpatrick.

Other intriguing performances include the reflective rendition of Patti's "Reverie," and a perky "S'Wonderful," both with Chris White's thoughtful, restrained backing. Then there is a standout interpretation of Tom Waits' "Downtown Train." Fitzgerald's guitar and Peloquin's harmonica provide the foundation for a performance that displays Fazio's interpretive skills. Tuck Andress' bass provides the backing for a straight-forward reading of "Eleanor Rigby," while Fitzgerald's guitar provides the support for an energetic vocal on "Teach Me Tonight." Fitzgerald leads a small combo that provides a Latin-tinged backing for "Do You Want To Dance."

Sam Fazio's marvelous singing and the understated backing he receives results in a thoroughly captivating recording.

I received a review copy from a publicist. This review originally appeared in the January-February 2020 Jazz & Blues Report (Issue 388). Here is a video of Sam Fazio performing.

Big Harp George Uptown Cool

Big Harp George
Uptown Cool
Blues Mountain Records

A follow-up to his outstanding debut, "Chromaticism," George Bisharat returns with a new dozen originals that reinforce the well-deserved praise the earlier release garnered. Here he is backed by an outstanding studio band that includes producer Chris Burns on keyboards, Kid Andersen on bass or guitars, and Little Charlie Baty on guitar, with well arranged horns throughout. He displays not only very strong harmonica playing horn like lines, but very appealing singing that is delivered honestly and in a straight-forward fashion.

There is plenty of wry humor, as well as perceptive social commentary such as the amusing "Internet Honey," which also has a choice trombone solo from Mike Rinta, sax solo from Michael Peloquin in addition to Kid Andersen's brief stinging guitar solo. Then there is more humor (and social commentary) in "Alternative Facts," where George notes, that while he thought truth matters, submits his alternative fact that he taught Little Walter everything he knew. "I Wanna Know" has a crisp latin rhythm groove, booting sax solo and Charlie Baty's Spanish-tinged acoustic solo prior to George's crisp, jazzy playing here. I could imagine Santana performing this song.

"In the First Place" is a crisp instrumental shuffle that displays his mastery without going all out as well as the wonderful backing throughout this track with their interplay with his harp lead and the nice relaxed tempo. "Cold Snap By The Bay," is a deep, slow you topical blues about living in this paradise but three died in San Jose due to a cold snap. Musically it evokes an Otis Spann recording "Look Like Twins," and Chris Burns plays wonderfully in a Spann-like fashion. It showcases how Big George updates classic Chicago blues settings while remaining true to his musical roots. The title track is a jazz-inflected instrumental, taking at a lazy, walking tempo with Burns on organ. Baty crafts a neat solo, before the leader's solo that I am sure the late Toots Thielemans would have enjoyed.

Simply stated this is another impressive recording that has a wonderful mix of grooves, wonderful playing, strong originals and heartfelt singing that should appeal to anyone with a love of real blues.

I received my review copy from a publicist. This review appeared originally in the July-August 2018 Jazz & Blues Report (Issue 379), although I made minor stylistic edits to that review. Here is a video for "Alternative Facts."