Jeannine Otis - Into My Heart

Jeannine Otis
Into My Heart
Adrielle Music

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.

I received my review copy from a publicist.

Nora Jean Wallace BluesWoman

Nora Jean Wallace
BluesWoman
Severn Records

Music lovers have reason to celebrate the return of Nora Jean Wallace with a new CD, "BluesWoman." It has been 16 years since Severn issued her acclaimed "Going Back to Mississippi." She left the music scene to take care of her ailing mother, but now she returns with this release. About that earlier album, I wrote that she "has shown herself as among those who will carry on and follow Koko Taylor and keep 'this great music alive and vital.'" Taylor was a major influence on her, and like Taylor, she has a deep, husky voice with an authoritative, no-nonsense attack.

Severn's David Earl produced this recording and picked up the guitar for four numbers. He also assembled an excellent band of Johnny Moeller on guitar, Steve Gomes on bass, Kevin Anker on organ, Steve Guyger on harmonica, Stanley Banks on keyboards, and Robb Stupka on drums. Kim Wilson guests on harmonica on one selection. There are two covers. Wallace or Stanley Banks wrote eight of the ten tracks.

Banks wrote the opening song "Martell." Against a relaxed shuffle groove, Wallace sings about trying to forget her man, and that she is going to drink some Martell until her eyes turn bloodshot red. Steve Guyger quickly shows why he is among the most underrated harmonica players playing today. It is followed by a deep Memphis soul groove for Syl Johnson's "I Can't Stop." Moeller contributes a neat guitar riff in the backing of her robust singing before a sharp, focused guitar solo. Then follows Banks' "I'm a Blues Woman," where Wallace proclaims she is a Blues Woman from her wig down to her shoes. The performance does evoke classic Koko Taylor with Guyger and Moeller, both adding spice to the musical blend.

The George Jackson penned "Evidence" is a soul-blues gem, with Wallace singing about the lipstick traces and a hotel receipt being evidence of her man's infidelity. It is a compelling performance where she displays her mastery of vocals dynamics. This song is followed by Wallace's "Victim," where she sings about being a victim of love to a man who has a woman on the side. Moeller's rapier-like guitar stands out here. Other standout tracks include the marvelous played Chicago blues shuffle "Look Over Yonder," and the evocative "I've Been Watching You."

"Dance With Me" is a solidly performed and enjoyable, if lightweight, track. The album closes with the strong, moody "I Don't Have to Beg You to Love Me," with another assured, passionate vocal. It is the finale on Nora Jean Wallace's most welcome return. On the outstanding "BluesWoman," Nora Jean Wallace shows that she is still a vibrant, superb singer and backed by an excellent studio band.

I received my review copy from a publicist. Here is Nora Jean Wallace singing right before the pandemic closed things down.

Vienna Carroll and the Folk Harlem Field Recordings

Vienna Carroll and the Folk
Harlem Field Recordings
Self-Produced

Listening to this stunning recording by New York City-based singer Vienna Carroll, I found her singing reminded of the wonderful Gaye Adegbalola,. However, Ms. Carroll's focus is more on traditional material than original blues songs. A multi-talented person, she wrote an acclaimed play "Singin Wid A Sword in Ma Han" (which is the closing song on this album), and this is her third album. Supporting her vocals are Stanley Banks on bass, Newman Taylor Baker on washboard and percussion, Keith Johnston on guitar, and a host of guests including Nioka Workman on cello, Melanie Dyer on viola, and Henrique Prince on violin. 

The variety of her repertoire encompasses a wide range of folkloric connections from classic acoustic blues, spirituals, sea shanties, hollers and shouts, and work songs. The authority she brings is evident from "Strawberries and Cream," where she shouts like a street vendor selling berries and praising glory. Another selection is the lively spiritual with call and response of "You Better Mind," with Henrique Prince adding saw-toned violin. Another jubilant spiritual performance is "Let's Go Down to the River."

There is an excellent cover of Robert Johnson's "Come On in My Kitchen" with Johnston's supportive guitar backing and solo. Another strong blues performance is "I Just Want To Make Love To You." Guitarist Johnston's jazzy intro quotes "My Favorite Things," before segueing into accompanying Vienna's vocal for the Willie Dixon song. "No More Freedom" is a powerful a cappella performance about going to prison followed by "Prison Blues." This latter sing has firm backing for her menacing vocal. With Banks' bass and Baker's percussion, Vienna delivers an excellent rendition of Son House's "Grinnin' in My Face," although she can't match House's intensity (after all who can).

One of the most moving tracks is a lullaby and work song, "All the Pretty Little Horses." Vienna introduces it, noting that it came from a time when a slave mother would have to breast-feed a plantation owner's baby at the expense of her child. The string accompaniment adds to the somber mood of a stunning performance that stands out in a totally superb album.

I received a download of this album from a publicist. Here is a performance by Vienna Carroll and The Folk of "This Train."

Lou Volpe Remembers Ol' Blue Eyes

A guitarist who transcends the realms of jazz, R&B and adult contemporary, Lou Volpe's newest recording is his salute to Frank Sinatra whose centennial was in 2015. "Remembering Ol' Blue Eyes (Songs of Sinatra)" (Jazz Guitar Records) has him performing 13 standards that are associated with Sinatra to which Volpe provides his personal interpretation while displaying his virtuosity and melodic sense. On eleven selections, Volpe is joined in a supportive role by Delmar Brown, Mel Davis and Onaje Allen Gumbs on keyboards; bassists Stanley Banks and Leo Traversa; Buddy Williams and Gary Fritz on drums and percussion respectively; with drummer Sipho Kunene offering his talents on one track. On the other three selections he plays solo.

There is plenty to like about listening to Volpe with spectacular single-note runs, riveting chordal playing, rich smears, edgy twang, swirling crescendos, filigreed delicacy and more backed by the various backing trios for performances that mix melodic ornamentation and scintillating improvisations. The Brazilian groove underlying the rendition of "Speak Low," while the rendition of "It Was A Very Good Year," with Gumbs on keyboards is taken in a R&B tinged vein with plenty of smears and twang against the simple, steady groove.

Volpe has big ears and there are tinges of Wes Montgomery on a swinging "A Foggy Day," while the late night melancholy of "One For The Road," is given a lively reworking with some twang and snap from the leader. "Days of Wine and Roses" is a lovely performance with Volpe effectively using overdub as he takes his lead over a simple chordal backing. Much the same can be said of the extremely lovely "Softly As I Leave You." There is more exquisite playing on the closing selection, Carlos Santana's "Europa" subtitled by Lou "(Dedicated to the Brilliance of Frank)," again with just Volpe and his guitars.

While I found a couple selections, such as "That's Life," not completely successful, "Remembering Ol' Blue Eyes (Songs of Sinatra)" is easy to listen to and full of considerable musical substance. He may be a guitar virtuoso, but Lou Volpe also is one who knows how to intrigue and entertain his listeners.

I received my review copy from a publicist. Here is "I'll Remember April" from the release.