Last week I had a short playlist of some of Lonnie Johnson's recordings as the featured artist. This week we have him with other performers. First up we have him performing with Louis Armstrong. Here is Mahogany Hall Stomp.
Next up is a duet with Eddie Lang, Midnight Call Blues.
Lonnie also recorded some popular duets with some of the early women blues singers like Clara Smith. Here they are on You're Getting Old On Your Job. Alex Hill is the pianist.
Another early woman singer Johnson recorded duets with was Victoria Spivey. Here they are heard on. Here is "Lonnie Johnson & Victoria Spivey - You Done Lost Your Good Thing Now Pt. 1.
We close this playlist with Lonnie Johnson accompanying Texas Alexander on Deep Sea Blues.
Toronto-based Ernesto Cervini has established himself as a drummer-composer- bandleader, of considerable merit. His Quartet, his sextet Turboprop, and various trios have shown him to be a fresh, imaginative voice. Besides Cervini, the members of his quartet are electric bassist (Rich Brown), an electric guitarist (Nir Felder), and the Cuban-born, Toronto-based alto saxophonist Luis Deniz. The quartet initially started as a chordless trio with Brown and Deniz, to which Felder was later added. "Because we're so used to playing this music as a trio without any comping," Cervini notes, "we were able to incorporate Nir without having to worry about our traditional 'jobs' in the band."
The origin of the band as a chordless trio provides an understanding of the imaginative approach Cervini brings, beginning with an ingenious rendition of "Softly, As In a Morning Sunrise." It starts off with a lengthy unaccompanied bass solo, with the band playing off the underlying bass pattern until playing the melody late in this enthralling performance. Bassist Brown contributed "Forward Motion," with stunning guitar and sax before Cervini takes a drum solo. Listening to this performance I had a sense of "this reminds me of something else." After the drum solo, "Harlem Nocturne" was evoked. This superlative performance is I believe a contrafact to "Harlem Nocturne," although played at quite a quicker tempo than the strip club tempo of that tune.
Felder provides a stunning introduction to a lovely interpretation of Vince Mendoza's "Angelicus," as Deniz's alto sax gently develops the theme. Cervini adds to the atmosphere with his adept use of brushes. "Stro" is Cervini's funky minor-blues nod to Toronto Blue Jays (and New York Mets) pitcher Marcus Stroman. It has a descending electric bass loop that anchors the interchanges within the band, particularly Felder's percolating guitar and Deniz's bluesy alto sax. Deniz further impresses on the Bunky Green bebop waltz "Summit Song" with Felder adding his scintillating guitar. Deniz and Felder's opening to Cervini's "Wandering" provide a chamber jazz quality with the tension the dynamism of their solos against a rubato rhythmic feel.
Ernesto Cervini again leads a sterling band and brought together stimulating originals and imaginative arrangements of covers for some absorbing music. "Tetrahedron" is another first-rate recording from him.
I received my review copy from a publicist. Here this band performs "Stro."
Today is the third, and for now final, Take 5 devoted to performances of Body and Soul. Our first installment had renditions that preceded Coleman Hawkins' classic recording. last week we started with on Hawkins and then included four other tenor saxophone recordings. This week, I present five other recordings of this standard.
First up we have Billie Holiday from 1940.
Next up is Bud Powell
Hank Jones is another piano master who has recorded it.
Ella Fitzgerald performed it on a legendary Frank Sinatra TV show.
Bones & Tones was formed after Lloyd Haber was invited to put together a group for the Long Beach Jazz Festival. Haber wanted a group with a different sound and with Marimba and vibraphone as the lead voices. The group consists of Abdou Mboup on percussion, vocals and kora; Haber on marimba, bells and percussion; Jaribu Shahid on bass and percussion; and Warren Smith on vibraphone and percussion. Haber and Shahid have produced this group’s first eponymously titled recording for Freedom Art Records that should have appeal to fans of jazz and world music.
The opening track, “Breathing Water,” a collaboration between Haber and Mboup, brings an Asian tinge to the African rhythms and percussion as Mboup adds haunting vocals. Smith’s “228” mixes percussion interludes with segments featuring the vibes and marimba. Haber’s own “Dance For Suwoo” has a bouncy ambiance from the interplay by the vibes and marimba over bass and percussion, while his “Configuration” has Mboup and Shahid providing a mesmerizing rhythm for Haber and Smith. The beginning of “Songs For the Old Ones” is suggestive of the Art Ensemble with the use of little percussive instruments before Mboup gets a driving rhythm started before the theme is presented.
Smith and Ray Mantilla wrote “Carajillo Con Mantilla” originally for the percussion group “M’Boom.” The lively Latin rhythms add spice to this performance. Smith’s “MR7” is built upon an insistent vamp upon which Smith develops his vibes solo. I presume it is Mboup that takes the percussion solo on this leading into more mallet play. Mboup’s kora playing and vocal lends “In the Valley of Dreams” with a delightful African flavor to close this delightful recording.
I received a review copy from a publicist. This review originally appeared in the May 1-June 15, 2011 Jazz & Blues Report (Issue 335). Here is a performance of “In the Valley of Dreams.”
This is a second short playlist of versions of the classic American song, "St. James Infirmary," to follow up on the initial list presented last Saturday.
We start with a version from George E. Lee & His Orchestra. Lee was the older brother of Julia Lee who became quite popular as a pianist and vocalist.
One of the great New Orleans trumpeters to come out of New Orleans after Louis Armstrong, Henry 'Red' Allen performed this song while touring England with the Alex Welsh band. Incidentally, Allen was with King Oliver's Band when this was recorded in 1930 under Oliver's name.
There have been so many great recordings from this from the likes of Eric Burdon, Lou Rawls, and Van Morrison. In this vein we have Tom Jones and Rhiannon Giddens singing it.
Next up is the great James Booker.
There are so many other choices I could have chosen including solo acoustic renditions from Josh White Snooks Eaglin, Doc Watson or Dave Van Ronk. Other versions I might have selected include those Trombone Shorty at the White House, various Brass Bands, Preservation Hall Jazz Band, Dee Dee Bridgewater, or Cassandra Wilson. To end this playlist though I have selected Jon Batiste & Stay Human from the 2018 New Orleans Jazz & Heritage Festival.
Tomorrow, August 4, will be the 118th Anniversary of Louis Armstrong. Tomorrow radio station WKCR (wkcr.org) will be broadcasting 24 hours of his music. Today I present a short playlist of Satchmo's music.
First up is the Fats Waller-Andy Razaf song reflecting on race in America, "(What Did I Do To Be So) Black and Blue."
Louis Armstrong first recorded ("I'll Be Glad When You're Dead) You Rascal You" in 1931. It was one of several versions he would record over the years. I have chosen the duet he recorded with Louis Jordan in 1950, when both of them were among Decca Records biggest stars.
In the 1920s Louis recorded with so many of the great early blues singers. I have chosen the late Sippie Wallace with her brother HersalThomas on piano and Louis Armstrong on cornet or trumpet doing "Jack Of Diamond Blues."
Here is the original recording of Louis Armstrong performing "When theSaints Go Marching In."
Now we go back to the Hot Five Days for another classic, "Heebie Jeebies."
For Norman Granz, Louis and Ella Fitzgerald recorded many duets. Here is "Summertime" from their grand "Porgy & Bess" album.
In the 1950s, Louis had the opportunity to revisit his early days an record a musical autobiography. Here he performs "Georgia Grind."
Here is an early recording of him performing "I Ain't Got Nobody" with a band that included Luis Russell on piano. He would later take over Russell's big band in the 1930s.
Hoagy Carmichael and Fats Waller were likely the two songwriters that Louis recorded more than others. Here he is performing "Stardust."
Finally we conclude with a late recording of his that has become one of his most remembered recordings "What a Wonderful World."
That's it. Again do not forget to tune in WKCR on Sunday.
Based in Eastern Pennsylvania, composer and clarinetist Adam Price leads his group on this recording. Others here include pianist Isamu McGregor; bassist Jack Synoski; drummer Spencer Inch and percussionist Jeff Hatcher. Kristina Rajgelj adds vocals to several selections. My download did not include information on composers, so I guess that Price is the composer of the compositions and songs.
While Price has classical training on clarinet, it does not prevent from swinging while displaying his warm tone and his fluid attack. The opening "Mzungu" has a strong African-tinged rhythmic groove while "Chameleon Colored Eyes" also has an energetic force reflected in Price's propulsive playing as well as McGregor's spirited piano solo. A shortened single cut of this track is tacked on the end of this recording. Rajgelj takes one of her two vocals here displaying clear articulation of the song and a horn-like projection of the lyrics while the rhythm section is superb here and throughout.
"The Girl in the White Dress" is a ballad with Price captivating with his playing with understated backing from his fine ensemble. "Rotten Grapes" is an effervescent blues performance with Inch helping propel Price's solo and followed by McGregor's thoughtful solo, while "Summer Thunder (The Last Rain Queen)" is a mellow number with Rajgelj's wordless vocal harmonizing with Price's pensive clarinet here. Rajgelj also adds wordless vocalizing to the title track that starts reflectively before a lightly swinging groove is established and Price twisting, surging so builds up in intensity.
The delightful "Storyville" has the appeal of an evening stroll on Frenchmen Street, just outside New Orleans' French Quarter with the understated bass and drums adding to the performance's charm. The ebullient Brazilian-flavored 'Eu Quero Você" follows it," with Rajgelj adding her wordless singing to the ensemble here. As noted, a single cut of "Chameleon Colored Eyes" closes this recording. Price's superb, exquisite clarinet playing, along with varied, melodic compositions and a marvelous band has resulted in an excellent recording.
I received a review download from a publicist. This review originally appeared in the January-February 2019 Jazz & Blues report (Issue 382). Here is "Storyville," from this CD.
The French horn, usually heard backing other instruments normally providing texture and color in brass and wind ensembles, has become in the hands of Ken Wiley a solo instrument providing a distinctive solo voice. I was impressed by his previous recording "Jazz Horn Redux," and the varied music on his latest builds upon that. Mark Leggett's acoustic guitar and the flute of Dan Higgins (who also plays tenor sax, clarinet, and piccolo as well as did the arrangements) are the other principal soloists here. There is a rhythm section of Dave Loeb on piano (Wiley also plays the piano, but the selections he plays on is not identified), Dominick Genova on bass, Bernie Dresel on drums, and Luis Conte and Kevin Ricard on percussion that ably provide tasteful, supportive backing.
With the 'Bolero Horns' added, the album opens with a Latin-tinged take on Ravel's celebrated "Bolero," with Wiley's melodious playing set against the easy pulse of the backing. Leggett's acoustic guitar opens up "Carilô," with Higgins' soaring flute also featured on this diverting performance. "Cubano Blue" is an easy going, bluesy performance with a light Afro-Cuban groove with Loeb's clean piano leading to Wiley's evocative solo. Other pleasures here include a breezy take on Cal Tjader's "Black Orchid," and more energetic treatment of McCoy Tyner's modal "Sama Layuca," opening with Higgins on tenor sax set against Loeb's insistent piano with Loeb taking a more energetic solo before Higgins' takes a robust, twisting sax solo. Genova takes a dynamic bass solo before Wiley's dulcet horn provides a counterpoint to Higgins leads the performance to a faded close. The stately "Gato Magico" evokes the bull fighter's ring with the harmonious unison statement of the theme by Wiley and Higgins along with concise, appealing solos.
The album closes with the title track which sports a light, Afro-Cuban groove provided by the rhythm section on a soothing, yet stimulating performance with the charm characteristic of the beautiful music throughout "Cuerno Exotica."
I received a review copy from a publicist. This review appeared in the November-December 2018 Jazz & Blues Report (Issue 381), although I may have made minor changes. Here is "Sama Layuca," from this album.
"On!" is the second recording by Washington DC area tenor saxophonist Jordon Dixon. Dixon, a graduate of the jazz program of the University of the District of Columbia (UDC), today is no young prodigy although when he was 15 sitting in at bars and clubs in his native Baton Rouge, he may have been considered as such. He came to DC after serving as a musician in the US Marine Corps. Graduating from UDC, he released the self-produced "Conversation Among Friends" which was issued in conjunction with his senior recital.
Dixon composed the nine compositions heard here (one in two takes) and backed by a superb band of some of the DC area's finest musicians. The remarkable Allyn Johnson, who is the head of Jazz Studies as UDC, plays piano here. He also engineered, mixed, and mastered this recording. On bass is Herman Burney who like Johnson is a respected educator and mentor to many local jazz artists and played with Freddie Cole, Terrell Stafford, Rene Marie, and others. On drums is Carroll V (CV) Dashiell who has played with Benny Golson, Bobby Watson, the late Geri Allen, and others.JS Williams adds trumpet to two tracks.
The material ranges from blues, hard bop and ballads and Dixon impress the listener with his big tone and the repertoire. On the opening track, "Notes From the Nook," Dixon displays his full sound and the authority with which he plays the blues. Johnson, who is also heard on organ, follows with a terrific solo before Burney takes an arco bass solo. The tempo picks up with the brisk pace of "Way too Serious," with the leader navigating the tempo with ease. "What You've Done For Me" is a lovely ballad where Dixon's warmth is complemented by Johnson's excellent accompaniment and solo. Dashiell's crisply kicks off "We Kin," a lively hard bop performance.
The title track opens with some rhapsodic piano before shifting to some hot swing with Burney and Dashiell driving this spirited number with Burney and Johnson also contributing cogent solos. "Flame and Friction" is a late-night blues with JS Williams adding his trumpet on this first-rate selection. "Lee Lee Dee" is a robustly played swinger followed by a precious ballad "She Meant It When She Said It," with Burney's solo giving this performance deep roots. Williams returns for "Fake Flowers," a tune that hints at a New Orleans parade as well as the church music all these artists grew up with. Dashiell takes a strong, crisp solo here.
An alternate take of "Notes From the Nook," closes this recording. Jordon Dixon impresses with the invention and passion he brings. One can hear the influences of Coltrane and Sonny Rollins at times, but also with his big tone and warmth, and affinity for blues and ballads will especially appeal to fans of Houston Person and the late Stanley Turrentine and Gene Ammons. Simply stated, this is a fabulous recording.
Jordon Dixon will be celebrating a CD Release Show Monday, June 10th 7:00 pm, JAZZ Alive@UDC, part of the DC Jazz Fest's Jazz in the 'Hoods.' For more information on this performance, check www.dcjazzfest.org. This looks like a show not to miss, although I will be unable to attend because of travel.
I received my review copy from a publicist. Here is a video of Jordan at a student recital performing "Lee Lee Dee."
Ernesto Cervini's Turboprop Abundance Anzic Records
About his band Turboprop, Ernesto Cervini observes " “although I am the band-leader, Turboprop truly feels like a collective due to the passion, commitment, and love everybody brings to each performance.” This sextet is a formidable one with some exceptional talents from Toronto and New York City: Tara Davidson on Alto and Soprano Saxophones and Flute (Toronto), Joel Frahm on Tenor Saxophone (New York), William Carn on Trombone (Toronto), Adrean Farrugia on Piano (Toronto), Dan Loomis on Bass (New York) and Ernesto Cervini on Drums (Toronto). Ms. Davidson is an addition to the personnel that was on their last recording "Rev," that I found full of "strong solo voices and first-rate ensemble work.
The present recording has a mix of 5 originals by band members (including two by Cervini) and three standards. It opens with Davidson's original "The Queen," with a slightly exotic flavor and strong solos from her and Farrugia. The pianist is also sterling on a terrific rendition of Tadd Dameron's "Tadd's Delight" which has riveting tenor sax from Frahm while Loomis and Cervini push this sterling performance along with the two trading fours. A fresh arrangement of "My Shining Hour" was derived from Geoffrey Keezer's recording with sterling ensemble playing and a shift into a Latin groove. Carn's melodic ballad playing graces the interpretation of Charlie Chaplin's classic "Smile."
Loomis' "Abundance Overture" opens with Cervini playing with his sticks before Davidson on flute and Frahm on tenor sax play a playful figure and then Cervini plays his entire kit before Loomis, Farrugia, and Carn join in for an exuberant performance. Farrugia contributed "The Ten Thousand Things" which opens with Loomis bass in addition to the composer's far-ranging piano solo followed by Frahm's fiery tenor sax.
Cervini contributed the final two compositions. "Gramps" is a lovely ballad dedicated to his late grandfather and has Davidson's charming, graceful alto saxophone set against an exquisite ensemble arrangement. The closing "For Cito," dedicated to the former Toronto Blue Jays manager Cito Gaston, is a robust performance with imaginative solos from Carn and Farrugia and fresh, creative arrangements.
As on "Rev," Turboprop impresses with their tight ensemble playing; inventive, fresh arrangements, and impressive soloing. The result is this striking recording.
I received my review copy from a publicist. This review appeared in the March-April 2019 Jazz & Blues Report (Issue 383), although I have made corrections and minor changes. Here is a video of Turboprop playing.
About "Sleight of Hand," the last album from NYSQ, I concluded "The strong ensemble playing, in addition to the many fine solos, and the imaginative reworking of the material make for a superb straight-ahead recording." Now comes an equally engaging recording by saxophonist Tim Armacost, pianist David Berkman, drummer Gene Jackson, and double bassist Ugonna Okegwo.
The freshness they bring to the classic jazz and standards repertoire is evident on the opening reworking of Leonard Bernstein's "Tonight," that opens with a warm introduction before the ballad is transformed to a medium tempo vehicle for their exploration. It is followed by the transformation of Charlie Parker's blues, "Cheryl," which sounds like a 1960's Blue Note recording with Berkman and Okegwo outstanding. A rendition of Horace Silver's ballad, "Peace," is a showcase for Armacost's sensitive and thoughtful tenor sax. It is followed by a lively "If I Should Lose You," that puts the spotlight on Armacost's splendid soprano sax along with the imaginative accompaniment. They then provide a couple of wonderful interpretations of Cole Porter: an imaginative one of "Every Time We Say Goodbye," and a splendid "I Love You," opening with Okegwo's bass intro. Then there is an exquisite performance of Bud Powell's "I'll Keep Loving You," featuring Armacost's warm, melodic ballad playing and Berkman's deft piano.
A vigorous performance of Herbie Hancock's "Eye of the Hurricane" places the spotlight on Berkman's dynamic piano while Jackson is explosive in driving this concluding performance of another terrific straight-ahead modern jazz recording.
I received my review copy from a publicist. This review appeared in the November-December 2018 Jazz & Blues Report (Issue 382), although I have made minor changes. Here is a promotional video for this recording.
Al Muirhead's Canadian Quintet Undertones Chronograph Records
Western Canadian Jazz Icon, Al Muirhead, came to wider prominence in North America with the release of his JUNO-nominated debut album ‘It’s About Time’. At the age of 82 years old, he is making up for lost time with his fourth release in just three years. This recording features Al on the rare bass trumpet with his new Canadian Quintet, all Canadian jazz heavyweights: Kelly Jefferson (sax), Reg Schwager (guitar), Neil Swainson (bass) and Ted Warren (drums).
Muirhead, as trumpeter, composer, arranger, sideman and recording artist has been making listeners take notice for longer than jazz fans might realize. Born in Regina, Saskatchewan, in 1935, he was playing in the Regina Symphony and dance bands by age 12. Muirhead started listening to and being influenced by the likes of Dizzy Gillespie, Miles Davis, and Louis Armstrong. While Muirhead’s playing is infused with the indelible influence of the jazz giants, he brought his own flowing, melodic sound to a career in which he has worked with legends such as Diana Krall, Paul Anka, Rosemary Clooney, Frank Mills and Dizzy Gillespie.
The bass trumpet looks like an oversized version of that brass instrument with a sound like a valve trombone. There are ten songs, eight of them are standards and two originals with the overall tenor of the music being swing to bebop. It is a swinging ensemble and Jefferson is a fine solo foil for Muirhead's melodic trombone sorties with a clean tone and a driving style while guitarist Schwager has more than several occasions to display a fluid attack and thoughtful solos. His comping and the support of Swainson and Warren help generate the nicely paced swinging performances.
The album opens with this he easy bluesy stride of "A Tune For Cal," written for the memory his older brother. Muirhead has an ear for classics of the big band including "Rose Room" that opens with his attractive playing followed choice solos from Jefferson and Schwager with the bass and drums providing a sure foundation as well as a solid bass solo. I'm am most familiar with "'Deed I Do," from the Count Basie recording featuring Jimmy Rushing in which Muirhead delights with his slightly gruff lyricism. The relaxed swing of the rendition of "You're My Everything" is followed by Muirhead's "Take It To Bank Tom," dedicated to Canadian musician Tommy Banks, and also has a bluesy feel in the leader's relaxed solo. It is followed by a marvelous interpretation of the Mancini and Mercer classic waltz, "Charade," with Jefferson's driving, searching solo contrasting with the leader's raspy, yet lyrical, playing.
After a lovely "I Don't Stand a Chance With You," with a splendid solo from Muirhead, the album closes with a spirited rendition of "Four Brothers," a number chosen to honor his sister Elaine, with solo spots to the entire band. Muirhead and his quintet are an impressive, swinging ensemble that have produced a wonderful swinging release.
I received a download to review from a publicist. Here is an interview with Al Muirhead.
Paul McCandless Morning Sun: Adventures with Oboe Living Music
This is described as "A Retrospective Celebrating 45 Years of Genre-Bending Iconic Mastery" and gathers 16 performances by McCandless with the Paul Winter Consort over this period of time with over an hour of music. McCandless, as demonstrated on the performances on this recording, that the oboe is an instrument that can be welcomed out the confines of the Western classical music tradition on performances capturing folk roots, jazz improvisation and new age sensibility. McCandless also brings the French Horn on several selections to the fore in a similar fashion.
Listening to McCandless' melodious playing certainly can bring a sense of calm and relaxation, even when playing some rhythmically spirited tunes. Their is a such a broad spectrum of musical settings represented, including the unusual instrumentation of the Consort that included when he joined it Ralph Towner's guitar, Winter's soprano sax, Colin Walcott's tabla, triangle an drums, and David Darling's cello starting with the the uplifting opening selection "All the Mornings Bring." "Elves Chasm," is a lovely solo oboe performance recorded in the Grand Canyon with the sounds of nature (birds and the Colorado River) in the background while "Whooper Dance" has voices of a pair Whooping Cranes echoed in the Oboe improvisation, and "Eagle," a duet with the melodic theme suggested by the cry of an African Fish Eagle.
A later version of the Consort with Oscar Castro-Neves on guitar, David Grusin on keyboard and John-Carlos Perea on vocal, performs "Witchi Tai Too," a Native American traditional healing song that Indian jazz musician Jim Pepper adapted. McCandless plays the opening on French Horn but later taking off on oboe after the first vocal chorus here. The Brazilian singer and guitarist Renato Braz is present on the lovely "Anabela," with lovely oboe accompaniment and sings wordlessly on "The Last Train," with a mesmerizing, soaring oboe solo. On the uplifting message song "Common Ground," there is marvelous McCandless accompaniment to later choruses of the song.
The sereneness of "Sunset on the Great Sand Dunes" is followed by the lively Ralph Towner composition "Un Abraço (A Big Hug)" (which was McCandless' first recording on oboe). The stately "Sunderland," has lyrical French Horn framed in a pastoral setting while "Twilight" finds McCandless' French Horn improvising over Grusin's synthesized chordal journey. Bach's "Fantasia in G" was recorded by the Consort at New York's Cathedral of St. John the Divine employing the Church's pipe organ over which McCandless plays somewhat wildly over Bach's harmonies.
This wonderful retrospective closes with the tranquility of "Morning Sun," with the interweaving of the various solo voices (oboe, Winter's soprano sax and Eugene Friesen's cello). The marvelous compilation of music is accompanied by a 32 page liner booklet with essays, including an appreciation of McCandless' oboe playing, from Winter, a short autobiography by McCandless, and notes on each of the 16 selections from Winter with session information included. Of course McCandless' musical legacy also includes his decades with Oregon, but even this slice of his musical career is something to be savored.
I received my review copy from a publicist. This review originally appeared in the November-December 2017 Jazz & Blues Report (Issue 375). Here is McCandless with Oregon performing "Witchi Tai Too."
Ignacio Berroa Trio Straight Ahead From Havana Codes Drum Music
The organizing principle of drummer Ignacio Berroa is taking standards from the Cuban repertoire and reimagining them in a straight ahead jazz context. On this recording he is joined by pianist Martin Bejerano and bassist Josh Allen (Lowell Ringel substitutes on two of the ten songs) with Conrado "Coky' Garcia adding percussion on two tracks and Ruben Blades takes the lead vocal on one.
The approach can be heard on the opening "Alma Con Alma" that some may be familiar with from Ray Barreto's recording which comes off like a solid hard bop number that allows one to approach Bejerano's considerable technique as well as strong post-Bud Powell playing on this with Allen and the leader terrific supporting his fiery playing here, followed by Allen's own brisk, cleanly articulated solo and Berroa's hot solo. One not knowing the nature of this session would simply find this to be superb bop piano. A similar musical imagination invests the treatment of "Le Tarde," into a medium tempo swinging number with Bejerano engaging the listener with his fluidity, touch and nuance. The rendition of the Afro-Cuban Children's lullaby, "Drume Negrita" (some will know from Celia Cruz), has a latin tinge with the leader's drumming accenting the relatively spare piano lead. Ruben Blades is heard on "Negro De Sociedad" which is performed in a more relaxed manner than the hot salsa fashion that is incorporated at the beginning and end here.
Other delights include the bouncy "Los Tres Golpes," with Garcia's percussion adding to the driving groove, the reflective "Si Me Pudieras Querer," and the dazzling, spirited "Me Recordaras," that closes this fabulous recording.
I received my review copy from a publicist. This review originally appeared in the July-August 2017 Jazz & Blues Report (Issue 373). Here is the Ignacio Berroa Trio in performance.
Rebecca Hennessy’s FOG Brass Band Two Calls Self-Produced Toronto-based trumpeter and composer Rebecca Hennessy is represented by her first full length recording, Hennessy is the musical director of the Massey Hall Women’s Blues Review and as a staple in several modern jazz outfits in Toronto. Here she leads a brass heavy ensemble comprised of a front line of Hennessy on trumpet, flugelhorn, peck horn & baritone horn; Tom Richards on trombone; and Jay Burr on tuba with Tania Gill on piano; Don Scott on guitar and Nico Dann on drums & triangle. Her influences include New Orleans brass bands, Balkan folk music, country blues and high-energy jazz-rock which she brings together on her compositions here which reflect her love of the natural world where four compositions being fishing songs, where two (including the title track) are inspired by bird songs. There is also a tribute to the great trumpeter Booker Little who died so young. The opening "Red Herring" is one of the fishing songs with an initial groove that might suggest a rush hour commute before Richards takes a trombone solo set against Dann's marvelous drums before Hennessy herself solos followed by some jazz-rock guitar. In contrast to the almost manic feel of the opening track, "Horn Lake" projects a tranquility with its chamber brass opening followed by a stately piano interlude and a lovely trumpet solo with the ensemble entering and generating a bit of intensity. It is a performance that displays her compositional and organizational talents as well as her marvelous musicianship. "Lagoon" is another composition and performance having a languid feel. The title track is a composition built on a riff derived from actual bird calls with engaging solos from Richards and Gill. "Snag," another fishing inspired number, is a playful performance set against a New Orleans second-line groove with Richards playing in a blustery, tailgate-style as Scott's guitar backing provides counterpoint. An Afro-Caribbean groove helps enliven "Bird Calls" with Hennessy judiciously using slurs followed by some more barreling brusque tailgate sounding trombone from Richards. The disc closes with the lovely "Mutterings," a tribute to the singer, Mary Margaret O’Hara, with Gill spotlighted, and the somber "Why Are You So Sad Booker Little," a lovely sober tune and performance, but somewhat removed from the fire that Little brought as a composer and musician (think of Little's composition "Bee Vamp" with Dolphy at the Five Spot). Brass Band in the name of Rebecca Hennessy's ensemble might mislead those expecting a contemporary band in the vein of the contemporary New Orleans scene or similar aggregations. Ms. Hennessy shines as a composer and soloist, and the FOG Brass Band is an outstanding ensemble. While there has been focus on contributions of the soloists here, one cannot ignore the brass bass provided by of Jay Burr as well as with Dann's drumming. "Two Calls" is a strongly recommended, and thoroughly engrossing recording.
I received my review copy from a publicist. This can be purchased at bandcamp along with other outlets, https://fogbrassband.bandcamp.com/album/two-calls. Here is Rebecca Hennessy’s FOG Brass Band in performance.
Bassist-of-choice for Russell Malone, Johnny O’Neal, Jimmy Greene and others, 26-year-old Luke Sellick has his debut album as a leader. Born in Winnipeg, Manitoba, coming to New York he studied at Juilliard where he was mentored by the great Ron Carter who writes the liner notes for this recording.
Sellick has an impressive group of musicians to interpret his nine compositions including Adam Birnbaum on piano and Andrew Renfroe on guitar, who play on all the tracks, and Jimmy Greene on tenor saxophone; Jordan Pettay on alto saxophone; Benny Benack III on trumpet; Mat Jodrell on trumpet; Adam Birnbaum on piano; Kush Abadey on drums; Jimmy Macbride on drums and Andrew Gutauskas on bass clarinet.
After the brief sober “Prelude," ”Q-Tippin’” (dedicated to drummer Quincy Davis) has Kush Abadey channeling Tony Williams with the Latin-tinged groove Jimmy Greene, Mat Koddell and Andrew Renfroe all sounding impressive on a performance that evokes classic sixties Blue Note recordings. “Brothers,” inspired by Sellick’s upbringing, has Jimmy McBride driving the stately, relaxed groove on a lovely theme that Pettay and Benack state before the leader solos followed by Benack’s lyrical playing and a brief break from Renfroe.
"Hymn," a mediation on Sellick's faith, is a reflective piece played at a languid tempo with some thoughtful tenor from Greene. "The Alchemist" is a more energetic number with Renfroe displaying great facility and thoughtfulness on his solo followed by Pettay's spirited alto solo. The relaxed tempo of "Dog Days" backdrops Greene and pianist Birnbaum with Abadey propelling the performance with his rhythmic accents. The charming waltz, "Abacus," features lovely trumpet from Jodrell along with Birnbaum's ruminative piano, while "Uptown!" is a swinging quartet performance enlivened by solos from Renfroe and Birnbaum and then Sellick himself with more outstanding support from Abadey. McBride crisply backs the closing "Home," with a light blue cast and enticing solos from Renfroe, Benack and Birnbaum along with their interplay during the closing bars.
Throughout the performances, one is struck by the steady anchor Luke Sellick provides on bass, the wonderful musicians and the ensemble work on these intriguing compositions, resulting in some very appealing musical alchemy. I received my review copy from a publicist. This review originally appeared in the March-April 2017 Jazz & Blues Report (Issue 371). Here is a video of Luke Sellick performing.
A member of the band Kneebody, the new recording by saxophonist-composer Ben Wendel is an exhilarating recording with his acoustic quartet of Gerald Clayton on piano, Joe Sanders on bass and Henry Cole on drums. About the music on this he commented, "'What We Bring' refers to the experience, inspiration and shared wisdom that musicians collect and absorb throughout their lives, and how that is expressed through their art. All of the pieces on this album are dedicated to masters from the past, peers from the present and musicians of the future. …"
The opening "Amian," has moments of energetic playing along with quiet lyricism with the rhythm providing a swirling pulse. Clayton consistently adds his own inspired solo on "Fall," followed by Wendel's probing against the bass-drums support. There is a playfulness exhibited by Wendel's alto and Clayton's piano on "Spring" that evolves into heated playing marked by Wendel's slight vibrato on the alto sax as the rhythm section provides a swirling backdrop. Drummer Cole's behind the beat snare generates a rhythmic tension that underpins the stately, reflective tone of Wendel's tenor on "Doubt."
The lyrical "Song Song," has an exemplary solo from Clayton, terrific playing from Sanders and Cole before the leader's own sonorous playing as the performance swings strongly to a muted close, on an outstanding performance on a consistently engaging, stimulating recording. The swirling energy of "Soli" is followed by the calm of "Austin." The closing "Solar," is not the Miles Davis number. Wendel's composition is given a spirited performance with Cole driving the groove and spotlighted near the end.
This is a terrific recording with Wendel's compositions a springboard for robust, focused playing by a top-notch band.
I received my review copy from a publicist. This review originally appeared in the March-April Jazz & Blues Report (Issue 371). Here Ben and this group perform "Song Song."
Howard Johnson and Gravity Testimony Tuscarora Records
Nate Chinen proclaimed in the New York Times in 2006 that Howard Johnson was the individual "most responsible for the tuba's current status as a full-fledged jazz instrument." Certainly in more than five decades, his musicianship, invention and imagination has lifted the tuba to its present position as more than a novelty or simply being part of the early history of jazz. He played with the ensembles of Charles Mingus, Carla Bley and Gil Evans (to name a few) as well as a founding member of the Saturday Night Band and pop icons like Paul Simon and Taj Mahal.
Gravity is a tuba-centered band whose current membership includes other tuba players Velvet Brown, Joe Bargeron, Earl McIntyre, Joseph Daley, and Bob Stewart with a rhythm section including Carlton Holmes on piano, Melissa Slocum on bass, and Buddy Williams on drums. Joe Exley guests on tuba for 5 of the 8 songs while Nedra Johnson wrote and sang one number. McIntyre, Daley and Stewart are long-time associates and members of Gravity and the four appeared with Johnson as part of Taj Mahal's Tuba Band (Taj has sung, performed and recorded with Gravity as well in the past).
Johnson contributed a couple of originals and the handsome arrangements here and the presence of the rhythm section contributes to the attractiveness of the performances. The title track opens this on a lovely fashion with first his percolating solo followed by one from Bargeron with the other low brass adding to the atmosphere with swinging backing and solos from pianist Holmes and a short drum break from Williams as the ensemble takes this number out with some gruff tuba. Up next is a jaunty blues "Working for the Jones" with a very nice vocal from Howard's daughter, Nedra who sings about doing things she swore she would never do. Holmes and the rhythm are excellent supporting her (while the and then her father's robust solo.
There are two McCoy Tyner compositions included here including a fresh take of "Fly With the Wind," which might seem an unusual choice, but the tubas collectively play a role similar to strings on Tyner's originally and Johnson continues to impress with his fluidity and expressiveness. On the other Tyner composition, the bouncy "High Priest," Johnson is heard playing some driving baritone sax with Bargeron and McIntyre standing out among the tuba ensemble. Bassist Slocum solos strongly here. In between these two numbers is a lovely take on the Carole King classic "A Natural Woman," with Velvet Brown playing the melody and improvisation while Johnson handles the ensemble lead.Johnson's "Little Black Lucille," has Johnson opening unaccompanied on the penny-whistle whose high register is far removed from the other selections. His playful playing is joined by Holmes and then ensemble who provide a frame for his solo which is followed by Holme's stately, gospel-tinged piano.
Bob Neloms composition "Evolution" on which Johnson's arrangement and the composition contribute as much as the solos from him, McIntyre, Bargeron and Stewart along with the personality they each provide with their playing, and this feeling is also heard on the closing number, a rendition of Wilton Felder's "Way Back Home," which provides its own take on this soul jazz classic, originally performed by The Crusaders. Far from being a novelty jazz ensemble because of its instrumentation, Gravity plays music that both moves one with its melodicism as much as the unique instrumental harmonies fashioned by its leader. It has been nearly two decades since I saw them, and another decade since I saw them with Taj Mahal's Tuba Band but like a previous recording by them I have, the music here surprises and consistently delights the listener.
I received my review copy from a publicist. This review appeared in the March-April 2017 Jazz & Blues Report (Issue 371). Here Howard Johnson and Gravity perform "Fly With The Wind."
A new album from The Wee Trio, a Brooklyn, NY based group comprised of vibraphonist James Westfall, bassist Dan Loomis and drummer Jared Schonig. The trio is known for transcending musical genres in their material, but with their latest release they recruited colleagues Nicholas Payton (trumpet), Nir Felder (guitar) and Fabian Almazán (piano) to appear as guest soloists on individual tracks.
Discussing the guest artists, Loomis explains "Nicholas Payton is the prelude to our story as a band. We say that the trio connects so well because we had listened to so many of the same records. Mr. Payton's music was definitely an important part of all our lives. His playing, his intention as a bandleader, and his compositions were important building blocks for all of our own musical conceptions and development. Nir Felder is the present tense in the story of the band. We all met Nir very soon after we moved to the city and played with him a lot in our first years here. Our encounter with Fabian Almazán is a look to the future. Jared has known Fabian for a several years, but James and I just started playing with him for this project. Fabian plays with relentless creativity that really brings out the best side of the band. We love to play familiar material and take a lot of risks with it - push it to see what new options we can find hidden in it. With Fabian we got a chance to expand that approach to a quartet setting and bring it some new material that we wrote especially for him."
The trio opens with a chamber jazz mood with guitarist Felder on "R T 3." His guitar and Westfall's vibes initially mesmerize. Felder's solo quietly builds its heat with supple support from Loomis and Schonig. He is also heard on the closing two tracks, "Gibbs Street" and "Apparition," with marvelous interplay with Westfall, and the seamless backing from Loomis and Schonig.
With pianist Almazán, "Titan Up" is a brief, quite energetic performance followed by another performance with him, "Climb," where he displays his facility and imagination as he takes off from the somewhat reflective opening to very spirited mode followed by lively playing from Westfall. "Redwood" is a tribute to the California Redwood groves, with pianist Almazán joining on a performance of a composition that attempts to grasp the expansiveness of the feeling of walking there of being in an endless horizontal and vertical space.
Nicholas Payton is heard on a blues, "Sabotage," and then "No Justice," playing exquisitely, imaginatively and lyrically as he constructs his solos which serve as the take off for Westfall's own (marimba on "Sabotage" and vibraphone on "No Justice"). "Belle Femme De Voodoo," the last selection with Payton evokes a New Orleans parade with Payton's playful solo incorporating growls and slurs against the bouncy rhythm.
The one cover is Meshell Ndegeocello's "Lola," that Schonig arranged with Loomis bass providing the center of the performance before Westfall takes off on his solo. It is one of the two trio performances on this latest release from The Wee Trio. With their accomplished guests they have provided another fresh and highly engaging recording.
I received my review copy from a publicist.This review originally appeared in the March-April Jazz & Blues Report (Issue 371). Here is the Wee Trio with Fabian Almazán performing "Titan Up."
Race Records and the American Recording Industry 1919-1945: An Illustrated History Allan Sutton Mainspring Press, Littleton, Co. 2016: 366 +x pp
Allan Sutton is a noted historian of the American Recording Industry. I have read two of his three volumes detailing the history of the American Recording Industry from its inception in the cylinder days and the emergence of discs to the transition from acoustic to electric recording, as he detailed the rise and fall, bankruptcy, consolidation and more of the recording companies in the United States: "A Phonograph in Every Home," and "Recording the Twenties." A succinct description of this present volume is that it "is the story of the companies, and individuals, who within several decades, made the recording more inclusive, and far more interesting than it once had been." It is a history of the emergence of 'Race Records,' or a history of recordings that were intended primarily for black consumers.
In his introduction, Sutton notes that Blacks comprised only a minuscule portion of early record catalogs. Black songwriters fared somewhat better but their material was likely to be performed by whites often employing stereotypical 'darky' accents. The few black recording artists generally only recorded " carefully polished spirituals, antebellum plantation songs, close-harmony quartet songs or self-deprecating "coon songs," material that white audiences expected and found acceptable.
At the close of World War I, three companies dominated the recording industry, Victor Talking Machine Company, the Columbia Gramophone Company, and Thomas A. Edison, Inc. Victor catered to an upscale market as well as its founder and president believed part of Victor's mission was to refine public taste. Victor did issue recordings of the Castle House Orchestra, under the direction of James Reese Europe's direction, but his picture was not used in advertising and the company reportedly auditioned a Creole Jass Band, but nothing was ever issued. Edison, the smallest of the three, was hobbled by Thomas Edison himself who was nearly deaf (and had strong ethnic and racial prejudices) and insisted on auditioning his company's recordings and his veto was rarely challenged. Columbia was the most populist of the labels and released recordings of Bert Williams, W.C. Handy, and Wilbur Sweatman. Increasingly though Blacks were clamoring for better representation in record catalogs and with the success of Mamie Smith's recordings along with the efforts of George Broome's label and Harry Pace's Black Swan label, recording companies a more accepting attitude in pursuit of profit.
Sutton next touches on the Mamie Smith's recording of "Crazy Blues," which resulted in part from the General Phonograph's Company's Okeh Records efforts carve out a niche with songwriter Perry Bradford's persistence as a song plugger and promoter of the blues and the talent of Smith, a stage and cabaret artist. After sufficient sales of her initial recording, on August 10,1920, she recorded "Crazy Blues" and another tune backed by the Jazz Hounds. This was released in October 1920 and the advertisements for it indicate it was sold to a general audience not simply blacks as some like Daphne Duval Harrison erroneously has written. Sutton also corrects the claims of 75,000 sales the first week and over a million that have been made over the years as sales records have not survived but also hard to reconcile with what we know generally of sales of recordings at the time. Still it clearly was a strong seller. The book thus plays a service in correcting some myths and providing more to the story of Smith and how her success impacted the other recording companies. and led to the blues craze although more conservative companies like Edison and Victor were resistant. In contrast, Columbia and smaller labels like Arto recorded acts like Mary Stafford and Lucille Hegamin.
Next discussed is Harry Pace, formerly W.C. Handy's partner formed his new venture, Black Swan, to hire only Black talent. With the Black press itself promoting Black Swan, Pace hired a young Fletcher Henderson to play piano on many recordings. Initially to present Black Swan as a reputable operation to investors, he produced cautiously records to appeal to Harlem's upper crust who viewed blues as distasteful, so initial releases were a black concert singer or concert soprano appropriately accompanied. But it was the recording of Ethel Waters doing popular numbers that led to a change. Her initial release of "Down Home Blues" and "Oh Daddy," sold well and the chapter details Harry Pace's sometimes excessive claims in promoting his company as well as follows some of the other artists Pace recorded like Trixie Smith, details his efforts to get his records distributed and the ultimate inability to obtain national distribution, a problem white start-up labels also faced. Sutton also describes efforts at getting manufacture of the records closer to home, forming a classical division and unsuccessful efforts to find capital. This lack of capital eventually led to Black Swan s acquisition by the New York Recording Laboratories (owners of the Paramount label) which was one of its most substantial creditors and many Black Swan releases became issued on a hybrid Paramount-Black Swan label.
After a chapter on other early Black Entrepreneurs and short-lived labels like G-B Record Company, the Spikes Brothers Sunshine label, SeeBee, Meritt and Blu-Disc (whose releases included The Washingtonians and Duke Ellington), Sutton discusses the Mass-Producing of the blues by labels such as Emerson (releases by Fletcher Henderson, Lena WIlson, Hazel Meyers and others), Vocalion (who signed Ethel Waters, Victor, Brunswick and even Edison (whose racist head still auditioned all his artists and recordings and also auditioned recordings from other labels), along with the efforts of Joe Davis to promote his artists and songs he published.
A chapter is devoted to Ajax Records that advertised itself as The Quality Race Record. It should be noted that while Race Records depicted the performers and expected market for a recording, the term "Race" was used by Black intellectuals who wanted to uplift "The Race" through various activities, including cultural ones. Ajax recorded a variety of jazz and blues, including Hazel Meyers, a few releases from Mamie Smith and even boxer Jack Johnson (depicted in an advertisement that is among the many illustrations in this book), but factors like poor distribution and lack of distinctive artists contributed to its failure like other labels of the time.
Attention is next directed to the recording activities in the Midwest and Gennett, who after recording the white New Orleans Rhythm Kings, waxed the classic recordings with King Oliver's Creole Jazz Band in Richmond, Indiana, as well as some of recordings in Chicago. Bessie Smith's recording career is also discussed and it is noted that despite being a race artist her recordings crossed over to a more general audience. In addition to the efforts of Gennett, the recordings for Okeh and other labels in Chicago are chronicled as are those of Paramount in recording Ma Rainey and Ida Cox as well as the recording of more rural sounding performers. These efforts are documented along with numerous examples of newspaper advertisements and discussion of efforts at promoting and distributing such material.
There is a full chapter on Paramount and the country blues and the success of artists like Blind Blake and Papa Charlie Jackson was highly influential and the the major labels themselves were in transition in how they recorded similar material. But such efforts are also contemporaneous with the recording of Louis Armstrong's Hot Five and Seven recordings. also labels like Okeh and Victor started traveling to remote locations to record race and old timey artists. The result of field recordings led to performers like Cow Cow Davenport, Victoria Spivey, Lonnie Johnson and Rev J.M. Gates being waxed, while in Chicago studios King Oliver and his Dixie Syndicators, Jelly Roll Morton and His Red Hot Peppers and others were recorded. Sutton also notes shifts in the individuals holding management position of efforts at producing race records, their approach to producing recordings and how they sold and distributed such country blues records.
A chapter is devoted to the recording of "Shouting Preachers and Singing Evangelists' that included the Black Billy Sunday, Reverend James M Gates, and other preachers along with evangelists including Arizona Dranes, Washington Phillips and Blind Willie Johnson. A further chapter focuses on 'Urban Blues, Hokum and Boogie Woogie' and the impact of such folks as Leroy Carr, Tampa Red and Georgia Tom, and Roosevelt Sykes.
In the pivotal year of 1929 Victor was acquired by the Radio Corporation of America and it finally creating a race record catalog. It was a year Victor issued Blind Willie McTell, Jim Jackson, Johnny Dodds and Rev. McGee, while Louis Armstrong's recordings appeared to veer in popular music direction and a year Paramount first recorded Charlie Patton at Gennett's Richmond, Indiana studio while starting construction of its Grafton Studio.
Sutton chronicles the decline in the industry following the October, 1929 stock market crash which augured bad times ahead for the record industry. Labels like Paramount fell, others went into bankruptcy followed by the rise of cut-rate labels including Bluebird as well as the emergence of Decca Records and the emergence and demise of American Record Corporation that was owned by Consolidated Film Industries. Consolidated had acquired Columbia after the esteemed label fell into bankruptcy, and issued recordings on a variety of labels including Perfect, Romeo and Vocalion. While Robert Johnson was among those who recorded for the ARC labels, Sutton observes that he "made no impact on America's recording culture or its musical culture prior to his rediscovery in the 1960's." While ARC flourished in the late 1930's, it was eventually acquired by the Columbia Broadcast System, which would operate it for decades.
The next to last chapter concerns the rebound in the recording industry as reflected in the catalogs of various companies and describes changes in the production and sale of recordings. The final chapter considers the War Years, including the impact of the first Petrillo strike and the emergence of new independent labels relating to records directed primarily, not exclusively, at Blacks. An epilogue notes changes in attitudes leading to abandonment of the term, 'Race Records" and its replacement by Rhythm & Blues. One appendix lists the various race record series of the various record labels, while another one enumerates Race Series talent scouts, talent brokers, and artist and repertoire managers.
Sutton's monograph provides a concise, well-written, discussion. Its most immediate appeal will be to enthusiasts of blues and early sacred material. One might wish a bit more space had been provided on the black jazz and dance bands, along with vocal quartets. It was perhaps unavoidable otherwise one might have a considerably (and perhaps unwieldy) larger volume which likely would not added much more to understanding the history of race records. In any event, this volume likely belongs in any strong library relating to African-American music, and replaces Dixon and Godrich's "Recording the Blues," as the basic authority on the subject of the pre-World War II blues recording industry.
I purchased this book. It is $39.00 for US sales (postage included) and $59.00 for shipment outside the US (includes insured airmail). Visit http://www.mainspringpress.com/.
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