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.

Judy Wexler - Back to the Garden

Judy Wexler - Back to the Garden -Jewel City Jazz

While vocalist Judy Wexler's prior album, "Crowded Heart," was Judy's effort to present "jazz standards for the 21st century," "Back to the Garden" has her reimagining songs from the 1960s of Love, Hope, and Change. Wexler co-produced this with Jeff Colella, who plays keyboards (and melodica on one track). Others on this recording include Larry Koonse on guitar, Gabe Davis on bass, and Steve Hass on drums. Others heard on some of this recording are Bob Thiele, Jr. on guitar, Danny Janklow on alto sax, Jay Jennings on trumpet, and Hendrik Meurkens on harmonica. There are strings present on three tracks.

Reviewing "Crowded Heart," I wrote, "Wexler has a delightful, sometimes dreamy voice that conveys joy and heartbreak with her swing, phrasing, clear diction, and sweet tone." With her excellent command of pitch and her storytelling singing these songs, "Back to the Garden" is a delightful, sophisticated jazz-pop recording. Things kick off with her revival of the Youngbloods' appeal for peace and brotherhood, "Get Together," although the moody backing has it come across more like a plea. There is plenty of charm to her relaxed reworking of The Drifters' hit (by Gerry Goffin and Carole King) "Up on the Roof." Kudos for her rendition of Paul Simon's "American Tune," with a strings section enhancing her plaintive vocal. Koonse takes a short acoustic guitar solo here. The strings also add atmosphere to the optimism expressed in her performance of Bob Dylan's "Forever Young."

Colella plays melodica (and solos) on the rendition of Dylan's protest anthem, "The Times They Are A-Changin'." It is another performance the showcases her skill in highlighting the lyrics. Cotella adds a stark arrangement for the cover of the Buffalo Springfield's "For What It's Worth. It is one of several songs for which Erin Bentlage sang background vocals. One of her top vocals here is of Fred Neil's "Everybody's Talkin'." Hendrik Meurkens contributes an enchanting solo to add to the low-key, rather reflective quality of this performance. Jay Jennings trumpet adds to a nostalgic rendition of Sandy Denny's "Who Knows Where The Time Goes." 

Judy Wexler has produced a most agreeable recording with her appealing, heartfelt vocals and solid, understated backing.

I received my review copy from a publicist. Here is Judy Wexler performing "Up On the Roof" from 2018.

Ashley Locheed & Chris Rottmayer So in Love

Ashley Locheed & Chris Rottmayer
So in Love
Timucua Arts Foundation

"So in Love" is a delightful album of standards and pop tunes by vocalist Locheed and pianist Rottmayer's trio. Released in 2020, this album was recorded in 2011 at Ticumua Art House in Orlando, Florida. Locheed is a vocalist who recently headlined the Musica per i Borghi festival in Umbria, Italy, with The Perugia Big Band. She regularly tours with Michael Bolton and previously toured with Engelbert Humperdinck as a duet partner and backing- vocalist. Locheed has opened Arturo Sandoval, has performed and recorded with veteran clarinetist Allan Vaché, and also performed with Kenny Drew Jr., Bill Allred, La Lucha, John Lamb, and Jeff Rupert. Rottmayer is a jazz pianist, composer, and jazz vibraphonist who has been a pianist at Walt Disney World since 1999 and currently the Instructor of Jazz Piano at the University of South Florida. He led a trio with Chuck Archard on electric bass and Keith Wilson on drums on this recording.

Two takes of Cole Porter's title song bookends the performances here. Bassist Archard sets the mood with a bouncy bass riff as Locheed capturing the listener's attention with her tuneful, breezy, dreamy singing. Rottmayer's spare, melodic backing and lead solos enhance her vocals. There is also supple support from Archard and Wilson. Locheed delights on Jobim's classic "Aqua De Beer," while her pensive vocal on Monk's "Round Midnight" displays her ability.

There is a gorgeous, swinging rendition of "I Love Paris" that sports a choice arrangement from Archard. Archard also provided the arrangement for Paul Simon's "Something So Right." She captures every nuance of meaning in the lyrics. Another song from outside the American songbook is a melodious rendition of Christopher Cross' "Sailing." Then there is the soft, intimacy of Michel Legrand's "Windmills of Your Mind," and the heartfelt romance she expressed singing "La Vie en Rose."

There is so much to enjoy listening to on this album. Ashley Locheed and the Chris Rottmayer Trio have produced a first-rate, captivating recording.

I received my review copy from a publicist. Here is a video of Ashley Locheed and Chris Rottmayer from 2013.

Robin McKelle Alterations

Robin McKelle
Alterations
Doxie Records

Vocalist Robin McKelle's new album has the singer interpret several songs by a diverse list of female innovators including Dolly Parton, Sade, Amy Winehouse, Adele, Janis Joplin, Carol King, Billie Holiday, Joni Mitchell, and Lana Del Ray. Backing McKelle on this release is co-producer, pianist and arranger Shedrick Mitchell, acoustic and electric bassist Richie Goods, drummer Charles Haynes, guitarist Nir Felder. Saxophonist Keith Loftis and trumpeter Marquis Hill guest on one song each.

There is quite a variety in material and McKelle's approach to the tunes ranging from straight-ahead jazz singing to songs more in a Memphis soul vein. With a slight vibrato, an impressive vocal range, nuanced phrasing, and timing, she displays a thorough command of the material set against a choice rhythm section and Mitchell's first-rate arrangements. As McKelle says, "We fused jazz, soul, r&b, blues and rock all while keeping a continuity in the music."

From the opening Latin-tinged rendition of Amy Winehouse's "Back to Back" to the appealing duet with Mitchell of Carole King's 'You Got a Friend," McKelle shines. There are a number of highlights, including her own "Head High," which is set against a Coltrane-ish groove. Mitchell sounds like he is channeling McCoy Tyner while Keith Loftis' solo is terrific. In contrast to the full-throated delivery on "Head High," the low-key vocal on Billie Holiday's "Don't Explain" is complemented by subtle, restrained backing. Marquis Hill adds his muted trumpet to a plaintive vocal on Lana Del Ray's "Born To Die." McKelle has recorded a classic soul album, so one should not be surprised by her Memphis soul-rooted rendition of Dolly Parton's "Jolene," or the funky blues-rock rendition of Janis Joplin's "Mercedes Benz."

There is considerable charm in her relaxed, tender take on Joni Mitchell's "River," which one more illustrates how well she can instill her personality on such varied material. It is the consistency of McKelle's marvelous performances and backing that make "Alterations" such an outstanding album.

I received a download to review from a publicist. Here is a performance of "Don't Explain."

Lizzie Thomas New Sounds From the Jazz Age

Lizzie Thomas
New Sounds From the Jazz Age
Lizzie Thomas Music

Originally classically trained, Lizzie Thomas discovered, after degrees in Vocal Performance and Music Education, that she found personal expression in jazz and the American Songbook. On this, her fourth album, she provides some novel interpretations of nine classic standards from the American Songbook. Helping her with these imaginative arrangements and vigorous vocals is a sterling backing band. The studio players include John Colianni on piano, Jay Leonhart or Boots Maleson on bass, Russell Malone or Matt Chertkoff on guitar, Omar Daniels on tenor sax, flute, Felix Peikli on clarinet, Bernard Linette on drums, and Doug Hendrichs on percussion.

One is struck on the opening "Fascinating Rhythm" by Thomas' vocal command, and her ability to negotiate tempo and key changes. Peikli's clarinet adds to the mood here. One suspects she would be as enthralling on a musical stage as a night club or concert stage. Russell Malone's solo guitar provides for her intimate opening to "Our Love Is Here To Stay," before the full band enters for this alluring performance. Daniels' flute is outstanding here. Daniels' sensual tenor sax solo and Colianni's sparkling piano contribute to a hauntingly gorgeous performance on Duke Ellington's "I Didn't Know About You." Malone adds some trebly, blues-drenched guitar to the lightly rocking, "You'd Be So Nice To Come Home To." Daniels adds a robust tenor solo while Thomas adds a brief scatting section.

Opening with a light Latin groove, Thomas sings enticingly on "In the Still of the Night," with nuanced delivery of the lyrics. Colianni stuns with his striking, and strong, accompaniment. There is a breathtaking rendition of Jobim's "One Note Samba," where she dazzles with her phrasing. Also, her handling of the lightning tempo during this performance leaves one astonished by her vocal technique. There is a bouncy "Cheek To Cheek" and a bubbly, yet sensual "Close Your Eyes." On the latter number, her vocal (including her horn-like scatting) weaves around Peikli's woody clarinet and Chertkoff's guitar obligatos.

"The Very Thought of You" benefits from the Afro-Caribbean groove underlying Thomas' seductive vocal, with marvelous piano, guitar comping, and Daniels' airy flute. It concludes a wonderfully rendered fresh and imaginative takes on these American songbook classics.

I received my review copy from a publicist. Here is Lizzie Thomas performing "Fascinating Rhythm."

Amber Weekes Pure Imagination

Amber Weekes
Pure Imagination
Amber Inn Productions

A fixture on the Los Angeles jazz scene, and mentored by (among others) Sue Raney, Amber Weekes showcases her distinctive musical personality on a collection of American songbook classics and some more recent musical delicacies. Among those heard backing her are guitarists Mitchell Long and Ramon Stagnaro, flutist Justo Almario, altoist Keith Fiddmont, baritone saxophonist, Dale Fielder, violinist-arranger Mark Cargill, vibraphonist Nick Mancini, and bassist Trevor Ware. Cargill, who also conducted the string section, and bassist Trevor Ware are co-producers of this album.

The album opens with 'Pure Imagination" from "Willa Wonka & the Chocolate Factory," a delightful duet with Sue Raney with some amusing banter at its end. Weekes has an engaging, intimate, and flirty vocal approach. She swings vigorously despite an understated, almost whispering, vocal style with the swinging orchestral backing for "It's All Right With Me." Then there is her charming singing on "When He Makes Music" with Cargill's insistent violin solo.

Weekes is a great fan of Oscar Brown's songs. Brown's songs heard here includes a seductively sung, almost whispered, rendition of "The Snake." This track is built around Trevor Ware's bass backing. Peter Smith adds piano and Scotty Barnhart moaning trumpet obligatos and muted trumpet solo. It is followed by the sparkling, swinging "Gotta Be This or That," with some terrific saxophone from Fiddmont. Trevor Ware's bowed bass provides the sole backing for the hauntingly beautiful interpretation of Oscar Brown's "Brown Baby."

There is some splendid, uncredited guitar on the twenties' jazz classic "After Your Gone," and superb New Orleans brass band backing on Paul Simon's "Gone At Last," set to the music of "Will the Circle Be Unbroken." Then there is her charming bossa performance of the Barry Manilow & Johnny mercer penned "When October Goes" with lovely flute from Danilo Lorenzo." Another Oscar Brown song, "Mr. Kicks," is given an exuberant treatment with more exceptional saxophone from Fiddmont.

Weekes provides an introspective ballad rendition of "When October Goes," which is a bonus track. This interpretation closes this captivating set of distinctive jazz vocals.

I received my review copy from a publicist. here is a video of her performing "The Snake."

Judy Wexler Crowded Heart

Judy Wexler
Crowded Heart
Jewel City Jazz

This is the fifth album by Judy Wexler and is an effort to present "jazz standards for the 21st century," an anthology of ten timeless modern jazz compositions by contemporary songwriters. The album is arranged by piano great Alan Pasqua (who co-produced this with Wexler). It features a band comprised of some of the finest, first-call musicians in Southern California including Alan Pasqua piano, melodica, whistling; Larry Koonse guitar; Josh Johnson alto sax; Bob Sheppard alto flute; Darek Oles bass; Steve Hass drums; Aaron Serfaty percussion; and Stefanie Fife cello.

When Wexler first conceived of this project, she reached out to jazz historian Ted Gioia, author of "The Jazz Standards," for advice. He told her that jazz stays alive and becomes more than a history lesson or museum piece when a modern composition is embraced and recorded by many vocalists. Gioia himself states that this recording is a joy to listen to and commends "their astuteness in finding and featuring outstanding songs by current-day jazz composers." Some of these composers are Luciana Souza, Larry Klein and David Batteau; Richard Galliano; Kurt Elling; Gregory Porter; Fred Hersch; Norma Winstone; Alan Broadbent; Georgia Mancio; René Marie; Enrico Pieranunzi, Lorraine Feather; Larry Goldings, and Alan Pasqua.

Wexler has a delightful, sometimes dreamy voice that conveys joy and heartbreak with her swing, phrasing, clear diction, and sweet-tone. This is clear on the opening "Circus Life" (from Sousa, Klein, and Batteau), with the supple backing, including Koonse's guitar, which adds a samba-tinge, Pasqua's understated support, and whistling, and Wexler's overdubbed second vocal part. Then there is the charm of her vocal that expresses the longing inherent in Galliano and Elling's "Parisian Heartbreak." Pasqua's melodica solo adds to the allure of this performance. Then there is her rendition of the title track about a relationship ending as she realizes it is time to part which is delivered with style.

While I enjoy Wexler's interpretation of Gregory Porter's "Painted on Canvas" with Josh Jackson's sonorous alto sax, and Pasqua's ingenious arrangement, her mellifluous vocal is overshadowed by Porter's original. Bob Sheppard's alto flute adds to the allure of "The Last Goodbye," another song of remembrance and longing. Then there is Wexler's unabashed romanticism singing René Marie's "Take My Breath Away," with a stunning Koonse acoustic guitar solo. In a program of mostly ballads, the gentle swing of "I Took Your Hand," is a nice change of pace.

Pasqua collaborated with Kirk Elling and Philip Edward Galdston in writing "And We Will Fly" with the dreaming vocal supported by the lovely backing with Fife's cello adding color along with another choice acoustic guitar solo. It closes a beautiful, first-rate vocal jazz recording.

I received my review copy from a publicist. Here is "The Last Goodbye" from this CD.

Kelly Johnson Something Good

Kelley Johnson
Something Good
OA2 Records

There is a warmth and a genial, sensual quality to Kelley Johnson's vocals. Her latest CD, "Something Good," has her wonderful interpretations of ten musical gems backed by a trio, including her husband, John Hansen on piano, Michael Glynn on bass, and Kendrick Scott on piano. Jay Thomas adds his horn (saxophone or trumpet to three songs.

She has such a delightful voice as she cleanly delivers the lyrics with flawless pitch, and fluid phrasing backed by the superb rhythm section would provide the backdrop for a romantic evening. It starts with Stephen Sondheim's "Anyone Can Whistle" and followed by Richard Carpenter's "Goodbye to Love." Hanson's superb piano and Scott's percussive accents complement her reflective vocal. There is a mesmerizing quality to her charming, swinging, almost whispered singing on Cole Porter's "You Do Something To Me," and George Shearing's "Lullaby of Birdland." There is a perky quality to her interpretations another Cole Porter classic, "Let's Do It." She ably negotiates the tempo changes of Leonard Bernstein's "Some Other Time," while she places her stamp on "Unforgettable." Jay Thomas' muted trumpet here, along with the superb rhythm section, contributes to a jewel of a performance.

In addition to her sublime vocals, Kelley Johnson (and John Hanson) contributed the arrangements for these sterling performances. With the superb backing musicians, an excellent selection of songs, and her lovely, captivating singing, Kelley Johnson's "Something Good" is an exceptional vocal jazz album.

I received my review copy from a publicist. here is a recent performance of "Let's Do It," by Kelley Johnson.